Why didn’t life’s trials break Matryona Timofeevna. The image of Matryona Timofeevna in the poem “Who Lives Well in Rus'”

“Who Lives Well in Rus'” is the final work of NA. Ne-Krasov, in which the poet wanted to present everything he knew about the people. That is why one of the main themes of Nekrasov’s work so organically enters into this work - the fate of a Russian woman. It is presented especially thoroughly in the chapter “Peasant Woman” from the poem “Who Lives Well in Rus',” where the image of the wonderful Russian woman Matryona Timofeevna Korchagina is drawn. It is to her that the inhabitants of the surrounding villages send wandering men who are planning to find someone “who lives a happy, free life in Rus'.” Why is this particular woman considered happy, and does the plot of this chapter confirm such an opinion?

To answer the questions posed, it is necessary to determine the Avgor position, since it is in accordance with it that the entire narrative is built. For Nekrasov, the Russian woman has always been the embodiment national character, the main bearer of the very foundations of the life of the people. That is why it was so important in the poem about the people’s fate to show what the situation is in modern poet)" of the Russian woman. After all, the happiness of a mother, wife, homemaker and eternal worker is the key to the well-being of any society at all times.

It is significant that in the poem we do not hear the author’s voice - it is Matryona Timofeevna herself’s story about her fate. This form made it possible to achieve special sincerity and authenticity of the image. At the same time, a clear contrast arises in Korchagina’s assessment of her life with the opinions of the people around her. Only a fortunate coincidence of circumstances led to the fact that she and her unborn child did not die, and the governor’s wife miraculously became their patroness - the godmother of little Liodorushka.

But this happiness was gained through the entire previous life. It contained difficult trials: the forced life of a daughter-in-law in her husband’s family, “mortal insults,” the whip, endless work, hunger, and the worst thing—the death of a child. And the terrible thing is that this is so typical of the fate of the Russian peasant woman! It is not for nothing that this chapter contains a lot of songs, folklore images and motifs, and in the episode associated with the death of De-

flies, the poet used the lamentations (funeral laments) of the famous storyteller Irina Fedosova. All this allows us to come to a general conclusion, which sounds especially bitter in the mouth of Matryona Timofeevna: “The keys to women’s happiness. / From our free will / Abandoned, lost / From God himself!”

And yet the question of the happiness of a Russian woman is not so clear-cut. After all, numerous sorrows and troubles did not break her persistent spirit, did not undermine inner strength and the will to live. She managed to preserve her warmth and beauty, which were not lost even under the yoke of hard work and worries.

What is the main difference between M.E.’s fairy tales? Saltykov-Shchedrin from the people?

Despite all the external similarities with folk tales, the writer’s works differ from them.

There are many similarities between Saltykov-Shchedrin’s fairy tales and fairy tales)! about animals. Indeed, their heroes were often created on the basis of well-known images endowed with stable character traits: the greedy Wolf, the cunning Fox, the cowardly Hare, the stupid and evil Bear. But into the world folk tale the writer introduced topical political themes that never exist in folklore, and therefore the content of traditional images changes significantly. The hare turns out to be “sane.” Wolf - “poor”. Ram - “I don’t remember.” Eagle - “philanthropist”. In Shchedrin's fairy tales, social satire arises, affecting even the tsar (“Eagle the Patron”), which is impossible in a folk tale.

An important difference from folklore is that in Shchedrin’s tales time is completely historical. Details related to contemporary author life. For example, in “The Wild Landowner” the newspaper “Been” is mentioned, and in the fairy tale “The Wise Liskar” it is said that its hero “does not receive a salary and does not keep servants.” This is also reflected in the vocabulary, which includes, along with traditional fairy-tale phrases (once upon a time, pike command) clericalism, foreign words, journalistic lecture

The tales of Saltykov-Shchedrin are characterized by a grotesque sharpness of images, unusual for folklore, as well as the use of Aesopian language. Thanks to this, unexpected switches arise from the real plane to the fairy-tale plane, which creates a kind of fantastic illusory quality of what is happening, as in the famous “Tale of how one man fed two generals.”

Thus, the tales of Saltykov-Shchedrin, close in STYLE to folk ones, are literary fairy tales. The folklore basis, combined with the author's irony and humor, which hide deep reflections on life, make these works interesting and relevant for our contemporaries.

Is the epilogue of the novel the final result of the spiritual

moral quest of the hero? (based on the novel by F.M. Dostoevsky

"Crime and Punishment")

Dostoevsky's novel “Crime and Punishment” is an unusual work. There is no author's voice in it that would indicate to readers what its meaning is, which of the heroes is right and which is wrong, where to look for the truth in which the writer believed. Each hero here has his own voice, his own “idea” that guides him.

The moral torment that gripped Raskolnikov after the terrible crime confirms that his “test” did not pass: he was unable to step over the blood. Sonechka will help him find support in his faith in God, urging him to get rid of torment by repenting in front of everyone in the square. And indeed, at the end of the main part of the novel, Raskolnikov comes to the police and confesses to what he has done.

It would seem that. the story of the murder and its solution has ended. But the main idea This is not Dostoevsky's point. He considered individualism a terrible disease that could lead to catastrophic consequences for humanity. How to deal with it? After all, Raskolnikov, while confessing, does not give up his terrible idea. He only asserts that he himself is an “aesthetic louse”, and by no means “the ruler of the world.” So what happens in the epilogue? Does it help us understand how to save not only Raskolnikov, but all of humanity from the “pestilence” of individualism?

We know that there is a lot of good in Raskolnikov’s nature: he is kind by nature, responsive to the suffering of others, ready to help, to help out of trouble. This is already known from the main part of the novel (a dream about a horse, helping the Marmsladov family) and is supplemented by new information in the epilogue (helping a student, saving children during a fire). That is why the active love of Sonechka, who followed Raskolnikov to the penal servitude, her compassion for all the unfortunate convicts who immediately fell in love with her, has such a strong impact on the hero. Having seen in a dream a terrible picture that embodied his idea, when everyone, considering themselves “having the right,” begins to kill each other. Raskolnikov is “healed.” Now he is free from his theory and is ready to be reborn, to return to God, to people. Raskolnikov’s path has been passed: we understand that he will then go hand in hand with Sonya, bringing with her the Christian ideas of love and kindness, mercy into the world I compassion.

But is the writer ready to offer this “recipe” for everyone affected by the “disease” of individualism? Perhaps, even in the epilogue there is no final answer to this question. Perhaps this is what she concludes main meaning: showing the story of Raskolnikov. the writer invites more and more new generations of readers to think about the problems posed and try to find their own solution.

What is the “little man” in the image of Dostoevsky

different from its literary predecessors?

The great humanist writer Dostoevsky always sought to attract public attention to the fate of the most disadvantaged, the most offended, “humiliated and insulted.” After all, their terrible situation is a terrible reproach to those. who drove them into a state of “dead end”.

Marmeladov is a typical “little man”. He is a poor official at the very bottom of the social ladder. His family - his daughter from his first marriage, Sonechka, his wife Katerina Ivanovna and their small children - lives in extreme poverty. After all, it is difficult to feed such a large family on a small official’s salary. But things weren't so bad until then. until Marmeladov started drinking. He lost his job, and his family was left without any means of subsistence. Of course, the reason for this was the spinelessness and lack of will of Marmsladov himself,

who, realizing the depth of the abyss into which he falls, shields his loved ones behind him.

But it's not only that. In the confession that a desperate man pronounces V dirty tavern in front strangers. Marmeladov says that people like him are simply driven into two-peak. “Do you understand, do you understand, dear sir, that you know-“H2I” when there is nowhere else to go?” - Marmeladov exclaims in anguish, turning to the only attentive listener of his story, Raskolyshkov. The hero of the novel is also inclined to blame society, which literally throws people like Marmeladov into the “scum”, that is, the “scum” of society. It’s as if they are no longer people: they can be mocked, mocked, and their interests not taken into account. Katerina Ivanovna and her innocent children also fall into this “percentage”. eldest daughter Marmeladova Sonechka. In this terrible world, nichegs, as Marmeladov rightly notes, are even quite normal people, pure and honest at heart, like Katerina Ivanovna, turn out to be disfigured. “Poverty is not a vice,” says the proverb, but Marmeladov adds: “Poverty is a vice.”

Of course, the fate of the Marmeladov family is tragic. He dies on the street under the wheels of a carriage. Mortally ill Katerina Ivanovna, in a last desperate attempt to attract people's attention to their terrible fate, takes the unfortunate children out into the street and soon dies. Sonechka is forced to go outside to the street to help her family survive and not die of hunger. AND main reason Their tragedy is that society, of which the “street” becomes a symbol, does not want to see these people, does not notice their suffering, and moves away from them.

How do the dreams that Raskolnikov sees relate to

with the main events of the hero’s spiritual life?

(based on the novel by F.M. Dostoevsky “Crime and Punishment”)

In his novels, Dostoevsky reveals the complex processes of the inner life of the characters, the psychology of their actions, their feelings, secret desires and fears. The author is helped in this by a technique that he often uses. - sleep intake. Dostoevsky's dream borders on reality and the delirium of a sick person.

The hero sees his first dream on Petrovsky Island. In this dream, Rodion Raskolnikov’s childhood comes to life again. He. 7th anniversary the boy, together with his father, paints a terrible picture: a healthy drunk man Miko.tka is whipping his “skinny... Savras nag.” Little Rodya throws his fists at this drunken man, and then kisses the bloody muzzle of the slaughtered nag.

The dream reflects the best side of the main character's nature - his desire to help all of humanity, his kind nature, and rejection of violence. This dream shocks Rodion so much that when he wakes up, he “renounces his damned dream.”

Raskolnikov’s painful duality is evidenced by two opposing images from his dream - a tavern, a symbol of depravity and evil, and a church, the best that is in human nature.

Raskolnikov sees his second dream after the crime. He dreams that he again goes to Alena Ivanovna’s apartment and tries to kill her. and the old woman, as if mocking, burst into quiet, inaudible laughter. The room is filled with people. Raskolnikov, overcome with horror, cannot move and awakens. Laughter in Raskolnikov’s dream is “an attribute of the invisible presence of Satan.” This dream carries the function of a symbolic generalization of the idea and also reveals the author’s position.

Raskolnikov saw his third dream already at hard labor (epilogue of the novel). In this dream, he seems to rethink his theory anew. Raskolnikov imagines that the whole world is condemned to be a victim of a “terrible pestilence.” Those infected with trichinae become crazy, consider themselves “unshakable in the truth,” and do not hear or understand others. The impression from the spectacle of what oblivion of the moral principle leads to turns out to be so deep that it causes a turning point in the hero’s soul. Raskolnikov frees himself from his idea.

Thus, dreams in the novel reveal Raskolnikov’s inner world. showing the hidden sides of his soul.

What psychological techniques help Dostoevsky and how?to convey the “fractured consciousness” of his heroes?

The main feature of F.M.’s psychological style Dostoevsky - extreme concentration on the most complex layers inner world

man, image of tense state of mind, the study of “two abysses” in the human soul (“Here the devil fights with God, and the battlefield is the hearts of people”). The author is interested in the truth suffered by a person at the moment when he is trying to comprehend the truth. The hero feels a moral involvement in all people, the need to find and destroy the root al.

Such an approach gives rise to deep psychologism of the hero’s personality, philosophicality of his thinking, emotional sensitivity, and “fractured consciousness.”

Dostoevsky's hero is always on the brink, always facing a choice: either an executioner or a victim, the same struggle between God and the devil plays out in his heart. The mental life of a person is depicted in its extreme manifestations. Unlike L.N. Tolstoy F.M. Dostoevsky reproduces not the “dialectics of the soul,” but constant psychological fluctuations.

Basic psychological technique which the writer uses is the principle of duality. Double heroes can be introduced into the character system. They either completely or substantially duplicate each other. The double is an ominous figure, he is called upon to emphasize the low sides of his soul hidden from the hero, to reveal the extent of his fall.

The paradoxical transition of the hero's oscillatory states is conveyed through the portrait and his contradictory actions. They act “to harm” themselves, everyone, nobody knows.

Dostoevsky assigns a special role to the unconscious behavior of the characters; this state is transmitted through dreams and visions. Dreams are the work of the subconscious; in a dream, the hero sees one of the facets of his personality, for example, in the first dream, Raskolnikov sees himself as a seven-year-old boy rushing to the defense of a skinny Savraska.

The words “suddenly”, “as if involuntarily” are most often found in the text of the narrative; they show the surprise of the hero’s actions for himself. Svidrigailov does not like to talk about death, and certainly did not think about suicide, but... Raskolnikov did not think about confessing, but suddenly he turned back to the police station...

The writer is trying to solve two main problems: to analyze the internal state of the hero and to recreate a certain psychological atmosphere in the novel using the selection of epithets, characteristics

describing the hero’s state (“terribly strange”, “caustic hatred”, “endless disgust”).

Dostoevsky's hero is so tense that in his mind the line between reality and his own idea of ​​it is blurred (the life and dreams of Katerina Ivanovna i

The most important part of the narrative is the direct speech of the characters, both external and internal.

The strongest means of depiction is the use of external details, objective world. Objective reality exists in the novel on its own due to the selection of a certain color scheme ( yellow- the color of illness, remember the yellow color of the closet with “yellow, dusty wallpaper”, “yellow, scrubbed and worn” wallpaper in Sonya’s room), smells (“a special summer stench”), sounds (crying, howling, screaming, moaning) , special digital symbols (Sonya brought 30 rubles to Katerina Ivanovna. 3 meetings with Porfiry Petrovich, 7 years of hard labor)

Clearly limited circle characters. concentration of action in time, rapid development of the plot, replete with tense dialogues, unexpected confessions and public scandals - all this allows us to talk about the pronounced dramatic features of Dostoevsky’s prose.

Do you agree with the statement that St. Petersburg

in the image of F.M. Dostoevsky -

a full-fledged hero of the novel?

Petersburg often becomes the backdrop for the development of action in the prose of F.M. Dostoevsky. The writer's relationship to the city is ambivalent: he. undoubtedly attached to it, but at the same time perceives it as the darkest city in the world.

In the novel, Petersburg is reproduced as a social organization by L.P. Grossman notes that the novel “Crime and Punishment” is “a novel by a great fool of the 19th century”, that the background of the capital “predetermines the nature of conflicts and dramas here.” The city becomes an accomplice in the crime.

Perhaps the most main characteristic Svidrigailov gives this city: “Petersburg is a city of half-crazy people. If we had sciences, then doctors, lawyers and philosophers could do

over St. Petersburg the most precious research, each with its own specialty. Rarely where can there be so many gloomy, harsh and terrible influences on the human soul as in St. Petersburg.”

There is a tradition in literature to depict St. Petersburg in a certain color scheme: yellow-gray. Dostoevsky was one of the first to sense this flavor. Yellow tones predominate in the novel, going beyond the description of the holy fool: bright yellow houses; the painful color of the yellow sun: wallpaper in the rooms of Raskolnikov, the pawnbroker. Sony; Alena Ivanovna’s yellowed jacket; “pale yellow face” of Raskolnikov, “dark yellow face” of Luzhin. Porfiry Petrovich.

The writer also creates the image of a fetid city by describing odors: “stuffiness... lime... dust... especially the summer stench,” slops, the stench from shops and drinking bars.

The sound background of the development of action in the novel serves as an additional means of creating a gloomy image of the city. Here only “continuous knocking”, “whining”, squeals are heard, here the “overbearing voice of a 7-year-old child” sounds.

The entire novel is filled with endless street scenes and scandals: a drunken girl on K. Boulevard, the blow of a whip, a woman with a “scorched face” throwing herself into the river. 11c were accidentally brought onto the streets of St. Petersburg by the sienas of Marmeladov’s death “under the wheels of a dandy stroller,” Katerina Ivanovna.

It can be argued that St. Petersburg is not only the backdrop against which the action of the novel takes place, but also influences the characters, thoughts, and actions of people, determines the characteristics of their relationships - in a word, it becomes a full-fledged hero of the work.

Home humanistic idea in the novel “Crime and Punishment” the question is about why people who have violated any universal rules are generally worthy of leniency. Dostoevsky believed that only by seeing the humanity in a person can one give him a chance for rebirth.

The “criminal” people in the novel include Raskolnikov, So-nya, Luzhin, Svilrigailov and other heroes. Dostoevsky brings some heroes to insight and repentance, while others do not.

Although Raskolnikov commits a crime at the beginning of the work, he is ultimately disappointed in his theory. In addition, throughout the entire novel, Raskolnikov is tormented by doubts; a struggle takes place in his soul. Raskolnikov often had dreams. which means he can feel.

Sonya Marmeladova also broke the law by going with a “yellow ticket.” But the author justifies it, its truth is Christian morality. Sonya atones for her guilt by sacrificing herself for the sake of others. Even through the description of Sonya’s appearance, through her blue eyes - a symbol of purity - the author shows her “innocence” in breaking the law.

Svidrigailov also turns out to be acquitted of the romance. Firstly, this is evidenced by the fact that all his misdeeds are talked about by some third parties, but they are not described in real time. In addition, Svidrigailov does many good deeds: for example, he gives money to the children of the deceased Marmeladov. He also dreams, meaning he can feel. And finally, the author describes his departure from life.

The next chapter written by Nekrasov is "Peasant Woman"- also seems to be a clear deviation from the scheme outlined in the “Prologue”: the wanderers are again trying to find a happy one among the peasants. As in other chapters, the beginning plays an important role. It, as in “The Last One,” becomes the antithesis of the subsequent narrative and allows one to discover new contradictions in “mysterious Rus'.” The chapter begins with a description of a landowner's estate being ruined: after the reform, the owners abandoned the estate and the servants to the mercy of fate, and the servants are ruining and destroying beautiful house, once a well-kept garden and park. The funny and tragic aspects of the life of an abandoned servant are closely intertwined in the description. Household servants are a special peasant type. Torn out of their usual environment, they lose the skills of peasant life and the main one among them - the “noble habit of work.” Forgotten by the landowner and unable to feed themselves by labor, they live by stealing and selling the owner’s things, heating the house by breaking gazebos and turned balcony posts. But there are also truly dramatic moments in this description: for example, the story of a singer with a rare in a beautiful voice. The landowners took him out of Little Russia, were going to send him to Italy, but forgot, busy with their troubles.

Against the background of the tragicomic crowd of ragged and hungry courtyard servants, “whining servants,” the “healthy, singing crowd of reapers and reapers” returning from the field seems even more “beautiful.” But even among these stately and beautiful people, he stands out Matrena Timofeevna, “glorified” by the “governor” and the “lucky one”. The story of her life, as told by herself, occupies a central place in the narrative. Dedicating this chapter to a peasant woman, Nekrasov, it seems, not only wanted to open the soul and heart of a Russian woman to the reader. A woman’s world is a family, and talking about herself, Matryona Timofeevna talks about those aspects of people’s life that have so far only been indirectly touched upon in the poem. But they are the ones who determine a woman’s happiness and unhappiness: love, family, everyday life.

Matryona Timofeevna does not recognize herself as happy, just as she does not recognize any of the women as happy. But she knew short-lived happiness in her life. Matryona Timofeevna's happiness is a girl's will, parental love and care. Her girlhood life was not carefree and easy: from childhood, from the age of seven, she performed peasant work:

I was lucky in the girls:
We had a good
Non-drinking family.
For father, for mother,
Like Christ in his bosom,
I lived, well done.<...>
And on the seventh for the beetroot
I myself ran into the herd,
I took my father to breakfast,
She was feeding the ducklings.
Then mushrooms and berries,
Then: “Get a rake
Yes, turn up the hay!”
So I got used to it...
And a good worker
And the sing-dance huntress
I was young.

She calls it “happiness” last days girl life, when her fate was being decided, when she “bargained” with her future husband - she argued with him, “bargained” for her freedom in her married life:

- Just stand there, good fellow,
Directly against me<...>
Think, dare:
To live with me - not to repent,
And I don’t have to cry with you...<...>
While we were haggling,
It must be so I think
Then there was happiness.
And hardly ever again!

Her married life is indeed full of tragic events: the death of a child, a severe flogging, a punishment she voluntarily accepted to save her son, the threat of remaining a soldier. At the same time, Nekrasov shows that the source of Matryona Timofeevna’s misfortunes is not only the “fortress”, the powerless position of a serf woman, but also the powerless position of the youngest daughter-in-law in a large peasant family. The injustice that triumphs in large peasant families, the perception of a person primarily as a worker, the non-recognition of his desires, his “will” - all these problems are revealed by the confessional story of Matryona Timofeevna. Loving wife and mother, she is doomed to an unhappy and powerless life: to please her husband’s family and the unfair reproaches of the elders in the family. That is why, even having freed herself from serfdom, having become free, she will grieve about the lack of a “will,” and therefore happiness: “The keys to women’s happiness, / From our free will, / Abandoned, lost / From God himself.” And she speaks not only about herself, but about all women.

This disbelief in the possibility of a woman’s happiness is shared by the author. It is no coincidence that Nekrasov excludes from the final text of the chapter the lines about how Matryona Timofeevna’s difficult position in her husband’s family happily changed after returning from the governor’s wife: in the text there is no story that she became the “big woman” in the house, nor that she “conquered” her husband’s “grumpy, abusive” family. All that remains are the lines that the husband’s family, having recognized her participation in saving Philip from the soldiery, “bowed” to her and “apologized” to her. But the chapter ends with a “Woman’s Parable”, asserting the inevitability of bondage-misfortune for a woman even after the abolition of serfdom: “And to our women’s will / There are still no keys!<...>/Yes, they are unlikely to be found...”

Researchers noted Nekrasov’s plan: creating image of Matryona Timofeevna y, he aimed for the widest generalization: her fate becomes a symbol of the fate of every Russian woman. The author carefully and thoughtfully selects episodes of her life, “leading” his heroine along the path that any Russian woman follows: a short, carefree childhood, work skills instilled from childhood, a girl’s will and a long disenfranchised position. married woman, women workers in the field and in the house. Matrena Timofeevna experiences all possible dramatic and tragic situations that befall a peasant woman: humiliation in her husband’s family, beatings of her husband, the death of a child, the harassment of a manager, flogging, and even, albeit briefly, the share of a soldier. “The image of Matryona Timofeevna was created like this,” writes N.N. Skatov, “that she seemed to have experienced everything and been in all the states that a Russian woman could have been in.” The folk songs and laments included in Matryona Timofeevna’s story, most often “replacing” her own words, her own story, further expand the narrative, allowing us to comprehend both the happiness and misfortune of one peasant woman as a story about the fate of a serf woman.

In general, the story of this woman depicts life according to God’s laws, “in a divine way,” as Nekrasov’s heroes say:

<...>I endure and do not complain!
All the power given by God,
I put it to work
All the love for the kids!

And the more terrible and unfair are the misfortunes and humiliations that befell her. "<...>In me / There is no unbroken bone, / There is no unstretched vein, / There is no unspoiled blood<...>“This is not a complaint, but a true result of Matryona Timofeevna’s experience. Deep meaning This life - love for children - is also affirmed by the Nekrasovs with the help of parallels from the natural world: the story of Dyomushka’s death is preceded by a cry about a nightingale, whose chicks burned on a tree lit by a thunderstorm. The chapter telling about the punishment taken to save another son, Philip, from whipping, is called “The She-Wolf.” And here the hungry wolf, ready to sacrifice her life for the sake of the wolf cubs, appears as a parallel to the fate of the peasant woman who lay down under the rod to free her son from punishment.

The central place in the chapter “Peasant Woman” is occupied by the story of Saveliya, the Holy Russian hero. Why is Matryona Timofeevna entrusted with the story about the fate of the Russian peasant, the “hero of Holy Russia,” his life and death? It seems that this is largely because it is important for Nekrasov to show the “hero” Saveliy Korchagin not only in his confrontation with Shalashnikov and the manager Vogel, but also in the family, in everyday life. His large family needed “grandfather” Savely, a pure and holy man, as long as he had money: “As long as there was money, / They loved my grandfather, they cared for him, / Now they spit in his eyes!” Savely's inner loneliness in the family enhances the drama of his fate and at the same time, like the fate of Matryona Timofeevna, gives the reader the opportunity to learn about the everyday life of the people.

But it is no less important that the “story within a story,” connecting two destinies, shows the relationship between two extraordinary people, who for the author himself were the embodiment of the ideal folk type. It is Matryona Timofeevna’s story about Savelya that allows us to emphasize what brought us together in general different people: not only the powerless position in the Korchagin family, but also a commonality of characters. Matryona Timofeevna, whose whole life is filled only with love, and Saveliy Korchagin, whom hard life has made “stony”, “fierce than a beast”, are similar in the main thing: their “angry heart”, their understanding of happiness as a “will”, as spiritual independence.

It is no coincidence that Matryona Timofeevna considers Savely lucky. Her words about “grandfather”: “He was also lucky...” are not bitter irony, for in Savely’s life, full of suffering and trials, there was something that Matryona Timofeevna herself values ​​above all else - moral dignity, spiritual freedom. Being a “slave” of the landowner by law, Savely did not know spiritual slavery.

Savely, according to Matryona Timofeevna, called his youth “prosperity,” although he experienced many insults, humiliations, and punishments. Why does he consider the past to be “blessed times”? Yes, because, fenced off by “marsh swamps” and “dense forests” from their landowner Shalashnikov, the residents of Korezhina felt free:

We were only worried
Bears...yes with bears
We managed it easily.
With a knife and a spear
I myself am scarier than the elk,
Along protected paths
I go: “My forest!” - I scream.

“Prosperity” was not overshadowed by the annual flogging that Shalashnikov inflicted on his peasants, beating out rent with rods. But the peasants are “proud people,” having endured a flogging and pretending to be beggars, they knew how to keep their money and, in turn, “amused” the master who was unable to take the money:

Weak people gave up
And the strong for the patrimony
They stood well.
I also endured
He remained silent and thought:
“No matter how you take it, son of a dog,
But you can’t knock out your whole soul,
Leave something behind"<...>
But we lived as merchants...

The “happiness” that Savely speaks of, which is, of course, illusory, is a year of free life without a landowner and the ability to “endure”, withstand the flogging and save the money earned. But the peasant could not be given any other “happiness”. And yet, Koryozhina soon lost even such “happiness”: “hard labor” began for the men when Vogel was appointed manager: “He ruined him to the bone!” / And he tore... like Shalashnikov himself!/<...>/ The German has a death grip: / Until he lets him go around the world, / Without leaving, he sucks!”

Savely does not glorify patience as such. Not everything a peasant can and should endure. Savely clearly distinguishes between the ability to “understand” and “tolerate.” To not endure means to succumb to pain, not to bear the pain and to morally submit to the landowner. To endure means to lose dignity and agree to humiliation and injustice. Both of these make a person a “slave”.

But Saveliy Korchagin, like no one else, understands the whole tragedy of eternal patience. With him, an extremely important thought enters the narrative: about the wasted strength of the peasant hero. Savely not only glorifies Russian heroism, but also mourns this hero, humiliated and mutilated:

That's why we endured
That we are heroes.
This is Russian heroism.
Do you think, Matryonushka,
The man is not a hero?
And his life is not a military one,
And death is not written for him
In battle - what a hero!

The peasantry in his thoughts appears as a fabulous hero, chained and humiliated. This hero is bigger than heaven and earth. A truly cosmic image appears in his words:

Hands are twisted with chains,
Feet forged with iron,
Back...dense forests
We walked along it - we broke down.
What about the breasts? Elijah the prophet
It rattles and rolls around
On a chariot of fire...
The hero endures everything!

The hero holds up the sky, but this work costs him great torment: “While there was a terrible craving / He lifted it up, / Yes, he went into the ground up to his chest / With effort! There are no tears running down his face - blood is flowing!” However, is there any point in this great patience? It is no coincidence that Savely is disturbed by the thought of a life gone in vain, strength wasted in vain: “I was lying on the stove; / I lay there, thinking: / Where have you gone, strength? / What were you useful for? / - Under rods, under sticks / She left for little things!” And these bitter words are not only the result own life: this is grief for the ruined people's strength.

But the author’s task is not only to show the tragedy of the Russian hero, whose strength and pride “gone away in small ways.” It is no coincidence that at the end of the story about Savelia the name of Susanin, the peasant hero, appears: the monument to Susanin in the center of Kostroma reminded Matryona Timofeevna of “grandfather”. Saveliy’s ability to preserve freedom of spirit, spiritual independence even in slavery, and not submit to his soul, is also heroism. It is important to emphasize this feature of the comparison. As noted by N.N. Skatov, the monument to Susanin in Matryona Timofeevna’s story does not look like the real one. “A real monument created by sculptor V.M. Demut-Malinovsky, writes the researcher, turned out to be more of a monument to the Tsar than to Ivan Susanin, who was depicted kneeling near the column with the bust of the Tsar. Nekrasov not only kept silent about the fact that the man was on his knees. In comparison with the rebel Savely, the image of the Kostroma peasant Susanin received, for the first time in Russian art, a unique, essentially anti-monarchist interpretation. At the same time, comparison with the hero of Russian history Ivan Susanin put the finishing touch on the monumental figure of the Korezhsky hero, the Holy Russian peasant Savely.”

Almost every writer has a secret theme that worries him especially strongly and runs through his entire work as a leitmotif. For Nekrasov, the singer of the Russian people, such a topic was the fate of the Russian woman. Simple serf peasant women, proud princesses and even fallen women who sank to the social bottom - the writer had a warm word for each. And all of them, so different at first glance, were united by complete lack of rights and misfortune, which were considered the norm at that time. Against the background of universal serfdom, the fate of a simple woman looks even more terrible, because she is forced to “submit to a slave until the grave” and “be the mother of a slave son” (“Frost, Red Nose”), i.e. she is a slave in a square. “The keys to women’s happiness”, from their “free will” were lost a long time ago - this is the problem the poet tried to draw attention to. This is how the incredibly bright and strong image of Matryona Timofeevna appears in the poem “Who Lives Well in Rus'” by Nekrasov.
The story of Matryona’s fate is set out in the third part of the poem, called “The Peasant Woman.” Wanderers are led to the woman by a rumor that claims that if any woman can be called lucky, it is exclusively the “governor” from the village of Klinu. However, Matryona Timofeevna Korchagina, a “stately”, beautiful and stern woman, hearing the men’s question about her happiness, “became confused, thoughtful” and did not even want to talk about anything at first. It had already gotten dark, and the moon with the stars had risen into the sky, when Matryona finally decided to “open her whole soul.”

Only at the very beginning, life was kind to her, Matryona recalls. Her own mother and father took care of her daughter, called her “kasatushka”, cared for her and cherished her. Let us pay attention to the huge number of words with diminutive suffixes: pozdnehonko, sunshine, crust, etc., characteristic of oral folk art. Here the influence of Russian folklore on Nekrasov’s poem is noticeable - in folk songs, as a rule, the time of carefree girlhood is sung, sharply contrasting with the subsequent difficult life in her husband’s family. The author uses this plot to construct the image of Matryona and transfers almost verbatim from the songs the description of the girl’s life with her parents. Part of the folklore is introduced directly into the text. These are wedding songs, lamentation over the bride and the song of the bride herself, as well as detailed description matchmaking ritual.

No matter how hard Matryona tried to prolong her free life, she was still married off to a man, also a stranger, not from native village. Soon the girl, along with her husband Philip, leaves home and goes to an unfamiliar land, to a large and inhospitable family. There she ends up in hell “from the maiden holi”, which is also transmitted through folk song. “Drowsy, dormant, unruly!” - that’s what they call Matryona in the family, and everyone tries to ask her more work. There is no hope for the husband’s intercession: even though they are the same age, and Philip treats his wife well, he still sometimes beats him (“the whip whistled, blood sprayed”) and will not think of making her life easier. Moreover, he is almost all free time spends his time earning money, and Matryona has “no one to love.”

In this part of the poem, Matryona’s extraordinary character and inner spiritual fortitude become clearly visible. Another would have despaired long ago, but she does everything as told and always finds a reason to rejoice at the simplest things. The husband returned, “brought a silk handkerchief / And took me for a ride on a sleigh” - and Matryona sang joyfully, as she used to sing in her parents’ house.

The only happiness of a peasant woman is in her children. So the heroine Nekrasov has her first-born son, whom she cannot stop looking at: “How written Demushka was!” The author very convincingly shows: it is the children who do not allow the peasant woman to become embittered and who maintain her truly angelic patience. The great calling - to raise and protect her children - raises Matryona above the drabness of everyday life. The image of a woman turns into a heroic one.

But the peasant woman is not destined to enjoy her happiness for long: she needs to continue working, and the child, left in the care of the old man, because of tragic accident dies. The death of a child at that time was not a rare event; this misfortune often befell the family. But it’s harder for Matryona than the others - not only is this her first-born, but the authorities who came from the city decide that it was the mother herself, in collusion with the former convict grandfather Savely, who killed her son. No matter how much Matryona cries, she has to be present at the autopsy of Demushka - he was “sprayed”, and this scary picture forever imprinted in my mother's memory.

The characterization of Matryona Timofeevna would not be complete without one more important detail - her willingness to sacrifice herself for others. Her children are what remains most sacred for the peasant woman: “Just don’t touch the children! I stood for them like a mountain...” Indicative in this regard is the episode when Matryona takes upon herself the punishment of her son. He, being a shepherd, lost a sheep, and he had to be whipped for it. But the mother threw herself at the landowner’s feet, and he “mercifully” forgave the teenager, ordering the “impudent woman” to be whipped in return. For the sake of her children, Matryona is ready to go even against God. When a wanderer comes to the village with a strange demand not to breastfeed children on Wednesdays and Fridays, the woman turns out to be the only one who did not listen to her. “Whoever endures, so mothers” - these words of Matryona express the entire depth of her maternal love.

Another key characteristic of a peasant woman is her determination. Submissive and compliant, she knows when to fight for her happiness. So, it is Matryona, from the whole huge family, who decides to stand up for her husband when he is taken into the army and, falling at the feet of the governor’s wife, brings him home. For this act she receives the highest reward - popular respect. This is where her nickname “governor” came from. Now her family loves her, and the village considers her lucky. But the adversity and “spiritual storm” that passed through Matryona’s life do not give her the opportunity to describe herself as happy.

A decisive, selfless, simple and sincere woman and mother, one of the many Russian peasant women - this is how the reader appears before the reader “Who Lives Well in Rus'” by Matryona Korchagin.

I will help 10th grade students describe the image of Matryona Korchagina and her characteristics in the poem before writing an essay on the topic “The image of Matryona Timofeevna in “Who Lives Well in Rus'”.”

Work test

Matryona Timofeevna Korchagina is a hardworking, patient Russian peasant woman. She is about 38 years old, has dark skin, large eyes, thick eyelashes and gray hair. She lives in the village of Klin and has five sons. And 1 son, Demushka, died in early childhood. Matryona Korchagina has a very unhappy life: before her marriage, her parents groomed and cherished her, she lived “like Christ in his bosom.”

But after the wedding, her life becomes completely different: she is pestered by her father-in-law, mother-in-law, and sisters-in-law. A small consolation for her was her husband, who spent a lot of time at work, almost never being at home, and Savely, the grandfather of Matryona’s husband. Soon Matryona Timofeevna gave birth to a son, Demushka. But very soon he died due to the fault of old Savely: he neglected to look after his great-grandson, who was eaten by pigs. It was a double grief for the poor mother that her beloved son was not buried as expected, but, in front of his mother’s eyes, was cut up all over. Matryona Korchagina was angry with Savely and for a long time could not recover from the loss of her son. After Demidushka’s death, Matryona had other children, but she still yearned and prayed for him.

After some time, she was overtaken by a new grief - the death of her parents, and soon of her grandfather Savely (whom Matryona Korchagina nevertheless later forgave for the death of Demushka). Matryona's whole life was devoted to work and children. She was ready to endure any pain, as long as her children were not touched. So she protected her eldest, guilty son Fedot from the rods, taking the punishment upon herself. The new misfortune that befell Matryona Timofeevna was a lean year and the recruitment drive that affected her husband and her husband’s brother. They were drafted into soldiers. The family lost its breadwinner. The peasant woman decides to go to the governor and ask for justice. In the end, she manages to see the governor’s wife, who returns Philip Korchagin from service (in the meantime, during a visit to the governor’s wife, Matryona gives birth to another son). Matryona Timofeevna also tells the seven wanderers that in her life there were also such misfortunes as fires, anthrax epidemics, and the obsessiveness of the manager Sitnikov, who took a liking to Matryona (soon, to Matryona’s relief, he was killed by cholera). Thus, we see that Matryona Timofeevna Korchagina is a patient Russian woman, a loving mother, steadfastly enduring all the hardships of fate. Of course, sometimes she has moments when she is overcome with grief, but prayers console her and give her strength. Matryona, like all Russian women, cannot be called happy. She says that, according to the holy old woman who visited her, “The keys to female happiness are abandoned, lost.”

Effective preparation for the Unified State Exam (all subjects) -

“Who Lives Well in Rus'” by Nekrasov is an epic poem, because in the center of its image is the whole of post-reform Russia. The poem unusually broadly covers the entire life of the people. Nekrasov wanted to depict in his work all social strata from the peasant to the tsar, however, the main subject of the story remains the life of the people. From the very beginning of the poem, its main character is determined - a man from the people. And yet, the picture of peasant life would not be so bright if it did not tell us about the lot of a simple Russian woman. When discussing this topic, one cannot help but turn to the main female image of the poem.

Special and very great place The poem is occupied by the image of the peasant woman Matryona Timofeevna. In an exceptional female image Matryona Timofeevna Nekrasov showed the full severity of the “female share”. This theme can be traced throughout Nekrasov’s work, but nowhere has the image of a Russian peasant woman been described with such tenderness and participation, so truthfully and subtly. And it is this heroine who will answer in the poem eternal question about women’s lot, why “the keys to women’s happiness... are abandoned, lost from God himself”...

Matryona Timofeevna Korchagina is an intelligent, selfless woman, the bearer of an “angry” heart, remembering “unpaid” grievances. The fate of Matryona Timofeevna is typical for a Russian peasant woman: after marriage, she went “from her maiden holiday to hell,” and various sorrows befell her one after another. As a result, Matryona is forced to take on backbreaking male labor in order to feed her large family.

Being a “governor,” Matryona still remains a person of the working peasant masses. The poet trusted her, smart and strong, to tell her about her fate. “The Peasant Woman” is the only part in Nekrasov’s poem, all written in the first person. However, this is a story not only about Matryona’s female lot. Her voice is the voice of the people themselves. That is why Matryona Timofeevna sings more often, and “Peasant Woman” is a chapter permeated folklore motifs, almost entirely built on folk poetic images. The fate of Nekrasov's heroine is constantly expanding to the limits of all-Russian ones. Nekrasov managed to combine the heroine’s personal fate with mass life, without identifying them. Because unlike most peasant women, whose marriage was determined by the will of their parents, Matryona Timofeevna marries her loved one.

Next, a picture of traditional family life in the peasant environment, the whole common life. As soon as Matryona entered her husband’s family, all the responsibilities around the house immediately fell on her shoulders. Like any other Russian peasant woman, Matryona Timofeevna was brought up with respect for the older generation, so in her new family she unquestioningly “obeyed” the will of her husband and his parents. Seemingly unbearable work in the harsh peasant life becomes her everyday task, and a woman’s task at that.

As you know, beatings in a peasant family were also quite common, however, the heroine of the play is by no means a beaten slave. For the rest of her life, a single incident of beating by her husband will be etched in her memory. At the same time, when talking about this, the heroine puts into her mouth a song that, without distorting the heroine’s individual biography, gives the phenomenon broad typicality.

Let us also remember the terrible tragedy of the loss of a child that Matryona Timofeevna experienced. Matryona had a hard time experiencing the death of her child, despite the ignorant lordly beliefs that peasants do not care deeply about their children, because there are at least a dozen of them in each family. However, to the simple Russian heart of Matryona, like any other woman, all her children are dear, she wishes a better life for each of them, she cares about each equally.

Nekrasov constantly in his poem emphasizes the truly Christian humility of a simple Russian woman, who sometimes faces terrible, unbearable trials. However, in everything Matryona Timofeevna trusts in the will of God, like thousands of other women with difficult destinies. The heroine takes her life for granted, which is why, with deep worldly wisdom, she pronounces the answer to the question about women’s lot: “the keys to women’s happiness... are lost to God himself.” Yes, in front of us collective image the majority of Russian women, who are wholeheartedly devoted to their family, courageously carrying on their shoulders a huge burden of caring for family and friends, and they carry their burden with incredible submission to fate, trusting only in God and themselves. Such is the female lot of the Russian peasant woman, embodied in the person of Matryona Korchagina.

Tasks and tests on the topic “Why does Matryona Timofeevna claim that “the keys to female happiness... are abandoned, lost from God himself”? (Based on the poem by N.A. Nekrasov “Who Lives Well in Rus'.”)”

• Orthoepy

  Lessons: 1 Tasks: 7

• Spelling - Important Topics to repeat the Unified State Exam in Russian