Farewell to mother description. Small homeland - what does it mean for a person? Scene of farewell to the house

Pinigina Daria

The main character of the work is an eighty-year-old elderly woman named Pinigina Daria Vasilievna, presented by the writer in the image of a native inhabitant of the island of Matera.

Daria Vasilievna is described in the story as a tall, lean old woman with a bloodless face, toothless mouth, dry lips, who lived through a difficult life. human life, but without losing her own energy. Despite her age, Daria Pinigina independently takes care of her large farm in the form of a vegetable garden, livestock and household work. Characteristics the heroine is her truthfulness, conscientiousness and justice, which attract people to her local residents islands who love to come for a cup of tea from Daria Vasilievna’s favorite samovar. The heroine has a special love for her native places, where her ancestors are buried, and prefers to stay on Matera, despite the flooding of the island.

Pavel Mironovich

Also, the key character of the story is the son of Daria Pinigina, Pavel Mironovich, a fifty-year-old man working on a state farm as a tractor driver, tired of the constant change from state farm foreman to garage manager. Pavel is characterized in the story as a simple, honest, hardworking man who treats his mother well and tries to provide her with any help. Pavel Mironovich has a family consisting of a wife and three sons, the youngest of whom, Andrei, having returned from the army, lives with his parents. In the situation with the island, associated with its flooding and the resettlement of local residents, Pavel feels great pity for Matera, is tired of his own experiences and rejoices when he realizes that certainty is coming.

Andrey Pinigin

Pavel's son, Andrei Pinigin, is one of the minor heroes of the work, and is a young twenty-two-year-old man, healthy in appearance, recently returned from the army, distinguished by his head held high and a soldier's bearing. Andrey is characterized in the story as a reasonable, adult person who builds his own life according to a plan developed in advance by him, wishing to implement labor activity at an important facility for the state, where advanced youth work without wasting energy on living in the wilderness.

Bohodul

Also minor character The story presents the old man Bogodul, who settled on the island in ancient times, but is not its native inhabitant. Bogodul positions himself as a representative of the Polish nation, does not like to speak Russian, but loves to use it in his speech swear words and expressions. The old man's appearance resembles a fairy-tale goblin, distinguished by a shaggy head, red eyes, huge hands and almost no all year round shoes on your feet. Local women are sympathetic to Bogodul, but the men avoid him, not understanding the eccentric nature of Bogodul.

Petrukha

One of the inhabitants of Matera is Petrukha, minor character story, a forty-year-old man, the son of one of the old women Katerina, who has the name given at birth Nikita Alekseevich Zotov. The local population calls him Petrukha, because in life the man manifests himself as a worthless, dissolute slob, who does not work, has no property except his beloved accordion, loves to chat and drink, characterized by laziness and stupidity. After the resettlement begins, Petrukha sets fire to her own hut in order to receive compensation, presenting it as an accident, and then sets fire to the houses of her neighbors.

Katerina Zotova

In addition, the island's inhabitants are portrayed in the story by Katerina Zotova, Petrukha's mother, who is a sweet and kind old woman, and the spouses Egor and Nastasya, who moved to the city from Matera due to the flooding, where old Egor, homesick for his homeland, dies, and Nastasya returns to the island to the remaining residents, as well as the old woman Sima with her grandson Kolya, left to her by her dumb daughter, and Boris Andreevich Vorontsov, who holds the position of chairman of the state farm.

Master island

Throughout the story, the writer uses the image of the Master of the island, described as invisible, fairy-tale creature, guarded by Materu, conducting nightly inspections of the doomed island settlement.

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In the story “Farewell to Matera,” analysis helps to grasp objective reflection subjective reality, assess the place and role of man in the modern world, the influence of scientific technical progress at nature and take a fresh look at the problem of mutual understanding in society and family.

Valentin Rasputin "Farewell to Matera"

Valentin Rasputin was born in 1937 on the Angara River, like the main characters of the story “Farewell to Matera”. Small Motherland writer is a village located near Irkutsk. Rasputin's works are autobiographical and imbued with love for his native land.

Work on “Farewell to Matera” was completed in 1976. The history of creation was preceded by an essay about the fate of the village in the flood zone up and downstream.

IN brief retelling a picture of the end of the existence of the village of Matera is conveyed. In the story, the author describes the fate of residents seeking answers to eternal questions about the meaning of life, the relationship between generations, morality and memory.

Chapter 1

The last spring of a village and an island bearing the same name, Matera, is described. There is an air of uncertainty in the air: some homes are empty, while others retain a semblance of normal life.

Over its three-hundred-year history, the village has seen bearded Cossacks, prisoners, Kolchak battles, and partisans. Both the church and the mill have been preserved on the island, providing last years even a plane arrives. And with the construction of the power plant came Lately for Matera.

Chapter 2

The old women of the village spend a typical day talking over the samovar at Daria's. The old women remember the past, but everyone’s thoughts are occupied with the future. Everyone is afraid of the prospect of city life in cramped apartments devoid of soul. Nastasya and Yegor, who buried all four children, were supposed to be the first to move to the city, but they kept putting it off.

Old woman Sima does not know how her life will turn out with her five-year-old grandson. Not long ago, her mute daughter Valka went on a spree and disappeared. Sima herself ended up in Matera by chance, trying to arrange her life with the local grandfather Maxim. But the matchmaking failed and now the old woman lives in a hut on the lower edge with her grandson Kolka.

An old man nicknamed Bogodul comes to the house and shouts about strangers running the cemetery.

Chapter 3

At a cemetery outside the village, two workers, by order of the sanitary and epidemiological station, are preparing sawn-down gravestones and crosses for burning.

The old women and Bogodul came running, and then all the residents prevented the destruction. The persuasion of Chairman Vorontsov and Comrade Zhuk from the flooding department does not help.

Residents are driving outsiders away and restoring destroyed monuments.

Chapter 4

The story of Bogodula's appearance in the village and his relationship with the local old women is told.

The morning after the commotion with the cemetery, Daria drinks tea with Bogodul, remembers the past, her parents, and again returns to the resettlement. Thoughts drive the old woman out of the house. She finds herself on the mountain and looks around her native surroundings. She is overcome by a premonition of the end and her own uselessness. Life has been lived, but not understood.

Chapter 5

In the evening, Daria’s eldest son, Pavel, now fifty, comes to see her. The first son died in the war and was buried in unknown lands, younger son during the war years he died in a logging camp and was buried in Matera in closed coffin. Eldest daughter died in Podvolochnaya during the second birth, and the other daughter lives in Irkutsk. Another son lives in a timber industry enterprise not far from his native village.

The conversation turns to a vague future and the establishment of a farm in a new place. Young people are in a hurry to get rid of village housing and get money. New life attracts Klavka Strigunova and Nikita Zotov, nicknamed Petrukha.

Chapter 6

At night, Matera is visited by a mysterious owner, a small animal, the island's brownie. The owner runs around the sleeping village, knowing that soon the end of everything will come and the island will cease to exist.

Chapter 7

Two weeks pass, and on Wednesday Nastasya and grandfather Yegor leave the village. The old woman plans to come dig potatoes in the fall and is worried about her cat. A difficult farewell is said to fellow villagers, and the old people set sail on a boat down the river.

Chapter 8

At night, Petrukhin’s hut burned down in two hours. Before this, he sent his mother Katerina to live with Daria. Depressed people watched the fire, assuming that Zotov himself had set the hut on fire.

The owner saw everything, and saw future fires, and further...

Chapter 9

Pavel rarely visits his mother, who remains with Katerina. He is overcome by work and sadness over the disappearance of his rich native land.

The move was difficult for him, unlike his wife Sonya, who quickly settled into the city.

He worries about his mother, who cannot imagine life outside of Matera.

Chapter 10

After the fire, Petrukha disappeared, leaving his mother without everything in Daryino’s care. Katerina gave birth to a son from a married fellow villager, Alyosha Zvonnikov. The son took after his father in his ease and talkativeness, but everything was out of place for him. By the age of forty, Petrukha had not settled down, for which her mother blamed herself.

Chapter 11

The last haymaking begins on Matera, bringing together half the village. Everyone wants to extend these happy days.

Petrukha unexpectedly returned and handed his mother 15 rubles, and after reproaches from her, he added another 10. He continues to carouse, either in the village or at home.

It's starting to rain.

Chapter 12

On the first rainy day, Daria’s grandson Andrei, one of Pavel’s three sons, comes to see her. He is in a hurry to do everything in life, to visit everywhere and wants to take part in the large construction of a hydroelectric power station on the Angara. But for now he agrees to stay and help with haymaking and moving graves.

Chapter 13

Rainy days have arrived, increasing people's anxiety. On a day that cleared in the morning, everyone came to Pavel, as a foreman, to inquire about work. But it started pouring again, and people started talking. Afanasy Koshkin, Klavka Strigunova, Vera Nosareva, Daria, Andrey again talk about the fate of Matera.

One day Vorontsov arrives with a representative from the Pesenny district. The chairman informs the meeting that the island should be cleared by mid-September, and a commission will arrive on the twentieth.

Chapter 14

Andrey tells his grandmother what was discussed at the meeting. Daria cannot come to terms with the fate of the island and talks about it with her grandson. She remembers death, but looking up she sees the sun peeking out from behind the clouds. Her face brightens, because life continues to bubble up around her.

Chapter 15

The rains stop and people get to work. Daria is worried about her son who has left and sends Andrei to find out what’s going on.

It was August, everything around was ripe, and a lot of mushrooms appeared in the forests.

Chapter 16

We came from the city to harvest grain, and later another brigade transported cattle from neighboring Podmoga. Then Pomoga Island was set on fire to clean it up. Strangers burned down the mill, then, at Klavka’s request, her hut.

Daria and Katerina, returning from saying goodbye to the burning mill, found a frightened Sima and Kolka on the porch. We all spent the night together.

Chapter 17

In the evenings, Daria has long conversations about everything. Katerina is upset because of her son, who receives money for setting fire to other people's huts. Sima still dreams of some old man; she believes that living together would be easier.

Chapter 18

The bread was removed, and the visitors, to the joy of the locals, left. Schoolchildren were brought to the state farm to harvest potatoes. The timber industry men came to burn the forest.

There were a lot of potatoes, Pavel and Sonya arrived with their laughing friend Mila. The harvest was harvested, Nastasya never arrived, and her garden was also removed. Everything was slowly transported. Pavel was the last to arrive for the cow, but the line never reached the graves.

Daria goes to the cemetery to say goodbye to her family and sees smoke from the fires around her.

Chapter 19

While clearing the island, the workers also begin to clean up the royal foliage. But people are unable to cope with it, and the tree remains adamantly standing amid the destruction.

Chapter 20

Daria in last time puts the hut in order: whitewashes the ceiling, walls, greases the Russian stove. On her last morning she whitewashes the forgotten shutters. In all of Matera, only the old women and Bogodul remain.

Daria spends her last night at home alone in a tidy hut decorated with fir branches. The next morning she gives the arsonist permission to light the fire, and she leaves the village. In the evening, Paul, who arrived, finds her near the royal foliage. Nastasya has arrived.

Chapter 21

Old man Pavel leaves the old women on the island for two days, so that he can then pick them all up together on a boat. The night is spent in the Kolchak barracks near Bogodul. Nastasya talks about living in the city and how grandfather Yegor died of melancholy.

Chapter 22

Vorontsov and Petrukha come to Pavel Mironovich, who has returned from Matera. The chairman swears because they didn’t bring people and orders them to immediately gather for the old people.

Fog fell on the Angara, forcing mechanic Galkin to run at low speeds. In the night, the boat can’t find the island; they wander in the fog, screaming and calling for those remaining on Matera.

The old people wake up and first hear the Master’s farewell howl, and then the noise of the engine.

The story ends.

What problems does the author raise in the work?

On the pages of the book, Rasputin clearly demonstrates the problems modern world. These are environmental issues and concerns about further path civilization, about the price scientific and technological progress. The author raises moral problems, separation from the small homeland and generational conflict.

Analysis of the work

Rasputin wrote about real historical events through the prism of perception of village inhabitants. In the genre of a philosophical parable, the author describes the colorful life and fate of the inhabitants of Matera.

He argues in favor of nepotism, connections with roots, small homeland and the older generation.

Characteristics of heroes

The heroes of the story are people associated with Matera and observing recent months existence of the island:

• Daria is an old resident of the village, no longer remembering exactly her age, reasonable Strong woman, uniting the elderly. Although she lives alone, having lost her husband, who died hunting in the taiga when he was barely over fifty, she has a strong family. Children revere their mother and always call to them. Daria feels part of Matera, deeply worried about her inability to influence the course of events. Family and the connection between generations are important to her, so she has a hard time with the unrealized transportation of the graves of her relatives;
• Katerina is Daria’s friend, who meekly endures the blows of fate and the antics of her unlucky son. She had never been married and loved one man, someone else’s husband and her Petrukha’s father. Katerina always tries to justify her son and everyone around her, hoping for correction and the manifestation of better qualities;
• Nastasya is Daria’s neighbor and friend, who cannot find a place for herself outside of Matera. Her fate is not easy, she outlived her children and focused on her husband, about whom in her old age she began to tell tales. Perhaps, by inventing Yegor’s non-existent illnesses and misfortunes, she is trying to protect the only remaining loved one. She began acting weird after the death of four children, two of whom did not return from the war, one fell through the ice with a tractor, and her daughter died of cancer;
• Sima is Daria’s younger friend, who ended up in the village by chance with her grandson Kolka. A helpful and quiet woman, the youngest of all the old women. Her life was not easy; early on she was left alone in her arms with her mute daughter. Dreams on the quiet family life did not materialize, daughter Valka began to go out with men and disappeared, leaving her son in the care of her mother. Sima endures troubles without complaint, continuing to believe in the responsiveness and kindness of people;
• Bohodul – the only man in the company of old women, who had arrived in the village from foreign lands. He calls himself a Pole, speaks little, mostly in Russian, for which, apparently, he was called a blasphemer. And the village ones were converted into Bogodul. At Bohodul's characteristic appearance: shaggy hair and an overgrown face with a fleshy, hummocky nose. He walks all year round barefoot, on calloused, coarse legs, with a slow and heavy gait, with a bent back and a raised head with red, bloodshot eyes;
• Egor, Nastasya’s husband, becomes the first victim of separation from the island. In the city he dies of melancholy, cut off from his small homeland. Egor is a solid and thoughtful man, he deeply conceals his sadness and experiences, gradually fencing himself off from people and from life;
• Pavel is Daria's son, standing between the younger generation fleeing the village and the old people who do not have the strength to part with their native roots. He tries to adapt to his new life, but appears confused and trying to reconcile those around him;
• Sonya, Pavel’s wife, easily and joyfully endured the move to a new urban village, happily adopted city habits and fashion;
• Andrei, the son of Paul, sees in the destruction of Matera human strength and power striving for progress. He's looking for active actions and new impressions;
• Petrukha is Katerina’s son, carefree, looking for fun and an easy life. He has no connection with his small homeland, he easily parts with his house and property, without thinking about the future and the people around him.

Conclusion

The work carries a deep moral meaning and requires thoughtful, meaningful reading. Quotes from the book are imbued with many years of folk wisdom. “...Life, that’s what life is for, to continue, it will endure everything and will be accepted everywhere...”

In his story "Farewell to Matera" V. Rasputin explores national peace, his value system and his fate in the crisis of the twentieth century. For this purpose, the writer recreates a transitional, borderline situation, when death has not yet occurred, but it can no longer be called life.

The plot of the work tells us about the island of Matera, which is about to sink due to the construction of a new hydroelectric power station. And along with the island, the life that has developed here for three hundred years will have to disappear, that is, plot-wise, this situation depicts the death of the old patriarchal life and the reign of a new life.

The inscription of Matera (the island) into the infinity of the natural world order, its location “within” it is complemented by the inclusion of Matera (the village) in the movement historical processes, not as coordinated as natural ones, but along with them are an organic part human existence in this world. More than three hundred years old Matera (the village), she saw the Cossacks sailing to settle Irkutsk, she saw exiles, prisoners and Kolchakites. It is important that the social history of the village (Cossacks setting up the Irkutsk prison, merchants, prisoners, Kolchakites and Red partisans) has a duration in the story that is not as extended as the natural world order, but presupposes the possibility of human existence in time.

Combining, the natural and social introduce into the story the motif of the natural existence of Matera (islands and villages) in a single stream of natural and historical existence. This motif is complemented by the motif of the ever-repeating, endless and stable cycle of life in this repetition (the image of water). At the level of the author’s consciousness, the moment of interruption of the eternal and natural movement opens, and modernity appears as a cataclysm that cannot be overcome, like the death of the previous state of the world. Thus, flooding begins to mean not only the disappearance of the natural (Matera-island), but also the ethical (Matera as a system of generic values, born both from being in nature and being in society).

In the story, two levels can be distinguished: life-like (documentary beginning) and conventional. A number of researchers define the story "Farewell to Matera" as a mythological story based on the myth of the end of the world (eschatological myth). The mythological (conventional) plan is manifested in the system of images and symbols, as well as in the plot of the story (the name of the island and the village, Larch, the owner of the island, the ritual of seeing off the deceased, which is the basis of the plot, the ritual of sacrifice, etc.). The presence of two plans - realistic (documentary-journalistic) and conventional (mythological) is evidence that the author explores not only the fate of a particular village, not only social problems, but also the problems of human existence and humanity in general: what can serve as the basis for the existence of humanity, current state existence, prospects (what awaits humanity?). Mythological archetype The story expresses the author's ideas about the fate of "peasant Atlantis" in modern civilization.

In his story, V. Rasputin explores past national life, traces changes in values ​​over time, and reflects on the price humanity will pay for the loss of the traditional value system. The main themes of the story are the themes of memory and farewell, duty and conscience, guilt and responsibility.

The author perceives the family as the basis of life and the preservation of tribal laws. In accordance with this idea, the writer builds a system of characters in the story, which represents a whole chain of generations. The author examines three generations born on Matera and traces their interactions with each other. Rasputin explores the fate of moral and spiritual values ​​in different generations. Rasputin is most interested in the older generation, because it is they who are the bearer and custodian of national values, which civilization is trying to destroy by liquidating the island. The older generation of “fathers” in the story is Daria, “the oldest of the old,” the old woman Nastasya and her husband Yegor, the old women Sima and Katerina. The generation of children is Daria's son Pavel, Katerina Petrukha's son. Generation of grandchildren: Daria’s grandson Andrey.

For the old women, the inevitable death of the island is the end of the world, since they cannot imagine themselves or their life without Matera. For them, Matera is not just land, but it is part of their life, their soul, part general communication with those who have left this world and with those who are to come. This connection gives the old people the feeling that they are the owners of this land, and at the same time a sense of responsibility not only for their native land, but also for the dead who entrusted this land to them, but they could not preserve it. “They’ll ask: how did you allow such rudeness, where did you look? They’ll say they relied on you, what about you? But I can’t even answer. I was here, it was up to me to keep an eye on it. And if it gets flooded with water, it seems like it’s also my fault,” - Daria thinks. The connection with previous generations can be traced in the system moral values.

Mothers treat life as a service, as a kind of debt that must be carried to the end and which they have no right to shift to anyone else. Mothers also have their own special hierarchy of values, where in the first place is life in accordance with conscience, which used to be “very different”, not like in the present time. Thus, basics of this type national consciousness(ontological worldview) become the perception of the natural world as spiritual, recognition of one’s specific place in this world and the subordination of individual aspirations to collective ethics and culture. It was these qualities that helped the nation continue its history and exist in harmony with nature.

V. Rasputin is clearly aware of the impossibility of this type of worldview in new history, so he is trying to explore other variants of popular consciousness.

Not only the old women, but also Pavel Pinigin experience a period of difficult thoughts and a vague state of mind. His assessment of what is happening is ambiguous. On the one hand, it is closely connected with the village. Arriving in Matera, he feels like time is closing behind him. On the other hand, he does not feel that pain behind native home, with which the souls of old women are filled. Pavel recognizes the inevitability of change and understands that the flooding of the island is necessary for the common good. He considers his doubts about resettlement to be a weakness, because young people “do not even think of doubting.” This type of worldview still retains the essential features of ontological consciousness (rootedness in work and home), but at the same time resigns itself to the onset of machine civilization, accepting the norms of existence set by it.

Unlike Pavel, according to Rasputin, the young people had completely lost their sense of responsibility. This can be seen in the example of Daria’s grandson Andrey, who left the village a long time ago, worked at a factory and now wants to get into the construction of a hydroelectric power station. Andrey has his own concept of the world, according to which he sees the future exclusively as technological progress. Life, from Andrei’s point of view, is in constant motion and one cannot lag behind it (Andrei’s desire to go to the hydroelectric power station - the country’s leading construction project).

Daria, on the other hand, sees the death of man in technological progress, since gradually man will obey technology, and not control it. “He’s a small man,” says Daria. “Small”, that is, one who has not gained wisdom, far from the boundless mind of nature. He still does not understand that it is not in his power to control modern technology which will crush him. This contrast between Daria’s ontological consciousness and the “new” consciousness of her grandson reveals the author’s assessment of the technocratic illusions of the reorganization of life. The author's sympathies are, of course, on the side of the older generation.

However, Daria sees not only technology as the cause of a person’s death, but mainly in alienation, moving him away from home, native land. It is no coincidence that Daria was so offended by Andrei’s departure, who did not even look at Matera once, did not walk over her, did not say goodbye to her. Seeing the ease with which the younger generation lives, getting into the world of technological progress and forgetting the moral experience of previous generations, Daria thinks about the truth of life, trying to find it, because she feels her responsibility for the younger generation. This truth is revealed to Daria in the cemetery and it lies in memory: “Truth is in memory. He who has no memory has no life.”

The older generation in modern society sees the blurring of the boundaries between good and evil, the combination of these principles, incompatible with each other, into a single whole. The embodiment of the destroyed system of moral values ​​were the so-called “new” masters of life, the destroyers of the cemetery, who deal with Matera as if it were their own property, not recognizing the rights of the elderly to this land, and therefore, not taking their opinions into account. The lack of responsibility on the part of such “new” owners can also be seen in the way the village was built on the other bank, which was built not with the expectation of making life comfortable for people, but with the expectation of completing the construction faster. Marginal characters of the story (Petrukha, Vorontsov, cemetery destroyers) - the next stage of deformation folk character. The marginalized (“Arkharovites” in “Fire”) are people who have no soil, no moral and spiritual roots, so they are deprived of family, home, and friends. It is this type of consciousness, according to V. Rasputin, that the new technological era is giving birth to, completing the positive national history and signifying the catastrophe of the traditional way of life and its value system.

At the end of the story, Matera is flooded, that is, the destruction of the old patriarchal world and the birth of a new one (village).

The main characters of “Farewell to Matera” are residents of a village that is destined to go under water for the construction of a hydroelectric power station. Rasputin's work shows the clash of two eras, two generations, two different worlds- villages and cities. The life of a person cut off from his roots has no meaning: a person grows together with the earth, like with a mother, and such ties cannot be broken. The characteristics of each character are a separate, valuable story, poignant and touching. In the work “Farewell to Matera,” the characters are divided into those for whom parting is easy, and for whom it is excruciatingly painful. A description of a short segment of the life of a village sentenced to death - what the reader sees when getting acquainted with the story of V. Rasputin

Characteristics of the characters “Farewell to Matera”

Main characters

Minor characters

Table of characteristics of the heroes of the work, where the names are collected the most important characters will be useful for preparing for literature lessons, as well as writing creative works.

Work test

“Farewell…” 1976, this is the time of decline and destruction of the Soviet village. The plot is based on a real story about the construction of a hydroelectric power station on the Angara River, as a result of which several surrounding villages were flooded. Residents of the village of Matera had to move. But besides the problem of the extinction of the village, V. Rasputin also raises a number of other problems: the relationship between generations, memory and oblivion, conscience, the search for the meaning of life. The main character is old woman Daria. This bearer of centuries-old traditions is unable to part forever with her habitual place, because in the hut in which she lived her entire life long life, her grandfather and grandmother still lived. Her childhood, a difficult time of war, passed within these old walls. Other old people also remain faithful to their native Matera. The younger generation, living in the future, completely calmly leaves their native places. This is how the family disintegrates, which, according to the author, will logically be followed by the collapse of the people and the entire country. And therefore Matera can be considered not only the name of one village, but also the symbolic name of the country and the image of mother earth as a whole. Daria's words: “He who has no memory has no life.” “Farewell to Matera” very clearly shows the great importance of traditions in the life of every person.

38. “Quiet” lyrics by N.M. Rubtsova.

“Quiet lyrics” appeared on the literary scene in the second half of the 1960s as a counterweight to the “loud” poetry of the “sixties”. Nikolai Rubtsov (1936-1971). Rubtsov’s poems, which have become masterpieces of Russian lyricism, are dedicated to the Vologda land: “I will gallop over the hills of the slumbering fatherland...”, “Cranes”, “Visions on the Hill”, “In the Upper Room”, “Old Road”, “Hello, Russia is the Motherland” mine!..”, “Night in the Motherland”, “My Quiet Homeland”, “Star of the Fields”, “Russian Light”. Topics: Motherland, nature, love, village, space. and the motives of the poet’s lyrics closely resonate with each other. Together they form a unique unity. Rubtsov's poetry is thoughtful, tender, calling for reflection. The peasant village and the earth are connected with space. It is impossible to definitely call Rubtsov’s lyrics “quiet”. It reflected the broad Russian nature, sincerity and sincerity. No one was able to penetrate into people's life as deeply and soulfully as N.M. Rubtsov. “The Star of His Fields” continues to illuminate our lives.

39. I.A. Brodsky. The artistic originality of the lyrics.

Joseph Aleksandrovich Brodsky (May 24, 1940, Leningrad, USSR - January 28, 1996, New York, USA) - poet, translator. Was in exile, then expelled from the USSR, Nobel Prize winner in literature in 1987, US poet laureate in 1991-1992. The poetry of Joseph Brodsky is complex and distinguished by high culture. A. A. Akhmatova had a great influence on his work. In his lyrics, he refers to antiquity, biblical themes, love, homesickness; To eternal themes, biblical, themes of love and homeland arise in his work; death, good and evil.

Brodsky is a unique poet. His contribution to Russian literature and culture is invaluable. He changed the flow and tonality of Russian verse, giving it a different sound. Joseph Brodsky is an exiled poet. They weren’t allowed to return to their homeland; I missed St. Petersburg.

No country, no graveyard

I don't want to choose

to Vasilyevsky Island