Valentin Rasputin last term content. Last term analysis of Rasputin's work

Old Anna lies motionless, without opening her eyes; she almost froze, but life is still glimmering. Daughters realize this by bringing a piece of a broken mirror to their lips. It fogs up, so mom is still alive. However, Varvara, one of Anna's daughters, considers it possible to mourn, "voice her out", which she selflessly does first at the bedside, then at the table, "where it is more convenient." Daughter Lucy at this time sews a mourning dress tailored back in the city. The sewing machine chirps to the beat of Varvarin's sobs.

Anna is the mother of five children, her two sons died, the first ones, born one for God, the other for a guy. Varvara came to say goodbye to her mother from the regional center, Lusya and Ilya from nearby provincial towns.

Can't wait for Anna Tanya from distant Kyiv. And next to her in the village was always her son Mikhail, along with his wife and daughter. Having gathered around the old woman on the morning of the day following the arrival, the children, seeing their mother revived, do not know how to react to her strange rebirth.

“Mikhail and Ilya, having brought vodka, now did not know what to do with them: everything else seemed trifles compared to this, they toiled, as if passing every minute through themselves.” Having huddled in the barn, they get drunk almost without a snack, except for the products that Mikhail Ninka's little daughter carries for them. This causes legitimate female anger, but the first shots of vodka give the peasants a feeling of a genuine holiday. After all, the mother is alive. Ignoring the girl collecting empty and unfinished bottles, they no longer understand what thought they want to drown out this time, maybe it's fear. “The fear from the consciousness that the mother is about to die is not like all the previous fears that fall to them in life, because this fear is the worst of all, it comes from death ... It seemed that death had already noticed them all in the face and no longer will forget."

Having drunk thoroughly and feeling the next day as if they had been passed through a meat grinder, Mikhail and Ilya thoroughly get drunk the next day. “But how not to drink? - says Michael. - Day, second, let even a week - it is still possible. What if you don't drink until you die? Just think, there is nothing ahead. All the same. How many ropes hold us both at work and at home, that you can’t gasp, so much you had to do and didn’t do, everything must, must, must, must, and the farther, the more you must - it’s all gone to hell. And I drank, as soon as I got free, I did everything that was necessary. And what he didn’t do, he shouldn’t have done, and he did the right thing, what he didn’t do. This does not mean that Mikhail and Ilya do not know how to work and have never known any other joy, except from drunkenness. In the village where they once lived together, it happened general work- “friendly, inveterate, sonorous, with a dissonance of saws and axes, with a desperate hoot of fallen woods, resounding in the soul with enthusiastic anxiety with the obligatory joking with each other. Such work happens once during the firewood harvesting season - in the spring, so that they have time to dry over the summer, yellow pine logs with a thin silky skin that are pleasant to the eye are placed in neat woodpile. These Sundays are organized for themselves, one family helps another, which is still possible now. But the collective farm in the village is falling apart, people are leaving for the city, there is no one to feed and raise livestock.

Remembering her former life, the townswoman Lusya with great warmth and joy imagines her beloved horse Igrenka, on which “slap a mosquito, it will fall down”, which eventually happened: the horse died. Igren dragged a lot, but did not manage. Wandering around the village through the fields and arable land, Lucy realizes that she does not choose where she should go, that she is directed by some outsider who lives in these places and professes her power. ... It seemed that life came back, because she, Lucy, forgot something here, lost something very valuable and necessary for her, without which it is impossible ...

While the children are drinking and reminiscing, the old woman Anna, having eaten the children's semolina porridge specially cooked for her, cheers up even more and goes out onto the porch. She is hung by a long-awaited friend Mironikha. “Ochi-mochi! Are you, old woman, alive? Mironikha says. “Why doesn’t death take you? .. I’m going to her wake, I think she chided like a kind one, but she’s still here.”

Anna grieves that Tatyana, Tanchora, as she calls her, is not among the children gathered at her bedside. Tanchora was not like any of the sisters. She stood as if between them with her special character, soft and joyful, human. So without waiting for her daughter, the old woman decides to die. “There was nothing more for her to do in this world, and there was no need to postpone death. While the guys are here, let them bury, carry out, as usual with people, so that another time they do not return to this concern. Then, you see, Tanchora will also come ... The old woman thought about death many times and knew her as herself. Behind last years they became friends, the old woman often talked to her, and death, sitting somewhere on the sidelines, listened to her reasonable whisper and sighed understandingly. They agreed that the old woman would leave at night, first fall asleep, like all people, so as not to frighten death. open eyes, then she will gently snuggle up, remove from her a short worldly sleep and give her eternal rest. That's how it all comes out.

The plot of the story “The Deadline” is simple: Mikhail, the son of the old woman Anna, who has not been getting up for a long time, dried up, only reminding her with her breath that she is still alive, calls her relatives by telegram. A large family is gathering: sons, daughters, themselves already elderly, who have become parents. They are waiting for their delayed sister Tatyana and, afraid to admit it to themselves, are waiting for their mother's death. And this painful expectation reveals everyone. The children of the old woman Anna - Ilya, Lyusya, Varvara - who arrived on a ride from a neighboring village, and who are hundreds of kilometers away on a steamboat and plane, involuntarily want everything to happen as soon as possible. They themselves, embarrassed of themselves and their expectations, explain that they have been torn away from their affairs and from work, because they have arrived “in a not passing light”), they have fulfilled their duties. The death of the mother as a tragedy is perceived only by the author, the characters are deprived of this. Here the eldest, Varvara, “opened the gate, saw no one in the yard, and immediately, as she turned on herself, began to wail:

“You are my mother-a-a-!”

And then Rasputin will add: "Varvara got up and went to the table to cry - where it is more convenient." No, she is not soulless, not callous, she "sobbed for a long time, banging her head on the table, burst into tears and could not stop." But the author, parallel to this picture of crying (rather ritualistic, ceremonial) gives his perception through the eyes of a child. Five-year-old Ninka, Mikhail's daughter, still does not understand what is happening, she "bent down to look why Varvara's tears do not run to the floor." The child in Russian literature is a special, symbolic image. This is that pure, angelic soul, which is given to see or feel the truth or carry it to other heroes. There is a feeling that this five-year-old Ninka saw (and we felt it with her help) something fearless, unnatural in Varvara's lamentations.

Anna herself is not afraid of death, she is even angry when once again “the injections of the paramedic, whom Ninka ran after, got her from the other world.” She lamented, begged her granddaughter:

“How many times have I told you: don’t touch me, let me go away on my own ... Don’t run after her anymore, don’t run ... hide behind the bathhouse, wait, then say: she’s not at home.

And the grandmother artlessly finished the instructions to her granddaughter:

- I'll give you candy for this - such a sweet one.

By conveying Anna's unhurried, lingering thoughts, her memories, Rasputin builds a simple story of her life. And she lived just like a river runs: she worked, raised children, the years flew by one after another ... and it was the same with her mother, and with her mother's mother ... What is it, a plant life, not spiritualized by reason, without a single thought, life is a habit ? Or that very natural, harmonious connection of life with the eternal movement of nature, merging with the world, when your place in this eternal cycle does not require awareness? Because it's yours? Anna herself, reflecting, believes that good life lived, and we understand where she got this feeling from: she has somewhere to go and there is someone to leave. Her life is seen as a link in an endless chain of being, and therefore, having fulfilled what was intended (she was a worker, wife and mother) by her nature and the universe itself, she will merge with this eternal order and peace. Not scary!

But the children do not know what to do, and this confusion, the author argues, is not from fear of losing their mother, but because they are torn out of the eternal circle of habitual worries and troubles, and they don’t know what to do in the face of such a phenomenon of the world. And if we feel that the author draws with undoubted respect last days old woman Anna and her thoughts, then the behavior of children is perceived as false (the word “vain” is asked). Moreover, we feel more and more acutely that this vanity stands out in those heroes who have broken with the village (and with their mother too). This is how the theme of mother and mother nature arises in the story, a break with which is tragic for a person. We see this most sharply in the image of Lucy (and I will remind you once again that for Russian literature, it was the female heroines who were the bearers of special, very important traits that convey the spiritual warehouse, the highest values ​​of the national character, and Rasputin picks up this tradition). The city has left a seal on Lucy at all: in character, in behavior, in the way of thinking, habits. Everything about her is unnatural, unnatural. So the mother asked for food, for the first time in several days she swallows thin porridge, and the daughter does not find other words than dull official ones:

- Now the stomach can not be overloaded.

Let him digest it first...

And her letters from the city?! “Tell mom that medicines help with any illness at any age ... Make sure that mom dresses better in winter ... " It seems to be care, attention, but what formality emanates from these common truths! Who does not know that medicines cure, and it is cold in winter? And with her sister Lyusya speaks in the same official way: “It has become absolutely impossible to talk with you, Varvara. Don’t forget, please, we are also old enough and probably understand what we are doing.” Varvara is offended - the city sister became proud, but Rasputin is convinced that the matter is completely different. Lucy is already different, a stranger to this world, where everything is simple and wise, and now she lives not with her soul, but with some other rules. Rasputin gives Lucy a chance to return to the world of natural feelings and natural words, when she recalls her childhood, berry places, Larch Island, mushrooms ... “Do you remember how mother sent us all to pick wild onions across the Upper River? We'll all get wet, we'll get wet until we've got it. And we also competed to see who would get the most. “Left in the forest, alone with herself, with her memory, Lucy will suddenly stop, as if trying to return something very important, it will seem that a little more, and she will open her soul to that natural that is about to embrace her, she will understand something then in the surging feelings, she will sort out the memories ... But Lucy's life is meaningless.

The author prepares an unexpected plot twist. Children expect grief, listen to their mother's breathing, Varvara cries and cries, Lucy brings a mirror to her dying lips - is there breath ... And the mother opens her eyes, asks for porridge, the one "that she cooked for little Ninka", and then she gets up, leaves the hut, and Lusya sews a black mourning dress at night, and the brothers have already bought a box of vodka for a wake, and the writer shows how this vodka helps to find a way out of an awkward situation: they were preparing to drink for the dead, now they decided to be healthy! At first, the men hid in the bathhouse, and then, having grown bolder, they would come out into the yard, because it’s joy! And these scenes, frankly comical, especially the genuine horror of Mikhail, who found out that the silly daughter almost took bottles to the store in order to turn them in and buy sweets with the proceeds, these funny events accumulate imperceptibly, as if something unpleasant is about to increase, pump up anxiety, shameful, unworthy of a person - and so ordinary. This is vanity, that petty vanity of life, which clearly bears the veil of vulgarity, some kind of moral deafness. And it’s not even about the sons’ drunkenness, not about the scandal that will flare up at the mother’s bedside, not about the senseless, empty bickering of brothers and sisters ... The children will sound cheerful and such false words who need to leave, no matter how the mother begs. For some reason, the words that the children of their mother will say on the threshold of their home will seem terrible:

“And don’t be offended by us. So it is necessary.

Yes, it is necessary, only not according to human rules, but according to the same law of vanity, which has broken, rebuilt the souls of children for itself. Mother lives differently. Until now, she executes herself for being guilty in front of the children. During the famine, when little Varvara was dying, her mother secretly milked Zorka, her former cow, now a collective farm cow. It was with this milk that my daughter came out, but she still cannot forgive herself this sin (she took someone else's!) She even sincerely believes that Varvara's failed life - her husband is in disagreement, her daughter is a badass - these are traces of that ancient sin, and she executes herself. Children are different: they firmly know that they live correctly. And only one person in the house, the youngest son Mikhail, who drinks, is unlucky, suddenly feels something very important and says, left alone with his mother:

- Do not be angry at me. Of course, I'm a fool... Don't be too angry with me. I was a fool.

And after the departure of the city guests, the granddaughter, five-year-old Ninka, will approach her grandmother, and, as if understanding something, having felt, she will put her greatest value in her hand - candy, and the old woman's lips will move in a smile. The old, the young and the fool stayed together, while the smart, educated, cultured left without understanding anything. But we understand how important it is for Rasputin to show that everything that makes a person truly a person is still alive, alive in the heart, but only in one that can empathize, sympathize, perceive someone else's misfortune as sharply as one's own. But this ability, according to Rasputin, is lost by those who break the spiritual connection with the earth, with nature, with natural life. This is how “Deadline” ends: “The old woman listened without answering and no longer knew whether she could answer or not. She wanted to sleep. Her eyes closed. Until evening, before dark, she opened them several more times, but not for long, just to remember where she was. No epithets, no dialectisms, vernacular, reproducing Anna's dialect, no complex syntax, no branched constructions. Rasputin uses the simplest linguistic means to talk about the death of the old woman Anna, realizing that any complication of the phrase, embellishment in such a situation would be a deviation from artistic taste, from the truth, even some kind of blasphemy. The last sentence of the story will be extremely simple: "The old woman died at night." Just as simply as she lived, in that great naturalness) which alone preserves a person and which turned out to be inaccessible to her children, torn off the earth, from the soil) on which all living things feed. We broke away from the mother, but at the same time from mother earth, from maternal roots.

An elderly woman, Anna, has been lying virtually motionless for some time, and her children tend to believe that their mother has already passed away. However, the mirror, brought to her lips, fogs up, respectively, Anna is still alive. But the eldest of her daughters, Varvara, believes that it is quite possible to cry for her mother at the top of her voice, while her sister Lusya diligently sews a dark mourning dress for herself.

To date, old Anna has five long-grown children, the rest died at a very early age. Varvara lives in the district center, Lusya and Ilya in the cities closest to their native village.

The mother is looking forward to the arrival of the youngest and most beloved of her children, Tatiana, from Kyiv, while Mikhail and his family constantly live in the village with their mother. All the children are already ready to bury their mother, but Anna comes to her senses, and it becomes clear that the woman is not in a hurry to go to another world.

Ilya and Mikhail, who have already saved up a lot of vodka for the funeral, now get drunk in the barn, despite the anger of the sisters and Mikhail's wife Nadezhda, the next day they continue to do the same.

At the same time, Mikhail justifies his own drunkenness, referring to the fact that both at home and at work there are too many responsibilities and there are no joys, and it is simply impossible to live without at least that little relief that alcohol brings.

In fact, the brothers are actually quite hard-working people, earlier, when they were younger, Sundays were often held in the village, during which everyone helped each other with funny jokes and songs. Now the collective farm is noticeably falling apart, young people are striving for the cities, and Anna's children sadly understand that soon there will be practically no one left in the village, except for helpless old people.

Lucy, who has been living in the city for a long time and has almost forgotten about her childhood and youth spent in the countryside, now wanders around her native places, sadly remembers her beloved horse, and feels that she seems to have forgotten or lost something right here, in her homeland. .

Meanwhile, Anna, feeling even better, confidently goes out onto the porch, where she meets her friend Mironikha. The woman is sincerely surprised that her friend is alive, because she was already going to go to her wake. Anna does not stop getting upset because Tatyana is not around. In her opinion, the youngest daughter is truly different from the rest with her kind, gentle, surprisingly “human” character, but, without waiting for her, the old woman decides that she absolutely has no need to postpone the moment of death.

Anna believes that it will be easier for her guys to bury her while they are all here, because they need to return home, to their families and official duties. A woman has been mentally talking with death for a long time and sees in her almost a kind friend. Anna agrees that she will die at night, at first she will just fall asleep, as it always happens with people, and then death will give her the desired peace forever. This is exactly what happens in the future, in the morning the children discover that their mother has died in her sleep.