Vasily Shukshin - strange people. Drama Strange Man. Menschen and Leidenschaften. (Lermontov M. Yu.) Strange people summary for the reader's diary

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Shukshin Vasily

Strange people

Vasily Shukshin

Strange people

Early in the morning Chudik walked through the village with a suitcase.

To my brother, closer to Moscow! He answered the question of where he was going.

Far away, weirdo?

To my brother, rest. Gotta scurry around.

At the same time, his round, fleshy face, his round eyes expressed an extremely careless attitude towards long-distance roads - they did not frighten him.

But my brother was still far away.

So far, he has safely reached the district town, where he was to take a ticket and board the train.

There was plenty of time left. The weirdo decided to buy sweets and gingerbread gifts for the tribes for now...

Went to the grocery store, got in line. In front of him stood a man in a hat, and in front of the hat was a plump woman with painted lips. The woman said softly, quickly, passionately to the hat:

Imagine how rude, tactless a person must be! He has sclerosis, well, he has had sclerosis for seven years, but no one suggested that he retire.

And this week without a year leads the team - and already: "Maybe you, Alexander Semenych, would be better off in retirement?" Nah-hal!

The hat agreed:

Yes, yes... They are like that now. Think - sclerosis! And Sumbatych? And this one, how is it? ..

The weirdo respected the city people. Not all, though: he did not respect hooligans and sellers. I was afraid.

It was his turn. He bought sweets, gingerbread, three bars of chocolate and stepped aside to put everything in a suitcase. He opened the suitcase on the floor and began to pack it... He glanced at the floor for some reason, and at the counter, where the queue was, a fifty-ruble piece of paper lay at the feet of people. A kind of green fool, lying to herself, no one sees her ... The weirdo even trembled with joy, his eyes flared up. In a hurry, so that someone would not get ahead of him, he quickly began to think about how it would be more cheerful, witty to say in line about a piece of paper.

Live well, citizens! - He said loudly and cheerfully.

They looked back at him.

We, for example, do not throw such pieces of paper.

This is where everyone got a little excited. This is not a triple, not a five - fifty rubles, you have to work for half a month. But the owner of the paper - no.

"Probably the one with the hat," said Freak to himself.

We decided to put the paper in a conspicuous place, on the counter.

Someone will come running now, - the saleswoman said.

The weirdo left the store in a very pleasant mood. Everyone thought how easy it was for him, how fun it turned out:

"We, for example, do not throw such pieces of paper!"

All of a sudden, he felt as if he was engulfed in heat: he remembered that exactly such a piece of paper and another twenty-five rubles had been given to him in the savings bank at home. He just exchanged a twenty-five-ruble note, a fifty-ruble note should be in his pocket ... He put it in his pocket - no. Here and there, no.

Mine was a piece of paper! - Chudik said loudly. - Your mother so-and-so! .. My piece of paper! Infection, infection...

Under the heart even somehow rang with grief. The first impulse was to go and say:

Citizens, my paper is something. I got two of them at the savings bank: one twenty-five rubles, the other half a hundred. One, twenty-five rubles, now exchanged, and the other - no.

But as soon as he imagined how he would stun everyone with this statement of his, as many would think: "Of course, since the owner was not found, he decided to pocket it." No, do not overpower yourself - do not reach out for this damned piece of paper. Might as well not give up...

Why am I like this? - Chudik argued bitterly. - So what's now?..

I had to return home.

He went to the store, wanted to look at the paper at least from a distance, stood at the entrance ... and did not enter. It will be quite painful. The heart can't take it.

I rode the bus and swore softly - I was gaining courage: I had an explanation with my wife.

It's... I lost money. At the same time, his snub-nosed nose turned white. Fifty rubles.

The wife's jaw dropped. She blinked; a pleading expression appeared on his face: maybe he is joking? No, this bald well (Crank was not bald in a rural way) would not dare to joke like that. She stupidly asked:

Here he involuntarily chuckled.

When they lose, then, as a rule ...

Well, no-no!! roared the wife. - You won't be grinning now! And she ran for the catch. - Nine months, well!

The weirdo grabbed a pillow from the bed - to reflect the blows.

They circled the room...

Nah! Freak!..

You're dirtying the pillow! Wash yourself...

I'll wash it! I'll wash it, bald man! And my two ribs will be! My! My! My!..

Hands down, fool!

Ott-shades-short! .. From-shadows-baldheads! ..

Hands, scarecrow! I won’t get to my brother and sit on the ballot! It's worse for you!

You're worse off!

Well, it will!

No, no, let me have fun. Let me take my darling away, you bald well ...

Well, you will!

The wife dropped her grip, sat down on a stool and wept.

She took care of it, she took care of it ... she put it aside for a penny ... You are a well, a well! .. You should choke on this money.

Thank you for your kind words, - Chudik whispered "poisonously".

Where was something - can you remember? Maybe he went where?

Didn't go anywhere...

Maybe he drank beer in a teahouse with alcoholics? .. Remember. Maybe he dropped it on the floor?

Yes, I did not go to the tea room!

Where could you have lost them?

The dude stared gloomily at the floor.

Well, now you’ll drink some chitushka after the bath, you’ll drink ... Get out - raw water from the well!

I need her, your chitushka. I can do without her...

You will be skinny!

Am I going to my brother?

Another fifty rubles were withdrawn from the book.

The eccentric, killed by his insignificance, which his wife explained to him, was traveling on a train. But gradually the bitterness passed.

Forests, copses, villages flashed past the window ... Different people entered and left, different stories were told ...

The weirdo also told one thing to some intelligent comrade, when they were standing in the vestibule, smoking.

We also have a fool in the neighboring village ... He grabbed a firebrand - and fetched his mother. Drunk. She runs away from him and screams: "Hands, screaming, don't burn your hands, son!" He also cares about him. And he is rushing, a drunken mug. To mother. Imagine how rude, tactless...

Did you come up with it yourself? - the intelligent comrade asked sternly, looking at Chudik over his glasses.

For what? - he did not understand. - We have, across the river, the village of Ramenskoye ...

The intelligent comrade turned to the window and said no more.

After the train Chudik still had to fly a local plane. He used to fly once. For a long time. I got on the plane not without shyness.

Doesn't it spoil anything? - asked the stewardess.

What goes wrong in it?

You never know ... There are probably five different bolts here. One thread will break - and with greetings. How much is usually collected from a person? Two or three kilos?

Don't talk. They took off.

Next to Chudik sat a fat citizen with a newspaper. The weirdo tried to talk to him.

And breakfast healed, - he said.

They feed on the planes.

Fatty was silent on this.

The dude started looking down.

Mountains of clouds below.

That's interesting, - Chudik spoke again, - five kilometers below us, right? And I - at least henna. I'm not surprised. And now in my mind I measured five kilometers from my house, put it on my priest - it will be up to the apiary!

V.M. Shukshin is known as an excellent actor, director and screenwriter. Vasily Makarovich considered literature to be his main vocation, he wrote many works, among which there are novels and short stories. However, Shukshin's stories about ordinary Russian people with unusual characters were most fond of the reader.

In the story "Crank" Shukshin tells about one of such interesting people. "Freak" describes the journey of a simple villager to a big city. Chance meetings and minor incidents reveal the character of the hero, show his inner content.

The plot of the story is simple - a village peasant goes to visit his brother.

On the way and visiting his brother, he gets into awkward situations - he loses money, gives his false teeth to a neighbor on the plane, paints a baby carriage with paints.

Clumsily jokes, his jokes remain misunderstood. The daughter-in-law (brother's wife) drives the guest away, the brother does not intercede and the hero of the story goes home.

The purpose of the author is not to tell about the trip from point A to point B. Vasily Makarovich believed that there was a lot of evil in life. The writer draws the attention of the reader to human ingratitude, ill will, lack of love.

His hero does not commit bad deeds, does not hooligan, is not rude, but in the eyes of people he looks like an eccentric. Maybe that's why?

Shukshin introduces his hero to the reader simply - Crank. Using the example of one trip, the author reveals the strangeness of this mature man, which consists in childish naivety, kindness and forgiveness.

Important! The hero of the work constantly finds himself in awkward situations, but he does not blame anyone for his mistakes, except himself.

In the store, he accidentally dropped a fifty-ruble bill and, thinking that it was someone else's money, gave it to the saleswoman with jokes. The queue silently looked at the eccentric.

He understands that his actions and words surprise people, seem strange to them, suffers from this consciousness and does not understand what is the matter.

The hero of Shukshin asks himself the question why he is not like everyone else, why he was born like that.

He experiences mental pain and does not see the point in life when he once again finds himself in an awkward situation and becomes superfluous among people.

Shukshin shows, using the example of everyday life situations, how much people have lost sincerity and simplicity in communication. A sincere and simple man is bewildering.

Wikipedia defines the meaning of the word freak as a person who acts inappropriately, unusually, not in the usual way. This does not mean that his behavior is immoral or antisocial, it just differs from the generally accepted one. Synonym - freak.

It is such an eccentric that appears before us in the story - simple and unsophisticated.

These qualities cause misunderstanding and even rejection among pragmatic people who live with one goal - to earn money, to reach people.

The moral qualities of a person no longer occupy their proper place in the hierarchy of value orientations of Russian people. Shukshin speaks about this.

Crank - a truly Russian character, has become a rarity in Russia.

To know what this story is about, just read the summary. You can get to know Chudik better and visit the Urals with his brother Dmitry only by reading the story. You can read online or paper version.

Shukshin's language is simple, folk, reflects the character of the characters, their internal state. There is not a single far-fetched word, the reader seems to be personally present during the conversations of the characters. IN

it is easy for these people to recognize their acquaintances, neighbors, friends - the statements and observations of the writer are so accurate.

Main events

A brief retelling is a coverage of all the adventures of the Chudik during his vacation trip to the Urals.

The main character is Vasily Egorovich Knyazev. He works as a projectionist, he is married, he is 39 years old. The wife calls Vasily Chudik. Likes to joke, but jokes clumsily. He wishes well for all people, is friendly to everyone and often gets into awkward situations.

While on vacation, the main character is going on a trip. The brother, to whom the main character goes, lives in the Urals, is married, has children. The brothers have not seen each other for 12 years. Vasily is going on a trip with joy and impatience. The road is long, with transfers: you have to go by bus to the district center, then by train to the regional city and by plane.

In the district center I went to a store to buy gifts for my nephews.

I saw a brand new fifty-ruble note on the floor and was delighted at the occasion to joke and render a service to the one who had lost it.

The owner of the money was not found, they were put on the counter to give to the lost. Leaving the store, I remembered that he had the same banknote.

It was not in her pocket. Vasily was ashamed to return to the store and admit his mistake, he was afraid that they would not believe him.

I had to return home for money. The wife shouted, again they took money from the book, and Vasily again set off.

This time the journey passed without misadventures, except for small moments:

Safely reached the house of brother Dmitry. The brothers rejoiced at the meeting, recalled their childhood. The brother's wife, Sophia Ivanovna, did not like the simple villager.

Dmitry complained to Vasily about his wife, her anger, that she completely “tortured” the children - she gave one “to the piano”, the other to “figure skating” and despises him for being “not responsible”.

Vasily wants a peaceful relationship with his daughter-in-law.

Wanting to please her, he paints a baby carriage (in the village he painted the stove for everyone to surprise), buys a white boat for his nephew.

Returning home, finds a family quarrel. Sophia Ivanovna shouted to her husband that "this fool" should go home that same day.

Vasily remained unnoticed and sat in the shed until the evening, where Dmitry found him. The guest decided to go home, and the brother did not say anything.

Knyazev returned to his village. The rain has passed. The traveler took off his shoes and, singing, walked along the road home.

Important! Only at the very end of the story, Shukshin reveals the name of his hero, his profession - a projectionist, talks about his love for dogs and detectives, and about his childhood dream - to become a spy.

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Summing up

Each reader can see himself at some point - in the main character, or his daughter-in-law, a weak-willed brother or an intelligent comrade from the train.

In contact with

As is clear from the comments, V. Shukshin has 125 published stories, most of which amaze with their life originality, the originality of life material. Criticism tried to define the individual quality of these stories through the concepts of "Shukshin's hero" and "Shukshin's life".

According to critics, Shukshin's hero “in tarpaulin boots” (S. Zalygin) “dusts along country roads” (L. Anninsky). The writer knew Altai drivers, mechanics, tractor drivers well and often met on the Chuisky tract leading from the city of Biysk to the Mongolian border, passing by the village of Srostki, located in the foothills of the Altai steppe, on the banks of the Katun River. Now they speak of the native village of the writer Srostka as an open-air museum of Shukshin.

The heroes of Shukshin are from that “Shukshin life” that the writer himself lived. After graduating in 1943 from seven classes of a rural school in his native village, Shukshin entered the Biysk Automobile College and studied there for about a year. Before that, he unsuccessfully wanted to become an accountant under the guidance of a godfather. He never made it as a car mechanic. In 1946-1948. he was a laborer, a painter's apprentice, a loader (a foundry in Kaluga), worked on the railroad, and was a mechanic at a tractor factory in Vladimir. In 1948-1952. served as a radio operator in the navy, but this period of his life was hardly reflected in the literature, in 1953-1954, at first without a secondary education, he worked in Srostki as the director of an evening school for rural and working youth and prepared for exams for ten years as an external student, in the fall of 1953 He passed all the exams, he was accepted into the party, elected secretary of the district committee of the Komsomol. In 1954, at the age of twenty-five, when many had already received higher education, he became a first-year student at VGIK, where he studied with A. Tarkovsky in the workshop of M. Romm. He spent his summer holidays at home, in Srostki, worked on a collective farm, traveled around Altai, fished, met people. Like M. Sholokhov on the Don, so V. Shukshin on the Altai found his heroes.

However, not only the hero is important, but also the angle of his image. In a simple, ordinary hero “in tarpaulin boots”, about which many have written, Shukshin is interested in something that everyone passed by - the soul. “I’m more interested in the“ history of the soul ”, and for the sake of revealing it, I consciously and much omit from the external life of the person whose soul excites me,” Shukshin said. But not every “soul” is close to the writer. “...The so-called simple, average, normal, positive person does not suit me. Nauseous. Boring ... - wrote Shukshin. - It is most interesting for me to explore the character of a non-dogmatic person, a person not planted in the science of behavior. Such a person is impulsive, gives in to impulses, and therefore, is extremely natural. But he always has a reasonable soul.”

A non-dogmatic person in everyday life often looks like a strange person, not of this world. Shukshin wrote quite a lot of stories about these people (“Master”, “I choose a village for residence”, “Microscope”, “Strokes to a portrait”, “Alyosha Beskonvoyny”, etc.); moreover, it was about these people that his film “Strange People” (1969), which included his short stories: “Freak” (in the script - “Brother”), “Milpardon, madam” (in the movie - “Fatal Shot”), "Thoughts". Critics took the definition of this hero from the prose of Shukshin himself - a freak.

V. Shukshin's story "Crank" (1967) - about thirty-nine-year-old rural mechanic Vasily Egorovich Knyazev. Starting from the title, the author immediately begins the story about the hero himself: “The wife called him - Freak. Sometimes kindly. The weirdo had one feature: something constantly happened to him. ”

Shukshin, as a rule, avoids long introductions and commissionings. In this case, Shukshin follows Chekhov's advice. Further, like Chekhov, he seeks not to describe the state of mind of the hero, but to make it clear from his actions. Shukshin is a supporter of an objective manner of writing.

The thesis stated in the first lines of the story that something constantly happened to Chudik is realized in the text in two everyday situations: in a city store and in the Urals with his brother, where he nevertheless arrived. Seeing someone drop a fifty-ruble note in a store, Knyazev did not rush to check his pockets, which most people would have done, but feverishly, so that no one was ahead, he was thinking how to tell the people in line about this piece of paper in a smarter way: “- Live well, citizens ! he said loudly and cheerfully. “We, for example, do not throw such pieces of paper!” Later, he was convinced that it was his money, but he was ashamed to go to the store to pick it up. I had to return home (and he went to his brother, whom he had not seen for 12 years) - to withdraw money from the book and set off again.

Biographers claim that a similar incident happened to Shukshin himself in the spring of 1967 in Biysk, when he went to Srostki on a business trip to Pravda to write an article about youth. The question arises: are there any “signs” of such a hero in V. Shukshin himself?

Another episode where Chudik realizes himself is the scene of his stay in the family of Dmitry's brother. Unexpected for him is the hostility of the daughter-in-law, who, according to the brother, grovels before responsible people and despises the village. The weirdo wanted peace with his daughter-in-law and, in order to please her, paints a baby carriage, for which he is expelled from home. “He was in pain again. When he was hated, he was very hurt. And scary. It seemed: well, now everything, why live?

The weirdo is going home, and only after getting off the bus and running across the warm wet ground (“it was raining brightly steamy” - a small landscape, like Chekhov’s, by the way!), did he find peace of mind.

The two situations described in this story are typically Shukshin's: a person is unbalanced by something or someone, or is struck or offended by something, and he wants to somehow resolve this pain, returning to the normal logic of life.

The impressionable, vulnerable, feeling the beauty of the world and at the same time awkward Chudik is compared in the story with the petty-bourgeois world of the daughter-in-law, the barmaid of the administration, in the past a village woman who seeks to erase everything village in her memory, to transform into a real townswoman. But this is not the contrast between city and country, which critics found in the stories of the writer of the 60s. (“Ignakha has arrived”, “Snake venom”, “Two letters”, “Nylon Christmas tree”, etc.). Objectively speaking, this opposition as such did not exist in his stories at all. Shukshin explored the serious problem of a marginal (intermediate) person who left the village and did not fully acclimatize in the city (“I choose the village for residence”) or took root at the cost of losing something important in himself, as in the case of Chudik’s daughter-in-law and other heroes.

This problem was deeply personal for the writer himself: “So it happened to me by the age of forty that I was neither urban to the end, nor already rural. Terribly uncomfortable position. It's not even between two chairs, but rather like this: one foot on the shore, the other in the boat. And it’s impossible not to swim, and it’s kind of scary to swim ... But this position of mine has its “pluses” ... From comparisons, from all kinds of “from there - here” and “from there - there”, thoughts not only about the “village ”and“ the city ”- about Russia”.

In an awkward, strange person, according to Shukshin, the truth of his time is most fully expressed.

The disharmoniousness of the hero of the story “Mile pardon, madam” (1967) is already stated in the paradoxical combination of his name and surname - Bronislav Pupkov.

To such a name, you need a suitable surname. And I'm Bronislav Pupkov. As roll call in the army, so - laughter. And over there - Vanka Pupkov - at least something.

This story has a brief portrait of the hero and a brief author's description of his fate, but 9/10 of the text is devoted to dialogue.

A hunter, smart and lucky, a rare shooter, Bronka Pupkov, out of stupidity, lost two fingers while hunting. He would have been a sniper in the war, but he had to serve as an orderly throughout the war. He could not realize his gift in the war, so absurdly lost in peacetime. And his soul yearned. Working as a gamekeeper after the war, as a rule, on the last day, when they celebrated the dump, he tells the city hunters whom he accompanied and to whom he showed the best places in the district, his dramatic story of an imaginary assassination attempt on Hitler and at the same time weeps. “...I shot... I missed...”

This is how the unfulfilled dream of a hunter to use his talent in war is bizarrely deformed. He hated the Nazis, but this hatred could not manifest itself in a military feat - and his soul yearns. Here is how the writer himself comments on the film novel “The Fatal Shot” from the film “Strange People”, based on the story “Mil Pardon, Madam”: “I wanted to say in this film that the human soul rushes about and yearns, if it never rejoiced, she cried out in delight, pushing her to a feat, if she never lived a full life, did not love, did not burn.

The critic V. Korobov, a researcher of V. Shukshin’s work, concretizes the words of the writer, explaining the meaning of the story invented by Bronka Pupkov about the duel with Hitler: “This strange fictional story is the hero’s public repentance, heart anguish splashed out, maet, confession, execution of himself. Only in this way does he receive some short-lived spiritual relief ... War, the truth of war, a national tragedy - cries out in Bronka Pupkovo.

As rightly noted by S.M. Kozlov, in the stories of V. Shukshin about strange people, “essentially one plot situation: the hero with maniacal methodicalness and passion is looking for a “confessor” for confession, repentance, “for a conversation” (“Raskas”, “Crank”, “Mil pardon, madam ”, “Cut off”, “Mitka Ermakov”, “Strait”, “I believe!”, “Conversations under a clear moon”, “I choose a village for residence”, “Strokes to a portrait”)”.

Gleb Kapustin from the story “Cut off” is also a strange person who is almost impossible to put on a par with Chudik and Bronka Pupkov, because his strangeness is at a different pole of life. That is why, when many researchers are trying to prove that Shukshin is developing different versions of one character, that in his artistic world there is not a variety of types, but a variety of variants of one character, the root of which is eccentricity, “knocking out” (according to Anninsky), “offended soul” , is not entirely correct.

Everyone is offended, and more than once, in their life, and it is risky to build a solid typology on this basis. These “freaks” are too different - a strong man foreman Shurygin (“Strong man”), an old woman Malysheva (“Shameless”), Semka Lynx (“Master”), Gleb Kapustin from the story “Cut off”.

“Here, I think, the development of the topic of such ... social demagoguery ... A person, when dividing social wealth, decided that he was bypassed, and now he began to take revenge, let's say, on scientists. This is revenge in its purest form, not at all embellished ... But in general, evil revenge for the fact that at the feast he was, so to speak, bypassed by a complete spell ... Maybe we are a little to blame for turning to him too much as a master, master of the situation, master of the country, a worker, we fed him a little to the size, so to speak, of greed already. He has already become such - he needs everything. And in order to give it himself - for some reason he forgot about it. I think that here is a villager, also the current one, and like that.”

Ho in the text of the story, the writer did not condemn Gleb Kapustin completely, trying to understand him, and the creative thought of researchers in the 80-90s went in this direction.

Undoubtedly, Gleb Kapustin is a new character of the new village life, discovered by the writer. The character is quite complex, not exhausted by the concept of “social demagogy”. Not only verbal abracadabra, not distinguishing the meaning of the words "philology" and "philosophy", is carried by Gleb Kapustin. He also has serious, even author's, thoughts (Shukshin sometimes resorts to this technique - he trusts his thoughts to different heroes):

“... We are here, too, a little ... “mikitim”. And we also read newspapers, and, it happens, we read books. And we even watch TV. And, you can imagine, we are not overjoyed ... you can write the word “people” hundreds of times in all articles, but knowledge will not increase from this. So when you are already leaving for this very people, then be a little more collected. Get ready, right? And it's easy to be fooled."

In these words, there is a hidden resentment that the urban allow themselves arrogant behavior towards the village, although the heroes of the story, Konstantin Ivanovich Zhuravlev and his wife, candidates of science, whom Gleb Kapustin “cut off”, are modest people and did not show any arrogance. Ho Gleb does not see this anymore, for him all the townspeople look the same - enemies. It is possible that earlier in the village of Novaya, V. Korobov suggests, there were such visitors.

The motive of resentment of a villager who felt disrespected by a city dweller is also heard in the earlier story “Critiques” (1964), but even there the city and the village are not opposed, but there is a conversation about the human right to self-expression; moreover, this right is defended, as they say, with a fight.

Shukshin himself experienced the feeling of resentment of fellow countrymen more than once. The writer’s fellow villagers, dissatisfied with the fact that he distorted their lives and “disgraced” the whole country in the movie “Such a guy lives”, that Alyosha Beskonvoyny from the story of the same name was not Alyosha at all, but Shurka Gilev, at meetings they strove to ask him: “Well, tell me , Vasily, and how did you turn from a bast shoe into a boot?”

E.V. Chernosvitov believes that the small homeland takes revenge on those who abandoned it: “Almost a blood feud. The clan avenges itself... In this context, Gleb Kapustin is a clan prosecutor... he is both a judge, an executioner, and a victim... Well, when the modern village is the mise-en-scene of his action, he takes on the appearance of the same weirdo, idiot, but not quite...”

In its structure, “Cut off” is a typical Shukshin story. It begins without any introductions, with the main event: “The son Konstantin Ivanovich came to the old woman Agafya Zhuravleva...” dead end of visiting noble guests: one page of description, author's text, plus five pages of dialogue. The heroes reveal themselves in a conversation - an "intellectual" duel, a scene of an argument. There are practically two actors, Gleb and Konstantin Ivanovich, the rest are extras or almost extras. The end of the story is traditionally open: the final verdict was not passed on the hero, and an ambiguous assessment was put into the mouths of the peasants and into the meager author's commentary: the surprise and admiration of the peasants ("- What's there. Cunning, dog!"), But without love ("Gleb is cruel, but no one has ever loved cruelty anywhere else”), with pity and sympathy for the candidate.

There is no answer to the question of who is right and who is to blame, it must be given by the reader himself - such is the logic of an open ending.

Shukshin's stories are dramatic, most of them are dominated by dialogue, stage episodes over descriptive, non-stage episodes, this is an indisputable result of the impact on the prose of the stage director Shukshin's thinking, which even affects the plot. The plot in Shukshin's stories is chronologically successive stage episodes. The writer himself was afraid of finished plots, which, in his opinion, always carry some kind of conclusion, morality, and he did not tolerate moralizing: “The plot is not good and dangerous because it limits the breadth of life comprehension... boldly, there is no predetermined, ready-made predestination in it.

“For me, the most important thing is to show the human character,” Shukshin said more than once. The image of a freak, a strange person, is given a significant place in Shukshin's stories, moreover, he stands at the center of his prose, but the world of the writer's heroes is not limited to this character. Shukshin's typology of characters is diverse: just look at his “collection” of negative characters to be convinced of this (“A strong man”, “Eternally dissatisfied Yakovlev”, “Fingerless”). The writer's hero is most often revealed in speech, in dialogue, and the meaning of V. Shukshin's linguistic mastery lies in the ability to find the most accurate, the only word for the hero's self-expression. “The ear is amazingly sensitive” - this is how A.T. Tvardovsky.

But Shukshin's heroes have a feature that makes them part of the writer's individual artistic world - the absence of spiritual inertia, indifference. These simple people are concerned not with material goods, but with their inner world, they think, seek, try to understand the meaning of their existence, their feelings, to defend themselves. According to V. Rasputin, before Shukshin, “no one else in our literature claimed the right to himself with such impatience, no one managed to force himself to be listened to on such an internal matter. In the matter of the toiling soul... The soul is, presumably, the essence of the personality, the life of a permanent, historical person continuing in it, not broken by temporary hardships.

Menschen and Leidenschaften(p. 5).- Written in 1830. The date is indicated by Lermontov himself on the title page of the manuscript: “Menschen und Leidenschaften (ein Trauerspiel) 1830. M. Lermontov., .,

The play makes extensive use of autobiographical material. The protagonist Yuri Volin is a character close to Lermontov's; in many cases, Volin's monologues correlate with Lermontov's lyrics of 1830.

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The prehistory of the events that make up the plot “Menschen und Leidenschaften *” also has a real basis: the family feud between the old woman Gromova and N. M. Volin, about which the maid Daria tells, repeats the actual relationship that developed between Lermontov’s grandmother and his father. Some minor characters of the play have prototypes: the maid Daria is the housekeeper in Tarkhany Daria Grigorievna Sokolova; Ivan - Andrei Ivanovich Sokolov, husband of Darya Grigoryevna, footman, Lermontov's "uncle".

The play reproduces pictures of the life of the landowner's estate, well known to Lermontov. At the same time, the poet's attention is focused not only on family conflicts, but also on social relations; in his field of vision are the ugly manifestations of serfdom; cruelty, servility, hypocrisy, lies. Opposition to the vicious society of a pure soul, a high romantic hero, powerless against the evil reigning in the world, constitutes the main conflict of the drama.

P. 5. Dedicated.- After this word in the manuscript there is a colon, a dash and the name of the addressee, which remained unknown, thickly crossed out.

P. 7. ... finally he was appeased, and he, leaving his son, and went to his fatherland. - Just like the hero of the drama N. M. Volin, Y. P. Lermontov, having received after the death of his wife from E. A. Arsenyeva, Lermontov's grandmother, a bill for 25 thousand rubles, left her son and left for his estate.

Although he will get into important people. - Get drunk, strive for something.

P. 9. ... If life deceives you ... - A poem by A. S. Pushkin (published in Moscow Telegraph, 1825, No. 17),

Mortal, you imitate me ... And rest over a cup. - The source of this quatrain was Pushkin's poem "Anacreon's Coffin" (1815), its later edition, published in Pushkin's collection of poems in 1826:

Mortal, your age is a ghost! Catch fast happiness! ...Enjoy, enjoy! Pour more cups! Get tired of passionate passion, And rest for a cup!

P. 10. ... became so gloomy - like Dr. Faust! - Dr. Faust is the hero of the tragedy of the same name (1808-1832) by I. W. Goethe, whose life path passes in a difficult search for the meaning of life.

P. 12. Believe me, that country is not more beautiful and sweeter ... - An inaccurate quote from I. A. Krylov's fable "Two Doves" (1808):

But, believe me, you will not find that land more beautiful, Where your dear, or where your friend lives.

S. 14. ... I was at the Trinity Lavra ... - Trinity - Ssrgnsia Lavra - a monastery, FOUNDED IN the middle of XIV and. (now the city of Zagorsk, 71 km from Moscow). Lermontov visited the Lavra in mid-August 1830.

P. 21. All sausages, shmerts! ..- Disparaging nicknames for the Germans.

P. 22. Was Kant really a fool?.. - Immanuel Kant (1724-1804) - German philosopher; laid the foundation for German classical philosophy.

The one who knows that he knows nothing...- Here N. M. Volin cites a judgment attributed to the ancient Greek philosopher Socrates (he. 470-399 BC), who believed that it was impossible to have positive knowledge.

P. 32. If I die, then brother Pavel Ivanovich will be the guardian of the estate ... - It is known that Lermontov's grandmother E. A. Arsenyeva ordered, in the event of her death, to transfer custody of the estate to her younger brother Afanasy Alekseevich Stolypin (1788-1866) until the age of her grandson ); if he died, then other brothers were to take custody. Arseiev's grandson, M. Yu. Lermontov, became the owner of all her movable and immovable estates only on the condition that he would live separately from his father,

P. 40, ..if ever Cupid looked into your heart...- Cupid is the god of love in Roman mythology, p. fleeing from Sodom, Lot's wife, despite the prohibition of the angels, looked back at the abandoned city and was turned into a pillar of salt (Genesis, 19, 26).

P. 47. Away, away... siren... away from me... - Sirens in Greek mythology are fantastic creatures, half-women, half-birds, with their magical singing they carried sailors and destroyed them. In a figurative sense - seductive beauties, bewitching with their voice.

pp. 57-59. Scenes 8 and 9 were introduced, with slight modifications, into the play "The Strange Man" (scene XI).

P. 61. ... you and I were not created for people. - These words of Yuri almost completely coincide with the final line of the poem "Epitaph" (1830): "He was not created for people."

A strange man(p. 63).- The drama was written in 1831. The original version was completed on July 17, as evidenced by Lermontov's note on the cover of the notebook: “A strange person. Romantic drama. 1831 finished on July 17. Moscow". In August - October, two more scenes and Arbenin's monologue were introduced into the play; the need for these additions became apparent after the end of the play and was recorded in the following entry: “Method: to add to the “Strange Man” another scene in which they read the story of his childhood, which Belinsky accidentally caught.” Lermontov rewrote the text again; on the cover of the white manuscript he made the inscription: “A strange man. Romantic drama. Moscow, 1831".

In the play "The Strange Man" the dramaturgic conflict is built on the clash of the hero, who is independent in thoughts and actions, with society. Conceptually and thematically, it is in many ways related to Lermontov's tragedy Menschen und Leidenschaften* written a year earlier; a number of remarks, monologues, and even phenomena in The Strange Man are borrowed from Menschen und Leidenschaften.

P. 63. I decided to dramatize the true incident ... - The drama "Strange Man" reflected the history of Lermontov's relationship with Natalia Fedorovna Ivanova (1813-1875), the addressee of the lyrical cycle of 1830-1832. (See about her in the note to the poem “N. F. I ... howl” (“I loved from the beginning of my life ...”; real ed. vol. 1, p. 662). First meetings with Ivanova ", her friendly attention to the poet, benevolence and friendly participation allowed Lermontov to hope for her reciprocal feeling; meanwhile, these hopes were deceived. The motive of betrayal and treachery becomes the main one in the works dedicated to Ivanova. The heroine of the "Strange Man" is given the name and patronymic of N. F Ivanova, the features of her external and internal appearance.To a large extent, the image of Vladimir Arbenin is also autobiographical; Lermontov's poems dedicated to N.F. Ivanova are deliberately introduced into the text of "The Strange Man" - in the drama they play the role of Arbenin's poetic appeal to Zagorskina. the line associated with Arbenin's parents is quite far from the real facts of Lermontov's biography; only the very fact of family discord and the experiences of the hero caused by it are common.

The feeling of the authenticity of the events depicted is emphasized by the dramatic structure of the work, which consists of dated scenes that give the play the character of a diary.

P. 64. The Lady of his love was wed with one ... - J: Byron's poem "The Dream" ("Dream", 1816), an excerpt from which Lermontov took as an epigraph to "The Strange Man", is organically included in the artistic fabric of the play and represents, as it were, its lyrical subtext. In his workbook containing scenes from The Strange Man, there is a "memory note" recording Lermontov's intention to make a prose translation of The Dream for his cousin Alexandra Mikhailovna Vereshchagina (this translation was either not made or has not been preserved). "Sleep" is inspired by Lermontov's poem "Vision", included in the text

“Strange Man” as a “play” by Arbenin, about which one of the heroes of the drama, Zarutskaya, says: “Arbenin describes what happened to him, Simple, but there is something special in the spirit of this play. It is, in a way, an imitation of Byron's The Dream."

On the morning of August 26. - The dates indicated in front of each scene were entered in the white manuscript along with the division of the text into "scenes. Perhaps they mark Lermontov's memorable days dating back to the time of his passion for N. F. Ivanova.

; S. 67.; Belinsky enters ... - Belinsky's surname probably comes from the name of the village of Belyn, Npzhpelomovsky district, Penza province. Apparently, the surname of the critic V. G. Belinsky, who, nevertheless, has nothing to do with the above-mentioned protagonist of Lermontov's drama, is apparently of the same origin. It is possible that Lermontov's classmate at Moscow University, Dmitry Pavlovich Tilicheev (1812-after 1860), was introduced under the name of Belinsky in The Strange Man. ""I; P. 69. Mohammed said that he lowered his head into the water and took it out, and at that time he grew old for fourteen years. - This episode is not mentioned either in the Koran or in the traditions about the founder of Islam. Lermontov used the legend of Mohammed, which in the XVIII century. was recorded in the English satirical-legal journal "The Spectator *" ("Spectator"), 1711, No. 94, June 18.

P. 73. ... gentlemen, gentlemen, would you like to play fly ... - Myshka is a card game.

P. 75. I was not created for the people of the present age and our country...- Cf. in the poem "Demon":

The Creator of the best ether Weaved their living strings, They were not created for the world, And the world was not created for them!

Soon grief will happen to me, not or mind, but from stupidity! .. - Lermontov could know the comedy of A. S. Griboyedov “Woe from Wit” not only from productions (in a version distorted by censorship) on St. Petersburg and Moscow stages (January - November 1831); he probably also knew the numerous lists of "Woe from Wit" that went around Moscow.

Like the last time in the Assembly, one gentleman dropped a disguised lady ... - Costumed balls were held in the hall of the Moscow Noble Assembly (the building was built by the architect M. F. Kazakov in the 1780s. Now - the House of the Union).

P. 76. And it happened, I remember (he was still three years old), it happened that the lady would put him on her knees and start playing the pianos. something pathetic. Look: and the child’s tears are rolling down his cheeks1., ^- This passage reproduces the real fact of Lermontov’s biography, recorded in one of his autobiographical notes of 1830: “When I was three years old, there was a song from which I wept: I can’t remember her now, but I’m sure that if I had heard her, she would have produced the same effect. It was sung to me by my dead mother.

G.-80-*-86. Scene IV.- Scene IV depicts the student circle to which Lermontov belonged during his stay at Moscow University (from September 1830 to June 1832). At the same time as Lermontov, the following students studied at the university: G. Belinsky, A. I. Herzen, I. A. Goncharov, N. P. Ogarev, N. V. Stankevich. No information has been preserved about Lermontov's connections with the circle of Herzen and Ogarev, which arose in 1831. The society of close friends of the poet was A. D. Zakrevsky, A. A. Lopukhin, V. A. and N. S. Sheishins ~ they were sometimes called the “Lermontov Five”. There is reason to believe that the character of the "Strange Man", named Zarutsky, is to some extent written off from A. D. Zakrevsky, who really liked Lermontov's poems (it is Zarutskaya who read Arbenin's poems in the play) and who was known for his passion for Russian history; in the article "A Look at Russian History", published in the 20th issue of "Teleskop" for 1833, Zakrevsky specifically dwelled on the problem of Russia's national identity, emphasizing the special significance of the Patriotic War of 1812. "1812, - he wrote, - is the beginning of the original, national life of Russia. Before the publication of the article, these ideas could have been expressed by him at meetings of a friendly circle (cf. Zarutsky's final monologue).

P. 80. Schiller's plucked robbers - The Moscow production of the drama by F. Schiller in the remake of I. II is mentioned. Sandunov, which was a variant adapted to the requirements of censorship and theatrical administration, engaged in "beneficial ops". Lermontov's negative attitude towards the tradition accepted in the theater of staging plays of the classical repertoire in a distorting "arrangement" is known from his letter to his aunt Maria Akimovna Shan Giray (February 1830 or 1831); it expresses regret that the acquaintance of the theatrical public with the works of the great Shakespeare occurs through the translation of "a distorted play by Ducis, which ... changed the course of the tragedy and produced many characteristic scenes."

pp. 80-81. Mochalov was terribly lazy; it is a pity that this fine actor is not always in the spirit. It might have happened that I would have seen him yesterday for the first and last time: in this way he loses his reputation. - These words of Chelyaev reflected the general enthusiasm of Moscow student youth for the inspired romantic game II. C, M0CH1 lova (“beautiful act])”); here, the “roughness” of the game, characteristic of Mochalov, is noted, a well-known feature of his acting style, about which V. G. BvLINSKY regrets the scales: he was always dependent on the disposition of his spirit: if he finds inspiration in him, he is amazing, incomparable; there is no animation - and he falls not so much into mediocrity - no matter where else it goes - no, into vulgarity and triviality ... It was in such performances that were unsuccessful for him that people saw him, who had a concept of him as a bad actor . These are especially visitors to Moscow, and especially St. Petersburg residents.

P. 81. My soul, I remember, from childhood ... - Lermontov gives Arbenin his poem “June 11, 1831” (1, 2, 5 stanzas; separate lines of the poem introduced into the text of the drama are somewhat changed) .

P. 82. Why a magical smile ... - As an independent poem - it is not known.

P. 83. I saw a young man: he was on horseback ... - The beginning of Lermontov's poem "Vision" (see about this vol. 1, p. 668). The text of the drama is given with separate changes.

P. 88. ... I saw her in the theater: tears shone in her eyes when they played Schiller's Intrigue and Love! .. Would she have listened indifferently to the story of my suffering? - For Lermontov and the youth of his day, Schiller's dramaturgy marked a passionate protest against all injustice, social inequality, spiritual narrow-mindedness, hypocrisy and hypocrisy. The game of Mochalov, who played the role of Ferdinand in Schiller's drama "Deceit and Love", made a huge impression on romantically inclined young people. Arbenin regards the reaction of Natasha Zagorskina, shocked by the performance, as a sign of the nobility and spirituality of her nature.

P. 89. ...there is no more patience. We endured it for a long time, but the end came ... even into the water! Penza province), where the poet spent his childhood.

P. 92. It will be boring today at the French Theater: they play badly, cramped, stuffy. And there is nothing to do! the whole beau monde! - It reflected the impressions of the acting in 1829-1830. in Moscow, a private French theater created on the initiative of S. S. Apraksin, foreman of the Noble Assembly, D. V. Golitsyn, Moscow Governor-General, Minister of the Court P. M. Volkonsky and others. Despite the fact that the troupe was weak, and the premises, rented for the theater, were inconvenient for both the audience and the actors, visiting French performances was part of the mandatory entertainment program of the "big world".

P. 112. A nice musician will play the harp... haven't you heard yet? She is from Paris ... - "The Glorious Musician" "- S. Bertrand, French harpist. In Invar March 1831, her tour took place in Moscow.

P. 114. When only memories ... - Separate lines are transferred to this poem from "Romance to And ...", originally introduced into the drama. As a result of further processing of the text, the poem "Justification" (1841) arose.

pp. 117-118. In what novel ... from what heroine did you adopt such wise admonitions ... you would like to find Werther in me! .. A charming thought ... - In J. W. spiritually close to the central character of Lermontov's play, he experiences a love drama similar to that played out between Zagorskina, Arbenin and his happy rival. Werther finds it possible to maintain good relations with his beloved and her husband. Arbenin indignantly rejects such a system of relations.

P. 123. Of course, you are not a student of Lavater? - Lafather Johann Kaspar (1741-1801) - Swiss pastor and writer. In his main work "Physiognomische Fragmente zur Beforderung der Menschenkenntniss und Menschenliebe" ("Physiognomic fragments that contribute to the knowledge of people and love for people", 1775-1778) he developed the theory of the correspondence of the spiritual world of a person to his appearance.

Updated: 2011-04-23

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