Construction began on a new hydroelectric power station on the Angara, and many small villages standing in its path were supposed to disappear from the face of the earth. This is the government's decision. Valentin Rasputin wrote his work about how the old-timers living in these villages feel about this. How a person behaves in such situations, what moral values prevail in him, will be shown by an analysis of the work. This material can be used in literature lessons in 11th grade.

Brief Analysis

Year of writing– 1976

History of creation– Valentin Rasputin, as a writer writing about the village, himself born and raised in a Siberian village, felt great concern for the future of disappearing settlements, for the preservation of ancient traditions. When the construction of a hydroelectric power station began on the Angara, and small villages began to be destroyed, the writer could not stay away, and wrote “Farewell to Matera.”

Subject– The extinction of a village, the connection of generations, conscience, family relationships.

Composition– The story is built in the form of dialogues and memories of residents. There is an acquaintance with the main character Daria and the village residents. The entire village lives in anticipation of the move, they begin to burn houses and transport residents.

Genre- A story.

Direction– Realism.

History of creation

In “Farewell to Matera,” the analysis of the work begins with the history of creation.

In the 1960s, construction began on the Bratsk hydroelectric power station. Residents of small villages had to be resettled to other places, and the villages themselves were flooded.

The writer based the plot on a real story when, as a result of construction, residents left their homes, which turned out to be a very difficult ordeal for them. The year the story was written is 1976, a time of decline and destruction of Soviet villages, unpromising for the state.

Small settlements that were recognized by the state as unpromising were simply destroyed, the state thought more globally, no one thought about the broken destinies of people, before whose eyes the connection between generations was destroyed, the traditions of peasant life were destroyed.

Prose writers writing about villages sounded the alarm, one of these writers was Valentin Rasputin.

Subject

Theme of the story Rasputin's "Farewell to Matera" is the degeneration of villages, which includes moral issues. The writer describes how people behave in a difficult situation: who remains human and who turns into “Petrukha”.

Matera - a small village - should be flooded. The residents know about this, but while everything is still going on as before, the heroes of the story hope for something: suddenly, the situation will change, and everything will go on as before, and they will remain living on their land.

The turning point in the minds of the old-timers begins when they learn that strangers are destroying the village cemetery where relatives and friends are buried. Now it becomes clear to the natives that nothing can be changed or corrected.

There comes a turning point in the morality of every person. Young people are glad to leave the remote village; they want a new, city life. There is nothing sacred in them; young people are happy to burn down their homes in order to quickly move to new apartments.

Old men and women have a different attitude towards such a turning point in their lives. For them, everything here is theirs, dear. The bodies of people close to them rest in the cemetery. Old people feel like traitors to the deceased. They feel guilty for failing to preserve the final resting place of their parents. The old people consider the desecration of the village churchyard to be blasphemy; they rush to its defense.

High idea of morality, touched upon by the author of the story, determines the spiritual purity of these people. An example of this: in order to get money, Petrukha Zotov burns down her house, abandoning her mother to the neighbors, and Daria, the main character, cleans her house before leaving, as if before a big holiday. She whitewashes the ceiling and walls, cleans and washes it. By this she shows her respect and respect for the house, which has been her protection all her life, in which she lived her entire long life.

It’s hard for old people to say goodbye to their past; their roots are rooted in this land. Therefore, old Egor, who moved to the city, lost peace and sleep, lost his connection with the past, and could not stand it, dying in the first weeks of the move.

Young people strive for the future, dream of a new, happy life, and easily part with their native places, where nothing holds them.

Composition

From the first lines of the story, an acquaintance with Matera begins, standing on the island of the same name. There is an acquaintance with the main character, a real keeper of old traditions.

Happening plot of the story. Everyone lives in anticipation of saying goodbye to their native village. The terrible climax is the destruction of the cemetery. It is here that a person’s moral values are clarified. Daria believes that only people who have no conscience are capable of such blasphemous actions. She condemns young people who are ready to easily leave their homes. She sacredly preserves and honors the memory of her ancestors. In her speech, the writer puts the words that the one who has lost his memory, betrayed his past, has no life.

Sad and denouement of the story, where Pavel, Daria’s son, realizes the wrongness of such a decision. He begins to understand that a person uprooted from his native land against his will, in another place, no matter how good he may be, will only be a lodger.

Main characters

Genre

The genre of the work “Farewell to Matera” can be classified as “village prose”. This story can also be called a parable, filled with philosophical content of a realistic direction. Village prose included a description of the life and everyday life of ordinary villagers. It described people’s pressing problems and their simple requests. At the same time, writers raised huge problems of preserving old traditions, relating to the memory of the past, the connection of generations.

Work test

Rating Analysis

Average rating: 4.1. Total ratings received: 233.

Valentin Rasputin. Russian genius Chernov Viktor

"Farewell to Matera"

In the fall of 1976, a new story by Valentin Rasputin, “Farewell to Matera,” appeared in the magazine “Our Contemporary” (Nos. 10, 11). The author himself spoke about how the idea of the work arose and how it was written: “Among Russian names - the most common, common, indigenous - the name “Materay” exists everywhere, throughout all the expanses of Russia. We have it in Siberia, and on the Angara there is also such a name. I took it with this meaning, the name must mean something, the surname must mean something, especially since it is the name of an old village, an old land...

All this happened before my eyes. It’s truly a tragic sight when you walk along the Angara in the evening, along the Ilim (this is the river that flows into the Angara), and see how these strong villages are burning in the dark. It was a sight that will remain in the memory forever.

“Farewell to Matera” - this work was the main one for me, neither short stories nor other stories. For this story, maybe I was needed...

I'm not calling back. I call for the preservation of those values and traditions, everything that people lived by. My village, for example, when it was moved, became a timber industry enterprise. There was nothing else to do there except cut down the forest. The forest was cut and cut well. The village was large, not poor. After all, an activity affects a person. They made good money, and everything seemed fine, but the drinking was terrible, something that doesn’t even exist now. These were the 70s - 80s. Just cutting down forests and making money from it is still not God’s business. It struck me then and made me write.

Apparently, in Russia we don’t need to live well in order to remain human. You don't need wealth, you don't need to be rich. There is such a word - prosperity. There is some measure by which we remain in our moral integrity.”

In these words of the writer one can hear bitterness and disappointment, pain for his people, for his native land. He, like his heroine Daria, defends not the old hut, but the Motherland, like hers, Rasputin’s heart hurts: “Like in the fire it, Christ’s, burns and burns, aches and aches.” As the critic Yu. Seleznev accurately noted: “The name of the island and the village - Matera - is not accidental for Rasputin. Matera, of course, is ideologically and figuratively connected with such generic concepts as mother (mother - Earth, mother - Motherland), continent - land surrounded on all sides by the ocean (the island of Matera is like a “small continent”).” For the author, as for Daria, Matera is the embodiment of the Motherland.

If in “The Last Term” or in “Live and Remember” it was still possible to talk about “the tragedy of a single peasant family,” then in “Farewell to Matera” the author did not leave such an opportunity for critics. The peasant continent, the whole peasant world, is dying, and this is what critics have to discuss. However, they tried to smooth over the severity of the problem and accuse the author of “romanticizing and idealizing the patriarchal world,” in which some critics saw only conservative and negative qualities. A. Salynsky assessed the problems of the story as “trivial” (Questions of Literature. 1977. No. 2), V. Oskotsky noted Rasputin’s desire to “squeeze out” tragedy from a collision that is not tragic at any cost” (Questions of Literature. 1977. No. 3) , E. Starikova noted that Rasputin “more harshly and less humanely than before, divided the world of his story into “us and strangers”” (Literature and modernity. M., 1978. Coll. 16. P. 230). The severity of the issues raised by the writer gave rise to a discussion on the pages of Literaturnaya Gazeta entitled “Village prose. Highways and country roads" (1979, September-December).

A. I. Solzhenitsyn wrote about this: “This is, first of all, a change of scale: not a private human episode, but a major national disaster - not just one flooded island, inhabited for centuries, but a grandiose symbol of the destruction of people's life. And even more enormous: some unknown turn, a shock - a parting for all of us. Rasputin is one of those seers to whom layers of existence are revealed that are not accessible to everyone and are not called by him in direct words.

From the first page of the story we find the village already doomed to destruction - and through the story this mood grows, sounds like a requiem - both in the voices of the people, and in the voices of nature itself and human memory, as it resists its demise. The farewell to the island, the drawn-out dying, the cutting of the heart grows piercingly.

The entire fabric of the story is a wide stream of folk poetic perception. (During its length, for example, the different patterns of rain are amazingly described.) There are so many feelings about our native land, its eternity. The fullness of nature - and the liveliest dialogue, sound, speech, precise words. And – the author’s urgent motive:

Previously, conscience was greatly differentiated. If anyone struggled without it, it was immediately noticeable. And now - the cholera will be sorted out, everything is mixed up in one heap - this is this, this is different. Nowadays we don’t live on our own. People have forgotten about their place under God.

The burners, “the raiders from the state farm,” came and burned one after another, which was emptying. The giant king-tree Foliage, the mark of the entire island - only it turned out to be impenetrable and unburnable. They burn it down - “Christ’s little mill, how much bread it has ground for us.” Look, some of the houses have already been burned, and the rest “squeezed into the ground out of fear.” The last flash of the former life is the friendly time of haymaking, the favorite village time. “We are all our own people, we drank water from the same Angara.” And now this hay is to be stacked across the Angara River near multi-storey inanimate buildings for homeless cows doomed to the knife. Farewell to the village, extended over time, some have already moved and come to visit the island, others stay in place until the last. They say goodbye to the graves of their relatives, the arsonists wildly swoop into the cemetery, dragging crosses into a pile and burning them. Old woman Daria, preparing for the inevitable burning of her hut, freshly whitewashes it, washes the floors and throws grass on the floor, as if on Trinity Sunday: “How much has been walked here, how much has been trampled on.” For her to give away the hut is “like putting a dead person in a coffin.” And Daria’s visiting grandson is alienated, careless about the meaning of life, and has long been cut off from the village. Daria to him: “Whose soul is, God is in him, guy.” “And you don’t care if you spent your soul.” “Now we find out: the hut, if left undisturbed, burns on its own for two hours - but for many days it smokes sadly afterwards. And even after the burning of the hut, Daria is unable to leave the island; she huddles with two or three other old women in a disrepair barracks. And so – the departure date has been missed. Daria's son is sent on a boat at night to pick up the old people - and then such a thick fog sets in, the likes of which they have never seen in their lives, and they can no longer find the familiar island on the Angara. This is how the story ends - a formidable symbol of the unreality of our existence: do we exist at all?

An entire generation is dying, generations of guardians of age-old folk foundations, traditions, without which the people cannot exist. The themes of parting with generations of people who lived and worked on the earth, farewell to the mother-ancestor, to the world of the righteous, already heard in “The Last Term”, are transformed in the plot of the story “Farewell to Matera” into a myth about the death of the entire peasant world. On the “surface” of the story’s plot is the story of the flooding of the Siberian village of Matera, located on an island, by the waves of the “man-made sea.” In contrast to the island from “Live and Remember,” the island of Matera (mainland, firmament, land), gradually sinking under the water before the eyes of readers of the story, is a symbol of the promised land, the last refuge of those who live according to their conscience, in harmony with God and nature . The old women living their last days, led by the righteous Daria, refuse to move to the new village (new world) and remain until the hour of death to guard their shrines - a peasant cemetery with crosses and royal foliage, the pagan Tree of Life. Only one of the settlers, Pavel, visits Daria in the vague hope of touching the true meaning of existence. In contrast to Nastena, he sails from the world of the “dead” (mechanical civilization) to the world of the living, but this is a dying world. At the end of the story, only the mythical Master of the Island remains on the island, whose desperate cry, sounding in the dead emptiness, completes the story.

“Farewell to Matera” sums up Rasputin’s philosophical and ideological reflections on the tragic fate of the village under the wheels of the “scientific and technological revolution”, carried out by barbaric, cruel, inhumane methods. The writer’s tragic worldview intensifies, which acquires apocalyptic features, embodied in pictures of fire and flood.

The story reflects the philosophy, poetics, and mysticism of farewell to the traditional way of life, “grandfather’s shrines,” and the moral and spiritual behests of the ancestors, which Rasputin personifies in the image of the majestic and strong-spirited old woman Daria. Rasputin's Matera Island is not just a separate village, but a model of a peasant world, filled with its inhabitants, cattle, animals, living in a cozy and native landscape, in the center of which there is powerful foliage, the borders of which are guarded by a mysterious and mystical Master. Harmony and expediency, knowledge and work, respect for the living and veneration for the dead reign here. But farewell to this life is not at all elegiac and blissful; it is interrupted by scandals, fights, quarrels between the indigenous residents and the “burners”, “destroyers” who came to clear the territory for the future power plant before flooding. Daria’s grandson, Andrei, also turns out to be on their side. The younger generation, which, according to Rasputin, should be better than the outgoing generation, does not fulfill its historical role. Therefore, the writer believes that “since some unspecified time, civilization has taken the wrong course, seduced by mechanical achievements and leaving human improvement on the tenth plane.”

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Definition of concepts (Space, Time, Chronotope, Architectonics)

No work of art exists in a space-time vacuum. Time and space are always present in it in one way or another.

Artistic time is a form of existence of aesthetic reality, a special way of understanding the world.

The main signs of time in a literary work:

1. Greater specificity, immediate reliability.
2. The writer’s desire to bring artistic and real time closer together.
3. Ideas about movement and immobility.
4. Correlation between past, present and future.

A.A. Potebnya, emphasizing that the art of words is dynamic, showed the limitless possibilities of organizing artistic time in the text. He viewed the text as a dialectical unity of two compositional speech forms: description (“depiction of features that simultaneously exist in space”) and narration (“Narration transforms a series of simultaneous features into a series of sequential perceptions, into an image of the movement of gaze and thought from object to object”). . A.A. Potebnya distinguished between real time and artistic time; Having examined the relationship between these categories in works of folklore, he noted the historical variability of artistic time.

Time in a work of art is the duration, sequence and correlation of its events, based on their cause-and-effect, linear or associative relationship.

Time in the text has clearly defined or rather blurred boundaries (events, for example, can cover tens of years, a year, several days, a day, an hour, etc.), which may or, on the contrary, not be designated in the work in relation to the historical time or time established by the author conditionally (see, for example, E. Zamyatin’s novel “We”).

Images of artistic time:

Biographical time (childhood, youth, maturity, old age)

Historical time (characteristics of the change of eras, generations, major events in the life of society)

Cosmic (idea of eternity and universal history)

Calendar (Change of seasons, weekdays and holidays)

Daily (day, night, morning, evening)

Three subjects participate in a literary work - the author-creator, the hero, the reader-recipient, therefore time and text should be thought of in the following mutual connection with each other: the real time of creation (era, date, direct duration of the process), the time of functioning of the work of art of the word as material object among other objects of reality (book, manuscript, inscription carved on a stone, birch bark letter, etc.), the time of its perception (B.V. Tomashevsky - time of narration) by the reader (Yu. M. Lotman - decoding of semiotic codes, text as a “meaning generator”)

Artistic time in the text appears as a dialectical unity of the finite and the infinite. In the endless flow of time, one event or a chain of events is singled out; their beginning and end are usually fixed. The ending of the work is a signal that the time period presented to the reader has ended, but time continues beyond it. Such a property of real-time works as orderliness is also transformed in a literary text. This may be due to the subjective definition of a reference point or measure of time

Artistic time is based on a certain system of linguistic means. This is, first of all, a system of tense forms of the verb, their sequence and opposition, transposition (figurative use) of tense forms, lexical units with temporal semantics, case forms with the meaning of time, chronological marks, syntactic constructions that create a certain time plan (for example, nominative sentences represent in the text there is a plan of the present), names of historical figures, mythological heroes, nominations of historical events.

The analysis of artistic time includes the following main points:

1) determination of the features of artistic time in the work in question:
- -- one-dimensionality or multidimensionality;
- - reversibility or irreversibility;
- -- linearity or violation of time sequence;
2) highlighting the temporal plans (planes) presented in the work in the temporal structure of the text and considering their interaction;
3) determining the relationship between the author's time (narrator's time) and the subjective time of the characters;
4) identifying signals that highlight these forms of time;
5) consideration of the entire system of time indicators in the text, identifying not only their direct, but also figurative meanings;
6) determining the relationship between historical and everyday time, biographical and historical;
7) establishing a connection between artistic time and space.

A literary text is also spatial, that is, the elements of the text have a certain spatial configuration.

In his work, the writer creates a certain space in which the action takes place. This space can be large, covering a number of countries (in a travel novel) or even beyond the boundaries of the earthly planet (in fantasy and romantic novels), but it can also narrow down to the tight confines of a single room. The space created by the author in his work may have peculiar “geographical” properties; be real (as in a chronicle or historical novel) or imaginary (as in a fairy tale).

It may have certain properties, one way or another “organize” the action of the work. The last property of artistic space is especially important for literature and folklore. The fact is that space in verbal art is directly related to artistic time. It's dynamic. It creates an environment for movement, and it itself changes and moves. This movement (space and time are connected in movement) can be easy or difficult, fast or slow, it can be associated with a known resistance of the environment and with cause-and-effect relationships.

The main features of space in a literary work:

1. Does not have immediate sensory authenticity, material density, or clarity.
2. It is perceived by the reader associatively.

Space (concrete/conditional; compressed/volumetric; closed/open; earthly/cosmic; actually visible/imaginary)

The following types of artistic space are distinguished: abstract (universal, world - Shakespeare's plays) and concrete (indicating specific geographical, topographic realities - "Woe from Wit" by A.S. Griboedov); closed (house - the house of the Turbins in the novel “The White Guard” by M. Bulgakov), open (the steppe in N.V. Gogol’s story “Taras Bulba”), border (images of “threshold”, “window”, “door” - in works of oral folk art); natural-geographical (description of natural geographical realities - desert, sea, mountains - the poem "Mtsyri" by M.Yu. Lermontov) and space of civilization (description of a city, village, etc. - St. Petersburg in the novels of F.M. Dostoevsky ); psychological space (closed, limited by the framework of the hero’s inner world - the psychological space of Svidrigailov in the novel “Crime and Punishment” by F.M. Dostoevsky), social space (the hero’s participation in the events of public life - the social space of Pavel Vlasov in the novel by M. Gorky " Mother"); fantastic (dreams of heroes, a magical world created by the author - “Gulliver’s Adventures” by D. Swift).

Artistic space is inextricably linked with artistic time.

The relationship between time and space in a literary text is expressed in the following main aspects:

1) two simultaneous situations are depicted in the work as spatially separated, juxtaposed (see, for example, “Hadji Murat” by L.N. Tolstoy, “The White Guard” by M. Bulgakov);
2) the spatial point of view of the observer (character or narrator) is at the same time his temporal point of view, while the optical point of view can be both static and moving (dynamic): ...So we got out completely, crossed the bridge, climbed to the barrier - and looked into the eyes of a stone, deserted road, vaguely white and running away into an endless distance... (I.A. Bunin. Sukhodol);
3) a temporal shift usually corresponds to a spatial shift (for example, the transition to the present of the narrator in “The Life of Arsenyev” by I.A. Bunin is accompanied by a sharp shift in spatial position: A whole life has passed since then. Russia, Orel, spring... And now, France , South, Mediterranean winter days. We... have been in a foreign country for a long time);
4) the acceleration of time is accompanied by a compression of space (see, for example, the novels of F.M. Dostoevsky);
5) on the contrary, time dilation can be accompanied by an expansion of space, hence, for example, detailed descriptions of spatial coordinates, scene of action, interior, etc.;
6) the passage of time is conveyed through changes in spatial characteristics: “Signs of time are revealed in space, and space is comprehended and measured by time.” So, in the story by A.M. Gorky’s “Childhood”, in the text of which there are almost no specific temporal indicators (dates, exact timing, signs of historical time), the movement of time is reflected in the spatial movement of the hero, his milestones are the move from Astrakhan to Nizhny, and then moves from one house to another , cf.: By spring, the uncles separated... and the grandfather bought himself a large, interesting house on Polevaya; Grandfather unexpectedly sold the house to the tavern owner, buying another one on Kanatnaya Street;
7) the same speech means can express both temporal and spatial characteristics, see, for example: ... they promised to write, they never wrote, everything ended forever, Russia began, exiles, the water froze in the bucket by morning, the children grew up healthy, the ship was running along the Yenisei on a bright June day, and then there was St. Petersburg, an apartment on Ligovka, crowds of people in the Tavrichesky courtyard, then the front was three years, carriages, rallies, bread rations, Moscow, “Alpine Goat”, then Gnezdnikovsky, famine, theaters, work on a book expedition... (Yu. Trifonov. It was a summer afternoon).

The essential interconnection of temporal and spatial relations, artistically mastered in literature, is defined by Mikhail Mikhailovich Bakhtin's term - Chronotope.

A chronotope is a culturally processed stable position from which or through which a person masters the space of a topographically voluminous world; for M. M. Bakhtin, the artistic space of a work. The concept of chronotope, introduced by M. M. Bakhtin, connects space and time, which gives an unexpected twist to the theme of artistic space and opens up a wide field for further research.

The term architectonics itself is not recognized by all experts; many, if not most, believe that we are simply talking about different facets of the meaning of the term composition. At the same time, some very authoritative scientists (say, M. M. Bakhtin) not only recognized the correctness of such a term, but also insisted that composition and architectonics have different meanings.

The concept of architectonics combines the relationship of parts of a work, the arrangement and mutual connection of its components (components), which together form some kind of artistic unity. The concept of architectonics includes both the external structure of the work and the construction of the plot: the division of the work into parts, the type of narration (from the author or on behalf of a special narrator), the role of dialogue, one or another sequence of events (temporal or in violation of the chronological principle), an introduction to the narrative fabric of various descriptions, author’s reasoning and lyrical digressions, grouping of characters, etc.

spatial temporal architectonics story

A brief summary of Rasputin’s “Farewell to Matera” allows you to find out the features of this work by the Soviet writer. It is rightfully considered one of the best that Rasputin managed to create during his career. The book was first published in 1976.

Plot of the story

A summary of Rasputin’s “Farewell to Matera” allows you to get acquainted with this work without reading it in its entirety, in just a few minutes.

The story takes place in the 60s of the 20th century. At the center of the story is the village of Matera, which is located in the middle of the great Russian river Angara. Changes are coming in the lives of its residents. The Soviet Union is building the Bratsk hydroelectric power station. Because of this, all the inhabitants of Matera are relocated, and the village is subject to flooding.

The main conflict of the work is that the majority, especially those who have lived in Matera for decades, do not want to leave. Almost all old people believe that if they leave Matera, they will betray the memory of their ancestors. After all, in the village there is a cemetery where their fathers and grandfathers are buried.

main character

A summary of Rasputin's "Farewell to Matera" introduces readers to the main character named Daria Pinigina. Despite the fact that the hut is going to be demolished in a few days, she whitewashes it. She refuses her son’s offer to transport her to the city.

Daria strives to stay in the village until the last moment; she does not want to move, because she cannot imagine her life without Matera. She is afraid of change, does not want anything to change in her life.

Almost all residents of Matera are in a similar situation, who are afraid of moving and living in a big city.

The plot of the story

Let's begin the summary of Rasputin's "Farewell to Matera" with a description of the majestic Angara River, on which the village of Matera stands. A considerable part of Russian history passed literally before her eyes. The Cossacks went up the river to set up a fort in Irkutsk, and merchants constantly stopped at the island-village, scurrying back and forth with goods.

Prisoners from all over the country who found refuge in that same prison were often transported past. They stopped on the shore of Matera, prepared a simple lunch and moved on.

For two whole days, a battle broke out here between the partisans who stormed the island and Kolchak’s army, which held the defense in Matera.

The village’s special pride is its own church, which stands on a high bank. In Soviet times, it was converted into a warehouse. It also has its own mill and even a mini-airport. Twice a week the “corn farmer” sits in the old pasture and takes the residents to the city.

Dam for hydroelectric power station

Everything changes radically when the authorities decide to build a dam for the Bratsk hydroelectric power station. The power plant is most important, which means several surrounding villages will be flooded. First in line is Matera.

Rasputin's story "Farewell to Matera", a summary of which is given in this article, tells how local residents perceive the news of the imminent move.

True, there are few inhabitants in the village. Mostly only old people remained. Young people moved to the city for more promising and easier jobs. Those who remained now think of the upcoming flooding as the end of the world. Rasputin dedicated “Farewell to Matera” to these experiences of the indigenous people. A very brief summary of the story is not able to convey all the pain and sadness with which the old-timers bear this news.

They oppose this decision in every way. At first, no amount of persuasion can convince them: neither the authorities nor their relatives. They are urged to use common sense, but they flatly refuse to leave.

They are stopped by the familiar and lived-in walls of houses, a familiar and measured way of life that they do not want to change. Memory of ancestors. After all, in the village there is an old cemetery where more than one generation of Matera residents is buried. In addition, there is no desire to throw away a lot of things that you couldn’t do without here, but in the city no one will need them. These are frying pans, grips, cast iron, tubs, but you never know in the village useful devices that in the city have long replaced the benefits of civilization.

They are trying to convince old people that in the city they will be accommodated in apartments with all the amenities: cold and hot water at any time of the year, heating, which they don’t need to worry about and remember the last time they lit the stove. But they still understand that, out of habit, they will be very sad in a new place.

The village is dying

Lonely old women who do not want to leave are in the least hurry to leave Matera. They witness how the village begins to be set on fire. The abandoned houses of those who have already moved to the city are gradually burning down.

At the same time, when the fire has calmed down and everyone begins to discuss whether it happened on purpose or by accident, then everyone agrees that the houses caught fire by accident. Nobody dares to believe in such extravagance that someone could raise their hands on residential buildings just recently. I especially can’t believe that the owners themselves could have set the house on fire when they left Matera for the mainland.

Daria says goodbye to the hut

In Rasputin's "Farewell to Matera", you can read the summary in this article, old-timers say goodbye to their homes in a special way.

The main character Daria, before leaving, carefully sweeps the entire hut, tidies up, and then also whitewashes the hut for the happy life ahead. Already leaving Matera, she is most upset because she remembers that she forgot to grease her home somewhere.

Rasputin in his work “Farewell to Matera,” a summary of which you are now reading, describes the suffering of her neighbor Nastasya, who cannot take her cat with her. Animals are not allowed on the boat. Therefore, she asks Daria to feed her, without thinking that Daria herself is leaving in just a few days. And for good.

For the residents of Matera, all things and pets with whom they spent so many years side by side become as if alive. They reflect the entire life spent on this island. And when you have to leave for good, you must thoroughly clean up, just as a deceased person is cleaned and preened before sending him to the next world.

It is worth noting that the church and Orthodox rituals are not supported by all residents of the village, but only by the elderly. But the rituals are not forgotten by anyone, they exist in the souls of both believers and atheists.

Sanitation brigade

Valentin Rasputin describes in detail the upcoming visit of the sanitary team in “Farewell to Matera,” a summary of which you are now reading. It is she who is tasked with razing the village cemetery to the ground.

D Arya opposes this, uniting behind her all the old-timers who have not yet left the island. They cannot imagine how such outrage could be allowed to happen.

They send curses on the heads of offenders, call on God for help, and even engage in real battle, armed with ordinary sticks. Defending the honor of her ancestors, Daria is militant and assertive. Many would have resigned themselves to fate if they were in her place. But she is not satisfied with the current situation. She judges not only strangers, but also her son and daughter-in-law, who without hesitation abandoned everything they had acquired in Matera and moved to the city at the first opportunity.

She also scolds modern youth, who, in her opinion, are leaving the world they know for the sake of distant and unknown benefits. More often than anyone else, she turns to God so that he can help her, support her, and enlighten those around her.

Most importantly, she does not want to part with the graves of her ancestors. She is convinced that after death she will meet her relatives, who will definitely condemn her for such behavior.

The denouement of the story

On the last pages of the story, Daria's son Pavel admits that he was wrong. The summary of Rasputin's story "Farewell to Matera" cannot be completed without the fact that the end of the work focuses attention on the monologue of this hero.

He laments that so much wasted work was required from the people who lived here for several generations. In vain, because everything will eventually be destroyed and go under water. Of course, it is pointless to speak out against technological progress, but human attitude is still most important.

The simplest thing is not to ask these questions, but to go with the flow, thinking as little as possible about why everything is happening this way and how the world around us works. But it is precisely the desire to get to the bottom of the truth, to find out why it is this way and not otherwise, that distinguishes a person from an animal,” concludes Pavel.

Prototypes of Matera

The writer Valentin Rasputin spent his childhood years in the village of Atalanka, located in the Irkutsk region on the Angara River.

The prototype of the village of Matera was presumably the neighboring village of Gorny Kui. All this was the territory of the Balagansky district. It was he who was flooded during the construction of the Bratsk hydroelectric power station.