Valentin Rasputin. Russian genius Chernov Viktor

"Live and Remember"

In 1974, the magazine “Our Contemporary” (No. 10, 11) published Rasputin’s story “Live and Remember” - one of best works Russian post-war prose.

Valentin Rasputin himself says that the story arose somehow unexpectedly: “There were difficult times, such and such... But I always felt free. I didn't force myself to write about anything. Once I signed a contract for a book; it was such a fashion to sign contracts and write about the construction projects of communism. There was no money at all; it was the 1970s. I went and made a contract. But I ended up writing “Live and Remember” and bringing it to them. I didn't think to write this, I was just trying to get out of the situation then. But I worked off the money I took and brought them a manuscript that was no worse than the one about the construction projects of communism, as it seemed to me.”

Like “The Deadline,” “Live and Remember” was, consciously or not, perceived by critics not in the aspect in which the author saw it and in which he wanted to convey it to the reader. If in “The Deadline” criticism focused its attention on death, then “Live and Remember” was perceived by her as a work about the war, about a deserter who fled home to “look” at his relatives and wife. Critics even compared it with the stories of Y. Goncharov “The Deserter” (1962) and Ch. Aitmatov “Face to Face” (1958).

A. I. Solzhenitsyn also perceived the story in the same way as many critics: “In general, in the Soviet Union during the war there were thousands, even tens of thousands, of deserters, who sat out in hiding from the first day of the war to the last, which is what our story is about.” managed to remain silent, knowing only the criminal code and the amnesty of July 7, 1945. But in glitter Soviet literature It was unthinkable to utter even half a word from someone who understood, much less sympathized with, the deserter. Rasputin crossed this ban. True, he presented us with a much more complicated case: an honored warrior throughout the war, three wounds, the last one especially severe, and a hospital in Siberia not far from his native Angarsk region; others are demobilized in this form or at least on short leave, our hero is not. And the war was clearly at its end, and death was especially offensive to him here - and he trembled. He secretly returned to the outskirts of his village, did not even reveal himself to his parents, only to his wife Nastasya.”

Perhaps, not least of all, this perception was caused by the fact that both death and desertion were infrequent topics in Soviet literature of that period. (And completely unique in Soviet literature main character- the wife of a deserter.) Or maybe precisely because the critics of that time understood very well the global conclusions that could be drawn by reading these works, and sought, by discussing “hot” topics for the Soviet reader, to divert him from a deep reading of Rasputin’s prose .

Someone called “Deadline” a prologue to “Live and Remember.” But one can say it more sharply: “The Deadline” is the investigation, “Live and Remember” is the trial and the verdict.

At the center of the story, as is often the case with Rasputin, is a man who has made a mistake, for which not only he himself, but also a woman close to him has to pay.

...Nastena’s husband returned from the front. Not as a hero - during the day and throughout the village with honor, but at night, quietly and stealthily. He is a deserter. The end of the war is already in sight. After the third, very difficult wound, he broke down. Come back to life and suddenly die? He could not overcome this fear. The war took away from Nastena herself best years, love, affection, did not allow her to become a mother. If something happens to her husband, the door to the future will slam in her face. Hiding from people, from her husband’s parents, she understands and accepts her husband, does everything to save him, rushes into the winter cold, making her way into his lair, hiding her fear, hiding from people. She loves and is loved, perhaps for the first time, like this, deeply, without looking back. The result of this love is a future child. Long-awaited happiness. No, it’s a shame! It is believed that the husband is at war, and the wife is walking. Her husband's parents and fellow villagers turned their backs on Nastena. The authorities suspect her of having a connection with the deserter and are keeping an eye on her. Go to your husband - indicate the place where he is hiding. If you don't go, you'll starve him to death. The circle closes. Nastena rushes into the Angara in despair.

The universe in the story is divided into two worlds, the living and the dead, separated, as expected, by the river of oblivion. Nastena belongs to the world of the living, Andrei - initially - to the world of the dead, which he chose by deserting, thinking that he was choosing life (“You bear a name as if you are alive, but you are dead” - Revelation, 3, 1). Andrei himself told Nastya: “I can’t show myself to people, even before the hour of death; you had only one side: the people there, on the right side of the Angara. And now there are two: people and me. It’s impossible to bring them together; the Angara must dry up.”

And the story is not about Andrei, he is just an excuse for the author to talk about Nasten. Rasputin said: “It was for Nastena’s sake that this thing was conceived and written. And in order for her character to fully manifest itself, I had to look for some special circumstances, which I considered to be the story with her husband. And this required some kind of trial in relation to him before the verdict. I didn’t want to cover it with just black paint...”

The real and only hero of the story is Nastena.

The character of Nastena Guskova is as close to ideal as possible. She “from the very beginning dreamed of giving more than receiving - that’s why she is a woman, to soften and smooth out life together, that’s why she was given this amazing power, which is all the more amazing, gentle and richer the more often it is used,” - wrote Rasputin. This is a woman placed by life in a situation of tragic choice, her soul cannot reconcile opposing decisions: how to live according to conscience, together with the entire village world, united in the sorrows of military life, and how to remain faithful and devoted to her husband, who violated the law of brotherhood and comradeship and fled from the battlefield. Andrei Guskov’s crime alienates Nastena from people, deprives her of confidence in the present, which is divided into “separate, equal, alien pieces,” and even the long-awaited child promises her only shame in the future.

The story “Live and Remember” begins with the disappearance of an ax in the bathhouse. This detail immediately sets the emotional mood of the story, anticipates its dramatic intensity, and carries a distant reflection tragic ending. The ax is the weapon used to kill the calf. Unlike Guskov’s mother, who was angry with people and lacked even maternal instincts, Nastena immediately guessed who took the ax: “... suddenly Nastena’s heart skipped a beat: who would think of a stranger to look under the floorboard.” From this “suddenly” everything changed in her life.

It is very important that her instinct, instinct, and animal nature prompted her to guess about her husband’s return: “Nastyona sat down on a bench by the window and sensitively, like an animal, began to sniff the bath air... She was like in a dream, moving almost by touch and not feeling neither tension nor fatigue during the day, but she did everything exactly as she had planned... Nastya sat in complete darkness, barely making out the window, and felt in a daze like a small unfortunate animal.” The meeting, which the heroine had been waiting for three and a half years, imagining every day what it would be like, turned out to be “stealing and creepy from the very first minutes and from the very first words.” Psychologically, the author very accurately describes the woman’s state during her first meeting with Andrei: “Nastyona had difficulty remembering herself. Everything she said now, everything she saw and heard, happened in some kind of deep and dull stupor, when all feelings die out and go numb and when a person exists as if not his own, as if connected from the outside, by an emergency life. She continued to sit, as if in a dream, when you see yourself only from the outside and cannot control yourself, but only wait for what will happen next. This whole meeting seemed too unrealistic, powerless, dreamed of in a bad oblivion that would disappear with the first light.”

Nastya, not yet understanding, not realizing it with her mind, felt like a criminal in front of people. She came on a date with her husband as if it were a crime. The beginning internal struggle, not yet realized by her, is due to the confrontation between two principles - the animal instinct (“little animal”) and the moral one (a date is a crime). Subsequently, the struggle of these two principles in each of Rasputin’s heroes takes them to different poles: Nastya approaches the highest group of Tolstoy’s heroes with a spiritual and moral principle, Andrei Guskov - to the lower. Not yet realizing everything that had happened, not yet knowing what way out she and Andrei would find, Nastena, completely unexpectedly for herself, signed up for a loan of two thousand: “Maybe she wanted to pay off her man with bonds... It seems she didn’t think about him at that time, but someone could have thought for her.” If Guskov’s animal nature breaks through from his subconscious during the war (“an animal, insatiable appetite” in the infirmary), then in Nastya it is unconscious (“she still didn’t feel guilty about herself, didn’t admit it”), says the voice of conscience, the moral instinct.

Nastena lives for now only by feeling, pitying Andrei, close, dear, and at the same time feeling that he is a stranger, incomprehensible, not the one whom she accompanied to the front. She lives in the hope that over time everything will definitely end well, she just has to wait and be patient. She understands that Andrey alone cannot bear his guilt. “She is beyond his strength. So what now - give up on him? Spit on him? Or maybe she is also to blame for the fact that he is here - not guilty, but guilty. Wasn’t it because of her that he was drawn home most of all?”

Nastya does not reproach, does not blame Andrei, but feels guilty before him, her responsibility for him: “No matter what happens to him now, she is responsible,” she is ready to take the blame upon herself. This motive of guilt runs through the entire story. “I believed and was afraid that she probably lived for herself, thought about herself and was waiting for him only for herself.” “Let's go together. Since you are to blame, then I am to blame with you. We will answer together. If it weren’t for me, this might not have happened. And don’t take the blame on yourself.”

For the first time, the feeling of guilt before people, alienation from them, the realization that “he has no right to speak, cry, or sing with everyone” came to Nastya when the first front-line soldier, Maxim Vologzhin, returned to Atomanovka. From that moment on, the painful torment of conscience and the conscious feeling of guilt in front of people do not let go of Nastya either day or night. And the day when the whole village rejoiced, celebrating the end of the war, seemed to Nastya the last “when she could be with people.” Then she is left alone “in a hopeless, deaf emptiness,” “and from that moment Nastya seemed to be touched by her soul.”

Rasputin's heroine, accustomed to living with simple, understandable feelings, comes to realize the endless complexity of man. Nastya now constantly thinks about how to live, what to live for. She fully realizes “how shameful it is to live after everything that happened. But Nastya, despite her readiness to go with her husband “to hard labor,” turns out to be powerless to save him, unable to convince him to come out and obey the people. Guskov knows too well: while the war is going on, according to the harsh laws of time, he will not be forgiven, he will be shot. And after the end of the war it was too late: the process of “brutality” in Guskov had become irreversible. She couldn’t save Andrei Nasten, but she was obliged to save the child.

Only faith in God, in the highest justice could save Nastya, give her the necessary strength and patience to endure everything (“She was tired. If anyone knew how tired she was and how she wanted to rest! Don’t be afraid, don’t be ashamed, don’t wait in fear tomorrow, to become free forever and ever, not remembering either myself or others, not remembering a single drop of what I had to experience”).

Hiding her deserter husband, Nastena realizes this as a crime against people: “The judgment is close, close - is it human, is it God’s, is it our own? – but close. Nothing in this world comes for free.” Nastya is ashamed to live, it hurts to live. “Whatever I see, whatever I hear, it only hurts my heart.” Nastya says: “It’s a shame... does anyone understand how shameful it is to live when someone else in your place could live better? How can you look people in the eyes after this?.. Even the child that Nastya is expecting cannot keep her in this life, for “the child will be born into shame, from which he will not be separated all his life. And the sin of his parents will fall on him, a severe, heart-rending sin - where can he go with it? And he won’t forgive them, he will curse them - because of their deeds.”

Andrei, on the contrary, does not see any guilt in himself. It’s not his fault; the people who blame him are: the command, which did not let him go on leave after the hospital, the village - because he had to go to war, and even the Angara, which “indifferently” flows by. Resentment, anger, loneliness, fear - these are the feelings that dominate him.

And at the same time, he craves self-justification.

Having learned from Nastena that she was expecting a child, Andrei “begged quietly and earnestly... Here it is, here... I know... Now I know, Nastena: it was not in vain that I came here, not in vain. This is fate... It was she who pushed me, she gave orders. That's all - no justification is needed. This is beyond any justification." Now he has found an excuse for himself: “Is there such a fault in the whole wide world that it would not be covered by him, our child?!”

Nastena was never able to choose her side, and condemns herself to death, dies in the Hangar along with her child, depriving Andrei of his last justification before the court of his own conscience. All that remains for him is eternal torment: to live in the kingdom of the dead and remember those who died because of him.

But why didn’t Nastena remain among the living? Because among them there was not a single person who wanted to understand, believe, or support her.

Her mother-in-law kicks her out of the house. But Nastena “wasn’t offended by Semyonovna - what’s there to be offended, really? This was to be expected. And she wasn’t looking for justice, but at least a little bit of sympathy from her mother-in-law, her silent and obvious guess that the child she had taken up arms against was not a stranger to her. What can people count on then?”

And the people, themselves tired and exhausted by the war, did not spare Nastya. “Now, when there was no point in hiding the belly, when everyone who was not too lazy poked their eyes at it and drank, like sweetness, its revealed secret. Nobody, not a single person, not even Lisa Vologzhina, encouraged her to say: they say, hold on, don’t care about talking, the child you give birth to is yours, not someone else’s child, you should take care of him, and people, give time, will calm down . Why should she just complain about people? “I left them myself.” And when people started watching Nastena at night and “didn’t let her see Andrey, she was completely lost; fatigue turned into a desired, vengeful despair. She didn’t want anything anymore, she didn’t hope for anything, an empty, disgusting heaviness settled in her soul: “Look, what did you intend,” she gloomily cursed herself and lost her thought. “Serves you right.”

And the next night, when Nastena swam to Andrey across the Angara, she was already openly pursued by a boat in which were Innokenty Ivanovich, and Nestor, and Maxim Vologzhin, who was the first to return from the front. The author speaks about Nastena’s last feeling, which reveals the state of her soul: “It’s a shame... does anyone understand how shameful it is to live. But shame will disappear, and shame will be forgotten, it will free her...”

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In Rasputin's story “Live and Remember,” the heroes become victims of war, hostages of their actions. There is no condemnation or assessment of the heroes in the work; the author emphasizes that the culprit of human troubles is war. Because of his attachment to his family, to the village, Andrei Guskov becomes a deserter - this worse than death. Nastya turns out to be neither a widow nor a happy wife: she chooses death as the solution to all problems. The main characters of “Live and Remember” are people without a future, doomed; Unlike Andrey, Nastya understands this, she is strong in spirit and wise.

Characteristics of the heroes “Live and Remember”

Main characters

Andrey Guskov	A young guy, Nastya’s husband. Before the war they lived together for 4 years, there were no children. He, like everyone else, fought in the war and was not a traitor. After another serious injury, without complete treatment, he is sent not on leave, but back to the unit. Andrei, homesick, not being a fighter or a crazy patriot by nature, deserts. Later he realizes what he has done, but there is no turning back. Secretly meets with his wife, she feeds him and takes pity on him. Together they remember their life before the war. Nastya understands that she is pregnant, but Andrei does not think about her or the unborn child. He degrades, runs wild, there is little humanity left in him.
Nastena	She married not for love, but to leave for another house, away from her aunt. Life with my husband and mother-in-law is even harder. Noticing the disappearance of the ax, Nastya realizes that Andrei is somewhere nearby. She brings him bread, steals, hides, and secretly meets with her husband. He does not admit to either his father-in-law or mother-in-law that their son is here, close. She carries her female cross, accepts everything, realizing that there is no future. At times, Nastya hates her husband for his actions; he does not allow her to rejoice in victory, live openly and raise children. Conscience does not allow Nastya to live the way Andrey lives, she suffers and suffers. Being pregnant, tired of hopelessness, Nastya decides to drown herself.
Andrei's father, Mikheich	A kind, simple-minded person. He, unlike his wife, suspects that his son lives nearby and that he is a deserter. She tries to talk to Nastena about Andrei, feels trouble, worries, but she does not give Andrei away, as she promised him. Mikheich already understands that his son ran away. At the end of the story, when Nastya’s body needs to be taken away, Mikheich lies dying.
Maxim Volozhin	Neighbor of the Guskovs. Returns from the war alive. He a real hero. His wife is proud of her husband, she is happy. The neighbors invite the Guskovs to a party in honor of Maxim's return, Nastya cannot stand her thoughts, she becomes unbearable, she runs away.
Semyonovna	Nastya's mother-in-law. Strict, adheres to old views. Due to the absence of children, he considers his daughter-in-law inferior. Loads with hard work, controls, scolds. Noticing Nastya's pregnancy, he kicks her out of the house.

Minor characters

Rasputin's story is strong, deep work, it teaches that life is complex and multifaceted, the truth is different, and each person has a limit to his spiritual strength. In the list of works military themes- this is the best story by Valentin Rasputin. It is deeply philosophical, original, and multifaceted in terms of themes. Rasputin’s heroes are very human, “drawn” to the smallest detail, simple and understandable. Nastya, who chose death, turns out to be stronger and more decisive than her husband, who crippled her and his own fate. The tragedy of the ending is inevitable; the fate of two people who could not resist the circumstances turns out to be too difficult. Characteristics of heroes can be useful when designing reader's diary, writing test work, preparing for a literature lesson.

Work by genre orientation refers to a realistic story, central theme which presents the author's reflections on moral choice a person placed in harsh life circumstances, as well as the problems of human relations, expressed in the manifestation of a sense of duty, love, responsibility, generosity.

Main characters The story is the Guskovs' spouses, presented by the writer as two opposing characters: Andrei is portrayed as a weak, cowardly and weak-willed man, and his wife Nastena is described as a kind, compassionate, sympathetic woman.

Characterizing Nastena in the story as a long, skinny woman, distinguished by a frozen, painful gaze, the writer depicts collective image a Russian woman who experienced moral and physical suffering during the war period.

Compositional structure The story is based on the technique of antithesis and consists of an epilogue, a plot, the development of narrative action, a climax and a final denouement. The epilogue introduces the readership to the main characters living in pre-war times in a remote Siberian village. Sending Andrei to the front constitutes the plot of the story, and in the form of development storyline describes the events associated with Guskov's serious injury and his decision to return home, and not to the places of hostilities. The culmination of the plot is the death of Nastena, who committed suicide due to her husband’s betrayal, and the denouement is the news of Guskov’s desertion in the village and his search.

Key topics In the story, the writer presents the war, which became an insurmountable test for the main character in the form of his moral breakdown, which caused Andrei to commit an immoral act, desertion, which in turn led to the death of his wife and unborn baby, since Nastena, who became an accomplice in her husband’s crime, did not withstands the hardships of life that befall her. Being pregnant, hiding in the forest thicket Andrei, who is hiding from people, Nastena is humiliated by the villagers, and later becomes expelled by her father-in-law from her own home.

Option 2

Each work of Valentin Rasputin is life story human soul, in which many readers often find similarities that take place in their fate. The story “Live and Remember” is a series of events in which the characters’ characters and their destinies are revealed in a village atmosphere, where everyone strives for ordinary human happiness.

The author based the plot on the protagonist’s escape from the front, around which the characters’ relationships with each other developed and their true colors emerged. The theme of war took the main position in the work. Main character– Andrey experiences emotional burnout in military conditions, although he was never inclined to escape. He always fulfilled his duty honestly, but one day he could not resist. Having committed a crime, he runs away to his family.

One after another, themes that are similar in their outcome are intertwined in the story. Each of them carries drama. Subject female share accompanies every further turn of events. This is devotion, unimaginable mental suffering, self-sacrifice of the deserter’s wife, who patiently and lovingly supports him in subsequent stages.

The author very accurately emphasized the idea that the war did not bring joy to anyone. It killed a lot of people - both those who found themselves in combat conditions and those who were looking forward to meeting their loved ones while in the village. The war tormented not only physically, but also wounded the soul of a person. But it was thanks to this difficult time that people got to know not only each other, but most importantly - themselves. Thus, Rasputin, through the vivid opposition of the spouses, showed how the moral fall of one hero and the transformation of the inner world of another under the influence of difficult experiences occur. The horrors of war have led Andrei to a dead end, who unexpectedly acts selfishly. Without thinking about how the lives of his loved ones will change, he runs away from the front and hides not far from home, subjecting Nastena to mental trials. Noticing that nothing is changing, he begins to hate himself, committing cruel acts, for example, killing a roe deer.

Thus, the work reveals simple human truths that after a crime there is always punishment. However, such actions are fraught with the fact that they become punishment for the innocent loving people. Nastena dies along with born child. So fate leaves Andrei in all alone and in a state of hopelessness because he could not continue the family line and save his soul mate. Because of him, his wife became an outcast, and later chose suicide as a way out.

As a representative " village prose"V. Rasputin realistically and touchingly revealed a love story in war conditions. In the title of the story, the author emphasized as a moral the truth that after committed actions there is always retribution. In any state, a person must remember the evil that immorality brings.

The author's attitude towards the characters in the story is expressed in the description of the characters and vocabulary. He is disappointed in Andrei’s action, watching how his soul hardened with every rash step, and rejoiced when Nastya felt good. But the tragic end became inevitable, since, without sharing the fate of his wife, Andrei pulled an innocent soul with him to the bottom.

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Rated the book

“It was a pity for Nasten”

Nastena endured: it is the custom of a Russian woman to arrange her life only once and endure everything that befalls her.

Having fought enough, tired, yearning for his native people and places, the soldier does not return from the hospital to duty, but deserts home, not immediately fully realizing what he is doing. The realization comes to Andrei later: having reached his Atamanovka, he cannot appear in public both because his neighbors will throw shame on him and because the military authorities will condemn him with a specific sentence. Andrey grows a beard and, being torn away from human society, even learns to howl like a taiga wolf.

The impudent Yesenin was not entirely right when he claimed that he was “ the last poet villages." Let’s assume that Rasputin’s village is not the same as Yesenin’s, it is a collective farm village, which is what Sergei Alexandrovich was afraid of; that Rasputin is not a poet, but a prose writer, but his prose is so full folk wisdom and truth, touching superstitions, prophetic dreams dreamed simultaneously by two loving friend friend to the heroes, which is comparable to the best poems of peasant poets, and is certainly a wonderful example of the genre of village prose. How the taiga village celebrates the distant end of the war!.. And the deaf grandfather is taken out of the mill and seated at the common table.

But, of course, the pearl of the story is the image of Nastena, Andrei’s wife, who discovered his appearance in his native village, who saved her husband from ultimate despair with her reckless devotion and care. Using Nastena’s example, you understand even more clearly: you don’t have to graduate from universities to learn and internalize moral principles. It is no coincidence that Rasputin calls his heroine so affectionately; it is no coincidence that he allows us to find out to the end about her fate, not Andrei. This loving, conscientious, truly Russian woman is so beautiful that this ugly-Korzhavin thing inevitably comes to mind:

...The century has flown by. And again,
Like in that immemorial year -
Stops a galloping horse
He will enter the burning hut.
She would like to live differently
Wearing a precious outfit...
But the horses keep galloping and galloping.
And the huts burn and burn.

Rated the book
When they see you off, it’s more reliable: something in human destiny has eyes that remember when leaving - there is someone to return to or not.
Live and remember- remember that your husband turned out to be a deserter and is now hiding from people in the thicket of the forest; remember that you are his wife and must share his fate with him; remember that it’s easy to condemn, but it’s scary to walk under bullets, oh, how scary; remember that people are evil and tongue-tied, that they will judge you and will not forgive you, and will hiss after you like snakes and condemn the defenseless.
Live... This is how you want to live when you are a young man, and at home your parents and wife are waiting for your return, their hearts ache; how you want to live when there are bullets, bullets, death all around; You really want to go home when, wounded but safe, you leave the hospital; You really want to go home when death was catching you, lying in wait, but didn’t catch you; you want to go home so much when you know that this time Death will not let you go.
Remember... And Nasten remembered about her husband, who had either disappeared or deserted, she remembered immediately as soon as things began to disappear from the house; she remembered that she was BEHIND her husband and that now her share was to help him by hiding it; I remembered how he took her as a girl and brought her to his house; I remembered how much simple, imperceptible happiness there was between them; I remembered how they wanted children and it didn’t work out, how they cursed themselves and endured beatings; I remembered - and didn’t believe whether it happened in this life or was just a dream.
Live... And Andrei lives in the forest like a wild beast and howls like a wild beast; draws juices from Nastena and loves her, loves his wife, a real Woman - who goes into fire and water - for him, for her husband; lives and understands that Great Victory“The victory that they have been waiting for so long and for which they lived cannot be celebrated by him...
- Grandfather! – people gasped in ten voices. They rushed to him, untied him, picked him up and sat him down, shouting close to his ears, pushing and interrupting each other:
- Grandfather, the war is over!
- Grandfather, dear, where have you been?
- And we are here without you. They forgot about you. Don't be angry. Everyone went crazy.
“We’re sitting, but someone’s missing.” Who's missing? Grandfather is missing. God!
He turned his big shaggy head and wordlessly, calmly, showing that he understood and forgives, nodded slowly and wisely. And, looking at him, the women, close to tears, began to cry at once. Only now, when the last living person in Atamanovka learned from them what had happened, did they finally believe themselves: the war was over.
Valentin Rasputin paints with broad strokes and single human tragedies, and the grief of all people, and the characters of people, and the depth of their souls - great master, great man.

Rated the book
Shrill sad story. War is not only about exploits. This is not only a hard life, front and rear. This is not only death and grief from the loss of loved ones. War means deserters. People who, for various reasons, abandon their place in the ranks and run wherever they want, and even the terrible punishment in the form of execution does not stop them.
The main character of “Live and Remember,” Andrei Guskov, is just such a deserter. The author does not condemn him, does not label him, he simply shows us his hero without embellishment, exploring him inner world in attempts to understand the reasons for this behavior. Andrei himself does not know why he fled. He was just tired, incredibly tired of the war. He just wanted to see his family for a day. He just wanted to look at his native land, which he had not seen for four years. He simply did not know that the war would soon end, that he had to grit his teeth and endure. And now he is hiding in the forests, like a hunted animal. However, the burden is too heavy for him alone. So he leaves O most of it to his wife, Nastena. And now this nice, conscientious woman must dodge and lie, hide and steal, and just be ashamed to look honest people in the eyes.
Rasputin was a great talent. So masterfully, in a short story, he was able to show both the tragedy of all people and the tragedy of each individual as a whole. Every character in the book, even a minor one, is complete, touching the soul with its grief, like Nadya, or its happiness, like Liza. But the pearl of the book is, undoubtedly, the image of Nastena, a bright, modest, conscientious woman, unable to hide dark thoughts. A woman's lot in this damned war is hard. The burden of a woman who is always ready to follow her husband is heavy. It’s so prohibitively heavy that it’s like a stone dragging it into the Angara.