The Fox knows many truths, but the Hedgehog knows one, but a big one.
Archilochus
The play “At the Bottom” is a socio-philosophical drama. More than a hundred years have passed since the creation of the work, the social conditions that Gorky exposed have changed, but the play is still not outdated. Why? Because it raises an “eternal” philosophical topic that will never cease to excite people. Usually for Gorky's play this theme is formulated as follows: a dispute about truth and lies. This formulation is clearly insufficient, since truth and lies do not exist by themselves.

– they are always connected with a person. Therefore, it would be more accurate to formulate philosophical theme“At the bottom” in another way: a dispute about true and false humanism. Gorky himself, in Satin’s famous monologue from the fourth act, connects truth and lies not only with humanism, but also with human freedom: “Man is free... he pays for everything himself: for faith, for unbelief, for love, for intelligence - man pays for everything pays himself, and therefore he is free! Man – that’s the truth!” It follows that in the play the author talks about man - truth - freedom, that is, about the main moral categories of philosophy. Since it is impossible to unambiguously define these ideological categories (“the last questions of humanity,” as F. M. Dostoevsky called them), Gorky presented in his drama several points of view on the problems posed. Drama became polyphonic (the theory of polyphonism in work of art developed in his book “The Poetics of Dostoevsky’s Work” by M. M. Bakhtin). In other words, there are several ideologue heroes in the play, each with their own “voice,” that is, with a special point of view on the world and man.
It is generally accepted that Gorky portrayed two ideologists - Satin and Luka, but in fact there are at least four of them: Bubnov and Kostylev should be added to those named. According to Kostylev, the truth is not needed at all, since it threatens the well-being of the “masters of life.” In the third act, Kostylev talks about real wanderers and simultaneously expresses his attitude to the truth: “A strange person... not like others... If he is truly strange... knows something... learned something like that... no one needs... maybe he is telling the truth I learned there... well, not all truth is needed... yes! He - keep it to himself... and - be silent! If he is truly strange... he is silent! And then he says things that no one understands... And he doesn’t want anything, doesn’t interfere with anything, doesn’t bother people in vain...” (III). Indeed, why does Kostylev need the truth? In words he is for honesty and work (“It is necessary that a person be useful... that he work...” III), but in reality he buys stolen goods from Ash.
Bubnov always speaks the truth, but this is the “truth of fact”, which only records disorder and injustice existing world. Bubnov does not believe that people can live better, more honestly, helping each other, as in a righteous land. Therefore, he calls all dreams about such a life “fairy tales” (III). Bubnov frankly admits: “In my opinion, throw out the whole truth as it is! Why be ashamed?” (III). But a person cannot be satisfied with the hopeless “truth of fact.” Kleshch speaks out against Bubnov’s truth when he shouts: “What kind of truth? Where is the truth? (...) No work... no power! That's the truth! (...) You have to breathe... here it is, the truth! (...) What do I need it for - is it true?” (III). Another hero also speaks out against the “truth of fact,” the same one who believed in the righteous land. This faith, as Luke says, helped him live. And when you believe in possibility better life destroyed, a man hanged himself. There is no righteous land - this is “the truth of the fact”, but to say that it should never exist is a lie. That is why Natasha explains the death of the hero of the parable this way: “I could not tolerate deception” (III).
The most interesting hero-ideologist in the play is, of course, Luke. Critics' assessments of this strange wanderer range from admiration for the old man's generosity to exposure of his harmful consolation. Obviously, these are extreme estimates and therefore one-sided. The objective, calm assessment of Luka, which belongs to I.M. Moskvin, the first performer of the role of the old man on theater stage. The actor played Luka as a kind and intelligent person, whose consolations are not self-interested. Bubnov notes the same thing in the play: “Luka, for example, lies a lot... and without any benefit to himself... Why would he?” (III).
The reproaches leveled at Luke do not stand up to serious criticism. It should be specially noted that the old man does not “lie” anywhere. He advises Ash to go to Siberia, where he can start a new life. And it is true. His story about a free hospital for alcoholics, which made a strong impression on the Actor, is true, which is confirmed by special research by literary scholars (see the article by Vs. Troitsky “Historical realities in M. Gorky’s play “At the Lower Depths”” // Literature at school, 1980 , No. 6). Who can say what, when describing Anna afterlife, Is Luke disingenuous? He consoles a dying man. Why blame him? He tells Nastya that he believes in her romance with the noble Gaston-Raoul, because he sees in the story of the unfortunate maiden not just a lie, like Bubnov, but a poetic dream.

Luke’s critics also claim that the harm from the old man’s consolations had a tragic impact on the fate of the night shelters: the old man did not save anyone, did not really help anyone, the death of the Actor is on Luke’s conscience. How easy it is to blame one person for everything! He came to degraded people whom no one cared about, and consoled them as best he could. Neither the state, nor the officials, nor the homeless shelters themselves are to blame - Luka is to blame! It’s true, the old man didn’t save anyone, but he didn’t destroy anyone either - he did what was in his power: he helped people feel like people, the rest depended on them. And the Actor, an experienced heavy drinker, has absolutely no willpower to stop drinking. Vaska Pepel, in a stressed state, having learned that Vasilisa crippled Natalya, accidentally kills Kostylev. Thus, the reproaches expressed against Luke seem unconvincing: Luke is not “lying” anywhere and is not to blame for the misfortunes that happened to the night shelters.
Usually, researchers, condemning Luke, agree that Satin, in contrast to the crafty wanderer, formulates the correct ideas about freedom - truth - man: “Lies are the religion of slaves and masters... Truth is the god of a free man!” Satin explains the reasons for lying this way: “Whoever is weak at heart... and who lives on other people’s juices, needs a lie... some it supports, others hide behind it... And who is his own master... who is independent and does not eat someone else’s things - why does he need a lie?” (IV). If we decipher this statement, we get the following: Kostylev lies because he “lives on other people’s juices,” and Luka lies because he is “weak in soul.” Kostylev’s position, obviously, should be rejected outright; Luka’s position requires serious analysis. Satin demands to look life straight in the eye, and Luka looks around in search of a comforting deception. Satin's truth differs from Bubnov's truth: Bubnov does not believe that a person can rise above himself; Satin, unlike Bubnov, believes in man, in his future, in his creative talent. That is, Satin is the only hero in the play who knows the truth.
What is the author’s position in the debate about truth – freedom – man? Some literary scholars argue that only the words of Satin set out the author’s position, however, it can be assumed that the author’s position combines the ideas of Satin and Luke, but is not completely exhausted even by both of them. In other words, in Gorky Satin and Luke as ideologists are not opposed, but complement each other.
On the one hand, Satin himself admits that Luke, with his behavior and consoling conversations, pushed him (formerly an educated telegraph operator, and now a tramp) to think about Man. On the other hand, Luke and Satin both talk about goodness, about faith in the best that always lives in the human soul. Satin recalls how Luke answered the question: “Why do people live?” The old man said: “For the best!” (IV). But doesn’t Satin, when discussing Man, repeat the same thing? Luke says about people: “People... They will find and invent everything! You just need to help them... you need to respect them...” (III). Satin formulates a similar thought: “We must respect a person! Don’t feel sorry... don’t humiliate him with pity... you have to respect him!” (IV). The only difference between these statements is that Luke emphasizes respect specific person, and Satin - Man. Diverging in particulars, they agree on the main thing - in the statement that a person is the highest truth and the value of peace. In Satin's monologue, respect and pity are contrasted, but it cannot be said for sure that this is the author's final position: pity, like love, does not exclude respect. On the third hand, Luka and Satin are extraordinary personalities who never clash in an argument in the play. Luka understands that Satin does not need his consolations, and Satin, carefully watching the old man in the shelter, never ridiculed him or cut him off.
To summarize what has been said, it should be noted that in the socio-philosophical drama “At the Bottom” the main and most interesting is the philosophical content. This idea is proven by the very structure of Gorky’s play: almost all the characters participate in the discussion of the philosophical problem of man - truth - freedom, while in the everyday storyline only four sort things out (Ashes, Natalya, the Kostylev couple). Plays showing the hopeless life of the poor in pre-revolutionary Russia, many have been written, but it is very difficult to name another play other than the drama “At the Lower Depths,” in which, along with social problems, the “last” philosophical questions would be posed and successfully resolved.
The author's position (the fifth in a row, but perhaps not the last) in the play “At the Lower Depths” is created as a result of repulsion from false points of view (Kostylev and Bubnov) and the complementarity of two other points of view (Luka and Satin). The author in a polyphonic work, according to M. M. Bakhtin’s definition, does not join any of the points of view expressed: the solution to the posed philosophical questions does not belong to one hero, but is the result of the searches of all participants in the action. The author, like a conductor, organizes a polyphonic choir of heroes “singing” in different voices the same topic.
Still, there is no final solution to the question of truth - freedom - man in Gorky's drama. However, this is how it should be in a play that poses “eternal” philosophical questions. Open final works makes the reader think about them.

Other works on this topic:

1. “Fathers and Sons” is a work of complex structure that warns of future social conflicts. I. S. Turgenev, together with traditional characters, introduced an invisible presence into the novel...
2. Man - that's the truth! M. Gorky. At the Depth The play “At the Depth” was written by M. Gorky in 1902, on the eve of the first Russian revolution. She gives bright...
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The Fox knows many truths, but the Hedgehog knows one, but a big one.
Archilochus

The play “At the Bottom” is a socio-philosophical drama. More than a hundred years have passed since the creation of the work, the social conditions that Gorky exposed have changed, but the play is still not outdated. Why? Because it raises an “eternal” philosophical topic that will never cease to excite people. Usually for Gorky's play this theme is formulated as follows: a dispute about truth and lies. Such a formulation is clearly insufficient, since truth and lies do not exist by themselves - they are always associated with a person. Therefore, it would be more accurate to formulate the philosophical theme of “At the Bottom” in a different way: a dispute about true and false humanism. Gorky himself, in Satin’s famous monologue from the fourth act, connects truth and lies not only with humanism, but also with human freedom: “Man is free... he pays for everything himself: for faith, for unbelief, for love, for intelligence - man He pays for everything himself, and therefore he is free! Man - that’s the truth!” It follows that the author in the play talks about man - truth - freedom, that is, about the main moral categories of philosophy. Since it is impossible to unambiguously define these ideological categories (“the last questions of humanity,” as F.M. Dostoevsky called them), Gorky presented in his drama several points of view on the problems posed. Drama became polyphonic (the theory of polyphonism in a work of art was developed in his book “The Poetics of Dostoevsky’s Work” by M. M. Bakhtin). In other words, there are several ideologue heroes in the play, each with their own “voice”, that is, with a special point of view on the world and man.

It is generally accepted that Gorky portrayed two ideologists - Satin and Luka, but in fact there are at least four of them: Bubnov and Kostylev should be added to those named. According to Kostylev, the truth is not needed at all, since it threatens the well-being of the “masters of life.” In the third act, Kostylev talks about real wanderers and simultaneously expresses his attitude to the truth: “A strange person... not like others... If he is truly strange... knows something... learned something like that... .. not needed by anyone... maybe he learned the truth there... well, not every truth is needed... yes! He - keep it to himself... and - be silent! If he is truly strange... he is silent! Otherwise he says things that no one understands... And he doesn’t want anything, doesn’t interfere with anything, doesn’t bother people in vain...” (III). Indeed, why does Kostylev need the truth? In words he is for honesty and work (“It is necessary that a person be useful... that he work...” III), but in reality he buys stolen goods from Ash.

Bubnov always speaks the truth, but this is the “truth of fact,” which only captures the disorder and injustice of the existing world. Bubnov does not believe that people can live better, more honestly, helping each other, as in a righteous land. Therefore, he calls all dreams of such a life “fairy tales” (III). Bubnov frankly admits: “In my opinion, throw out the whole truth as it is! Why be ashamed? (III). But a person cannot be satisfied with the hopeless “truth of fact.” Kleshch speaks out against Bubnov’s truth when he shouts: “Which truth? Where is the truth? (...) No work... no power! That's the truth! (...) You have to breathe... here it is, the truth! (...) What do I need it for - is it true?” (III). Another hero also speaks out against the “truth of fact,” the same one who believed in the righteous land. This faith, as Luke says, helped him live. And when faith in the possibility of a better life was destroyed, the man hanged himself. There is no righteous land - this is the “truth of fact”, but to say that it should never exist is a lie. That is why Natasha explains the death of the hero of the parable this way: “I could not tolerate deception” (III).

The most interesting hero-ideologist in the play is, of course, Luke. Critics have varied assessments of this strange wanderer - from admiration for the old man’s generosity to exposure of his harmful consolation. Obviously, these are extreme estimates and therefore one-sided. The objective, calm assessment of Luka, which belongs to I.M. Moskvin, the first performer of the role of the old man on the theater stage, seems more convincing. The actor played Luka as a kind and intelligent person, whose consolations are not self-interested. Bubnov notes the same thing in the play: “Luka, for example, lies a lot... and without any benefit to himself... Why would he?” (III).

The reproaches leveled at Luke do not stand up to serious criticism. It should be specially noted that the old man does not “lie” anywhere. He advises Ash to go to Siberia, where he can start a new life. And it is true. His story about a free hospital for alcoholics, which made a strong impression on the Actor, is true, which is confirmed by special research by literary scholars (see the article by Vs. Troitsky “Historical realities in M. Gorky’s play “At the Lower Depths”” // Literature at school, 1980 , No. 6). Who can say that in describing Anna’s afterlife, Luke is being disingenuous? He consoles a dying man. Why blame him? He tells Nastya that he believes in her romance with the noble Gaston-Raoul, because he sees in the story of the unfortunate maiden not just a lie, like Bubnov, but a poetic dream.

Luke’s critics also claim that the harm from the old man’s consolations tragically affected the fate of the night shelters: the old man did not save anyone, did not really help anyone, the death of the Actor is on Luke’s conscience. How easy it is to blame one person for everything! He came to degraded people whom no one cared about, and consoled them as best he could. Neither the state, nor the officials, nor the homeless shelters themselves are to blame—Luke is to blame! It’s true, the old man didn’t save anyone, but he didn’t destroy anyone either - he did what was in his power: he helped people feel like people, the rest depended on them. And the Actor, an experienced heavy drinker, has absolutely no willpower to stop drinking. Vaska Pepel, in a stressed state, having learned that Vasilisa crippled Natalya, accidentally kills Kostylev. Thus, the reproaches expressed against Luke seem unconvincing: Luke is not “lying” anywhere and is not to blame for the misfortunes that happened to the night shelters.

Usually, researchers, condemning Luke, agree that Satin, in contrast to the crafty wanderer, formulates the correct ideas about freedom - truth - man: “Lies are the religion of slaves and masters... Truth is the god of a free man!” Satin explains the reasons for lying this way: “Whoever is weak at heart... and who lives on other people’s juices, those need lies... some are supported by it, others hide behind it... And who is his own master... who is independent and does not eat someone else’s - why would he lie?” (IV). If we decipher this statement, we get the following: Kostylev lies because he “lives on other people’s juices,” and Luka lies because he is “weak at heart.” Kostylev’s position, obviously, should be rejected immediately; Luka’s position requires serious analysis. Satin demands to look life straight in the eye, and Luka looks around in search of a comforting deception. Satin's truth differs from Bubnov's truth: Bubnov does not believe that a person can rise above himself; Satin, unlike Bubnov, believes in man, in his future, in his creative talent. That is, Satin is the only hero in the play who knows the truth.

What is the author's position in the debate about truth - freedom - man? Some literary scholars argue that only the words of Satin set out the author’s position, however, it can be assumed that the author’s position combines the ideas of Satin and Luke, but is not completely exhausted even by both of them. In other words, in Gorky Satin and Luke as ideologists are not opposed, but complement each other.

On the one hand, Satin himself admits that Luke, with his behavior and consoling conversations, pushed him (formerly an educated telegraph operator, and now a tramp) to think about Man. On the other hand, Luke and Satin both talk about goodness, about faith in the best that always lives in the human soul. Satin recalls how Luke answered the question: “What do people live for?” The old man said: “For the best!” (IV). But doesn’t Satin, when discussing Man, repeat the same thing? Luke says about people: “People... They will find and invent everything! You just need to help them... you need to respect them...” (III). Satin formulates a similar thought: “We must respect a person! Don’t feel sorry... don’t humiliate him with pity... you have to respect him!” (IV). The only difference between these statements is that Luke emphasizes respect for a specific person, and Satin - the Person. Diverging in particulars, they agree on the main thing - in the statement that man is the highest truth and value of the world. In Satin's monologue, respect and pity are contrasted, but it cannot be said for sure that this is the author's final position: pity, like love, does not exclude respect. On the third hand, Luka and Satin are extraordinary personalities who never clash in an argument in the play. Luka understands that Satin does not need his consolations, and Satin, carefully watching the old man in the shelter, never ridiculed him or cut him off.

To summarize what has been said, it should be noted that in the socio-philosophical drama “At the Bottom” the main and most interesting is the philosophical content. This idea is proven by the very structure of Gorky’s play: almost all the characters participate in the discussion of the philosophical problem of man - truth - freedom, while in the everyday storyline only four sort things out (Ashes, Natalya, the Kostylev couple). Many plays have been written showing the hopeless life of the poor in pre-revolutionary Russia, but it is very difficult to name another play other than the drama “At the Lower Depths”, in which, along with social problems, the “last” philosophical questions would be posed and successfully resolved.

The author's position (the fifth in a row, but perhaps not the last) in the play “At the Lower Depths” is created as a result of repulsion from false points of view (Kostylev and Bubnov) and the complementarity of two other points of view (Luka and Satin). The author in a polyphonic work, according to M.M. Bakhtin’s definition, does not subscribe to any of the points of view expressed: the solution to the posed philosophical questions does not belong to one hero, but is the result of the searches of all participants in the action. The author, like a conductor, organizes a polyphonic choir of characters, “singing” the same theme in different voices.

Still, there is no final solution to the question of truth - freedom - man in Gorky's drama. However, this is how it should be in a play that poses “eternal” philosophical questions. The open ending of the work forces the reader himself to think about them.

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Test on the works of M. Gorky

Exercise 1

The founder of what direction in literature was A. M. Gorky?

1. Romanticism

2. Critical realism

3. Socialist realism

Task 2

The hero of which Gorky story is Loiko Zobar?

1. “Old Woman Izergil”

2. “Makar Chudra”

3. "Chelkash"

Task 3

What work of Gorky is not characterized by the “story within a story” composition?

1. “Makar Chudra”

2. “Old Woman Izergil”

3. "Chelkash"

Task 4

Which character in the play “At the Lower Depths” owns the phrase: “Man, that sounds proud!”?

Task 5

Which of the characters in the play “At the Lower Depths” expresses author's position?

Task 6

Which characters in the play “At the Lower Depths” own the words:

1. “Noise is not a hindrance to death”

2. “When work is a duty, life is slavery”

3. “Not a single flea is bad: all are black, all jump”

4. “If you don’t like it, don’t listen, and don’t bother lying.”

Exercise 1

Which direction does it belong to? early work Blok?

1. Futurism 2. Acmeism 3. Symbolism

Task 2

Find the correspondence between A. Blok’s poems and the main motives of his lyrics.

1. The motive of gloomy disappointment.

2. The motive for the appointment of a poet and poetry

3. Motive " scary world»

4. Motherland motive

a) “Factory” c) “Autumn Will”

b) “To the Muse” d) “I am old at heart

Task 3

To what stage of creativity (“trilogy of incarnation”) did Blok classify the cycle “Poems about a Beautiful Lady”?

1. Thesis 2. Antithesis 3. Synthesis

Task 4

From which work by Blok are these lines:

In the blue twilight White dress

A carved man flashes behind the bars.

1. “The Stranger” 2. “In the Restaurant” 3. “The Nightingale Garden”

Task 5

The cycle of poems “On the Kulikovo Field” is a work of:

1. On a historical topic.

2. About modernity.

3. About the inextricable connection of the past, present and future.

Task 6

What melody is not heard in Blok’s poem “The Twelve”?

1. March 3. Ditty

2. Tango 4. Romance

Task 7

What techniques does he use? Block in the following examples?

1. “Spring and pernicious spirit.”

2. “And blue, bottomless eyes / Bloom on the far shore.”

3. “How long should the mother push? // How long will the kite circle?

a) metaphor b) anaphora c) oxymoron

Assignments on prose and poetry of the Silver Age

Card 1

1. Define the modernist movement based on its characteristic features: a movement that considered the goal of art to be an intuitive comprehension of world unity; Art was seen as the unifying principle of such unity. Characterized by “secret writing of the ineffable,” understatement, and replacement of the image.

2. What is the culmination in the development of the lyrical-philosophical conflict in the story “Old Woman Izergil”?

3. In whose work was it created? heroine image, transformed into Blok’s “Beautiful Lady”?

4. What image in the poem “Russia” expresses the peculiarity of the lyrical hero’s feelings for his homeland?

5. What means artistic expression used in the poem “I don’t regret, I don’t call, I don’t cry...” by S. Yesenin to create musicality?

6. The genre of the work “Soviet Rus'” by S. Yesenin.

7. The specificity of the metaphor “poetry is a weapon” in the introduction to the poem “At the top of my voice” by V. Mayakovsky.

8. What sign of feeling becomes the basis for the metaphor that gives the name to the story “ Sunstroke"I. Bunin?

Card 2

1. Define the modernist movement based on its characteristic features: the movement that proclaimed the “inherent value” of life phenomena, the cult of art as craftsmanship; rejection of mystical nebula; creating a visible, concrete image.

2. Who is part of the “main headquarters” of Aristide Hammer in the story “ Former people» M. Gorky?

3. The size of the poem “A girl sang in the church choir...” by A. Blok.

4. Name musical genre, the rhythms of which in the poem “The Twelve” convey the mood of the time.

5. What trait is in the image? new Russia is the antithesis of her “golden” past in Yesenin’s lyrics?

6. What place does Labutya occupy in the figurative system of the poem “Anna Snegina”?

7. Innovative feature in dramatic conflict plays by V.V. Mayakovsky “The Bedbug” and “Bathhouse”.

8. The place of “two Abruzzese highlanders” in the figurative system of the story “The Gentleman from San Francisco” by I. Bunin.

Card 3

1. Define the modernist movement by its characteristic features: a movement that denied the artistic and moral heritage, preached the destruction of the forms and conventions of art for the sake of merging it with the accelerated life process.

2. What place in the plot does the episode of crossing the river on ice occupy in the story “Ice drift”?

3. What type of allegory is used to create the image of the “enchanted distance” in the poem “Stranger” by A. Blok?

4. What “wonderful battle” “again” begins over Russia during Blok’s time in the cycle “On the Kulikovo Field”?

5. Thanks to what images are socio-historical and lyrical-philosophical plans intertwined in the plot of the poem “Anna Snegina” by S. Yesenin?

6. What is the ideological basis for the similarity of images of the homeland in the poetry of A. A. Blok and S. A. Yesenin?

7. Where was the hero of the poem “I Love” by V. Mayakovsky “taught to love”?

8. What works served as the basis for awarding the Nobel Prize to I. A. Bunin?

Card 4

1. To which direction did the poets belong:

a) V. Bryusov, D. Merezhkovsky, K. Balmont, A. Bely.

b) D. Burliuk, V. Kamensky, V. Khlebnikov.

c) N. Gumilev, A. Akhmatova, O. Mandelstam.

2. What works first brought Gorky fame?

3. A reminiscence from which work of N.V. Gogol is used to create the image of the homeland in the poems of A. A Blok?

4. What is the main antithesis contained in the image of the heroine of A. Blok’s “Carmen” cycle?

5. What determines the ring nature of the composition of the poem “Anna Snegina” by S. Yesenin?

6. What extended metaphor in the poem “Letter to a Woman” by S. Yesenin conveys the hero’s perception of the movement of life in “the thick of storms and blizzards”?

7. The genre of the poem is “The Sitting Ones.”

8. The main means of artistic expression when creating images in the stories of I. A. Bunin.

Card 5

1. Which of the poets belonged to the “ego-futurists”?

a) I. Severyanin

b) V. Khlebnikov

c) Z. Gippius

Which poets were inspired by the philosophy of V. S. Solovyov?

a) Futurists

b) Acmeists

c) Symbolists

Which group did the poets A. Bely, Vyach belong to? Ivanov?

a) “Senior Symbolists”

b) “Younger Symbolists”

2. What are genre features the play “At the Lower Depths” by M. Gorky?

3. Which beginning (epic or lyrical) prevails in the genre specificity of the poem “The Twelve”?

4. The lyrical basis for accepting life in the poem “Oh, spring without end and without edge...” by A. Blok?

5. How does the narrator in the poem “Anna Snegina” by S. Yesenin learn about the fate of Pron Ogloblin?

6. What type of trope is used to create the image of “ears of corn - horses” in the poem “I am the last poet of the village...”?

7. What type of trope was used to create the image of the “sun” in the poem “An Extraordinary Adventure that V. Mayakovsky had in the Summer at the Dacha”?

8. Does the story “The Gentleman from San Francisco” by I. Bunin end with the completion of the storyline? central character? What is the meaning of such a compositional solution?

Cards for testing

I. Assignments on the works of E. Zamyatin (story “We”)

Exercise 1

“Zamiatin’s novel is entirely imbued with genuine fear of socialism, which from an ideal becomes a practical, everyday problem. A novel about the future, a fantasy novel. But this is not a utopia, it is an artistic pamphlet about the present and at the same time an attempt to forecast the future... The novel makes a difficult and terrible impression. Writing an artistic parody and depicting communism in some kind of super-barracks under a huge glass bell is not new: this is how opponents of socialism have practiced since ancient times - a thorny and inglorious path.<...>Zamyatin wrote a pamphlet related not to communism, but to the state<...>reactionary<...>socialism.

From an artistic point of view, the novel is beautiful. Zamyatin reached full maturity here - so much the worse, because all this went to serve an evil cause.<...>Zamyatin is on a very dangerous and inglorious path.”

A. Voronsky. Literary silhouettes.

Evgeny Zamyatin. 1922.

Re-read entries 1-3 in the novel “We”. Please note that the hero’s diary is addressed to people of a different, “lower” civilization. D-503 enthusiastically reports the benefits of a society of universal mechanized equality.

1. Is it possible to agree with the critic A. Voronsky that Zamyatin’s book is a satirical pamphlet? What social order is being criticized? ( Pamphlet- a satirical work of an artistic and journalistic nature, the author of which sharply ridicules his contemporary social order or some of its features.)

2. Is the hero’s reasoning about the “ancient” state fair: “The state (humanity) forbade killing one to death and did not forbid killing millions by half...”, etc.? Why does D-503 believe that the United State has actually achieved highest degree humanity?

3. Why for D-503 “Railway Schedule” is “the greatest monument that has come down to us ancient literature"? Can these words and other similar arguments be considered irony? Who and what is Zamyatin ironizing about here: his hero, who shares the ideology of the State, the Ideal State itself?

Task 2

Read the following excerpt from an article by a literary scholar:

“The utopia that Shawl, Thomas More, Fourier, Chernyshevsky, Marx, Lenin kept talking about has finally come true. Literature responded to this with the flourishing of the dystopian genre, which arose earlier in the course of polemics with the programs of the utopians in such texts as Gulliver’s Travels to Laputa and the Land of the Guinghnms, “The Legend of the Grand Inquisitor,” “Notes from the Underground” (Dostoevsky), etc. A new flourishing The genre was a reaction to the policies of totalitarian socialism and to the totalitarian claims of the modern state in general, especially in the conditions of technological progress. Dystopia is imbued with disappointment in the idea of ​​a society built on the rationalistic denial of God, free will, the inconsistency of human nature, etc., but which undertakes to ensure universal harmony. This installation was molded into a whole complex of typical schemes, images and positions.”

A. K Zholkovsky. Zamyatin, Orwell and Khvorobiev:

about dreams of a new type. 1994

1. When and why did dystopia emerge as a genre? What caused its occurrence?

2. What phenomena of social order do the authors of dystopias oppose?

3. Is the novel “We” a “dystopian city” or a “dystopian garden”? Where is Zamyatin's book directed - to the past or the future?

Task 3

Read an excerpt from the work of a literary critic:

“The problem of the “new world” as a problem of gaining<...>“The Blessed Country” was staged by almost all of Zamyatin’s contemporaries. Utopia in those years was not just one of the genres - poetry and prose, manifestos of literary groups, reflections of philosophers and publicists were imbued with utopianism. Literature and society dreamed of the future, hastening the passage of time. But during these same years, alarming doubts arose about a person’s right to interfere in the natural course of development of life, to subordinate its whimsical course to some speculative idea. It is no coincidence that the “builders of human welfare” appeared in such different writers, having little in common with each other, as Bulgakov (“Fatal Eggs”, “ dog's heart"), L. Leonov ("The Thief"), M. Slonimsky ("Mashi on Emeri"), B. Pilnyak ("Okhlamony" in "Mahogany"), A. Platonov ("Chevengur"), in the tragic , comic" ironic lighting. Zamyatin was among the first who, having brought the possible results of a heroic action to the point of absurdity, saw its tragic side.”

E. B. Skorospelova. Return. 1990

Re-read entry 27.

1. Find phrases in the text that describe the feelings of the hero who first got behind the Green Wall. How does the hero’s feeling of delight differ from what he experiences in the United State?

2. Is it possible to agree that the country of Mefi is the ideal of the “natural course of development of life”, opposed to the mechanized state?

Task 4

Try to find in the novel “We” the features of life, behavior, and thinking of the inhabitants of the United State, similar to those proclaimed by the ideologist of Proletkult, poet A. Gastev. Is it possible, based on the similarities seen, to say that Zamyatin is resorting to parody to expose the idea of ​​mechanized equality?

Gradually expanding, normalization trends are being introduced into<...>social creativity, food, apartments and, finally, even intimate life down to the aesthetic, mental and sexual demands of the proletariat.<...>It is this feature that gives proletarian psychology an amazing anonymity, which makes it possible to qualify an individual proletarian unit as A. B. S. or as 325,075 and 0, etc. In the future, this tendency imperceptibly creates the impossibility of individual thinking, transforming itself into the objective psychology of an entire class with systems of psychological switching on, switching off, and closures. The manifestations of this mechanized collectivism are only alien to our personalities, so anonymous that the movement of these collective complexes approaches the movement of things in which there seems to be no longer any humanity. individual person, but there are even, normalized steps, there are faces without expression, a soul devoid of lyrics, measured not by screaming, not by laughter, but by a pressure gauge and a taximeter. We are moving towards an unprecedentedly objective demonstration of things, mechanized crowds and stunning open grandeur, knowing nothing intimate or lyrical.”

A. Gastev. On the trends of proletarian culture. 1919

Task 5

1. Re-read the main character’s reasoning about the advantages of the society in which he lives over “ancient societies” in entries 3, 4, 20. Find other places in the novel that characterize the social structure of the United State. Try to identify its main features.

2. To what extent did Zamyatin’s prophecies and warnings come true? Which societies most fully embodied the features of the United State? Can we say that the features of the social order depicted in the novel can be seen today? Is it possible to assume that Zamyatin’s dystopia is yet to come true in the future?

“It is quite likely, however, that Zamyatin did not even think of choosing the Soviet regime as the main target of his satire. He wrote while Lenin was still alive and could not have meant Stalin’s dictatorship, and conditions in Russia in 1923 were clearly not such that anyone would rebel, believing that life was becoming too calm and comfortable. Zamyatin’s goal, apparently, is not to depict a specific country, but to show what machine civilization threatens us with.<...>This is an exploration of the essence of the Machine - the genie that man thoughtlessly let out of the bottle and cannot put back."

D. Orwell. Review of the novel “We” by E. Zamyatin. 1946

2. Trace the change in the image of the main character D-503 throughout the novel. How does his attitude to what is happening in the United State change? Why and how does duality and internal contradiction arise? Is it overcome by the end of the novel? How?

3. Describe the characters with whom the fate of D-503 intersects. What stable appearance features does the author give to each of them - O-90, I-330, R-13? Why does the author constantly use geometric shapes and lines to describe characters?

4. Read a typical example of a description of I-330’s appearance (entry 10): “And I saw a strange combination: dark eyebrows raised high near the discs - a mocking sharp triangle, pointing upward - two deep wrinkles, from the nose to the corners of the mouth. “And these two triangles somehow contradicted one another, putting this unpleasant, irritating X all over the face - like a cross: a face crossed out with a cross.” Do the figures of a triangle and a cross have some meaning for revealing the character and fate of the heroine? What is the meaning of this? Find geometric “details” in the appearance of other characters.

Task 7

“The most acute drama is given to the novel by the confrontation between the individual and the state supersystem.<...>The existence of the One State is harmed by every living human movement. Ideally, the system strives to replace people with robots.

Four impulses bring D-503 out of a state of conformist hibernation: innate emotionality (“a drop of hot blood”), inadvertently set in motion by EG’s excessive self-praise. The second force is art. D listens to the music of Scriabin performed by I-330 and for the first time feels “slow, sweet pain”, feels the burn of the “wild, rushing, scorching sun” in his blood. The third impulse is a visit to an ancient house, which awakens ancient memory (“D felt caught in a wild whirlwind ancient life»). <...>He experiences rejection from the usual climate of the EG, the emergence of another person within himself, “new and alien”, as a disease.<...>The fourth and final moment that completes D’s “state” fall from grace is when he experiences a feeling of overwhelming shock from his proximity to I-330. This is not at all the feeling that he experienced “on pink coupons” on a “sexy day”.

V. Akimov. Man and a single state. 1989

1. Is it possible to see already in the first chapters the future conflict of the hero with the State? What character traits of D-503 increase the severity of the conflict?

2. How does the hero’s love story end? Can the hero's fate be called tragic? What is the essence of his tragedy?

Task 8

“The writer’s prose and especially the novel “We” are truly filled with both many associations and reminiscences from Dostoevsky; it contains a dialogue with his ideas, the development of his images and plot devices. The dystopian narrative, as in “Crime and Punishment”, “Demons”, comes with ever-increasing tension, unexpected “suddenly” and sharp turns of events. The chronicler-narrator, like Raskolnikov, goes through a split personality and a crime against the “numbered” community, then a crisis (punishment) and, finally, a kind of “resurrection” that returns him to the fold of the United State. The pair of main female characters (O and I-330) are connected, as often in Dostoevsky, by the antithesis of the type of meek, humble, on the one hand, and predatory, demonic, on the other.”

V. A. Nedzvetsky. Benefit and benefactor

in the novel by E. I. Zamyatin “We”

Confirm or refute the literary critic’s reasoning. Compare the “crime” before society of Raskolnikov and the hero D-503. What are their similarities and differences?

Task 9

Critics writing about the novel noted the variety of similarities between the novel and the books of the great utopians of the past, with the works of Pushkin, Gogol, Saltykov-Shchedrin, Chernyshevsky, Dostoevsky, Andrei Bely.

List with which works of which authors the plot of the story “We” has something in common. The answer must be detailed.

II. Questions about the works of A. Platonov (the story “The Pit”)

1. Identify the main characters of the story and describe them.

2. Analysis of the symbols of the work.

3. Write out examples of inconsistency language from the text. How can you explain them?

4. Analyze Voshchev’s “life plans” and his conclusions about the construction of the pit.

5. What is the search for each hero? meaning of life", "truth"?

6. Prove that scenes when the characters are left alone with themselves play an important role in the composition of the work.

7. Why did the girl Nastya they found become so dear to the diggers? Prove that the image of the girl occupies a special place in the story.

8. Why is she dying? How does Platonov depict the death of a child?

9. Why was the “pit” dug for happiness, but it turned out to be a grave for a child?

10. At the beginning of the story it talks about construction near the city, and then about events in the village. Doesn't this violate the integrity of the work? Prove your point.

What is the meaning of the title of Platonov's story?

Answers

Creativity test by I. A. Bunin and A. I. Kuprin

OptionI

2 - General Anosov, " Garnet bracelet»;

3 - Mr. from San Francisco.

OptionII

2 - Olesya, "Olesya"

3 - Olya Meshcherskaya, “ Easy breath»

Test on creativity of A. Akhmatova

OptionI

1 - Gorenko; Big Fountain (near Odessa).

OptionII

Test on the works of S. A. Yesenin

13; 2 - 4; 3: 1 - A, 2 - G, 3 - B, 4 - B; 4 - 4; 5 - 2; 6 - 1.

Test on the works of V. V. Mayakovsky

1 - 1; 2 - 2; 3 - 1; 4 - 4; 5 - 1; 6 - 2.

Test on the works of A. M. Gorky

1 - 3; 2 - 2; 3 - 3; 4 - 1; 5 - 2;

6: 1 - Bubnov, 2 - Satin, 3 - Luka, 4 - Baron.

Test on the works of A. A. Blok

13; 2: 1 - G, 2 - B, 3 - A, 4 - B; 3 - 1; 4 - 3; 5 - 3; 6 - 2;

7: 1 - B, 2 - A, 3 - B.

Literature

Buslakova T.P. Russian literature of the twentieth century: Textbook. minimum for an applicant. M., 2001.

Ivanchenko N.P. Preparation for the literature exam: Lessons on repeating Russian classics in 11th grade. M., 2001.

Karpov I. P., Starygina N. N. Open lesson on literature: Plans, notes, materials: A manual for teachers. 3rd ed. M., 2001.

Kuchina T. G., Ledenev A. V. Testing and testing works on literature. 11th grade: Method. allowance. M., 2002.

Literary Dictionary: Textbook. aid for applicants to universities / Comp. and scientific ed. B. S. Bugrov, M. M. Golubkov. 3rd ed., revised. M., 2001.

Moscow regional competitions for schoolchildren in literature: Collection. 9-11 grades / Comp. L. V. Todorov. M., 2002.

Ogloblina N. N. Literature tests. 5-11 grades M., 2001.

Poetry silver age at school: Book for teachers / Author-comp. E. M. Boldyreva, A. V. Ledenev. M., 2001.

Rogover E. S. Russian literature of the twentieth century: To help school graduates and applicants: Textbook, St. Petersburg, 2002.

Russian literature of the 19th-20th centuries: In 2 volumes. T.2: Russian literature of the 20th century: Literary dictionary: Textbook. aid for applicants to universities / Comp. and scientific ed. B. S. Bugrov, M. M. Golubkov. 3rd ed., revised. M., 2001.

Russian literature of the twentieth century: 11th grade: Workshop: Textbook. manual for general education students. institutions / A. A. Kunarev, A. S. Karpov, O. N. Mikhailov, etc.; Comp. E. P. Pronina. M., 2000.

Russian literature of the twentieth century: Textbook. for general education institutions / Ed. Yu. I. Lysy. M., 2000.

Semenov A. N., Semenova V. V. Russian literature of the twentieth century in questions and answers: In 2 parts. Moscow, 2001.

Tropkina L.A. et al. Literature. 11th grade: Lesson notes on the works of L. Andreev, M. Gorky, A. Blok, writers of “Satyricon”. - Volgograd, 2003.

Lesson development By Russian literature XIX century. 10 Class. 1st half of the year. - M.: Vako, 2003. 4. Zolotareva I.V., Mikhailova T.I. Lesson development By Russian literature ...

M. Gorky's play “At the Lower Depths” is rightfully one of the best dramatic works of the writer. This is evidenced by its incredible success for a long time in Russia and abroad. The play has caused and still causes conflicting interpretations regarding the characters depicted and its philosophical basis. Gorky acted as an innovator in dramaturgy, posing an important philosophical question about a person, about his place, role in life, about what is important to him. “Which is better: truth or compassion? What is more necessary?” - these are the words of M. Gorky himself. Incredible success and the recognition of the play “At the Lower Depths” also contributed successful production her on the stage of the Moscow Art Theater in 1902. V. N. Nemirovich-Danchenko wrote to M. Gorky: “The appearance of “The Bottom” at one stroke paved the entire path for theatrical culture... Having in “The Bottom” an example of a truly folk play, we consider this performance the pride of the theater.”

M. Gorky acted as the creator of a new type of social drama. He accurately and truthfully depicted the environment of the inhabitants of the shelter. This is a special category of people with their own destinies and tragedies.

Already in the first author's remark we find a description of the shelter. This is a “cave-like basement.” Poor surroundings, dirt, light coming from top to bottom. This further emphasizes that we're talking about about the very “day” of society. At first the play was called “At the Bottom of Life,” but then Gorky changed the name - “At the Bottom.” It more fully reflects the idea of ​​the work. A sharpie, a thief, a prostitute are representatives of the society depicted in the play. The owners of the shelter are also at the “bottom” of moral rules; they have no moral values, carry a destructive element. Everything in the shelter takes place away from the general flow of life and events in the world. The “bottom of life” does not capture this flow of life.

The characters in the play previously belonged to different layers society, but now they all have one thing in common - their present, hopelessness, inability to change their fate, and some kind of reluctance to do this, a passive attitude towards life. At first, Tick differs from them, but after Anna’s death he becomes the same - he loses hope of escaping from here.

Various origins determines the behavior and speech of the characters. The Actor's speech contains quotes from literary works. The speech of the former intellectual Satin is full of foreign words. Luke's quiet, leisurely, soothing speech can be heard.

There are many different conflicts in the play, storylines. This is the relationship between Ash, Vasilisa, Natasha and Kostylev; Baron and Nastya; Klesch and Anna. We see tragic fates Bubnov, Actor, Satin, Alyoshka. But all these lines seem to run in parallel; there is no common, core conflict between the characters. In the play we can observe a conflict in the minds of people, a conflict with circumstances - this was unusual for the Russian audience.

The author does not tell in detail the history of each shelter, and yet we have enough information about each of them. The life of some, their past, for example, Satin, Bubnov, Actor, is dramatic, worthy in itself separate work. Circumstances forced them to sink to the “bottom”. Others, such as Ash and Nastya, have known the life of this society since birth. There are no main characters in the play; everyone occupies approximately the same position. In the long term, they have no improvement in life, which is depressing with its monotony. Everyone is used to Vasilisa beating Natasha, everyone knows about the relationship between Vasilisa and Vaska Ash, everyone is tired of the suffering of dying Anna. Nobody pays attention to how others live; there are no connections between people; no one is able to listen, sympathize, or help. It’s not for nothing that Bubnov repeats that “the threads are rotten.”

People no longer want anything, do not strive for anything, they believe that everyone on earth is superfluous, that their life has already passed. They despise each other, each considers himself higher, better than others. Everyone is aware of the insignificance of their situation, but does not try to get out, stop eking out a miserable existence and start living. And the reason for this is that they are used to it and have come to terms with it.

But not only social and everyday problems are raised in the play, the characters also argue about the meaning human life, about her values. The play “At the Bottom” is deep philosophical drama. People thrown out of life, who have sunk to the “bottom,” argue about the philosophical problems of existence.

M. Gorky posed in his work the question of what is more useful to a person: truth real life or a comforting lie. This is the question that has caused so much controversy. The preacher of the idea of ​​compassion and lies is Luke, who consoles everyone and speaks kind words to everyone. He respects*^ every person (“not a single flea is bad, all are black”), sees in everyone good start, believes that a person can do anything if he wants. He naively tries to awaken in people faith in themselves, in their strengths and capabilities, in a better life.

Luke knows how important this faith is for a person, this hope for the possibility and reality of the best. Even just a kind, affectionate word, a word that supports this faith, can give a person support in life, solid ground under his feet. Belief in your ability to change and improve own life reconciles a person with the world, as he plunges into his imaginary world and lives there, hiding from what frightens him real world, in which a person cannot find himself. And in reality this person is inactive.

But this only applies to a weak person who has lost faith in himself.

That is why such people are drawn to Luke, listen to him and believe him, because his words are a miraculous balm for their tormented souls.

Anna listens to him because he alone sympathized with her, did not forget about her, told her kind word, which she may have never heard. Luke gave her hope that in another life she would not suffer.

Nastya also listens to Luka, because he does not deprive her of the illusions from which she draws vitality.

He gives Ash hope that he can start life anew where no one knows either Vaska or his past.

Luke talks to the actor about a free hospital for alcoholics, in which he can recover and return to the stage again.

Luke is not just a comforter, he philosophically substantiates his position. One of the ideological centers of the play is the wanderer's story about how he saved two escaped convicts. the main idea Gorky’s character here is that it is not violence, not prison, but only goodness that can save a person and teach goodness: “A person can teach goodness...”

Other inhabitants of the shelter do not need Luke's philosophy, support for non-existent ideals, because it is more strong people. They understand that Luke is lying, but he is lying out of compassion and love for people. They have questions about the necessity of these lies. Everyone argues, and everyone has their own position. All the sleepovers are involved in an argument about truth and lies, but do not take each other very seriously.

In contrast to the philosophy of the wanderer Luke, Gorky presented the philosophy of Satin and his judgments about man. “Lies are the religion of slaves and masters... Truth is God a free man!” When pronouncing monologues, Satin does not expect to convince others of anything. This is his confession, the result of his long thoughts, a cry of despair and a thirst for action, a challenge to the world of the well-fed and a dream of the future. He speaks with admiration about the power of man, about the fact that man was created for the best: “man - this sounds proudly!”, “man is above satiety,” “do not feel sorry..., do not humiliate him with pity... you must respect him.” This monologue, pronounced among the ragged, degraded inhabitants of the shelter, shows that faith in genuine humanism, in the truth, does not fade.

M. Gorky's play “At the Lower Depths” is an acute socio-philosophical drama. Social, since it presents drama caused by the objective conditions of society. The philosophical aspect of drama is rethought in a new way by each generation. For a long time, the image of Luke was assessed as unequivocally negative. Today, in view historical events last decade, the image of Luke is read in many ways differently, he has become much closer to the reader. I believe that there is no clear answer to the author’s question. It all depends on the specific situation and historical era.

The author's position (the fifth in a row, but perhaps not the last) in the play “At the Lower Depths” is created as a result of repulsion from false points of view (Kostylev and Bubnov) and the complementarity of two other points of view (Luka and Satin). The author in a polyphonic work, according to M.M. Bakhtin’s definition, does not subscribe to any of the points of view expressed: the solution to the posed philosophical questions does not belong to one hero, but is the result of the searches of all participants in the action. The author, like a conductor, organizes a polyphonic choir of characters, “singing” the same theme in different voices.

Still, there is no final solution to the question of truth - freedom - man in Gorky's drama. However, this is how it should be in a play that poses “eternal” philosophical questions. The open ending of the work forces the reader himself to think about them.