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Such problematics of Gorky’s epic also determined new artistic forms of its embodiment. One of them was the pairing in each epic work of the artist of two objects of image: objective reality - and consciousness central character, this reality of the perceiver. In particular, the narrator became such a hero (early romantic stories, the cycle “Across Rus'”), main character(“The Life of Matvey Kozhemyakin”, “The Life of Klim Samgin”, autobiographical trilogy). The interaction of these two objects of the image forms the conflict between reality and its perception and, ultimately, the problematic of the work.
Romantic stories of Gorky
In his early works, Gorky appears to the reader as a romantic writer. (Clarify your ideas about romanticism as a literary movement.) Romanticism presupposes the affirmation of an exceptional personality, standing alone with the world, approaching reality from the position of its ideal, making exceptional demands on it. The hero is head and shoulders above the people around him; their society is rejected by him. This is the reason for the loneliness that is so typical of the romantic hero, which is most often thought of by him as a natural state, because people do not understand him and do not accept his ideals. The romantic hero finds an equal beginning only in communication with the elements, with the natural world.
Remember the romantic works of Pushkin and Lermontov.
That is why the landscape, usually devoid of halftones and based on bright colors, expressing the indomitable power of the elements, its beauty and exclusivity. The landscape, thus, becomes animated and, as it were, emphasizes the originality of the character of the hero. Attempts to bring the romantic hero closer to real world most often unpromising: reality does not accept the romantic ideal of the hero due to its exclusivity.
The relationship between characters and circumstances in romanticism
For the romantic consciousness, the correlation of character with real life circumstances is almost unthinkable - this is how the most important feature of the romantic is formed. art world – the principle of romantic duality. The romantic, and therefore ideal, world of the hero is opposed to the real world, contradictory and far from the romantic ideal. The confrontation between romance and reality, romance and the surrounding world is the main feature of this literary movement.
This is exactly how we see the heroes of Gorky’s early romantic stories. The old gypsy Makar Chudra appears before the reader in a romantic landscape: he is surrounded by “the darkness of the autumn night,” which “shuddered and, timidly moving away, revealed for a moment the boundless steppe on the left, the endless sea on the right.”
Pay attention to the animation of the landscape, to the boundlessness of the sea and the steppe, which seem to emphasize the boundlessness of the hero’s freedom, his inability and unwillingness to exchange this freedom for anything.
A few lines later, Makar Chudra will directly state this position, talking about a person, from his point of view, who is not free: “Does he know his will? Is the expanse of the steppe clear? Talk sea wave does his heart rejoice? He is a slave - as soon as he was born, he is a slave all his life, and that’s it!”
Against the background of a romantic landscape, the old woman Izergil is depicted: “The wind flowed in a wide, even wave, but sometimes it seemed to jump over something invisible and, giving birth to a strong gust, fluttered the women’s hair into fantastic manes that billowed around their heads.”
It is in such a landscape - seaside, night, mysterious and beautiful - that Makar Chudra and the old woman Izergil, the main characters of these stories, can realize themselves. Their consciousness and characters, with their sometimes mysterious contradictions, become the main subject of the image. It is for these heroes that the stories were written, and artistic media, used by the author, he needs to show the heroes in all their complexity and inconsistency, in order to explain their strength and weakness. Makar Chudra and Izergil, being at the center of the story, receive the maximum opportunity for self-realization. The writer gives them the right to talk about themselves, to freely express their views. The legends they tell, while possessing undoubted artistic independence, nevertheless serve primarily as a means of revealing the image of the main character, after whom the work is named.
The legends express the ideas of Makar Chudra and the old woman Izergil about the ideal and anti-ideal in man, i.e., the romantic ideal and the anti-ideal are presented. Talking about Danko and Larra, about Radda and Loiko Zobar, Izergil and Chudra talk more about themselves. The author needs these legends so that Izergil and Chudra can express their own views for life. Let's try to determine the main qualities of these characters.
Makar Chudra, like any romantic, has in his character the only beginning which he believes to be valuable: the maximalist desire for freedom. Izergil is sure that her whole life was subordinated to only one thing - love for people. The same single principle, brought to the maximum extent, is embodied by the heroes of the legends told by them. For Loiko Zobar, the highest value is also freedom, openness and kindness. Radda is the highest, exceptional manifestation of pride, which even love for Loiko Zobar cannot break. The insoluble contradiction between two principles in a romantic character - love and pride - is thought of by Makar Chudra as completely natural, and it can only be resolved the way it was resolved - by death. The only character trait in its maximum manifestation is carried by Danko and Larra, about whom the old woman Izergil talks. Danko embodies the extreme degree of self-sacrifice in the name of love for people, Larra - extreme individualism.
Romantic character motivation
Larra's exceptional individualism is due to the fact that he is the son of an eagle, who embodies the ideal of strength and will. There is simply no need to talk about the motivation of the characters of Danko, Radda or Zobar - they are like that in their essence, that’s what they were from the very beginning.
The action of the legends takes place in chronologically indefinite ancient times - this is, as it were, the time preceding the beginning of history, the era of first creations. However, in the present there are traces directly related to that era - these are blue lights, remaining from Danko’s heart, Larra’s shadow, which Izergil sees; Handsome Loiko and proud Radda circling smoothly and silently in the darkness of the night.
Composition of romantic stories
The composition of the narrative in romantic stories is entirely subordinated to one goal: to most fully show the image of the main character, be it Izergil or Makar Chudra. By forcing them to tell the legends of their people, the author presents a system of values, their understanding of the ideal and anti-ideal in human character, shows which personality traits, from the point of view of his heroes, are worthy of respect or contempt. In other words, the heroes thus seem to set a coordinate system, based on which they themselves can be judged.
So, a romantic legend is the most important means of creating the image of the main character. Makar Chudra is absolutely sure that pride and love are two wonderful feelings, brought by the romantics to their highest expression, cannot be reconciled, because compromise is generally unthinkable for the romantic consciousness. The conflict between the feeling of love and the feeling of pride, which Radda and Loiko Zobar experience, can only be resolved by the death of both: a romantic cannot sacrifice either love or knowing boundaries, nor absolute pride. But love presupposes humility and the mutual ability to submit to the beloved. This is something neither Loiko nor Radda can do.
How does Makar Chudra evaluate this position? He believes that this is how he should perceive life real man, exemplary, and that only with such life position You can maintain your own freedom.
But does the author agree with his hero? What is author's position and what are the artistic means of its expression? To answer this question we must turn to such an important compositional features Gorky's early romantic stories, like the presence the image of the narrator. In fact, this is one of the most inconspicuous images; it hardly shows itself in action. But it is the view of this man, wandering around Rus' and meeting many different people on his way, that is very important for the writer. In the compositional center of any Gorky epic work there will always be a perceiving consciousness - negative, distorting real picture life, or positive, fulfilling being highest meaning and content. It is this perceiving consciousness that is ultimately the most important subject of the image, the criterion for the author’s assessment of reality and the means of expressing the author’s position.
In the later cycle of stories “Across Rus',” Gorky will call the hero-narrator not a passer-by, but passing by emphasizing his caring view of reality. The fate and worldview of the “passing person” reveal the features of Gorky himself. Therefore, many researchers suggest talking about Gorky’s narrator in these stories as autobiographical hero.
It is the close, interested gaze of the autobiographical hero that snatches from the meetings given to him by fate the most interesting and ambiguous characters - they turn out to be the main subject of depiction and research. In them the author sees a manifestation folk character turn of the century, tries to explore its weak and strengths. The author’s attitude towards them is admiration for their strength and beauty (as in the story “Makar Chudra”), or poetry, a penchant for aesthetic perception of the world (as in “Old Woman Izergil”), but at the same time disagreement with their position, the ability to see contradictions in their characters. Such a complex relationship is expressed in stories not directly, but indirectly, using a variety of artistic means.
Makar Chudra only skeptically listens to the objection of the autobiographical hero: what, in fact, their disagreement is remains, as it were, behind the scenes of the narrative. But the end of the story, where the narrator, looking into the darkness of the steppe, sees how the handsome gypsy Loiko Zobar and Radda, the daughter of the old soldier Danila, “were spinning in the darkness of the night smoothly and silently, and the handsome Loiko could not catch up with the proud Radda,” reveals him position. These words convey the author’s admiration for their beauty and uncompromisingness, the strength of their feelings, and an understanding of the impossibility of any other resolution to the conflict for the romantic consciousness. At the same time, this is an awareness of the futility of such an outcome of the matter: after all, even after death, Loiko in his pursuit will not be equal to the proud Radda.
The position of the autobiographical hero in “Old Woman Izergil” is more complexly expressed. Creating an image main character, Gorky, through compositional means, gives her the opportunity to present a romantic ideal that expresses highest degree love for people (Danko), and an anti-ideal that embodied individualism and contempt for others brought to its apogee (Larra). The ideal and the anti-ideal, the two romantic poles of the narrative, expressed in legends, set the coordinate system within which Izergil herself wants to place herself. The composition of the story is such that two legends seem to frame the story of her own life, which constitutes the ideological center of the narrative. Of course, condemning Larra’s individualism, Izergil thinks that her own life and destiny tend more toward Danko’s pole, which embodies the highest ideal of love and self-sacrifice. In fact, her life, like Danko’s life, was entirely devoted to love - the heroine is absolutely sure of this. But the reader immediately draws attention to how easily she forgot her former love for the sake of a new one, how simply she left the people she once loved. They ceased to exist for her when the passion passed.
Her indifference to her once beloved people amazes the narrator: “I left then. And I never met him again. I was happy about this: I never met those I once loved again. These are not good meetings, it’s like meeting dead people.”
In everything - in the portrait, in the author's comments - we see a different point of view on the heroine. It is through the eyes of the autobiographical hero that the reader sees Izergil. Her portrait immediately reveals a very significant aesthetic contradiction. A young girl or a young woman full of strength should be talking about beautiful sensual love. Before us is a very old woman, in her portrait anti-aesthetic features are deliberately intensified: “Time bent her in half, her once black eyes were dull and watery. Her dry voice sounded strange, it crunched, as if the old woman was speaking with bones.”
Izergil is sure that her life, full of love, passed completely differently from the life of the individualist Larra; she cannot even imagine anything in common with him, but the gaze of the autobiographical hero finds this commonality, paradoxically bringing their portraits closer together. “He has now become like a shadow - it’s time! He lives for thousands of years, the sun dried his body, blood and bones, and the wind scattered them. This is what God can do to a man for pride!..” – Izergil says about Larra. But the narrator sees almost the same features in the ancient old woman Izergil: “I looked into her face. Her black eyes were still dull, they were not revived by the memory. The moon illuminated her dry, cracked lips, her pointed chin with gray hair it also has a wrinkled nose, curved like the beak of an owl. In place of her cheeks there were black pits, and in one of them lay a strand of ash-gray hair that had escaped from under the red rag that was wrapped around her head. The skin on the face, neck and hands is all cut up with wrinkles, and with every movement of old Izergil, one could expect that this dry skin would all rip, fall apart in pieces and a naked skeleton with dull black eyes would stand in front of me.”
Everything in the image of Izergil reminds the narrator of Larra - first of all, of course, her individualism, taken to the extreme, almost approaching Larra’s individualism, her antiquity, her stories about people who have long ago passed their circle of life: “And all of them are just pale shadow, and the one they kissed sits next to me, alive, but withered by time, without a body, without blood, with a heart without desires, with eyes without fire - also almost a shadow,” remember that Larra turned into a shadow.
The fundamental distance between the position of the heroine and the narrator forms the ideological center of the story and determines its problematics. The romantic position, for all its beauty and sublimity, is denied by the autobiographical hero. He shows its futility and affirms the relevance of a more sober, realistic position.
In fact, the autobiographical hero is the only realistic image in Gorky’s early romantic stories. His realism is manifested in the fact that his character and fate reflected the typical circumstances of Russian life in the 1890s. The development of Russia along the capitalist path led to the fact that millions of people were torn from their places, forming an army of tramps, vagabonds, as if “broken out” (B.V. Mikhailovsky) from the previous social framework and have not acquired new strong social ties. Gorky's autobiographical hero belongs to precisely this layer of people.
Despite all the drama of this process, it was positive: the outlook and worldview of the people who set off on a journey through Rus' was incomparably deeper and richer than that of previous generations; completely new aspects of national life were revealed to them. Russia seemed to be getting to know itself through these people. That is why the view of the autobiographical hero is realistic, he can understand the limitations of a purely romantic worldview, which dooms Makar Chudra to loneliness and leads Izergil to complete exhaustion.
What features of romanticism were reflected in “Song of the Falcon” (1895, second edition – 1899)? in "Song of the Petrel" (1901)? How can you determine the genre of these works? What is an allegory? How is the conflict embodied? What is the role of landscape? What are the artistic means of creating images? How is the author's position expressed?
Drama "At the Bottom"
Remember what is unique about drama as a type of literature.
Drama, by its very nature, is meant to be staged. Focus on stage interpretation limits the artist's means of expressing the author's position. Unlike the author of an epic work, he cannot directly express his position - the only exceptions are the author's remarks, which are intended for the reader or actor, but which the viewer will not see. The author's position is expressed in the monologues and dialogues of the characters, in their actions, and in the development of the plot. In addition, the playwright is limited in the volume of the work (the play can run for two, three, or at most four hours) and in the number of characters(all of them must “fit” on stage and have time to realize themselves in the limited time of the performance and the space of the stage).
That is why in drama a special burden falls on conflict, an acute clash between characters over a very significant and significant issue for them. Otherwise, the heroes simply will not be able to realize themselves in the limited volume of drama and stage space. The playwright ties such a knot, when unraveling it, a person shows himself from all sides. At the same time, there cannot be “extra” heroes in a drama - all heroes must be included in the conflict, the movement and course of the play must capture them all. Therefore, sharp conflict situation, playing out in front of the viewer, turns out to be the most important feature of drama as a type of literature.
The subject of depiction in Gorky’s drama “At the Bottom” (1902) is the consciousness of people thrown to the bottom of life as a result of deep social processes. In order to embody a similar subject image stage means, the author needed to find an appropriate situation, an appropriate conflict, as a result of which the contradictions in the consciousness of the night shelters, its strengths and weaknesses would most fully manifest themselves. Is social conflict suitable for this?
Indeed, social conflict is presented on several levels in the play. Firstly, there is a conflict between the owners of the shelter, the Kostylevs, and its inhabitants. It is felt by the characters throughout the play, but it turns out to be static, devoid of dynamics, and non-developing. This happens because the Kostylevs themselves are not so far away from the inhabitants of the shelter in social terms. The relationship between the owners and the inhabitants can only create tension, but not become the basis of a dramatic conflict that can “start” the drama.
In addition, each of the heroes in the past experienced their own social conflict, as a result of which they found themselves at the “bottom” of life, in a shelter.
Remember what brought Satin, Baron, Kleshch, Bubnov, Actor, Nastya, and other heroes to the Kostylevs’ shelter. Try to reconstruct the backstory of these characters.
But these social conflicts are fundamentally taken off stage, pushed into the past and therefore do not become the basis of a dramaturgical conflict. We see only the result of social turmoil, which had such a tragic impact on people’s lives, but not these clashes themselves.
The presence of social tension is indicated already in the title of the play. After all, the very fact of the existence of the “bottom” of life also presupposes the presence of a “rapid stream,” its upper course, to which the characters strive. But this cannot become the basis of a dramatic conflict - after all, this tension is also devoid of dynamics, all attempts of the heroes to leave the “bottom” turn out to be futile. Even the appearance of the policeman Medvedev does not give impetus to the development of the dramatic conflict.
Perhaps the drama is orchestrated by a traditional love conflict? Indeed, such a conflict is present in the play. It is determined by the relationships between Vaska Pepla, Vasilisa, Kostylev’s wife, the owner of the shelter and Natasha.
Follow the development of the love plot in the drama “At the Bottom.”
The exposition of the love plot is the appearance of Kostylev in the rooming house and the conversation of the roommates, from which it is clear that Kostylev is looking for his wife Vasilisa in the rooming house, who is cheating on him with Vaska Ash. The beginning of the love conflict is the appearance of Natasha in the shelter, for whose sake Ashes leaves Vasilisa. As the love conflict develops, it becomes clear that the relationship with Natasha enriches Ash and revives him to a new life.
Follow the evolution that the hero experiences under the influence of his relationship with Natasha.
Climax The love conflict is fundamentally moved off stage: we do not see exactly how Vasilisa scalds Natasha with boiling water, we only learn about it from the noise and screams behind the stage and the conversations of the roomies. The murder of Kostylev by Vaska Ash turns out to be the tragic outcome of a love conflict.
Of course, a love conflict is also a facet of a social conflict. He shows that the anti-human conditions of the “bottom” cripple a person, and the most sublime feelings, even love, lead not to personal enrichment, but to death, mutilation and hard labor. Having thus unleashed a love conflict, Vasilisa emerges victorious and achieves all her goals at once: she takes revenge ex-lover Vaska Pepl and his rival Natasha, gets rid of her unloved husband and becomes the sole mistress of the shelter. There is nothing human left in Vasilisa, and her moral impoverishment shows the monstrosity of the social conditions in which both the inhabitants of the shelter and its owners are immersed.
But a love conflict cannot organize stage action and become the basis of a dramatic conflict, if only because, unfolding before the eyes of the night shelters, it does not affect them themselves. They are keenly interested in the ups and downs of these relationships, but do not participate in them, remaining only outside spectators. Consequently, a love conflict also does not create a situation that could form the basis of a dramatic conflict.
Let us repeat once again: the subject of depiction in Gorky’s play is not only and not so much the social contradictions of reality or possible ways to resolve them; he is interested in the consciousness of the night shelters in all its contradictions. This type of image is typical for the genre philosophical drama. Moreover, he also demands non-traditional forms artistic expression: traditional external action(event series) gives way to the so-called internal action. Everyday life is reproduced on stage: minor quarrels occur between night shelters, some of the characters appear and disappear. But these circumstances are not the plot-shaping ones. Philosophical issues forces the playwright to transform traditional forms dramas: the plot is manifested not in the actions of the characters, but in their dialogues; Gorky translates the dramatic action into an extra-event series.
In the exhibition we see people who, in essence, have come to terms with their tragic situation at the bottom of their lives. The beginning of the conflict is the appearance of Luke. Outwardly, it does not affect the lives of the shelters in any way, but in their minds hard work begins. Luka immediately becomes the center of their attention, and the entire development of the plot is concentrated on him. In each of the heroes, he sees the bright sides of his personality, finds the key and approach to each of them. And this produces a true revolution in the lives of the heroes. Development internal action begins at the moment when the heroes discover in themselves the ability to dream about new and better life.
It turns out that those bright sides that Luke guessed in each character in the play constitute his true essence. It turns out that the prostitute Nastya dreams of beautiful and bright love; The actor, a drunken man, remembers his creativity and seriously thinks about returning to the stage; “hereditary” thief Vaska Pepel finds in himself a desire for an honest life, wants to go to Siberia and become a strong master there. Dreams reveal the true human essence of Gorky's heroes, their depth and purity. This is how another facet of the social conflict appears: the depth of the heroes’ personality, their noble aspirations find themselves in blatant contradiction with their current social position. The structure of society is such that a person does not have the opportunity to realize his true essence.
Find confirmation of this in the text of the play. Show the dreams of other heroes. Is each of them ready to respond to Luke's words? What is Bubnov's position? Why does he refuse to dream?
From the first moment of his appearance in the shelter, Luka refuses to see the shelters as swindlers. “I respect swindlers too, in my opinion, not a single flea is bad: they’re all black, they all jump,” he says, justifying his right to call his new neighbors “honest people” and rejecting Bubnov’s objection: “I was honest, Yes, the spring before last.” The origins of this position lie in Luke’s naive anthropologism, which believes that man is inherently good and only social circumstances make him bad and imperfect.
How can you prove this with text? How does Luke's story of how he guarded the dacha confirm his belief in the inherent goodness of every person? Why did the crooks break into his house and want to rob him? How did Luke punish them? How did their relationship develop further? Why, according to Luke and in their own words, did they become thieves? Do you think it is possible to re-educate them as easily as Luke did?
This parable story by Luke clarifies the reason for his warm and friendly attitude towards all people - including those who find themselves at the “bottom” of life.
What are the artistic means of creating the image of Luke? What's happened speech characteristic? How does Luke's speech characterize him? What proverbs and sayings does he use? What role do the author’s remarks play in creating his image? How does Luke characterize his sermon? What characteristics does he receive from other heroes after his disappearance? What is self-characteristic? What is Luke's self-characteristic? How is his philosophical position justified? What role does the parable of the righteous land told by him play in its justification? How does it relate to the fate of the Actor? How is the author's position revealed in this relationship? Does Gorky agree with his hero or is there a tense argument between them throughout the play?
Luke's position appears very complex in the drama, and author's attitude looks ambiguous towards him. On the one hand, Luke is absolutely unselfish in his preaching and in his desire to awaken in people the best, hitherto hidden sides of their nature, which they did not even suspect - they contrast so strikingly with their position at the very bottom of society. He sincerely wishes the best to his interlocutors and shows real ways to achieve a new, better life. And under the influence of his words, the heroes really experience a metamorphosis. The actor stops drinking and saves money in order to go to a free hospital for alcoholics, not even suspecting that he does not need it: the dream of returning to creativity gives him the strength to overcome his illness. Ash subordinates his life to the desire to leave with Natasha for Siberia and get back on his feet there. The dreams of Nastya and Anna, Kleshch's wife, are completely illusory, but these dreams also give them the opportunity to feel happier. Nastya imagines herself as a heroine of pulp novels, showing in her dreams of the non-existent Raoul or Gaston feats of self-sacrifice of which she is truly capable; Dying Anna, dreaming of an afterlife, also partly escapes from a feeling of hopelessness. Only Bubnov and Baron, people completely indifferent to others and even to themselves, remain deaf to Luke’s words.
Luka’s position is revealed by the dispute about what truth is that he had with Bubnov and Baron, when the latter mercilessly exposes Nastya’s baseless dreams about Raul: “Here... you say - the truth... It is true - not always because of a person’s illness... You can’t always cure a soul with truth…” In other words, Luke affirms the charity of a comforting lie for a person. But is it only lies that Luke asserts?
Our literary criticism has long been dominated by the concept according to which Gorky unequivocally rejects Luke’s comforting sermon. But the writer's position is more complicated.
In fact, is Luke lying when he shows Ash and Natasha the path to an honest life? Is he lying when he gives the Actor confidence in his strength? And if he convinces Anna of the existence of an afterlife (which, in essence, also cannot be considered a lie, but is a matter of faith and religious beliefs), then are his words really so bad - aren’t there more humanity in them than in despair? The mite and vulgarity of Baron and Bubnov? How would you answer these questions yourself?
The author's position is expressed primarily in the development of the plot. After Luke leaves, everything happens completely differently from what the heroes expected and what Luke convinced them of. Vaska Pepel will indeed go to Siberia, but not as a free settler, but as a convict convicted of the murder of Kostylev. The actor, who has lost faith in his own abilities, will exactly repeat the fate of the hero of the parable about the righteous land, told by Luke. Trusting the hero to tell this plot, Gorky himself will beat him in the fourth act, drawing exactly the opposite conclusions. Luke, having told a parable about a man who, having lost faith in the existence of a righteous land, hanged himself, believes that a person should not be deprived of hope, even illusory. Gorky, through the fate of the Actor, assures the reader and viewer that it is false hope that can lead a person to a noose. But let’s return to the previous question: how did Luka deceive the inhabitants of the shelter?
The actor accuses him of not leaving the address of the free hospital. All the heroes agree that the hope that Luke instilled in their souls is false. But he did not promise to bring them out of the bottom of life - he simply supported their timid faith that there was a way out and that it was not closed to them. The self-confidence that awoke in the minds of the night shelters turned out to be too fragile and with the disappearance of the hero who was able to support it, it immediately faded away. The whole point is in the weakness of the heroes, in their inability and unwillingness to do at least a little in order to resist the ruthless social circumstances that doom them to existence in the Kostylevs' shelter.
Therefore, the author addresses the main accusation not to Luke, but to the heroes who are unable to find the strength to oppose their will to reality. Thus Gorky manages to reveal one of the characteristic features of the Russian national character: dissatisfaction with reality, a sharply critical attitude towards it and a complete unwillingness to do anything to change this reality. That is why Luke finds such a warm response in their hearts: after all, he explains the failures of their lives by external circumstances and is not at all inclined to blame the heroes themselves for their failed lives. And the thought of trying to somehow change these circumstances does not occur to either Luke or his flock. That is why the heroes experience Luke’s departure so dramatically: the hope awakened in their souls cannot find internal support in their characters; they will always need external support, even from such a helpless person in a practical sense as the “patchless” Luka.
Romanticism and realism in the works of M. Gorky
Maxim Gorky entered Russian literature as a herald of a renewal of life. Despite the fact that Gorky’s early work dates back to the period when realism had already formed in Russian literature as creative method, his first stories can be safely called romantic in style, in the character of the characters, and in the situation reproduced in these works.
Romanticism presupposes the affirmation of an exceptional individual who enters into a one-on-one struggle with the world, approaches reality from the position of his ideal, and makes exceptional demands on the environment. The romantic hero is head and shoulders above the people around him; their society is rejected by him. This is the reason for the loneliness so typical of the romantic, which he most often thinks of as a natural state, because people do not understand it and reject his ideal. Therefore, the romantic hero finds an equal beginning only in communication with the elements, with the world of nature, the ocean, sea, mountains, coastal rocks. These are the heroes of Gorky’s early stories: Danko, Larra, Radda and others.
A large role in romantic works is played by the landscape - devoid of halftones, based on bright colors, expressing the most indomitable essence of the element and its beauty and exclusivity. It is through the landscape that the original character of the hero is expressed (remember the unique landscape sketches, for example, in “Old Woman Izergil”; in the romantic landscape the old gypsy Makar Chudra appears before the reader: he is surrounded by “the darkness of the autumn night,” which “shuddered and, fearfully moving away, revealed for a moment on the left - the boundless steppe, on the left - the endless sea"). However, the loneliness of a romantic hero can be interpreted both as rejection of his ideal by people, and as a drama of incomprehension and lack of recognition. But even in this case, attempts to get closer to the real world are most often futile: reality does not accept the romantic ideal of the hero due to its exclusivity. Evidence of this is that the main feature of the romantic artistic world is the principle of romantic dual worlds. The romantic, and therefore ideal, world of the hero is opposed to the real world, contradictory and far from the romantic ideal. This is exactly how we see the heroes of Gorky’s early stories, opposing reality. Larra's exceptional individualism, for example, is due to the fact that he is the son of an eagle, who embodies the ideal of strength and will. Nevertheless, people saw “that he was no better than them, only his eyes were cold and proud, like those of the king of birds.” Pride and contempt for others are the two principles that Larra carries within herself. Naturally, this dooms him to loneliness, but this is a desired loneliness for a romantic, resulting from the impossibility of finding someone on earth equal to himself in some way. The hero, in splendid isolation, confronts people and is not afraid of their judgment, since he does not understand it and despises judges. They wanted to sentence him to death, but they are condemning him to immortality, because by killing him, they would only confirm his exclusivity, his right to command and speak to them as slaves - and their powerlessness and fear of him. There is simply no need to talk about the conditionality of Danko’s character - he is like that from the very beginning, in essence.
The composition of the narrative in romantic stories is entirely subordinated to one goal: to recreate the image of the main character as completely as possible. By telling the legends of their people, the heroes give the author ideas about their value system, about the ideal and anti-ideal in human character, as they themselves understand it, and show which personality traits are worthy of respect or contempt. In other words, they thus, as it were, create a coordinate system based on which they can be judged themselves.
A romantic legend is the most important means of creating the image of the main character. Makar Chudra is absolutely sure that pride and love, two beautiful feelings brought by romantics to their highest expression, cannot be reconciled, because compromise is generally unthinkable for the romantic consciousness. The conflict between the feeling of love and the feeling of pride that Rada and Loiko Zobar experience can only be resolved by the death of both: a romantic cannot sacrifice either love that knows no boundaries or absolute pride. But love presupposes humility and the mutual ability to submit to the beloved. This is something neither Loiko nor the Rada can do. But the most interesting thing is how Makar Chudra evaluates this position. He believes that this is exactly how a real person worthy of imitation should perceive life, and that only in such a position in life can one preserve one’s own freedom. The conclusion he made long ago from the story of Rada and Loiko is significant: “Well, falcon, do you want me to tell you a true story? And you remember it, and as you remember it, you will be a free bird throughout your life.” In other words, a truly free person could only realize himself in love, as the heroes “were” did.
Special in early stories Gorky are also ways of expressing the author’s position: Gorky’s early romantic stories are characterized by the presence of an image of the narrator. In fact, this is one of the most inconspicuous images, it almost does not manifest itself directly, but the gaze of this particular person is very important for the writer. Gorky calls the narrator not a passer-by, but a passer-by, emphasizing his caring attitude towards everything that falls within the sphere of his perception and comprehension. The fate and worldview of this “passing man” reveal the features of Gorky himself; the fate of his hero largely reflected the fate of the writer, who in his youth experienced Russia in his travels. This gives many researchers the right to talk about Gorky’s narrator in these stories as an autobiographical hero.
Makar Chudra only skeptically listens to the objection of the autobiographical hero - what exactly is their disagreement remains, as it were, behind the scenes of the narrative. But the end of the story, where the narrator, looking into the darkness, sees how the handsome gypsy Loiko Zobar and Rada, the daughter of the old soldier Danila, “were spinning in the darkness of the night smoothly and silently, and the handsome Loiko could not catch up with the proud Rada,” reveals his position . These words contain admiration for their beauty and uncompromisingness, the strength and irresistibility of their feelings, an understanding of the impossibility of any other resolution to the conflict for the romantic consciousness - but also an awareness of the futility of such a position: after all, even after death, Loiko will not be on par with the proud Rada in his pursuit.
The position of the autobiographical hero in “Old Woman Izergil” is more complexly expressed. By creating the image of the main character using compositional means, Gorky gives her the opportunity to present a romantic ideal that expresses the highest degree of love for people (Danko), and a romantic anti-ideal that embodies individualism and contempt and dislike for people brought to its apogee (Larra). The ideal and the anti-ideal, the two romantic poles of the narrative, expressed in legends, set the coordinate system within which the old woman Izergil herself wants to place herself. The composition of the story is such that two legends seem to frame the narrative of her own life, which constitutes the ideological center of the narrative. Despite Izergil’s confidence that all her life she rather strived for Danko’s pole, the reader immediately draws attention to how easily she forgot her former love for the sake of a new one, how simply she left the people she once loved. In everything - in the portrait, in the author's comments - we see a different point of view on the heroine. A young girl or a young woman full of strength should be talking about beautiful sensual love; Before us is a very old woman, “time has bent her in half, her once black eyes were dull and watery. Her dry voice sounded strange, it crunched, as if the old woman was speaking with bones.” Izergil is sure that her life, full of love, was completely different from the life of the individualist Larra. But everything in the image of Izergil reminds the reader of his - first of all, her individualism, which is approaching Larra’s individualism, her nervousness, her stories about people who have long ago passed their own circle of life: “And they are all just shadows.”
The fundamental distance between the position of the heroine and the narrator forms the ideological center of the story and determines its problematics. The romantic position, for all its beauty and sublimity, is denied by the autobiographical hero. In fact, the autobiographical hero is the only realistic image in Gorky's early romantic stories.
But is Gorky’s work connected only with romanticism? When the writer brought the story “Old Woman Izergil” to Korolenko, he said: “Some strange thing. This is romanticism, and it died long ago. I very much doubt that this Lazarus is worthy of resurrection. It seems to me that you are not singing in your own voice. You are a realist, not a romantic, a realist!” But after the story “Chelkash” Korolenko was forced to admit young author both realist and romantic.
If for realism XIX century, the main thing was to explain character by those life circumstances of social, everyday, ethical, aesthetic plan, which influence him, then in the new type of realism, the emergence of which is associated precisely with the name of Gorky, the principles of typification change. The influence becomes, as it were, bidirectional: now not only the character is influenced by the environment, but the possibility and even necessity of the individual’s influence on the environment is also affirmed. A new concept of personality is being formed: a person who is not reflective, but creative, realizing himself not in the sphere of private intrigue, but in the public arena. The artist's trust in his hero was evident in the literature of this period.
Heroes of Gorky, thanks magical power realistic creativity, turn out to be endowed with their own will, so they are able to argue with the author - and win this dispute. In general, realistic literature knows amazing facts a dispute between a literary hero and his creator. Pushkin also spoke about the heroine’s ability to act as if against the author’s will: his Tatyana got married without the author’s knowledge and unexpectedly for him. In this famous joke by Pushkin, the law of realistic literature was formed: the artistic world becomes the real world, the characters come to life and dictate their will to the author, often contrary to his plan, disagree with him, and are capable of arguing and resisting the author’s dictate, which violates the logic of character. Gorky often experienced this opposition, perhaps without even noticing it.
Place punctuation marks. Specify two sentences in which you need to put ONE comma. Write down the numbers of these sentences.
1) His relatives and colleagues and numerous friends came to congratulate the hero of the day.
2) The romantic hero finds his equal beginning only in communication with the elements: with the world of the ocean or sea, mountains or coastal rocks.
3) In an excerpt from “ Antonov apples“Bunin one senses not so much the author’s desire to be a landowner as the desire to be free from petty matters.
4) Constant movement, striving towards other limits is the essence creative life and this is exactly what Pasternak wrote about in one of his poems.
5) In the morning the east lit up with a blush and the small clouds turned a delicate color.
Explanation (see also Rule below).
Let's put punctuation marks. Let's emphasize the commas.
1) His relatives, colleagues, and numerous friends came to congratulate the hero of the day. Added two commas: Oh, and Oh, and Oh
2) The romantic hero finds an equal beginning only in communication with the elements: with the world of the ocean or sea, mountains or coastal rocks. O and O, O and O, put one comma
3) In the excerpt from Bunin’s “Antonov Apples,” one senses not so much the author’s desire to be a landowner, but rather the desire to be free from petty matters. Model: NOT SO MUCH ABOUT, AS MUCH ABOUT , put one comma before the second part of the conjunction
4) (Constant movement, striving towards other limits is the essence of creative life), and (Pasternak wrote about this in one of his poems). A complex sentence, in the first row of homogeneous put two commas .
5) (In the morning the east lit up with a blush) and (small clouds turned a delicate color). Complex sentence with a common minor member, no commas.
Answer: 23|32.
Answer: 23
Relevance: Current academic year
Rule: Punctuation marks in BSC and in sentences with homogeneous members. Task 16.
PUNCTUATION MARKS IN COMPLEX SENTENCES AND IN SENTENCES WITH HOMOGENEOUS MEMBERS
This task tests knowledge of two punctograms:
1. Commas in a simple sentence with homogeneous members.
2. Commas in a complex sentence, the parts of which are connected by coordinating conjunctions, in particular, the conjunction I.
Target: Find TWO sentences that require ONE comma in each. Not two, not three (but this happens!) commas, but one. In this case, you need to indicate the numbers of those sentences where the missing comma was PUT, since there are cases when the sentence already has a comma, for example, in an adverbial phrase. We don't count her.
You should not look for commas in various phrases, introductory words and in the IPP: according to the specification in this task, only the three indicated punctograms are checked. If the sentence requires commas for other rules, they will already be placed
The correct answer will be two numbers, from 1 to 5, in any sequence, without commas or spaces, for example: 15, 12, 34.
Legend:
OC - homogeneous members.
SSP is a compound sentence.
The algorithm for completing the task should be like this:
1. Determine the number of bases.
2. If the sentence is simple, then we find ALL rows in it homogeneous members and turn to the rule.
3. If there are two basics, then this is a complex sentence, and each part is considered separately (see point 2).
Do not forget that homogeneous subjects and predicates create NOT a complex, but a simple complicated sentence.
15.1 PUNCTION MARKS FOR HOMOGENEOUS MEMBERS
Homogeneous members of a sentence are those members that answer the same question and relate to the same member of the sentence. Homogeneous members of a sentence (both main and secondary) are always connected by a coordinating connection, with or without a conjunction.
For example: In “The Childhood Years of Bagrov the Grandson,” S. Aksakov describes with truly poetic inspiration both summer and winter pictures of Russian nature.
In this sentence there is one row of meanings, these are two homogeneous definitions.
One sentence can have several rows of homogeneous members. Yes, in a sentence Soon a heavy downpour hit and covered with the noise of rain streams and gusts of wind, and the groans of the pine forest two rows: two predicates, hit and covered; two additions, gusts and groans.
note: Each row of OCs has its own punctuation rules.
Let's consider various schemes of sentences with och and formulate the rules for placing commas.
15.1.1. A series of homogeneous members connected ONLY by intonation, without conjunctions.
General scheme: OOO .
Rule: if two or more words are connected only by intonation, a comma is placed between them.
Example: yellow, green, red apples.
15.1.2 Two homogeneous members are connected by the union AND, YES (in the meaning of AND), EITHER, OR
General scheme: O and/yes/either/or O .
Rule: if two words are connected by a single conjunction I/DA, no comma is placed between them.
Example 1: The still life shows yellow and red apples.
Example 2: Everywhere she was greeted cheerfully and friendly.
Example 3: Only you and I will stay in this house.
Example 4: I will cook rice with vegetables or pilaf.
15.1.3 The last OC is joined by the union I.
General scheme: O, O and O.
Rule: If the last homogeneous member is joined by a conjunction and, then a comma is not placed in front of it.
Example: The still life shows yellow, green and red apples.
15.1.4. There are more than two homogeneous members and a union AND repeated at least twice
Rule: For various combinations of union (clause 15.1.2) and non-union (clause 15.1.1) combinations of homogeneous members of a sentence, the rule is observed: if there are more than two homogeneous members and the union AND is repeated at least twice, then a comma is placed between all homogeneous terms
General scheme: Oh, and Oh, and Oh.
General scheme: and O, and O, and O.
Example 1: The still life shows yellow, and green, and red apples.
Example 2: The still life shows and yellow, and green, and red apples.
More complex examples:
Example 3: From the house, from the trees, and from the dovecote, and from the gallery- Long shadows ran far away from everything.
Two unions and, four och. Comma between och.
Example 4: It was sad in the spring air, and in the darkening sky, and in the carriage. Three unions and, three och. Comma between och.
Example 5: Houses and trees and sidewalks were covered with snow. Two unions and, three och. Comma between och.
Please note that there is no comma after the last och, because this is not between the OC, but after it.
It is this scheme that is often perceived as erroneous and non-existent; keep this in mind when completing the task.
note: This rule only works if the conjunction AND is repeated in one row, and not in the entire sentence.
Let's look at examples.
Example 1: In the evenings we gathered around the table children and adults and read it aloud. How many rows? Two: children and adults; gathered and read. The conjunction is not repeated in each row, it is used once. Therefore, commas are NOT placed according to rule 15.1.2.
Example 2: In the evening Vadim went to his room and sat down reread letter and write a response. Two rows: left and sat down; I sat down (why? for what purpose?) to re-read and write.
15.1.5 Homogeneous members are connected by the union A, BUT, YES (= but)
Scheme: O, a/no/da O
Rule: If there is a conjunction A, BUT, YES (= but), commas are used.
Example 1: The student writes quickly but sloppily.
Example 2: The baby no longer whined, but cried bitterly.
Example 3: Small spool but precious .
15.1.6 With homogeneous members, conjunctions are repeated NO NO; NOT THIS, NOT THAT; THAT, THAT; OR EITHER; OR OR
Scheme: O, or O, or O
Rule: when repeating other conjunctions (except I) twice, neither, nor; not this, not that; this, that; or either; or, or a comma is always used:
Example 1: And the old man walked around the room and either hummed psalms in a low voice or impressively lectured his daughter.
Please note that the sentence also contains homogeneous circumstances and additions, but we do not highlight them for a clearer picture.
There is no comma after the predicate “paced”! But if instead of the union AND THEN, AND THEN there was simply AND, there would be three whole commas (according to rule 15.1.4)
15.1.7. With homogeneous members there are double unions.
Rule: In double conjunctions, a comma is placed before the second part. These are unions of both... and; not only but; not so much... but; how much... so much; although and... but; if not... then; not that... but; not that... but; not only not, but rather... than others.
Examples: I have an errand How from the judge, So equals And from all our friends.
Green was Not only a magnificent landscape painter and master of plot, But It was still And a very subtle psychologist.
Mother not really angry, But I was still unhappy.
There are fogs in London if not every day , That every other day for sure.
He was not so much disappointed , How many surprised by the current situation.
Please note that each part of a double conjunction is BEFORE OC, which is very important to take into account when completing task 7 (type “error on homogeneous members”), we have already encountered these conjunctions.
15.1.8. Often homogeneous members are connected in pairs
General scheme: Scheme: O and O, O and O
Rule: When combining minor members of a sentence in pairs, a comma is placed between the pairs (the conjunction AND acts locally, only within groups):
Example1: Alleys planted with lilacs and lindens, elms and poplars led to a wooden stage.
Example 2: The songs were different: about joy and sorrow, the day that has passed and the day to come.
Example 3: Geography books and tourist guides, friends and casual acquaintances told us that Ropotamo is one of the most beautiful and wild corners of Bulgaria.
15.1.9. They are not homogeneous, therefore they are not separated by commas:
A number of repetitions that have an intensifying connotation are not homogeneous members.
And it snowed and snowed.
Simple complicated predicates are also not homogeneous
That's what he said, I'll go check it out.
Phraseologisms with repeating conjunctions are not homogeneous members
Neither this nor that, neither fish nor meat; neither light nor dawn; neither day nor night
If the offer contains heterogeneous definitions, which stand before the word being explained and characterize one object from different sides, it is impossible to insert a conjunction between them and.
A sleepy golden bumblebee suddenly rose from the depths of the flower.
15.2. PUNCTION MARKS IN COMPLEX SENTENCES
Complex sentences are complex sentences in which simple sentences are equal in meaning and are connected by coordinating conjunctions. The parts of a complex sentence are independent of each other and form one semantic whole.
Example: Three times he wintered in Mirny, and each time returning home seemed to him the limit of human happiness.
Depending on the type of coordinating conjunction that connects the parts of the sentence, all complex sentences (CCS) are divided into three main categories:
1) SSP with connecting conjunctions (and; yes in the meaning and; neither..., nor; also; also; not only..., but also; both..., and);
2) BSC with dividing conjunctions (that..., that; not that..., not that; or; either; either..., or);
3) SSP with adversative conjunctions (a, but, yes in the meaning but, however, but, but then, only, the same).
15.2.1 The basic rule for placing a comma in the BSC.
A comma between parts of a complex sentence is placed according to the basic rule, that is, ALWAYS, with the exception of special conditions, which limit the application of this rule. These conditions are discussed in the second part of the rule. In any case, to determine whether a sentence is complex, you need to find its grammatical basis. What to consider when doing this:
a) Not always every simple sentence can have both a subject and a predicate. So, the frequency of sentences with one impersonal part, with a predicate in vague personal proposal. For example: He had a lot of work ahead of him, and he knew it.
Scheme: [is coming], and [he knew].
The doorbell rang and no one moved.
Scheme: [they called], and [no one moved].
b) The subject can be expressed by pronouns, both personal and other categories: I suddenly heard a painfully familiar voice, and it brought me back to life.
Scheme: [I heard], and [it returned]. Don't lose a pronoun as a subject if it duplicates the subject from the first part! These are two sentences, each with its own basis, for example: The artist was well acquainted with all the guests, and he was a little surprised to see a face unfamiliar to him.
Scheme: [The artist was familiar], and [he was surprised]. Let's compare with a similar construction in a simple sentence: The artist was well acquainted with all the guests and was a little surprised to see a face unfamiliar to him.[O Skaz and O Skaz].
c) Since a complex sentence consists of two simple ones, it is quite likely that each of them can have homogeneous members in its composition. Commas are placed both according to the rule of homogeneous members and according to the rule of complex sentences. For example: Leaves crimson, gold They fell quietly to the ground, and the wind circled them in the air and threw them up. Sentence pattern: [Leaves fell], and [wind O Skaz and O Skaz].
15.2.2 Special conditions for placing signs in a complex sentence
In the school course of the Russian language, the only condition under which between parts complex sentence there is no comma, there is presence common minor member.
The most difficult thing for students is to understand whether there is common minor clause, which will give the right not to put a comma between parts, or there is none. General means that it relates simultaneously to both the first part and the second. If there is a common member, a comma is not placed between the parts of the BSC. If it exists, then in the second part there cannot be a similar minor member, there is only one, it is at the very beginning of the sentence. Let's consider simple cases:
Example 1: A year later, my daughter went to school and my mother was able to go to work..
Both simple sentences can equally qualify for the time adverbial “in a year.” What's happened in a year? My daughter went to school. Mom was able to go to work.
Moving the common member to the end of the sentence changes the meaning: My daughter went to school, and my mother was able to go to work a year later. And now this minor member is no longer general, but relates only to the second simple sentence. That is why it is so important for us, firstly, the place of the common member, just the beginning of a sentence , and secondly, general meaning offers.
Example 2:By evening the wind died down and it started to freeze. What happened By the evening? The wind died down. It started to freeze.
Now more complex example 1: On the outskirts of the city the snow had already begun to melt, and there was already quite spring picture . There are two circumstances in the sentence, each simple has its own. That's why comma added. There is no common minor member. Thus, the presence of a second minor member of the same type (place, time, purpose) in the second sentence gives the right to insert a comma.
Example 2: By nightfall, my mother’s temperature rose even more, and we did not sleep all night. There is no reason to attribute the adverbial “to the night” to the second part of a complex sentence, therefore a comma is placed.
It should be noted that there are other cases in which a comma is not placed between parts of a complex sentence. These include the presence of a common introductory word, a common subordinate clause, as well as two sentences that are indefinitely personal, impersonal, identical in structure, and exclamatory. But these cases were not included in the Unified State Examination tasks, and they are not presented in manuals and are not studied in the school course.
· ").dialog((width:"auto",height:"auto"))">Video course
What do you need to do to look at the world in a new way? Experience an important event, visit an unknown place. But how to get acquainted with a different attitude towards life? Gorky's story "Makar Chudra" solves all the questions raised. This early work the writer goes beyond the scope of a romantic sketch, as is traditionally considered to be the case. This creation has philosophical overtones and remains relevant to this day.
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Lesson topic: Romanticism of M. Gorky in the story “Makar Chudra”
Lesson objectives:
1.Subject:
- form the concept of neo-romanticism and the new romantic hero on the basis of the familiar concepts of “romanticism”, “romantic hero”;
- develop the ability to analyze works fiction in the unity of form and content;
●develop students’ ability to conduct a discussion and defend their point of view;
●to foster independent thinking;
●to form an active civic position, a humanistic worldview;
3. Personal:
●development of independence and personal responsibility for one’s actions based on ideas about moral standards, social justice and freedom.
Lesson type: artistic perception lesson.
You go, well, go your own way, without turning to the side.
Go straight ahead. Maybe you won’t lose your life in vain.
That's it, falcon! M. Gorky
During the classes
Teacher: You are on the verge of adulthood. And life in society imposes certain responsibilities on an adult. Children are always carriers of certain values. Moving from one community to another, from one team to another, a person brings his own systems of values and requirements into the world of people. Do you know that every action, every desire is reflected in people? Do you check your actions with your consciousness: am I causing harm, trouble, or inconvenience to people? Can I do good unselfishly? And today neo-romanticism is very modern, preaching a return to literature real hero, who himself makes a choice of life path in favor of heroic deeds. It depends only on the person himself how he will live his life - boring, ordinary, uninteresting or bright, sublime, beautiful. And M. Gorky said this very accurately (epigraph).
I. Organizing time. Setting goals and objectives for the lesson.
1. What are our activities today?
2. What are your expectations from our conversation?(Using the AMO technique)
II. Intellectual warm-up:
Interpret the terms:
1.Romanticism – a special type of worldview; at the same time – an artistic direction. Romanticism arose as a kind of reaction to rationalism and unmotivated optimism of classicism.
2. Romantic tradition - historically established customs, orders, and rules of behavior passed on from generation to generation; Name the representatives.
3. Main features of romanticism:
- proclamation of the human personality, complex, deep;
- affirmation of the inner infinity of human individuality;
- a look at life “through the prism of the heart”;
- interest in everything exotic, strong, bright, sublime;
- attraction to fantasy, conventional forms, a mixture of low and high, comic and tragic, ordinary and unusual;
- painful experience of discord with reality;
- rejection of the ordinary;
- the individual’s desire for absolute freedom, for spiritual perfection, an unattainable ideal, combined with an understanding of the imperfection of the world.
The hero is head and shoulders above other people who find themselves next to him; he rejects their society. This is the reason for the loneliness so typical of the romantic, which he most often thinks of as a natural state, because people do not understand it and reject his ideal. Therefore, the romantic hero finds an equal beginning only in communication with the elements, with the world of nature, the ocean, sea, mountains, coastal rocks. That is why the landscape, devoid of halftones, based on bright colors, expressing the most indomitable essence of the elements, receives such great importance in romantic works and its beauty and exclusivity. The landscape is thus animated and, as it were, expresses the originality of the hero’s character.
For the romantic consciousness, the correlation of character with real life circumstances is almost unthinkable - this is how the most important feature of the romantic artistic world is formed: the principle of romantic duality. The romantic, and therefore ideal, world of the hero is opposed to the real world, contradictory and far from the romantic ideal. The contrast between romance and reality, romance and the surrounding world is a fundamental feature of this literary movement.
4.The concept of romanticism;
III.Problem : provide a climate favorable for work in the classroom and psychologically prepare students for communication and the upcoming lesson.
Teacher: Try to draw a portrait of a romantic hero, just do it without a brush and paints, but with the help of words. Will Mtsyri, Makar Chudra and Loiko Zobar be like him?
Conclusion: The portraits may be different, but the similarities between the characters are truly striking. Each of them values freedom above all else; They treat money the same way as Radda, as the last thread that makes them, at least for a while, come into contact with human society.
IV.Assimilation of new knowledge.
Task : apply various ways activating the mental activity of students, including them in search work.
Work in pairs:
Identify signs of neo-romanticism.
Teacher: determine the features of the portrait of Radda and Loiko. What are they?
What are life values heroes of legend?
Loiko Zobar: “Who was he afraid of!”; “He didn’t have what was cherished - you need his heart, he himself would tear it out of his chest and give it to you, if only you felt good from him”; “With such a person you become a better person” (words of Makar Chudra about Loiko); “...I am a free person and I will live the way I want!”; “She loves her will more than me, and I love her more than my will...”
Radda: “I’ve never loved anyone, Loiko, but I love you. And I also love freedom! That’s it, Loiko, I love you more than you.”At the end of the story, Makar Chudra skeptically listens to the narrator - an autobiographical hero. At the end of the work, the narrator sees how the handsome Loiko Zobar and Radda, the daughter of the old soldier Danila,“they circled in the darkness of the night smoothly and silently, and the handsome Loiko could not keep up with the proud Radda.”The narrator’s words reveal the author’s position - admiration for the beauty of the heroes and their uncompromisingness, the strength of their feelings, an understanding of the impossibility for the romantic consciousness of the futility of such an outcome: after all, even after death, Loiko in his pursuit will not be equal to the proud Radda.
Conclusion: Gorky does not change the tradition of romanticism: through external beauty, he highlights the most important character traits of the hero - the desire for freedom. But, unlike others romantic works, in the story “Makar Chudra” we will not find a detailed verbal portrait, the only thing the author pays attention to is Loiko’s mustache, and about Radda he says that her beauty cannot be described if you only play the violin.
Teacher:
What conflict lies at the heart of the legend?
How is it resolved?
Makar Chudra has in his character the only principle that he believes to be true: a maximalist desire for freedom. The same single principle, brought to its maximum extent, is embodied by the heroes of the legend told by him. For Loiko Zobar true value is also freedom, openness and kindness. Radda is the highest, exceptional manifestation of pride that even love cannot break.
Makar Chudra is absolutely sure that pride and love, two beautiful feelings brought to their highest expression by romantics, cannot be reconciled, because compromise is unthinkable for the romantic consciousness. The conflict between the feeling of love and the feeling of pride that the heroes experience can only be resolved by the death of both:
a romantic cannot sacrifice either love that knows no boundaries or absolute pride.
Does the hero-narrator agree with them?
How is his position expressed?
Teacher: How Gorky creates romantic character? The role of landscape?
Makar Chudra is depicted against the backdrop of a romantic landscape:“A damp, cold wind blew from the sea, carrying across the steppe the pensive melody of the splash of an incoming wave and the rustling of coastal bushes. Occasionally his impulses brought with them wrinkled, yellow leaves and threw them into the fire, fanning the flames; the darkness of the autumn night that surrounded us shuddered and, timidly moving away, revealed for a moment the boundless steppe on the left, the endless sea on the right and directly opposite me - the figure of Makar Chudra ... "
The landscape is animated, the sea and the steppe are limitless, emphasizing the boundlessness of the hero’s freedom, his inability and unwillingness to exchange this freedom for anything. The position of the protagonist is already outlined in the exposition; Makar Chudra talks about a person, from his point of view, who is not free:“They are funny, those people of yours. They huddled together and crushed each other. And there’s so much space on earth...”; “Does he know his will? Is the expanse of the steppe clear? Does the sound of the sea wave make his heart happy? He is a slave - as soon as he was born, he is a slave all his life, and that’s it!”
Teacher:
The peculiarity of the composition of this story, as already mentioned, is that the author puts a romantic legend into the mouth of the main character. She helps us understand him more deeply inner world and a value system. For Makar Chudra, Loiko and Rudd are ideals of love of freedom. He is sure that two beautiful feelings, pride and love, brought to their highest expression, cannot be reconciled. A person worthy of emulation, in his understanding, must preserve his personal freedom at the cost of his own life. Another feature of the composition of this work is the presence of the image of the narrator. It is almost invisible, but we can easily recognize the author himself in it. He doesn't quite agree with his hero. We do not hear any direct objections to Makar Chudra. The independence and pride of these people, of course, amazes and attracts
They scoff, but these same traits doom them to loneliness and the impossibility of happiness. They are slaves to their freedom, they are not able to sacrifice even for the people they love.
To express the feelings of the characters and his own, the author widely uses the technique landscape sketches. Seascape is a kind of frame for the entire storyline of the story. The sea is closely connected with the mental state of the heroes: at first it is calm, only the “wet, cold wind” carries “across the steppe the thoughtful melody of the splash of a wave running onto the shore and the rustling of coastal bushes.” But then it began to rain, the wind became stronger, and the sea rumbled dully and angrily and sang a gloomy and solemn hymn to the proud couple of handsome gypsies. At all characteristic feature This story is its musicality. Music accompanies the entire story about the fate of the lovers. “You can’t say anything about her, this Radda, in words. Perhaps its beauty could be played on a violin, and even then to someone who knows this violin like his own soul.”
Group work: I invite you to think...
Goal: to promote the development of emotional and creative freedom in the group based on solving a common problem.
Examination
Reflection: You define our society. Those historical events that fill our days. You can overcome doubts only by buildingyour path to the truth. What is it like for you after coming into contact with the fate of M. Gorky’s heroes?
Exercise. Problematic question. Why does the story telling the story of Loiko and Radda bear the name of the narrator - “Makar Chudra”?
Answer . The consciousness and character of Makar Chudra become the main subject of the image. For the sake of this hero, the story was written, and he needs the artistic means used by the author in order to show the hero in all his complexity and inconsistency, in order to explain his strength and weakness. Makar Chudra is at the center of the story and receives the maximum opportunity for self-realization. The writer gives him the right to talk about himself, freely expressing his views. The legend he told, while possessing undeniable artistic independence, nevertheless serves primarily as a means of revealing the image of the main character, after whom the work is named.
In his early works, Gorky appears to readers as a romantic and a realist at the same time. Romanticism presupposes the affirmation of an exceptional personality, confronting the world one on one, approaching reality from the standpoint of his ideal, making exceptional demands on the environment. The hero is head and shoulders above the people who are next to him; he rejects their company. This explains the loneliness typical of a romantic, because people do not understand him and reject his ideal.
Therefore, the romantic hero finds an equal beginning only in communication with the elements, with the world of nature, the ocean, sea, mountains, rocks. When creating images of such heroes, he was not afraid to embellish life, using artistic techniques, found by the romantic predecessors: an exceptional person in exceptional circumstances, an exotic landscape and portrait emphasizing this exclusivity, antithesis as the basis of the composition of the work, the proximity of the prose word to the poetic word, rhythm, richness of paths, symbolism.
The confrontation between romance and reality, romance and the surrounding world is a fundamental feature of this literary movement. Gorky turns to the search for a new hero - a man with a “thirst for the future”, capable of heroic deeds... We need words that would sound like an alarm bell, disturb everything and, shaking, push forward,” wrote Gorky. That is why in his early stories he turns to heroes who are capable of overcoming a boring, monotonous existence (“Chelkash”, “Once in the Autumn”, “Emelyan Pilyai”). Exceptional characters appear, with powerful, all-subordinating impulses: to freedom (“Makar Chudra”, “Song of the Falcon”), love (“The Girl and Death”), and struggle (“Song of the Petrel”).
These are the heroes of the story “Makar Chudra” - Loiko and Rada, two beautiful, smart and strong, in love with human freedom, ready to die, but not lose freedom, this precious gift of nature, even for the sake of another strong feeling- love.
In the work “Old Woman Izergil” the writer poses and solves the problem of purpose and meaning human life. Compositionally, the story is divided into three parts and a literary frame, which talks about the vicissitudes of fast-moving human existence and the diversity of human nature.
The first part of the story exposes Larra’s extreme individualism and egocentrism, for whom life and immortality in solitude becomes torment. Larra’s tragedy lies in alienation from his own kind, in the destruction of connections between people, leading to the loss of the meaning of life. The wisest elders who stood at the head of the clan tried Larra for the murder of an innocent girl who rejected his love. People understand that you cannot violate the sacred laws of humanity, love, unity, even if you are the son of an eagle and consider yourself to be higher than those around you. Life becomes meaningless for someone who is expelled from human society and withdraws into himself; Larra “became like a shadow.”
The second part of the story is the life story of the old woman Izergil. The writer calls this life “greedy.” She was a rather selfish woman, indifferent to the suffering of those around her (her attitude towards her lovers, towards her daughter), only at the end of her life, having lost her former power over people and beauty, she begins to rethink what she did before, and remembers with gratitude those who loved her . She utters the phrase that “in life there is always room for exploits.” Everything in the image of Izergil reminds the author of Lara, first of all, her individualism, taken to extremes, almost approaching Larra’s individualism, her antiquity, her stories about people who have long ago passed their circle of life. With the help of the portrait, the author achieves a rapprochement of two images - Larra and Izergil. Izergil herself cannot even think about such a rapprochement.
The third part of the story, the legend of Danko, is devoted to the affirmation of the idea of high happiness to give one’s life in the name of saving people, the affirmation of the idea of a high goal and the price of such a life. In an atmosphere of inertia, sleepy consciousness, and selfishness, the hero wants to awaken bright impulses in the souls of his pitiful, cowardly fellow tribesmen. In anger and anger, people attack Danko, who has undertaken to lead them out of the forest. And only love for the “lost”, the fire of the desire to save them, to lead them to an easy path, drives out the flaring indignation from Danko’s heart, he chooses the only correct path - forward. Danko’s heart, torn out to save the people, “blazed as brightly as the sun, and brighter than the sun!” The darkness is overcome, and cruel people do not even notice Danko’s death.
Each hero of the work - Larra, Danko, Izergil - is a bright personality, rising above the ordinary. But the presence of qualities strong personality not enough for positive attitude to her.. In the contrast and comparison of the heroes of the work, the idea of feat in the name of general happiness is affirmed.
The landscape in the story not only creates an atmosphere of “fabulousness” and unusualness, but also serves as a way of expressing the generalized philosophical meaning of the work. There is a connection between the writer’s romantic works and folklore. His heroes are from legends, even the genre of legends and fairy tales itself provides opportunities for Gorky’s romantic pathos. The same traditions are also associated with the method of literary framing of the story, when the story is told not on behalf of the author, but on behalf of the narrator - the old woman Izergil, the old gypsy Makar Chudra.
Gorky uses a special syntactic structure of the work - rhythmic, melodious, similar to poetry. Rhythm is achieved by a special selection of words - setting the definition after the word being defined, an abundance of colorful epithets and metaphors (proud, free, free, rebellious, great), repeating images (the image of a burning heart and blood)
Concepts artistic space and time traditionally act for scientific thought as the most important categories that constitute the author’s picture of the world in the writer’s artistic “cosmos”. The work of M. Gorky in this regard is no exception and has repeatedly attracted attention in this aspect, the productivity of which seems inexhaustible in its own way. At the same time, the experience accumulated by Gorky studies and literary scholarship in general now needs a certain systematization in order to outline the initial conceptual and terminological premises of modern research in the context of the vast history and theory of the issue.
The categorical correlation of artistic space and artistic time received the well-known definition of “chronotope” in the works of M.M. Bakhtin. In this case, the two-dimensionality of such a definition laid down an inevitable contradiction in the understanding of the dominant - spatial or temporal - principles, given their inseparability.
It is significant that M.M. himself Bakhtin, who noted the “leading significance” of the temporal principle, focused on the analysis of the dominants of artistic space - “meeting-parting (separation)”, “road”, “everyday life”, “wandering”, “house”, “provincial town”, “picture” peace." These spatial reference points, in contrast to the abstract perception of time perspective, concretize the model of analytical interpretation of literary works.
Significant in this regard is the assessment of space and time in O. Spengler’s “The Decline of Europe”: “Space is a concept. Time is a word that hints at something incomprehensible, a sound symbol that is falsely interpreted if one tries to interpret it, like a concept, in a scientific way. For primitive man the word "time" has no meaning. He lives without feeling the need for this word to contrast it with something else. He has time, but knows nothing about it. When we are awake, we are only aware of space, not time.
Space exists,” it exists in the world and with the world of our sensations, and in a twofold way: as something self-expanding, while we dreamily, instinctively, contemplatively, “wisely” live our lives, and as space in the strict sense - in moments of intense attention . “Time,” on the contrary, is a discovery that we make only in the act of thought; we create it as an idea or concept, and only much later does it dawn on us that we ourselves, in so far as we live, are time.”
