At the bottom of the bitter author's position. The role of remarks in a dramatic work on the example of the play “At the bottom

Does the author's position on truth, faith and man coincide with the disputes of the overnight stayers in M. Gorky's play "At the Bottom"?

Gorky's play "At the Bottom" certainly has a socio-philosophical character. It reveals not only the gradual moral "dying" of people who find themselves in the most difficult social conditions, but also the author's philosophical views on various problems. Without any doubt, one can say that one of the main themes of the work is a reflection on the Man.

In fact, it seems unusual that each of the inhabitants of the rooming house has its own position on this problem. Gorky in his work shows us the terrible world of complete poverty, hopeless suffering, the world of people placed in extremely inhuman conditions. And it is in this society that the controversy about Man is born.

Of course, each character in the play has his own point of view, but I would especially like to single out three of them: Bubnov, Luka and Satina.

Bubnov's position is skepticism, fatalism, a desire to humiliate a person. He is cruel, does not want to retain any good qualities in himself. There is not a drop of compassion in Bubnov. From his point of view, it is at the absolute day of life that the true essence of a person is exposed, the stratification of civilized, cultural life flies off him: "... everything faded away, one naked person remained." Apparently, by this he wants to say about the animal essence of man. Bubnov sees in him only low, selfish, not wanting to take into account the development of social, cultural life.

The philosophy of humane deceit in the play is preached by the wanderer Luke. He appears, and with him, pity and compassion enter the life of the roomers. Luke can be called a humane person. But what is Luke's humanism? He has no faith in man. For him, all people are equally insignificant, weak, they need only compassion and consolation: “I don’t care! I respect crooks too; in my opinion, not a single flea is bad: all are black, all are jumping ... ”I think it would not be a mistake to assume that in fact Luka believed that the real situation of a person cannot be changed. It is only possible to change a person's attitude to himself and to those around him, to change his consciousness, his well-being, to reconcile him with life. Hence Luke's comforting lie. For every suffering inhabitant of the rooming house he has a kind word. To the dying Anna, he draws an affectionate death-comforter, a calm afterlife, in Nastya he supports the belief in the existence of the student Gaston and his fatal love. Drunkard Actor Luka talks about a free clinic for alcoholics. His philosophy is that a person must always be supported by inner faith. A clear picture of this is Luke's story about the search for a righteous land. In this parable, we are talking about the fact that the scientist, who destroyed the faith in the righteous land of one of its seekers, destroyed this man - he hanged himself after his illusion dissipated. Thus, Luke wanted to show the weakness of a person in the case when he does not have a goal in life, even an illusory one.

It cannot be denied that Luke, in his own way, stands up for a person, for his dignity: “And everyone is people! No matter how you pretend, no matter how you wobble, but you were born a man, you will die a man ... ”Defending Anna, Luka says:“ ... is it possible to leave a person like that? He - whatever he is - is always worth his price ... ”But still, first of all, Luke’s position is that a person is worthy of pity. It is pity and caress that can return a frightened, brutalized creature with a human appearance. He confirms this with his story about a meeting at the dacha with runaway convicts: “Good men! .. If I didn’t take pity on them, they might have killed me ... And then - the court, yes prison, yes Siberia ... what's the point? Prison - will not teach good, and Siberia will not teach ... but a person will teach ... ".

The wanderer Luke is opposed to the position of the inhabitant of the rooming house Satina. He speaks of a free Man with a capital letter. Satin considers Luke's compassionate humanism to be humiliating: “You must respect a person! Do not pity ... do not humiliate him with pity ... "Satin also condemns the comforting lie:" Lies are the religion of slaves and masters ... "; “Truth is the god of a free man!”; "man - that's the truth!"; “There is only man, everything else is the work of his hands and brain! Human! It's great! That sounds…proud!” But what is a man for Sateen? “What is a person?.. It’s not you, not me, not them… no! - it's you, me, them, the old man, Napoleon, Mohammed ... in one!

But Sateen's romantic dream of a proud, free, strong Man is opposed by the reality of his life, his character. Satin is a skeptic. He is apathetic, passive in life. His protest consists in a call for “doing nothing”: “I will give you one piece of advice: do nothing! Simply - burden the earth! .. ”Satin was not just thrown to the“ bottom ”. He himself came there and settled there. He's so comfortable. And so he lives in the basement and drinks away and loses his abilities, although by nature he is endowed with a lively mind. I would like to believe that meeting with Luka can somehow change his life, give him activity, but we understand that this will not happen. This person will continue to deliberately ruin his life, he can only philosophize and do nothing.

So what is the position of the author himself? I think that Sateen's thoughts about man are in many ways the thoughts of Gorky himself. But the writer, of course, condemns the weak-willed position of his hero. He does not accept discrepancies between reasoning and deeds. It cannot be said that Gorky condemned Luke's position. Lies are sometimes really helpful. And every person needs warmth, attention and compassion. Man, that sounds proud. But we must not forget that this word means, first of all, a living being who needs help and support from time to time. That is why we can say that Gorky's view of a person is a reasonable combination of the positions of Luke and Sateen.

So, at the beginning of the essay, we formulated one of the problems that the author of the text was thinking about. Then, in a commentary, we showed exactly how this problem is revealed in the source text. The next step is to identify the position of the author.

Remember that if the problem of the text is a question, then the position of the author is the answer to the question posed in the text, what the author sees as a solution to the problem.

If this does not happen, the logic of the presentation of thoughts in the essay is violated.

The author's position is manifested, first of all, in the attitude of the author to the depicted phenomena, events, heroes and their actions. Therefore, when reading the text, pay attention to the language means in which the author's attitude to the subject of the image is expressed (see the table on the next page).

When identifying the author's position, it is important to take into account that the text can use such a technique as irony - the use of a word or expression in a context that gives the word (expression) the exact opposite meaning. As a rule, irony is a condemnation under the guise of praise: My God, what wonderful positions and services there are! How they uplift and delight the soul! But, alas! I do not serve and am deprived of the pleasure of seeing the subtle treatment of my superiors(N. Gogol). A literal reading of ironic statements leads to a distorted understanding of the content of the text and the author's intention.

In addition, proving their point of view, many authors start from various statements of their real or potential opponents, that is, they cite statements with which they do not agree: “Take care of honor from an early age,” Pushkin bequeathed in his “Captain’s Daughter”. "What for?" - asks another modern "ideologist" of our market life. Why save a product for which there is a demand: if I am well paid for this very “honor”, ​​then I will sell it (S. Kudryashov). Unfortunately, students often attribute such statements to the author himself, which leads to a misunderstanding of the author's position.

For example, in the text below by V. Belov, the author's position is not expressed verbally and can only be identified by carefully reading the fragment and a comparative analysis of all its parts.

Everything has already been learned two weeks after returning to his native village, everything has been bypassed, discussed with almost everyone. And only I try not to look at my own home and bypass it. I think: why reopen the past? Why remember what is forgotten even by my countrymen? Everything is gone forever - good and bad, - you don’t feel sorry for the bad, but you can’t return the good. I will erase this past from my heart, never return to it again.

You have to be modern.

We must be ruthless to the past.

Enough to walk through the ashes of Timonikha, sit on the stoves. We must remember that day and night on earth - as Hikmet said - reactors and phasotrons work. That one calculating machine operates faster than a million collective farm accountants, that ...

In general, you don’t need to look at your home, you don’t need to go there, you don’t need anything.

But one day I crumple my writing in my fist and throw it in a corner. I run up the stairs. In the alley, I look around.

Our house protruded from the settlement down to the river. As in a dream I approach our birch. Hello. Didn't recognize me? Has become tall. The bark has broken in many places. Ants run along the trunk. The lower branches are cut off so as not to obscure the windows of the winter hut. The top has become higher than the pipe. Please don't wear your jacket. When I was looking for you with my brother Yurka, you were frail, thin. I remember it was spring and your leaves were already hatching. They could be counted, you were so small then. My brother and I found you in the dirt on the Vakhrunin mountain. I remember the cuckoo cuckooed. We cut off two big roots from you. They carried it through the lava, and my brother said that you would wither, you would not take root under the winter window. Planted, poured two buckets of water. True, you barely survived, for two summers the leaves were small, pale. Brother was no longer at home when you got stronger and gained strength. And where did you get this power under the winter window? Gotta get it out like that! Already above the father's house.

You have to be modern. And I push off the birch like a poisonous tree. (According to V. Belov)

At first glance, the author calls for abandoning the past in favor of the present: “You have to be modern. You have to be ruthless to the past." However, the true attitude of the author to the past is manifested in his touching memories of the birch, which in fact represent a living dialogue with the tree. We see that behind the outward indifference (“You have to be modern. And I push off the birch like a poisonous tree”), there is a love for childhood, for the past, which cannot be erased from human life.

For a correct understanding of the text, it is also important to distinguish between the concepts of author and narrator (narrator). The author of a work of art can tell his story on his own behalf or on behalf of one of the characters. But the first person in whose name the work is written is still the narrator, even if the writer uses the pronoun "I": after all, when the author creates a work of art, he describes life, introducing his fiction, his assessments, his likes, likes and dislikes. . In any case, one should not put an equal sign between the author and the hero-narrator.

Such a discrepancy can be found, for example, in the following text.

I still remember that jar of ink. In the morning, she stood on the table near her father's drawings, and by noon, a huge black ink appeared on a piece of drawing paper from nowhere, through which the results of a painstaking week's work vaguely looked through ...

Sergey, tell me honestly: did you spill your mascara? the father asked sternly.

No. It's not me.

Who then?

I don't know... Probably a cat.

The cat Mashka, my mother's favorite, was sitting on the edge of the sofa and somehow frightened looked at us with her yellow eyes.

Well, she must be punished. From that moment on, the entrance to the house was ordered to her. Will live in a closet. However, maybe it's not her fault? My father looked at me searchingly.

Honestly! I have nothing to do with it! I answered, looking him straight in the eyes.

A couple of days later, Masha disappeared without a trace, apparently unable to endure the unjust expulsion from the house. Mom was upset. The father never mentioned the incident again. I forgot, probably. And I still washed my soccer ball from treacherous black spots ...

Then I was naively convinced that relationships between people are most important, the main thing is not to upset your parents. As for the cat... She's just an animal, she can't speak or think. And yet, until now, in any cat's eyes, I see a dumb reproach ... (G. Andreev)

The position of the author is not stated directly. However, in the reflections of the hero about his act, we hear the voice of a sick conscience. It is no coincidence that the punishment of the cat is called unfair, and in the cat's eyes Sergey reads a "mute reproach". Of course, the author condemns the hero, convincing us that it is dishonorable and low to shift the blame on another, especially on a defenseless creature who cannot answer and stand up for himself.

Typical designs

The author believes that...
The author leads the reader to the conclusion that ...
Arguing over the problem, the author comes to the following conclusion...
The position of the author is...
The position of the author, it seems to me, can be formulated as follows...
The author calls us (to what)
The author assures us that...
The author condemns (who / what, for what)
The attitude of the author to the problem posed is ambiguous.
The author's main goal is to...
Although the position of the author is not expressed explicitly, the logic of the text convinces us that...

Typical mistakes in formulating the position of the author

Adviсe

1) Usually the position of the author is contained in the final part of the text, where the author sums up what has been said, reflects on the above events, the actions of the characters, etc.
2) Pay attention to the evaluative vocabulary of the text, lexical repetitions, introductory words, exclamatory and incentive sentences - all these are means of expressing the author's position.
3) Be sure to highlight the wording of the author's position in a separate paragraph of your essay.
4) Try to formulate the author's position in your own words, avoiding complex metaphors.
5) When quoting, choose sentences in which the author's thought is expressed clearly and clearly, if possible. (Remember that not every text contains quotations that accurately express the opinion of the author!)

What does an expert check?

The expert checks the ability to adequately perceive and correctly formulate the position of the author: positive, negative, neutral, ambiguous, etc. attitude to what is told, the proposed response of the author to the questions posed by him in the text.

1 point is assigned by an expert if you correctly formulated the position of the author of the source text on the commented problem and did not make any factual errors related to understanding the position of the author of the source text.

Practice

The fox knows many truths, and 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 has not become outdated so far. Why? Because it raises an “eternal” philosophical theme that will never cease to excite people.

Usually for a Gorky play this theme is formulated as follows: a dispute about truth and lies. Such a formulation is clearly insufficient, since truth and falsehood do not exist by themselves.

- they are always connected with a person. Therefore, it would be more accurate to formulate the philosophical theme “At the Bottom” in a different way: a dispute about true and false humanism.

Gorky himself, in Sateen's famous monologue from the fourth act, connects truth and falsehood not only with humanism, but also with human freedom: pays himself, and therefore he is free! Man, that's the truth!" It follows from this 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 worldview categories (“the last questions of mankind,” as F. M. Dostoevsky called them), Gorky presented in his drama several points of view on the problems posed. Drama became polyphonic (M. M. Bakhtin developed the theory of polyphonism in a work of art in his book “The Poetics of Dostoevsky’s Creativity”). In other words, there are several heroes-ideologists in the play, each with his own “voice”, that is, with a special point of view on the world and man.
It is generally accepted that Gorky portrayed two ideologists - Sateen 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, as it threatens the well-being of the “masters of life”. In the third act, Kostylev talks about real wanderers and along the way expresses his attitude to the truth: “A strange man ... not like the others ...

If he is really strange... he knows something... he learned something... nobody needs... maybe he found out the truth there... well, not every truth is needed... yes! He - keep her to yourself ... and - be silent! If he is really strange ... he is silent!

And then he says so that no one understands ... And he - does not want anything, does not interfere in anything, does not stir up 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 ... so that he works ...” III), but in reality he buys stolen goods from Ash.
Bubnov always tells the truth, but this is the “truth of a fact”, which only fixes the disorder, the 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, bring down the whole truth as it is!

Why be ashamed? (III). But a man cannot be satisfied with the hopeless "truth of a fact." Kleshch opposes the truth of Bubnov when he shouts: “What is the truth? Where is the truth? (...) There is no work ... there is no power!

Here is the truth! (...) You need to die ... here it is, really! (...) What is it to me - the truth? (III). Against the "truth of the fact" is another hero, the one who believed in a righteous land. This faith, according to Luke, helped him live. And when the belief in the possibility of a better life was destroyed, the man strangled himself.

There is no righteous land - this is the “truth of the fact”, but to say that it should never exist at all is a lie. That is why Natasha explains the death of the hero of the parable as follows: “I could not stand the deception” (III).
The most interesting hero-ideologist in the play is, of course, Luke. Critics' assessments of this strange wanderer are very different - from admiring the old man's generosity to exposing his harmful consolation. Obviously, these are extreme estimates, and therefore one-sided. More convincing seems to be an objective, calm assessment of Luka, which belongs to I. M. Moskvin, the first performer of the role of an old man on the theater stage.

The actor played Luca as a kind and intelligent person, in whose consolations there is no self-interest. Bubnov notes the same thing in the play: “Here, Luka, for example, lies a lot ... and without any benefit to himself ... Why would he?” (III).
The reproaches leveled against Luke do not stand up to serious scrutiny. It should be specially noted that the old man is not “lying” 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 searches of literary critics (see the article by Vs. Troitsky “Historical Realities in M. Gorky’s Play “At the Bottom”” // Literature at School, 1980 , No. 6). Who can say that in describing the afterlife to Anna, Luke is disingenuous?

He comforts a dying person. Why blame him? He tells Nastya that he believes in her affair with the noble Gaston-Raoul, because he sees in the story of the unfortunate girl 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 overnight stays: 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 the downtrodden people, to whom no one cares, and consoled them as best he could. Neither the state, nor the officials, nor the hostels themselves are to blame - Luka is to blame!

True, the old man did not save anyone, but he did not 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 drunkard - 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 made against Luke seem unconvincing: Luke is not “lying” anywhere and is not to blame for the misfortunes that happened to the shelters.
Usually, researchers, condemning Luke, agree that Satin, in contrast to the crafty wanderer, formulates the right 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 the lie in this way: “Whoever is weak in soul ... and who lives on other people's juices, those need a lie ... she supports some, others hide behind her ...

And who is his own master ... who is independent and does not eat someone else's - why should he lie? (IV). If you decipher this statement, you get the following: Kostylev lies because he “lives on other people’s juices”, and Luka because he is “weak in soul”. Kostylev's position, obviously, should be rejected immediately, Luka's position requires serious analysis. Satin demands to look life straight in the eye, while Luka looks around for comforting deceit.

The truth of Sateen differs from the truth of Bubnov: Bubnov does not believe that a person can rise above himself; Satin, unlike Bubnov, believes in a person, in his future, in his creative talent. That is, Satin is the only character in the play who knows the truth.
What is the author's position in the dispute about truth - freedom - man? Some literary scholars argue that only in the words of Satin the author's position is stated, however, it can be assumed that the author's position combines the ideas of Satin and Luke, but is not completely exhausted even by the two of them. In other words, in Gorky, Satin and Luka, as ideologists, are not opposed, but complement each other.
On the one hand, Satin himself admits that Luka, by his behavior and consolation conversations, pushed him (formerly an educated telegraph operator, and now a tramp) to think about Man. On the other hand, Luke and Satin both speak of goodness, of 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). Doesn't Satin, speaking about Man, repeat the same thing? Luke says about people: “People…

They will find and invent everything! It is only necessary to help them ... they must be respected ... ”(III). Satin formulates a similar thought: “You must respect a person!

Do not pity ... do not humiliate him with pity ... you must respect!” (IV). The difference between these statements is only that Luke emphasizes respect for a particular person, and Satin - a Person. Diverging in particulars, they agree on the main thing - in the assertion that man is the highest truth and value of the world.

In Satin's monologue, respect and pity are contrasted, but one cannot say for sure that this is the final position of the author: pity, like love, does not exclude respect. On the third hand, Luka and Satin are outstanding personalities who never collide in a dispute in the play. Luka understands that Satin does not need his consolations, and Satin, carefully watching the old man in the rooming house, never ridiculed, did not cut him off.
Summing up 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 proved by the very construction of Gorky's play: almost all the characters participate in the discussion of the philosophical problem of man - truth - freedom, while only four (Ash, Natalya, the Kostylev couple) sort things out in the everyday storyline. There are many plays showing the hopeless life of the poor in pre-revolutionary Russia, but it is very difficult to name another play, except for the drama “At the Bottom”, in which, along with social problems, “last” philosophical questions would be raised and successfully solved.
The author's position (fifth in a row, but perhaps not the last) in the play "At the Bottom" is created as a result of repulsion from false points of view (Kostylev and Bubnov) and the complementarity of two other points of view (Luke and Satin). The author in a polyphonic work, according to the definition of M. M. Bakhtin, does not join any of the points of view expressed: the solution of the philosophical questions posed does not belong to one hero, but is the result of the searches of all participants in the action. The author, as a conductor, organizes a polyphonic choir of heroes, “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 raises “eternal” philosophical questions. The open ending of the work makes the reader think about them.

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17. Maxim Gorky wrote his play “At the Bottom” in 1902. In this work, a “naked” person appears before the reader. It is deprived of all external layers (cultural, class, professional) acquired in human society. The study of the behavior of a “naked” person, faced with the need to live and act in extremely difficult circumstances for him, is the play “At the Bottom”. The “bottom” itself [...]
18. The play shows the “humiliated and insulted”, thrown to the bottom of life. Each of them has its own biography, its own history, its own dream. These formerly worthy people are victims of the prevailing conditions in society, where no one cares about the other, where the laws of the wolf are in force. The fate of each of them is tragic, since to rise from the bottom is neither a drunken actor, nor [...] ...
19. Maxim Gorky is one of the few writers who boldly showed the poverty of life. In the play "At the bottom" he tells about people who have lost the meaning of life. With this work, as well as other stories of the early period of creativity, the author tried to draw the attention of society to the problems of the social lower classes. Fifteen inhabitants of the rooming house represent the world of outcasts. These degraded people have lost touch with society, [...] ...
20. In the play, Gorky contrasts false humanism, which preaches universal humility, humility to fate, and true humanism, the essence of which is in the struggle against everything that oppresses a person, depriving him of dignity and faith in his own strength, against the slave life of mankind. These are the two main truths that Luka and Satin argue about in the play - characters that immediately stand out from the general [...] ...
21. In the play "At the Bottom" the author raises many rhetorical questions. The work reveals not only the tragedy of the gradual moral death of people who find themselves in cruel social conditions, but also the author's view of various problems of the public. Of course, one of the main themes of the play is Man. It seems strange that the inhabitants of the rooming house can have their own positions on this problem. But this […]...
22. THE CLASSICS THE PROBLEM OF LIE AND TRUTH IN M. GORKY'S PLAY "AT THE DEPT" AND IN THE STORY "THE DISTURBING LIKE" by O. HENRY The concept of M. Gorky's play "At the Bottom" is based on two concepts - a "comforting, reconciling" lie and an "elevating" truth. In O. Henry's short story "The Vile Deceiver" we do not find a champion of truth, even as inconsistent as Satin in Gorky's play. […]...
23. The dispute about the possibilities of a person and the meaning of his life lies at the heart of the play “At the Bottom” by Maxim Gorky. The action of the play takes place in a place cut off from the world of people - the Kostylevs' rooming house. Almost all the inhabitants of the rooming house are well aware that their situation cannot be called normal, because all the most important ties (spiritual, social, professional, family) have been cut off between them and the rest of society. […]...
24. "There are - people, and there are - others - and people ..." (According to the play by M. Gorky "At the bottom".). At the heart of Maxim Gorky's play "At the Bottom" (1902) is a dispute about Man and his possibilities. The action of the work takes place in the Kostylevs' rooming house - a place outside the world of people. Almost all the inhabitants of the rooming house are aware of their situation as abnormal: between them and [...] ...
25. Maxim Gorky is the greatest writer of his time. In his play "At the Bottom" all the vices of modern society are revealed. The author describes the life and life of people who fell to the bottom of society. These people, different in social origin, upbringing and education, once stumbled in life or simply went bankrupt and ended up in a rooming house where everyone is equal, and there is no hope of getting out. IN […]...
26. In 1902, M. Gorky creates his second play "At the bottom". In it, the writer again turned, as in the stories of the early period, to the world of outcasts. But the playwright's intention is not limited to depicting the people of the "bottom", crippled by the social system. The play is a passionate and agitated debate about man, about the various paths to human happiness. Reading the play, we find ourselves […]
27. What is the truth and what is a lie? Humanity has been asking this question for hundreds of years. Truth and lies, good and evil always stand side by side, one simply does not exist without the other. The clash of these concepts is the basis of many world-famous literary works. Among them is M. Gorky's play “At the bottom”. Its essence is in the clash of vital [...] ...
28. In Gorky's socio-philosophical drama "At the Bottom", the main philosophical problem is the understanding of the truth by the characters. They view their truth from different perspectives. The worldviews of Satin and Luke stand out especially here, which have differences and interact with each other in the development of the play. Luka, from the first moment he appears in the rooming house, begins to tell people about his views. His attitude towards people […]
29. M. Gorky in his play portrayed the terrible reality, the ugly way of life of most people. In his work, he also touched on many important and topical issues of that time. One of them was the problem of truth and its perception and understanding by the characters of the play. In the plot, three basic truths and their opposition can be identified. The first truth is the truth of Sateen. This […]...
30. The play "At the Bottom", according to Gorky, was the result of "almost twenty years of observation of the world of" former people "". The main philosophical problem of the play is the dispute about the truth. Young Gorky, with his characteristic determination, took up a very difficult topic, over which the best minds of mankind are still struggling. Unequivocal answers to the question “What is truth?” not yet found. In hot […]
31. The concept of M. Gorky's play "At the Bottom" is based on two concepts - lies "comforting, reconciling" and truth "elevating". In O. Henry's short story "The Vile Deceiver" we do not find a champion of truth, even as inconsistent as Satin in Gorky's play. Nevertheless, the problem in these two works is the same - the choice between truth and falsehood, and on such [...] ...
32. Throughout Gorky's play "At the Bottom," the playwright forces readers to decide a dilemma - which is better, truth or lies, truth or compassion. Written in 1902, on the eve of revolutionary events, the play reveals the social and psychological truth about the life of the "bottom". Realistically mercilessly, the playwright shows all the wretchedness and hopelessness of the existence of people who have sunk to the very “bottom of life”. Locksmith Klesch, [...] ...
33. “At the bottom” is a complex, contradictory work. And, like any truly great creation, the play does not tolerate a one-line, unambiguous interpretation. Gorky gives in it two completely different approaches to human life, without clearly showing his personal attitude to either of them. The main characters of this work are Luke and Satin. It is they who express two truths, two dots [...] ...
34. Gorky's play "At the Bottom" has a socio-philosophical character. All Gorky's works are endowed with complex moral issues. But in the play “At the Bottom” the moral and philosophical problems that concern the author are most fully revealed. In this play, Gorky combined many theories, opinions, and assumptions. The author made his heroes the inhabitants of the rooming house, people who have sunk socially and morally to the very bottom. After all, it is on the […]
35. The question of lies and honesty is far from unambiguous. That is why all the thinkers of mankind have been struggling with it for many centuries. These two completely opposite concepts, as well as good and evil, are always side by side, and cannot exist separately. Many literary figures in their works posed these questions to society and themselves. […]...
36. The play "At the Bottom" was written by M. Gorky in 1902. It premiered the same year. The play was a resounding success. According to V. I. Kachalov, “the audience accepted the play violently and enthusiastically, like a “petrel play”, which foreshadowed the coming storms and called for storms.” The main source of the content of the play was the impressions of the reality of the beginning of the 900s. IN […]...
37. The work of Maxim Gorky "At the Bottom" can be defined as a socio-philosophical drama. The presence of social problems in the play is evidenced not only by the bright and telling title, but also by the appearance of its characters. The heroes of the work are degraded people, outcasts of society, who for various reasons have lost their place in a civilized society. A little more careful reading, it becomes obvious that these people are completely [...] ...
38. In the play "At the Bottom" M. Gorky strives not only to depict terrible reality to draw attention to the fate of disadvantaged people. He created a truly innovative philosophical and journalistic drama. The content of seemingly disparate episodes is a tragic clash of three truths, three ideas about life. The first truth is the truth of Bubnov, it can be called the truth of a fact. Bubnov is convinced that […]
39. In the realistic works of Maxim Gorky, a person is depicted as a rejected by society, an outcast. The author is interested in the inner world of the hero, his experiences, emotions. The play "At the Bottom" was written at the end of 1901. At a time when a person is ready and able to declare their rights, freedom. In the play, the author raised two questions that have always been important. It's a matter of freedom [...]
40. Purpose: to draw attention to the proximity of the poem to folklore works; continue the formation of group work skills; practice public speaking; develop observation and attention; develop citizenship. The very choice of this subject [historical Past. - Auth.] testifies to the state of the poet's Spirit, dissatisfied with modern Reality and transferred from it to the distant past, in order to look for life there, Which he does not see in [...] ...

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Test on the work of M. Gorky

Exercise 1

What direction in literature was A. M. Gorky the founder of?

1. Romanticism

2. Critical realism

3. Socialist realism

Task 2

Loiko Zobar is the hero of which Gorky story?

1. "Old Woman Izergil"

2. "Makar Chudra"

3. Chelkash

Task 3

Which of Gorky's works is not characterized by the composition "a story within a story"?

1. "Makar Chudra"

2. "Old Woman Izergil"

3. Chelkash

Task 4

Which hero of the play "At the Bottom" owns the phrase: "Man - it sounds proud!"?

Task 5

Which of the characters in the play "At the Bottom" expresses the author's position?

Task 6

Which characters of the play "At the bottom" belong to the words:

1. "Noise - death is not a hindrance"

2. "When work is a duty, life is slavery"

3. "No flea is bad: everyone is black, everyone jumps"

4. "Do not like it - do not listen, but do not interfere with lying."

Exercise 1

What direction does Blok's early work belong to?

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 the poet and poetry

3. The motif of the "terrible world"

4. Motherland motif

a) "Factory" c) "Autumn Will"

b) “To the Muse” d) “I am old in soul

Task 3

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

1. Thesis 2. Antithesis 3. Synthesis

Task 4

From which work of Blok are these lines:

In the blue twilight white dress

Behind the bars flashes carved.

1. "Stranger" 2. "In a restaurant" 3. "Nightingale garden"

Task 5

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

1. On a historical topic.

2. About the present.

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

Task 6

What melody is not heard in Blok's poem "The Twelve"?

1. March 3. Chastushka

2. Tango 4. Romance

Task 7

What techniques does it use. block in the following examples?

1. "Spring and pernicious spirit."

2. "And the eyes are blue, bottomless / Blossom on the far shore."

3. “How long will mothers grieve? // How long will the kite circle?

a) metaphor b) anaphora c) oxymoron

Tasks for prose and poetry of the Silver Age

Card 1

1. Define the modernist direction according to its characteristic features: the direction 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 inexpressible", understatement, replacement of the image.

2. What is the culmination in the development of the lyric-philosophical conflict in the story "Old Woman Izergil"?

3. In whose work was the image of the heroine created, which turned 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 of artistic expression are 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 specifics of the metaphor "poetry is a weapon" in the introduction to the poem "Out loud" by V. Mayakovsky.

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

Card 2

1. Define the modernist direction according to its characteristic features: the direction that proclaimed the “intrinsic value” of the phenomena of life, the cult of art as a skill; rejection of the mystical nebula; creating a visible, concrete image.

2. Who is included in the “headquarters” of Aristid Kuvalda in the story “Former People” by M. Gorky?

3. The size of the poem "The girl sang in the church choir ..." A. Blok.

4. Name the musical genre whose rhythms in the poem "The Twelve" convey the mood of the time.

5. What feature in the image of new Russia is the antithesis of its "golden" past in Yesenin's lyrics?

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

7. An innovative feature in the dramatic conflict of V. V. Mayakovsky's plays "Bug" and "Bath".

8. The place of the "two Abruzzi highlanders" in the figurative system of the story "The Gentleman from San Francisco" by I. Bunin.

Card 3

1. Define the modernist trend according to its characteristic features: a trend that denied the artistic and moral heritage, preached the destruction of the forms and conventions of art in order to merge it with an accelerated life process.

2. What is the place in the plot of the episode of the river crossing on ice in the story "Ice drift"?

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

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

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

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

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

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

Card 4

1. What direction did the poets belong to:

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

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

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

2. What works first brought Gorky fame?

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

4. What is the main antithesis contained in the image of the heroine of the Carmen cycle by A. Blok?

5. What determines the circular nature of the composition of the poem "Anna Snegina" by S. Yesenin?

6. What detailed metaphor in the poem "A 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 "The Sitting Ones".

8. The main means of artistic expression in 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 trend of poets was inspired by the philosophy of V.S. Solovyov?

a) futurists

b) Acmeists

c) Symbolists

To which group did the poets A. Bely, Vyach. Ivanov?

a) "Senior Symbolists"

b) "Younger Symbolists"

2. What are the genre features of the play "At the Bottom" by M. Gorky?

3. What beginning (epic or lyrical) prevails in the genre specificity of the poem "The Twelve"?

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

5. How does the narrator in S. Yesenin's poem "Anna Snegina" learn about the fate of Pron Ogloblin?

6. What type of path is used to create the image of "ears - horses" in the poem "I am the last poet of the village ..."?

7. What type of trail was used to create the image of the "sun" in the poem "An extraordinary adventure that happened with V. Mayakovsky 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 of the central character? What is the meaning of such a compositional solution?

Cards for conducting control work

I. Tasks for the work of E. Zamyatin (the story "We")

Exercise 1

“Zamiatin's novel is completely imbued with a genuine fear of socialism, from an ideal becoming a practical, everyday problem. A novel about the future, a fantasy novel. But this is not a utopia, this is an artistic pamphlet about the present and, at the same time, an attempt to predict the future... The novel makes a heavy and terrible impression. Writing an artistic parody and portraying communism as a vice barracks under a huge glass cap is nothing new: this is how the opponents of socialism have practiced since ancient times - a thorny and inglorious path.<...>Zamyatin wrote a pamphlet referring not to communism, but to the state<...>reactionary<...>socialism.

From an artistic point of view, the novel is beautiful. Zamyatin has reached full maturity here - so much the worse, for all this has gone to the service of an evil cause.<...>On a very dangerous and inglorious path Zamyatin.

A. Voronsky. Literary silhouettes.

Evgeny Zamyatin. 1922.

Re-read entries 1-3 in the novel "We". Pay attention to the fact that the hero's diary is addressed to people of a different, "lower" civilization. D-503 enthusiastically announces 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 structure is being criticized? ( Pamphlet- a satirical work of an artistic and journalistic nature, the author of which in a sharp form ridicules the contemporary social system or its individual 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 One State has indeed reached the highest degree of humanity?

3. Why for D-503 "Railway Schedule" - "the greatest monument of ancient literature that has come down to us"? Is it possible to consider these words and other similar reasoning as irony? Over whom and what is Zamyatin ironic here: over his hero, who shares the ideology of the State, over the Ideal State itself?

Task 2

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

“The utopia that Shawl, Thomas More, Fourier, Chernyshevsky, Marx, Lenin were talking about all the time, finally came true. Literature responded to this with the flourishing of the dystopian genre, which had arisen earlier in the course of the controversy with the utopian programs in such texts as Gulliver's Journey to Laputa and the country of the Houyhnms, The Legend of the Grand Inquisitor, Notes from the Underground (Dostoevsky), and others. The genre was a reaction to the policy of totalitarian socialism and to the totalitarian pretensions of the modern state in general, especially in the context of technological progress. Dystopia is imbued with disappointment in the idea of ​​a society built on a rationalistic denial of God, free will, the inconsistency of human nature, etc., but which undertakes to ensure universal harmony. This attitude was molded into a whole complex of typical schemes, images and positions.

A. K Zholkovsky. Zamyatin, Orwell and Khvorobiev:

about a new type of dream. 1994

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

2. What phenomena of the social order do the authors of anti-utopias oppose?

3. Is the novel "We" a "dystopia-city" or a "dystopia-garden"? Where is Zamyatin's book directed - towards the past or the future?

Task 3

Read an excerpt from the work of a literary critic:

"The problem of the "new world" as the problem of gaining<...>"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, hurried the passage of time. But during these same years, disturbing doubts arose about the right of a person to interfere in the natural course of the development of life, to subordinate its whimsical flow to some speculative idea. It is no coincidence that the “builders of the human good” appeared in such different writers who have little in common with each other, such as Bulgakov (“Fatal Eggs”, “Heart of a Dog”), L. Leonov (“The Thief”), M. Slonimsky (“Mashi on Emery"), B. Pilnyak ("Okhlamony" in "The Red Tree"), A. Platonov ("Chevengur"), in 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

Reread entry 27.

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

2. Is it possible to agree that the country of Mephi is the ideal of the “natural course of the development of life”, opposed to a 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, the poet A. Gastev. Is it possible, on the basis of the similarity seen, to assert that Zamyatin resorts to parody to expose the idea of ​​mechanized equality?

Gradually expanding, normalizing tendencies are introduced into<...>social creativity, food, apartments and, finally, even in intimate life, up to the aesthetic, mental and sexual demands of the proletariat.<...>It is this trait that gives proletarian psychology a striking 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, turning into the objective psychology of the whole class with systems of psychological inclusions, switching off, short circuits. The manifestations of this mechanized collectivism of us are only alien to personality, so anonymous that the movement of these collectives-complexes approaches the movement of things in which, as if there is no longer a human individual face, but there are even, normalized steps, there are faces without expression, a soul devoid of lyrics, measured not by shouting, not by laughter, but by a manometer and a taximeter. We are heading towards an unprecedentedly objective demonstration of things, mechanized crowds and stunning open grandiosity, knowing nothing intimate and lyrical.

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

Task 5

1. Reread the reasoning of the main character about the advantages of the society in which he lives over the "ancient societies" in the entries 3rd, 4th, 20th. 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-warnings come true? What societies most fully embodied the features of the United State? Is it possible to say that the features of the social structure, drawn in the novel, can be seen at the present time? Is it possible to assume that Zamyatin's dystopia is yet to come true in the future?

“It is quite probable, however, that Zamyatin did not at all think of choosing the Soviet regime as the main target of his satire. He wrote during the life of Lenin and could not have in mind the Stalinist dictatorship, and the conditions in Russia in 1923 were clearly not such that someone rebelled, believing that life was becoming too calm and comfortable. Zamyatin's goal, apparently, is not to portray a specific country, but to show what threatens us with machine civilization.<...>This is a study of the essence of the Machine - the genie, which a person thoughtlessly let out of the bottle and cannot drive back.

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

2. Follow the change in the image of the main character D-503 throughout the novel. How is his attitude to what is happening in the United State changing? Why and how does a bifurcation, an 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 features does the author of each of them give - O-90, I-330, R-13? Why does the author constantly use geometric shapes and lines in describing characters?

4. Read a typical example of the description of the appearance of I-330 (entry 10): “And I saw a strange combination: dark eyebrows raised high at the disks - a mocking sharp triangle, pointing upwards, - two deep wrinkles, from the nose to the corners of the mouth. “And these two triangles somehow contradicted each other, they put this unpleasant, annoying X on the whole face - like a cross: a face crossed out with a cross.” Do the figures of the triangle and the cross have any meaning for revealing the character and fate of the heroine? What is this meaning? Find the geometric "details" of other characters' appearances.

Task 7

“The sharpest drama is given to the novel by the opposition of the individual to the state super-system.<...>The existence of the One State is harmed by every living human movement. Ideally, the system tends to replace people with robots.

Four impulses bring D-503 out of its state of conformist hibernation: innate emotionality ("a drop of hot blood"), carelessly set in motion by EG's excessive boasting. The second force is art. D listens to Scriabin's music performed by I-330 and for the first time feels "slow, sweet pain", feels the burn of "wild, rushing, scorching sun" in his blood. The third push is a visit to an ancient house that awakens great-memory (“D felt himself caught in the wild whirlwind of ancient life”).<...>Rejection from the familiar climate of EG, the appearance of another person in himself, “new and alien”, he experiences as a disease.<...>The fourth and final moment, which completed the "state" fall of D - he experiences a feeling of overwhelming shock from being close 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 the future conflict of the hero with the State already in the first chapters? What character traits of D-503 increase the severity of the conflict?

2. How does the hero's love story end? Is it possible to call the fate of the hero tragic? What is the essence of his tragedy?

Task 8

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

V. A. Nedzvetsky. blessing and benefactor

in the novel by E. I. Zamyatin "We"

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

Task 9

Critics who wrote about the novel noted the variety of echoes of the novel with 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" echoes. The answer must be extended.

II. Questions about the work of A. Platonov (the story "The Pit")

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

2. Analysis of the symbols of the work.

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

4. Analyze Voshchev's "life plans", his conclusions about the construction of the pit.

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

6. Prove that the scenes when the characters are left alone play a big role in the composition of the work.

7. Why did the girl Nastya found by them 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 "ditch" dug for happiness, but the result was a grave for a child?

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

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

Answers

Test on the work of I. A. Bunin and A. I. Kuprin

OptionI

2 - General Anosov, "Garnet Bracelet";

3 - A gentleman from San Francisco.

OptionII

2 - Olesya, "Olesya"

3 - Olya Meshcherskaya, "Light Breath"

Test on the creativity of A. Akhmatova

OptionI

1 - Gorenko; Big Fountain (near Odessa).

OptionII

Test based on the works of S. A. Yesenin

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

Test based on the works of V. V. Mayakovsky

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

Test on the work of A. M. Gorky

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

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

Test based on the works of A. A. Blok

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

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

Literature

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One of the most frequently used terms in literary criticism is the author's position. It can become the basis for the topic of an essay, article, abstract or essay. The author's position in the text must be seen and understood as it is expressed.

Term transformation

It should be said that the author's position throughout the development of literature has undergone a number of qualitative changes. At the very beginning of the birth of mass literature (that is, when it separated from folklore, ceased to be of a political or religious nature), the author's assessment was expressed directly in the work. The author could openly talk about which character seemed to him positive or negative, expressed his attitude to what was happening in digressions, in conclusions. Over time, this way of the author's presence in the text became unacceptable, the creator of the text began to distance himself, giving the reader the opportunity to decide for himself which side he is on. This process became especially aggravated in the 20th century, this phenomenon was called by R. Barth "the death of the author". However, not all researchers agree with him, noting that the author in any case assesses the situation, expresses his opinion, he just does it covertly, veiled, using various means.

Ways of expressing the author's position in drama, lyrics and epic

The author of the text is eliminated, which is why Bakhtin called it polyphonic. Indeed, in the text there are a lot of voices, opinions and assessments, among which it is difficult to distinguish the author's. However, everything in the novel suggests that the most important thing for Dostoevsky was to carry out the Gospel idea that the life of every person is valuable in itself, that it is impossible to transgress God's main commandment either for the sake of an idea, or for money, or for good purposes. Dostoevsky actively attracts characters of various levels. The very name of the main character is considered by researchers from different positions, one of which recalls the schism that occurred in the history of the Russian Church. The repeated repetition of the numbers 7, 3 again refers us to religious books. It took the Lord 7 days to create this world, 3 is a sacred number for Christians, symbolizing God the Father, God the Son and the Holy Spirit.

conclusions

Thus, the author's positions are important for understanding the ideological intent of the works. They can be expressed in different ways. when reading works, one should pay attention, first of all, to the names and surnames of the characters, the details that are mentioned in the text, the clothes of the characters, their portrait characteristics. It is also worth paying special attention to landscape sketches and lyrical digressions.