First of all, the position of the author is expressed in the ambiguous, non-linear development of the plot action. The plot is motivated by the dynamics of the standard "conflict polygon" - the relations of Kostylev, Vasilisa, Ash and Natasha. The key events that make up the storyline of the play take place outside the stage (a fight between Vasilisa and Natasha, Vasilisa's revenge - overturning a boiling samovar on her sister, the murder of Kostylev). The author deliberately takes all these events "out of focus", inviting the viewer to take a closer look and, first of all, to listen to the content of the numerous conversations and disputes of the night lodgers.

Compositional plot dissociation actors, their alienation from each other (everyone thinks "about his own", worries about himself) - is expressed in the organization of the stage space. The characters are dispersed in different corners of the stage and "locked" in unconnected, sealed microspaces. Gorky organizes communication between them with an eye to Chekhov's principles of composition. At the same time, the author needs to keep the viewer's attention on the semantic supports of the text. Leitmotifs (truth is faith, truth is falsehood), organizing the movement of the speech stream, become such a support in the play.

There are also other techniques that compensate for the relative weakness of plot action and deepen the meaning of the drama. Thus, Gorky introduced "rhyming" (that is, repetitive, mirror-reflected) episodes into the play. The precise rhyme in the play is made up of Luke's parable about the righteous land and the episode with the Actor's suicide. Both fragments literally coincide in the final lines: "And then I went home - and hanged myself ..." / "Hey ... you! Go ... come here!<...Там... Актер... удавился!" Подобное композиционное связывание проявляет позицию автора по отношению к результатам "проповеднической" деятельности Луки. Впрочем, как уже говорилось, автор далек от того, чтобы возлагать всю вину за гибель Актера на Луку. С судьбой Актера связан и дважды повторяющийся эпизод, в котором ночлежники поют свою песню - "Солнце всходит и заходит". Актер "испортил" именно эту песню - в заключительном действии в ней так и не были спеты строчки "Мне и хочется на волю.../ Цепь порвать я не могу".

In the same way, two dialogues of Nastya and Baron, symmetrically located relative to each other, are mirrored. At the very beginning of the play, Nastya defends herself from the Baron's skeptical remarks: his attitude to Nastya's stories about "fatal love" and Gaston is formulated by the saying "If you don't like it, don't listen, but don't bother lying." After Luka leaves, Nastya and Baron seem to change their roles: all the Baron's stories about "wealth ... hundreds of serfs ... horses ... cooks ... carriages with coats of arms" are accompanied by the same remark from Nastya: "It was not!"

The "rhyming" episodes do not carry new information about the characters, but connect the disparate fragments of the action, giving it semantic unity and integrity. Even more subtle methods of compositional "arrangement", such as, for example, the system of literary and theatrical allusions, serve the same purpose.

In one of the early episodes, the Actor mentions "a good play", referring to Shakespeare's tragedy "Hamlet", a quote from which ("Ophelia! Oh ... remember me in your prayers! ..") already in the first act predicts his own tragic destiny. His last words before his suicide, addressed to the Tatar, are: "Pray for me." In addition to Hamlet, the Actor quotes King Lear several times ("This way, my faithful Kent ..."). Lyre is credited with the phrase "I am on the way to rebirth", which is important for the Actor. The Actor's favorite poem was Beranger's poem, which in the context of the play acquired the meaning of a philosophical declaration: "Honor to the madman who will bring / to Mankind a golden dream." Along with quotes from Western classics, the Actor's speech unexpectedly slips in Pushkin's line: "Our nets have dragged a dead man" (from the poem "The Drowned Man"). These words seem to remind of a disastrous fate, the inevitability of death. Thus, the plot path of the Actor is set already at the very beginning of the work by those artistic means that define his profession - a "foreign" word, a stage quote.

Sounding speech is an important means of deepening the meaning of dramatic action. An example of this is the incredibly thick aphorism against the background of the literary tradition. Here are just a few examples from a real waterfall of aphorisms and sayings: "Such a life that both got up in the morning and howling"; "Expect a sense from the wolf"; "When labor is a duty, life is slavery!"; "Not a single flea is bad: everyone is black, everyone is jumping"; "Where it is warm for an old man, there is a homeland"; "Everyone wants order, but there is a lack of reason."

Aphoristic judgments acquire special significance in the dialogues of the main "ideologists" of the play - Luka and Bubnov, whose positions are outlined most vividly. The philosophical dispute, in which each of the heroes of the play takes his own position, is supported by common folk wisdom, concentrated in proverbs and sayings. Although this wisdom also contains a certain craftiness. In this regard, it is interesting that the central monologue of Satin, very saturated with "chased" formulations, is deliberately dotted with ellipses, which speaks of how difficult it is in the mind of Satin the most important words in his life are born.

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I propose to talk about Gorky's drama At the Bottom.

Maxim Gorky's play At the Bottom (read the text) was written at the very beginning of the 20th century. This is a time of acute social contradictions, disputes, searches for new ways of developing society. The phenomena and objects that are far from us will become clearer if you look into, and in the section you will find information about the era reflected in the work.

At the center of the play is an argument about a humanwhether he is great or insignificant, as well as controversy about truth and lies: whether a person is able to withstand the truth. In parallel, many questions are raised: about the meaning of life in the face of death, about vocation, the burden of labor, about a dream.

The drama "At the Bottom" caused controversial assessments of criticism, and to this day Gorky's work remains a subject of study. Gorky does not give an unambiguous answer to the questions. You can try to reflect on them yourself if you look at the section.

Plotin the work is somewhat weakened, but this does not mean that he is absent. Very dramatic events take place in the play, but the engine is not external action, but the heroes' attempts to find the truth.

The composition of the play is built around two conflicts. On the surface - love conflict... It starts with the appearance of the owner of the hostel Kostylev, who is jealous of his wife Vasilisa to Vaska Pepl. The climax remains behind the scenes: we learn that Vasilisa, out of jealousy, poured boiling water over her sister Natasha, who liked Ash. Interchange - Vaska Ashes kills Kostylev. However, it is not this love quadrilateral that drives the play.

Much more important is the second, deep conflict - socio-philosophical... In general, its development can be represented as follows: in a flophouse (an extremely cheap hotel for the poor), characters argue about the truth and meaning of life. Suddenly, a person comes to the shelter - his appearance is the beginning of a philosophical conflict. With his words, the wanderer inspires all the inhabitants with hope for the best. A fierce debate about truth and man begins, which eventually becomes the culmination. And the outcome is the suicide of the hero nicknamed Actor: he could not live without saving consolation. Who is involved in this conflict? Let's see.

The wanderer who comforts the inhabitants of the flophouse is called Luke... In his name you can see a hint of guile, as well as a reference to the evangelist Luke. For Gorky, who was an enemy of Christianity, this name is a manifestation of a skeptical attitude towards the character.

Among the inhabitants of the shelter, an independent Satin - he is used to telling people the truth, he despises his wretched life, but he is not ready to do work that he does not like. He values \u200b\u200bhis freedom and sees a scale and a great destiny in a person. It is he who owns the famous phrase: "Man ... it sounds proud!"

Bubnov - a cruel cynic who does not believe in anything good in a person. From the point of view of Bubnov, at the bottom of life, the true human essence is revealed: the stratification of civilization is erased and only animal manifestations remain. In this case, according to Bubnov, there is only one possibility - to remain passive and sink, because all the same, "all people on earth are superfluous."

However, there are many other significant characters in the play, each with their own background and their own fate in the flophouse. You can remember the heroes with.

Before us socio-philosophical drama -a play with a modern everyday theme and an emphasis on common human problems. The play “At the Bottom” depicts the life of people at the very bottom of the social ladder. But it is precisely to these degraded people that the author entrusts thinking no less than about the destiny of man.

The play is supported by artistic techniques, among which the so-called "Dialogue of the deaf":the characters speak from different angles, and the lines conceived are not linked. This emphasizes the disunity of the heroes, the loneliness of a person in front of global issues.

Note also the mirror image of the episodes in each other. For example, Luke's parable about the righteous land and the episode with the Actor's suicide. Both fragments literally coincide in the final lines: “And after that I went home - and hanged myself ...” - “Hey ... you! Go ... come here! ... there. The actor ... hanged himself! " This reinforces the bitterly ironic, skeptical intonation of the play.

Maksim Gorky is the literary pseudonym of Alexei Maksimovich Peshkov (March 16 (28), 1868, Nizhny Novgorod, Russian Empire - June 18, 1936, Gorki, Moscow Region, USSR) - Russian writer, prose writer, playwright.

Dedicated to Konstantin Petrovich Pyatnitsky

Characters:

Mikhail Ivanov Kostylev, 54 years old, owner of a shelter.

Vasilisa Karpovna, his wife, 26 years old.

Natasha, her sister, 20 years old.

Medvedev, their uncle, a policeman, 50 years old.

Vaska Ash, 28 years old.

Tick, Andrey Mitrich, locksmith, 40 years old.

Anna, his wife, 30 years old.

Nastya, a girl, 24 years old.

Kvashnya, dumplings trader, under 40.

Bubnov, cap, 45 years old.

Baron, 33 years old.

Satin, Actor - about the same age: under 40.

Luke, the wanderer, 60 years old.

Alyoshka, a shoemaker, 20 years old.

Crooked Goiter, Tartar - kryuchniki.

Several tramps without names or speeches.

Analysis of the drama "At the Bottom" by M.Yu.

Drama, by its very nature, is meant to be staged... The focus on stage interpretation limits the artist in the means of expressing the author's position. She cannot, unlike the author of an epic work, directly express her 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 heroes, in their actions, in the development of the plot. In addition, the playwright is limited in the volume of the work (the performance can run for two, three, at most four hours) and in the number of characters (all of them must "fit" on the stage and have time to realize themselves in the limited time of the performance and the space of the stage).

That's why , an acute clash between the heroes on a very significant and significant occasion for them... Otherwise, the characters simply will not be able to realize themselves in the limited amount of drama and stage space. The playwright ties such a knot, when untangled, a person shows himself from all sides. Wherein there can be no “superfluous” characters in the drama - all heroes must be included in the conflict, the movement and course of the play must capture all of them. Therefore, a harsh, conflicting situation, playing out in front of the viewer, turns out to be the most important feature of drama as a kind of literature.

The subject of the image in Gorky's drama "At the Bottom"(1902) becomes the consciousness of people thrown as a result of deep social processes to the bottom of life... In order to embody such an object of depiction by stage means, the author had to find an appropriate situation, a corresponding conflict, as a result of which the contradictions of the consciousness of the night lodges, its strengths and weaknesses, would be most fully manifested. Is a social, social conflict suitable for this?

Indeed, social conflict is presented in the play on several levels. Firstly, this is a conflict between the owners of the hostel, the spouses Kostylevs and its inhabitants.... It is felt by the characters throughout the play, but it turns out to be as if static, devoid of dynamics, non-developing... This is because The Kostylevs themselves have not gone so far in the public sense from the inhabitants of the shelter. The relationship between owners and occupants can only create tension, but not become the basis of a dramatic conflict that can "start" drama.

Besides , each of the heroes in the past experienced his own social conflict, as a result of which he ended up at the "bottom" of his life, in a shelter.

But these social conflicts are fundamentally taken out of the scene, relegated to the past and therefore do not become the basis of a dramatic conflict. We see only the result of social troubles that have so tragically affected people's lives, but not the clashes themselves.

The presence of social tension is already indicated 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”, its upper course, towards which the characters strive. But even this cannot become the basis for a dramatic conflict - after all, this tension is also devoid of dynamics, all attempts of the heroes to leave the “bottom” are futile. Even the appearance of the policeman Medvedev does not give an impetus to the development of a dramatic conflict.

Maybe, is the drama organized by traditional love conflict? Really, such a conflict is present in the play. It is determined by the relationship between Vaska Pepla, Vasilisa, Kostylev's wife, the owner of the hostel and Natasha.

The exposition of the love story turns out to be the appearance of Kostylev in the shelter and the conversation of the hostels, from which it is clear that Kostylev is looking for his wife Vasilisa in the shelter, who is cheating on him with Vaska Ash. The outbreak of a love conflict - the appearance of Natasha in the shelter, for which Ash leaves Vasilisa... In the course of the development of a love conflict, it becomes clear that relations with Natasha enrich Ash, revive him to a new life.

The culmination of a love conflict is fundamentally taken out of the scene: we do not see exactly how Vasilisa scalds Natasha with boiling water, we only learn about it by the noise and shouts behind the stage and the conversations of the night lodgers. The murder of Kostylev by Vaska Ash turns out to be a tragic denouement of a love conflict.

Of course love conflict is also a facet of social conflict... He shows that the anti-human conditions of the "bottom" cripple a person, and the most lofty feelings, even love, lead not to the enrichment of the individual, but to death, injury and hard labor. Having thus unleashed a love conflict, Vasilisa emerges victorious from it, achieves all her goals at once: she takes revenge on her former lover Vaska Peplu and her rival Natasha, gets rid of her unloved husband and becomes the sole mistress of the hostel. Nothing human remained in Vasilisa, and her moral impoverishment shows the enormity 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 in front of the night lodgers, it does not affect them themselves . Theyare keenly interested in the vicissitudes of these relations, but do not participate in them, remaining only by outside viewers... Hence, a love conflict also does not create a situation that could form the basis of a dramatic conflict.

We repeat once again: the subject of the depiction in Gorky's play turns out to be not only and not so much social contradictions of reality or possible ways of their resolution; him interested in the consciousness of the night lodgers in all its contradictions. Such a subject of the image is characteristic of the genre of philosophical drama. Moreover, it also requires non-traditional forms of artistic expression: the traditional external action (series of events) is giving way to the so-called internal action. Everyday life is reproduced on the stage: petty quarrels take place between the hostels, one of the heroes appears and disappears. But these are not the circumstances that turn out to be plot-forming. Philosophical problems force the playwright to transform the traditional forms of drama: the plot manifests itself not in the actions of the heroes, 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 plot of the conflict turns out to be the appearance of Luke. Outwardly, it does not in any way affect the lives of the night lodgers, but intense work begins in their minds. Luca immediately becomes the center of their attention, and the entire development of the plot focuses 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 makes a real revolution in the lives of heroes. The development of inner action begins at the moment when the heroes discover in themselves the ability to dream of a new and better life.

It turns out that those bright sides, what guessed Luke in each character of the play, and constitute his true essence... It turns out prostitute Nastya dreams of beautiful and bright love; Actor, drunken person, recalls creativity and seriously thinks about returning to the stage; "Hereditary" thief Vaska Ashes finds in himself the 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 another facet of social conflict: the depth of the heroes' personality, their noble aspirations are 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.

Lukefrom the first moment of his appearance in the shelter, he refuses to see crooks in the shelters. "I also respect crooks, in my opinion, not a single flea is bad: everyone is black, everyone is jumping." - so he says, justifying his right to name his new neighbors "Honest people" and rejecting Bubnov's objection: "I was honest, but the spring before last." The origins of this position are in Luke's naive anthropologism, who believes that a person is initially good and only social circumstances make him bad and imperfect.

This story-parable of Luke clarifies the reason for his warm and benevolent attitude towards all people - including those who are at the "bottom" of life. .

Luka's position in the drama is very complex, and the author's attitude towards him looks ambiguous. ... On the one hand, Luke is absolutely disinterested in his preaching and in his desire to awaken in people the best, hidden for the time being, 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 good to his interlocutors, shows real ways to achieve a new, better life. And under the influence of his words, the heroes really experience a metamorphosis.

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 go with Natasha to Siberia and get on his feet there.

Dreams of Nastya and Anna, the wife of Tickare quite illusory, but these dreams also give them the opportunity to feel happier.

Nastyaimagines herself a heroine of tabloid novels, showing in her dreams of the nonexistent Raoul or Gaston the feats of self-sacrifice that she is really capable of;

dying Anna,dreaming of an afterlife, also partly escapes the feeling of hopelessness: Bubnovyes Baron, people who are completely indifferent to others and even to themselves, remain deaf to the words of Luke.

Luke's position is exposed by controversyabout what is the truth, which arose with him with Bubnov and Baron, when the latter mercilessly exposes Nastya's groundless dreams about Raoul: “Here ... you say - it's true ... She's really, - it's not always because of a person's illness ... it's not always true soul You will cure ... ”In other words, Luke affirms charity for a person of comforting lies. But is it the only lie that Luke claims?

Our literary criticism has long been dominated by the concept that Gorky unequivocally rejects Luke's comforting sermon. But the position of the writer is more complicated.

Vaska Ashes 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 himself, 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 in the fourth act will beat him, drawing directly opposite conclusions. Luke, having told a parable about a man who, having lost faith in the existence of a righteous land, strangled himself, believes that a person cannot be deprived of hope, albeit an illusory one. Gorky, through the fate of the Actor, assures the reader and the viewer that it is a false hope that can lead a person to a noose. Ho back to the previous question: in what way did Luke deceive the inhabitants of the shelter?

The actor accuses him of not leaving the address of the free hospital ... All heroes agree that hopethat Luke instilled in their souls - false... But after all he did not promise to bring them out of the bottom of life - he simply supported their timid belief that there was a way out and that it was not ordered for them. The belief in oneself, which had awakened in the minds of the night lodgers, turned out to be too fragile and with the disappearance of the hero who was able to support it, it immediately died out. It's all about the weakness of the heroes, their inability and unwillingness to do at least something little in order to withstand the ruthless social circumstances that doom them to existence in the Kostylevs' little house.

Therefore, the author addresses the main accusation not to Luke, but to heroes who are unable to find the strength to oppose their will to reality. So 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 life by external circumstances and is not at all inclined to blame the heroes themselves for the failed life. And the thought of trying to somehow change these circumstances does not occur to either Luka or his flock. Therefore, so the heroes are dramatically experiencing Luka's departure: the hope awakened in their souls cannot find an inner support in their characters; they will always need the external support of even such a helpless person in a practical sense as the “bezopasnost” Luke.

Luke is an ideologue of passive consciousness, so unacceptable for Gorky.

According to the writer, a passive ideology can only reconcile the hero with his current position and will not prompt him to try to change this position, as happened with Nastya, with Anna, with the Actor ... But who could object to this hero, who could oppose at least something to his passive ideology? There was no such hero in the shelter. The bottom line is that the bottom cannot develop a different ideological position, which is why Luke's ideas are so close to its inhabitants. But his preaching gave impetus for the emergence of a new position in life. Satin became its spokesman.

He is well aware that his state of mind is a reaction to the words of Luke: “Yes, it was he, the old yeast, who sour our roommates ... Old man? He is a clever fellow! .. The old man is not a charlatan! What is truth? Man - that's the truth! He understood this ... you - no! .. He ... acted on me like acid on an old and dirty coin ... " humiliation - expresses a different life position. But this is still only the very first step towards the formation of an active consciousness capable of changing social circumstances.

The tragic ending of the drama (the Actor's suicide) raises the question of the genre nature of the play "At the Bottom".Let me remember the main genres of drama. The difference between them is determined by the subject of the image. Comedy is a moral-descriptive genre, therefore the subject of the image in the comedy is a portrait of society at a non-heroic moment of its development. The subject of depiction in tragedy often becomes the tragic, insoluble conflict of the hero-ideologist with society, the outside world, and insurmountable circumstances. This conflict can move from the external sphere to the sphere of the hero's consciousness. In this case, we are talking about an internal conflict. Drama is a genre that gravitates towards the study of philosophical or social and everyday problems.

Do I have any reason to regard the play At the Bottom as a tragedy? Indeed, in this case, I will have to define the Actor as a hero-ideologist and consider his conflict with society as ideological, for the hero-ideologist by death affirms his ideology. A tragic doom is the last and often the only way not to bow before the opposing force and to validate ideas.

I think not. His death is an act of despair and disbelief in his own strength for rebirth. Among the heroes of the “bottom” there are no obvious ideologues opposing reality. Moreover, their own situation is not comprehended by them themselves as tragic and hopeless. They have not yet reached the level of consciousness when a tragic outlook on life is possible, because it presupposes a conscious opposition to social or other circumstances.

Gorky clearly does not find such a hero in Kostylev's little house, at the “bottom” of his life. Therefore, it would be more logical to regard At the Bottom as a social-philosophical and social-everyday drama.

Reflecting on the genre nature of the play, it is necessary to find out which collisions are in the center of the playwright's attention, what becomes the main subject of the depiction. In the play At the Bottom, the subject of Gorky's research is the social conditions of Russian reality at the turn of the century and its reflection in the minds of the heroes. In this case, the main, the main subject of the image is precisely the consciousness of the night-lodgers and the sides of the Russian national character that manifested themselves in it.

Gorky tries to determine what are the social circumstances that influenced the characters of the heroes. To do this, he shows the backstory of the characters, which becomes clear to the viewer from the dialogues of the characters. But it is more important for him to show those social circumstances, the circumstances of the "bottom" in which the heroes find themselves now. It is this their position that equates the former aristocrat Baron with the sharper Bubnov and the thief Vaska Ash and forms the common features of consciousness: a rejection of reality and at the same time a passive attitude towards it.

Within Russian realism, starting from the 40s of the last century, a trend has developed that characterizes the pathos of social criticism in relation to reality. It is this direction, which is represented, for example, by the names of Gogol, Nekrasov, Chernyshevsky, Dobrolyubov, Pisarev, that received the name critical realism.

In the drama At the Bottom, Gorky continues these traditions, which is manifested in his critical attitude to the social aspects of life and, in many respects, to the heroes immersed in this life and shaped by it.

Typical does not mean most common: on the contrary, the typical is more often manifested in the exceptional. To judge typicality means to judge what circumstances gave rise to this or that character, what caused this character, what is the hero's prehistory, what turns of fate brought him to the present situation and determined certain qualities of his consciousness.

Analysis of the play "At the Bottom" (opposition)

Chekhov's tradition in Gorky's drama. Gorky originally said about Chekhov's innovation, who "Killed realism" (traditional drama), raising images up "Spiritualized symbol"... This is how the departure of the author of The Seagull from a sharp clash of characters, from a tense plot was determined. Following Chekhov, Gorky strove to convey the unhurried pace of everyday, "eventless" life and to highlight in it the "undercurrent" of the heroes' inner motives. Only the meaning of this "trend" Gorky understood, naturally, in his own way. Chekhov has plays of refined moods and emotions. In Gorky, there is a clash of heterogeneous perceptions of the world, the very "fermentation" of thought that Gorky observed in reality. One after another, his dramas appear, many of them are indicatively called "scenes": "Bourgeois" (1901), "At the bottom" (1902), "Summer residents" (1904), "Children of the Sun" (1905), "Barbarians" ( 1905).

“At the Bottom” as a Socio-Philosophical Drama.From the cycle of these works, the depth of thought and the perfection of construction stands out “At the bottom”. Staged by the Moscow Art Theater and held with rare success, the play amazed with “non-stage material” - from the life of tramps, cheats, prostitutes - and, despite this, its philosophical richness. The special author's approach to the inhabitants of the dark, dirty shelter helped to "overcome" the gloomy coloring and frightening everyday life.

The play got its final name on the theatrical poster, after Gorky went through others: "Without sun", "Nochlezhka", "Bottom", "At the bottom of life"In contrast to the initial ones, which set off the tragic position of tramps, the latter clearly had a polysemy, was widely perceived: "At the bottom" not only of life, but primarily of the human soul.

Bubnovsays about himself and his roommates: "... everything faded away, one naked man remained." Due to the "molteness", the loss of the former position, the heroes of the drama really bypass particulars and gravitate towards some universal human concepts. In this version, the internal state of the personality is visibly visible. The "dark kingdom" made it possible to single out the bitter meaning of existence, which is imperceptible under normal conditions.

The atmosphere of spiritual separation of people. The role of the polylogue. Inherent in all literature of the early XX century. the painful reaction to the disunited, spontaneous world in Gorky's drama acquired rare proportions and convincingness of embodiment. The author conveyed the stability and limit of the mutual alienation of Kostylev's guests in the original form of a "polylogue". In act I all the characters speak, but each, almost without listening to the others, about his own. The author emphasizes the continuity of such "communication". Kvashnya (the play begins with her remark) continues the dispute started behind the scenes with Kleshch. Anna asks to stop what lasts “every single day”. Bubnov interrupts Satin: "I've heard a hundred times."

In the stream of fragmentary remarks and squabbles, words that have a symbolic sound are emphasized. Bubnov repeats twice (doing furry business): "And the strings are rotten ..." Nastya characterizes the relationship between Vasilisa and Kostylev: "Tie any living person to such a husband ..." Bubnov notes about Nastya's position: "You are superfluous everywhere." ... The phrases said on a specific occasion reveal the "subtext" meaning: the imaginary connections, the identity of the unfortunate.

The peculiarity of the inner development of the play... The setting changes from the appearance of Luke.It is with his help that illusory dreams and hopes come to life in the secret places of the souls of the night shelters. II and III acts of the drama allow to see in the "naked man" attraction to another life. But, based on false ideas, it is crowned only with misfortune.

Luke's role in this outcome is very significant. An intelligent, knowledgeable old man indifferently looks at his real environment, believes that "for the best people live ... For a hundred years, and maybe more - for a better man they live." Therefore, the delusions of Ash, Natasha, Nastya, Actor do not touch him. Nevertheless, Gorky did not at all limit what was happening to the influence of Luke.

The writer, no less than human disunity, does not accept a naive belief in a miracle. It is the miraculous that Ash and Natasha think about in a certain "righteous land" of Siberia; to the actor - in a marble hospital; Tick \u200b\u200b- in honest labor; Nastya is in love happiness. Luke's speeches worked because they fell on the fertile soil of secretly cherished illusions.

The atmosphere of acts II and III is different in comparison with I. There is a cross-cutting motive that the inhabitants of the flophouse leave for some unknown world, a mood of exciting anticipation and impatience. Luke advises Ash: “... from here - step forward! - go away! Go away ... "The actor says to Natasha:" I am leaving, leaving ...<...> You, too, go away ... "Ashes persuades Natasha:" ... you have to go to Siberia of your own free will ... We're going there, well? " But at once other, bitter words of hopelessness sound. Natasha: "Nowhere to go." Bubnov once "caught himself in time" - he left the crime and forever remained in the circle of drunkards and cheats. Sateen, remembering his past, sternly asserts: "After prison there is no way." And Tick with pain admits: "There is no shelter ... there is nothing." There is a deceptive release from the circumstances in these remarks of the inhabitants of the flophouse. Gorky tramps, by virtue of their rejection, experience this eternal drama for man with rare nudity.

The circle of existence seemed to be closed: from indifference - to an unattainable dream, from it - to real shocks or death. Meanwhile, it is in this state of the heroes that the playwright finds the source of their spiritual change.

The meaning of Act IV. Act IV shows the same situation. And yet something completely new happens - the ferment of the previously sleepy thought of tramps begins. Nastya and the Actor for the first time angrily denounce their stupid classmates. The Tatar expresses a conviction that was previously alien to him: it is necessary to give the soul a "new law." The tick is suddenly calmly trying to discern the truth. But the main thing is expressed by those who have long believed in no one and in anything.

The Baron, admitting that he “never understood anything,” thoughtfully remarks: “... after all, for some reason I was born ...” This bewilderment binds everyone. And the question "Why was you born?" Satin. Clever, impudent, he correctly evaluates tramps: "stupid as bricks", "brutes", knowing nothing and not wanting to know. Therefore, Satin (he is "kind when drunk") and tries to protect the dignity of people, open their possibilities: "Everything is in a person, everything is for a person." Satin's reasoning is unlikely to be repeated, the life of the unfortunate will not change (the author is far from any embellishment). But the flight of Satin's thoughts fascinates the audience. For the first time, they suddenly feel like a small particle of the big world. The actor therefore does not stand his doom, cutting off his life.

The strange, not fully realized rapprochement of the “bitter brethren” takes on a new shade with the arrival of Bubnov. "Where are the people?" - he shouts and offers to "sing ... all night", "weep" his fate. That is why Satin responds sharply to the news of the Actor's suicide: "Eh ... ruined the song ... fool."

Philosophical subtext of the play.Gorky's play of the socio-philosophical genre, even with its vital concreteness, was undoubtedly aimed at universal human concepts: alienation and possible contacts of people, imaginary and real overcoming of a humiliating position, illusions and active thought, sleep and awakening of the soul. The characters of At the Bottom only intuitively touched the truth, not getting rid of the feeling of hopelessness. Such a psychological collision enlarged the philosophical sound of the drama, which revealed the universality (even for the outcast) and the inaccessibility of genuine spiritual values. The combination of the eternal and the instant, the stability and at the same time the precariousness of familiar representations, a small stage space (a dirty shelter) and reflections on the big world of mankind allowed the writer to embody complex life problems in an everyday situation.

At the bottom is my chapter summary

Action one

A cave-like basement. The ceiling is heavy, with fallen plaster. Light from the audience. On the right, behind the enclosure, is Ash's closet, next to Bubnov's bunk, in the corner is a large Russian stove, opposite the door to the kitchen, where Kvashnya, Baron, Nastya live. Behind the stove is a wide bed behind a chintz curtain. Around the bunks. In the foreground, a vise with an anvil is on a tree stump. Sitting next to Kvashnya, Baron, Nastya, reading a book. On the bed behind the curtain, Anna coughs heavily. On the bunk, he examines the old open trousers of Tambourines. Next to him, the newly awakened Satin lies and growls. The Actor is busy on the stove.

The beginning of spring. Morning.

Kvashnya, talking to the Baron, promises never to marry again. Bubnov asks Satin why he “grunts”? Kvashnya continues to develop her idea that she is a free woman and will never agree to “give herself up to the fortress”. The tick rudely shouts to her: “You're lying! You yourself will marry Abramka. "

The Baron snatches the book from reading Nastya and laughs at the vulgar title "Fatal Love". Nastya and Baron are fighting over the book.

Kvashnya scolds Tick as an old goat who brought his wife to death. The tick scolds lazily. Kvashnya is sure that Tick does not want to hear the truth. Anna asks for silence in order to die peacefully, Tick impatiently reacts to his wife's words, and Bubnov philosophically remarks: "Noise is not a hindrance to death."

Kvashnya wonders how Anna lived with such a "sinister"? The dying one asks to leave her alone.

Kvashnya and the Baron are going to the market. Anna refuses the offer to eat dumplings, but Kvashnya still leaves the dumplings. The Baron teases Nastya, tries to anger her, and then hastily leaves for Kvashnya.

The finally awakened Satin asks who beat him on the eve and why. Bubnov argues, is it all the same, but beat for cards. The actor shouts from the stove that one day Satin will be completely killed. The tick calls the Actor to get off the stove and start cleaning the basement. The actor objects, it's Baron's turn. The Baron, peeping in from the kitchen, excuses himself by his busyness - he goes with Kvashnya to the market. Let the Actor work, he has nothing to do, or Nastya. Nastya refuses. Kvashnya asks the Actor to remove it, it will not break. The actor is discouraged by illness: it is harmful for him to breathe dust, his body is poisoned with alcohol.

Satin utters incomprehensible words: "sycamber", "macrobiotics", "transcendental". Anna invites her husband to eat dumplings left by Kvashnya. She herself languishes, anticipating the imminent end.

Bubnov asks Satin what these words mean, but Satin has already forgotten their meaning, and in general he is tired of all these conversations, all the "human words" that he has heard, probably a thousand times.

The actor recalls that he once played a gravedigger in Hamlet, quotes from there the words of Hamlet: “Ophelia! Oh, remember me in your prayers! "

A tick, sitting at work, creaks with a file. And Satin recalls that once in his youth he served in the telegraph office, read many books, and was an educated person!

Bubnov skeptically notes that he had heard this story “a hundred times!”, But he himself was a furrier, had his own establishment.

The actor is convinced that education is nonsense, the main thing is talent and self-confidence.

Meanwhile Anna asks to open the door, she is stuffy. The tick does not agree: it is cold on the floor, it has a cold. The Actor approaches Anna and offers to take her out into the hallway. Supporting the patient, he takes her out into the air. Met Kostylev laughs at them, what a "wonderful couple" they are.

Kostylev asks Kleshch if Vasilisa was here this morning? The tick did not see. Kostylev scolds Kleshch that he takes a place in the little house for five rubles, but pays two, he ought to throw in fifty rubles; "Better throw a loop" - ticks parries. Kostylev dreams that for this fifty kopeck he will buy lamp oil and pray for his own and others' sins, because Tick does not think about his sins, so he brought his wife to the grave. The tick cannot stand it and begins to shout at the owner. The returned Actor says that he has arranged Anna well in the entryway. The owner notices that everything will be reckoned for the good Actor in the next world, but the Actor would have been more satisfied if Kostylev now knocked off half of the debt. Kostylev immediately changes his tone and asks: "Can kindness of heart be equated with money?" Kindness is one thing, duty is another. The actor calls Kostylev a rogue. The owner knocks on Ash's closet. Satin laughs that Ash will open, and Vasilisa is with him. Kostylev is angry. Opening the door, Ash demands money from Kostylev for the watch, and when he finds out that he didn't bring money, he gets angry and scolds the owner. He rudely shakes Kostylev, demanding a debt of seven rubles from him. When the owner leaves, Ash is explained that he was looking for his wife. Satin is surprised that Vaska has not yet nailed Kostylev. Ash replies that "he will not spoil his life because of such rubbish." Satin teaches Ash to "kill Kostylev cleverly, then marry Vasilisa and become the owner of the flophouse." Ashes are not happy with such a prospect, the hostels will drink all of his property in the tavern, because he is kind. Ash is angry that Kostylev woke him up at the wrong time, he just had a dream that he caught a huge bream. Satin laughs that it was not a bream, but Vasilisa. Ash sends everyone to hell together with Vasilisa. A tick returning from the street is unhappy with the cold. He did not bring Anna - Natasha took her to the kitchen.

Satin asks Ash for a nickel, but the Actor says that they need a dime for two. Vasily gives until the ruble is asked. Satin admires the kindness of the thief, "there is no better people in the world." The tick notices that money is easy for them, so they are kind. Satin objects: “Many people get money easily, but few part with it easily,” he argues that if the work is pleasant, he might work. “When work is pleasure, life is good! When labor is a duty, life is slavery! "

Satin and the Actor go to the pub.

Ashes asks Tick about Anna's health, he replies that he will soon die. Ash advises Tick not to work. "How to live?" - he asks. “Others live,” notes Ash. The tick speaks with contempt of others, he believes that it will break out of here. Ashes objects: those around them are not worse than Tick, and “they don't need honor and conscience. You can't wear them instead of boots. Honor and conscience are needed for those who have power and strength. "

The chilled Bubnov enters and, in response to Ash's question about honor and conscience, says that he does not need conscience: "I am not rich." Ash agrees with him, but Tick is against. Bubnov asks: does the Tick to occupy the conscience? Ashes advises Tick to talk about conscience with Satin and Baron: they are smart, although drunkards. Bubnov is sure: "Who is drunk and smart - there are two lands in him."

Ash recalls how Satin said that it is convenient to have a conscientious neighbor, but being conscientious himself is "not profitable."

Natasha brings the wanderer Luka. He politely greets those present. Natasha introduces the new guest, inviting him to go to the kitchen. Luka assures: old people - where it is warm, there is a homeland. Natasha tells Tick to come later for Anna and be kind to her, she is dying and she is scared. Ash objects that dying is not scary, and if Natasha kills him, he will also happily die by a clean hand.

Natasha doesn't want to listen to him. Ash admires Natasha. She wonders why she rejects him, because she will disappear here anyway.

"Through you and will be lost"- assures Bubnov.

Tick \u200b\u200band Bubnov say that if Vasilisa finds out about Ash's attitude to Natasha, both will be in trouble.

In the kitchen, Luka plays a mournful song. Ashes wonders why people suddenly feel melancholy? He yells at Luca not to howl. Vaska loved to listen to beautiful singing, and this howl evokes melancholy. Luka is surprised. He thought he sang well. Luka says that Nastya is sitting in the kitchen crying over a book. The Baron assures that it is out of stupidity. Ash offers the Baron to bark a dog on all fours for half a bottle of booze. The Baron is surprised how happy Vaska is. After all, now they are equal. Luke sees the Baron for the first time. Grafov saw, princes, and baron - for the first time, "and even then spoiled."

Luke says the lodgers have a good life. But the Baron remembers how he used to drink coffee with cream while still in bed.

Luka notes that people get smarter over time. "They live worse and worse, but they want - everything is better, stubborn!" The Baron is interested in the old man. Who it? He answers: a wanderer. He says that everyone in the world is a wanderer, and "our land is a wanderer in the sky." The Baron goes with Vaska to the tavern and, saying goodbye to Luka, calls him a rogue. Alyosha enters with an accordion. He starts screaming and acting like a fool, which is no worse than others, so why Medyakin does not allow him to walk down the street. Vasilisa appears and also swears at Alyosha, drives him out of sight. Orders Bubnov to drive Alyosha if he appears. Bubnov refuses, but Vasilisa angrily reminds that since he lives out of mercy, then let him obey his masters.

Interested in Luka, Vasilisa calls him a rogue, since he has no documents. The hostess is looking for Ash and, not finding him, breaks down at Bubnov for the dirt: "So that there are no specks!" She angrily shouts to Nastya to clean up the basement. Learning that her sister was here, Vasilisa gets even more angry, shouts at the hostels. Bubnov is surprised at how much anger this woman has. Nastya replies that with a husband like Kostylev, everyone will go berserk. Bubnov explains: the "mistress" came to her lover, did not find him on the spot, and therefore gets angry. Luka agrees to clean up the basement. Bubnov learned from Nastya the reason for Vasilisa's anger: Alyoshka blurted out that Vasilisa was tired of Ash, so she drives the guy. Nastya sighs that she is superfluous here. Bubnov replies that she is superfluous everywhere ... and all people on earth are superfluous ...

Medvedev enters and asks Luka, why doesn't he know him? Luke replies that not all the land is included in his site, there is only one left. Medvedev asks about Ash and Vasilisa, but Bubnov denies that he knows anything. Kvashnya returns. Complains that Medvedev is calling her to marry. Bubnov approves of this union. But Kvashnya explains: a woman is better in an ice hole than getting married.

Luke brings Anna. Kvashnya, pointing to the patient, says that she was driven to death by a noise in the entryway. Kostylev calls Abram Medvedev: to protect Natasha, who is beaten by her sister. Luka asks Anna what the sisters have not shared. She replies that they are both well-fed, healthy. Anna tells Luka that he is kind and gentle. He explains: "crumpled, that's why it's soft."

Second action

The same setting. Evening. On a bunk, Satin, Baron, Crooked Zob and Tatarin play cards, Tick and Actor are watching the game. Bubnov plays checkers with Medvedev. Luka is sitting by Anna's bed. The stage is dimly lit by two lamps. One is on fire at the gamblers, the other is near Bubnov.

Tatarin and Krivoy Zob sing, Bubnov also sings. Anna tells Luka about her hard life, in which she remembers nothing but beatings. Luka consoles her. The Tatar yells at Satin, who is wandering in a card game. Anna recalls how she had been starving all her life, she was afraid to overeat her family, to eat an extra piece; Is it possible that torment awaits her in the next world? In the basement, the screams of gamblers, Bubnov are heard, and then he sings a song:

Guard as you wish ...

I won't run away anyway ...

I want to be free - eh!

I cannot break the chain ...

Crooked Goiter sings along. The Tatar shouts that the Baron is hiding the card up his sleeve, he is cheating. Satin calms Tatarin, saying that he knows: they are crooks, why did he agree to play with them? The Baron reassures that he has lost a dime, and shouts at a three-ruble note. Crooked Goiter explains to Tartar that if the bed-lodgers begin to live honestly, they will die of hunger in three days! Satin scolds the Baron: he is an educated man, but he hasn’t learned to cheat at cards. Abram Ivanovich lost to Bubnov. Satin calculates the winnings - fifty-three kopecks. The actor asks for three kopecks, and then he wonders why he needs them? Satin calls Luka to the tavern, but he refuses. The actor wants to read poetry, but with horror realizes that he has forgotten everything, has spent on drink his memory. Luca reassures the Actor that he is being treated for drunkenness, only he has forgotten in which city the hospital is. Luca convinces the Actor that he will be cured, will pull himself together, and will live well again. Anna calls Luka to talk to her. The tick stands in front of his wife, then leaves. Luka feels sorry for Tick - he feels bad, Anna replies that she has no time for her husband. From him she also withered. Luka consoles Anna that she will die and feel better. "Death - it calms everything ... it is affectionate for us ... if you die, you will rest!" Anna is afraid that suddenly torment awaits her in the next world. Luke says that the Lord will call her and say that she lived hard, let her now rest. Anna asks, what if she gets well? Luka asks: for what, for new flour? But Anna wants to live more, she even agrees to suffer, if then peace awaits her. Ash enters and screams. Medvedev is trying to calm him down. Luka asks to be silent: Anna is dying. Ash agrees with Luka: “You, grandfather, if you please - respect! You, brother, well done. You're lying well ... you speak nicely! Lie, nothing ... little, brother, pleasant in the world! "

Vaska asks Medvedev if Natasha beat Vasilisa badly? The policeman excuses himself: “this is a family matter, not his, Ashes,”. Vaska assures that if he wants, Natasha will leave with him. Medvedev is outraged that the thief dares to make plans for his niece. He threatens to bring Ash to clean water. At first, Vaska, in a passion, says: try it. But then he threatens that if he is taken to the investigator, he will not remain silent. He will tell you that Kostylev and Vasilisa pushed him to steal, they are selling stolen goods. Medvedev is sure: no one will believe a thief. But Ash confidently says that they will believe the truth. Ash and Medvedev are threatened that he will be confused. The policeman leaves so as not to run into trouble. Ashes smugly remarks: Medvedev ran to complain to Vasilisa. Bubnov advises Vaska to be careful. But Ash, Yaroslavl, you can't take with your bare hands. “If there is war, we will fight,” the thief threatens.

Luka advises Ash to go to Siberia, Vaska jokes that he will wait until they take him at public expense. Luke persuades that people like Ashes are needed in Siberia: "There are people like them - you need them." Ash replies that his path was predetermined: “My path is indicated to me! My parent spent his whole life in prisons and ordered me the same ... When I was little, so at that time they called me a thief, a thief's son ... "Luka praises Siberia, calls it the" golden side ". Vaska wonders why Luka is lying. The old man replies: “And why do you really need it painfully ... think about it! She, really, maybe a butt for you ... ”Ash asks Luka if there is a God? The old man answers: “If you believe, there is; if you don't believe, no ... What you believe in is what you believe. Bubnov goes to the tavern, and Luka, slamming the door as if leaving, carefully climbs onto the stove. Vasilisa goes to Ash's room and calls Vasily there. He refuses; he was tired of everything and she too. Ash looks at Vasilisa and admits that, despite her beauty, he never had a heart for her. Vasilisa is offended that Ashes suddenly stopped loving her. The thief explains that not all of a sudden, she has no soul, like animals, she is with her husband. Vasilisa confesses to Ash that she loved the hope in him that he would get her out of here. She offers Ash to her sister if he releases her from her husband: "Take this noose off me." Ash grins: she thought of everything great: her husband - in a coffin, lover - to hard labor, and herself ... Vasilisa asks him to help through his friends, if Ash himself does not want. Natalya will be his pay. Vasilisa beats her sister out of jealousy, and then she herself cries out of pity. Kostylev, who entered quietly, catches them and shouts at his wife: "A beggar ... a pig ..."

Ash drives Kostylev, but he is the owner and decides for himself where to be. The ash strongly shakes Kostylev's collar, but Luka makes a noise on the stove, and Vaska lets the owner go. Ashes realized that Luke had heard everything, and he did not deny. He deliberately began to make noise so that Ash would not strangle Kostylev. The old man advises Vaska to stay away from Vasilisa, take Natasha, and go with her away from here. Ashes cannot decide what to do. Luke says that Ashes is still young, he will have time to "get a woman, let it be better to go from here alone, before they ruin him here."

The old man notices that Anna is dead. Ashes do not like the dead. Luke replies that you need to love the living. They go to the tavern to inform Tick about the death of his wife. The actor recalled a poem by Paul Beranger, which he wanted to tell Luca in the morning:

Gentlemen! If the truth is holy

The world cannot find a way, -

Honor to the madman who will cast

A golden dream for mankind!

If tomorrow the land is our way

Forgot to light our sun

Tomorrow would light up the whole world

The thought of some madman ...

Natasha, listening to the Actor, laughs at him, and he asks, where did Luka go? As soon as it gets warm, the Actor is going to go to look for a city where they are being treated for drunkenness. He admits that his stage name Sverchkov-Zavolzhsky, but here no one knows and does not want to know, it is very insulting to lose his name. “Even dogs have nicknames. Without a name - there is no person. "

Natasha sees the deceased Anna and tells the Actor and Bubnov about it. Bubnov notes: there will be no one to cough at night. He warns Natasha: The ashes "will break her head," Natasha doesn't care who she dies from. The newcomers look at Anna, and Natasha is surprised that no one regrets Anna. Luke explains that you need to feel sorry for the living. “We don’t feel sorry for the living… we cannot feel sorry for ourselves… where is it!” Bubnov philosophizes - everyone will die. Everyone advises Tick to report the death of his wife to the police. He grieves: he has only forty kopecks, why bury Anna? Crooked Zob promises that he will collect a penny - a dime in the flop. Natasha is afraid to walk through the dark passage and asks Luka to accompany her. The old man advises her to fear the living.

The actor shouts to Luka to name the city where drunkenness is being treated. Satin is convinced that everything is a mirage. There is no such city. The Tatar stops them so that they do not shout in front of the dead. But Satin says the dead don't care. Luka appears at the door.

Act three

Wasteland littered with various rubbish. In the depths there is a wall of refractory bricks, to the right is a log wall and everything is overgrown with weeds. To the left is the wall of the Kostylev house. Planks and beams lie in a narrow passage between the walls. Evening. Natasha and Nastya are sitting on the boards. On the logs - Luka and Baron, the Tick and Baron are located nearby.

Nastya talks about her allegedly former date with a student in love with her, who is ready to shoot himself because of love for her. Bubnov laughs at Nastya's fantasies, but the Baron asks not to interfere with lying further.

Nastya continues to fantasize that the student's parents do not give consent to their marriage, he cannot live without her. She supposedly tenderly says goodbye to Raul. Everyone laughs - the last time the lover was called Gaston. Nastya is outraged that they do not believe her. She claims: she had true love. Luka consoles Nastya: "Tell me, girl, nothing!" Natasha reassures Nastya that everyone behaves this way out of envy. Nastya continues to fantasize what tender words she said to her beloved, persuading him not to take his own life, not to upset his beloved parents / The Baron laughs - this is a story from the book “Fatal Love”. Luka, on the other hand, consoles Nastya, believes her. The Baron laughs at Nastya's stupidity, however, noting her kindness. Bubnov wonders why people love lies so much. Natasha is sure: it is more pleasant than the truth. So she dreams that tomorrow a special stranger will come and something very special will happen. And then he realizes that there is nothing to wait. The Baron picks up her phrase that there is nothing to wait, and he does not expect anything. Everything has already ... been! Natasha says that sometimes she will imagine herself dead and she becomes terrified. The Baron takes pity on Natasha, who is tormented by her sister. She asks: who is easier?

Suddenly the Tick screams that not everyone is bad. If only for everyone, it would not be so offensive. Bubnov is surprised by Tick's cry. The Baron goes to put up with Nastya, otherwise she will not give him a drink.

Bubnov is unhappy that people are lying. Okay, Nastya is used to “tint my face… it brings a blush to the soul”. But why is Luke lying without any benefit to himself? Luka reprimands the Baron not to disturb Nastya's soul. Let her cry if she wants to. The Baron agrees. Natasha asks Luka why he is kind. The old man is sure that someone should be kind. “In time to regret a person ... it’s good ...” He tells the story of how, being a watchman, he took pity on the thieves who climbed into the dacha guarded by Luka. Then these thieves turned out to be good men. Luka concludes: “If I hadn't pity them, they might have killed me ... or something else ... And then - court and prison, but Siberia ... what's the use? Prison - will not teach good, and Siberia will not teach ... and man - will teach ... yes! Man - can teach goodness ... very simply! "

Bubnov himself cannot lie and always speaks the truth. The tick jumps up as if stung and shouts, where does Bubnov see the truth ?! "No work - that's the truth!" The tick hates everyone. Luka and Natasha regret the Mite resembling a madman. Ash asks about Tick and adds that he does not love him - he is painfully angry and proud. What is proud of? Horses are the hardest working, so are they taller than humans?

Luka, continuing the conversation started by Bubnov about the truth, tells the following story. There lived a man in Siberia who believed in a "righteous land" inhabited by special good people. This man endured all the insults and injustices in the hope that someday he would go there, this was his favorite dream. And when a scientist came and proved that there was no such land, this man hit the scientist, cursed him as a scoundrel, and hanged himself. Luka says that he will soon leave the shelter for the "Ukrainians", to look at the faith there.

Ash offers Natasha to leave with him, she refuses, but Ash promises to quit stealing, he is literate - he will work. He offers to go to Siberia, assures: we must live differently than they do, better, "so that you can respect yourself."

He was called a thief since childhood, so he became a thief. “Call me something else, Natasha,” Vaska asks. But Natasha does not trust anyone, she is waiting for something better, her heart aches, and Natasha does not love Vaska. At times she likes him, and at other times it is sickening to look at him. Ash persuades Natasha that over time she will love him as he does her. Natasha asks with a scoff, how does Ash manage to love two at the same time: her and Vasilisa? Ash replies that he is drowning like in a quagmire, for whatever he grabs, everything is rotten. He could have fallen in love with Vasilisa if she were not so greedy for money. But she does not need love, but money, will, debauchery. Ash admits that Natasha is another matter.

Luka persuades Natasha to leave with Vaska, only to remind him more often that he is good. And here, with whom does she live? Her family is worse than wolves. And Ash is a tough guy. Natasha doesn't trust anyone. Ash is sure: she has only one way ... but he will not let her go there, he would rather kill him himself. Natasha is surprised that Ash is not yet a husband, but is already going to kill her. Vaska hugs Natasha, and she threatens that if Vaska touches her with a finger, she will not tolerate, she will strangle herself. Ashes swears that his hands will dry up if he offends Natasha.

Vasilisa, standing at the window, hears everything and says: “So we got married! Advice and love! .. ”Natasha is frightened, but Ash is sure: no one will dare to offend Natasha now. Vasilisa objects that Vasily does not know how to either offend or love. He is more daring in words than in deeds. Luka is surprised at the poisonousness of the "mistress" language.

Kostylev drives Natalya to put the samovar down and set the table. Ashes intercepts, but Natasha stops him not to command her, "it's too early!"

Ash tells Kostylev that they mocked Natasha and that's enough. "Now she's mine!" The Kostylevs laugh: he hasn't bought Natasha yet. Vaska threatens not to have much fun, not to cry. Luka chases Ashes, whom Vasilisa incites, wants to provoke. Ash threatens Vasilisa, and she tells him that Ash's plans will not come true.

Kostylev asks if it is true that Luka decided to leave. He replies that he will go wherever his eyes look. Kostylev says that it is not good to wander. But Luke calls himself a wanderer. Kostylev scolds Luka for not having a passport. Luke says that "there are people, and there are people." Kostylev does not understand Luka and is angry. And he replies that Kostylev will never be a man, even if "the Lord God himself commands him." Kostylev chases Luka, Vasilisa joins her husband: Luka has a long tongue, let him get out. Luke promises to leave into the night. Bubnov confirms that it is always better to leave on time, tells his story about how he, having left on time, escaped hard labor. His wife got in touch with the furrier master, and so cleverly that, look, Bubnov would be poisoned so as not to interfere.

Bubnov beat his wife, and the master beat him. Bubnov even thought about how to "kill" his wife, but caught himself and left. The workshop was assigned to his wife, so he was naked as a falcon. This is facilitated by the fact that Bubnov is a drunken drunkard and very lazy, as he himself admits to Luka.

Satine and the Actor appear. Satin demands that Luka confess to the lie to the Actor. The actor did not drink vodka today, but worked - the street was chalk. It shows the money earned - two five dollars. Satin offers to give him the money, but the Actor says that he earns his way.

Satin complains that he blew everything into smithereens into the cards. There is a "sharper smarter than me!" Luke calls Satin a cheerful person. Satin recalls that in his youth he was funny, he loved to make people laugh, to represent on stage. Luke asks how did Satine come to this life? Satin is unpleasant to stir up the soul. Luka wants to understand how such an intelligent person suddenly got to the bottom. Satin replies that he spent four years and seven months in prison, and after prison he is no longer going anywhere. Luka wonders why Satin went to jail? He answers that for a scoundrel whom he killed in passion and irritation. I learned to play cards in prison.

- For whom did you kill? Luca asks. Satin replies that because of his own sister, however, he does not want to tell anything more, and his sister died nine years ago, she was glorious.

Satin asks the returning Tick why he is so morose. The locksmith does not know what to do, there is no tool - they "ate" the entire funeral. Satin advises not to do anything - just live. But Tick is ashamed of such a life. Satin objects, because people are not ashamed that they doomed Tick to such a bestial existence.

Natasha screams. Her sister beats her again. Luka advises to call Vaska Ash, and the Actor runs after him.

Krivoy Zob, Tatarin, Medvedev are participating in the fight. Satin tries to push Vasilisa away from Natasha. Vaska Ash appears. He pushes everyone away, runs after Kostylev. Vaska sees that Natasha's legs are scalded with boiling water, she says to Vasily in an almost unconscious state: "Take me, bury me." Vasilisa appears and shouts that Kostylev was killed. Vasily does not understand anything, he wants to take Natasha to the hospital, and then settle accounts with her offenders. (The lights go out on the stage. Separate surprised exclamations and phrases are heard.) Then Vasilisa shouts in a triumphant voice that her husband was killed by Vaska Ash. Calls the police. She says that she saw everything herself. Ash approaches Vasilisa, looks at the corpse of Kostylev and asks if not to kill her, Vasilisa? Medvedev calls the police. Satin calms Ashes: killing in a fight is not a very serious crime. He, Satin, also beat the old man and is ready to act as a witness. Ashes confesses: Vasilisa urged him to kill her husband. Natasha suddenly shouts that Ash and her sister are at the same time. Vasilisa was disturbed by her husband and sister, so they killed her husband and scalded her, overturning the samovar. Ash is stunned by Natasha's accusation. He wants to refute this terrible charge. But she doesn't listen and curses her offenders. Satin is also surprised and tells Ash that this family will "drown him."

Natasha, almost delirious, screams that her sister has taught, and Vaska Ashes killed Kostylev, and asks himself to be put in prison.

Action four

The setting for the first act, but there is no Ash room. The Tick sits at the table and repairs the accordion. At the other end of the table - Satin, Baron, Nastya. They drink vodka and beer. The Actor is busy on the stove. Night. The wind is in the yard.

The tick did not notice how Luka disappeared in the confusion. The Baron adds: "... like smoke from the face of fire." Satin says with the words of a prayer: "Thus, sinners disappear from the face of the righteous." Nastya stands up for Luka, calling everyone present rust. Satin laughs: For many, Luka was like crumb for the toothless, and the Baron adds: "Like a plaster for abscesses." The tick also stands up for Luka, calling him compassionate. The Tatar is convinced that the Koran should be law for people. The tick agrees - we must live according to the laws of God. Nastya wants to leave here. Satin advises her to take the Actor with her, along the way.

Satine and Baron list the muses of art, but they cannot remember the patroness of the theater. The actor tells them - this is Melpomene, calls them ignorant. Nastya screams and waves her hands. Satin advises the Baron not to interfere with the neighbors to do what they want: let them shout, they go to no one knows where. The Baron calls Luca a charlatan. Nastya indignantly calls him a charlatan.

The tick notes that Luke "did not like the truth very much, he rebelled against it." Satin shouts that "man is the truth!" The old man lied out of pity for others. Satin says that he read: there is truth, consoling, reconciling. But this lie is needed by those who are weak in soul, who hide behind it like a shield. Whoever is the owner, is not afraid of life, does not need a lie. “Lies are the religion of slaves and masters. Truth is the God of a free man. "

The baron recalls that their family, which came from France, was rich and noble under Catherine. Nastya interrupts: the Baron invented everything. He is angry. Satin calms him down, "... forget about grandfather's carriages ... in the carriage of the past - you won't go anywhere ...". Satin asks Nastya about Natasha. She replies that Natasha left the hospital long ago and disappeared. The innkeepers argue about who will make whom "sit down" more tightly, Vaska Ash to Vasilisa or she to Vaska. They come to the conclusion that Vasily is cunning and "wriggle out", and Vaska will go to hard labor in Siberia. The Baron again quarrels with Nastya, explaining to her that he is not like him, the Baron. Nastya laughs back - the Baron lives on her handouts, "like a worm - an apple."

Seeing that the Tatar went to pray, Satin says: "A man is free ... he pays for everything himself, and therefore he is free! .. Man is the truth." Satin claims that all people are equal. “There is only man, everything else is the work of his hands and his brain. Person! It's great! It sounds ... proud! " Then he adds that the person should be respected, not humiliated with pity. He tells about himself that he is a "convict, murderer, sharper" when he goes

The subject of the depiction in Gorky's drama At the Bottom is the consciousness of people thrown as a result of deep social processes going on in Russian society at the turn of the century, to the bottom of life. In order to embody such an object of depiction by stage means, he needs to find an appropriate situation, an appropriate conflict, as a result of which the contradictions of the consciousness of the night lodges, its strengths and weaknesses, would appear. Is a social, social conflict suitable for this?

Indeed, the play presents social conflict on several levels. First, there is a conflict between the owners of the shelter, the Kostylevs, and its inhabitants. It is felt by the heroes throughout the entire play, but it turns out to be, as it were, static, devoid of dynamics, not developing. This is because the Kostylevs themselves have not gone too far in the public sense from the inhabitants of the shelter, and the relationship between them can only create tension, but not become the basis of a dramatic conflict that can "start" drama.

In addition, each of the heroes in the past experienced his own social conflict, as a result of which he ended up at the “bottom” of his life, in a shelter.

But these social conflicts are fundamentally taken out of the scene, relegated to the past and therefore do not become the basis of a dramatic conflict. We see only the result of social troubles that have so tragically affected people's lives, but not the clashes themselves.

The presence of social tension is already indicated 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”, its upper course, to which the characters are striving to approach. But even this cannot become the basis for 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 is not an impulse for the development of a dramatic conflict.

Perhaps a traditional love conflict is organizing the drama? Indeed, he is present in the play. It is determined by the relationship of Vaska Pepla, Kostylev's wife Vasilisa, the owner of the hostel and Natasha.

It will be the appearance of Kostylev in the shelter and the conversation of the shelters, from which it is clear that Kostylev is looking for his wife Vasilisa in the shelter, who is cheating on him with Vaska Ash. An outset is a change in the initial situation that entails the emergence of a conflict. The plot turns out to be the appearance of Natasha in the shelter, for the sake of which Ash leaves Vasilisa. In the course of the development of a love conflict, it becomes clear that relations with Natasha enrich Ash, revive him to a new life.

The culmination, the highest point in the development of the conflict, is fundamentally taken out of the scene: 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 night lodgers. The murder of Kostylev by Vaska Ash turns out to be a tragic denouement of a love conflict.

Of course, a love conflict also becomes a facet of social conflict. He shows that the anti-human conditions of the “bottom” cripple a person and the most lofty feelings, even such as love, lead not to the enrichment of the individual, but to death, injury, murder and hard labor. Having unleashed a love conflict in this way, Vasilisa emerges victorious from it, achieves all her goals at once: she takes revenge on her former lover Vaska Peplu and her rival Natasha, gets rid of her unloved husband and becomes the sole owner of the hostel. Nothing human remained in Vasilisa, and her moral impoverishment shows the enormity 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 in front of the night lodgers, it does not include themselves. They are keenly interested in the vicissitudes of these relations, but do not participate in them, remaining only outside viewers. Consequently, a love conflict also does not create the situation that can form the basis of a dramatic conflict.

We repeat once again: the subject of the depiction in Morky's play turns out to be not only and not so much social contradictions of reality or possible ways of their resolution; he is interested in the consciousness of the night lodgers in all its contradictions. Such a subject of the image is characteristic of the genre of philosophical drama. Moreover, it also requires non-traditional forms of artistic expression: the traditional external action (series of events) is giving way to the so-called internal action. Everyday life is reproduced on the stage with its petty quarrels between the hostels, one of the heroes appears and disappears again, but these circumstances are not the plot-forming ones. Philosophical issues force the playwright to transform the traditional forms of drama: the plot manifests itself not only in the actions of the heroes, but in their dialogues. It is the conversations of the night-lodgers that determine the development of the dramatic conflict: the action is translated by Gorky into an extra-event series.

In the exposition we see people who, in essence, have come to terms with their tragic position at the “bottom” of life. All, with the exception of Tick, do not think about the possibility of getting out of here, but are occupied only with thoughts of today, or, like the Baron, are turned to nostalgic memories of the past.

The plot of the conflict turns out to be the appearance of Luke. Outwardly, it does not in any way affect the lives of the night lodgers, but intense work begins in their minds. Luca immediately becomes the center of their attention, and the entire development of the plot focuses 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 makes a real revolution in the lives of the heroes. The development of inner action begins at the moment when the heroes discover in themselves the ability to dream of a new and better life. It turns out that the bright sides that Luke guessed in each of Gorky's characters constitute his true essence. It turns out that the prostitute Nastya dreams of beautiful and light love; An actor, a drunken man, a lowered alcoholic, recalls creativity and seriously thinks about returning to the stage; “Hereditary” thief Vaska Ashes reveals 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 another facet of social conflict: the depth of the heroes' personality, their noble aspirations are 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.

From the first moment of his appearance in the shelter, Luka refuses to see crooks in the shelters. “I also respect crooks, in my opinion, not a single flea is bad: everyone is black, everyone is jumping ...” - so he says, justifying his right to call his new neighbors “honest people” and rejecting Bubnov's objection: “ Was honest, but the spring before last ”. The origins of this position are in the naive anthropologism of Luke, who believes that a person is initially good and only social circumstances make him bad and imperfect.

Luka's position appears in the drama as very complex, and the author's attitude towards him looks ambiguous. Luke is absolutely disinterested in his preaching and in his desire to awaken in people the best, hidden for the time being, sides of their nature, which they did not even suspect: they contrast so strikingly with their position at the very bottom of society. Luka sincerely wishes the good things to the interlocutors, shows the real ways to achieve nona, a 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, and he stops drinking. Ashes subordinates his whole life to the desire to go with Natasha to Siberia and there to get on his feet, to become a strong master. The dreams of Nastya and Anna, the wife of Tick, are quite illusory, but even these dreams give them the opportunity to feel happier. Nastya imagines herself a heroine of tabloid novels, demonstrating in her dreams of the nonexistent Raoul or Gaston the feats of self-sacrifice that she is really capable of; dying Anna, dreaming of an afterlife, also partly leaves the feeling of hopelessness. Only Tambourines and Baron, people completely indifferent to others and even to themselves, remain deaf to Luke's words. Luka's position is exposed by a dispute about what truth is, which arose between him and Bubnov and Baron, when he mercilessly exposes Nastya's baseless dreams about Raoul: "Here ... you say it's true ... She's really not always due to an ailment of a person ... you cannot always cure a soul with truth ... ". In other words, Luke affirms the life-givingness of a comforting lie for a person. But is it the only lie that Luke claims?

Our literary criticism has long been dominated by the concept that Gorky unequivocally rejects Luke's comforting sermon. But the position of the writer is more complicated.

The author's position is expressed primarily in the development of the plot. After Luka's departure, everything happens quite differently from what the heroes expected and what Luka convinced them of. Vaska Pepel will indeed go to Siberia, but not as a free settler, but as a convict accused of murdering Kostylev. An actor who has lost faith in his own strength will exactly repeat the fate of the hero of the parable of the righteous land, told by Luke. Trusting the hero to tell this plot, Gorky himself will beat him in the fourth act, drawing directly opposite conclusions. Luke, having told a parable about a man who, having lost faith in the existence of a righteous land, strangled himself, believes that a person cannot be deprived of hope, even an illusory one. Gorky, showing the fate of the Actor, assures the reader and the viewer that it is a false hope that can lead a person to a noose. Ho back to the previous question: in what way did Luke deceive the heroes of the play?

The actor accuses him of not leaving the address of the free hospital. All the heroes agree that Luke instilled false hope in their souls. But after all, he did not promise to take them out of the “bottom” of life - he simply instilled in them the hope that there is a way out and that it is not ordered for them. That faith in herself, which awoke in the minds of the night lodgers, turned out to be too fragile and unviable, and with the disappearance of the hero who was able to wake her up, it immediately died out. The point is the heroes 'weakness, their inability and unwillingness to do even a little in order to withstand the ruthless social circumstances that doom them to the Kostylevs' shelter. Therefore, he does not address the main accusation to Luka, but to heroes who are unable to find the strength to oppose their will to reality. So 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 among the night shelters: 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 Luka or his flock. That is why the heroes experience the loss of Luke so dramatically: the hope awakened in their souls cannot find an inner support in their characters; they will always need the external support of even such a helpless person in a practical sense as the “beggarless” Luke.

Luke is an ideologue of passive consciousness, so unacceptable for Gorky.

According to the writer, a passive ideology can only reconcile the hero with his current situation and will not prompt him to try to change this situation, as happened with Nastya, Anna, the Actor, who, after the disappearance of Luka, lost all hope and the inner strengths were acquired for its realization - and laid the blame not on himself, but on Luke. But who could object to this hero, who could oppose at least something to his passive ideology? There was no such hero in the shelter. The bottom line is that the “bottom” cannot develop a different ideological position, which is why Luke's ideas are so close to its inhabitants. But his preaching gave an impetus for a certain antithesis, for the emergence of a new life position. Satin became its spokesman.

He is well aware that his state of mind is a reaction to Luke's words:

“Yes, it was he, the old yeast, who fermented our roommates ... Old man? He is a clever fellow! .. The old man is not a charlatan! What is truth? Man - that's the truth! He understood this ... you - no! .. He ... acted on me like acid on an old and dirty coin ... ”.

And his famous monologue about a man, in which he asserts the need for respect, but not pity, but pity, he sees as humiliation, asserts a different position in life. However, this is only the birth, only the very first step towards the formation of an active consciousness capable of changing social circumstances, of opposing them, and not a simple desire to fence off them and try to get around them, which Luke insisted on.

The tragic ending of the drama (the Actor's suicide) also raises the question of the genre nature of the play "At the Bottom".

Do we have any reason to view At the Bottom as a tragedy? Indeed, in this case, we will have to define the Actor as a hero-ideologist and consider his conflict with society as ideological, for the hero-ideologist by death affirms his ideology. Tragic doom is the last and often the only way not to bow before the opposing force and to validate ideas.

I think not. His death is an act of despair and disbelief in his own strength and rebirth. Among the heroes of the “bottom” there are no obvious ideologues opposing reality. Moreover, their own situation is not comprehended by them themselves as tragic and hopeless. They have not yet reached the level of consciousness when a tragic outlook on life is possible, because it presupposes a conscious opposition to social or other circumstances.

Gorky clearly does not find such a hero in Kostylev's little house, at the “bottom” of his life. Therefore, it would be more logical to regard At the Bottom as a social-philosophical and social-everyday drama.

Reflecting on the genre nature of the play, one must turn to its conflict, show which collisions are in the center of the playwright's attention, which becomes the main subject of the depiction. In our case, the subject of Gorky's research is the social conditions of Russian reality at the turn of the century and their reflection in the minds of the heroes. In this case, the main, the main subject of the image is precisely the consciousness of the night lodgers and the sides of the Russian national character that manifested in it.

Gorky tries to determine what are the social circumstances that influenced the characters of the heroes. To do this, he shows the backstory of the characters, which becomes clear to the viewer from the dialogues of the characters. But it is more important for him to show those social circumstances, the circumstances of the “bottom” in which the heroes find themselves now. It is this their position that equates the former aristocrat Baron with the sharper Bubnov and the thief Vaska Ash and forms the common features of consciousness: a rejection of reality and at the same time a passive attitude towards it.

Inside Russian realism since the 40s. XIX century, with the emergence of the "natural school" and the Gogol trend in literature, a trend emerges that characterizes the pathos of social criticism in relation to reality. It is this direction, which is represented, for example, by the names of Gogol, Nekrasov, Chernyshevsky, Dobrolyubov, Pisarev, that was called critical realism. In the drama At the Bottom, Gorky continues these traditions, which is manifested in his critical attitude to the social aspects of life and, in many respects, to the heroes immersed in this life and shaped by it.

Characters and exposition in the play "At the Bottom"

I'M GOING TO A LESSON

Irina KUSTOVA,
secondary school number 3,
Polyarnye Zori,
Murmansk region

Lesson in 11th grade

Characters and exposition in the play "At the Bottom"

Lesson objectives.Develop the ability to carefully read the list of characters in a dramatic work; develop creative thinking, the ability to compare, draw conclusions; to educate attention to the word.

Homework in preparation for the lesson.

The originality of dramatic works (individual task).

“Research” of the poster (title of the play, meaning of names, professions, ages of heroes).

Expressive reading of the 1st act by roles (choice of the hero - individual tasks).

Dictionary: drama, play, conflict, polylogue.

During the classes

Reiteration. Dramatic works.

Teacher... What is the originality of the drama? Why is this the most difficult kind of art to perceive?

Students' answers.

Drama ( greek - "action") - the most effective kind of literature. It is intended for stage production. Therefore, the playwright, unlike the author of an epic work, 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 playwright is also limited in the volume of the work (the performance can go on for two to three hours) and in the number of characters (all of them must fit on the stage and have time to realize themselves).

Teacher... Therefore, in the drama, a special load falls on the conflict - a sharp clash between the characters on a very significant occasion 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 untangled, a person shows himself from all sides. At the same time, there can be no unnecessary heroes in the drama - all heroes must be included in the conflict.

Before starting to study the play, let's dwell on the title of the play, the poster for it, and get to know the characters. The presence of a conflict is already indicated in the title of the play and the poster.

Let's turn to the poster. Let's talk about names, surnames. The power of the name is enormous. In one of the old songs it is sung: “Tell me, fellow, what is the name. And you can be given a place by name ”.

Question.

How could the audience - contemporaries of M. Gorky - be attracted by the title of the play “At the Bottom?

Answers.

- Khitrov market was called “the bottom”. Every intelligent person should be with this sign, Gorky believed. The conflict is undoubtedly already indicated in the title. After all, the very fact of the existence of the “bottom” of life also presupposes the presence of an “upper stream” towards which the characters strive.

Question.

What associations do you have in connection with surnames Ash, Mite, Tambourine, Satin, named Luke? Do they have a hint of their personality traits, occupation, fate?

Answers.

Luke is one of the evangelists, Gorky gives him a name that is dear to him. (“Moskovskiye Vedomosti” newspaper, 12/23/1902: “This wanderer entered the basement like a ray of a bright sun, illuminating everything bad in it ... and ... awakening the sprouts of goodness to life.”)

Name Luke comes from the word "evil". This is exactly how Gorky's contemporaries see the old man (D. Merezhkovsky: “The religion of the evil old man is the religion of lies”).

A contemporary of M. Gorky, Archbishop Luke (1877-1961), lived in Krasnoyarsk. He was a famous priest and surgeon, a man worthy of respect. Of course, he was known to Gorky. Archbishop Luke of Krasnoyarsk spent twelve years in Stalin's camps. In October 2002, in honor of the 125th anniversary of his birth, a monument was unveiled in Krasnoyarsk. A priest and a surgeon in a quilted jacket - this is how the sculptor saw him. (The teacher emphasizes the ambiguous attitude towards the name as well as towards the hero himself.)

Satin - in this name the sound of the word "Satan". But what test will he come up with? Perhaps Satin is testing a person with the possibility of a new faith?

Question.

What does the occupation of the characters indicate?

Answers.

Mite is a locksmith, Kvashnya is a trader in dumplings, Alyoshka is a shoemaker, Krivoy Zob and Tatarin are key keepers. All these are necessary professions, that is, these people can earn their living. This, too, is a social conflict. Why aren't these people working? Who is to blame for this? And will the play itself answer the question?

Question.

How old are the night lodgers? What does this mean?

Answers.

Tick \u200b\u200band Kvashna are 40 years old, Anna - 30, Bubnov - 45. This is the most efficient age. And it is also the age at which a person should already be formed, have something behind him. But these people are in the shelter, they have nothing.

The Baron is 33 years old. This is the age of Jesus Christ. Why does Gorky (and we know that nothing happens by chance for a great artist) gives the age of Christ to one of the unloved heroes with the nickname Baron? Perhaps, analyzing the play, revealing the image of the hero, we will answer this question.

The kinship between the Kostylevs and the policeman emphasizes the social conflict between them and the inhabitants of the shelter.

Question.

Why are some of the characters named only by their last name, others by their first names, and still others in full, indicating their occupation?

Conclusions.

The very title of the play and the list of characters speak of the social conflicts, the victims of which were the heroes of the play, who found themselves at the “bottom” of life, in a shelter.

Part of the social conflict is a love conflict (it is indicated in the poster by the difference in the ages of the Kostylevs, the presence of a girl with the tender name Natasha).

It is clear that here, in the “bottom” conditions, the highest feelings will not bring happiness.

The next step of the lesson is reading by role The 1st act (in the drama, the appearance of the heroes, their first lines are important).

Act 1 is preceded by a detailed description of the basement. The author wanted to introduce the viewer into this particular basement. It looks like a cave. But this is the house of the lodgers, they are tied to their dwelling. Cold blows from the other world. “Chill,” says Bubnov, cold to Alyoshka, to Tick.

The students were given the task: when reading to convey the character of their hero by intonation; after reading the 1st act, give him a description.

Student responses.

Satinappeared not with words, but with a growl. His first line says that he is a card sharper and a drunkard. He once served in the telegraph office, was an educated person. He pronounces words incomprehensible to those around him. Organon in translation means "tool", "organ of knowledge", "mind". (Perhaps Satin means that it is not the human body that is poisoned, but the very intelligence of life.) Sycamber - This is an ancient Germanic tribe, means "dark man". In these words, one can feel the superiority of Satin over the rest of the hostels.

Actor - a drunkard, constantly reminiscing about his acting past. He is harmless, does no harm to anyone, helps Anna, takes pity on her. His citation of classical works speaks in favor of the hero.

He prefers solitude, the company of himself, or rather, his thoughts, dreams, memories. The remarks to his remarks are characteristic: "after a silence", "suddenly, as if waking up".

He has no name (his name was Sverchkov-Zavolzhsky, but “nobody knows that”). Like a drowning man, he grasps at any straw if it creates the illusion of this name, individuality. "My body is poisoned with alcohol." The remark “with pride” explains a lot: here I also have something that others do not have.

Bubnov.From the first remarks, slow-wittedness and indifference are manifested. S. Luzhsky, who played the role of Bubnov at the Moscow Art Theater, recalls his conversation with Gorky: “He asked me to be even dumber in Act 3”.

Mite.In the 1st act - the remark “sullenly” twice. This is the darkest figure. He looks at life soberly and gloomily in front of him.

Nastyain the 1st act appears with the novel Fatal Love. (Newspapers reported that such tabloid novels constituted the traditional “culture” of the urban prostitute.)

She had already found the “uplifting deception” before Luke came.

Luke appears with the words: "Good health, honest people." To Vasilisa's question: "Who are you?" replies: "Passing ... itinerant."

(Later on, one of the students will deliver the message "Wandering in Russia. Gorky's attitude to wanderers.")

Conclusions after reading.

In Act 1, we met all the characters in the play. These people are mostly indifferent to each other, often do not hear what others are saying, do not try to understand. In the 1st act, all the characters speak, but each almost without listening to the others, - about his own.

The author conveys the mutual alienation of the guests of Kostylev's hostel, the atmosphere of spiritual separation of people in the original form of a polylogue. (A polylogue is a form of speech organization in a drama, a combination of the lines of all the participants in the scene.) The heroes are deliberately scattered by Gorky - each speaks about his own. Whatever the hero of the play begins to talk about, he will still talk about what hurts. In the speech of the characters, there are words, phrases that have symbolic meaning. (Bubnov: “And the threads are rotten ...”; Bubnov - to Nastya: “You are superfluous everywhere.”) These words reveal the “subtext meaning”: the imaginary connections, the uselessness of these people.

Despite the abundance of replicas, the action of the 1st act is slow, “sleepy”. The development of the conflict begins with the appearance of Luke.

Literaturereference:

1. Yuzovsky Yu... “At the bottom” by M. Gorky. Ideas and images. M., 1968.

2. Bitter M... Article "About plays".

3. Kuzmichev I... "At the Bottom" by M. Gorky. The fate of the play in life, on stage, in criticism. M., 1981.