"At the Bottom" as a socio-philosophical drama. The meaning of the play's title. Innovation of Gorky - playwright. Stage fate of the play

In 1902, the great Russian writer M. Gorky wrote the play “At the Lower Depths”. In it, the author raised a question that remains relevant to this day - this is the question of freedom and the purpose of man. M. Gorky was well acquainted with the life of the lower strata of society, and the sight of suffering and injustice aroused in him a feeling of acute rejection of reality. All his life he was looking for the image of an ideal Man, the image of a Hero. He tried to find answers to his questions in literature, philosophy, history, and in life. Gorky said that he was looking for a hero “where there are usually no people.” In the play “At the Bottom,” the author showed the lifestyle and thinking of precisely those people who are already considered lost, useless for society. The author changed the name of the play many times: “The Bottom”, “Without the Sun”, “Nochlezhka”. They are all joyless and sad. Although there is no other way: the content of the play requires dark colors. In 1901, the writer said about his play: “It will be scary...”

The play is quite ambiguous in its content, but its main meaning cannot be distorted or misunderstood.

In terms of literary genre, the play “At the Bottom” is a drama. Drama is characterized by plot-driven and conflict-ridden action. In my opinion, the work clearly identifies two dramatic principles: social and philosophical.

Even its title, “At the Bottom,” speaks of the presence of social conflict in the play. The stage directions placed at the beginning of the first act create a depressing picture of the shelter. “Cave-like basement. The ceiling is heavy, stone vaults, smoked, with crumbling plaster... There are bunks everywhere along the walls.” The picture is not pleasant - dark, dirty, cold. Next come descriptions of the residents of the shelter, or rather, descriptions of their occupations. What are they doing? Nastya is reading, Bubnov and Kleshch are busy with their work. It seems that they work reluctantly, out of boredom, without enthusiasm. They are all poor, pitiful, wretched creatures living in a dirty hole. There is also another type of people in the play: Kostylev, the owner of the shelter, and his wife Vasilisa. In my opinion, the social conflict in the play lies in the fact that the inhabitants of the shelter feel that they live “at the bottom,” that they are cut off from the world, that they only exist. They all have a cherished goal (for example, the Actor wants to return to the stage), they have their own dream. They are looking for strength within themselves to confront this ugly reality. And for Gorky, the very desire for the best, for the Beautiful, is wonderful.

All these people are put in terrible conditions. They are sick, poorly dressed, and often hungry. When they have money, celebrations are immediately held in the shelter. So they try to drown out the pain, forget themselves, and not remember their miserable situation.” former people”.

It is interesting how the author describes the activities of his characters at the beginning of the play. Kvashnya continues her argument with Kleshch, the Baron habitually mocks Nastya, Anna moans “every single day...”. Everything continues, all this has been going on for several days now. And people gradually stop noticing each other. By the way, the lack of a narrative beginning is distinctive feature dramas. If you listen to the statements of these people, what is striking is that they all practically do not react to the comments of others, they all speak at the same time. They are separated under one roof. The inhabitants of the shelter, in my opinion, are tired, tired of the reality that surrounds them. It’s not for nothing that Bubnov says: “But the threads are rotten...”.

In such social conditions in which these people are placed, the essence of man is revealed. Bubnov notes: “No matter how you paint yourself on the outside, everything will be erased.” The residents of the shelter become, as the author believes, “involuntarily philosophers.” Life forces them to think about universal human concepts of conscience, work, truth.

The play most clearly contrasts two philosophies: Luke and Satine. Satin says: “What is truth?.. Man is the truth!.. Truth is God free man!” For the wanderer Luke, such “truth” is unacceptable. He believes that a person should hear what will make him feel better and calmer, and that for the good of a person one can lie. The points of view of other inhabitants are also interesting. For example, Kleshch believes: “...It’s impossible to live... Here she is true!.. Damn her!”

Luka's and Satin's assessments of reality differ sharply. Luka brings a new spirit into the life of the shelter - the spirit of hope. With his appearance, something comes to life - and people begin to talk more often about their dreams and plans. The actor gets excited about the idea of ​​finding a hospital and recovering from alcoholism, Vaska Pepel is going to go to Siberia with Natasha. Luke is always ready to console and give hope. The Wanderer believed that one must come to terms with reality and look at what is happening around him calmly. Luke preaches the opportunity to “adapt” to life, not to notice its true difficulties and one’s own mistakes: “It’s true, it’s not always due to a person’s illness... you can’t always cure a soul with the truth...”

Satin has a completely different philosophy. He is ready to expose the vices of the surrounding reality. In his monologue, Satin says: “Man! It's great! It sounds... proud! Human! We must respect the person! Don’t feel sorry... Don’t humiliate him with pity... you must respect him!” But, in my opinion, you need to respect a person who works. And the inhabitants of the shelter seem to feel that they have no chance of getting out of this poverty. That’s why they are so drawn to affectionate Luka. The Wanderer surprisingly accurately looks for something hidden in the minds of these people and paints these thoughts and hopes into bright, rainbow-colored currents.

Unfortunately, in the conditions in which Satin, Kleshch and other inhabitants of the “bottom” live, such a contrast between illusions and reality has a sad result. The question awakens in people: how and what to live on? And at that moment Luka disappears... He is not ready, and does not want to answer this question.

Understanding the truth fascinates the inhabitants of the shelter. Satin is distinguished by the greatest maturity of judgment. Without forgiving “lies out of pity,” Satin for the first time rises to the realization of the need to improve the world.

The incompatibility of illusions and reality turns out to be very painful for these people. The actor ends his life, the Tatar refuses to pray to God... The death of the Actor is the step of a person who failed to realize the real truth.

In the fourth act, the movement of the drama is determined: life awakens in the sleepy soul of the “flopshouse”. People are able to feel, hear each other, and empathize.

Most likely, the clash of views between Satin and Luke cannot be called a conflict. They run parallel. In my opinion, if you combine the accusatory character of Satin and pity for the people of Luke, you would get the same an ideal person, capable of reviving life in a shelter.

But there is no such person - and life in the shelter remains the same. Same in appearance. Some kind of turning point occurs inside - people begin to think more about the meaning and purpose of life.

The play “At the Bottom” as a dramatic work is characterized by conflicts that reflect universal human contradictions: contradictions in views on life, in the way of life.

Drama like literary genre depicts a person in acute conflict, but not hopeless situations. The conflicts of the play are indeed not hopeless - after all (according to the author’s plan) the active principle, the attitude towards the world, still wins.

M. Gorky, a writer with amazing talent, embodied the collision in the play “At the Depths” different views on being and consciousness. Therefore, this play can be called a socio-philosophical drama.

In his works, M. Gorky often revealed not only the everyday life of people, but also what was happening in their minds psychological processes. In the play “At the Bottom,” the writer showed that the proximity of people brought to life in poverty with the preacher of patient waiting “ best man“a” necessarily leads to a change in people’s consciousness. In the night shelters M. Gorky captured the first, timid awakening human soul- the most beautiful thing for a writer.

To the question Why is the play “At the Lower Depths” socially philosophical drama? given by the author Oliya the best answer is The beginning of the twentieth century was marked by the appearance of such plays as “ The Cherry Orchard” by A.P. Chekhov and “At the Lower Depths” by M. Gorky. These two works were so unconventional in their construction and the questions posed that their authors rightfully began to be considered the founders modern dramaturgy. The plays, of course, differ from each other in many ways, but there are also similarities. Both works seem to be closer to the drama genre. But Chekhov insisted on this genre definition, as a lyrical comedy, and Gorky called his play a collection of pictures from the life of tramps. Why do we, the readers, closer definition genre of the play “At the Bottom” as a drama? In my opinion, this is due to its socio-philosophical content, the depth of life and human problems posed and solved by the author.
For the first time in Russian drama, the life of the social lower classes, the “bottom,” was shown so realistically and mercilessly. The life of the inhabitants of the Kostylevo shelter is so terrible and hopeless that it makes readers shudder. At the “bottom” something terrible is happening - people are dying morally and physically, each of whom deserves a better life. It is impossible to imagine a more tragic situation than the one in which the heroes of the play find themselves. All of them are victims of the ugly and cruel orders that reign in society, victims of social evil. An unfortunate confluence of life circumstances means that a person cannot correct his fate, cannot rise, and then there is only one road - to the “bottom”.
The heroes of the play got to the shelter in different ways, but now they have the same fate, terrible and inevitable. Their life is not much different from death, it’s not for nothing that there are so many deaths in the play, and smart Satin says: “Dead men don’t hear!” “These “living dead” are not the worst of people. Many of them dream of goodness and beauty. This is Nastya, Kleshch, Anna. Others have resigned themselves to the existing state of affairs, they are indifferent even to crimes, but they know how to judge everything correctly and unconsciously yearn for something better and more worthy. And these humiliated, lonely, deeply unhappy people, completely rejected by society, wage endless debates about philosophical categories, such as truth, freedom, labor, equality, happiness, pride, honesty, conscience, patience, death. All this interests them in connection with an even more important social and philosophical problem: what is man, why did he come to earth, what is the true meaning of his existence?
Gradually, but inevitably, all participants in the debate are faced with the question: what is better - truth or compassion, truth or lies for salvation. The preacher of lies to salvation, the wanderer Luke, plays the role of a comforter in the play. The author exposes Luke's philosophy. Reality itself, the truth of life, refutes Luke’s lies, which not only calm and console, but also justify and reconcile, which is certainly not acceptable for a worthy person. The author thinks so, and therefore Luke leaves in the third act: “Lies are the religion of slaves and masters... Truth is the god of a free man! “- this is what Satin, opposed to Luke, says, acting as a reasoner.
A person is strong in truth, whatever it may be. Luke's philosophy is needed only by the weak, who no longer have the strength to fight for their destiny. The play contains proud words about man: “Man is the truth! Human! It's great! This sounds... proudly! " These words contrast sharply with the terrible fate of the inhabitants of the shelter. And this inevitably gives rise to the most difficult questions: why does it happen that people fall to the “bottom”? What should be done so that everyone’s life is worthy of the great title - Man? The author poses such deep social and philosophical problems in his play.
Leonid Andreev wrote that Gorky, as a philosopher, persistently and painfully searches for the meaning of existence. “He piled up a mountain of severe suffering, threw dozens of different characters into one heap - all united by a burning desire for truth and justice.”
The play ends tragically, because its heroes, who have fallen to the “bottom”, can no longer rise to the light, cannot be reborn to a decent life. But the spiritual awakening of the inhabitants of the “bottom” is close, their desire for the best is growing.

M. Gorky's play “At the Depths” is rightfully one of the best dramatic works writer. This is evidenced by its incredible success for a long time in Russia and abroad. The play has caused and still causes conflicting interpretations about the characters depicted and its philosophical basis. Gorky acted as an innovator in dramaturgy, staging an important philosophical question about a person, his place, role in life, what is important to him. “Which is better: truth or compassion? What is more necessary? - these are the words of Gorky himself.

The incredible success and recognition of the play “At the Lower Depths” was also facilitated by its successful production on the stage of the Moscow Art Theater in 1902. V.N. Nemirovich-Danchenko wrote to Gorky: “The appearance of “The Bottom” paved entire paths with one blow theatrical culture... Having in “At the Lower Depths” an example of a truly folk play, we consider this performance the pride of the theater.”

Gorky acted as the creator of a new type social drama. He accurately and truthfully depicted the environment of the inhabitants of the shelter. This is a special category of people with their own destinies and tragedies. Already in the first author's remark we find a description of the shelter. It's a "cave-like basement." Poor surroundings, dirt, light coming from top to bottom. This further emphasizes that we're talking about about the very day of society. At first the play was called “At the Bottom of Life,” but then Gorky changed the name, leaving only “At the Bottom.” Thus, according to the author, it more fully reflects the idea of ​​the work.

A cheater, a thief, a prostitute - these are the representatives of the society depicted in the play. The owners of the shelter are also at the bottom moral rules, they have no soul moral values, carry a destructive element. Everything in the shelter takes place away from the general flow of life and events in the world. The bottom of life is a swamp that captures and absorbs.

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

Different origins determine the behavior and speech of the heroes. The Actor's Speech contains quotes from literary works. The speech of the former intellectual Satin is rich in foreign words. Luke's quiet, leisurely, soothing speech can be heard.

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

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

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

But not only social and everyday problems are raised in the play, the characters also argue about the meaning human life, about her values. The play “At the Bottom” is a deep philosophical drama. People thrown out of life, sank to the bottom, argue about philosophical problems being. M. Gorky raised the question in his work that more useful to a person: Truth real life or a comforting lie. This is the question that has caused so much controversy. The preacher of the idea of ​​compassion and lies for salvation is Luke, who consoles everyone and speaks kind words to everyone. He respects every person (“not a single flea is bad, all are black”), sees in everyone good start, believes that a person can do anything if he wants. He naively tries to awaken in people faith in themselves, in their strengths and capabilities, in a better life.

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

But this only applies to a weak person who has lost faith in himself. That is why such people are drawn to Luke, listen to him and believe him, because his words are a miraculous balm for their tormented souls. Anna listens to him because he alone sympathized with her, did not forget about her, told her kind word, which she may have never heard. Luke gave her hope that in another life she would not suffer. Nastya also listens to Luka, because he does not deprive her of the illusions from which she draws vitality. He gives Ash hope that he can start life anew where no one knows either Vaska or his past. Luke talks to the actor about a free hospital for alcoholics, in which he can recover and return to the stage again. Luke is not just a comforter, he philosophically substantiates his position. One of the ideological centers of the play is the wanderer's story about how he saved two escaped convicts. the main idea Gorky’s character here is that it is not violence, not prison, but only goodness that can save a person and teach him goodness: “A person can teach goodness...”

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

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

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

“At the Lower Depths” by M. Gorky as a socio-philosophical drama. Gorky’s play “At the Lower Depths” not only has not left the stages of domestic theaters for about a hundred years, but has also gone around largest theaters peace. To this day, it excites the minds and hearts of readers and viewers, more and more new interpretations are emerging.

images (especially Luke). All this suggests that M. Gorky managed not only to look with a fresh, truthful look at the tramps - people who had sunk into the very dirt, “to the bottom” of life, erased from active life society of “former people”, outcasts. But at the same time, the playwright acutely poses and tries to resolve serious issues that have worried and will worry every new generation, all thinking humanity: What is a person? What is truth and in what form do people need it? Does the objective world exist or “what you believe in is what it is”? and, most importantly, what is this world like and can it be changed?
In the play we encounter people who are useless outcasts in society, but they are the ones who are interested in questions about man’s place in the world around him. The characters in the play are not similar to each other neither in their views, nor in their thoughts, nor in their life principles, nor the way of life itself. The only thing they have in common is that they are superfluous. And at the same time, almost each of the inhabitants of the shelter is a carrier of a certain philosophical concept, on which they try to build their lives.
Bubnov believes that the world is vile and dirty, there is no good people, everyone is just pretending, painting themselves, but “no matter how you paint yourself on the outside, everything will be erased.”
Klesch is embittered with people, cruel to his wife Anna, but believes that hard, exhausting, but honest work can return him to “real” life: “I am a working person... I’m ashamed to look at them... I’ve been working since an early age ... Do you think I won't break out of here? I’ll get out... I’ll rip off my skin, but I’ll get out.”
The actor, who became a drunkard and lost his name, hopes that his gift will return to him: “... the main thing is talent... And talent is faith in yourself, in your strength.”
Nastya, a woman who sells her body, dreams of a genuine, sublime love, which is unattainable in real life.
Satin, a sharp-witted philosopher, has an opinion opposite to the principles of Kleshch: “Work? For what? To be full?” It seems pointless to him to spin on a wheel all his life: food is work. Satin owns the final monologue in the play, elevating man: “Man is free... he pays for everything himself: for faith, for disbelief, for love, for intelligence... Man is the truth!”
The inhabitants of the shelter, brought together in a cramped room, at the beginning of the play are indifferent to each other, they hear only themselves, even if they are all talking together. But major changes in internal state The heroes begin with the appearance of Luke, an old wanderer who managed to awaken this sleepy kingdom, console and encourage many, instill or support hope, but at the same time, was the cause of many tragedies. Luke’s main desire: “I want to understand human affairs.” And he, indeed, very soon understands all the inhabitants of the shelter. On the one hand, having endless faith in people, Luka believes that it is very difficult to change life, so it is easier to change yourself and adapt. But the principle “what you believe in is what you believe in” forces a person to come to terms with poverty, ignorance, injustice, and not fight for a better life.
The questions raised by M. Gorky in the play “At the Lower Depths” are timeless; they arise among people of different eras, ages, and religions. That is why the play arouses keen interest among our contemporaries, helping them understand themselves and the problems of their time.

M. Gorky's play “At the Lower Depths” is rightfully one of the best dramatic works of the writer. This is evidenced by its incredible success for a long time in Russia and abroad. The play has caused and still causes conflicting interpretations regarding the characters depicted and its philosophical basis. Gorky acted as an innovator in dramaturgy, posing an important philosophical question about a person, about his place, role in life, about what is important to him. “Which is better: truth or compassion? What is more necessary?” - these are the words of M. Gorky himself. The incredible success and recognition of the play “At the Lower Depths” was also facilitated by its successful production on the stage of the Moscow Art Theater in 1902. V. N. Nemirovich-Danchenko wrote to M. Gorky: “The appearance of “The Bottom” at one stroke paved the entire path for theatrical culture... Having in “The Bottom” an example of a truly folk play, we consider this performance the pride of the theater.”
M. Gorky acted as the creator of a new type of social drama. He accurately and truthfully depicted the environment of the inhabitants of the shelter. This is a special category of people with their own destinies and tragedies.
Already in the first author's remark we find a description of the shelter. This is a “cave-like basement.” Poor surroundings, dirt, light coming from top to bottom. This further emphasizes that we are talking about the very “day” of society. At first the play was called “At the Bottom of Life,” but then Gorky changed the name - “At the Bottom.” It more fully reflects the idea of ​​the work. A sharpie, a thief, a prostitute are representatives of the society depicted in the play. The owners of the shelter are also at the “bottom” of moral rules; they do not have any moral values ​​in their souls, and they carry a destructive element within them. Everything in the shelter takes place away from the general flow of life and events in the world. The “bottom of life” does not capture this flow of life.
The characters in the play previously belonged to different strata of society, but now they all have one thing in common - their present, hopelessness, inability to change their fate, and some kind of reluctance to do this, a passive attitude towards life. At first, Tick differs from them, but after Anna’s death he becomes the same - he loses hope of escaping from here.
Different origins determine the behavior and speech of the heroes. The Actor's speech contains quotes from literary works. The speech of the former intellectual Satin is full of foreign words. Luke's quiet, leisurely, soothing speech can be heard.
The play has many different conflicts and storylines. This is the relationship between Ash, Vasilisa, Natasha and Kostylev; Baron and Nastya; Klesch and Anna. We see the tragic fates of Bubnov, Actor, Satin, Alyoshka. But all these lines seem to run in parallel; there is no common, core conflict between the characters. In the play we can observe a conflict in the minds of people, a conflict with circumstances - this was unusual for the Russian audience.
The author does not tell in detail the history of each shelter, and yet we have enough information about each of them. The life of some, their past, for example, Satin, Bubnov, Actor, is dramatic, in itself worthy of a separate work. Circumstances forced them to sink to the “bottom”. Others, such as Ash and Nastya, have known the life of this society since birth. There are no main characters in the play; everyone occupies approximately the same position. In the long term, they have no improvement in life, which is depressing with its monotony. Everyone is used to Vasilisa beating Natasha, everyone knows about the relationship between Vasilisa and Vaska Ash, everyone is tired of the suffering of dying Anna. Nobody pays attention to how others live; there are no connections between people; no one is able to listen, sympathize, or help. It’s not for nothing that Bubnov repeats that “the threads are rotten.”
People no longer want anything, do not strive for anything, they believe that everyone on earth is superfluous, that their life has already passed. They despise each other, each considers himself higher, better than others. Everyone is aware of the insignificance of their situation, but does not try to get out, stop eking out a miserable existence and start living. And the reason for this is that they are used to it and have come to terms with it.
But not only social and everyday problems are raised in the play, the characters also argue about the meaning of human life, about its values. The play “At the Bottom” is a deep philosophical drama. People thrown out of life, who have sunk to the “bottom,” argue about the philosophical problems of existence.
M. Gorky raised the question in his work about what is more useful to a person: the truth of real life or a comforting lie. This is the question that has caused so much controversy. The preacher of the idea of ​​compassion and lies is Luke, who consoles everyone and speaks kind words to everyone. He respects*^ every person (“not a single flea is bad, all are black”), sees a good beginning in everyone, believes that a person can do anything if he wants. He naively tries to awaken in people faith in themselves, in their strengths and capabilities, in a better life.
Luke knows how important this faith is for a person, this hope for the possibility and reality of the best. Even just a kind, affectionate word, a word that supports this faith, can give a person support in life, solid ground under his feet. Belief in one’s ability to change and improve one’s own life reconciles a person with the world, as he plunges into his fictional world and lives there, hiding from the frightening real world in which a person cannot find himself. And in reality this person is inactive.
But this only applies to a weak person who has lost faith in himself.
That is why such people are drawn to Luke, listen to him and believe him, because his words are a miraculous balm for their tormented souls.
Anna listens to him because he alone sympathized with her, did not forget about her, said a kind word to her, which she, perhaps, had never heard. Luke gave her hope that in another life she would not suffer.
Nastya also listens to Luka, because he does not deprive her of the illusions from which she draws vitality.
He gives Ash hope that he can start life anew where no one knows either Vaska or his past.
Luke talks to the actor about a free hospital for alcoholics, in which he can recover and return to the stage again.
Luke is not just a comforter, he philosophically substantiates his position. One of the ideological centers of the play is the wanderer's story about how he saved two escaped convicts. The main idea of ​​Gorky’s character here is that it is not violence, not prison, but only goodness that can save a person and teach goodness: “A person can teach goodness...”
The other inhabitants of the shelter do not need Luke’s philosophy, the support of non-existent ideals, because these are stronger people. They understand that Luke is lying, but he is lying out of compassion and love for people. They have questions about the necessity of these lies. Everyone argues, and everyone has their own position. All the sleepovers are involved in an argument about truth and lies, but do not take each other very seriously.
In contrast to the philosophy of the wanderer Luke, Gorky presented the philosophy of Satin and his judgments about man. “Lies are the religion of slaves and masters... Truth is the god of a free man!” When pronouncing monologues, Satin does not expect to convince others of anything. This is his confession, the result of his long thoughts, a cry of despair and a thirst for action, a challenge to the world of the well-fed and a dream of the future. He speaks with admiration about the power of man, about the fact that man was created for the best: “man - this sounds proudly!”, “man is above satiety,” “do not feel sorry..., do not humiliate him with pity... you must respect him.” This monologue, pronounced among the ragged, degraded inhabitants of the shelter, shows that faith in genuine humanism, in the truth, does not fade.
M. Gorky's play “At the Lower Depths” is an acute socio-philosophical drama. Social, since it presents drama caused by the objective conditions of society. The philosophical aspect of drama is rethought in a new way by each generation. For a long time, the image of Luke was assessed as unequivocally negative. Today, due to the historical events of the last decade, the image of Luke is read in many ways differently, he has become much closer to the reader. I believe that there is no clear answer to the author’s question. It all depends on the specific situation and historical era.