Dispute about the purpose of man: “three truths” in Gorky’s play “At the Depths”, their tragic collision. Tragic collision Tragic collision with life Kartashov theme

The problem of humanism becomes especially relevant at the end of the 19th and beginning of the 20th centuries, when history begins to develop in such a way that the real value of a person is lost. Many writers of that time turned to the topic of man, tried to find the truth, to understand the purpose of human life. One of these writers was Maxim Gorky.

The writer reveals his ideas about man already in his first romantic works. Gorky's first story - "Makar Chudra" - was published in 1892, followed by other stories about "tramps": "Grandfather Arkhip and Lenka" (1894), "Chelkash" (1895), "Konovalov" (1897), "Malva" "(1897). The main characters of these stories are tramps, “former people,” but contrary to literary tradition, they are depicted not as outcasts, “humiliated and insulted,” but as people who themselves rejected society with its morals and social laws. These heroes despise the bourgeois craving for peace and satiety, any restriction of freedom. These are freedom lovers who “even if they’re hungry, they’re free.” “Tramps” are proud, cheerful, they hate suffering, they have no fear of life, but they have a sense of self-esteem. Therefore, the thief Chelkash looks much more attractive than the greedy peasant Gavrila.

At the same time, the author-narrator does not hide the fact that the level of self-awareness of these “tramps” is low. Only a few of them began to truly think about their own destiny and the meaning of human life (“Konovalov”). But “the weight of their thoughts was increased by the blindness of their minds.” In addition, Gorky perfectly saw the danger of the boundless self-will of such people, the tragedy of their loneliness. N. Minsky wrote about this: “Gorky portrays not just tramps, but some kind of super tramps and super tramps, preachers of some new provincial Nietzscheanism... The strongest turns out to be right, because he demands more from life, and the weak is to blame, because he doesn't know how to stand up for himself. It must be admitted that in our literature, thoroughly saturated with the teaching of love and goodness, such a vivid preaching of the right of the mighty is quite new and risky.”

The writer continued his search for the truth of life throughout his entire career. This search was reflected in the images of the heroes of many of his later works. But the most acute debate about the truth of life is heard in the play “At the Bottom.” The peculiarity of this work is that all the characters have their own truth. And each of them speaks openly about their truth. Bubnov affirms the truth of a fact, Luke preaches the truth of a comforting lie, Satin defends the truth of faith in Man. Whose truth is actually true?

“Everyone is born, lives and dies this way. And I will die, and you... Why regret it,” - these words of Bubnov contain a down-to-earth, petty-bourgeois ideology, the truth of the Snake and the Woodpecker, the truth of the Baron and the Tick. Bubnov is able to understand the truths of people like Satin. The stories are also not accessible to him - Pukki ABOUT PEOPLE who believed in the righteous land: “Howl of invention ..; Same! he exclaims. - Ho Ho! Righteous land! Same way! Ho-ho-ho! He reduces “exalting deception” to “low truths.” He recognizes only the truth of facts and the cruel laws of life.

The Baron recognizes only the truth of the past, so he is indifferent to the world, remaining entirely in the past. The past is his only truth. what did she give him? “You reason...,” he says to Satin, “... this must warm my heart... I don’t have this... I don’t know how!.. I, brother, am afraid... sometimes.. I'm afraid... Because - what's next?.. I never understood anything... It seems to me that all my life I've only been changing clothes... why? I do not remember! I studied and wore the uniform of a noble institute... and what did I study? I don’t remember... I got married - I put on a tailcoat, then a robe... and took a bad wife... I lived through everything I had - I wore some kind of gray jacket and red trousers... and how did I go broke? I didn’t notice... I served in the government chamber... uniform, squandered government money - they put a prisoner’s robe on me... And everything... like in a dream... But... for some reason I was born... A?" The Baron does not believe in illusions. But faith in the truth of facts ultimately does not bring him satisfaction, does not show him the meaning of life. This is his main tragedy.

Similar to Bubnov and Baron Klesch. He does not want illusions: he voluntarily took upon himself the truth of the real world. “What do I need it for - really? What is my fault?.. Why do I need the truth? It’s impossible to live... Here it is - the truth!..” He is proud of the fact that he is a working man, and therefore treats the inhabitants of the shelter with contempt. He hates the owner and with all his soul strives to escape from the shelter. But he too will be disappointed. The death of his wife crippled Kleshch and deprived him of faith in the truth, whatever it may be. “There is no work... no strength! That's the Truth! I have to breathe... here it is, really!.. What do I need it for, really?..”

Luke contrasts his truth with this ideology. He calls on everyone to respect a person: “A person, whatever he is, is always worth his price.” Luke's position is the idea of ​​compassion, the idea of ​​active good, arousing faith in a person, capable of leading him further. He promotes the idea of ​​personal improvement and even sublime deception.

Satin proves that “man is above satiety,” that man has higher goals, has higher needs than caring about being well-fed: “I have always despised people who care too much about being well-fed. Not in this case! The man is higher! Man is above satiety!

Satin has an independent character. He is not afraid of the owner of the shelter. He may sometimes seem cynical: “Give me a nickel,” he turns to the Actor, “and I will believe that you are a talent, a hero, a crocodile, a private bailiff.” His remark in response to the Baron’s message about the death of the Actor sounds just as cynical: “Eh... ruined the song... fool.”

This position is due to the hero’s disappointment in life itself. He no longer believes in anything. He considers his life and the lives of the other inhabitants to be complete: “You cannot kill twice.” But in fact, he is not alien to compassion, he is a good comrade, those around him treat him with sympathy.

It is Satin’s monologues that sum up everything that is happening and formulate the author’s ethical position: “Man is the truth!.. Those who are weak at heart... and those who live on other people’s juices need lies... And who is his own master... who is independent and does not wait for someone else's - why would he lie? Lies are the religion of slaves and masters... Truth is the god of a free man.” He expresses the author’s confidence that “Man... this sounds proud! We must respect the person!”

Luke's truth excited the inhabitants of the shelter. However, lies and consolation cannot help anyone, even people of the “bottom,” Gorky asserts. Luka's truth, when faced with the realities of life of the inhabitants of the shelter, with the truth of Bubnov, Baron, Kleshch, leads to tragic consequences. The Actor hanged himself when he realized that the wonderful hospital for “organisms” was Luke’s invention.

Nastya is going through a mental crisis. A surge of illusions obscures the true state of affairs from the unfortunate inhabitants of the shelter, which ultimately leads to the complete collapse of their hopes, and then a chain reaction of tragedies begins (the beating of Natasha by Vasilisa, the arrest of Ash, who killed Kostylev in a fight, the shock of Kleshch, who lost everything, etc.) . Comprehension of the truth “Everything is in man, everything is for man” fascinates Satin and the other heroes of the play. All the more painful for them is the incompatibility of this discovery with reality...

Thus, in the play “At the Lower Depths,” M. Gorky sought not only to depict the terrible reality to draw attention to the plight of disadvantaged people. He created a truly innovative philosophical journalistic drama.

Conflict is the main driving force of a dramatic work. The conflict unfolds through the plot and can be realized on several different levels. Whether it is a confrontation of interests, characters or ideas, the conflict is resolved in the finale of the work. The essence of the conflict can also be determined by the literary era (realism and postmodernism, for example, are characterized by different types of conflicts). In realism, the conflict will be hidden in the depiction of social unrest and exposure of the vices of society. As an example, the article will consider the main conflict in Ostrovsky’s play “The Thunderstorm”.
The work was written in 1859, several years before the abolition of serfdom. Ostrovsky wanted to show how much society is corroding itself from the inside just because the way of life remains the same. Patriarchal orders hinder progress, and corruption and servility destroy the human element in a person. In the description of such an atmosphere lies the main conflict of “The Thunderstorm”.

So, as a rule, the conflict is realized at the character level. To do this, pairs or groups of characters must be identified. We should start with the most striking confrontation: the couple Katya - Kabanikha. These women had to live together due to circumstances. The Kabanov family is quite rich, Marfa Ignatievna herself is a widow. She raised a son and daughter. Kabanikha constantly manipulates her son, causing scandals and hysterics. A woman believes that only her opinion has the right to exist, so everything must correspond to her ideas. She humiliates and insults the rest of the family. Varvara gets the least of it, because the daughter lies to her mother.

Katya was married off early to Tikhon Kabanov, Kabanikha’s son. Katya naively believed that her life before marriage would not be much different from her new life, but the girl was wrong. Pure Katya is not able to understand how you can lie to your mother, as Varvara does, how you can hide your thoughts and feelings from someone, how you can not defend the right to your own opinion. The order of this family is alien to her, but because of the patriarchal foundations that reigned at that time, the girl had no choice.

Here the conflict is realized at the internal level. These characters are too different, but at the same time both women have the same strong character. Katerina resists the corrupting influence of Kabanikha. Marfa Ignatievna understands that she is faced with a strong rival who can “turn” Tikhon against his mother, and this is not part of her plans.

In the pair Boris - Katerina, a love conflict is realized. A girl falls in love with a young man who has arrived in the city. Boris seems to Katya like herself, unlike the others. Boris, like Katerina, is annoyed by the atmosphere of the city. They both don't like that everything here is built on fear and money. The feelings of young people flare up quite quickly: one meeting was enough for them to fall in love with each other. Tikhon's departure allows the lovers to meet secretly and spend time together. Katya says that for the sake of Boris she commits a sin, but since she was not afraid of sin, then she is not afraid of condemnation from people. The girl does not understand why their meetings should be hidden. She wanted to confess everything to her husband so that later she could be honest with Boris, but the young man dissuades her from such an act. It is more convenient for Boris to meet secretly and not take responsibility. Of course they couldn't be together. Their love is tragic and fleeting. The situation takes an unexpected turn when Katya realizes that Boris is actually the same as all the other residents: pathetic and petty. And Boris doesn’t try to deny it. After all, he came to the city only to improve relations with his uncle (only in this case could he receive an inheritance).

The pair Kuligin - Dikoy will help determine the main conflict of the drama "The Thunderstorm" by Ostrovsky. Self-taught inventor and merchant. All power in the city seems to be concentrated in the hands of the Wild One. He is rich, but only thinks about increasing capital. He is not afraid of threats from the mayor, he deceives ordinary residents, steals from other merchants, and drinks a lot. Dikoy constantly swears. There was room for insults in every one of his remarks. He believes that people who are lower than him on the social ladder are unworthy of talking to him, they deserve their miserable existence. Kuligin strives to help people; all his inventions should benefit society. But he is poor, and there is no way to earn money by honest work. Kuligin knows about everything that happens in the city. “Cruel morals in our city.” Kuligin cannot resist or fight this.

The main conflict of the drama “The Thunderstorm” unfolds within the main character. Katya understands how strong the gap is between ideas and reality. Katerina wants to be herself, free, light and pure. But it’s impossible to live like that in Kalinov. In this struggle, she risks losing herself, giving up, and not being able to withstand the onslaught of circumstances. Katya chooses between black and white; gray does not exist for her. The girl understands that she can either live the way she wants or not live at all. The conflict ends with the death of the heroine. She could not commit violence against herself, kill herself for the sake of social order.

There are several conflicts in the play "The Thunderstorm". The main one is the confrontation between man and society. Added to this conflict is the conflict of generations, the conflict of old and new. The conclusion suggests itself that an honest person cannot survive in a society of liars and hypocrites.

The definition of the main conflict of the play and a description of its participants can be used by 10th grade students in essays on the topic “The main conflict in the play “The Thunderstorm” by Ostrovsky.”

Work test

Ostrovsky based his play “The Thunderstorm” on two main ideas: a powerful denial of the stagnation and oppression of the motionless “dark kingdom” and the emergence of a positive, bright beginning, a real heroine from among the people. The “Thunderstorm” conflict is unique. It can be viewed in two ways. Ostrovsky himself defined his work as a drama, but this is a tribute to tradition. Indeed, on the one hand, “The Thunderstorm” is a social drama, but on the other hand, it is a tragedy. As for drama, this work is characterized by special attention to everyday life, the desire to convey its “density”. The writer describes the city of Kalinov in detail, specifically, in many ways, which has a general meaning. So, for example, Kuligin exclaims: “The view is extraordinary! Beauty! The soul rejoices!”: Others took a closer look at her and were completely indifferent. Beautiful nature, the organ of the night festivities of young people, songs, Katerina’s stories about childhood - all this is the poetry of Kalinovsky’s world. But Ostrovsky confronts her with gloomy pictures of everyday life and everyday life, with the cruel attitude of people towards each other. In this city, rudeness and poverty reign, here “you can never earn your daily bread through honest labor,” here merchants “undermine each other’s trade, not so much out of self-interest as out of envy.” In the center of this closed “dark kingdom” stands a rude and the ignorant merchant's wife - Kabanikha. She is a defender of the old principles of life. She dictates moral laws to the entire city, imposes her will on everyone around her, and does not demand unquestioning obedience. Freedom, according to the heroine, leads a person to moral decline. Another representative of the “dark kingdom” is Dikoy. The main meaning of his life is enrichment. The thirst for money turned him into a reckless miser. Strong materially, he is weak spiritually. He acts on his own whim, arbitrarily, without regard for others. He was rude, he couldn’t be any different. But he retreats before those who are able to fight back. So, for example, he gives in to Kabanova. The only heroine who opposes Kabanikha, and indeed the entire Kalinovsky society, is Katerina. She cannot accept the principles of life of the “dark kingdom”, its laws. She has a poetic, enthusiastic, freedom-loving nature; she is incapable of the lies and falsehood that reign in Kalinov’s world. Katerina can no longer endure the continuation of endless torture, decides to die, especially since she appears in her imagination in light rather than gloomy colors: “There is a grave under the tree... how nice.” In this case, "The Thunderstorm" is a drama. But if you see that Katerina’s fate was determined by the collision of two historical eras, then the tragic interpretation of her character is quite legitimate. Indeed, compositionally, Kabanikha and Katerina stand at the center of the play. Both of them are maximalists, cannot come to terms with human weaknesses, and both are equally religious. Their religion is harsh and merciless. Only Kabanikha is chained to the earth, and Katerina strives for the sky. Katerina embodies the spirit of this world, its impulse, its dream. She was born and formed in the same conditions, that is, she is a product of this world. But Ostrovsky believed in the renewing power of a healthy nature, in the power of the attraction to freedom, in the creative principles of the people's character, so he showed in Katerina an awakening sense of personality. This feeling does not take the form of public protest, but an individual form, a form of personal love. Ostrovsky showed the heroine at the moment of her nascent love for Boris, who in her eyes stands out from among the other residents. Katerina loves strongly, deeply, selflessly. Passion is born and grows in her, but this passion is highly spiritual. Love evokes in her an emotional upsurge, a passionate desire to become a free bird and fly with its wings spread. The awakened feeling of love is perceived by Katerina as a huge, indelible sin, because love for a stranger for her, a married woman, is a violation of moral duty. She understands that a catastrophe is almost inevitable, that she cannot withstand such a life for long. Katerina already comes to the play with a premonition of trouble “I will die soon..”

Sections: Literature

Textbooks, on which educational work is carried out:

Russian literature of the 20th century. Textbook for general education institutions. Grade 11. In two parts //Edited by V.P. Zhuravleva. - M.: Education, 2007.

Class : 11.

Type: combined lesson.

Improving text analysis skills; the formation of universal educational actions in the process of analyzing the text of a dramatic work;

Satisfying intellectual interest;

developing:

Development of speech culture, monologue and dialogic speech skills;

Development of logic of thinking;

Development of creative thinking;

Acquiring the ability to conduct a discussion and speak in public;

raising:

Establishing new connecting threads with classmates and the teacher in the process of joint actions;

Instilling a sense of goodwill, attention and respect for the interlocutor;

Acquisition of moral values;

Resolving personally significant problems in the process of considering situational problems;

Activation of students' creative abilities.

Create a problematic situation

Encourage students to express their own point of view on various issues.

Form of organization of the lesson: heuristic conversation, literary discussion, elements of theatrical play.

Reproductive: verbal, visual;

Productive: creating diagrams, filling them with observational results and personal judgments, creating a multimedia presentation for students about Luke; use of multimedia presentation for the lesson, dramatization, reflection, group work.

Teaching aids: portrait of M. Gorky, illustrations for the play “At the Lower Depths”, multimedia presentation, computer equipment, books with the text of the play “At the Lower Depths”, textbooks, co-creation, mutual responsibility for the results of the work, shared experience of success, interpretation of a literary work.

Form of organization of work in the classroom: frontal, group, individual, creative.

During the classes

The first learning situation is motivational

The teacher announces the topic of the lesson: The clash of heterogeneous worldviews in M. Gorky’s play “At the Bottom.” The problem of humanism. (Presentation, slide No. 1.)

Students work collectively in groups, interpret each word of the lesson topic, developing speech and thinking skills, writing down variants of semantic findings in notebooks:

What are goals our lesson?

Students intuitively perceive the goals: understanding the author's intention, realizing it, identifying problems, discovering the author's spiritual world, enriching their spiritual world, developing personality in the process of educational activities, developing a culture of speech, and others. (Presentation, slide No. 2.)

The teacher, if necessary, supplements and generalizes the answers: the formation of universal educational actions in the process of analyzing the text of a dramatic work, the resolution of personally significant problems in the process of considering situational problems, the activation of students’ creative abilities.

What is the main theme of M. Gorky’s work at the end of the 19th – beginning of the 20th century?

Students.

At the end of the 19th – beginning of the 20th centuries, the main theme of M. Gorky’s work was the theme of exposing the vices of capitalist reality.

Students name the problems of the struggle of life and death, human oppression, spiritual and material poverty, loneliness, the tragedy of society and man, humanism, inhumanity of society, truth and lies. (Presentation, slide No. 3.)

A notable phenomenon of Russian literature at the beginning of the 20th century was Gorky’s play “At the Lower Depths” (1902). What explained its exceptional success? (Presentation, slide No. 4.)

Students.

• A strong impression on the viewer was made by the combination of an extremely realistic depiction of people who have reached the last degree of squalor, despair and lawlessness, with the glorification of Man and his truth. For the first time, an unprecedented world of thieves, tramps, cheaters, that is, people who had sunk to the “bottom” of life, appeared before the eyes of the public. It, like an overturned mirror, reflected the world from which these people were overthrown. (Presentation, slide No. 5, No. 6.)
• Gorky's play is directed against the social unrest of capitalist society and is permeated with a passionate call for a just life. “Freedom at any cost is its spiritual essence,” this is how K. S. Stanislavsky defined the idea of ​​the play, who staged it on the stage of the Moscow Art Theater (1903). (Presentation, slide No. 7.)

The main rule of a literature lesson: you cannot competently defend your point of view without knowledge of the work itself. I offer you a little warm-up. I read a line from the play, and you decide who says it. (Presentation, slide No. 8.)

• “What is conscience for? I'm not rich." (Bubnov.)
• “A person lives in any way... as his heart is adjusted, so he lives...” (Luke.)
• “Education is nonsense, the main thing is talent!” (Actor.)
• “It’s not enough to know, you understand...” (Natasha.)
• “I’m tired, brother, of all human words... all our words are tired!” (Satin.)
• “Can kindness of heart be compared with money? Kindness is above all good things.” (Kostylev.)
• “We must love the living, the living.” (Luke.)
• “It turns out that no matter how you paint yourself on the outside, everything will be erased!” (Bubnov.)
• “When work is a duty, life is slavery!” (Satin.)
• “I don’t have a name here... Do you understand how offensive it is to lose a name? Even dogs have nicknames...” (Actor.)
• “And all the people! No matter how you pretend, no matter how you wobble, if you were born a man, you will die a man...” (Luke.)
• “What kind of people are they? Ragged, golden company... Do you think I won’t break out of here? Wait a minute...the wife will die.” (Mite.)

Teacher comments on the level of knowledge of the text.

What images and associations arise when perceiving the play? (Presentation, slide No. 9.)

Students in groups conduct observations and record the results of their searches in table format. Students creatively express their understanding and perception of the play by exchanging opinions in groups, then representatives of the groups perform in front of their classmates.

What is the cause of human destruction? Why have people stooped to this level? Who is guilty? (Presentation, slide No. 10.)

Students.

• The inhabitants of the “bottom” are thrown out of normal life due to the wolf laws that reign in society. Man is left to his own devices. If he stumbles, gets out of line, then he faces inevitable moral, and often physical death.
• People feel like they have been. Some of them don't even have a name.
• Lack of faith in justice forced Satin to take revenge on the scoundrel who killed his sister. This revenge brought him to prison, which determined his future fate. Bubnov is forced to leave home, leaving the workshop to his wife and her lover, since he did not hope for protection from representatives of the law.
• Of course, the people who find themselves in the Kostylevo shelter are not at all ideal. They make mistakes, do stupid things, but they do not deserve to be thrown to the “bottom” of life by society without providing any support. Vaska Pepel, the son of a thief, born in prison, is doomed to follow in the footsteps of his parent, because no other path has been ordered for him. The hard work and perseverance of Kleshch, who did not want to accept the fate of a homeless shelter, did not help him rise from the “bottom” of life.

What questions arise when learning about the tragic fate of the inhabitants of the shelter? (Presentation, slide No. 11.)

Students.

Can a person rise to the surface? What is the way out of this situation, what is the salvation of the people at the bottom?

Let's try to understand these complex philosophical questions. Which scene sets up the conflict?

Students.

The beginning of the conflict is the appearance of Luke.

Teacher. (Presentation, slide No. 12.)

Which is better: truth or compassion? Should we use comforting lies like Luke?

Students analyze the episode of the play associated with the appearance of Luke, write down the results of their observations in notebooks, and share their thoughts with classmates. (Presentation, slides No. 13, No. 14, No. 15, No. 16, created by one of the students, demonstrated by him.)

What kind of person is Luke? What moral values ​​do we acquire by getting to know Luke? (Presentation, slide No. 17.)

Students work with the text, observe, lead a discussion, give examples, write down their thoughts and interesting findings of others.

Teacher. (Presentation, slide No. 18.)

The development of the plot focuses on how Luka behaves with each of the inhabitants of the shelter. What does Luke bring to people?

Students worked at home with the text, selected the necessary material and recorded their observations in table format; during the lesson, communicating in groups, they supplemented their notes, and representatives of the groups spoke with the results of the generalization.

What kind of man is he, the old man, the wanderer Luke, who, according to Satin, “leavened his roommates” and who disturbed in his soul what they had not believed in for a long time and what they did not love?

(Presentation, slide No. 19.)

Students about reflection.

• Luka is a rather subtle psychologist, a tireless observer, an optimist. His advice was not implemented not because they were bad, but because the inhabitants of the shelter did not have enough energy and will to implement them. But the souls of the inhabitants of the shelter were excited by the wanderer, their minds began to work more intensely. For example, Vaska Pepel utters the words: “I don’t repent... I don’t believe in conscience... But I feel one thing: I have to live differently! We need to live better! I have to live in such a way that I can respect myself…” (Presentation, slide No. 20.)
• Luke sincerely sympathizes with the victims of life, humiliated and insulted people, selflessly strives to alleviate their suffering and help them. He promises the dying Anna life in paradise after death, where she will rest from earthly suffering. The old man advises Ash and Natasha to start a new life in the golden country of Siberia. He tells the actor about a free hospital for alcoholics, the address of which he has forgotten, but will definitely remember, giving this drunken person hope of returning to his former life.
• Luke is active and caring.
• Luke, a traveling preacher, consoles everyone, promises everyone deliverance from suffering, says to everyone: “You hope!”, “You believe!”/
• Luka is an extraordinary person, he has a lot of life experience and a keen interest in people. He doesn’t believe in anything, but he feels sorry for suffering people, so he tells them various comforting words. His whole philosophy is contained in the saying: “What you believe is what you believe.”
• Luka is cunning, resourceful, resourceful.
• Luka is humane, kind, affectionate, gives advice, and shows concern. However, there is a lot of contradictory and incomprehensible things in it.
• Luke's humanism is based on passive compassion, which, while bringing momentary relief, deepens the gap between a person's dream of happiness and his real hopeless situation. This means that Luke’s comforting lie only worsens the situation of the outcasts, leads them into the world of illusions, deprives them of their last strength to fight social evil, social injustice, because of which Kostylev’s shelters exist.
• Luke's position is the idea of ​​compassion for man, the idea of ​​a “sublime deception” that allows a person to bear the burden of “low truths” encountered on his thorny path. Luke himself formulates his position. Turning to Ash, he says: “... what do you really need badly... think about it, maybe it’s just for you.” Then he talks about the “righteous land.” Luka doesn’t believe in her, he knows that she doesn’t exist. Luke is ready to welcome any idea if it can console a person, alleviate his suffering even for a minute. He does not think about the consequences of a lie that will sooner or later be revealed. Trying to protect a person, Luke at the same time does not believe in him; for him, all people are insignificant, weak, pitiful, and in need of consolation.
• The main feature of Luke's ideology is the feature of slavery. The philosophy of patience echoes the philosophy of oppression, the slave’s point of view echoes the master’s point of view. Gorky puts this thought into Satin’s mouth: “Whoever is weak at heart and who lives on other people’s juices needs a lie... Some people are supported by it, others hide behind it... But whoever is his own master, who is independent and does not take someone else’s - why should he lie?"

We invite you to watch a scene from Act 4 prepared by our students. (From the beginning of act 4 to the words: “Truth is the god of a free man!”).

Students.

• The writer does not accept naive faith in miracles. It reveals the universal significance (even for the outcasts) and the elusiveness of genuine spiritual values. The combination of the eternal and the momentary, the stability and instability of familiar ideas, a small stage space (a dirty flophouse) and thoughts about the big world of humanity allowed the writer to embody complex life problems in everyday situations.
• The author puts into Satin’s mouth his point of view of “improving the spirit”: “Man is the truth!”, “Everything is in man, everything is for man!” Only man exists, everything else is the work of his hands and his brain! Human! It's great! It sounds...proud! Human! We must respect the person! Don’t feel sorry... don’t humiliate him with pity... you need to respect him!”
• In the text of the drama we find aphorisms that carry an ethical charge, help to evaluate the sincerity or falsity of the characters’ remarks, understand the reasons that caused it, force us to understand the connection between word and character in a dramatic work, provoke reflections about ourselves, living here and now: “Man - can teach goodness... very simply!
• The writer idealizes not tramps, insulted and humiliated by failures in life, but a proud freedom-loving force.
• M. Gorky's play is an innovative literary work. At its center is not only human destinies, but a clash of ideas, a dispute about man, about the meaning of life, about truth. (Presentation, slide No. 21.)

What impact did the search work on the topic of the lesson have on you?

Students about reflection.

• Reading the text of the play, commenting on it, talking about the characters, we identify the most important features of a socio-philosophical drama. The characters talk and argue a lot. Their conversations are the subject of depiction in the play. The clash of ideas, life views, and the struggle of worldviews determine the main conflict of the play.
• People of the “bottom” are not villains, not monsters, not scoundrels. They are the same people as us, they just live in different conditions. This amazed the first viewers of the play and shocks new readers.
• Gorky himself saw in the play “a signal for an uprising” and wrote that “this signal can be heard in the words of Satin, in his assessment of man.” Given the unusual stage fate, and the persistent popularity of the play on the stages of the world, it has caused and still causes a huge number of the most contradictory interpretations.
• Gorky the thinker continues the debate about humanism, about those “truths” that exclude each other. He is our contemporary, a fighter for a person striving for happiness and believing in the future.
• Gorky sincerely believes in Man, in the noble qualities of his soul, in happiness.

No wonder he said: “It is an excellent position to be a man on earth.” But there is no, and there cannot be, happiness while a person is not free, while injustice dominates at every step. A person deserves happiness and freedom because he is a Human. This is Gorky's humanism. (Presentation, slide No. 22.)

• Maxim Gorky awakens in us the idea of ​​what to be like in the world of people. Finishing the lesson, we do not put an end to it, but continue to actively work on ourselves.

Today, various opinions have been voiced about Luke, about his position in life, about his worldview. While talking about this character, we touched on many issues that go beyond the scope of a literary work and literary criticism in general.

When we see a beggar, a ragged person on the street, we often don’t think about the fact that in front of us is a person who has lost faith in himself and in people (there is no one on earth who would want to support this faith), we pass by and respond to a request for help with a contemptuous, condemning look. But this is either an old man whom we did not protect, or a child whom no one warmed, or an adult who found himself in a difficult life situation. Shouldn't we take pity on the disadvantaged, as Luke does? Shouldn't we remember the words of Satin: “We must respect a person!” The main thing: do not pass by, help the person! (Presentation, slide No. 23.)

Be merciful! (Presentation, slide No. 24.)

Grading.

Homework. (Presentation, slide No. 25.)

1) Make a sample of the characters’ statements on the following questions:

• The place and role of a person in life.
• Does a person need the truth?
• Is it possible to change your life?

2) Prepare a statement on one of the identified issues.

3) Learn by heart Satin’s famous monologues about truth and man (Act 4).

A student who has prepared for the lesson on his own reads N. Zabolotsky’s poem “Don’t let your soul be lazy.”

Elena Vaenga's song “Strange Man” or “Solomon” is playing (video). (Presentation, slides No. 25, No. 26.)

Luke - Lucian (Latin - Light, luminous). Luke was also the name of one of the 70 disciples of Christ, sent by Him “to every city and place where He Himself wanted to go,” the author of one of the canonical Gospels and the “Acts of the Apostles,” a skilled physician. The Gospel of Luke emphasizes Christ’s love for the poor, harlots, and sinners in general. The cunning, cunning, insidious, secretive and evil, deceptive, feigned type of wanderer has “taken root” in Russian literature a long time ago. Remember, for example, Feklusha from the drama A. N. Ostrovsky "Thunderstorm". Is it possible to talk about the typological similarity of these characters? Luka’s appearance is described in some detail: the author talks about his things: a stick, a knapsack, a pot and a teapot, but he is silent about his height, build and other “signs”. How do you imagine a wanderer, what external characteristics should this character have, what should he wear? How would you "model" Luke's biography? Why, for example, does the wanderer not tell tales (in the literal sense of the word) to the night shelters? Do you think there was love in his life? Why does he call himself either a runaway or a passer-by? Can Luka be called a “former man”? Try to explain why Luke is older than the other characters in the play. Kostylev is closest in age to Luka. Why do you think both “elders” are called scoundrels by the night shelters, and Vasilisa calls her husband a convict? Have you noticed that in the last conversation Kostylev teaches Luka: “Not every truth is needed”? What does his “rattled laugh” tell you about the wanderer’s character? Remember how Vaska Pepel characterizes the singing of the bow, as well as the author’s remark accompanying the appearance of the bow in the scene of Ash’s clash with Kostylev: “howling yawning.” Do you think Luke really feels sorry for people? How do you understand the word “pity”? Can we say that the wanderer looks indifferently at death, abomination, darkness around him? Does it “kindle” self-awareness, his own truth in every person? Can passivity really be active? What, then, is the secret of his charm, why are the night shelters drawn to him - after all, they are “grated rolls”, “shot sparrows” who cannot be fooled by chaff, and they know the worth of a person?