The ideological and compositional role of the landscape in the early romantic stories of M. Gorky

03.03.2020

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Oh i'm like a brother

Would be glad to hug with the storm!

M. Yu. Lermontov

A great master of words, A.M. Gorky creates wonderful romantic works, which from the very beginning announced the appearance of a bright talent, an extraordinary personality. Gorky the writer was interested in unusual heroic characters, in sharp contrast to the gray mass that dominates around.

The heroes of the stories "Makar Chudra" and "The Old Woman Izergil" are rebellious and strong personalities looking for meaning in the reality around them. To match the characters and the situation around them: the sea was blowing "damp cold wind", "fanning the flame of the fire." The narrator, the old gypsy Makar Chudra, is a rather ugly and colorful figure. He speaks almost in aphorisms, weighty categorically expresses his outlook on life: “So you walk? This is good! You have chosen a glorious lot, falcon. So it should be: go and see, have seen enough, lie down and die - that's all! "

In the legend he told about Loiko Zobar and Radda, Chudra's main life position is revealed: above all else, he values freedom. Even a person's life is meaningless if the ash is lost. Chudra speaks poetically and beautifully about freedom, which few hundred can appreciate. This is the lot of only a select few, and most have no time to think about it. “Knows his will? Is the steppe width clear? Does the sea wave speak to his heart? He is a slave - as soon as he was born, he is a slave all his life, and that's it! What can he do with an oboe? Only strangle himself if he grows wiser a little. "

Makar advises his young interlocutor not to think about life, so as not to stop loving her. The beauty of the surrounding world acts as a contrast between the majesty created by nature and people who do not know how or do not want to appreciate this gift, be content with it. The restless spirit of the heroes of the story is emphasized by the magnificent breadth that surrounds them.

The author draws the mighty elements: the sea and the steppe. Everything here is full-sounding, there are no semitones. Gorky is looking for a worthy hero who embodies the author's idea of a strong personality. This search continued in the story "The Old Woman Izergil". From the antihero Larra, through the fate of Izergil, the author tries to bring the reader to an understanding of the ideal hero - Danko. The harsh landscape of an impregnable forest, fetid swamps do not frighten the hero. Danko is full of love for people, for their sake he is able to sacrifice his life.

But the people cannot appreciate this feat. Weak and shy, people are afraid of the hero himself. That is why they step on Danko's flaming heart, so that a fire does not break out from him. What can he bring? Anything. Fear owns the masses. And the author does not hide this from his readers. Nature is eternal and majestic. She indifferently looks at the pettiness of human concerns and interests, emphasizing the transitory in human life and the thoughts of people.

The author is delighted with the splendor of the surrounding world. He sees its cosmic dimensions. Hence, the human vanity seems almost ridiculous and pitiful, and only a select few, like Danko, are able to rise above the crowd and die for the sake of life, misunderstood and unappreciated: “The proud brave man Danko threw his gaze ahead into the expanse of the steppe, - he threw a joyful gaze on the free land and laughed proudly. And then he fell and died. The people, joyful and full of hope, did not notice his death and did not see that his courageous heart was still burning next to the lifeless Danko. Only one cautious person noticed this and, being afraid of something, stepped on the proud heart with his foot ... And now it crumbled into sparks, extinguished ... - That's where they come from, the blue sparks of the steppe that appear before the thunderstorm! "

Pictures of nature in M. Gorky's early romantic stories not only frame the content and are the background, they are an integral and essential part of the content. Descriptions of nature allow the author to move from topic to topic, as if on a bridge, decorate the narrative, give scope for the artist's imagination of words, emphasize the beauty of the author's speech. “It was quiet and dark in the steppe. The clouds were all creeping across the sky, slowly, boringly ... The sea rustled deafly and sadly. "

The ideological and compositional role of the landscape in the early romantic stories of M. Gorky

Oh i'm like a brother

Would be glad to hug with the storm!

M. Yu. Lermontov

Bibliography

For the preparation of this work were used materials from the siteilib.ru/

The role of landscape in early romance stories

Maxim Gorky.

In his early works, Maxim Gorky appears as a romantic. Romanticism presupposes the assertion of an exceptional personality, acting one-on-one with the world, approaching reality from the standpoint of his ideal, making exceptional demands on others. The hero is head and shoulders above other people who are next to him, he rejects their society. This is the reason for the loneliness so typical for the romantic, which is most often thought of by him as a natural state, because people do not understand him and reject his ideal. Therefore, the romantic hero finds an equal beginning only in communication with the elements, with the world of nature, ocean, sea, mountains, coastal rocks.

“A damp, cold wind blew from the sea, spreading across the steppe the pensive melody of the splash of a wave running ashore and the rustle of coastal bushes. Occasionally his impulses brought with them shriveled, yellow leaves and threw them into the fire, fanning the flames; The darkness of the autumn night that surrounded us shuddered and, fearfully moving away, opened for a moment to the left - the boundless steppe, to the right - the endless sea and right opposite me - the figure of Makar Chudra, an old gypsy ... ”. (Selected stories, sketches, plays. - M., 1983.)

Therefore, in romantic works, a landscape devoid of halftones, based on bright colors, expressing the most indomitable essence of the element and its beauty and exclusivity, gains such great importance. The landscape is thus animated and, as it were, expresses the originality of the character of the hero.

"The sea was still whispering from the shore, and the wind still carried its whisper across the steppe";

“The sea quietly echoed the beginning of one of the ancient legends that, perhaps, were created on its shores”;

"The sea roared deafly and sadly." (Selected stories, sketches, plays. - M., 1983.)

For the romantic consciousness, the correlation of character with real life circumstances is almost inconceivable - this is how the most important feature of the romantic artistic world is formed: the principle of romantic dual world. The romantic, and therefore the ideal world of the hero opposes the real world, contradictory and far from the romantic ideal. The opposition of romance and reality, romance and the world around them is a fundamental feature of this literary movement.

This is how we see the heroes of Gorky's early romantic stories: "The Old Woman Izergil", "Makar Chudra". The old gypsy Makar Chudra appears before the reader precisely in a romantic landscape: he is surrounded by the "haze of an autumn night", which "shuddered and, fearfully moving away, opened for a moment the boundless steppe on the left, and the endless sea on the right."

So, the landscape is animated, the sea and the steppe are endless, they emphasize the boundless freedom of the heroes, their inability and unwillingness to change this freedom for anything. A little later, Makar Chudra will declare such a position directly, speaking about a person, from his point of view, not free: “Knows his will? Is the steppe width clear? Does the sea wave speak to his heart? He is a slave - as soon as he was born, he is a slave all his life, and that's it! " (Selected stories, sketches, plays. - M., 1983.)

In a romantic landscape, the heroine of another story, the old woman Izergil, appears before us: “The wind flowed in a wide, even wave, but sometimes it seemed to jump over something invisible, and, giving birth to a strong impulse, waving women's hair into fantastic manes that billowed around their heads ... It made women look weird and fabulous. They went farther and farther from us, and the night and fantasy dressed them more and more beautifully. " (Selected stories, sketches, plays. - M., 1983.)

It is in such a landscape - seaside, night, mysterious and beautiful - that Makar Chudra and the old woman Izergil, the main characters of these stories, can realize themselves. Their consciousness, their character, its sometimes mysterious contradictions turn out to be the main subject of the image. Landscape was introduced to study the complex and contradictory characters of the heroes, their strengths and weaknesses.

The purpose of the lesson: to acquaint students with the milestones of the biography and work of Gorky; show the features of Gorky's romanticism. To trace how the writer's intention is revealed in the composition of the stories.

Methodological techniques: abstract, lecture, analytical conversation, expressive reading.

Lesson equipment: portrait and photographs of A.M. Gorky of different years.

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During the classes.

Teacher's water word.

The name of Alexei Maksimovich Gorky (Peshkov) is known to everyone in our country. Several generations have studied his work from school. Certain ideas have developed about Gorky: he is the founder of the literature of socialist realism, the "petrel of revolution", literary critic and publicist, initiator and first chairman of the USSR Writers' Union.

Abstract on the biography of Gorky.

Characteristics of the early stage of the writer's work.

Gorky's early stories are romantic in nature.

Romanticism is a special type of creativity, a characteristic feature of which is the display and reproduction of life outside the real-concrete connections of a person with the surrounding reality, the image of an exceptional personality, often lonely and not satisfied with the present, striving for a distant ideal and therefore in sharp conflict with society, with people ...

At the center of Gorky's narrative is usually a romantic hero - a proud, strong, freedom-loving, lonely person, the destroyer of the sleepy vegetation of the majority. The action takes place in an unusual, often exotic setting: in a gypsy camp, in communication with the elements, with the natural world - the sea, mountains, coastal rocks. The action is often carried over to legendary times.

Distinctive features of Gorky's romantic images are proud defiance to fate and daring love of freedom, integrity of nature and heroism of character. The romantic hero strives for unrestrained freedom, without which there is no true happiness for him and which is often dearer to him than life itself. The romantic stories embody the writer's observations of the contradictions of the human soul and the dream of beauty.

For the romantic consciousness, the correlation of character with real life circumstances is almost inconceivable - this is how the most important feature of the romantic world is formed: the principle of romantic double world. The hero's ideal world is opposed to the real, contradictory and far from the romantic ideal. The confrontation between the romantic and the world around him is a fundamental feature of this literary movement.

These are the characters of Gorky's early romantic stories.

The old gypsy Makar Chudra appears before the reader in a romantic landscape.

Give examples to prove this.

The hero is surrounded by "cold waves of wind", "the haze of the autumn night", which "shuddered and, fearfully moving away, opened for a moment on the left - the boundless steppe, on the right - the endless sea." Let's pay attention to the animation of the landscape, to its breadth, which symbolizes the limitless freedom of the hero, his inability and unwillingness to exchange this freedom for anything.

The main character of the story “Old Woman Izergil” (1894) also appears in the romantic landscape: “The wind flowed in a wide, even wave, but sometimes it seemed to jump over something invisible and, giving rise to strong gusts, fluttered the women's hair into fantastic manes that billowed around them heads. It made women look weird and fabulous. They went farther and farther from us, and the night and fantasy dressed them more and more beautifully. "

In the story "Chelkash" (1894), the seascape is described several times. In the light of the hot sun: "The waves of the sea, chained in granite, are suppressed by huge weights sliding along their ridges, they beat against the sides of ships, against the coast, beat and murmur, foamed, contaminated with various rubbish." And on a dark night: “thick layers of shaggy clouds were moving across the sky, the sea was calm, black and thick as butter. It breathed a wet, salty aroma and sounded affectionately, splashing on the sides of ships, on the shore, slightly shaking Chelkash's boat. The dark skeletons of ships rose to the distant space from the coast from the sea, thrusting sharp dreams into the sky with multi-colored lanterns on the tops. The sea reflected the lights of the lanterns and was strewn with a mass of yellow spots. They fluttered beautifully against his velvet, soft, matte black. The sea slept in a healthy, sound sleep of a worker who was very tired during the day. "

Let's pay attention to the expanded metaphor of Gorky's style, to the bright sound painting.

It is in such a landscape - seaside, night, mysterious and beautiful - that Gorky's heroes can realize themselves. About Chelkash it is said: “On the sea, a wide, warm feeling always rose in him, - embracing his whole soul, it slightly cleansed him of everyday filth. He appreciated this and loved to see himself as the best here, in the midst of water and air, where thoughts about life and life itself always lose - the former - their sharpness, the latter - the price. At night, the soft noise of his sleepy breathing rushes over the sea, this immense sound infuses calmness into the soul of a person and, gently taming her evil impulses, will give birth to mighty dreams ... "

Conversation on the romantic stage of M. Gorky's work.

What are the main character traits of the romantic heroes of Gorky?

(Makar Chudra bears in the character the only beginning, which he considers the most valuable: the desire for freedom. The same beginning in the character of Chelkash with "his seething, nervous nature, greedy for impressions." familiar to the Havana people, an inveterate drunkard and a clever, brave thief. ”A distinctive feature of Izergil is her belief that her whole life was subordinated to love for people, but freedom was above all for her.

The heroes of the legends, the old women Izergil - Danko and Larra - also embody a single trait: Larra is an extreme individualism, Danko is an extreme degree of self-sacrifice in the name of love for people.)

What is the motivation for the characters of the characters?

(Danko, Rada, Zobar, Chelkash are such in their essence, they are originally.

Larra is the son of an eagle who embodies the ideal of strength and will. Let's pay attention to the singularity and sonority of the names of the heroes.

The legends take place in ancient times - it is as if the time preceding the beginning of history, the era of primitive creation. Therefore, in the present there are traces directly connected with that era - these are blue lights left from the heart of Danko, the shadow of Lara, which Izergil sees, the images of Rada and Loiko Zobar, woven before the gaze of the narrator in the darkness of the night.)

What is the meaning of the opposition between Danko and Lara?

(Larra is likened to a mighty beast: "He was dexterous, predatory, strong, cruel and did not meet people face to face"; "he had no tribe, no mother, no cattle, no wife, and he did not want any of this" Over the years, it turns out that this son of an eagle and a woman was deprived of his heart: “Larra wanted to thrust a knife into himself, but the knife broke - as if they had hit a stone. people, not their actions - nothing. ”The antihuman essence is embodied in the image of Lara.

Danko carries in himself an inexhaustible love for those who were like animals, like wolves that surrounded him, so that it would be easier for them to grab and kill Danko. One desire possessed him - to oust from their consciousness the darkness, cruelty, fear of the dark forest, from there "looked at those walking something terrible, dark and cold." Danko's heart caught fire and burned to dispel not only the forest darkness, but also the spiritual one. The rescued people did not pay attention to the proud heart that had fallen nearby, and one careful person noticed this and, being afraid of something, stepped on the proud heart with his foot. "

Let's think about what the cautious person was afraid of.

Let's note the symbolic parallels: light and darkness, sun and swamp cold, fiery heart and stone flesh.

Selfless service to people is opposed to Lara's individualism and expresses the ideal of the writer himself.)

V. Conversation.

Composition (construction of a work of art) is subordinated to one goal - to most fully reveal the image of the protagonist, who is the spokesman for the author's idea.

How are the characters' images revealed in the composition?

(The composition of "Makara Chudra" and "Old Women Izergil" is a story in a story. This technique is often found in literature. Telling the legends of their people, the heroes of stories express their ideas about people, about what they consider valuable and important in life. They seem to create coordinates, by which one can judge about them.

Portrait characteristics play an important role in the composition. The portrait of Rada is given indirectly. We learn about her extraordinary beauty by the reaction of the people she amazed. (Description of Rada.) The proud Rada rejected both the money and the offer to marry the tycoon. Pride and beauty are equal in this heroine.

But Loiko's portrait is drawn in detail. (Description of Loiko.)

- What is the conflict of the work and how is it resolved?

(Talking about the love of Rada and Loiko, Makar Chudra believes that this is the only way a real person should perceive life, this is the only way to preserve his own freedom. The conflict between love and pride is resolved by the death of both -

not one wanted to submit to a loved one.)

(The image of the narrator is one of the most imperceptible, it usually remains in the shadows. But the gaze of this person traveling across Russia, meeting with different people is very important. The perceiving consciousness (the hero-narrator) is the most important subject of the image, the criterion of the author's assessment of reality, a means Expressions of the author's position. The interested gaze of the narrator selects the brightest heroes, the most significant, from his point of view, episodes and tells about them. This is the author's assessment - admiration for strength, beauty, poetry, pride.)

(In "Old Woman Izergil" the author confronts in the legends the ideal that expresses love for people, and self-sacrifice, and the anti-ideal, taken to the extreme individualism. These two legends, as it were, frame the narrative of the life of the old woman Izergil. Condemning Lara, the heroine thinks that her fate is closer to Danko - she is also dedicated to love. But from the stories about herself, the heroine appears rather cruel: she easily forgot her old love for the sake of a new one, left her once beloved people. Her indifference is striking.)

What role does the portrait of the Old Woman Izergil play in the composition?

(The portrait of the heroine is contradictory. From her stories one can imagine how good she was in her youth. But the portrait of the old woman is almost disgusting, anti-aesthetic features are deliberately pumped up. (Description of the Old Woman.) The features of Lara's portrait bring these characters closer. (Description of Lara.).)

How do romanticism and realism relate in the story?

(The autobiographical hero is the only realistic image in Gorky's early romantic stories. Its realism lies in the fact that his character and fate reflected the typical circumstances of Russian life in the 1890s. The development of capitalism led to the fact that millions of people were ripped off their places of which they made up an army of tramps, vagabonds, who were cut off from their past life and did not find a place for themselves in the new conditions. The autobiographical hero of Gorky belongs to such people.)

How does the composition reveal the image of the romantic hero in the story "Chelkash"?

(Formally, the story consists of a prologue and three parts. The prologue outlines the scene of the action - the port: “The clinking of anchor chains, the clatter of the clutches of the wagons delivering cargo, the metallic scream of iron sheets falling from somewhere on the pavement stone, the dull sound of wood, the rattling of cabbages, the whistles of steamers, then the dull roaring shouts of loaders, sailors and customs soldiers - all these sounds merge into deafening music of a working day ... ".Let us note the techniques with which this picture is created: first of all, sound writing (assonances and alliterations) and non-union, which gives dynamism to the description.)

What is the role of portraits of heroes in the story?

(The portrait of the hero in the first part reveals his character: "dry and angular brushes, covered with brown skin"; "tousled black hair with graying"; "crumpled, sharp, predatory face"; "long, bony, a little stooped"; with "hunchbacked , predatory

nose ”and“ cold gray eyes ”. The author directly writes about his resemblance "to the steppe hawk in his predatory thinness and this aiming gait, smooth and calm in appearance, but internally excited and vigilant, like the years of that bird of prey that he resembled.")

What is the meaning of the word "predator"?

(Let's pay attention to how many times the epithet "predatory" was encountered. Obviously, it reveals the essence of the hero. Let's remember how often Gorky likens his heroes to birds - an eagle, a falcon, a hawk.)

What is the role of Gavrila in the story?

(Chelkash is opposed to Gavrila, a rustic rustic guy. The portrait of Gavrila is built in contrast to the portrait of Chelkash himself: "childish blue eyes" look "trusting and good-natured", the movements are clumsy, his mouth is wide open, then "slaps his lips." Chelkash feels like the master of life Gavrila, caught in his wolf's paws, is mixed with a paternal feeling. Looking at Gavrila, Chelkash recalls his village past: “He felt lonely, torn out and thrown out forever from the order of life in which the blood that flows into him was developed. veins ".)

When is the denouement of the story "Chelkash"?

(In the third part, in the dialogue between Chelkash and Gavrila, it is finally clear how different people are. For the sake of profit, the cowardly and greedy Gavrila is ready for humiliation, for a crime, for murder: he almost killed Chelkash. Gavrila evokes contempt and disgust in Chelkash.Finally, the author divides the heroes as follows: Gavrila "took off his wet cap, crossed himself, looked at the money clutched in his palms, sighed freely and deeply, hid them in his bosom and with wide firm steps walked along the shore in the direction opposite to the one where Chelkash disappeared.".)

VI Questions on the early romantic stories of M. Gorky.

How do you understand the principle of "romantic dual world" in Gorky's work?
What are the features of the landscape in Gorky's early romantic stories? What is the role of the landscape?
How do you understand the words of the heroine of Gorky's story "The Old Woman Izergil": "And I see that people do not live, but everyone is trying on"?
What was the "cautious person" from the story "Old Woman Izergil" scared of when he stepped on Danko's "proud heart"?
With what literary characters can this "careful man" be compared?
What is the ideal of a person in Gorky's early romantic stories?
What, in your opinion, is the meaning of the opposition of Gorky's heroes - Chelkash and Gavrila?
Where do you see the features of Gorky's romanticism?