The impact of social conflicts and contradictions in the play M. Gorky "at the bottom"

"At the bottom" Gorky M.Yu.

Chekhov tradition in Gorky drama. The originally said bitter about the innovation of Chekhov, who "killed realism" (traditional drama), raising images to the "spiritualized symbol". Thus was determined by the departure of the author of the "Seagull" from the acute collision of characters, from the tense plot. Following Chekhov, Gorky sought to convey a leisurely pace of everyday, "misstainless" life and allocate the "underwater flow" of the inner motivations of heroes in it. Only the meaning of this "current" bitter understood, naturally, in his own way. Chekhov - plays of sophisticated sentiment, experiences. Gorky is a collision of inhomogeneous maidos, the very "fermentation" of the thoughts, which was observed bitter in reality. His dramas appear one after another, many of them are indicative of "scenes": "Messenger" (1901), "at the bottom" (1902), "Dachnips" (1904), "Sun Children" (1905), "Barbara" ( 1905).

"At the bottom" as a socio-philosophical drama. From the cycle of these works, the thoughts and perfection of the construction is allocated "at the bottom". The featured by the artistic theater, who passed with a rare success, the play was struck by the "surceal material" - from the life of Bosyakov, Shuler, prostitutes - and their own, despite this, philosophical saturation. "Overcome" a gracious flavor, the awesome life helped a special author's approach to the inhabitants of the dark, dirty surgery.

The final feature of the play was on the theater billboard, after the bitter went over the others: "WITHOUT SUN", "SUMMER", "DNO", "At the bottom of life". Unlike the initial, calculating the tragic position of Bosya, the latter clearly possessed meaningful, perceived widely: "at the bottom" not only lives, but first of all the human soul.

Bubnov talks about himself and his coarseners: "... everything merged, one naked man remained." Because of the "lumps", the loss of the former position of the heroes of the drama truly bypass particular and with some kind of universal concepts. In this embodiment, the internal state of the individual appears visibly. The "Dark Kingdom" made it possible to allocate the bitter sense of things imperceptible under normal conditions.

The atmosphere of spiritual disagreement of people. The role of a polylog. Peculiar to the whole literature began the beginning of the XX century. The painful reaction to the disassembled, the spontaneous world in the Gorky drama acquired rare scales and conviction of the embodiment. The author transferred the stability and integrity of the relationship of the guests of Kostylev in the original form of the "polylog". In the I act, all the characters say, but everyone who almost does not listen to others - about her. The author emphasized the continuity of such "communication." Quashnya (with her replica begins a play) continues the argument started with a tick. Anna asks to stop what the "Every God's Day" lasts. Bubnov breaks up satin: "I heard a hundred times."

In the stream of fragmentary replicas and moves, words having a symbolic sound are made. Bubnov repeats twice (engaged in a rapid business): "And the threads are rotten ..." Nastya characterizes the relationship between Vasilisa and Kostyleva: "Tie away from any living person to such a husband ..." Bubnov notes about the situation of the Nastya itself: "You are too extra" . Specified on the specific occasion of the phrase disclose the "subtext" meaning: the impact of connections, unfortunately unfortunate.

The peculiarity of the internal development of the play. The situation changes with the appearance of Luke. It is with his help that illusory dreams and hopes come to life in the souls and hopes. The II and III acts of drama allow you to see in the "naked person" an attraction to a different life. But, based on false ideas, it is marked only by misfortunes.

The role of Luke in this outcome is very significant. Smart, who knows the old man indifferently looks at his real environment, believes that "for the best people live ... For a hundred years, and maybe more - for the best person they live." Therefore, the misconceptions of the ashes, Natasha, Nastya, the actor does not touch him. Nevertheless, the bitter did not limit the effect on Luke at all.

Writer, not less than human disagreement, does not accept naive faith in a miracle. It is miraculously incurred by ashes and Natasha in some "righteous land" of Siberia; the actor - in the marble hospital; Cleash - in honest labor; Paste - in love happiness. Speech Luke was therefore worked out that they fell on the fruitful soil of secretly trembling illusions.

The atmosphere II and III acts are different compared to I. There is an end-to-end motive of the care of the inhabitants of the night in some unknown world, the mood of the exciting expectation, impatience. Luka advises ash: "... from here - a step march! - Go! Go away ... "The actor says Natasha:" I'm leaving, leaving ...<...> You are also leaving ... "The ash persuades Natasha:" ... in Siberia, it is necessary to go to Siberia ... we are going there, well? " But there are different, bitter words of hopelessness. Natasha: "Nowhere to go." Bubnov once "spun in time" - left the crime and forever remained in a circle of propoines and cheelers. Satin, remembering his past, sternly claims: "After the prison, there is no move." And the tick with pain is recognized: "There is no refuge ... there is nothing." In these replicas of the inhabitants of the night, there is a deceptive exemption from the circumstances. Gorky Bosyaki due to their rejection workers are experiencing this eternal drama for a person with a rare nude.

The circle of existence as if closed: from indifference - to an unattainable dream, from her - to real shocks or death. Meanwhile, in this state, the heroes of the playwright finds the source of their spiritual fracture.

The value of the IV Act. In the IV act - the former situation. Nevertheless, something completely new is happening - the fermentation of the Bosya's sleepy thought begins. Nastya and the actor first brightly denounce their stupid classmates. Tatarman expresses an alien conviction alien to him: you need to give the soul "the law is new." The tick is unexpectedly calmly trying to recognize the truth. But the main thing is to express those who have long been anyone or anything believes.

Baron, admitting that "never understood anything," thought thoughtfully: "... After all, I someone was born ..." This perplexity binds everyone. And extremely strengthens the question "Why was born?" Satin. Smart, daring, he corrects Bosyakov: "Stupid, like bricks," "cattle", who do not know anything and who do not want to know. Because satin (he is "kind, when drunk") and trying to protect the dignity of people, open their opportunities: "Everything is in a person, everything for a person." Satina's arguments are unlikely to repeat, the life of the unfortunate will not change (the author is far from any embellishment). But the flight of the thoughts of Satina fascinates the listeners. For the first time, they suddenly feel like a small particle of the big world. The actor is because it does not withstand his doom, breaking up life.

Strange, to the end, not a conscious convergence of "bitter brethth" acquires a new shade with the arrival of Bubnov. "Where are the people?" - He shouts and offers to "sing ... all night", "disappear" his destiny. That is why at the news about the suicide actor satin responds sharply: "Eh ... spoiled a song ... Fool."

Philosophical overtone play. The play of the Gorky socio-philosophical genre and in its vital concreteness was directed, undoubtedly to universal concepts: alienation and possible contacts of people, imaginary and real overcoming of the humiliating position, illusions and active thought, sleep and the awakening of the soul. The characters "at the bottom" only intuitively touched the truth, without outriving the feeling of hopelessness. Such a psychological collision enlarged the philosophical sound of the drama, discontinued the commonality (even for refined) and the difficult to achieveness of genuine spiritual values. The combination of eternal and instantaneous, stability and at the same time the sharpness of the usual representations, a small stage space (dirty surge) and thinking about the large world of humanity allowed the writer in the household situation to embody difficult vital problems.

S. S. Chakhhotin, the largest thinker of the beginning of the 20th century, described the first years of the new century with the words that "the birthplace is sick, the disease goes to its order", and "Russian intelligentsia, the brain of the country, has no right to stand aside and wait than The crisis will end: recovery or death. " In his reflections, the philosophy of the whole generation of patriots, who made it intend to restore the former strength and power of Russia. Among the most active supporters were Alexey Maksimovich Peshkov - a famous publicist, a writer's beloved by the people and playwright Maxim Gorky. One of his tasks, he made the impact of social conflicts and contradictions in the public life of the country and, at the same time, representing the reader of spiritual potential, hidden in Russian man, and not in the preferred layers spanked by the fate, but in the "humiliated and offended" bosias. The vertex of the writer's creativity was the socio-philosophical drama "On the bottom", the heroes of which he made the inhabitants of the night, beggars and homeless people.

Fate brought together completely different, distinguished by the characters, the needs and perception of people's lives. Nevertheless, they were all put in the same position in relation to society and, belonging to the outcasts, should have existed in dirty chambers, to put up with the lack of work and the hopelessness of the search for permanent classes, gradually sleeping, constantly being in the society of thieves and murderers. Some of them (Satin, Bubnov) are educated people who have once had their own business and possessed in the past the right to choose and make decisions. Tuster's worker, which "works with small years," ready to serve as a difficult and dangerous factory until the last minute. The actor is a talented man who gotten over and has already lost hope for a return to theater. In each of them, a large stock of unclaimed forces and energies that could be spent on the benefit of the state. However, in the world reigning lawlessness and injustice for a person, self-realization is impossible for a person, very many from the very beginning refused to support any aspirations and undertakings. So in the work the problem of complex public relations in the state and the unhealthy atmosphere, in which it developed is revealed. The only representative of the law enforcement in the play, Medvedev, turns out to be a weak and inactive man. Many misconduct and the atrocities "Outdoors" he simplifies from cowardice and unwillingness to deal with decisive, desperate and dangerous people. At the same time, the police officer also defenseless and vulnerable before the vagabonds - the law cannot provide him with security. As a result, the problem of human relations is inevitably arise, the impossibility of people in its social situation is to resist the concerning evil. In a cruel world, everyone is forced independently, alone to fight for their interests, and residents of the night are not accustomed to respect and trust each other. Each of them is defenseless, but everything is different in different ways to their position: Bubnov - ridicule, satin - analyzes, ticks - complains and grumbling. The tramps depend on the owners requiring a fee for Nara, and from Medvedev, since they do not have a permanent classes, and even from Vaska ash, which often lens to the "spectacles" money on their entertainment in tritons and kabaks. However, this does not interfere with Bosyakas laugh at greedy crutches and for his back to spread gossip about the connection of his wife, Vasilisa, with thief. Some bosias are full of cynicism and indifference, there is not a drop of pity and understanding. The horror is that the same cruelty is not a consequence of the acts of the soul, but indicates the bitter life experience of each inhabitant of the night. Many, having experienced deprivation and losses, became tougher, accepted terrible reality as the norm of human relations and ceased to hope to change their position. The disunity of Bosyakov is shown by bitter with the help of a polylfown - combining the replicas of heroes. At the beginning of the work, he deliberately affects readers by the disagreement of the dialogues of the actors: Bubnov is lazily turns to Satina, that "growls" in response, Nastya reads the romance about love who is trying to pick up the baron; Stonet Anna, Quashnya announces its unwillingness to marry Medvedev. People alien to each other; Indeline makes their life lonely and empty.

With the general University of Bosyakov, the position of the woman seems especially heavy. Back in the XIX century, the intelligentsia began to preach the idea of \u200b\u200bthe release of the ladies, and many advanced representatives of this area attended the courses at the university, they were engaged in natural sciences and participated in the underground activities of revolutionaries. However, poverty deprived of this possibility of women from the night, whom society recognized fallen and unable to use and deprived the rights of the individual.

Anna, the sick and dying, until the last minute takes care of the husband, although it does not feel a good and compassionate attitude towards himself from his part. Wanderer Luke is asking to "talk", deprived of this communication and attention. Natasha, with her clean, vulnerable soul, tolerates cruel beatings from a jealous sister. Nastya, which would have to show a sample of promotion and depravation, reads naive novels about beautiful love, invents and waiting for their chosen one. These women, with their inner wealth, with care and kindness, do not have the ability to realize as the owners of their own home, mother and wife. If the girl is brought to despair and constantly torments comments and ridicule, her family can not be strong and friendly. The union designed to combine loving people is based on enslavement and cruelty. The family of V. Classical literature often personifies the country. In the play "On the bottom", this problem hides an even more serious, state scale. The author talks about the destruction of natural relations in society, inevitably leading and to the death of thinking, volitional people. So in the work asks the problem of strong personalities, what are the tambourines, satin and baron. When a person falls on the bottom of life, he gradually ceases to experience the need for targeted thinking, mental development, move forward. Life for him freezes, and he continues to be a good existence until the last minute on Earth. However, a strong personality always distinguishes the special courage and determination, the ability to change the course of historical events, to engage in the fight against the elements. Bubnov deliberately breaks all ties with the bourgeois world devoted to close people and disappointed in the eternal truths. The society is built on distrust and lies, in it "all people are superfluous," they are hidden from each other for dark "masks", the bosia is much easier and natural. Dostoevsky in "Crime and Punishment" was a thought about the distortion of the consciousness of a strong person under the influence of terrible phenomena of reality. The life of the "spending rooms" gives birth to a philosopher evil and puts heroes before moral choice, it manifests itself during the dispute about the man of Satina and Wanderer Luke. Luka urged Bosyakov about the need for humility and faith, spiritual equality of people. He compares people with fleas - "all black, everyone jumps." Human organisms exist for the "best" personality, which, as molok, requires victims and worship. Satin, not consistent with the idea of \u200b\u200ball-sustaining and compassion, degrading person, says the famous monologue: "Everything in man! Everything is for a person! " He requires respect for the person and the mountains to achieve it, but himself will soon return to the realities of the Bosyatsky life, does not fight for his ideas. The fact is that the impossibility of self-realization forced people to abandon the brightest hopes and thoughts, to lead an almost animal lifestyle. The mind and soul were not in demand, were doomed to death in an hopeless darkness of the future.

The bottom of life is earthly hell, where there is no return, tightening the pool poverty and humiliation, the tragedy of death during life. I remember the last words of Bazarov: "I need Russia ... no, you can not need it." The Turgenev Hero is tormented by impossible and despair, feels the danger and the fraud of the path chosen by Russia. It also worries and bitter; His play is a work about the present and the future of the state in which many contemporaries read a call for the destruction of social instability and creating a healthy society.

Man is a constant part of society, his main element. In a complex mechanism of life, he always has to subordinate personal motives and interests to the public framework that they protect it, and, at the same time, become the cause of spiritual inconsisiency. Restrictions and standards put forward by the environment sometimes cannot curb human strength, his desire for the knowledge of peace and self-expression. Therefore, conflicts between the person and the team were reflected in many works of Russian literature. One of these works is the drama M. Gorky "at the bottom." The action takes place at home for the beggars, where people of the most different sense gathered, but they all rejected by society. Each of them has its own life tragedy, which is based on ordinary human weaknesses.

1. One day, a man rejected by society, who turned out to be at the "Social Day" is no longer able to rise, cope with the transformations of fate. So thinks one of the inhabitants of the night - Bubnov. Life for him lost its significance: who owned once a dyeing workshop, the hero loses everything overnight. Raised "on the bottom", who lost faith in people and the truth, who survived the betrayal of his wife, now he is convinced that everything in the world is subordinated to cruel and immutable laws who are meaningless to resist. The idea to get out of the night, change the usual course of things and start a new life seems to be a bubnoy absurd. "All people on earth are extra ..." - celebrates the hero. Abandoned with a surroundings, it is angry with society and is not capable of faith and forgiveness.
2. "Everything can, if only I wanted," is sure the other hero of the play, the new guests of the night, the wanderer Luka, who coming into the conditional conflict with the ideological statements of Bubnov. Luke is a mysterious elder, almost blissing, it is not known where to take and where the heading. Nobody knows about his fate, however, according to the preacher, he fell a lot of grief and difficulties. However, the righteous is confident that with external urgency, the cruelty of life and society can be cope, it is enough to believe in a person, it's hopefully to unwind in it, let him be deceptive. "I don't always have the truth soul" - the old man who serves the heroes of the survivor. Rejected by society, like other actors, the play, Luca continues to believe in the inhabitants of the "bottom", in the high purpose of each of them.
3. Despite the seeming doom of life, some of the heroes do not lose faith in a bright future, dream of climbing from the bottom of the social on the best life step. Vaska ash - a rioty image in the play. His father was a thief, and he himself got used to such a craft since childhood. Unlike other actors, the ashes rejected by society initially, as a lost person, whose fate is predetermined and is known in advance. He seeks to change himself, thereby providing a team that his share may be the best, and he can become an honest and decent citizen. He loves Natasha, dreams of leading her from the night, where she is forced to tolerate sisters, and move to Siberia, where no one knows about his past, and, it means that it will not be judged for the former mistakes.
4. "Man - it sounds proud!" - Approves his bitter truth. Another guest at night, a former telegraph Satin. He is convinced that human life is expensive, so everyone needs sympathy. Satin, like Luke, is compassioned to the neighbor, is ready to help in need. However, staying on the social "day" makes it indifferent to life in general. He does not see sense in action, so consciously ruins himself. Once sent to jail for the murder, and now inhabitants in the night, he does not want to change, because it considers the existence of "on the bottom" of the natural course of existence. He rejects society in which he no longer sees the truth. True, in his opinion, - in the man itself, however, and before that satina there is no business. Broken circumstances, he refuses to fight, remaining indifferent to his further fate.
5. Doomed on the death of the heroes of the plays inevitably go to the bottom. They are connected by the community of destinies and the situation in which they are, the tragity of the surrounding world, who rejected each of the guests at night for various reasons. The actor, in the past, successfully protruding on stage, now dustless drinks. He wants to recover from alcoholism and return to the layout, constantly quoting the famous literary passages. However, the awareness of its own weakness, oblivion of society, the impossibility of getting out of poverty is pushing the hero on suicide. "Truth in wine" is looking for other drama characters: Andrei Mitrich Tick, a locksmith, found himself at the bottom due to his wife's illness. With her death, he is waiting for relief from the load of responsibility, but it loses its work, even more rectifying people and losing the last goal of existence, idle with satin. Heroes are not able to find the right way expelled from the team to the social "bottom", they are dying there, devoid of hope for the future.

"True the eye rolling" - it means that the pain is brings. And if so, what is more expensive: a person, his happiness or truth? But is it possible to unrighteous happiness? And whether the person will be left by the truth eats?

This series of questions of truth criticizes our everyday concept of a person, demanding its agreement with him: so that he is a true person, real. But towards maning his own claim to the truth. A person is here he is here, it is possible to touch it, and the truth is where it lives? In words - that is, in the invisible, in the ideas, in the mind. So really the Word - the fact that there is an empty sound, the living creature should serve, and not the word - man? And why the truth, if it dispels with the interest of a person? Is the inhuman truth righteous? And in general, is she the truth?

Here is the range of issues that falls for each person, only he thinks over the meaning of life, existence: is it possible just this connection itself? And if so, how to combine people, I have my existence with meaning, and a high meaning with life?

There are stripes in a person's life, when he literally misses these problems, so, without allowing them, it seems to live can not live. There are periods and in the history of society, when the truth is strictly looking for, smashing ready-made solutions and do not calm down until they find their own way, the historical task of it is your time, the case that should be fulfilled by us, and by anyone else.

Of course, the "high illness" of the search for truth accompanies humanity on the whole path of it, but, as in the course of the disease, there are times of crisis. The temperature reaches the marginal height, the whole body is put on the line of life and death, and then - or pan or disappeared! If the Pan is oh, then truly happiness and the insight comes: Eureka! The truth is mined!

This happened to the Russian society at the crossroads of the XIX and XX centuries and with the writer Gorky when he wrote a play "at the bottom" (1902). "At the bottom" is a guide about the truth. Here all: different people - different worldviews - go to the assault of the truth. Pravda - hundreds of times mentioned in the play word, more often even than the word "man." The play is the parable of the truth, its catechism: it is built as a chain of questions and answers. Some in the frenza will curse the truth, others with a million easelness and even suicidal gloating are trying to themselves and people in the face of the truth. But who knows what is she?

In one of his later essays "reader's notes" (1927), the bitter sharply repels from the position of "moralists", the view of which "permits to treat a person, how, approximately to raw or - at best -" semi-finished product ". Pouring a person" under The nodies are ", the moralists are monumentally towers over it, and this is quite satisfying them. It seems to me that it would be very helpful to look at the life of" pessimistic ", and to a person treat with all possible optimism.

Contradiction? No, why? Life is still, depression, unsuccessful work of beautiful masters ... ". Criticing the following young Soviet writers. Gorky wrote:" And yet a person remained in their eyes "man in order, and not man," because " It is the source of the most amazing energy overcoming all the resistance. "

That is why inaccurately it would only be about the historical Gorky optimism. No, it is more than an optimist - he professes happiness, spilled in being, and not faith in life for happiness in the future. "For the sake of" - this means that a real, unique moment, each person is valid in itself, does not radiate its beauty, does not have its own content and is not valuable in itself, but shines only as the moon, - reflected light. Gorky calls people to open and develop a person in themselves not in the name of the happiness of future generations or for the future moment of their life, but in order for happiness and creativity to become the norm of life in the present, which, if the Creator and Man awakened in man, - he will giveomb All storerooms of their beauties.

Optimism as such, carrying the happiness and beauty of a person to the future, i.e. In what is not, - perfectly stacked in the philosophy of the Society of the Alienation, which sees in a person not absolute value, but considers it as a material for the sake of something else. Well, if the beauty of the future lived with the material for the future, about which he was talking about in one of the last "Tales of Italy" (XXII), that she was joying and happiness, dancing all night, and collapsed during Tarantella, "this flame dance, intoxicating for sure

Old, strong, dark wine "? After all, not from memory of her, but from her living presence, from her existence" people flashed near her, like sails at dawn, when their first ray of the sun stands Nunecha in the sun, lighting funny thoughts And the desire to like her, - before the beautiful woman shame to be an imperceptible person and always want to jump above himself. Many good was done by Nudach, she woke up a lot of strength and fled in life. "And her beauty, like a good glass of red wine," like the Holy Communion, cleans us from the evil ashes of sins and teaches to love and forgive this world, where pretty Many all rubbish ... You just look through your glass in the sun, - Wine will tell you such fairy tales ... "(10, 134).

But why are you a fairy tales? After all, it has just been said that the beauty of being and man is a true reality, and "rubbish" - only "quite a lot." And this is all the complexity of the situation in which humanity turned out in the 20th century (and the consciousness of his ideologues, in particular, Gorky), was that this true reality had to be extracted from the Dryani "- and she appeared (in terms of "common sense" and "sober thinking") not as a reality, but as a fairy tale, not as the truth, but as a beautiful lie, invented by people for self-detention and self-detention.

This was expressed as the limit alienation from the person of his human essence, and the alienation of thinking from the truth, logic - from the essence of things: the Society of Alienation committed people to help themselves and the state of people in his mechanism as the fact that there is true real being, has an attribute existence, and per person, ideal, etc. - both on chimeras, ghosts, symbols, etc. And all the difficulty was that the logic of "facts" confirmed this, because the cash logic itself, which operated the dominant public consciousness, was worked out on the facts of class society, on his reality. In the system of "logic of things" there could be a way to discover, prove, to show people's reality and nanity to the eyes of people, the ghost of the dedication of alienation.

This problem tormented Gorky for the distance of his whole life. Having entered into literature with a passionate belief that a person is great and beautiful that his work and his happiness are higher values \u200b\u200bon earth, Gorky immediately faced the difficulty that he could declare about it, shout, sing, - but to prove it Could. All obvious facts of life said that the role of a person in life is becoming increasingly small and insignificant that the cities and things are getting at his expense. "Created by people enslaved and insisted them," the bitter himself wrote in "Chelkashi". In a very melancholic fairy tale, "Chiji, who lied, and about Dyatle, the fool of truth," Chizh is calling to the ideal, inspiring the birds by the ghost of beautiful land, which is there, for a grove. However, the writer himself is forced to admit with bitterness that all the "stubborn things": the facts, the logic of things - refute the ideas of Chizhi and displace them in the sphere of "we are elevated deception"; But the position of the student is logically flawless, occupies the area of \u200b\u200btruth, truth.

"I lied," he was forced to admit Chizh, - Yes, I lied, because I am unknown, what is there for a grove, but to believe and hope so good! .. I just wanted to awaken faith and hope - and that's why I am Litled ... he, woodpecker, maybe, right, but what he needs him, when she lies with a stone on the wings. "

The position of the diatlla, on the contrary, is very strong and founded: "I eat worms and love the truth, which is steadily served and which one things says to tell you that you are brazed by deceiving. All these songs and phrases that you hear here, gracious sovereigns, no more Shameless lies that I will have the honor to prove to you with the facts in your hands ... With the facts in your hands, gracious state trucks! And ask Mr. Chizhi, where are the facts that he could confirm what he said? ".

Nevertheless, a person cannot accept this "truth" and sings the fame of "madness of brave." But why is madness? Why should the mind stay on the side of Chizhi, and falcon falls out the lot to hear the stupid and eccentric? Is there any "catch" in the very prevailing understanding of the mind and truth?

Not only at the beginning of her writer, but at the end of the bitter raises the same problem. In the "Notes of the reader" he tells how he was struck by one thought from the eastern "Book of Wisdom and Lie": "I read it with pleasure, and here is the wise thing that I found in it:

"Vizier told the king about the paradise, and a lot of blocked, exaggerating the actual beauty of it."

I present everything to say people of common sense about a vizir and how deftly will turn the quotation prescribed by me against me, against this article! Still, he admires me a wise courage of a presence that exaggerates "the actual" beauty of non-existent! ".

Of course, all this intention is beautiful and noble, but the very recognition is that it still has to "exaggerate" that life itself and people do not have in themselves such a beauty that the writer pourses on them, - this opinion sounds very offensively For life and insulting for people, because indirectly expresses the distrust of the living life and human wealth - and the greater faith in the ideal constructions of subjective consciousness. And most importantly: this contradicts all the fact that Gorky approves with his paintings of life and descriptions of people: he is continuously complaining about the word that it does not give him the opportunity to convey the actual, the motley wealth of people. The criterion of the beauty of man and life, according to Gorky, is not that a person is good, but that he is the Pestro rich, full of such unexpected properties, which only be asked and diluted with hands can logic of common sense and her flat performance About how life is good and what kind of person is beautiful.

That's what Gorky himself writes K. Fedina in connection with Egor Bulychev, when he was sent to reproaches in idealization and the controversial complication of the nature of the Russian merchant: "Sometimes I imagine that I managed to say something significant about the people of this series, but, comparing what has been said with What I know - I fall into despondency, for I know a lot, and I can do not know. Yes, and it is difficult to tell in acceptable forms, for example, about the merchant (Al / Dr. Peter / Ovic) Bolshakov ... "It follows a magnificent sketch The character of the merchant, the builder and the heads of the temple, who, dying, leads the following dismissal conversation with Pop: "It's right that I am a depravant and bastard?" Pop approved: "These are the general voice of the people." - "And - forgive me the Lord?" - "Sync sincerely - forgive, for he has a multi-facing." - "I will forgive? So you ... Tell me that if I, Lexander Bolshakov, was also some Turkish or Mordovian God, I would pull him out for the gravity of His Mother, so His mother and Edak! Mercilever, - So, His and Edak - I do not believe in anything, what is he - God? "

The campaign of the mother of the mother, he ordered his wife and semi-pi-one's daughter to remove and endure all the images from the town and the next day, during the late dinner, died, almost until the last breath of creating a daughty Mother ". And so, in connection with the nature of this merchant, concludes He is very meaningful for us with the words: "See, what kind of thing? Vaska Buslaev is about the fiction, but one of the greatest and, perhaps, the most significant artistic generalization in our folklore. "

And here it is a contradiction: on the one hand, Gorky admits in its intention to embellish life and people, and on the other hand, it is recognized that the life itself and the characters of Russian people are so fabulously rich, difficult and beautiful, which will be posted all sorts of fictions and ideals: in Their disposal does not have that palette of paints to even reproduce, capture the bright and joyful beauty of life - where it is for her!

So (we do not get tired of clarifying the problem formulation, for it for the bitter and understanding of the nature of its realism is the most important and complex and not fully conscious and solved), it feels bitter by the whole being (and not only believes), he sees around himself, knows The festive beauty of real life, exciting, the wondrous wealth of human characters, shower, fates, which are so fully implementing the essence and vocation of man that our ideal itself, an idea of \u200b\u200bthe perfect person is based on and from the properties of this infinitely an excellent real person, yes And then staying a pale snapshot from him, but as soon as the writer is trying to raise it into consciousness, to arrange in the Word and transfer to people, - in the course of this procedure there is some mysterious Fallet Mortal, and thoughts and words come out of the mouth, In which all this appears not as a real, but as desired: not what he knows, but what he only believes (more precisely: wants to believe, but knows that it is not the case), i.e. It is beautiful that he only wants it to appear in boring life among the bad and sulfuric people.

In a word, the name of all this is a wonderful lie, and he himself, pressed against the wall and climbing his own reason, is forced, stamping, justify, as before the investigator, - stating that the crime of the rules of logic was committed without malicious intent, - on the contrary: with the most commendable intentions: In order for, hearing good, people believed in this and in reality became better - i.e. With the utopian program of moral cultivation of people. But this kind of love for people and such a path of their salvation are guilty in the same sin of contempt for them and humiliating their pity, in which Gorky Danko is. And again, the entire catch is that the real bitter and his artistic consciousness in this sin are not at all guided, "but his abstract reasoning, aphorisms often give reason to think so about his position.

Logic of alienation

The fault here is not in bitter, but in objectively by his time the one who has established an alienated character of the logic of distracted thinking. The needs and connections are increasingly separated from the human life - became the basis of the objective logic of things so called (as if this is an expression!), Freed from human content. That is why both back: the truth about the person could not be expressed by the language of the "logic of things" and "facts" - and, joining this platform, was immediately a bat and looked miserable, as chiz in martial arts with a woodpecker.

The logic of things proceeds from such a state of affairs in a world, which is called alienation. In itself, it is neither good nor bad. When some thing is created: the house, poem, - first inside a person, the plan arises in his mind, and then during the difficulty, his idea comes outwardly, remains in the material. "Alienation" by origin is the term German thought: Entausserung - means literally: "Missing". The finished thing created by a person has a particle of his "me", but being not inside it, and separately, already someone else, who acquires an independent life of the subject. Items, things, thoughts, laws - all of them were born out of the essence. But if she is a restless, and it is not known that it will still invent and create, and therefore it is difficult to catch, then things created by man seem to be durable, unchanged, let me easily and seduce on the light path of human knowledge. Want to know what this person is? Look, near what things is its place. They give him an o-limit. Luke, for example, as not attached to any place and goals, there is no one from this point of view, an empty person, but the policeman has already been filled with social content, there is someone. In the last action, the Bubnov proves to him that he, who lost the place and items, is already nobody, too: "Bubnov. You, brother, now T Yu-Tu Yu! You are not a Botoshnik ... Cenched! And not a Botoshnik, and not uncle. .. Aleshka. And simply - Tetkin Husband! Bubnov. One Your niece - in prison, the other - I am angry ... Medvedev (proudly). You are lying! She - does not romate: I have it to disappear! (The person still clings to the formula "LOGIC OF THESE": "WITHOUT WILL DIVET" - Maybe, she still means and makes it still "Uncle." This is like self-confidence, like the phrase: "My body is poisoned by alcohol", which makes for the actor Another reliable existence on white light). Bubnov. All the same, brother! A man without niece - not uncle! "

So, any definition - from another comes and dependence on it expresses: "Uncle" - depends on the existence of "niece", "Batoshnik" - from the booth. This person is from the village, married, smokes "Belomor", watches the TV, spinning the nuts of the left front wheel of the car on the conveyor, is the essence of it - the village- "Belomorot" -Logo-whose ... "I" caught by these definitions "I" man? Of course, when the sculptor creates a statue from the beginning to the end itself, then in the image speaking thanks to the personality of the sculptor from the block of marble, one can judge the soul of the Creator. The same, the work of the master, artisan, was also similar, the work of the masters, an artisan: he created for the life of things a little and put the layers of his soul in them. Then the things could be judged by a person. But in modern production, which turns a person into a robot, there is no need to communicate between a thing created and consumed by the person (the same nut or TV), and its character. Truth things and truth man diverge. Meanwhile, on this state of affairs arose and developed into a slim system of the device of logic, which gives a person determination on things, the subject and the result of this definition calls the truth - the truth fact is reality. The same residue of the human essence, which does not fit here, is declared just insignificant, random, lies, ghost, chimera. Iron logic, which still seemed only a friendly person - because he opened secrets. Life and defended a person from nature, now she went to war on the very creator of his own - just like iron of military equipment, - and from the defender it began to defend themselves. All, even the wonderful things created by the work of man, were opposed to how alien to him, slamming his soul and will be fortunately. That is why at first, when at the turn of the XIX-XX centuries and in the work of Gorky only began to form a language for the issuance of the new logic of humanism - not the logic of things, but the logic of a person (where, no things and their ratios were taken for the reference system, and inside them - a person's place, but a person was accepted for the original base - and everything herself was taken to him), "the artist still does not jerks on the soil of the facts, because the latter seems to be in full dependence on the existing one; And fictitiously creates a fictional world of an excellent legend, where people live and act from themselves, aligning their will and a dream, and not by the will of the circumstances ("Makar Miranda", "Old Wizergil", etc.).

But gradually, accumulating strength, this new worldview and its logic joined the Bogatyr martial arts with the "logic of things" in "on the bottom" - this, perhaps, the very mighting of the creation of Gorky genius.

The revolutionary step in the logic of thinking, on which Gorky died here, was that he directly knit, he pounded the bridge between the concepts of "man" and "truth" (truth). In the monologues of Satina, the final debate on the truth and man, this thought is clearly formulated: "The person is true ... There is only a person, yet the rest is the case of his hands and his brain." Thus, human existence becomes the criterion of truth.

But so far, all the development of society, reason, consciousness continuously went along the path of creating a subject matter, and an objective truth was extracted from it, not dependent on will, desires, dreams - i.e. From the subjective, always spontaneous and shaky inner world of man. This dominant "reference system" of the relationship of the truth and person - is the original in the "at the bottom". And all the ideological development of the play goes along the path of its erosion. Luke, as Socrates in Plato's dialogues, confronts the concept of truth, values \u200b\u200band a person, grinding an idea of \u200b\u200ba common truth that exists outside of a person, and in general, questioning the value of the truth, putting forward the absolute value of each individual person to the fore, which carries His own, special, unique truth. This individual truth of Luke reveals in the surrounding.

But consider everything in order. "Man is true." We are so accustomed to these words given in Lapidaric aphoristic form, which often do not pay a report that it is not just a beautifully decorated word about a person, towering it, but the fundamental basis for the whole philosophy. (In this misunderstanding, the monument itself will be called and sonorous, as Kimviva brying, form of aphorism: It is so subject to and firmly, that as if it means to make sense itself. This is preventing it in itself into the content of pure thought expressed in these words.)

So what is approved by this provision? And not less than the fact that truth (logic, "accurate", proved by the facts of truth) - does not have an independent existence that it relies on something, i.e. In life there is something deeper and significant than the truth - and before that reason it is necessary to make sure to gain a criterion for distinguishing the truth and lies (for the logic of thinking that mining truth).

In "Bitter" at the bottom and trying to understand and for himself, and people, how is the truth born? In the debate ongoing in the Gorkovsky work, such a registration of the issue was an unexpected and stupid strike on the logic of Dyatlah - a blow, which, of course, could not be inflicted. The question is pointed to the limit: once the interest of a person does not find an expression on the language of the logic of facts, then, therefore, there is someone else in this language. If the woodpecker reproached Chizhi for the fact that his speech about happiness and beauty is not true, because they were not disinterested, - and Chizh was forced, on the basis of this, recognize himself defeated, - now the question is asked: and is the prosecutor itself - logic of facts? Does it say to her mouth some other, hostile man start?

The question itself that the foundation is, the truths and "facts" have a foundation, immediately knocked fasting with the kingdom of self-satisfied logic, because it strongly stated that it was not truth that humanity should and people should be checked and look for it - but Humanity in his life creates itself and overthrow the truth, just as it works and overthrow all the "facts", all the gods and all values. Consequently, humanity, his story and his being at this stage there is an absolute initially, which mediates every "truth" and "fact", and the criterion of all values, truths and goals in it.

That is why the full truth can be obtained not in the debacy of the thoughts themselves, but in the collision of thoughts (true), lored, immediately compared with real existence in general and express their people in particular: "Not in the Word is a matter, but why the word says", - says Luka Bubnov and Baron, laughing at Nastya's story about her Raul. From this point of view, not a big reality is not "Fact" - there was this love from Nastya "in fact" or she is deducted in the "Rock Love" book, and the inner need of Nastya in such love that can come true, and may not To come true (this is the sphere of random, "circumstances"), not to become a "fact". This inner need itself is more solid and characteristic of Nastya, and she, not a proximity, "case", should be the basis for judgment about it, about what it is. But since this need did not separate from Nastya, and did not pour into some kind of life, visible to all others, then witnesses; There is no such entity, it is impossible to prove it. And since the truth (true) is accustomed to consider only provable, that is, what has an objective existence separately from a person - that is the absolute discrepancy of the truth about the Nastya itself and the Nastya itself, so that the "True" (Nastya is a prostitute, duty and etc.) absolutely does not catch its true essence. It turns out that a judgment about a person cannot be verified to check out (to control): it really really comes from suspicion of a person and is looking for a fact outside a person: not seeing in the man of the main and greatest fact - and you need to believe a person, What he says. Consequently, only a person, as an endless potential of facts, actions, cases, thoughts, has real existence; And all that is separated from it, there is a partial and often false exercise. The fact (thought) can only be understood in a battle with a person, his "author". This is a battle - and there is truth. Therefore, "believe" and "know" the bitter in "At the bottom" is emphasized: Luka - "I know ... I believe!".

"There is only a person, yet the rest is the case of his hands and his brain" (satin). - Here is the second foundation of the professionable bitter in the "at the bottom" of philosophy. Consequently, if the truth, the objective truth is based on something deeper than it herself, then, according to Gorky, this support is a person - "and only he is inherent in the main attribute - existence. Only a person has a real being.

But this position is absolutely contrary to reality. By the 20th century, all the development of humanity and was that it continuously built around him "the hands of their hands and brain", so in the end they seemed to heal by an independent life, and the person became their function ("Bubnov. People live .. . How chips on the river are floating ... Build a house ... and sinters - away ... "). Consequently, the objective truth is the opposite statement: there are only "cases", and for them there is a person, more precisely - his brain and hands (for they are only needed, useful), for the rest in man does not have a socially reliable existence. But once in the person only the brain and hands are appreciated, then the rights of Vaska ash: "If there are people to appreciate people ... Then the horse is better than any person ... takes and silent!" And even better a person (\u003d his hands and brain) - a car, cybernetic, including.

A person turns out to be superfluous, thrown into the bottom, in the sediment of being (or maybe "bottom" should be understood as the deep foundation, where only the essence is detected?). "Bubnov (calmly). You are too much ... - he says Nastya. - Yes, and all people on Earth are extra ..." So, "Logic of Things" considers a person in the perspective of things, they accept them for the fundamental basis - and Not things - in the perspective of man.

But what is bad? Isn't it well that in the course of the development of society and the mind created such an objective reality that has its vitality and patterns independent of human life and death? His age is a short, and this is firmly, long. Isn't it beautiful that on her basis, human thought can extract truth from being independent of the will of the person? Isn't it well that that there is a person, you can find out no idea about him, but at its place and affairs in the world of things and laws? On this basis, it could be the truth about a person. (Think about this expression and compare it with the expression: "Man - there is truth." So truth has a more unshakable existence than a person: he is deaths, "relative", and she rests on the relationship of things - more durable, "absolute ".)

And this is how the height of this objective, the "iron" logic of things and what truths are extracted by it in the play "On the bottom": "Kostylev inconvenience, it can be seen, you have to live on one thing? Luke. Under the lying stone - it says - and water is not flowing ... Kostylev. MOT - Stone. And the person must live in one place ... "/

Here, with scientific accuracy, the difference in the current state of affairs and man is determined: "Stone", i.e. The subject world, built by people by the way of the stones, is self-apparent, almost freedom of will: the proverb turns out to be real for him: "Under lyingstone, the stone and water does not flow," - created originally for a person to express his property to move, Want, show will, etc. Now, on the contrary, the stone accepted the number of person's property, and a person - the properties of the stone: Must perform his will, and for this should be in a position convenient for stone - always in the right place, so that when Mr. wishes to take him, - he would find Its as a tool, on the former shelf.

"It is impossible that people like cockroaches live ... where who wants - there and crawl ... a person must define himself to the place ... and not be confused on the ground ..." If earlier things lay on the ground "in vain" before While a person did not give them a place and the form, - now the person, it turns out, there is a "in vain" and is forced to be a guilty, continuously justify in front of the real world, as from his (person) existence there is benefits. "Luka. And if with which - everywhere place? Kostylev. It became, he is a tramp ... a useless person ..."

So, "man must determine himself to the place." Thus, the place is the definition for a person, the place is painting a person. And on the question: What is this person? - "Logic of things" gives an accurate, founded on the "facts" (place) knowledge: that is something. We are, for example, fight and guess what Satin, singing the hymn man, what is his character, spiritual world, etc. But the law believing in order and the law ("it is necessary to live honest!") Tatar, it turns out, it knows exactly what Satin is. "Tatarin (Satina). Might Map! Well, bother! We know what kind of you are ...", - by meaning the exact definition: "Satin Man is Shuler."

What does this knowledge mean, what makes it up? Here is a system of definitions that Vasilis wants to make for himself disabled, famous for the new man onions:

The first move is the name, definition: that (who).

"Vasilisa. Who are you? .. Luke. Passing ... Wandering ... Vasilisa. Nightly stay or live? (This is the second course - the goal / connection with the future /). Luke. I will see there."

Third stroke - Justification to others, i.e. Proof (phenomenon - under suspicion: you need to identify communication with others). "Vasilisa. Patchport! Luka. You can ... Vasilisa. Come on! Luke. I'll bring you ... on the apartment you're troubleshooting it! .."

Fourth move - output. "Vasilisa. Passers around ... too! I would say - passable ... getting closer to truth about ... Luka (sighing). Oh, and you are not gentleman, mother ..."

In the conversation of Vasilisa with Luka, the knowledge of a new person is a goal: he wants to make famous, i.e. Jealously eliminate his novelty and turn into an old one. Accordingly, the relationship is immediately unequal and forced: one - the subject, the other - the object; One - active, the other - passive; One - the investigator, the other - the defendant; One suspects, the other is justified, etc., that is, neither one nor another in its natural state, mood and appearance are located, but in distorted.

Vasilisa asks questions and seems to be interested, who is this man in itself. But after all, the form of the issue suggests a certain answer: i.e. It does not give a new manner in his own, maybe I am not aware, but will mediate him with my idea and purpose. For my goal (and its reflection is a question) - formed to true knowledge about this person, comes from biased interest, which is based on the basis of the knowledge of the new one: i.e. It is not that it does not allow a new manifest itself, but he substitutes an old one instead.

And in fact, why Vasilisa does not satisfy Luke's answer to each her question: he seems to her evasive, simply - a lie, it seems to her that the old man is "lying"? Because he answers every answer every answer: that is, it gives it an already known to her the form of knowledge about a person (based on which the question itself has been formulated), but knocks towards:

"Who?" - Instead of an accurate answer: "Locksmith", "Thief", "Teacher", etc. - Two mutually clarifying words, in which the meaning is blown away: "Passing ... Wrong," because it is difficult to say for himself: who he is. In this sense, a person never knows himself.

Further, instead of accurate, in advance, knowledge of the goal: "Nightness or live?" - ignorance: "I will see there." - A person believes something unknown. And it worries, teases logic, for knowledge, though jealously does not allow something eluded something from under it, "wants the whole truth immediately. If we assume that it is impossible to give it immediately, - Sustya, therefore, it will have to give freedom to be a phenomenon, and to a person - will want and live from himself, and not from pre-established circumstances and places.

Desperate to get knowledge from direct experience, communicating with a person, i.e. In general, not believing both a person, and his own, Vasilisa refers to the preceding work of the logic of things over a person: to the certificate, explanation and knowledge of a person based on the place of birth, residence, work. Certificate - What a term! The person himself is not credible: it still needs to be certified by paper. The document is objective, separately from a person living truth about him, necessary because a person (what he can say about himself) and his idea of \u200b\u200bhim - do not believe in advance, the document of the document issues - there is everything you need and sufficient for society About a person, where everything in it is expressible in the same for all coordinate system. And when Luka sees, responding to the question of "Patchport", Vasilisa, finally, can already bear an accurate definition, knowledge, the truth about the old man, which he was trying to disguise the answers not to the question: "Passer ... too! I would say passable, getting closer to the truth ... "

So, faced with a new, unknown, the logic of things wants to establish it not as it is in its measure and the truth (it does not allow any) - but in relation to yourself (to your things). All the questions of Vasilisi are able to figure out: whether the old man will pay and how much will there be a scandal because of him - the very "hotel", which may cause an unexpected change of man, such as death. Thus, the police Medvedev in his own way understands the thought of Luke, that a person needs to take care of, to rides, watching, how would it happen to him:

"Luka: You're laughing ..." He says Quasher about the dying Anna, "Doesn't you think a man?" He is - what is neither - and always its price is ... Medvedev needs a supervision! Suddenly - dying? It will be from this ... you need to watch! "

Such truth is nothing more about the person and does not want, she does not allow that he can enter into some kind of new, not expected content and knowledge. The logic of things does not imply in man X, unknown, but it believes knowledge about it is exhausted, since its existence is overclit in the form of things (places) and they are smoked. This logic is constantly interested in truth, that is, in the exact fit of the person to the place (compliance with the answer - the question), and any shift (laughter, for example) - for her anxious. "Lit it is impossible, brother ..." - Strictly says Bubnov's police officer. He immediately indicates the other enemy of the order and logic of things: "What kind of people became ... I need to laugh ..."

So, the pattern of knowledge about a person who is mined by the logic of things can be formulated by the proverb: "What gave - that he took", i.e. Enlightened the man with his own selfish goal, put him in matters of the system of his ideas, - she got it back, and not the content of the person himself.

And now let the reader remember or reread the scene of the appearance of Luke at a bed. Here also proceeds mutual acquaintance - i.e. Knowledge of people are mined about each other. But here it is somehow given in a gift, without effort, imperceptibly - in people it is immediately opened that the logic of things would not receive any inequalous issues. Why so? Yes, because knowledge does not act goal: residents of the night and the new guests do not become in the relationship of the subject and the object of knowledge, but continue to simply live (i.e., comprehensively, it is easy to self-alone). Ash, it speaks with Natasha, then a bubnova complains about boredom; Tick \u200b\u200bcrash; Luke is arranged at the post, sings itself, etc. In the act of knowledge: "Luke - residents of the night" there is no mercenary interest and goals: the relationship of people is derived, turned off from the relationship of things and logic of things; They do not interfere with each other (in general, they even give a damn on each other). But that is why there is a person among people - as alone with himself, reveals on his own extent. So, Luke throws a greeting in the form of saying ("good health, the people honest!") - And immediately receives no suspiciously asking: "And who are you to interfere?" (As Medvedev, Vasilisa and Kostylev react to his replicas), - and the same, in the tone of the tone of the tuning, the message ("was honest, yes before last in spring").

In general, it is noteworthy that they do not ask each other questions, and immediately, with the go, they say, they continue their own conversation, only already with a new interlocutor. At the same time, those definitions (knowledge, truth) of a person at the place, which Vasilisa, as the purpose of knowledge, was given immediately without any effort of thought (questions), and on the basis of simple sensual reliability - visibility, evidence. The nightnits see that in front of them: 1. Old man; 2. Wanderer (kittomka, kettle at the belt); 3. New guests. Luka sees that in front of him - "Rogeliki".

But these definitions are only the original and empty moment of knowledge; They immediately swallow in broader, concrete and meaningful: Luka says that the crooks are people. And he says not as Vasilisa: empty and evasively, and in its inherent individuality form: proverbs, additives, i.e. He is immediately self-discharged, so Vaska ash is already coming to a meaningful knowledge and about the very Luke: "What a busy old man has led you, Natasha ..."

If the truth of Vasilisa about Luke could only be held because it was possible to drive him into the formula known to it: "Passing", - here is the truth, knowledge about Luke and about the nightnings - there is a self-expanding process of their mutual life, as an involuntary consequence of those human relations to "people" which are installed and flow at the night. True, it turns out - the investigation of man. (Recall: "A man is true!") At the same time, from each situation, each turn of these contacts arises knowledge not only about this person, but also about a person in general. Luka sings, Vaska tells him: "Do not" - and Luke's mouth immediately expresses a new truth about a person at all: "You are watching you! And I thought - I sing well. That always goes out: a person thinks about himself - well I do . Together - and people are not satisfied ... "

In the development of Luke Vasilisa was the reverse of thinking: the exact knowledge of life and man was assumed, and, on the basis of this knowledge, the familiar whips \u003d headings of questions - a single person rushed to "his place". The man acted as a consequence of the truth as the work of the consistent, outside his living, truth - hence, who announced him with a potential, deliberate lie, so that he was all the time - under suspicion is (it seems to be a biblical original sin).

Living outside a person, this condescendingly introduces him to himself only the system of questions to which he should not lie, for lying, therefore, he is inherent in him - this is just his position in the hostile world of things and their logic. "Bubnov, and what it is ... a man to lie so much loves. Always - as before the investigator it is worth, right." Exactly. The world of alienation with his "objective" truth, the logic of things is a continuous court, the "process" of the person - and everything that the person is, it is, - there is a "process": he gives the name to a person, and the essence of his life is everything, What he is known to people. Without him, a person is nothing (Wed "process" Kafka).

Therefore, on the other hand, and abandoned by the truth person, not believing himself, rushes, looking for her, the meaning of life in the world around him and scines, promises: Where is the truth? "Ticks (suddenly jumps back as burnt, and shouts). What is the truth? Where is the truth? (Treplet with the hands of rags for himself.) That's how it is not ... There is no work ... There is no strength! That's the truth! There are no gentlemen! " The tick here quite accurately listed those signs on which the truth about him is built: he seems to give himself a certificate of welfare ("rags"), the testimony of the place of work ("work is not"), a certificate about the place of residence ("NEWS NO") - And for all items, it comes out that he has zero existence. "I need to frown ... Here it is, true! Devil! On ... I'm what she is for me - True?" The question is completely legal, for the truth itself said to him: what are you to me? Roll to all traps! ("Devil!" - Call tick). "Let me take a breath ... sigh give! What am I to blame? .. why am I truth? (I.e. the truth is like a sentence, a kara for guilt). Live - the Devil - it is impossible ... Here it is - right! .. "

So, the intended communications of people in society led to the fact that the person and the truth arose in sharply hostile relations to each other. "Logic of Things" sees the weakness and cowardice of a person - to watch the "truth", "facts" directly into the eyes. (Recall the reflection of the horns after the death of the falcon.) But the person in this is twisted by the falsehood, the imaginaryness of this "truth", the emptiness and badness of "truths", mined allegedly accurate, objective, from human independent logic of things. That is, she (this logic) continues to throw something to mumble, but all the more "not about", in the ghostly and self-hypnotizing world of its constructions (like delirium calculations and logical constructions and calculations of the Shchedrian Jewish in fantastic thinking orgies of fatigue being in which He builds syllogism: if all the cows crushed, and I do not have, then I will sell Stridogoga, etc).

M.Gorky (real name Alexey Peshkov) is the largest literary figure of the Soviet era. He began to write in the 19th century, already then his works seemed to be all revolutionary and propaganda. However, the early creativity of the writer is significantly different from the subsequent. After all, the author began with romantic stories. The play of Gorky "on the bottom" is an example of a realistic drama, in the center of which the image of the oppressed, irresponsive life of the denominations of Russian society. In addition to social issues, there is an extensive philosophical formation in the work: the heroes of the play are arguing about important matters, in particular, that better: truth or compassion?

Problem genre

As for the genre of this work, not all researchers are united in opinions. Some believe that the fourth of the social drama is just true. After all, the main thing is that Gorky shows - the problems of people who have fallen into the bottom of life. The heroes of the play - drunkards, shuilers, prostitutes, thieves ... The action takes place in the god forgotten at night, where anyone is not interested in his "closest". Others believe that it will be more correct to name the work of the philosophical drama. According to this point of view, in the center of the image a clash of views, a certain conflict of ideas. The main question about which the heroes argue: what is better - truth or compassion? Of course, everyone answers this question in its own way. And in general, it is not clear to the end whether there is a unambiguous answer. Anyway, the philosophical reservoir in the play is associated with the appearance of Luke in it, which encourages residents of the night to reflections on their own life.

Heroes play

The main characters of the play are residents of the night. In action, the owner of the nightships of Kostylev, his wife Vasilisa, actor (former actor of the provincial theater), satin, ticks (locksmith), Natasha - Santa Vasilisa, Thief Vaska Sadel, Bubnov and Baron. One of the heroes is "stranger", Luka, who appeared from nowhere and took place nowhere after the third act. It is these heroes that are described throughout the play. There are other characters, but their roles are auxiliary. Kostylevos are a married couple who hardly digest each other. Both of them are rude and scandalous, besides cruel. Vasilisa is in love with Vaska ash and sentences him to kill his elderly husband. But Vaska does not want, as he knows her, and he knows that she wants to say it to the vigor, in order to separate with their network Natalia. The actor and satina is assigned a special role in the drama. The actor fell a long time ago, his dreams about a big stage were not destined to come true. He, like a person from Luke's story, who believed in righteous land, commits suicide at the end of the play. Satina monologues are incorporated. The semantic load, he opposes Luke, although at the same time, he does not blame him in lies, unlike other residents of the night. It was Satin that answers the question: what is better - truth or compassion. There are several deaths. Anna, the wife of the tick, dies at the very beginning of the play. Its role, though not long, but very important. The death of Anna against the background of the game in the card gives the situation tragedy. In the third act, the Kostylevel dies in the fight, which still aggravates the position of the residents of the guests. And at the very end there is a suicide of the actor, for which, however, almost no one pays attention.

Philosophical Pieces Content

The philosophical drama content disintegrates two layers. The first is the question of the truth. The second is the answer to the central question in the drama: what is better - truth or compassion?

True in the play

The hero of Luke is an old man, comes to the night and begins to promise all the heroes a bright future. Anna He says that after death she will fall into the paradise, where she is waiting for calm, there will be no troubles and torment. Luke's actor says that in some city (he forgot) there are hospitals for drunks, where you can get rid of alcoholism absolutely free. But the reader immediately understands that Luca did not forget the name of the city, because what he says, just not. Luka ash advises to go to Siberia and pick up Natasha with him, only there they will be able to establish their lives. Each of the residents of the at night understands that Luka deceives them. But what is the truth? About the same dispute. According to Luke, it is not always possible to heal the truth, but a lie, which is pronounced for good is not a sin. Bubnov and ashes declare that the bitter is true, even if it is unbearable, than false. But the tick is so confused in his life, that he is not interested in nothing. The truth is that there is no work, there is no money and there is no hope for a more worthy existence. This truth hero hates the same as the false promises of Luke.

What is better: truth or compassion (on the play of Gorky "on the bottom")

This is the main question. Luke solves it alone: \u200b\u200bit is better to lie to a person than bringing him pain. In an example, he leads a man who believed in the cross-male land, he lived and hoped for the fact that there would be going there. But when I learned that there is no such land, there was no hope left, and the man was worn. Susta and Bubnov deny this position, they are sharply negative in relation to Luke. A little different position is adhered to satin. He believes that Luka cannot be accused of lies. After all, he is lying due to pity and mercy. However, the satin itself does not accept this: a person - it sounds proudly, and it is impossible to humiliate his pity. The question "What is better - truth or compassion" in the play "On the bottom" turns out to be unresolved. Is there any answer in such a difficult and vital question? Perhaps the unequivocal answer to be and cannot. Each hero decides him in his own way, and every person in the right to choose what is better - truth or compassion.

According to the play of Gorky "on the bottom" writings, writings and become different topics, but one of the most popular concerns this particular problem, the problems of lies "in salvation."

How to write an essay?

First of all, it is necessary to remember the correct composition. In addition, in the composition-reasoning, not only episodes from the work should be given as an example, but also to support the examples of the examples or other books. The topic "What is better: truth or compassion" does not allow one-sided interpretation. It must be said that in each situation should act differently. Sometimes the truth can kill a person, then the question is as follows: whether this person said, wounding sin, or, on the contrary, decided to harm his neighbor and cruelly. However, not everyone wants to be deceived. If a person has a chance to fix something, start life differently, is it not better to know the truth? But if there is no other path, and the truth will turn out to be destructive, then you can rest. What is better: truth or compassion, which is more necessary - everyone decides in his own way at a certain moment of his life. Always need to remember humanity and mercy.

So, the play is a complicated product with a two-level conflict. At the philosophical level is a question: what is better - truth or compassion. At the bottom of life, the Heroes of the Gorky play were, perhaps, Lie Luke for them - the only bright moment in life, can I then consider what he says hero?