Early romantic stories M. Gorky

"I came to the world to disagree", "these words of Gorky can be attributed to any of the heroes of his romantic works. Loyko Zobar, Radda, Maka Mirah, Danko, Larra, Izergil - all of them proud and independent, their distinguishes personal uncommonness, nature brightness, exclusivity of passions. Gorky romanticism is formed in the era, it would seem, for romanticism not intended, the nineties of the 19th century, however, it was the violent booklist of the writer against the "lead abominations of life" and gives rise to the concept of a person-figure, the Creator of his fate: Gorky's romantic heroes are not inclined before circumstances, And overcome them. "We need feats, feats!" - he wrote bitter a few months before creating the story of the Staruha Ispergil and embodied in his romantic works of heroes who could make these feats, therefore, works with dramatic, and then the tragic finals reveal a brave, joyful look at the world of a young writer.

"Makar Mirara" (1892)

"Makar Mirara" is the first work that made bitterly known. The heroes of this story are young Roma Loyko Zobar and Radda - exclusive in everything: in appearance, feelings, fate. The beauty of Rada cannot be conveyed by words, her "could be played on the violin, and the one who is this violin. How his soul knows. " From Zobar "Opsy, like clear stars, burn," "Smile - the whole sun, the mustache lay on the shoulders and mixed with curls." Makar Mirande can not hide his admiration for a delete, spiritual generosity, the inner force of Zobad: "Be damn, if I didn't love him already, before he said to me. The remote was small! Who he was afraid! You need his heart, he himself would have pulled him out of his chest and you gave you, if only it was good for you. With such a person you yourself become better. Little, friend, such people! " Beauty in the romantic works of Gorky becomes a moral criterion: the rights and worthy of admiration is already because it is beautiful.

Need to become Zobaru and Radda - and in it the same royal pride, contempt for human weakness, in whatever it is to be expressed. The big wallet of the Moravian magnate, which he wanted to choose the proud gypsy, was only awarded to be carelessly discarded Ruddy in the dirt. Not by chance Radd compares himself with an eagle - an independent, high soaring, lonely, because few people should be. "Search doves - those supple", "advises her father Danila Magnate.

The basis of the romantic work is the conflict of the romantic hero with generally accepted values, in this case two passions are facing in the soul of Zobhar and Raddy - freedom and love as affection, responsibility, submission. "And without you, I can not live, how not to live and you without me ... I never loved anyone, Loyko, I love you. And I love the will. Will, Loyko, I love more than you. " Heroes of Gorky got up before the choice, which can be called tragic, because it is impossible to do it, "there is only a denial of the need to choose, that is, life. "If two stones are rolling to each other, it is impossible to become between them - it is realized." Pride and love cannot be reconciled, as the compromise is unthinkable for a romantic consciousness.

A special role in the story of Gorky has a compositive framing. Romantic story, in the center of which exceptional heroes and situations, argues a special system of values, into which the usual, everyday human life does not fit. The narrator's antithesis and Makara miracles, who told the legend about the love and death of proud Gypsous hands, reveals the characteristic of the romantic work of Dudmirier - inconsistency, confrontation of an ordinary look at the world and the life philosophy of the romantic hero. Freedom, not compounded by any attachments - nor to man, nor to the place, nor to work, is in the eyes of Makara miracles there is a higher value. "So you need to live: go, go - and that's it. Long do not stand in one place - what is in it? Won as day and night run, chasing each other, around the earth, and you run away from the Duma about life, so as not to break her. And you think about it - youlter life, it always happens. "

"Old West isergil" (1895)

The system of images of the story of the Staruha Ispergil is built on the principle of antithesis, which is characteristic of a romantic work. Larra and Danko Gorda, beautiful, but already in the description of their appearance there is a detail, sharply distinguishing them: Danko eyes in which "there was a lot of strength and living fire", and Larra's eyes were "cold and proud." Light and darkness, fire and shadow - it will distinguish not only the appearance of Larra and Danko, but also their attitude towards people, their fate, the memory of them. In the chest at Danko - the fiery heart, the Larra Stone, Danko and after death will live in blue steppe sparks, and forever living Larra will turn into a shadow. Larra, besides himself, does not see anything. The son of an eagle, a lonely predator, he despises the laws of people, lives according to its own laws, is obeying only by his momentary desires. "The punishment of a person in it is very" - that is why the eternal lonely life has become a punishment of a terrible death for Larra.

The burning is the ideal of the life of another hero of this story - Danko. Danko saves those people who were ready to kill him, those among whom one who had come to the proud heart of which had been ready for the weakness. Gorky does not accidentally introduce into a fiction tag of the story this episode: people were poisoned not only by poisonous evaporation of swamps, but also fear, they are accustomed to being slaves, from this "internal slavery" is very difficult to free themselves, and even the feat of Danko in an instant is not able to snatch fear From human souls. All people scared everything: and the road back, and the road forward, in their weakness they accused Danko - a man endowed with the "courage West and", That is, the courage to be first. "People began to reproach him in the inability to manage them, they in malice and anger hit Danko, a man who walked ahead." Danko gives life to people, dreaming to awaken the light in their souls.

The life of Izergil, the third heroine of the story, bitter called the "rebellious". This life was filled with rapid movement and bright feelings, surrounded with it often turned out to be outstanding, bold, strong people - especially the Red Gutsul and Pan with a chopped face. From weak and sub rule, she left without regret, even if they loved them: "I looked at him from above, and he flured there, in the water. I left then. And no longer met him" (about the monastery), "then I gave him Pinka foot and would hit him in the face, and he reacted and jumped up ... then I went "(about Arcadeka).

Izergil was not afraid to sacrifice himself in the name of love, but at the end of life there was one, "without a body, without blood, with a heart without desires, with eyes without fire - also almost shadow." Izergil was absolutely free, she remained with a man, while she loved him, always parted without regret and even little remembered with whom part of her life was held: "And the fisherman was gone? - Fisherman? And he ... here ... - Wait, and where is the little Turk? - Boy? He died ... "His freedom of Izergil put the above attachment towards a person, calling it slavery:" I was never a slave, draw. "

Another romantic heroes of Gorky's stories can be called nature, which in its exclusion is akin to Zobaru, Radda, Danko, Izergil. Only there, where the steppe space and a free wind could live the romantic heroes of Gorky. Nature in the story of Staruha Izergil becomes one of the actors: this is a living being who takes part in the life of people. And the same as among people, there are good and evil in nature. Moldavian night, the description of which precesses the events of the first legend, creates the atmosphere of mystery. Before the appearance of Larra, nature dresses in bloody tones, becomes anxious. In the legend about Danko, nature is hostile to people, however, her evil energy was defeated by Danko's love: he overcame with Darkness not only in the souls of people, but also in nature: "The sun shone here; Sung steppe, glistened grass in rain diamonds and gold river glitter. "

The exclusiveness and color of characters, the desire for freedom and the ability to decisively distinguish all the heroes of the romantic works of Gorky. There are already aphorism of the Words given by the writer Oldwheel Isergil: "In life, you know, there is always a place of the feats." This affects the concept of a person-a leader capable of transforming the world. In the era of the stroke of centuries, this concept was consonant with time when many have already felt the approach of global historical changes.

The purpose of the lesson: to introduce a biographies and creativity of Gorky with milestones; Show features of Gorky romantic. To trace how the plan of the writer is revealed in the composition of the stories.

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

Equipment lesson: Portrait and photos of A.M. Gorky different years.

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During the classes.

1. Water word teacher.

The name of Alexei Maximovich Gorky (Peshkov) is known in our country to everyone. Several generations studied his work with school bench. The bitter has developed certain ideas: this is the founder of the literature of socialist realism, the "Petrel Revolution", a literary critic and publicist, the initiator of the creation and the first chairman of the Union of Writers of the USSR.

1. Abstract on the biography of Gorky.

1. Characteristics of the early stage of the writer's creativity.

Early Gorky stories are romantic.

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

In the center of the narration at the Gorky usually a romantic hero is a proud, strong, freedom-loving, lonely person, the destructive dealer of the majority. The action takes place in an unusual, often exotic setting: in the Gypsy Tabor, in communicating with the elements, with the world of nature - the sea, mountains, coastal rocks. Often the action is transferred to the legendary times.

Distinctive features of the romantic Gorky images are proud of the restlessness of fate and the bold freedom, the integrity of nature and character heroic. The romantic hero is striving for anything unnecessary freedom, without which there is no genuine happiness for him and which he is often more expensive than life itself. In romantic stories embodied the observations of the writer contradictions of the human soul and the dream of beauty.

For a romantic consciousness, the ratio of character with real life circumstances is almost unthinkable - this is how the most important feature of the romantic world is formed: the principle of romantic dvool. The perfect world of the hero is opposed to real, contradictory and far from a romantic ideal. The confrontation between the romance and the surrounding world is the root line of this literary direction.

These are the heroes of the early romantic stories of Gorky.

Old Tsygan Makar Mirara appears in front of the reader in a romantic landscape.

Give examples proving it.

The hero surrounds the "cold waves of the wind", "the midst of autumn night", which "shuddered and, puggy, revealed on the moment to the left - an endless steppe, right - the infinite sea." We will pay attention to the lounge lounge, on its latitude, which symbolizes the infinity of freedom of the hero, its inability and unwillingness by anything this freedom to be trained.

The main character of the story of the story of the Staruha Ispergil (1894) appears in the romantic landscape: "Wind tech is wide, even wave, but sometimes he exactly jumped through something invisible and, giving birth to strong gusts, waving women's hair into fantastic mane, raised around them heads. It made women strange and fabulous. They went farther from us, and night and fantasy dressed their wonderfully. "

In the story "Chelkash" (1894), the sea landscape is described several times. With the light of the hot sun: "The waves challenged in the granite are embedded with enormous gravity, moving along their ridges, fighting the boards of ships, about the shore, beating and pushing, foamed, contaminated with different trash." And dark at night: "Thick layers of shaggy clouds moved across the sky, the sea was late, black and thick, like oil. It was breathing wet, salty aroma and affectionately sounded, splashing about the board of ships, about the shore, a little bit of a boat of Chelkasha. On the distant space from the shore from the sea, the dark estabs of ships risen, clogged into the sky sharp dreams with multi-colored lanterns on tops. The sea reflected lights of the lanterns and was littered with a mass of yellow spots. They were beautifully trembled on his velvet, soft, matte black. The sea slept healthy, strong sleep worker who is very tired per day. "

Pay attention to the unfolded metaphoricity of the style of Gorky, on a bright sounding.

It is in such a landscape - seaside, night, mysterious and beautiful - can realize themselves Heroes of Gorky. About Chelkashche says: "A wide, warm feeling has always rising on the sea in it, - covering his whole soul, it cleared it a little from everyday night. He appreciated it and loved to see himself the best here, among the water and air, where the Duma about life and the life itself is always losing - the first - sharpness, the second - the price. Upon nights over the sea, there is a soft noise of his sleepy breathing, this immense sound pours calmness into the soul and, gentlely taming her evil gusts, the mighty dreams will give birth to it ... "

1. Conversation on the romantic stage of creativity M. Gorky.

What are the main features of the characters of the romantic heroes of Gorky?

(Makar Mirande carries in the character of the only beginning that believes the most valuable: the desire for freedom. The same beginning and in the character of Chelkasch with "his kip, nervous nature, greedy to impressions". Chelkasha Author represents the reader like this: "Old etched wolf, good Familiar to Havana Luda, an avid drinker and a deft, bold thief. "A distinctive feature of Izergil is her confidence that all life was subordinated to love for people, but freedom was for her above all.

Heroes legends, old women Izergil - Danko and Larra - also embody the only feature: Larra - extreme individualism, Danko - the extreme degree of self-sacrifice in the name of love for people.)

What is the motivation of characters of heroes?

(Danko, Rada, Zobar, Chelkash are in their essence, this is originally.

Larra - the son of an eagle that embodies the ideal of power and will. Pay attention to the unusualness and soundness of the names of heroes.

The effect of legends occurs in ancient times - it seems to be the time preceding the beginning of the story, the era of the foresight. Therefore, in the present there are traces directly related to that epoch - these are blue lights left from the heart of Danko, the shadow of Lara, which he sees the Ispergil, the images of Rada and Loyko Zobad, who shook in front of the narrator in the dark night.)

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

(Larra is likened to be a mighty beast: "He was deft, wasted, strong, cruel and did not meet with people face to face"; "He had no tribe, nor mother, no cattle, no wife, and he did not want anything of this." . After years, it turns out that this son of an eagle and women was deprived of his heart: "Larra wanted to lean his knife, but a knife broke down - they hit them exactly in the stone. Scary and naturally comprehended by his car - be a shadow:" He does not understand any speech People nor their actions - nothing. "In the image of Lara is embodied by an antichelovical essence.

Danko carries an inexhaustible love for those who were like beasts, like wolves that surround it to make it easier for them to grab and kill Danko. One desire owed to them - to oust the darkness from their consciousness, cruelty, fear of the dark forest, from there "looked at something terrible, dark and cold." The heart of Danko caught fire and burned to dispel the darkness not only the forest, but also spiritual. Saved people did not pay attention to the proud heart fallen nearby, and one cautious man noticed this and, fearing something, stepped on a proud heart. "

Think about what a cautious person was frightened.

We note symbolic parallels: light and darkness, sun and swamp cold, fiery heart and stone flesh.

The selfless service of people is opposed to individualism of Lara and expresses the ideal of the writer himself.)

V. conversation.

The composition (construction of an artistic work) is subordinate to one goal - the most fully reveal the image of the main character, which is an expressant author's idea.

How to open in the composition of the images of heroes?

(Composition "Makara Mirandi" and "Staruhi Ispergil" - a story in the story. This technique is often found in the literature. Talking the legends of their people, the heroes of the stories express their ideas about people, what they consider valuable and important in life. They seek how to create Coordinates on which you can judge them.

In the composition, portrait characteristics play an important role. Portrait of the Rada is given indirectly. We will learn about her extraordinary beauty in the reaction of the people she struck. (Description Rada.) Proud Rada rejected money, and the proposal to go to his wife to magnate. Pride and beauty isometric in this heroine.

But the portrait of Loyko is drawn in detail. (Description Loyko.)

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

(Talking about the love of Rada and Loyko, Makar Miranda believes that only the real man should perceive the life, only it was possible to preserve his own freedom. The conflict between love and pride is allowed by the death of both -

it didn't want to conquer your loved one.)

(The image of the narrator is one of the most invisible, it usually remains in the shade. But the view of this person traveling in Russia, meeting with different people, is very important. Perceiving consciousness (narrator hero) is the most important subject of the image, the criterion of the author's valuation of reality, the means Expressions of the author's position. Interested opinion 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 power, beauty, poetry, pride.)

(In the old woman Izergil, the author encounters the ideal in the legends, expressing love for people, and self-sacrifice, and the anti-subsidy brought to the extremes of individualism. These two legends seemed to form the story of the life of the oldest Izergil. Condeming Laru, the heroine thinks her fate closer To Danko - she is also dedicated to love. But from the stories about themselves the heroine itself appears, rather, fiercely: she easily forgot to forget the former love for the sake of a new one, left for once beloved people. Her indifference is striking.)

What role in the composition is the portrait of the old woman is Isiergil?

(Portrait of a heroine controversial. From her stories you can imagine how good it was in my youth. But the portrait of the old woman causes almost disgust, deliberately injected anti-source features. (Description of the old woman.) Lara portrait features bring these heroes. (Lara description).)

How do romanticism and realism correlate in the story?

(The autobiographical hero is the only realistic image in the early romantic stories of Gorky. Its realism is that in nature and fate it reflected the typical circumstances of Russian life of the 1890s. The development of capitalism has led to the fact that millions of people were torn from their places, many Of which they made up the army of Bosya, the vagrants, who ran away from the past life and did not find place in the new conditions. The autobiographical Hero of Gorky belongs to such people.)

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

(Formally, the story consists of a prologue and three parts. In prologue, a place of action is outlined - port: "The ringing of the anchor chains, the crash of the clips of cars, driven by cargo, the metal cry of the iron sheets, from somewhere falling on the stone bridge, deaf tree knock, the rattle of the recreeding cart, whistles of steamers, then deafly roar, shouts of loaders, sailors and customs soldiers - all these Sounds merge into deafening music of a labor day ... ". We note the techniques, with the help of which this picture is created: first of all, sounding (associations and alliterations) and nonsense, which gives dynamism to the description.)

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

(The portrait of the hero in the first part reveals his character: "Dry and angular brushes, covered with brown leather"; "Intrained black with smart hair"; "Crumpled, sharp, predatory face"; "Long, bony, slightly sutured"; with "humpback , predatory

nose "and" cold gray eyes. " The author directly writes about his similarity "with a steppe hawk his predatory humbered and this targeted gait, smooth and deceased, but internally excited and dressed as a summer of the predatory bird that he reminded.")

What is the meaning of the word "predator"?

(Pay attention, how many times the epithet "predatory" was met. Obviously, he reveals the essence of the hero. Recall how often Gorky likes his heroes to Birds - Orlo, Sokol, Hawk.)

What is the role of Gavrille in the story?

(Chelkash is opposed to Gavrile, a rustic rustic guy. The portrait of Gavrille is built in contrast with the portrait of the Cheljasha himself: "Children's blue eyes" look "trusting and good-naturedly", the movement is awkward, the mouth is widely disclosed, then "lips splashes." Chelkash feels like a lip. Gavrily, who fell into his wolf paws, is mixed to this and a deceic feeling. Looking at Gavrille, Cheljasch recalls his rustic past: "He felt lonely, eliminated and thrown out forever from the order of life, in which she was working out that flows in his Housings. ")

When does the story of the story "Chelkash"?

(In the third part, in the Dialogue of Chelkasha and Gavrila, it is finally clear how different people are. For the sake of Nazi, the cowardly and greedy gablil is ready for humiliation, for a crime, for killing: he almost killed Cheljasha. Gabril causes contempt, disgust in Chelkasha.Finally, the author spreads the heroes like this: Gabril "removed his wet carriage, crossed himself, looked at the money, clamped himself, freely and deeply sigh, hid them for the sinus and wide firm steps went to the side to the side, the opposite of the one where the Cheljasch disappeared.)

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

1. How do you understand the principle of "romantic dawmine" in the work of Gorky?
2. What are the features of the landscape in the early romantic stories of Gorky? What is the role of a landscape?
3. How do you understand the words of the heroine of the story of Gorky "old woman Izergil": "And I see, people do not live, but all try"?
4. What was frightened by "careful person" from the story of "old woman Izergil", which stepped on the "proud heart" of Danko?
5. What literary characters can you compare this "careful person"?
6. What is the ideal of a person in the early romantic stories of Gorky?
7. What do you think the meaning of opposing Gorky's heroes is Cheljasha and Gavrila?
8. What do you see the features of Gorky romantic?

e as a literary direction.) Romanticism implies a statement exceptional personalitySpeaker one on one with the worldappropriate from the standpoint of his idealpresented to her exceptional requirements. The hero on the head above people surrounding him society is rejected. This caused so typical loneliness for the romantic hero, which most often thinks to them as a natural state, because people do not understand him and do not accept his ideals. The romantic hero finds equal to himself on only to communicate with the elements, with the world of nature.

Remember the romantic works of Pushkin and Lermontov.

Therefore, such a big role plays in romantic works scenery, Usually devoid of halftone, based on bright colors, expressing the indomitable power of the elements, its beauty and exclusivity. The landscape, thus, is animated and as if emphasizes the originality of the character of the hero. Attempts to rapprocherate the romantic hero with the real world are most often unpromising: reality does not accept the romantic ideal of the hero due to its exclusivity .

The ratio of characters and circumstances in romanticism. For a romantic consciousness, the ratio of nature with real life circumstances is almost unthinkable - this is how the most important feature of the romantic artistic world is formed -principle of romantic dvoemiria. Romantic and therefore the perfect world of the hero is opposed to the world real , contradictory and far from the romantic ideal. The confrontation between romance and reality, romance and the surrounding world is the main feature of this literary direction.

That is exactly what we see the heroes of the early romantic stories of Gorky. Old Tsygan Makar Mirah appears in front of the reader in the romantic landscape: His surrounds " mills autumn night", Which" shuddered and, puggy, revealed to a moment on the left - unlimited steppe, on right - endless sea». Pay attention to the lounge of the landscape, on the infinity of the sea and the steppe, which as it were to emphasize infinity of freedom of heroesHis inability and reluctance for whatever this freedom to be trained. After a few lines, Makar Mirande will declare this position right, arguing about man, from his point of view, non-free: "Will the will of him? Shree steppe understandable? Talking the sea wave having a heart to him? He slave, - as soon as she was born, the slave all his life, and everything here! "

Against the background of the romantic landscape depicted and the old woman isergil: « Wind tech is a wide, smooth wave, but sometimes he exactly jumped through something invisible and, giving birth to a strong impulse, waved the hair of women in fantastic mane, raised around their heads. It made women strange and fabulous . They went farther from us, and night and fantasy dressed their wonderfully».

It is in such a landscape - primorsky, night, mysterious and beautiful - Can realize themselves Makar Miranda and the old woman Izergil - the main characters of these stories. Their consciousness and characters with their silent contradictions become the main subject of the image . For these heroes, the stories are written and written, and the artistic means used by the author are needed to show the heroes in their entirety and contradictory to explain their strength and weakness. Makar Mirah and Ispergil, being in the center of the narration, get the maximum opportunity for self-realization. The writer gives them the right to talk about themselves, freely express their views. Legendsthey told, possessing undoubted artistic independence, nevertheless serve, first of all, a means of disclosing the image of the chief hero, whose name is called the work .

In the legends, macara's representations of mirandes and old women are expressed on the perfect and anti-dayent man, i.e. are presented romantic ideal and anti-day . Talking about Danko and Larre, about Radda and Loyko Zobad, Izergil and miracle speak more about themselves. These legends are needed to the author in order for the isergile and miracle in the most accessible form for them express your own views on life. Let's try to determine the main qualities of these characters.

Makar Miranda, like any romantic, carries in characterthe only beginning which he believes valuable: maximum desire for freedom . Izergil is confident that his whole life was subordinate to only one - love for people. The same start, brought to the maximum extent, embodies the heroes of the legends told by them. For Loyko Zobhar, the highest value is also freedom, openness and kindness: « He loved only her horses and nothing more, and he would not long - she would say and sell, and who wants the money, he, and take. He did not have a cherished - you need his heart, he himself would have pulled him out of the chest and you gave you, if only you were good" Radda - Higher, Exceptional manifestation of pridethat even love for Loyko Zobaru can not be broken: " I never loved anyone, Loyko, but I love you. And I love the will! Will, Loyko, I love more than you. ... worship me on my legs in front of all the tabor and kisses my right hand my - and then I will be your wife».

An insoluble contradiction between the two principles in a romantic character - love and pride - Makar Miracle thinks as completely natural, and it can only be resolved - death - death . The only feature of the character in its maximum manifestation is carried by Danko and Larra, which the old woman is telling Izergil. Danko embodies the extreme degree of self-sacrifice in the name of love for people, Larra - extreme individualism .

Romantic motivation of characters. The exceptional individualism of Larra is due to the fact that he is the son of an eagle that embodies the ideal of strength and will. On the motivation of the characters of Danko, Raddy or Zobad, you just do not have to talk - they are essentially their own, these are originally .

The effect of legends occurs in chronologically uncertain deep antiquity - then as if the time preceding the beginning of the story, the epoch of the first . but in the present there are traces directly related to that epoch - these are blue lights, remaining from the heart of Danko, the shadow of Larra, which Izergil sees ; Smoothly and silently spinning in the darkness of the night handsome Loyko and proud Radda.

Composition of romantic story stories. The composition of the narrative in romantic stories is entirely subordinated to one goal: the most fully show the image of the main character, whether it is Izergil or Maka Mirahm. Forcing them to tell the legends of their people, the author represents a system of values, their understanding of the ideal and anti-imideant in human character, shows what features of the personality, from the point of view of his heroes, respect for respect or contempt. In other words, the heroes in such a way as they specify the coordinate system, based on which the judges may be.

So, the romantic legend is the most important means of creating an image of the chief hero. Makar. Miracle is quite sure that pride and love, two beautiful feelingsBrought by romantics to the highest expression, cannot be reconciled, because the compromise is generally unthinkable for a romantic consciousness. TO onflict between a sense of love and a sense of pride, who are worried about Rada and Loyko Zobar, can only be resolved by the death of both: Romantic cannot be done by any love that does not know borders or absolute pride. But love suggests humility and mutual ability to conquer his beloved. This can not do neither Loyko nor Rada.

How does Makara Makrand evaluate this position? He believes that this is how it should perceivelife is a real man, worthy imitation, and that only with such a life position can be preserved its own freedom. Interesting the conclusion that he has long made from the history of Rudda and Loyko: "Well, Falcon, you want, I will say one day? And you remember her and, as I remember, - the eyelid will be a free bird. " In other words, a truly free person just could realize himself in love, as these heroes were done, told by Makar Miracle.

But does the author agree with his hero? What is the author's position and what are the artistic means of its expression? To answer this question, we must turn to such an important composite feature of early romantic Gorky stories as availabilitypicture of the narrator. In fact, it is one of the most invisible images, it almost does not show itself in actions. But it is the view of this person who is interested in Russia and meeting the many different people in its path is very important for the writer. In the composite center of any Gorky epic work will always stand perceive consciousness - a negative, distorting real picture of life, or a positive, filling being with the highest meaning and content. It is this that perceiving consciousness ultimately is the most important subject of the image, the criterion of the author's assessment of reality and the means of expressing the author's position.

In a later cycle of the stories "By Russia", Gorky will call the hero-narrator not passersby, butpassing, by emphasizing his inquiry look at reality. And in the cycle "According to Rusi", and in the early romantic stories in the fate and the worldview of the "passing", the features of Gorky himself appear, the fate of the writer, from his youth, in his wanders of Russia, was largely reflected in the fate of his hero. Therefore, many researchers suggest talking about bitter narrator in these stories as aboutautobiographical hero.

It is the stare, interested opinion of the autobiographical hero and snatches from the meetings gave him the fate, the most interesting and ambiguous characters - they turn out to be the main subject of the image and research. In them, the author sees the manifestation of the folk nature of the stroke of the ages, trying to explore his weak and strengths. Copyright to them - admiration for their strength and beauty (as in the story "Maka Mirara"), or poetry, a tendency to the aesthetic perception of the world(as in the old woman iszergil), but at the same time disagreement with their position, the ability to see contradictions in their characters. That complex attitude is expressed in stories not directly, but indirectly, with the help of various artistic agents .

Makar Mirandian only skeptically listens to the objection of the autobiographical hero: what, in fact, their disagreement, - remains as if behind the scenario. But the end of the story, where the narrator, looking in the darkness of the steppe, sees the handsome of Gypsy Loyko Zobar and Radda, the daughter of the old soldier Danil, "spisled in the night's darkness smoothly and silently, and he could not have a handsome Loyko to poison with proud Radda, "manifests his position. In these words, the admiration of the author by their beauty and uncompromising, the power of their feelings, an understanding of the impossibility for the romantic consciousness of another resolution of the conflict. At the same time, this is the awareness of the infertility of such an outcome of the case: after all, after the death of Loyko in his pursuit, it is not stamped with proud Radda.

It is more difficult to express the position of the autobiographical hero in the old woman of Izergil. Creating the image of the main character, the bitter composite means gives her the opportunity to imagine and the romantic ideal expressing higher Degree of Love to People (Danko), and the antiidal, embodied informative and contempt for others (Larra). The ideal and antiidal, two romantic poles of the narrative, expressed in the legends, ask the coordinate system, in the framework of which he wants to put himself with the Izergil. The composition of the story is such that two legends seemed to be a story about her own life, which is the ideological center of the narration. Certainly condemning the individualism of Larra, Izergil thinks that her own life and fate seek rather to the Panco Pole, who embodied the highest ideal of love and self-sacrifice. In fact, her life, like the life of Danko, it was entirely devoted to love - The heroine is absolutely sure of that. But the reader immediately draws attention to the ease, she forgot to forget her former love for the sake of New, as she just left once beloved people. They stopped exist for her when passion passed. The narrator always tries to return it to the story of those who just held her imagination, and which she had already forgotten:

"- And where did the fisherman go? - I asked.

— Fisherman? And he ... here ...<...>

— Wait! .. And where is the little Turk?

— Boy? He died, boy. From homemade at home or from love ...»

Her indifference to once beloved people amazes the narrator: "I left then. And no longer met with him. I was happy for it: never emerged more than those who once loved. These are bad meetings, I don't care about the dead » .

In all - in the portrait, in the author's comments - we see a different point of view on the heroine. It was the eyes of the autobiographical hero that the reader Izergil sees the reader. Her portrait immediately reveals a very significant aesthetic contradiction . A young girl or young, full forces woman would have to tell about the wonderful sensual love. Before us, a deep old woman, in its portrait, the anti-referring features are delivering deliberately: « Time bent it in half, black once the eyes were dim and got drunk. Her dry voice sounded strange, he crush, exactly the old woman spoke bones». « Her creaky voice sounded as if it was rushed with all the forgotten centuries, embodied in her breast shadows of memories».

Izergil is confident that her life, filled with love, was quite different than the life of the individualist Larra, she could not even imagine anything in common with him, but the view of the autobiographical hero finds this community, paradoxically brings their portraits. "He has now become like a shadow," it's time! He lives thousands of years, the sun dried his body, blood and bones, and the wind spat them. That's what God can make with a person for pride! .. "- tells Izergil about Larre. But almost the same features are seen as a narrator in an ancient old woman Izergil: " I looked at her face. Her black eyes were still dim, they did not revive the memories. The moon illuminated her dry, cracked lips, pointed chin with gray hair on it and a wrinkled nose, swept, like beak owls. On the scene of the cheek were black pits, and in one of them lay a strand of ashes-gray hair, who embarrassed from under the red rag, who was wrapped up her head. The skin on the face, the neck and the hands are cut off with wrinkles, and with each movement of the old Izergile, it was possible to wait that the dry skin would break everything, fall apart with pieces and his naked skeleton with dull black eyes».

All in the image of Izergil resembles the narrator Larr - first of all, of course, its individualism, brought to extreme, almost brings closer with individualism Larra, its antiquity, its stories about people, the long ago of their lives of life: "And they are all - only pale Shadows, and the one they kissed, sitting next to me, live, but desired by time, without a body, without blood, with a heart, without desires, with eyes without fire, is also almost shadow, "let's remember that Larra turned to the shadow.

The fundamental distance between the position of the heroine and the narrator forms the ideological center of the story and determines its issues. Romantic position with all its beauty and elevation is denied by the autobiographical hero. He shows her hopelessness and approves the relevance of the position of more sober, realistic.

Indeed, the autobiographical hero is the only realistic image in the early romantic stories of Gorky . Its realism manifests itself in the fact that in its character and fate reflected the typical circumstances of the Russian life of the 1890s. The development of Russia for the capitalist path led to the fact that millions of people who were the army of Bosia, Breath, as if "broken off" from the previous social framework, were torn away from its places. The autobiographical hero of Gorky belongs to this layer of people. Researcher of creativity M. Gorky B. V. Mikhailovsky called such a character "broken" from the traditional circle of public relations.

With all the dramatism of this process, it was positive: the horizon and the worldview of people who were destroyed in Rusi, was incomparably deeper and richer than the previous generations, they opened completely new aspects of national life. Russia through these people as if he knew himself. That is why the view of the autobiographical hero is realistic, it is available to him to realize the limitedness of a purely romantic world of minecock, which is observing Makara Miracle for loneliness and leading isergil to full exhaustion.

What features of romanticism affected the "Sokol song" (1895, the second edition - 1899)? How can you determine the genre of this work? What is allegory? How is the conflict? What is the role of a landscape? What are the artistic means of creating images? How expressed a copyright position?

Sergey Volkov

"Intended" portrait

Speaking about the skill of creating a portrait in a literary work, you should not forget about one type of it, which can be called "inscribed". The person is not only "described", but also "fits", turns on in a wider background, becoming its constructive part. And at the same time, this background surroundings throws his dance on a person, makes it look different, reveals in his appearance to the essential features hidden from the eye without such an inclusion.

And reviewed examples of the "inscribed" portrait we find in prose of the twilight of centuries. It uses M. Gorky in his first story "Makar Miranda": "From the sea, a wet wind blew, spreading a thoughtful melody of the splas on the shore to the shore and the rustle of coastal bushes. Occasionally, his impulses brought with me shrouded, yellow leaves and threw them into the fire, blowing the flame; Outside us, the midst of the autumn night shuddered and, puggy, opened on a moment on the left - an endless steppe, right - the endless sea and right against me - the figure of Makara Miracles, the old Gypsy ... "The story hero is served against the background of nature, a mighty, spontaneous; Interesting the position of Makara miracles in this almost Misaneszen - he is exactly in the center, the "limitless" steppe and "endless" sea - like two wings with his back (a dash sign helps to read this fragment of text, making pauses-gestures after words indicating directions: "Left", "Right", "right against me"). The next suggestion of the story again arranged symmetrically, but now the character is given the focus. The element surrounding it is already named and described (in the proposal she "is removed" into particle acts), it is now important to emphasize that the hero is not only similar to it, but also higher, stronger it (indicative of the symmetry of negative particles accompanying the actions of the hero in relation to Elements): " Not contactingattention that cold waves of the wind, opening the Chekken, exposed him hairy chest and hit her mercilessly, he was headed in beautiful, strong pose, face to me, methodically sipped from his huge tube ... And ... talked to me, not celestial and without making any movement To protect against sharp blows of the wind "(italics here and then our. - - S.V.).

A different function is performed by a landscape environment in the description of the princess of faith from the "Pomegranate bracelet" Kurin. The heroine appears on the background of autumn colors: "... she walked around the garden and cautiously cut flowers to the dining table with scissors. The flower beds were excavated and had a messy appearance. Multicolored terry cloves have flown, as well as left - half in colors, and half in thin green jackets that smelled cabbage, pink bushes were still allowed - for the third time for this summer - buds and roses, but already crushed, rare, exactly degenerating. But it bloomed with its cold, arrogant beauty dahlia, peonies and asters, spreading in a sensitive air, herbaceous, sad smell. The remaining flowers after their luxurious love and excessive motherhood quietly trembled in the land of countless seeds of the future life. " The heroine seems to be not yet - we have a description of the colors that it cuts. We look at it carefully: of all the colors are allocated (and again placed in the center of the fragment) dahlia, peonies and asters - the Union "But" opposes them to the left-handed roses, the blooming is not so "magnificent", "cold" and "highly", the word " The rest "at the beginning of the next sentence again allocates them from a number - already on the basis of infertility. All other flowers are not only bloomed, but also gave the seeds, they were led by the love and joy of motherhood, autumn for them - not only the time of dying, but also the time of the "future life" time.

"Human" motifs in the description of colors prepare the characteristic of the heroine itself. We read on the same page: "... faith went to the mother, beauty British, Ov high flexible figure, gentle, but cold and gordym face ... ". The definitions allocated by us are connected in the consciousness of the reader faith, which has no children, and the passion for her husband has long passed, with beautiful, but barren flowers. She is not easy among them - it seems that she is alone of them. So the image of the heroine, which included in the time of its autumn, is embedded in a wider landscape context, which enriches this image with additional meanings.

The work of early Gorky should not be reduced only to romanticism: in the 1890s. He created at the same time romantic, and realistic artworks (among the latter, for example, the stories "Nishchenka", "Chelkash", "Konovalov" and many others). Nevertheless, it was exactly a group of romantic stories perceived as a kind of business card of a young writer, which they testified to the coming in the writer's literature, sharply distinguished against the background of their predecessors.

The new one was primarily the type of hero. Much in Gorky's heroes made recalling a romantic literary tradition. It is the brightness, the exclusivity of their characters, identifying them from others, and the drama of their relationship with the world of ordinary reality, and fundamental loneliness, rejection, mysteriousness for others. Gorky romance presents the world and human surrounding too stringent requirements, and in their behavior they are guided by "mad" from the point of view of "normal" people with principles.

Two qualities are especially noticeable at the Gorky Heroes-Romantics: this is pride and power, forcing them to reach destiny, seek to strive for unlimited freedom, even if the sake of freedom has to sacrifice life. It is the problem of freedom that becomes the central problem of the early story of the writer.

These are the stories "Makar Mirara" and "Old Woman Izergil." By itself, the poetication of winsitis - quite traditional for the literature of romanticism features. It was not fundamentally new for domestic literature and appeal to conditional forms of legends. What is the meaning of the conflict in the early romantic stories of Gorky, what are the specifically Gorky signs of his artistic incarnation? The originality of these stories is already the fact that the source of the conflict in them is not the traditional confrontation of "good" and "evil", but a collision of two positive values. Such is the conflict of freedom and love in Makar Miracle - a conflict that can only be resolved tragically. Loving each other Radda and Loyko Zobar so much in his freedom that they do not allow the thoughts about voluntary subordination to the beloved person.

Each of the heroes will not agree to be led: the only role worthy of these heroes is to dominate, even if it comes to mutual feeling. "Will, Loyko, I love more than you," Radda says. The exclusiveness of the conflict is in full equality equally "proud" heroes. Without the opportunity to conquer the Beloved, Loyko simultaneously cannot and retreat from it. Therefore, he decides to murder - the wild, "insane" act, although it knows that thereby brings to the victim of pride and his own life.

Similarly behaves in the field of love and heroine of the story of the story of the old woman Izergil: feelings of pity or even regret retreat before the desire to remain independent. "I was happy ... never met after with those who once loved," she says the interlocutor. - These are bad meetings, I don't care about the dead. " However, the heroes of this story are incorporated not only and not so much in love conflicts: it is a price in it, the meaning and various options of freedom.

The first option is represented by the fate of Larra. This is another "proud" person (such a characteristic in the mouths of the storytellers - rather praise than a negative assessment). The story of His "Crime and Punishment" receives an ambiguous interpretation: Izergil refrains from a direct assessment, the tone of its story is epically calm. The verdict is trusted to bear the nameless "wisdom man":

"- Stand! Punishment is. This is a terrible sentence; You do not invent such a thousand years! Punishment to him - in him itself! Let him, let him be free. Here is his punishment! "

So, the individualistic, not enlightened by the mind freedom of Larra is freedom of refrigeration, turning into its opposite - in punishment by eternal loneliness. The opposite "modus" of freedom is revealed by the legend of Danko. With its position "over the crowd", with its proud exclusivity, finally, the thirst for freedom, at first glance, reminds Larr. However, elements of similarities only emphasize the principal multidirectionality of two "freedoms". Freedom Danko is a freedom to take responsibility for the team, freedom of disinterested ministry to people, the ability to overcome the instincts of self-preservation and subordinate the life of a consciously specific purpose. The formula "In life there is always a place for a feat" and there is a aphorist definition of this freedom. True, the final of the story about the fate of Danko is deprived of unambiguity: People who rescued by the hero are certified by Izergil by no means complimentary. Administration of Danko's crisp is complicated here by a note of tragedy.

The central place in the story occupies the story of the Izergile itself. Framing legends about Larre and Danko are obviously conditional: their effect is devoid of specific chronological or spatial accepts, referred to uncertain deep antiquity. On the contrary, the history of Izergil unfolds on a more or less particular historic background (along the story, famous historical episodes are mentioned, real toponyms are used). However, this dose of reality does not change the principles of disclosure - they remain romantic. The history of the life of the old woman Izergil is the history of meetings and parting. None of the heroes of her story honors a detailed description - in the characterization of characters the metonimical principle dominates ("part instead of a whole", one expressive detail - instead of a detailed portrait). The isergil is endowed with the features of the character, bringing it closer with the heroes of legends: pride, rebellion, inconsistency.

Like Danko, she lives among people, for love is capable of a heroic act. However, in its image there is no so-called, which is present in the image of Danko. After all, a series of her love hobbies and the ease with which it breaks up with them, causes associations with the Antipode of Danko - Larroy. For the Izergil itself (namely, she is a storyteller) these contradictions are invisible, it is inclined to bring their lives with the model of behavior that constitutes the creature of the final legend. It is no coincidence that, starting with the story of Larre, her story rushes to the "Polyus" of Danko.

However, in addition to the point of view, the isergile in the story expressed a different point of view belonging to the young Russian, who listens to the Izergil, occasionally asking her questions. This is a terrible character in early prose, sometimes called "passing", endowed with some autobiographical signs. Age, a circle of interests, Roui Strachchi Ruschi him with Biographical Alexey Peshkov, so the term "autobiographical hero" is often used in literary criticism in relation to it. There is a different version of the terminological designation - "Author-narrator". You can use any of these designations, although from the point of view of terminological rigor, the concept of "image of the narrator" is preferable.

Often, the analysis of the romantic stories of Gorky comes down to a conversation on the conditioned romantic heroes. Indeed, the figures of Rada and Loyko Zobar, Larra and Danko are important for understanding the Gorky position. However, the content of its stories is wider: the romantic plots themselves are not independent, included in a more voluminous narrative structure. Both in Makare Miracle, and in the old woman Izergil, legends are served as stories that have had the lives of old people. The listener of these stories is the narrator. From the point of view of quantitative, this image takes a little space in the texts of the stories. But for understanding the author's position, its significance is very large.

Let us return to the analysis of the central story of the story of the Staruha Ispergil. This segment of the narration is the history of the heroine life - is in a double frame. The inner frame is the legends about Larre and Danko, told by the Izergile itself. External - landscape fragments and portrait characteristics of the heroine, reported by the reader as a narrator, and its short replicas. The outer frame defines the spatial-temporal coordinates of the "events of speech" and shows the reaction of the narrator to the creature of heard. Internal - gives an idea of \u200b\u200bthe ethical norms of the world in which Izergil lives. While the story of the Izergil is directed to the Panco Pole, the miser statements of the narrator make important adjustments to the reader's perception.

Those short replicas with which he occasionally interrupts the speech of the old woman, at first glance, wear a purely service, formal character: they either fill the pauses or contain innocent "clarifying" questions. But the focus of questions is indicative. The narrator asks about the fate of "others", life travelers of the heroine: "And where did the fisherman go?" Or "Wait! .. And where is the little Turk?". Izergile is inclined to tell primarily about himself. Her promoted add-on assessment testifies to the absence of interest, even indifference to other people ("Boy? He died, boy. From longing to house or from love ...").

It is even more important that in the portrait characteristic of the heroine given by the narrator, the features are constantly recorded, associatively approaching it not only with Danko, but also with Larroy. By the way, about portraits. Note that the "portraitists" in the story protrude and isergil, and the narrator. The latter as intentionally uses the old signs in its descriptions of the old signs, which she endowed the legendary heroes, as if "quotes" her.

The portrait of the Izergil is given in the story quite detailed ("Time bent it in half, black once there were misty and got drunk", "the skin on the neck and the hands are sled with wrinkles", etc.). The appearance of the legendary heroes was presented through the characteristics snapped separately: Danko - "Young handsome", "there was a lot of strength and living fire in the eyes of his eyes," Larra - "The young man is beautiful and strong", "only his eyes were cold and proud."

The abitoticness of legendary heroes is as already a portrait; However, the appearance of the old woman connects certain features of the other. "I, like a sunbeam, was living" - an explicit parallel with Danko; "Dry, cracked lips", "wrinkled nose, swept, like beak owls", "dry ... leather" - details, echoing with the features of Larra's appearance ("The sun dried his body, blood and bones"). Especially important in the description of Larra and the old woman Izergil's motive "Shadows": Larra, becoming a shadow, "lives thousands of years"; The old woman is "Living, but desired by time, without a body, without blood, with a heart without desires, with eyes without fire, is also almost shadow." Loneliness turns out to be a common fate of Larra and the old women of Izergil.

Thus, the narrator does not idealize his interlocutor (or in another story - the interlocutor Makara Miranda). It shows that the Consciousness of the "proud" person anarchically, not enlighted with a clear idea of \u200b\u200bthe price of freedom, and his very winsnoye can take an individualistic character, which is why the final landscape sketching adjusts the reader to concentrated reflection, on the oncoming activity of his consciousness. There is no straight-line optimism here, the heroic is muffled - Paphos dominated in the final legend: "It was quiet in the steppe and dark. In the sky, all crawled clouds, slowly, boring ... the sea noisily rooted and sad. " The leading start of the Gorky style is not a spectacular exterior image, as it could seem if only "legends" would have come into the field of view. The inner dominant of his creativity is conceptuality, tension of thought, although this style quality in early work is somewhat "diluted" stylized folklore patterns and external effects.

The appearance of the characters and the details of the landscape background in the early stories of Gorky are created by means of romantic hyperbolization: Specificity, unusual, "excessiveness" - the quality of any Gorky image. The appearance of heroes itself is depicted by large, expressive strokes. Gorky does not care about the pictorial concreteness of the image. It is important for him to decorate, highlight, enlarge the hero, to attract the reader's attention to it. Gorky landscape filled with traditional symbolism pearated lyrism is created in a similar way.

Its stable attributes are sea, clouds, moon, wind. The landscape is extremely conditioned, it serves the role of a romantic scenery, a kind of screensaver: "... Dark blue shles of the sky, decorated with goldstands of stars, brilliantly glittered. Therefore, by the way, within one description, the same object can be given dismeretaken, but equally catchy characteristics. For example, the initial description of the lunar night in the Staruha Ispergil contains in one paragraph contrary to each other color characteristics. At first, "the moon disk" is called "bloody-red", but soon the narrator notes that floating clouds are impregnated with the "blue shine of the moon".

The steppe and the sea are the shaped signs of the infinite space, which opens the narrator in his wanders in Russia. The artistic space of a concrete story is organized by the correlation of the boundless world and the storyteller with a future storytellor in it (the vineyard in the "Old Man Izergil", a place by the fire in the story "Maka Miranda"). In the landscape picture, the words "strange", "fantastic" ("fantasy" are repeated many times, "fabulous" ("Fairy Tale"). Fine accuracy is inferior to subjective expressive characteristics. Their function is to introduce the "other", "that", a romantic world, to oppose him a sad reality. Instead of clear outlines, silhouettes or "lace shadow" are given; Lighting is built on the game of light and shadow.

Feeling in stories and external speech musicality: the flow of the phrase is leisurely and solemnly, replete with a variety of rhythmic repetitions. The romantic "excessiveness" of the style manifests itself in the fact that nouns and verbs are losing in the stories by the "garlands" of adjectives, the impurities, communities - the whole series of definitions. This style of the manner, by the way, was condemned by A.P. Chekhov, who advised a young writer in a friendly: "... strike out where you can, identify nouns and verbs. You have so many definitions that the reader is difficult to figure out, and it is tired. "

In the early work of Gorky "excess" colorfulness was closely connected with the globalism of the young writer, with his understanding of genuine life as a free game with no shackled forces, with the desire to bring a new - life-affirming tonality into literature. In the future, the style of prose M. Gorky evolved towards greater complicity of descriptions, asceticism and accuracy of portrait characteristics, syntactic equilibrium phrase.

Early works (1892-1899) M. Gorky washed with a romantic mood. This is "Makar Miranda", "Old Man Izergil", "Song of Falcon". It is impossible to unequivocally say that the early stories of the author are created only within the framework of romanticism: Gorky at the same time creates and realistic works - "Emelyan Pilyay", "My satellite", Konovalov, "Spouse Orlov", "Malva", and others. Romanticism M. Gorky is primarily the atmosphere - night, ancient legends and legends, incredible love stories and colorful characters. The basic concepts of the romantic works of the author become "Freedom", "Independence", "Fighting", which answered the revolutionary spirit of the time: " Only that worthy of life and freedom, who goes to battle every day"(Goethe).

Romantic stories are born from the desire to oppose the tired, measured, monotonous reality with its spiritual poverty and degradation of the Human fantasy, the feat, the desire "to freedom, to the light", thirst for realization in the world, the passion of recognition. Gorky heroes stand above the life and municipality of life. They are not satisfied with "middle", they strive for high, eternal.

The center of Makar Mirara is becoming a clash of two strong and independent characters - Radda and Loyko Zobad. Both crave love, but it is a different love - love-Passion, Love-Fire, Love-Beauty and love-freedom, love-independence At the same time. Thirst for freedom reaches the heroes to the extreme: for non-liaison, someone is capable of paying their own life. The freedom and beauty of the heroes are poeticized by the author, they are upgraded to the ideal. The tragic legend about Radda and Loyko tells Makar Mirara, who opposes their modern man: "They are funny, those people. They got into a bunch and press each other, and there are no places on the ground. "

From conflict between heroes M. Gorky in the story "Old woman Izergil" goes to conflict "Hero-Society". This conflict is deeper, psychologically and socially pointed. From the many legends and stories told by the old woman, images of Larra - the son of a woman and an eagle, Danko - "the best of all" and others. Larra for her egoism and the desire to rule over people was punished with freedom and the inability to finish life earlier than it is destined: " That's how a person was struck for pride!" Danko at the cost of life tried to bring his tribesmen to freedom and light: " It was so bright. Like the sun, and brighter sun, and the whole forest fell silent, lit by this torch of the Great Love to People" But the victim of Danko was unnoticed: due to fatigue, people refused to continue their way. The story of the same Izergil, which serves as a link between two legends, is full of dedication and the feat than the author and emphasizes the presence of heroic in man.

It is noteworthy that in his stories bitter displays the private on the level of global. So, in Makare Miranda, proud figures of Rudda and Loyko turned to the clouds, where the second is trying, but can not overtake the first. In the old woman Izergil, the sparks of the heart of Danko turned into " blue wrapping steppes that appear in front of a thunderstorm. "

"Sokol song" draws a collision of two truth - the truth of falcon, " happiness battle", And truth is a hor:" Fly or crawl, the end is known: everyone will lie to the ground, everything will be ash" Despite the dimension and thoughtfulness of the position of the story, author on the side of the "struggling" Sokol: " Madness brave - this is the wisdom of life».

Contrary to the use of Gorky works in revolutionary propaganda, their meaning is deeper: these stories are the philosophical reflection of the author about the nature of human in man.

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