The turn of the 19th-20th centuries in the development of Russian literature was marked by the emergence of new trends, trends, a non-standard approach to solving the problems posed in the work, and the originality of artistic forms. And if A.P. Chekhov became a recognized innovator in dramaturgy, he developed and improved his innovative principles, such as: subtext, veiled main conflict, abundance storylines, the organization of stage action on the principle of "disunity" of characters, - another domestic writer and playwright Maxim Gorky. He created a number of bright and serious plays, among which a special place is occupied by the play "", rich and diverse not only in ideological content, but also in artistic embodiment, which has become literary monument dramatic skill of the author.
The play became a kind of completion of the cycle of Gorky's works about tramps and is an excerpt from the life of the inhabitants of the rooming house. The author himself defined the genre of the play as "pictures", that is, sketches, scenes; however, conventionality, generalization of images, allegoricalness, subtext speak of a deeper, philosophical content a play that is a complex combination of dramatic, tragic and even comic elements. Dramatic almost all the heroes who have sunk to the "bottom" of life; tragic is the irresolvable conflict in the soul of some of them (Actor), as well as death (Anna, Actor). There are also comic episodes, such as the scene life together Kvashnya and Medvedev. Genre originality also lies in the fact that fragments of various genres are introduced into the fabric of the play: parables (Luke's monologues about the "righteous land" and detained thieves), love, retold by Nastya as part of her biography; Beranger poems, folk songs, reminiscences from , Shakespeare. Nevertheless, all these, so different, masterfully, are organically connected by M. Gorky and form a single artistic whole.
Continuing the traditions of Chekhov, Gorky built the play on not one but several conflicts: love, social, philosophical. The love triangle (Ash, Vasilisa, Natasha) and the development of relationships in it are the main intrigue; social conflict - between the owners and the inhabitants of the rooming house. However, as Gorky said, “the main question that I wanted to pose is what is better, truth or compassion?”, That is, the main conflict in the play is philosophical: the humanism of Luke and the humanism of Satin are opposed, two points of view on the essence of truth, faith, on a person and attitude towards him, on the future. In this conflict, the author's position is most pronounced: Gorky clearly thinks like Satin, in other words. Satin is the author's reasoner. In general, drama is a kind of literature in which it is very difficult for the author to express his point of view; For this, Gorky uses Sateen's monologues and the very course of events, the development of the action; it is no coincidence that in the finale all those who believed Luke die or tragically leave the stage (Natasha disappears, Ash is sent to hard labor), and the supporters of Sateen's theory, having adapted to the terrible conditions of life, continue to go with the flow. Actually the plot strikes with an abundance of various lines; each character tells his backstory, there are many comments at the same time stage action(about Ashes and Natasha in the finale, before that - about the connection between Vasilisa and Ashes). The off-stage action and the characters significantly expand the scope of the depicted time, and also have another important meaning: the whole play appears as an excerpt torn from the monotonous life of the overnight stays. The peculiarity of the composition also plays into this: all acts begin with everyday sketches Everyday life, this gives the play a mood of hopelessness, the hopelessness of the situation, the impossibility for the tramps to escape from this world. Three of the four acts (II, III, IV) end in death (of Anna, Kostylev and Actor, respectively); the tragedy of these scenes makes a heavy and overwhelming impression on the viewer.
Gorky really subtly thought out the stage organization, the staging of the play, this is evidenced by the detailed remarks, detailed descriptions place of action and type of actors. The poster lists the exact age of the characters, with an average of 30 years; at this age, people are usually at the peak of their careers, and the heroes of the play "At the bottom", on the contrary, find themselves at the "bottom" of society, life; the symbolism of the name is subtly thought out by the author. The stage details are also symbolic, such as: a window in the first and fourth act, disappearing, like the hope of the heroes for better life; the partition that at the beginning separated Ash's room, disappearing in the finale. Unlike Chekhov, Gorky leads the heroes to spiritual unity at the end: disunity is replaced by mutual understanding. In general, the principles of building a system of characters are also Chekhov's tradition: the heroes are divided into groups, firstly - into the owners and inhabitants of the rooming house; the inhabitants of the rooming house, in turn, against the supporters of Luke and the supporters of Satine.
The images created by Gorky are embossed and multifaceted; that is why, due to the difference in interpretations, there are still several points of view on the possible reading of the play. Characters are created in the play primarily through a poster giving name and age; secondly, the images are inextricably linked with the interior: in the “cave-like basement”, people growl, grunt, hiss and make other animal sounds. Next, each tells his biography. Also, the impression of the hero is formed due to the stylistic coloring of his speech: Luka has many proverbs, Bubnov has “thieves'” aphorisms (for example, the people “were honest, but the spring before last...”). Actors often characterize each other, complementing the images; so, almost everyone describes Luka after his disappearance. The images are revealed, for example, through the parallelism of the parable of the "righteous land" and the tragedy of the Actor; in general, Gorky endows his heroes with the gift of foresight, prediction: Natasha near the bedside of the dead Anna prophesies the same end for herself (“in the basement, downtrodden ...”), Ash is predicted that Natasha “through him” will disappear. With these artistic means Gorky exacerbates a painful atmosphere, enhances the feeling of hopelessness, creates more clear and scenic images, and intrigues the viewer.
According to documents, the audience who came to the premiere of the play "At the Bottom" at the Moscow Art Theater in 1903, sobbed. The reaction to the play of different literary schools was varied, they discussed the problems and the author's position, but no one could refute the perfection of Gorky's chosen art form, which most fully reflected his idea, made the play bright, multifaceted, deep, and exciting.
At the heart of the play "At the Bottom" love affair, which fits into two love triangles Ashes - Vasilisa-Natasha, Ashes-Vasilisa-Kostylev. Its development leads to the fact that Pepel kills Kostylev and ends up in prison, Natasha, crippled by Vasilisa, ends up in the hospital, and Vasilisa becomes the sovereign hostess of the rooming house.
But the originality of the play is that it is not love that is decisive. Most of the heroes are not involved in the development love story, and he himself occupies, as it were, a secondary position in relation to what Gorky depicts.
In the first place here is the social conflict between the owners of life, the Kostylevs, and the inhabitants of the rooming house. And even wider between Russian reality and the fate of people who were thrown out of active life to the bottom.
The social conflict of the work was perceived by contemporaries as a call for revolution, for fundamental change life. It was the play's conflict that made it revolutionary—it was the clash between reality and the lives of the people of the rooming house. But the most interesting thing is that even now the play has not lost its modern (universal) sound, it's just that the modern viewer and reader have changed their accents.
The figurative system of the play in resolving the conflict "At the Bottom"
The inhabitants of the rooming house are representatives of two lives, vagabonds who have been thrown to the bottom by society and who are not needed by society.
Gorky shows that people find themselves at the bottom in different ways:
- Satin - after prison,
- The actor fell asleep
- Tick due to wife's illness,
- The baron went bankrupt
- Ashes because he is a hereditary thief.
The reasons that led people to this state have not lost their relevance. Thus, the reasons for the conflict between these people and reality are different.
The inhabitants of the doss house have different attitudes towards their position, towards the fact that reality itself is such that it pushes them to the bottom and keeps them there. Some have come to terms with reality:
- Bubnov
(“A person is a thing, you are superfluous everywhere ... and all people are superfluous ...”),
("We must live - according to the law"),
- Natasha (dreams replace real life),
- Baron (life replaced by memories of the past).
Others are having a hard time with their condition, hoping or dreaming to change it (Natasha, Pepel, Actor).
But neither the first nor the second know how to escape from here. A modern reading of the play allows us to say that a person's attitude to his position determines his attitude to reality.
Therefore, the third group of heroes is very important - Satin and Luka - it is they who, as it were, know what needs to be done. The meaning of the images of Sateen and Luke and that here is formed more
one conflict is the conflict between truth and compassion, between truth and white lies.
The humanitarian component of the conflict in Gorky's play
Luke is one of central characters, with his appearance in the rooming house, internal changes begin. According to the author, this character is rather negative
(“the savagery of virtue”, “the crafty old man”).
Luka takes pity on the man: he consoles the dying Anna, he tells Ash about the wonderful life in Siberia, where you can do everything all over again, he tells the Actor about hospitals where you can recover from alcoholism. Gorky himself is sure that
"Don't feel sorry for the person." The writer believes that "pity humiliates a person."
However, it is Luke that affects people, it is he who makes them take a fresh look at their situation. It is he who remains at the bedside of the dying Anna until the last minute. Consequently, the rather unambiguous attitude of the author to the character does not make the image of Luka unambiguous, but sets its multidimensionality.
Satin stands out among others with his attitude to life and his statements about it. His monologues about man and truth are Gorky's credo. The image of this hero is ambiguous. He can be considered as a person provoking, for example, Pepel to kill Kostylev. A person who deliberately refuses to do anything, whose monologues are in conflict with his behavior. But you can consider his position from the point of view of Stoic philosophy: he deliberately refuses to work for this society, which threw him to the sidelines of life, he despises him
(“To work? For what? To be full?… Man is higher! Man is higher than satiety!”).
Thus, Satin is not unambiguous in the work.
The conflict of the play “At the Bottom” between compassion and truth is formally resolved in favor of the truth: Luka’s consolations did not make the lives of the inhabitants of the rooming house better (the Actor commits suicide, Ash goes to prison, Natasha goes to the hospital, Luka himself disappears). A person must know the truth about himself, says Gorky, then he can change this life. But the question posed by the writer remains a question, since the images of the characters do not provide an unambiguous solution, so the play has not lost its relevance.
The conflict between the inhabitants of the rooming house and reality is also ambiguously resolved. On the one hand, as already mentioned, the very attitude of people determines their condition, their life path. On the other hand, the masters of life (Kostylev and Vasilisa) are the type of exploiters who are alien to humanity, their thoughts are aimed at profit, the existing system is beneficial to them. In the images of the Kostylevs, Gorky condemns the existing system. No wonder contemporaries take the play as a call to change the existing system. Thus, according to Gorky, it is necessary to change life - then a person will change. The resolution of the conflict between the inhabitants of the rooming house and reality is taken out by the author outside the work.
Unusual for its time, the plot (the life of a rooming house) and the universal human conflict in the play "At the Bottom", with an unambiguous and definite position of the author, give an ambiguous interpretation of the work and make it relevant for any time.
Did you like it? Do not hide your joy from the world - shareMaterials are published with the personal permission of the author - Ph.D. O.A. Maznevoy (see "Our Library")
In the early 900s, Gorky turned to dramaturgy. Gorky's interest in her was largely facilitated by his rapprochement at that time with the troupe of the Moscow Art Theater. The influence was mutual. Gorky's first work as a playwright was the play Petty Bourgeois (1901). The main conflict of Gorky's play is the clash of the world of petty-bourgeois owners with the opposing camp of the Nile, bourgeois ideology and ethics with new views on the world and man, which are being formed among the progressive democratic intelligentsia. The division of forces occurs in the play not on the basis of generations, but on social and ideological grounds. The conflict of fathers and children is relegated to the background, moreover, it is insignificant, temporary. Gorky emphasizes his external, comic character. Gorky argued that the criticism of petty bourgeoisie from the positions of individualism at this stage in the development of Russian democracy and Russian democratic thought, in essence, was included in the struggle against the liberation movement, against the genuine social emancipation of the individual. The play The Philistines is usually compared with The Three Sisters. The theme of philistinism and tense expectation of the future is at the center of both plays. But if in Chekhov's play philistinism sets in, then in Gorky's play a different situation develops: a new force is actively attacking the whole way of life - new people whose dream of the future is already based on real foundations in the present. In the field of dramatic form, Gorky, the author of Petty Bourgeois, follows Chekhov: he refuses intrigue and unusual situations. Conflicts in the play mature in the daily course of life itself. But Gorky exposes the alignment of social forces, the confrontation of ideological concepts. The main conflict of the "philistines" is clearly expressed in the ideological struggle. In the image of Nil, Gorky wanted to show the type of Russian working man who greedily reaches for knowledge, participates in circles, reads newspapers and books. The characters in the play are characterized by Gorky in connection not only with their public position, but also with their philosophical and aesthetic views. Neil performed a joyful attitude, optimism. He believes in man, in his mind, creative possibilities. Mikhailovsky saw the original figure only in Teterev, for, according to Mikhailovsky, Grouse is closest to the author's heart.
Gorky's second play "At the bottom". It was the writer's response to the most relevant social, philosophical and moral issues time. Ideological topicality immediately attracted the attention of the Russian public to the play. Thematically, the play completes the cycle of Gorky's works about tramps. The play towered over all Gorky's works of the 1990s and 1990s with the power of denunciation. Gorky argued that a society that distorted the human cannot exist. The problem of the "bottom" and "owners", which already acquires a political sound in the play, is organically linked to the main problem of the play and one of the "cross-cutting" ones in all of Gorky's work - the problem of humanism. Gorky has always opposed offensive to people» sermons of comfort. The heroes of the play - the Actor, Ashes, Nastya, Natasha, Kleshch - strive to break free from the "bottom" of life, but feel their own impotence before the constipation of this "prison". They have a feeling of hopelessness of their fate and a craving for a dream, an illusion that gives at least some hope for the future. Luke is the bearer of the idea of consoling deceit in the play. The principle of his attitude to man is the idea of compassion. In the play "At the bottom" appeared dramatic innovation artist. Using the traditions of the classical dramaturgical legacy, primarily Chekhov's, Gorky creates the genre of socio-philosophical drama, developing his own dramatic style with its pronounced characteristic features.
Gorky created dramatic work new type. The peculiarity of the play is that driving force dramatic action is a struggle of ideas. The external events of the play are determined by the attitude of the characters to the main question about the person, the question around which there is a dispute, a clash of positions. Therefore, the center of action in the play does not remain constant, it shifts all the time. The so-called "heroless" composition of the drama emerged. structural feature Gorky's drama was to shift the emphasis from the events of external action to the comprehension of the internal content of the ideological struggle. Therefore, the knot of external events is untied by Gorky not in the last, fourth act, but in the third.
In 1904-1905. Gorky wrote the plays "Summer Residents" (1904), "Children of the Sun" (1905), "Barbarians" (1905). The central problem of the plays is the intelligentsia and the people, the intelligentsia and the revolution. Again, as in the play "Petty Bourgeois", Gorky contrasts in "Dachniks" two camps of Russian intellectuals: in one - "dacha residents", in the other - people of labor psychology, heirs of the civic ideals of the revolutionary past. The problem of relations between the intelligentsia and the people, the intelligentsia and the revolution became the leading one in another play by Gorky of this cycle - "Children of the Sun". Here another stratum of the Russian intelligentsia is depicted - these are people of science and art, sincerely devoted to their work and sincerely mistaken in public affairs life. In the summer of the same 1905, Gorky wrote the third play of this cycle, The Barbarians, in which the playwright, using new material, developed a theme outlined by Foma Gordeev, the theme of the contradictions between bourgeois progress and civilization.
"At the Bottom" by M. Gorky as a social philosophical drama .
In the play "At the Bottom" it is not philosophical problems that are important, but a social picture that captures certain aspects of Russian reality in the early 900s. "At the Bottom" is a philosophical drama, and in it everything matters insofar as it helps to solve philosophical problems. "At the bottom": its main theme is truth and lies. Its main characters are the wanderer Luke, "the wicked old man." He appears in order to seduce the inhabitants of the "bottom" with a comforting lie about the realm of goodness existing somewhere. With it, it is easier not only to live, but also to die. After his mysterious disappearance, life again becomes evil and strange. Gorky contrasted Luka with a certain Satin, personifying the awakening of the proletarian consciousness. Satin is, so to speak, the official reasoner of the play. Positive hero Gorky was less successful than the negative one, because he endowed the positive with his official ideology, and the negative with his living feeling of love and pity for people.
Kostylev's bunkhouse is not so much a bunkhouse as it is a type of life. revealing the most important feature of this type of life, Gorky noted that the tramp is terrible because of his imperturbable despair, because he denies himself, spewing out of life. Despair is born of unbelief.
Satin is destructive in many ways. He inspires Ash with the idea of killing Kostylev. Prevents the Actor's attempts to leave the rooming house. In the "philosophizing card sharper" the Mephistopheles principles are clearly expressed. Satin is harsh, rude, mocking, self-confident, impudent, skeptical to the point of cynicism, sometimes cruel to others and does not put forward any positive ideas until the last act. Thus, Kostylevskaya noss house, “the bottom is a world created by another god. The Creator, the “ideologist” of this world is Satanail-Satin.
The appearance of Luke in the second act compositionally connects the second act with the third. Here the "appearance" of Luke is natural, ideologically justified: it is in the third act that the essence of his philosophy is expounded. Moreover, Luke expresses his views, beliefs with the help of vivid aphorisms, parables, which emphasizes the prevalence, popularity of these beliefs, their closeness to the teachings of Christ. Luka is called upon to dispel the darkness of the night, to fill the Kostylevo rooming house with kindness, faith, warmth and light. However, the arrival of Luka, as the author is trying to convince, was not crowned with success: he did not save the Actor, did not save Vaska Ash from the crime. Thus, Gorky seeks to prove the inconsistency of the improvement of the bourgeois world by means of humanism, goodness, and the spiritual harmonization of each person.
Gorky's play, thanks to its expressive finale, evokes a special spiritual enlightenment. This finale is filled with a welcome to a new life enriched by the experience of tragedy. He showed not so much tangible results in his own series, but the potential for future changes, their prerequisites in the field of spirit.
Luke struggles not with the causes of evil, but with their consequences. Another thing is Satin - Satan. Expressing many of Gorky's views, he strives for the truth. Truth for him is a Man who becomes higher than God.
The dream in the play is often understood as a lie, but a lie can be understood in different ways. Different degrees of faith and disbelief are revealed (belief in people, in their ability to get rid of misfortunes and find a way to real life- and disbelief in them). The faith of the characters in the play has a number of successive gradations - from faith in God, to afterlife, in religious miracles to faith in Man.
The play presents a diverse gallery of the inhabitants of the "bottom" who came here literally from all social levels - from the aristocracy, from the working intelligentsia, from artisans, peasants, proletarians.
"At the bottom" - a debate about the truth. Everybody is here - different people, worldviews are going to storm the truth. And here the criterion of truth is human existence. Man is at the center of everything. This is influenced by the ideas of Nietzscheism. Therefore, each person has his own truth, he is his own law - he is in the center of everything. Luke only helps people to realize that they are supermen, and their truth is the main truth, the only one. True, everyone has their own. “The very posing of the question that the thinking of truths and facts has a foundation immediately knocked down arrogance from the realm of self-satisfying logic, for it resolutely declared that there is no truth, with which humanity and people should check and seek it, but humanity in its life creates and overthrows truths, just as it creates and overthrows all facts, all gods and values. Man is the crown of truth. And Luke is presented here as an idea, he is put in the center, because he brought faith in man and his logic, because man is the measure of everything.
Therefore, Gachev believes that main conflict NOT between Luca and Sateen. And this is his innovation.
Problem, conflict: the logic of things and the logic of man.
The logic of things - Kostylev, Vasilisa (they need documents, confirmation of status).
The logic of man is Luke and Satin (Luke is a wanderer, he does not belong to the world of things, he is free, this is his truth). In the logic of man - reliance on beggars.
Lies are the religion of slaves and masters, the religion of the logic of things. Since in it a person is not valuable in itself, he is replaced by his position, status, documents. Truth is the religion of truth, logic. Therefore, Satin and Luke are one (Satin's speech in support of Luke after his disappearance).
The world of "Dna" - the world naked man. The logic of things does not apply here. And man is free - he is true. "Dno" - "a kingdom not of this world, a kingdom of freedom." The inhabitants of the bottom live like celestials - they play, drink, meditate. The heroes have no names, only nicknames, because the name binds a person to the logic of things.
The tick is given in the process of evolution. He considers everyone below him, wants to work in order to belong to the logic of things. Working to earn is slavery. To work for pleasure is freedom (Satin).
In the parable about righteous land the impotence of the logic of things to understand the existence of man was revealed.
M. Gorky
Option I
1. Indicate the years of life of M. Gorky.
a) 1868-1936 b) 1870-1921 c) 1890-1940 d) 1895-1925
2. In what city was M. Gorky born?
a) Moscow b) Petersburg c) Nizhny Novgorod d) Saratov
3. How does M. Gorky feel about the first Russian revolution?
a) sympathized; b) actively supported, helped financially
c) wary; d) negative
4. Early stories A.M. Gorky are written in the spirit:
a) modernism; b) realism; c) romanticism?
6. Genre of M. Gorky's play "At the bottom":
a) everyday drama; b) socio-philosophical drama
c) tragedy; d) melodrama
7. Name Tick
a) Dmitry; b) Andrew; c) Vanka; d) Stephen.
8. The character of the play "At the Bottom", who entered into a philosophical dispute with Luka, argued that one should not humiliate a person with pity?
a) tick; b) Satin; c) an actor d) Baron.
9. Who is it about in the play “At the Bottom”: “How much atrocity is in her, in this woman!”
a) about Anna; b) about Natasha; c) about Nastya; d) about Vasilisa.
10. Which of the characters in the play “At the Bottom” declares: “I am a working person ... and I have been working from an early age ... I’ll get out ... I’ll tear off my skin, and I’ll get out”?
a) Satin b) Baron c) Tick d) Ashes
11. Which of the characters in the play “At the Bottom” claimed: “Lies are the religion of slaves and masters ... Truth is the god of a free man!”?
a) Luka b) Tick c) Satin d) Bubnov
12. According to the statements of the heroes of M. Gorky's play "At the Bottom", determine the character of the drama:
a) “Make it so that the work is pleasant for me - maybe I will work ... When work is pleasure, life is good! When work is a duty, life is slavery!”
b) What is conscience? I am poor"
c) “I don’t remember when I was full ... I trembled all my life ... I suffered ... how not to eat more than another ...”
d) “Prison will not teach good, and Siberia will not teach ... but a person will teach ...”
e) “... Otherwise ... I’ll imagine that tomorrow I’ll suddenly die ... And it will become terrible from this ... In the summer it’s good to imagine about death ... thunderstorms happen in summer ... it can always kill with a thunderstorm ... "
A) Natasha B) Satin C) Anna C) Bubnov E) Luka
M. Gorky
II Option
1. Indicate the real name of M. Gorky.
a) Alexei Maksimovich Peshkov b) Vasily Ivanovich Kashirin
c) Maxim Alekseevich Peshkov d) Ivan Alekseevich Kashirin
2. What politician was a journalistic essay devoted to?
a) A.V. Lunacharsky b) I.V. Stalin c) V.I. Lenin d) N.I. Bukharin
3. What education did M. Gorky receive?
a) studied at the gymnasium b) graduated from Kazan University
c) was educated at home d) did not receive any systematic education
4. In which story is the image of a man with a "burning heart"
a) "Makar Chudra"; b) "Old Woman Izergil"; c) "Chelkash"?
5. Who pronounces the phrase "In life ... there is always a place for a feat", which has become an aphorism
A) the old woman Izergil; b) Loiko Zobara; c) Danko?
6. Indicate the main dramatic conflict of M. Gorky's play "At the Bottom".
a) social (between Kostylev and overnight stays)
b) ideological (between Luka and overnight stays)
c) love (between Vasilisa, Ash and Natasha)
d) internal (In the awareness of the overnight stays of their fall and the inability to come to terms with it)
7. Which of the characters in the play "At the Bottom", hiding behind the service of God, robs people?
… And I’ll throw a half a ruble on you, I’ll buy butter in a lamp .... and my sacrifice will burn before the holy icon ...
a) Baron b) Satin c) Luka d) Kostylev
8. Determine which of the characters says the following phrases:
a) “Every flea is not bad, everyone is black, everyone jumps”
b) " Good man must have a passport ... All good people patchport have "
c) “Why can’t a sharper sometimes speak well… if decent people speak like a sharper…”
d) “I never understood anything ... it seems to me that all my life I have only changed clothes .... And why? .. I don’t understand!
A) Baron B) Luka C) Satin D) Kostylev
9. Which of the inhabitants of the rooming house goes to prison for killing the owner of the rooming house?
a) Ashes; b) tick; c) Baron; d) Alyoshka.
8. Name the hero of the play, into whose mouth M. Gorky puts the author's point of view.
a) Luka b) Sateen c) Bubnov d) Baron
10. What is the main subject of the image in M. Gorky's play "At the Bottom"?
a) life circumstances that brought people to the "bottom"
b) the consciousness of people thrown to the "bottom" as a result social processes that took place in Russian society at the turn of the century
c) the life of the people of the "bottom"
d) the relationship between the "masters of life" and people dependent on them
11. Which scene is the opening internal conflict in M. Gorky's play "At the Bottom"?
a) Kostylev’s conversation with the overnight stays in the 1st act about Vasilisa
b) the appearance of Natasha
c) the appearance of Luka in the rooming house
D) Luke's story-parable about the "Righteous Land"
12. Luke, with his consoling speeches, awakened in almost every rooming house the dream of a different, better, decent life. What do the overnight stays dream of? (specify the correspondence)
a) Nastya A) about the hospital for alcoholics
b) Anna B) about pure high love
c) Vaska Pepel C) about the deliverance of torment in the next world
d) Actor D) about honest, working life in a settlement in Siberia
