The Role of Landscape in Early Romantic Stories
Maxim Gorky.
In his early works, Maxim Gorky appears as a romantic. Romanticism presupposes the affirmation of an exceptional personality, acting one on one with the world, approaching reality from the standpoint of his ideal, making exceptional demands on those around him. The hero is head and shoulders above other people who are next to him, he rejects their society. This is the reason for the loneliness so typical of a romantic, which is most often thought of by him as a natural state, because people do not understand him and reject his ideal. Therefore, the romantic hero finds an equal beginning only in communion with the elements, with the world of nature, the ocean, sea, mountains, coastal rocks. “A damp, cold wind blew from the sea, spreading across the steppe the thoughtful melody of the splashing of a wave running ashore and the rustling of coastal bushes. Occasionally his impulses brought with them shriveled, yellow leaves and threw them into the fire, fanning the flames; the darkness of the autumn night surrounding us shuddered and, timidly moving away, opened for a moment on the left - the boundless steppe, on the right - the endless sea and directly opposite me - the figure of Makar Chudra, the old gypsy ... ". (Gorky M. Favorite Stories, essays, plays. - M., 1983.) Therefore, so great importance receives in romantic works a landscape devoid of halftones, based on bright colors, expressing the most indomitable essence of the elements and its beauty and exclusivity. The landscape is thus animated and, as it were, expresses the eccentricity of the character of the hero. “The sea was still whispering with the shore, and the wind still carried its whisper over the steppe”; “The sea quietly echoed the beginning of one of the ancient legends that, perhaps, were created on its shores”; The sea was muffled and mournful. (Gorky M. Selected Stories, essays, plays. - M., 1983.) For a romantic consciousness, the correlation of character with real life circumstances is almost unthinkable - this is how the most important feature of a romantic artistic world: the principle of romantic duality. The romantic, and therefore ideal, world of the hero opposes the real world, contradictory and far from romantic ideal. The opposition of romance and reality, romance and the surrounding world is a fundamental feature of this literary direction.
This is how we see the heroes of the early romantic stories Gorky: "Old Woman Izergil", "Makar Chudra". The old gypsy Makar Chudra appears to the reader precisely in a romantic landscape: he is surrounded by the "gloom of the autumn night", which "shuddered and, timidly moving away, opened for a moment on the left - the boundless steppe, on the right - the endless sea."
So, the landscape is animated, the sea and the steppe are endless, they emphasize the boundlessness of the freedom of the heroes, their inability and unwillingness to change this freedom for anything. A little later, Makar Chudra will state this position directly, speaking of a person who, from his point of view, is not free: “Does he know his will? Is the expanse of the steppe understandable? Does the voice of the sea wave gladden his heart? He is a slave - as soon as he was born, he is a slave all his life, and that's it! (Gorky M. Selected Stories, essays, plays. - M., 1983.) In a romantic landscape, the heroine of another story, the old woman Izergil, appears before us: “The wind flowed in a wide, even wave, but sometimes it seemed to jump over something invisible , and, giving birth to a strong impulse, waving the women's hair into fantastic manes that billowed around their heads. It made women strange and fabulous. They moved farther and farther away from us, and the night and fantasy dressed them more and more beautifully. (Gorky M. Selected Stories, essays, plays. - M., 1983.) It is in such a landscape - seaside, night, mysterious and beautiful - that Makar Chudra and the old woman Izergil, the main characters of these stories, can realize themselves. Their consciousness, their character, its sometimes mysterious contradictions turn out to be the main subject of the image. The landscape was introduced to study the complex and contradictory characters of the characters, their strengths and weaknesses.
The ideological and compositional role of the landscape in the early romantic stories of M. Gorky
Oh I'm like a brother
I would be happy to embrace the storm!
M. Yu. Lermontov
A great master of words, A. M. Gorky creates wonderful romantic works, which from the very beginning announced the emergence of a bright talent, an extraordinary personality. Gorky the writer was interested in unusual heroic characters, contrasting sharply with the gray mass that dominates around.
The heroes of the stories Makar Chudra and the Old Woman Izergil are rebellious and strong personalities, looking for meaning in the reality around them. To match the characters and the situation around them: the sea blew a damp cold wind, fanning the flames of the fire. The narrator, the old gypsy Makar Chudra, is a rather unusual and colorful figure. He speaks almost in aphorisms, weightily expresses his view of life peremptorily: So do you walk? This is good! You have chosen a glorious share, falcon. That's right: go and look, you've seen enough, lie down and die, that's all!
In the legend he told about Loiko Zobar and Radda, the main life position Chudry: above all else, he values freedom. Even human life has no meaning if sol is lost. Chudra speaks poetically and beautifully about freedom, which few can appreciate. This is the destiny of only the elite, and the majority have no time to think about it. Does he have a will? Is the expanse of the steppe understandable? Does the voice of the sea wave gladden his heart? He is a slave as soon as he was born, a slave all his life, and that's it! What can he do with the oboe? Only to strangle himself, if he grows a little wiser.
Makar advises his young interlocutor not to think about life, so as not to fall out of love with it. The beauty of the surrounding world acts as a contrast between the majesty created by nature, and people who do not know how or do not want to appreciate this gift, be content with it. The restless spirit of the heroes of the story is emphasized by the magnificent expanse surrounding them.
The author draws powerful elements: the sea and the steppe. Here everything is full-sounding, there are no semitones. Gorky is looking for a worthy hero who embodies the author's idea of a strong personality. These searches continued in the story of the Old Woman Izergil. From the anti-hero Larra, through the fate of Izergil, the author tries to lead the reader to an understanding of the ideal hero Danko. The harsh landscape of an impregnable forest, fetid swamps do not frighten the hero. Danko is full of love for people, for them he is able to sacrifice his life.
But the people cannot appreciate this feat. Weak and shy, people fear the hero himself. That is why they step on the flaming heart of Danko, so that a fire does not flare up from him. What can he bring? Yes, whatever. Fear rules the masses. And the author does not hide this from his readers. Nature is eternal and majestic. She indifferently looks at the pettiness of human concerns and interests, emphasizing the transient in human life and the minds of the people.
The author is delighted with the magnificence of the surrounding world. He sees its cosmic dimensions. From here, the human bustle seems almost ridiculous and pitiful, and only the chosen ones, like Danko, are able to rise above the crowd and die for the sake of life, misunderstood and unappreciated: The proud daredevil Danko cast a glance ahead of himself on the expanse of the steppe, he threw a joyful look at the free land and laughed proudly . And then he fell and died. People, joyful and full of hope, did not notice his death and did not see that his brave heart was still burning next to the lifeless Danko. Only one cautious person noticed this and, being afraid of something, stepped on a proud heart with his foot ... And now it crumbled into sparks and died out ... That's where they come from, the blue sparks of the steppe that appear before a thunderstorm!
Pictures of nature in the early romantic stories of M. Gorky not only frame the content and are the background, they are an integral and essential part of the content. Descriptions of nature allow the author to move, as if on a footbridge, from topic to topic, decorate the narrative, give scope to the artist's imagination of the word, emphasize the beauty of the author's speech. The steppe was quiet and dark. Clouds kept creeping across the sky, slowly, dully... The sea was muffled and mournful.
Bibliography
For the preparation of this work, materials from the site were used.
The ideological and compositional role of the landscape in the early romantic stories of M. Gorky
Oh I'm like a brother
I would be happy to embrace the storm!
M. Yu. Lermontov
A great master of words, A. M. Gorky creates wonderful romantic works, which from the very beginning announced the emergence of a bright talent, an extraordinary personality. Gorky the writer was interested in unusual heroic characters, in sharp contrast with the gray mass that dominates around.
The heroes of the stories "Makar Chudra" and "Old Woman Izergil" are rebellious and strong personalities, looking for meaning in the reality around them. To match the characters and the situation around them: the sea was blowing "damp cold wind", "inflating the flames of the fire." The narrator - the old gypsy Makar Chudra - is a rather unusual and colorful figure. He speaks almost in aphorisms, weightily and peremptorily expresses his outlook on life: “So you walk? This is good! You have chosen a glorious share, falcon. That's how it should be: go and look, you've seen enough, lie down and die - that's all!
In the legend he told about Loiko Zobar and Radda, Chudra's main position in life is revealed: above all else in the world, he values freedom. Even human life has no meaning if sol is lost. Chudra speaks poetically and beautifully about freedom, which few can appreciate. This is the destiny of only the elite, and the majority have no time to think about it. “Does he know his will? Is the expanse of the steppe understandable? Does the voice of the sea wave gladden his heart? He is a slave - as soon as he was born, he is a slave all his life, and that's it! What can he do with the oboe? Only to strangle himself if he grows a little wiser.
Makar advises his young interlocutor not to think about life, so as not to fall out of love with it. The beauty of the surrounding world acts as a contrast between the majesty created by nature, and people who do not know how or do not want to appreciate this gift, be content with it. The restless spirit of the heroes of the story is emphasized by the magnificent expanse surrounding them.
The author draws powerful elements: the sea and the steppe. Here everything is full-sounding, there are no semitones. Gorky is looking for a worthy hero who embodies the author's idea of a strong personality. These searches continued in the story "Old Woman Izergil". From the anti-hero Larra, through the fate of Izergil, the author tries to lead the reader to an understanding of the ideal hero - Danko. The harsh landscape of an impregnable forest, fetid swamps do not frighten the hero. Danko is full of love for people, for them he is able to sacrifice his life.
But the people cannot appreciate this feat. Weak and shy, people fear the hero himself. That is why they step on the flaming heart of Danko, so that a fire does not flare up from him. What can he bring? Yes, whatever. Fear rules the masses. And the author does not hide this from his readers. Nature is eternal and majestic. She indifferently looks at the pettiness of human concerns and interests, emphasizing the transient in human life and thoughts of people.
The author is delighted with the magnificence of the surrounding world. He sees its cosmic dimensions. From here, the human bustle seems almost ridiculous and pitiful, and only the chosen ones, like Danko, are able to rise above the crowd and die for the sake of life, misunderstood and unappreciated: laughed proudly. And then he fell and died. People, joyful and full of hope, did not notice his death and did not see that his brave heart was still burning next to the lifeless Danko. Only one cautious person noticed this and, being afraid of something, stepped on a proud heart with his foot ... And now it crumbled into sparks and died out ... - That's where they come from, the blue sparks of the steppe that appear before a thunderstorm!
Pictures of nature in the early romantic stories of M. Gorky not only frame the content and are the background, they are an integral and essential part of the content. Descriptions of nature allow the author to move, as if on a footbridge, from topic to topic, decorate the narrative, give scope to the artist's imagination of the word, emphasize the beauty of the author's speech. “It was quiet and dark in the steppe. Clouds were all crawling across the sky, slowly, boringly ... The sea rustled muffled and sad.
The ideological and compositional role of the landscape in the early
romantic stories by M. Gorky
Oh I'm like a brother
I would be happy to embrace the storm!
M. Yu. Lermontov
M. Gorky has always been interested in unusual heroic characters, in sharp contrast to the gray everyday life.
The first stories of M. Gorky are usually dated from the 90s of the 19th century to 1905. During these years, the genre of the story prevails. At the turn of the century, this genre makes it possible to comprehend a new historical stage, to characterize it in various manifestations. We see that M. Gorky's stories are not uniform. Among them, there are three streams of stories, different in nature:
romantic: "Makar Chudra", "The Girl and Death";
realistic: "For the sake of boredom", "Former people", "In the steppe";
romantic-realistic: "Chelkash", "Konovalov", "Twenty-six and one".
Tramps, the heroes of his romantic stories, are defeated by the environment. Gorky himself wrote: “I saw that the people around me were not capable of exploits and crimes ... and it’s hard to understand what is interesting in their life? I don’t want to live such a life ... ”The romantic hero became the Savior of people from their weakness and worthlessness. He is the embodiment of a spiritual impulse, justice, a full-blooded happy life.
So, we see that the young writer has been given a difficult task: to realize himself as a realist writer, telling about the people of the "bottom", and as a romantic, inspired by the dream of better world for people. Is it possible to do this if you do not develop a unique style?
A comparative analysis of some works will show us what is the originality of the style of Gorky the romantic and Gorky the realist and what are the features of the landscape in his works.
Let us turn to the landscape in the story "Old Woman Izergil": “The air was saturated with the pungent smell of the sea and the greasy fumes of the earth, shortly before evening, abundantly moistened with rain. Even now fragments of clouds roamed the sky, lush, of strange shapes and colors, here–soft as puffs of smoke, gray and ash-blue, there–sharp, like fragments of rocks, dull black or brown. Between them, dark blue patches of sky glittered affectionately, adorned with golden flecks of stars. All this is sounds and smells, clouds and people–it was strangely beautiful and sad, it seemed like the beginning of a wonderful fairy tale.
Let's compare the landscape with the description of the seaport in the story "Chelkash": "Dust-darkened blue southern sky –cloudy; the hot sun looks into the greenish sea, as if to say a thin gray veil. It is almost not reflected in the water, cut through by the blows of oars, steamship propellers, sharp keels of Turkish feluccas and other ships plowing the narrow harbor in all directions ... The ringing of anchor chains, the roar of car clutches ... the screams of loaders, sailors and customs soldiers–all these sounds merge into the deafening music of the working day ... "
How different are these landscapes, created by one artist in almost the same year, painting the same southern sea! In the story "Old Woman Izergil" the landscape is, as it were, introduces the following two legends into a fairy-tale setting , which tells Izergil. He creates the backdrop for her stories . This idea is subject to the choice of visual means of the language. In the landscape, along with colorful epithets that determine the richness and quirkiness of the colors of the evening sky, a large place is occupied by emotional-evaluative, abstract epithets: “strange shapes and colors”, “wonderful fairy tale”.
If the first landscape depicted a calming unusual, nocturnal nature, then the second landscape depicts a hot working day at the sea harbor. There is not a single abstract epithet here, all definitions are specific, exactly reproduce the subject: “the blue southern sea darkened from dust is muddy”, “hot sun”, “greenish sea”, “gray veil”.
Muffled by the dust and dirt of the port city, the usual colors of this landscape bear little resemblance to the fantastic combinations of colors of the evening sky from the story “The Old Woman Izergil” (there are “gray and ash-blue, dull black, brown clouds”, “dark blue patches of sky” , "gold flecks of stars").
We see that this kind of introduction to the further narrative prepares the reader not to " wonderful fairy tale”, but to a story about a difficult day in a port city, about deeds and thoughts real people- Chelkash and Gavrila.
Let's continue the comparison and compare the image of people in the stories.
The romantic approach to describing people in "Old Woman Izergil" can be shown with the help of epithets, of which there are many. They draw heroes in a generalized way: all men have “dusty, black” curls, all women have “dark blue” eyes and “silk and black” hair, all people are “fun”, “bronze” and “slim”.
Obviously, it is important for the writer in this case to highlight the main quality of these people - their beauty, and therefore in their portraits there are no characteristic and individual details, there are no hints of which social group they belong to, except for the words that they, having finished the grape harvest , went with songs to the sea. Admiring them, the author uses abstract and emotional epithets: "strange", "fabulous", "fantastic".
They are directly opposed to the workers from the story "Chelkash", enslaved and depersonalized by hard work.
Their images are socially specific. These are loaders, sailors, customs soldiers. The epithets used by M. Gorky create an image of people crushed by the hardest work: their figures are “dusty”, “ragged”, “bent under the weight of goods”, “the voices of people ate audible ... weak and funny”, “torn, sweaty, stupid from fatigue, noise and heat people.
In the conditional setting of a romantic story, proud and original, healthy and beautiful people drawn by Gorky in complete harmony with nature.
In the story "Chelkash" weak, small people are shown in a terrible, irreconcilable contradiction with the environment, with "wet machines shining in the sun with dignity", "with heavy giant steamboats".
If in romantic description people evoked a mood of delight both in us and in the writer, then in the realistic port people Gorky described with a sense of "cruel irony".
He constantly emphasizes that people are pitiful, ridiculous to tears, insignificant, thereby expressing his deep indignation at social contrasts in a world of injustice and oppression.
The author portrays romantic heroes in a completely different way. In the stories "Makar Chudra" and "Old Woman Izergil" these are rebellious and strong personalities, looking for meaning in the reality around them. To match the characters and the situation around them: from the sea blew a "damp cold wind", "inflating the flames of the fire." The narrator, the old gypsy Makar Chudra, is a rather unusual and colorful figure. He speaks almost in aphorisms, weightily and peremptorily expresses his outlook on life: “So you walk? This is good! You have chosen a glorious share, falcon. That's how it should be: go and look, you've seen enough, lie down and die - that's all!
In the legend he told about Loiko Zobar and Radda, Chudra's main position in life is revealed: above all else in the world, he values freedom. Even a person's life has no meaning if the will is lost. Chudra speaks poetically and beautifully about freedom, which few people can appreciate. This is the destiny of only the elite, and the majority have no time to think about it. “Does he know his will? Is the expanse of the steppe understandable? Does the voice of the sea wave gladden his heart? He is a slave - as soon as he was born, he is a slave all his life, and that's it! What can he do with himself? Only to strangle himself if he grows a little wiser.
Makar advises his young interlocutor not to think about life, so as not to fall out of love with her. The beauty of the surrounding world acts as a contrast between the majesty created by nature, and people who do not know how or do not want to appreciate this gift, be content with it. The restless spirit of the heroes of the story is emphasized by the magnificent expanse surrounding them.
The author draws powerful elements: the sea and the steppe. Here everything is full-sounding, there are no semitones. Gorky is looking for a worthy hero who embodies the author's idea of a strong personality. These searches continue in the story "Old Woman Izergil". From the anti-hero Larra, through the fate of Izergil, the author tries to lead the reader to an understanding of the ideal hero - Danko. The work of Maxim Gorky "Old Woman Izergil" makes one believe in the existence of a fairy tale, in something unusual, unbridled, unexplored. We find ourselves in a world of songs, a quiet sea, a world of inevitable beauty and pleasant tranquility. Our imagination begins to feel the slightest changes in nature, trying to catch the soft whisper of the waves.
A romantic mood is created with the help of the introduction. We see men, women, happiness, songs and serene fun: “They walked, sang and laughed; men - bronze, with lush, black mustaches and thick curls to the shoulders, in short jackets and wide trousers; women and girls are cheerful, flexible, with dark blue eyes, also bronze. And then: “The wind flowed in a wide, even wave, but sometimes it seemed to jump over something invisible and, giving rise to a strong gust, fluttered the hair of women into fantastic manes ... this made women strange and fabulous.” Gorky creates an atmosphere in which the action develops.
Nature is an integral part of Izergil's stories: “The air was saturated with the pungent smell of the sea and the greasy fumes of the earth, shortly before evening, abundantly moistened with rain. Even now fragments of clouds, magnificent, wandered across the sky. Strange outlines and colors, here - soft, like puffs of smoke, gray and ash-blue, there - sharp, like fragments of rocks, dull black or brown. The sky of pastel colors, fluffy and hard clouds, the emerging moon - everything was conducive to talking about the old, lived, wonderful, long forgotten. The conversation turned out to be unpretentious, simple, and at this time “the moon has risen. Her disk was large, blood red.
The story of the recalcitrant Larr is taken for granted amidst this fantastic beauty.
The old woman Izergil speaks of Larra's excessive pride and independence, which does nothing good for him or the people around him. And the reader is still under the impression of the landscape, of warm sea, from moist salty air.
Maxim Gorky creates, as it were, two worlds in his work. The first one is here on this sea shore, on this warm southern evening, and the second - the world of the old woman's stories about young and strong people, about another time, about superhuman love and superhuman hatred.
The author occasionally breaks away from the story of the old woman, so that the reader does not lose in his imagination bright picture warm evening: “... a thoughtful, rebellious noise was a glorious second story about a rebellious life. The night became softer, and more and more the blue radiance of the moon was born in it ... ". Izergil's words flow more and more naturally, more and more smoothly and naturally. You can draw a parallel between Izergil and the landscape. They flawlessly complement each other, converge in calmness, in explosions of emotions. Here, too, nature has a soul. And not a single step leaves the old woman and the faithful listener.
In the third part, we hear and see an amazing legend about the glorious Danko, who helped people find the light, but which people did not understand. The author included in this story an independent landscape that creates the appropriate mood: “There were swamps and darkness, because the forest was old, and its branches were so densely intertwined that it was impossible to see the sky through them.” “Some people” lived in this world: “And always, day and night, there was a ring of strong darkness around those people, it was definitely going to crush them…”. From this hopelessness, people were cured by thoughts that annoyed them even more. A young, brave, strong man decided to take them to the light: “The forest became thicker, there was less and less strength! And so they began to grumble at Danko, saying that in vain he, young and inexperienced, led them somewhere. The harsh landscape of an impregnable forest, fetid swamps do not frighten the hero. Danko is full of love for people, for them he is able to sacrifice his life.
Bitter builds tension with the help of the landscape , with the help of thunderstorms, darkness, impenetrable forest. This "hard way" must end. It is the description of nature that helps to feel how the end of the terrible world and eternal darkness is approaching. Danko was confident in his abilities and called the people: “They rushed after him, enchanted. Then the forest rustled again, shaking its peaks in surprise ... And then suddenly the forest parted before him, parted and remained behind, dense and dumb, and Danko and all those people immediately plunged into a sea of sunlight and clean air washed by the rain." From dense thickets to sunlight, Danko leads his fellow tribesmen, and then dies, leaving sparks in the evening air.
The author is delighted with the magnificence of the surrounding world. He sees its cosmic dimensions. From here, the human bustle seems almost ridiculous and pitiful, and only the chosen ones, like Danko, are able to rise above the crowd and die for the sake of life, misunderstood and unappreciated: laughed proudly. And then he fell and died. People, joyful and full of hope, did not notice his death and did not see that his brave heart was still burning next to the lifeless Danko. Only one cautious person noticed this and, being afraid of something, stepped on the proud heart with his foot ... And now it, crumbling into sparks, died out ... - That's where they come from, the blue sparks of the steppe that appear before a thunderstorm! Weak and shy, people fear the hero himself. That is why they step on the flaming heart of Danko, so that a fire does not flare up from him. What can he bring? Yes, whatever. Fear rules the masses. And the author does not hide this from his readers. Nature is eternal and majestic. She indifferently looks at the pettiness of human concerns and interests, emphasizing the transient in human life and thoughts of people.
Bitter uses landscape to set the mood of the reader, to escalate and exacerbate the situation, or to balance the situation.
Pictures of nature in the early romantic stories of M. Gorky not only frame the content and are the background, they are an integral and essential part of the content. Descriptions of nature allow the author to move, as if on a footbridge, from topic to topic, decorate the narrative, give scope to the artist's imagination, and emphasize the beauty of the author's speech.“It was quiet and dark in the steppe. Clouds were all crawling across the sky, slowly, boringly ... The sea was muffled and mournful.
Landscape in M.A. Bulgakov "The Master and Margarita"
The novel by Mikhail Bulgakov "The Master and Margarita" is a complex work of art in which not only every word plays more than one role, but the composition, the plot, and the meaning of names and events are filled with special meaning. The researchers paid attention to the fact that the landscape has an unconventional meaning in the novel. Firstly, the landscape in The Master and Margarita (as usual in the genre of the novel) is part of an extra-plot structure: the landscape plays extremely important role in the description of the events taking place in the work. Secondly, in describing the inner world of the characters, the landscape can perform the function of psychological parallelism, that is, through the description of the landscape, the author conveys the inner emotional state of the character (as happens in poetry). These are the two most important tasks that the landscape performs in the work. It is worth recalling the works of I.S. Turgenev, the novels of L.N. Tolstoy, and it becomes clear that without the landscape, the works of our classics are simply unthinkable.
But in the novel The Master and Margarita, a novel of the new, twentieth century, the significance of the landscape is not exhausted by these two functions.
Let's try to trace the purpose of the landscape in the novel and determine all the possible functions that it performs in the work of M.A. Bulgakov. This will allow you to see the content of the novel in all its fullness and ambiguity.
The ideological and compositional role of the landscape in the early romantic stories of M. Gorky
Oh I'm like a brother
I would be happy to embrace the storm!
M. Yu. Lermontov
A great master of words, A. M. Gorky creates wonderful romantic works, which from the very beginning announced the emergence of a bright talent, an extraordinary personality. Gorky the writer was interested in unusual heroic characters, in sharp contrast with the gray mass that dominates around.
The heroes of the stories "Makar Chudra" and "Old Woman Izergil" are rebellious and strong personalities, looking for meaning in the reality around them. To match the characters and the situation around them: the sea was blowing "damp cold wind", "inflating the flames of the fire." The narrator - the old gypsy Makar Chudra - is a rather unusual and colorful figure. He speaks almost in aphorisms, weightily and peremptorily expresses his outlook on life: “So you walk? This is good! You have chosen a glorious share, falcon. That's how it should be: go and look, you've seen enough, lie down and die - that's all!
In the legend he told about Loiko Zobar and Radda, Chudra's main position in life is revealed: above all else in the world, he values freedom. Even human life has no meaning if sol is lost. Chudra speaks poetically and beautifully about freedom, which few can appreciate. This is the destiny of only the elite, and the majority have no time to think about it. “Does he know his will? Is the expanse of the steppe understandable? Does the voice of the sea wave gladden his heart? He is a slave - as soon as he was born, he is a slave all his life, and that's it! What can he do with the oboe? Only to strangle himself if he grows a little wiser.
Makar advises his young interlocutor not to think about life, so as not to fall out of love with it. The beauty of the surrounding world acts as a contrast between the majesty created by nature, and people who do not know how or do not want to appreciate this gift, be content with it. The restless spirit of the heroes of the story is emphasized by the magnificent expanse surrounding them.
The author draws powerful elements: the sea and the steppe. Here everything is full-sounding, there are no semitones. Gorky is looking for a worthy hero who embodies the author's idea of a strong personality. These searches continued in the story "Old Woman Izergil". From the anti-hero Larra, through the fate of Izergil, the author tries to lead the reader to an understanding of the ideal hero - Danko. The harsh landscape of an impregnable forest, fetid swamps do not frighten the hero. Danko is full of love for people, for them he is able to sacrifice his life.
But the people cannot appreciate this feat. Weak and shy, people fear the hero himself. That is why they step on the flaming heart of Danko, so that a fire does not flare up from him. What can he bring? Yes, whatever. Fear rules the masses. And the author does not hide this from his readers. Nature is eternal and majestic. She indifferently looks at the pettiness of human concerns and interests, emphasizing the transient in human life and thoughts of people.
The author is delighted with the magnificence of the surrounding world. He sees its cosmic dimensions. From here, the human bustle seems almost ridiculous and pitiful, and only the chosen ones, like Danko, are able to rise above the crowd and die for the sake of life, misunderstood and unappreciated: laughed proudly. And then he fell and died. People, joyful and full of hope, did not notice his death and did not see that his brave heart was still burning next to the lifeless Danko. Only one cautious person noticed this and, being afraid of something, stepped on a proud heart with his foot ... And now it, crumbling into sparks, died out ... - That's where they come from, the blue sparks of the steppe that appear before a thunderstorm!
Pictures of nature in the early romantic stories of M. Gorky not only frame the content and are the background, they are an integral and essential part of the content. Descriptions of nature allow the author to move, as if on a footbridge, from topic to topic, decorate the narrative, give scope to the artist's imagination of the word, emphasize the beauty of the author's speech. “It was quiet and dark in the steppe. Clouds were all crawling across the sky, slowly, boringly ... The sea was muffled and mournful.
Bibliography
For the preparation of this work, materials from the site http://ilib.ru/
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He spoke about roles Petersburg previously, in a poem ... ironic story suddenly... our commoner in bitter... share it "... portrait" - signs ideological impact, succession... : landscapes, compositional building... the eleventh chapter romantic, sublime...
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AND ideological pathos romantic works... Bitter Question 34 early stories M. Gorky. ANSWER PLAN 1. A word about the writer. romantic ideas in early creativity Gorky. 2. Story ... story about the life of an old woman? 2. What is role landscape ... compositional ...
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life. Read early story A. Tolstoy "Day ... in the novel Gorky focused on romantic the consciousness of the heroine, ... ? Describe rural scenery. How it is created ... assumed the existence of an exceptional ideologically-compositional roles one of the heroes...
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War of 1812 battle of Borodino How compositional the center of the novel. A mass hero in ... in people. Early romantic creation Gorky. Glorification of freedom, strength, will and courage. romantic uplifting style, role romantic landscape, reception...
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