The old gypsy woman Izergil tells about one of her many lovers whom she knew in her youth, about a Pole - "a worthy pan with a chopped face" who fought against the Turks on the side of the Greeks:
What are the Greeks to him if he is a Pole? And here's the thing: he loved exploits. And when a person loves feats, he always knows how to do them and finds where it is possible. In life, you know, there is always a place for exploits. And those who do not find them for themselves are simply lazy and cowards, or do not understand life, because if people understood life, everyone would want to leave their shadow in it after. And then life would not devour people without a trace ...
Went to bed very late yesterday. It was terribly reluctant to get up, but hunger was not an aunt: I really wanted to eat. A bright thought about a rosy perspective helped me get on my feet, from which even drooling flowed into the cerebellum: “There are four cutlets in the refrigerator with a side dish of boiled lobia. Now I’ll eat with Vietnamese pepper sauce and drink deadly strong coffee!” I jumped to my feet, walked with a springy step to the kitchen, without even running to the toilet on the way, and found that there was only one cutlet in the refrigerator.
In frustrated feelings warmed up food in microwave oven, sat down at the table to enjoy what God sent, or rather, what God did not steal, and saw the inviting look of his bug daughters, who, having settled down on both sides, without blinking their eyes, stared with their noses at my cutlet. Then I remembered a worthy pan with a chopped face. He divided the cutlet into three equal parts: in life there is always a place for a feat, and for this you don’t need to sign up as a volunteer for the war at all!
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In the name of Allah, the Gracious and Merciful!
These words are taken from the work of Maxim Gorky "Old Woman Izergil". The heroine of the story, an old gypsy, says: “... he loved exploits. And when a person loves feats, he always knows how to do them and finds where it is possible. In life, you know, there is always a place for exploits. And those who do not find them for themselves are simply lazy and cowards, or do not understand life, because if people understood life, everyone would want to leave their shadow in it after. And then life would not devour people without a trace ... "
Feats are usually performed in war or in critical situations, in situations "between death and life." Given the reality in which every believer lives, given the fact of "spiritual jihad" that takes place in the soul of every attentive Muslim, these words just correspond to his position. After all, a feat is not only a sacrifice of something material, physical, a feat is, first of all, overcoming internal barriers, it is going beyond the lazy and cunning nafs, it is a victory over the instigations of Satan.
The Messenger of Allah (peace and blessings of Allah be upon him) said: “Indeed, the believer drags his shaitan by the crest just like any of you drags his camel on the way.” To drag your nafs or your shaitan along the path of faith, truth, sincerity is not a matter of one day, but everyday hard work lasting for many years. The spiritual ascetic Bayazid said: For twelve years I have been the blacksmith of my nafs. For five years I was the mirror of my heart, and for another year I looked into this mirror and saw the reflection of the belt around my waist. So twelve years passed, until finally I found freedom. After that, I began to look even deeper into my inner being and saw the belt again. For five years I have been thinking about how to get rid of it. When this was also revealed to me, I looked at the people and, seeing that they were dead, I repeated Allahu Akbar four times.
Victory over the nafs is not the result of a single feat, like, for example, a warrior sacrificing himself for the victory of his army. Victory over the nafs means thousands of deeds, these are thousands of sacrifices that a believer makes every day, and in most cases no one knows about them except the Almighty and His angels who record deeds. A feat is not always a great sacrifice Sometimes it is those little things that we usually do not attach importance to that require more effort and more sincerity. I think that a feat is determined by the scale of the action, and the motive for its commission ...
Magic word
There is such a word, thanks to which a small deed becomes a big one, and the absence of which makes even a big deed not very important. This word is in the name of Allah, the Gracious and Merciful!
The Messenger of Allaah (peace and blessings of Allaah be upon him) said: “Say ‘Bismillah 1i Rrohmani Rrohiym’ when you do something and Satan will become smaller than a fly.”
Also in another hadith it is said: “If a person pronounces, being a believer,“ Bismillah 1 ”, then the mountains praise Allah with him, but he (the person) does not hear them.”
The greatest deed is the deed done sincerely for the sake of Allah. And when a person starts a business with the words "in the name of Allah", he reminds himself of high purpose which he pursues is the pleasure of Allah, His condescension and mercy. You can perform thousands of deeds for the sake of glory, for the sake of wealth, for the love of others, but none of this can be compared in greatness with the humble deed that is done for the sake of Allah Almighty. This is the “magic word”, which makes even a small deed significant, and the absence of which turns even a feat into a dummy.
The Messenger of Allah (peace and blessings be upon him) said: “The first phrase that the pen wrote on the tablet was the words “Bismillahi rahmani rrahim”, and when you write, then start writing with these words, for this phrase is the key to every book sent down (from Allah, like the Koran, Zabur, Tavrat, Injil). When the angel Jabrail came with this phrase in revelation, he repeated it three times and said: “This is for you and your community, command them (the people of the community) not to leave basmala when starting each business, for I (Jabrail) and other angels we have not ceased to pronounce this phrase since it was sent down to Adam.
small good deeds
We often underestimate the importance of small good deeds and believe that we can only achieve the mercy of Allah with great deeds. However, Allah Almighty is not inattentive. In the Quran, the Almighty says: “On that day, people will come out in droves (from the graves) in order to receive (retribution) for their deeds. Whoever does good - (even) the weight of a speck of dust, he will find (retribution for) it. Whoever commits evil - (even) the weight of a speck of dust, he will receive (retribution) for him.
On that day people will understand true value their deeds, and every good deed that is placed on the scales will be dearer to them than the whole world. Because any of these cases can become "decisive", determining his fate in eternity.
The Messenger of Allah (peace and blessings of Allah be upon him) said: “Do not neglect anything that is good, even if you meet your brother with a welcoming face.” The Companion of the Messenger of Allah (peace and blessings of Allah be upon him) said: “I I regretted it like I did about the day on which the sun had already set, and he took something from my life, but did not add anything to my good deeds ”
Each new day is a thousand opportunities for deeds - for deeds done in the name of Allah, with gratitude to Him and seeking His mercy and contentment. This does not require any special conditions or critical situations when a person manifests himself as a hero. Every believer can be a hero. For example, when he struggles with his nafs and strengthens his faith and love for Allah. The believer finds a place for achievement every day and every minute.
When a person loves exploits,
he always knows how to make them and find them,
where it is possible. In life there is always a place for exploits. M. Gorky
Romantic works of A. M. Gorky saw the light in the 90s XIX years century. It was a time of indifference to ideals and bold aspirations. The historical paths followed by the populists caused disappointment among the intelligentsia. The slogan of the 90s: "Our time is not the time of great tasks." The hero is overthrown, glorified average person. Life loses its high meaning.
Gorky was the spokesman for the new stage of the liberation movement in literature. The dullness of bourgeois reality led him not to deny the feat, but to the need to search for the heroic in a romantic, fictional environment. The romantic rebelliousness of young Gorky was a form of rejection of philistinism. But his longing for another life dressed up in romantic attire only until the moment when the living impressions of reality pointed the artist to a concrete historical, and not a fabulously romantic way out.
In a letter to Chekhov, Gorky welcomed new Age: "I recently saw the play" Cyrano de Bergerac "and was delighted with it:" Way to the free Gascons! We southern sky sons, We are all under the midday sun, And born with the sun in our blood!
This admiration for people "with the sun in their blood" manifested itself in Gorky already in his very first story "Makar Chudra". The daring gypsies Loiko Zobar and the fabulous Rada loved each other deeply. But they loved freedom even more. And in her name they did not spare their lives. Gorky bows "before the strong, powerful passion of a" natural "man, who was born on the free steppes, is free and removed from the world of petty thoughts, calculation, self-interest. The gypsy camp is a community where their harsh" laws operate, but they, according to the author, do not humiliate, but glorify the person, his inflexible will. Such a choice of heroes is determined by the writer's hatred for the class of burghers, slaves of a penny, living on petty passions.
In the "Song of the Falcon" the dispute between the Falcon (hero) and Uzh (philistine) leads the reader to the idea that a feat is necessary, even if others are not able to appreciate it. Gorky glorifies the "madness" of those who sacrifice themselves, not hoping for respect and understanding. This idea was especially important in an era when people lost their need for the heroic. The writer deeply believes that there are no vain sacrifices in the name of a brighter future. His revolutionary optimism was expressed with particular force in the "Song of the Petrel", which was a direct call for revolution, "storm".
Art style Gorky's early romantic works are very peculiar: they are full of symbolism, hyperbole, counter-repressions. Big role landscape plays: sea, steppe, mountains. The speech of the characters is excited, pathetic, devoid of ordinary expressions. The fabulousness of the style of the young Gorky came from the desire to bring "in poor life such fictions" that would awaken in people the desire for an extraordinary, free, heroic life.
However, Gorky begins to realize the importance of specific social and everyday characteristics of the characters. And he endows them with the real features of "bottom people", just as the romantics of the 19th century endowed their heroes with hallmarks"knights" or "noble savages".
Gorky creates his own own world. In it, one can often observe some features of contemporary Russia. Nevertheless artistic reality The writer lives according to his own internal laws. And these laws are different from the laws that existed for realists XIX century.
In this world, nature is closely connected with the state of mind of the characters, which corresponds to the canons of romanticism. The sea in the story "Chelkash", the forest in the legend of Danko, the steppe in the story "Grandfather Arkhip and Lenka" change as the plot develops. If at the beginning of the work nature is calm and ordinary, then during the main conflict it "reflects" the spiritual tension of the characters. This is how a thunderstorm or storm begins. In addition, nature has a dual character. She either helps people, creating a natural background for free life, as at the beginning of the story "Old Woman Izergil", or opposes them. Rather, it is not nature itself that participates in this confrontation, but rather its "false likeness" created by people.
The embodiment of this "false likeness" is a port city that "breathes with the powerful sounds of a passionate hymn to Mercury", or a "living" forest that arose because of people's fear of nature. In both cases, the reality created by people "enslaved and depersonalized them", so it should disappear at the moment when people manage to conquer their fear. On the contrary, true nature is always alive. She embodies the immutable and eternal laws of life, so most of the stories end with landscapes symbolizing "eternity", the beauty and harmony of nature that is not subject to petty passions.
Main character usually associated with nature. The whole story revolves around him. So, Chelkash feels free only in the sea, the dying Larra looks at the sky. Such a connection allows you to highlight the main character, which corresponds to the tradition of romanticism. This hero is an outcast in society, he is always alone. Far from being the "second self" of the author, he, nevertheless, embodies certain ideas close to Gorky.
The main character usually has an antagonist. Between them, a conflict arises, on the basis of which the plot unfolds. Thus, the main conflict is not only interpersonal, but also ideological. "Free" heroes oppose heroes dependent either on money, or on "traditions", or on "ignorance". Freedom for all is very different from freedom for oneself. Danko embodies the first, Larra embodies the second. Only freedom for all can bring happiness to people, teach them to "see life," as the old woman Izergil says. Her fate is opposed to the petty-bourgeois ideal of a "quiet life."
And Gavrila's dream "of a house", and Grandfather Arkhip's "care" for Lenka, and the "wisdom" of Uzh - this is a "petty-bourgeois ideal" for Gorky. The opposition between the "personality" and the "crowd", traditional in romanticism, becomes more complicated with Gorky. The characters are also evaluated from the point of view of ethics, so a paradoxical result is obtained: the man of the crowd is like a demon, striving for a "will for himself" (in the sense that both of them can commit a crime). And here they confront Danko who sacrifices himself for the sake of others and therefore is a true "person".
Gorky saw that all ethical assessments are relative. He himself, for example, spoke out against Christian charity and ethics in the story "The Case with the Clasps." Gorky believed that man is not only an accumulation of sins and vices, but also a being capable of changing himself and the world. Because of this, any ethics must be "active", that is, it must evaluate a person from the point of view of his ability to "live, not reconcile."
The plot of the plot often turns out to be a problem to which two different systems views give different answers. This is a stolen handkerchief in the story "Grandfather Arkhip and Lenka", the problem of "price of money" in "Chelkash" or "freedom" in "Old Woman Izergil". Then the conflict develops and a denouement occurs, and the hero may die, but his ideas win. Win not in real life, but in the reader's assessment of what is happening. The Falcon could not prove "his truth" to Uzh, for whom the happiness of flight is revealed in the fall. But it is the Falcon that appears before readers as a positive-hofo hero.
The confrontation between the two worldviews is also manifested in appearance characters, and in their perception of reality. "Beautiful people" are always compared to birds, they are "able to fly", as opposed to "born to crawl". In appearance and speech, they differ sharply from the surrounding people. World " beautiful people“They see it in their own way, for them there is nothing terrible and incomprehensible in it. For Chelkash, the “fiery blue sword” seen by Gavrila is a simple “electric lantern”.
Thus, artistic originality early works Gorky is connected with the worldview of his heroes. The plot is built on the basis of the opposition of two sets of ideas. Heroes who carry these ideas, even when they die, remain victorious. From the very beginning of the work, they are compositionally isolated and opposed to the rest of the characters due to the fact that they strive to “live, not reconcile”. Because they oppose the philistine ideal, goodies often embodied in such characteristic images as "tramps". This is manifested in speech, and in the desire for "free nature", and in conflict with existing society. Such social isolation allows us to talk about their similarity with romantic heroes of the XIX century. At the same time, Gorky endows his heroes with the distinctive features of the "people of the bottom", which can be perceived as a desire for a realistic description of the life of Russia at the beginning of the 20th century.
Young people are especially fond of Gorky's romantic works, because in youth a person is most of all obsessed with the desire to remake, rebuild life. Ideal, bright, noble heroes, even a hundred years later, attract the reader with their dissimilarity to the people around us. "The madness of the brave is the wisdom of life!" Yes, existing life with its way of life is presented as a kind of truth, but it is not eternal. The struggle to change life, the eternal movement forward - that is the real truth!
Topic: - Gorky's early romanticism
At the end of the 90s of the 19th century, the reader was amazed by the appearance of three volumes of Essays and Stories by a new writer, M. Gorky. "Great and original talent" - such was the general judgment about the new writer and his books. Growing discontent in society and the expectation of decisive changes caused an increase romantic tendencies in literature.
These tendencies were especially clearly reflected in the work of the young Gorky, in such stories as "Chelkash", "Old Woman Izergil", "Makar Chudra", in revolutionary songs. The heroes of these stories are people "with the sun in their blood", strong, proud, beautiful. These heroes are Gorky's dream. Such a hero was supposed to "strengthen a person's will to live, arouse in him a rebellion against reality, against any oppression of it."
The central image of Gorky's romantic works early period is the image of a hero, ready for a feat in the name of the good of the people. Of great importance in the disclosure of this image is the story "Old Woman Izergil", written in 1895. In the image of Danko, Gorky put a humanistic idea of a man who devotes all his strength to serving the people. Danko is a "young handsome man", brave and resolute. To lead his people to light and happiness, Danko sacrifices himself. He loves people. And then his young and ardent heart flared with the fire of desire to save them, to lead them out of darkness. "What will I do for the people!?" Danko shouted louder than thunder. And suddenly he tore his chest with his hands, and tore out his heart from it, and raised it high above his head. Lighting the way for people bright light his burning heart, Danko boldly led them forward. And darkness was defeated. "The proud daredevil Danko cast a glance ahead of himself at the expanse of the steppe, he cast a joyful glance at the free land and laughed proudly. And then he fell and died." Danko dies, his brave heart goes out, but the image young hero lives as an image of the hero-liberator. "In life there is always a place for a feat," says the old woman Izergil. The idea of a feat, sublime and ennobling, Gorky invested in his famous "Song of the Falcon", written in 1895. Falcon - the personification of a fighter for national happiness: "Oh, if I could rise into the sky at least once! .. I would press the enemy ... to the wounds of my chest and ... he would choke on my blood! About the happiness of the battle! .." Falcon is characterized by contempt for death, courage, hatred for the enemy. In the image of the Falcon, Gorky sings of "the madness of the brave." "Madness, courage - this is the wisdom of life! Oh, brave Falcon, you bled to death in a battle with enemies. But there will be time - and drops of your hot blood, like sparks, will flare up in the darkness of life and many brave hearts will be kindled with an insane thirst for freedom, light! " In 1901, Gorky wrote "The Song of the Petrel", in which he expressed his foreboding of the growing revolution with extraordinary force. Gorky sang of the imminent, undoubted revolutionary storm: "Storm! A storm is coming soon! This brave Petrel proudly flies between lightning bolts over an angry roaring sea, then the prophet of victory shouts: "Let the storm come on stronger!" The Petrel is the embodiment of heroism. He is opposed to a stupid penguin, and loons, and seagulls that groan and rush about before the storm: “Only the proud Petrel flies boldly and freely over the roaring sea.” The magazine “Life”, in which this song was published, was closed.
Gorky's contemporary A. Bogdanovich wrote: "From most of Gorky's essays, this free breath of the steppe and the sea emanates; .
Romanticism as a new style Russian literature appeared in early XIX century. His features were pathos, intense excitement of the speech of the heroes, the brightness of the images and the extreme exaggeration of the qualities of the heroes, the unusualness of events.
Romantics adopted from their time the idea of individual freedom put forward by the revolution, while at the same time realizing the defenselessness of a person in a society where monetary interests win.
That is why the attitude of many romantics is characterized by confusion and confusion in front of the outside world, the tragedy of the individual. The romantic artist does not set himself the task of accurately reproducing reality; rather, he tries to express his attitude towards it. Create your own, fictional image of the world, so that through this fiction, this contrast, convey to the reader your ideal, your rejection of the world he denies. The heroes of romanticism are restless, passionate and indomitable.
Almost all the heroes of Gorky's early works are the embodiment of courage, determination, selflessness, faith in a lofty ideal.
In The Old Woman Izergil, Gorky develops the theme of the meaning of life. The story consists of three parts, each of which can serve as the basis individual work. The author builds the story on the principle of contrast. He contrasts two heroes - Lappy and Danko. People doom Lappy, selfish and arrogant, to eternal loneliness. The greatest blessing of life - becomes eternal torment. The meaning of this legend is that a person cannot live for himself, away from society - he dies morally, dies of suffering. The author emphasizes this with the following sentence: “There was so much longing in his eyes that one could poison all the people of the world with it.” And since the eyes are the mirror of the soul, this determines everything. state of mind hero.
The opposite of Larra is the image of Danko, brave, proud, beautiful and strong. Everything that he possesses, Danko gives to people. His life becomes a feat because he follows a lofty goal - to save people; he is proud, but proud not for himself, but for the person as a whole. He sacrifices himself. But Gorky shows that this life is also maximalistic.
In the center of the work, Gorky placed a story about Izergil herself. At first, one might think that the image of the old woman combines the features of both Larra and Danko, that her personality is a balance between two extremes. Ho, on closer examination, Izergil becomes closer to Lappe, and not to Danko. She lived only for herself, and although she says that a person is free, she herself wants freedom only for herself.
That is why, describing her portrait, the author focuses his attention on her incineration, emptiness: “... dry, cracked lips, a pointed chin with gray hair on it and a wrinkled nose, curved like an owl's beak. There were black pits in place of the cheeks ... the skin on the face, neck and arms was all cut up with wrinkles, and with every movement of the old Izergil one could expect that this dry skin would tear all over, fall apart in pieces and a naked skeleton with dull black eyes would stand before me. . M. Gorky also emphasizes the creakiness of her voice, which “sounded as if everyone was murmuring forgotten centuries, embodied in her chest as shadows of memories. All this suggests that fate punished Izergil for an incorrectly lived life.
In the story "Makar Chudra" the story is told on behalf of a young man. Here the author shows us two types of attitude to life. Chudra himself believes that the meaning of life is in the glorious lot of a tramp, and the narrator is convinced that the meaning of life is to "learn and teach."
Makar Chudra tells an amazing legend about Radda and Loiko. Both are beautiful and strong personalities both domineering and proud. They love each other but cannot be together. The heroes of the story do not want to compromise, they do not want to obey anyone, even a loved one. And in the choice between submission and death, Loiko prefers the latter. Heroes die, but the legend continues to live in the mouths of people.
Indeed, "in life ... there is always a place for exploits," and everyone decides for himself whether to commit them or not. However, to live means to feel and think, to suffer and be blessed, and any other life means death. Gorky's maximalist heroes reveal their truth to us: to live means to burn oneself with the fire of struggle, searching and anxiety.
