Bessemenov Vasily Vasilyevich, 58 years old, foreman of the painting shop, who is aiming to be a deputy to the city duma from guild class; Akulina Ivanovna, his wife; son Peter, a former student expelled for participating in unauthorized student meetings; daughter Tatyana, a school teacher who has been sitting too long in brides; Bessemenov's pupil Nil, a machinist in a railway depot; the church chorister Teterev and the student Shishkin are freeloaders;

Elena Nikolaevna Krivtsova is a young widow of a prison warden who rents rooms in the house, and Stepanida is a cook who does all the work in the house. menial work with the help of the girl Poli, a seamstress, the daughter of a distant relative of Bessemenov Perchikhin, a songbird dealer and a drunkard. In addition to them, Tsvetaeva, a young teacher, a friend of Tatyana, often visits the house.

The action of the play takes place in an atmosphere of constantly flaring up and fading scandals between Bessemenov and his children. The father is dissatisfied with the irreverence of the children towards him, as well as the fact that both have not yet found their place in life. In his opinion, both of them have become too "educated" and therefore proud. It prevents them from living. Tatyana just has to get married, and Peter - it is profitable to marry and work to increase his father's wealth. As the action develops, it becomes clear that the children not so much do not want to live “like a father”, but simply cannot because of their weakened will, loss of interest in life, etc. Education really did not benefit them; it only confused them, deprived them of the will to live and their strong philistine roots.

In that the main tragedy the Bessemenov family. In the case of Peter, according to Teterev, who plays a kind of reasoner role in the play, this tragedy should be decided in favor of his father: Peter will leave Krivtsova, whom he is still in love with against the will of his parents, will inevitably follow the path of his father and also become an exemplary tradesman. In the case of Tatyana, who is hopelessly in love with Nil, who is already bound by mutual love with Fields, the question is open: most likely, Tatyana will remain the unfortunate victim of the contradiction between her bourgeois roots and the new trends of the times.

These trends are most clearly expressed by Nil, the most "progressive" hero and, obviously, the future socialist-revolutionary, which Bessemenov alludes to. Nil reflects the aesthetics of struggle and labor close to Gorky, inextricably linked. For example, he loves to forge, but not because he loves work in general, but because he likes to sort of fight with metal, suppressing its resistance. At the same time, the will and determination of the Nile have reverse side: he is ruthless to Tatyana, who is in love with him, and to Bessemenov, who raised him.

Along the way, marginal plots unfold in the play: Teterev's love for Field, in which he sees his last salvation from drunkenness and boredom of life; the fate of Perchikhin, a man not of this world, living only with love for birds and the forest; the tragedy of Krivtsova, who is in love with life, but has lost her place in it. The most interesting of secondary characters- Grouse. This man is too huge (both physically and spiritually) for that miserable life, the owners of which are Bessemenov and others like him so far. But he is unlikely to find a place in that life, the owners of which will be people like the Nile. His image is the image of the eternal exile of life.

The play ends with tragic note. After a failed attempt to commit suicide, Tatyana realizes her doom and uselessness among people. IN last scene she falls on the keys of the piano, and a discordant loud sound is heard ...

Maksim Gorky

"philistines"

Bessemenov Vasily Vasilyevich, 58 years old, foreman of the painting shop, who is aiming for a deputy to the city duma from the shop class, lives in a prosperous house; Akulina Ivanovna, his wife; son Peter, a former student expelled for participating in unauthorized student meetings; daughter Tatyana, a school teacher who has been sitting too long in brides; Bessemenov's pupil Nil, a machinist in a railway depot; the church chorister Teterev and the student Shishkin are freeloaders;

Elena Nikolaevna Krivtsova is a young widow of a prison warden who rents rooms in the house, and Stepanida is a cook who does all the menial work in the house with the help of the girl Poli, a seamstress, the daughter of a distant relative of Bessemenov Perchikhin, a songbird merchant and a drunkard. In addition to them, Tsvetaeva, a young teacher, a friend of Tatyana, often visits the house.

The action of the play takes place in an atmosphere of constantly flaring up and fading scandals between Bessemenov and his children. The father is dissatisfied with the irreverence of the children towards him, as well as the fact that both have not yet found their place in life. In his opinion, both of them have become too "educated" and therefore proud. It prevents them from living. Tatyana just has to get married, and Peter - it is profitable to marry and work to increase his father's wealth. As the action develops, it becomes clear that the children not so much do not want to live “like a father”, but simply cannot because of their weakened will, loss of interest in life, etc. Education really did not benefit them; it only confused them, deprived them of the will to live and their strong philistine roots.

This is the main tragedy of the Bessemenov family. In the case of Peter, according to Teterev, who plays a kind of reasoner role in the play, this tragedy should be decided in favor of his father: Peter will leave Krivtsova, whom he is still in love with against the will of his parents, will inevitably follow the path of his father and also become an exemplary tradesman. In the case of Tatyana, who is hopelessly in love with Nil, who is already bound by mutual love with Fields, the question is open: most likely, Tatyana will remain the unfortunate victim of the contradiction between her bourgeois roots and the new trends of the time.

These trends are most clearly expressed by Nil, the most "progressive" hero and, obviously, the future socialist-revolutionary, which Bessemenov alludes to. Nil reflects the aesthetics of struggle and labor close to Gorky, inextricably linked. For example, he loves to forge, but not because he loves work in general, but because he likes to sort of fight with metal, suppressing its resistance. At the same time, Neil's will and purposefulness have a downside: he is ruthless to Tatyana, who is in love with him, and to Bessemenov, who raised him.

Along the way, marginal plots unfold in the play: Teterev's love for Field, in which he sees his last salvation from drunkenness and boredom of life; the fate of Perchikhin, a man not of this world, living only with love for birds and the forest; the tragedy of Krivtsova, who is in love with life, but has lost her place in it. The most interesting of the secondary characters is Grouse. This man is too huge (both physically and spiritually) for that wretched life, the owners of which are Bessemenov and others like him so far. But he is unlikely to find a place in that life, the owners of which will be people like the Nile. His image is that of the eternal outcast of life.

The play ends on a tragic note. After a failed attempt to commit suicide, Tatyana realizes her doom and uselessness among people. In the last scene, she falls on the keys of the piano, and a discordant loud sound is heard ...

Bessemenov Vasily Vasilyevich, 58 years old, lives in a prosperous house with his wife Akulina Ivanovna, son Pyotr, a former student expelled for participating in banned student meetings, and daughter Tatyana, a school teacher who has sat up in brides. Also with them live a pupil Nil, who works as a machinist in a railway depot and freeloaders - a church chorister Teterev and a student Shishkin. Vasily Vasilievich - foreman of the paint shop. He is aiming for the deputies of the city duma from the shop class. In his house, the young widow of the warden, Elena Nikolaevna Krivtsova, rents rooms. All the housework is done by the cook Stepanida, who is helped by the girl Fields, the daughter of a distant relative of Bessemenov. Also in the house often happens close girlfriend Tatyana Tsvetaeva, a young teacher.

The play is accompanied by Bessemenov's scandals with his children. He is frustrated by the irreverence of the children towards him and that they still have not found their place in life. Vasily Vasilyevich believes that his children are too "educated" and therefore became proud, which interferes with their lives. He believes that they should start their own families. However, children cannot live like this because of their weak will, insecurity and loss of interest in life. Education only confused them and deprived them of the will to live. This is the main tragedy of the Bessemenov family.

Teterev believes that Peter should listen to his father. He needs to leave Krivtsova, with whom he is in love against the will of his parents, and Tatyana, hopelessly in love with Nil, who is bound by mutual love with Fields, will most likely remain unhappy due to the contradictions between bourgeois roots and new trends of the times. The Nile reflects the aesthetics of struggle and labor close to Gorky. For example, he likes to forge, but not because he loves, but because he likes the process of fighting with metal, suppressing its resistance. Neil is indifferent to Tatyana, who is in love with him, and does not feel gratitude towards Bessemenov, who raised him.

Along with this, parallel plots are played out in the play, in which Teterev's love for Field is shown; the fate of Perchikhin, who lives only by love for the forest and birds; the tragedy of Krivtsova, who loves life, but has lost her place in it. The most interesting secondary character is Grouse. He is very large and strong both physically and spiritually for the miserable life led by Bessemenov and his ilk. However, it is unlikely that he will find a place in that life, the owners of which will be people like the Nile. Therefore, he is in the form of an eternal exile of life.

The end of the play is tragic. Tatyana tries to commit suicide. After a failed attempt, she understands her doom and feels unnecessary among people. In the last scene, she falls, hitting the piano keys, causing a loud sound to be heard.

Compositions

In 1901, Gorky wrote his first play, The Petty Bourgeoisie, in which for the first time in world literature an advanced worker is shown in full growth. The title of the play suggests that Gorky in it turned to a theme that he had already developed in a number of stories of the 1990s. However, the solution to the topic was new, primarily because the writer came close to depicting a new social environment here. The world of philistinism is now opposed by a force that has already determined itself in many respects and is confidently asserting itself in life - the force of the proletarian revolution. Neil is a representative of the life-affirming class. Nile's love for life is active. He works hard and with pleasure, confidently looks to the future. Neal does not wait for life to change by itself, he is preparing for a decisive struggle to rebuild it. Neil not only says that existing life not good, but also knows how to remake it. For the first time on stage and in general in fiction the assertion that power should belong to the working classes sounded confidently. Nil appeared as a living personification of the future, bringing him closer, forcing him to believe in his reality. The playwright created a heroic image of a man who is confident in "his strength and his right to rebuild life and all its orders." The image of the Nile caused irritation in bourgeois criticism. Gorky was accused of being rude and callous. But it was a biased criticism. Neil treats Field with tenderness and sensitive attention, respects people who are direct and honest. He does not hide his disgust for the evil and greedy philistines; that's why he was disliked by criticism defending the capitalist system. Neil does not sympathize with those who only complain and moan, but do nothing to improve their lives. Neil, poor student Shishkin, teacher Tsvetaeva, despite being busy, find time to participate in amateur performances, are interested in art, dream about the future social order and, judging by individual hints, they are actively trying to bring it closer. And the young Bessemenovs moan from boredom, but they are deaf to art, social activity alien to them. For participating in student riots, Peter was expelled from the university, but he blames this not on the despotic government, but on his comrades. Pyotr Bessemenov is not dangerous to the tsarist government. Having studied Roman law, he would become a loyal defender of the existing order, mercilessly punishing those who would try to change life. This tradesman, by mistake ex-citizen half an hour, foaming at the mouth, defends his unwillingness to be interested in public affairs. Money is worshiped in Bessemenov's house, the cult of things and hoarding reigns here. The beautiful and the tragic are equally alien to the philistine consciousness. The tradesman is devoid of ideals, he does not believe in anything, he cannot, he is unable to believe. Tatyana and Peter Bessemenov are afraid of responsibility, change, they strive for peace "inside and outside themselves." Like all philistines, Peter and Tatyana love only themselves. Tatyana is a teacher, but work for her is a boring, tedious duty. In contrast, Shishkin and Tsvetaeva find joy in helping other people. Tsvetaeva is enthusiastic about her work, dreams of who her students will become, educates them to be kind, courageous and strong people. So, in the play "Petty bourgeois" not only the proletariat and the petty bourgeoisie are opposed to each other, but also the advanced democratic intelligentsia - the petty bourgeois. Peter and Nile - their duel is of interest, it is promising, because it will continue in the future, when the opponents stand on different sides barricades. Peter is the personification of the illusory hopes of philistinism. All the characters in the play act as involuntary judges of the clash between Peter and Nile. From the first to the last action the play is coming moral judgment of Man over the tradesman. The moral, ethical dialogue-fights of the "Petish" grow into a political dispute between the "exemplary tradesman" Bessemenov and Nil about the masters of life. Nil reflects the aesthetics of struggle and labor close to Gorky, inextricably linked. For example, he loves to forge, but not because he loves work in general, but because he likes to sort of fight with metal, suppressing its resistance. At the same time, Neil's will and purposefulness have a downside: he is ruthless to Tatyana, who is in love with him, and to Bessemenov, who raised him. Along the way, marginal plots unfold in the play: Teterev's love for Field, in which he sees his last salvation from drunkenness and boredom of life; the fate of Perchikhin, a man not of this world, living only with love for birds and the forest; the tragedy of Krivtsova, who is in love with life, but has lost her place in it. The most interesting of the minor characters is Grouse. This man is too huge (both physically and spiritually) for that wretched life, the owners of which are Bessemenov and others like him so far. But he is unlikely to find a place in that life, the owners of which will be people like Neil. His image is that of the eternal outcast of life. The play ends on a tragic note. After a failed attempt to commit suicide, Tatyana realizes her doom and uselessness among people. In the last scene, she falls on the keys of the piano, and a discordant loud sound is heard. Already in "The Philistines" - the first of Gorky's plays - appeared characteristics Gorky's dramaturgy, which laid the foundation for the creation of a new, revolutionary theater. This is a sharp struggle of worldviews, demarcation actors on irreconcilably hostile groups, the fullness of the play with deep reflections, the formulation of serious philosophical questions. The play "The Petty Bourgeois" played big role in the history of Russian and world drama. The first performance of "Petty Bourgeois" took place on March 26, 1902, during a tour Art Theater In Petersburg.

In Wikisource

Characters

• Bessemenov, Vasily Vasilyev, 58 years old, wealthy tradesman, foreman of the paint shop.
• Akulina Ivanovna, his wife, 52 years old.
• Peter, former student, 26 years old, his son.
• Tatyana, school teacher, 28 years old, his daughter.
• Neil, a pupil of Bessemenov, a machinist, 27 years old.
• Perchikhin, a distant relative of Bessemenov, a songbird merchant, 50 years old.
• Polya, his daughter, a seamstress, works in families by the day, 21 years old.
• Elena Nikolaevna Krivtsova, the widow of the warden, lives in an apartment with the Bessemenovs, aged 24.
• Black grouse, singing; Shishkin, student, freeloaders at the Bessemenovs.
• Tsvetaeva, teacher, friend of Tatyana, 25 years old.
• Stepanida, cook.
• Grandma from the street.
• Boy, painter.
• Doctor.

The scene is a small provincial town.

Russian troops passed through Moscow from two o'clock in the morning until two o'clock in the afternoon, dragging the last departing residents and the wounded with them.
The biggest crush during the movement of troops took place on the bridges Kamenny, Moskvoretsky and Yauzsky.
While, bifurcated around the Kremlin, the troops huddled on the Moskvoretsky and Kamenny bridges, a huge number of soldiers, taking advantage of the stop and cramped conditions, returned back from the bridges and stealthily and silently snuck past St. Basil the Blessed and under the Borovitsky Gates back up the mountain to Red Square, on which, by some instinct, they felt that they could easily take someone else's. The same crowd of people, as on cheap goods, filled the Gostiny Dvor in all its passages and passages. But there were no affectionately sugary, enticing voices of the Gostinodvorets, there were no pedlars and a motley crowd of female buyers - there were only uniforms and overcoats of soldiers without guns, who silently went out with burdens and entered the ranks without a burden. Merchants and inmates (there were few of them), as if lost, walked among the soldiers, unlocked and locked their shops, and carried their goods somewhere with the good fellows. On the square at Gostiny Dvor drummers stood and beat the gathering. But the sound of the drum made the soldiers of the robbers not, as before, run to the call, but, on the contrary, forced them to run further away from the drum. Between the soldiers, along the benches and aisles, one could see people in gray caftans and with shaved heads. Two officers, one in a uniform scarf, on a thin dark gray horse, the other in an overcoat, stood on foot at the corner of Ilyinka and were talking about something. A third officer galloped up to them.
- The general ordered to expel everyone now at all costs. What the hell, it doesn't look like anything! Half the people fled.
“Where are you going?.. Where are you going?..” he shouted at three infantry soldiers, who, without guns, picking up the skirts of their overcoats, slipped past him into the ranks. - Stop, rascals!
Yes, please collect them! replied another officer. - You won't collect them; we must go quickly so that the latter do not leave, that's all!
– How to go? there they became, hid on the bridge and did not move. Or put a chain so that the latter do not run away?
- Yes, go there! Drive them out! shouted the senior officer.
An officer in a scarf dismounted from his horse, called the drummer and entered with him under the arches. Several soldiers rushed to run in a crowd. The merchant, with red pimples on his cheeks near his nose, with a calmly unshakable expression of calculation on his well-fed face, hurriedly and dapperly, waving his arms, approached the officer.
“Your honor,” he said, “do me a favour, protect. We do not calculate a trifle of any kind, we are with our pleasure! Please, I’ll take out the cloth now, for noble man at least two pieces, with our pleasure! Because we feel, well, this is one robbery! Please! They would put a guard, or something, at least they would let them lock it up ...
Several merchants crowded around the officer.
- E! in vain to lie then! - said one of them, thin, with a stern face. “When you take off your head, you don’t cry for your hair. Take whatever you like! And he waved his hand with an energetic gesture and turned sideways to the officer.
“It’s good for you, Ivan Sidoritch, to speak,” the first merchant spoke angrily. “Please, your honor.
- What should I say! the thin man shouted. - I have here in three shops for a hundred thousand goods. Will you save when the army is gone. Eh, people, God's power cannot be folded with hands!
“Please, your honor,” said the first merchant, bowing. The officer stood in bewilderment, and hesitation was visible on his face.
- Yes, what's the matter with me! he suddenly shouted and walked with quick steps forward along the row. In one open shop, blows and curses were heard, and while the officer was approaching it, a man in a gray coat and with a shaved head jumped out of the door.
This man, bent over, slipped past the merchants and the officer. The officer attacked the soldiers who were in the shop. But at this time, the terrible cries of a huge crowd were heard on the Moskvoretsky bridge, and the officer ran out into the square.
- What's happened? What's happened? he asked, but his comrade was already galloping towards the screams, past St. Basil the Blessed. The officer mounted and rode after him. When he drove up to the bridge, he saw two cannons removed from the limbers, infantry walking along the bridge, several carts thrown down, several frightened faces and laughing faces of soldiers. Near the cannons stood one wagon drawn by a pair. Four collared greyhounds huddled behind the cart behind the wheels. There was a mountain of things on the wagon, and at the very top, next to the nursery, a woman was sitting with her legs turned upside down, squealing piercingly and desperately. The comrades told the officer that the cry of the crowd and the squeals of the woman came from the fact that General Yermolov, who had run into this crowd, having learned that the soldiers were dispersing around the shops, and crowds of residents were damming up the bridge, ordered to remove the guns from the limbers and make an example that he would shoot at the bridge . The crowd, knocking down the wagons, crushing each other, shouted desperately, crowding, cleared the bridge, and the troops moved forward.

Meanwhile, the city itself was empty. There was hardly anyone on the streets. The gates and shops were all locked; in some places, near the taverns, lonely cries or drunken singing were heard. No one traveled the streets, and footsteps of pedestrians were rarely heard. On Povarskaya it was completely quiet and deserted. In the huge yard of the Rostovs' house, there were scraps of hay, droppings of a convoy that had left, and not a single person was visible. In the Rostovs' house, which was left with all its goodness, two people were in a large living room. They were the janitor Ignat and the Cossack Mishka, Vasilyich's grandson, who remained in Moscow with his grandfather. Mishka opened the clavichords and played them with one finger. The janitor, akimbo and smiling joyfully, stood in front of a large mirror.
- That's clever! A? Uncle Ignat! said the boy, suddenly clapping both hands on the keys.
- Look you! answered Ignat, marveling at how his face was smiling more and more in the mirror.
- Shameless! Right, shameless! - the voice of Mavra Kuzminishna, who quietly entered, spoke from behind them. - Eka, fat watchman, he bares his teeth. To take you! Everything is not tidied up there, Vasilyich is knocked off his feet. Give it time!

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