M bitter early romantic stories. Romanticism in the early stories of bitter writing

Romanticism as a trend in literature arose in the late 18th - early 19th century, it became most widespread in Europe in the period from 1790 to 1830. The main idea of ​​romanticism was the assertion creative personality, and a feature is a stormy depiction of emotions. The main representatives of romanticism in Russia were Lermontov, Pushkin and Gorky.

Gorky's romantic mood was prompted by the growing discontent in society and the expectation of change. It was thanks to the protest against “stagnation” that images of heroes began to appear in the writer’s head, capable of saving the people, leading them out of the darkness, showing them the right path. But this path seemed to Gorky to be completely different, different from the usual existence, the author despised everyday life and saw salvation only in freedom from social shackles and conventions, which was reflected in his early stories.

Historically, this period of Gorky's work coincided with the flourishing of revolutionary movements in Russia, the views of which the author clearly sympathized with. He sang the image of a disinterested and honest rebel, embraced not by greedy calculations, but by romantic aspirations to change the world for the better and destroy an unjust system. Also in his works of that time, a craving for freedom and unrealizable ideals was revealed, because the writer had not yet seen the change, but only foresaw them. When the dreams of a new social order took on a real shape, his work was transformed into socialist realism.

Main features

The main feature of romanticism in Gorky's work is a clear division of characters into good and bad, that is, there are no complex personalities, a person has either only good qualities or just bad ones. Such a technique helps the author to show his sympathy more clearly, to single out those people who need to be imitated.

In addition, love for nature can be traced in all of Gorky's romantic works. Nature is always one of the main acting characters, and all romantic moods are transmitted through it. The writer liked to use descriptions of mountains, forests, seas, endowing every particle of the surrounding world with its own character and behavior.

What is revolutionary romanticism?

Early romantic works Zhukovsky and Batyushkov were based on the ideas of classicism and, in fact, were a direct continuation of it, which did not correspond to the mood of progressive and radical thinking people of that period. There were few of them, so romanticism acquired classical forms: conflict between the individual and society, an extra person, yearning for an ideal, etc. However, time passed, and the number of revolutionary-minded citizens increased.

Divergence of literature and popular interests led to a change in romanticism, to the emergence of new ideas and techniques. The main representatives of the new revolutionary romanticism were Pushkin, Gorky and the Decembrist poets, who, first of all, promoted progressive views on the prospects for the development of Russia. The main theme was folk identity - the possibility of independent existence of peasants, hence the term nationality later appeared. New images began to appear, and the main ones among them were the genius-poet and the hero, capable of saving society from an impending threat at any moment.

Old Isergil

AT this story there is a contrast between two heroes, two types of behavior. The first is Danko - an example of that very hero, the ideal that should save the people. He feels free and happy only when his tribe is free and happy. The young man is filled with love for his people, sacrificial love, which personifies the spirit of the Decembrists, who are ready to die for the welfare of society.

Danko saves his people, but at the same time he dies. The tragedy of this legend is that the tribe forgets its heroes, it is ungrateful, but this is not important for the leader, because main award for a feat is the happiness of the people for whose sake it was accomplished.

The antagonist is the son of an eagle, Larra, he despised people, despised their life and law, he recognized only freedom, turning into permissiveness. He did not know how to love and limit his desires, as a result, he was expelled from the tribe for violating social principles. Only then did the proud young man realize that he was nobody without the people. When he is alone, no one can admire him, no one needs him. Having shown these two antipodes, Gorky brought everything to one conclusion: the values ​​and interests of the people should always be higher than your values ​​and interests. Freedom lies in freeing people from the oppression of the tyranny of the spirit, ignorance, that darkness that hid behind the forest, unsuitable for the life of the Danko tribe.

It is obvious that the author observes the canon of romanticism: here is the confrontation between the individual and society, here is the longing for the ideal, here is the proud freedom of solitude and extra people. However, the dilemma about freedom was not resolved in favor of the proud and narcissistic loneliness of Larra, this type, sung by Byron (one of the founders of romanticism) and Lermontov, the writer despises. His ideal romantic hero is the one who, being above society, does not renounce it, but helps it even when it persecutes the savior. In this feature, Gorky is very close to the Christian understanding of freedom.

Makar Chudra

In the story "Makar Chudra" freedom is also the main value for the characters. The old gypsy Makar Chudra calls it the main treasure of a person, in it he sees an opportunity to preserve his “I”. Revolutionary romanticism is colorfully manifested precisely in this understanding of freedom: the old man claims that under conditions of tyranny a moral and gifted individual will not develop. So, for the sake of independence, it is worth taking risks, because without it the country will never get better.

Loiko and Radda have the same message. They love each other, but see in marriage only chains and fetters, and not a chance to find peace. As a result, the love of freedom, which so far appears in the form of ambition, since the heroes cannot properly dispose of it, leads to the death of both actors. Gorky puts individualism above the bonds of marriage, which only lull creative and mental capacity a person with household chores and petty interests. He understands that it is easier for a loner to sacrifice his life for the sake of freedom, it is easier to find complete harmony with his inner world. After all, the married Danko cannot really tear out the heart.

Chelkash

The main characters of the story are the old drunkard and thief Chelkash and the young village boy Gavrila. One of them was going to go to the “case”, but his partner broke his leg, and this could complicate the whole operation, then an experienced rogue met Gavrila. During their conversation, Gorky paid great attention to the personality of Chelkash, noticed all the little things, described his slightest movement, all the feelings and thoughts that arose in his head. The refined psychologism of the image is a clear adherence to the romantic canon.

Nature also occupies a special place in this work, since Chelkash had a spiritual connection with the sea, and his state of mind often dependent on the sea. The expression of feelings and moods through the states of the surrounding world is again a romantic trait.

We also see how the character of Gavrila changes in the course of the story, and if at the beginning we felt pity and compassion for him, then at the end they turn into disgust. The main idea of ​​the story is that it does not matter how you look and what you do, but what matters is what is in your heart, the most important thing is to always remain a decent person in any business. This idea in itself carries a revolutionary message: how does it matter what the hero does? Does this mean that the killer of a high-ranking person can be a decent person? This means that a terrorist can also blow up His Excellency's carriage and at the same time save moral purity? Yes, this is precisely the liberty the author deliberately allows: not everything is a vice that society condemns. The revolutionary kills, but his motive is sacred. The writer could not say this directly, so he chose abstract examples and images.

Features of Gorky's romanticism

The main feature of Gorky's romanticism is the image of a hero, a kind of ideal designed to save the people. He does not renounce the people, but rather wants to lead them to the right path. The main values ​​that the writer exalted in his romantic stories are love, freedom, courage and self-sacrifice. Their understanding depends on the revolutionary mood of the author, who writes not only for thinking intelligentsia, but also for a simple Russian peasant, so the images and plots are not ornate and simple. They have the character of a religious parable and even resemble it in style. For example, the author very clearly shows his attitude to each character, and it is always clear who the author likes and who does not.

Gorky's nature was also a character and influenced the heroes of the stories. In addition, its individual parts are symbols that must be perceived allegorically.

The life of A. M. Gorky was varied and contradictory. Childhood was not easy, mother died early, grandfather went bankrupt, and his “life among people” begins. From the hardships and blows of a hard life, he will be saved by the love of reading and the desire to become a writer, to describe what he saw. Literature played a huge role in Gorky's life. She helped him rise above the everyday life, showing how wide, difficult and at the same time wonderful human life.
M. Gorky's first story - "Makar Chud-ra" - was fanned with enthusiastic admiration for the image of the gypsy Radda, who at the cost of her life tested the mighty heart of Loika Zobar. The writing of this story marked the beginning of his further work in the spirit of heroic romanticism, since the writer himself was looking for ways to solve eternal problems humanity, striving for a better life. And change this life into better side, as he understood, people could be deeply spiritualized, disinterested, decent and purposeful, not for a moment thinking about their personal well-being, seeing in life its beautiful sides, its spiritual values.
Such heroes in Gorky's works are Danko, Burevestnik, Sokol, Chelkash and others.
The first lines in most of these works by Gorky were a call to heroism. In the story "Old Woman Izergil" a connection is established between the legend and reality. The two legends in the story are opposed to each other. Lar-ra is proud, selfish, selfish, he values ​​only himself and freedom. Danko strives to get freedom for everyone. Larra did not want to give people even a particle of his “I”, and Danko gives his whole self.
The tale "The Girl and Death" is a remarkable expression of the writer's unchanging faith in the ability human heart win, survive Hard time.
“Chelkash” is one of the stories from the cycle about people from the people who carry high aesthetic qualities. The conflict is connected with the situation of wandering, flight from home. On the road of complicity in a crime, two people collide - one is driven by habit, the other by chance. Distrust, envy, submissive readiness to serve, fear, Gavrila's servility oppose Chelkash's indulgence, contempt, self-confidence, courage, and love for Chelkash's freedom. The author emphasizes the spiritual superiority of Chelkash. However, society does not need Chelkash, unlike the little master Gavrila. This is both the romantic pathos of the work and the tragic one. Romantic worldview is also present in the description of nature.
The genre of the works “Song of the Petrel”, “Song of the Falcon” is defined as a song. Both songs have other genre features- they have the features of a parable. The point of view of the main characters: opposition strong personality and society. nature reflects internal state heroes. In the image of these bold and proud birds, the writer wants to see as many people as possible who are striving to change people's lives for the better, so that all people live in peace and harmony.
Creating his early works, Gorky wanted to see in the people who read them the desire to take an example from his goodies, the desire to use their example to change their internal and spiritual world, its appearance, and as a result, life itself. This is what the writer is trying to achieve.

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M. Gorky in his youth dreamed of beauty, of goodness, he wanted the world to be bright, full outstanding personalities. It is enough to read at least one of his early stories to be convinced of this. motto early works Gorky, one could choose words from his early poem: "I came into this world to disagree."
The romantic works of M. Gorky have a number of features. Having a narrator and a listener is one of them. In many stories, the narration is not by the author himself, but by one of the characters. Stories are often named after them (“Emelyan Pilyai”, “Old Woman Izergil”, “Makar Chudra”). The narrative is preceded, as a rule, by some insignificant external event: a shadow or sparks, as in "Old Woman Izergil", or Nonka's behavior in "Makar Chudra". The listener conveys a conversation with the narrator, describes the nature surrounding them, portraits of the characters. The listener helps the reader to imagine more vividly and more fully what the narrator is talking about. But the listener also has his own point of view, often different from the point of view of the narrator. This assessment is not expressed "directly. For example, at the end of the story, a vision appears before the listener - the shadows of Radda and Loiko Zobar, to whom the sea sings a hymn, and "the handsome Loiko cannot equal the proud Radda." Their appearance at the end of the story helps to understand the author's position - no matter how beautiful the romantic heroes may be in their striving for absolute freedom, their life is barren and illusory, it can be likened to the very shadows that Loiko and Radda turned into.
Heroes romantic stories Gorky are noble, proud, often overly proud. Therefore, the conflicts of the stories are very tense, the struggle of the characters is uncompromising. The heroes of the legends told by the old woman Izergil - Danko and Larra - are opposed to each other. The shadow of Larra and the sparks of Danko's heart are like two poles: good and evil, selfishness and selflessness. The semi-animal origin of Larra becomes a source of selfishness, and not selflessness and philanthropy. Larra doesn't understand people. He is a shadow, he is immortal and rejected. Danko's immortality is of a different kind. Danko dreams of freeing people from anger, hatred and impotence, teaching them to love life and helping them get out of wild forest in which they fell. But it is not so easy to transform the human soul, and therefore this very “cautious” person was found who stepped on Danko’s burning heart.
Many storytellers (Izergil, Makar) admire the heroes of their legends and sometimes compare themselves with them, wanting to find a similarity or, conversely, not wanting it. And they notice with bitterness that "beautiful people are becoming less and less."
Another one distinguishing feature early Gorky stories - a bright, multi-colored landscape. According to the author, the strength and power of nature are endless, and only it can help a person to become stronger in spirit, become better, kinder, stop being petty and embittered. The sea, night, moon, stars, endless steppes - all this creates a unique atmosphere of the romantic elevation of the described, helps to better reveal the soul of the characters.
M. Gorky constantly tried to find a heroic personality not only in legends, but also among tramps and vagabonds, whom he observed during his wanderings around Russia. An example is the hero of the story "Chelkash", which is difficult to attribute to positive or negative characters. But after all, the heroes of the legends Izergil and Makara Chudra were not perfect either. Recall at least Loiko Zobar - he was a horse thief, but at the same time he was a noble and passionate person. It is impossible to judge unambiguously about Gabriel. Chelkash and Gavrila together dream of the future, remember the past, talk about life. However, Chelkash is much more difficult than Gavrila, because he suffered through the life ideals that he adhered to. Gavrila is afraid of everything, afraid of Chelkash, afraid of the sea, the elements. Freedom is a concept expressed in early prose Gorky, is also perceived differently by them. For Gavrila: Went - where do what you want, do what you want”. For Chelkash, everything is different. Gorky notes a certain relationship of his protagonist with the sea element. The sea is not only a symbol human being, mysterious and wonderful, but also correlates with the image human soul- incomprehensible and contradictory.
In my opinion, the brightest and most unifying early work The bitter trait is the idea that a person is imperfect, but he has a desire for harmony, freedom and happiness.

• The originality of the early romantic stories of M. Gorky ("Song of the Falcon", "Old Woman Izergil").
• Romantic characters and their motivation in the stories "Makar Chudra", "Khan and his son".

Lesson Objectives:

1. Educational: to uncover ideological content early romantic stories by M. Gorky, to show the means by which the author achieves artistic perfection in romantic works.
2. Educational: to promote the formation of a sense of beauty, to help students "feel" the artistic word.
3. Developing: develop skills logical thinking, analysis of such literary concepts like romanticism, romantic hero.

Lesson on the topic “The originality of the early romantic stories of M. Gorky” (“Song of the Falcon”, “Old Woman Izergil”)

Homework for the lesson:

a) Name the main features of romanticism as a literary movement.

b) What are the features of romanticism in M. Gorky's "Song of the Falcon"?

Works to study and repeat:

1. "Song of the Falcon".
2. "Old Isergil".

Type of lesson: acquisition of new knowledge with the stage of repetition.

Main method: heuristic conversation.

During the classes

1. Checking homework.

a) Exercise. Name the main features of romanticism as a literary movement.

Answer. Romanticism - special kind worldview; simultaneously - artistic direction. Romanticism arose as a kind of reaction to the rationalism and unmotivated optimism of classicism.

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 the 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.

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.

For romantic consciousness, the correlation of character with real life circumstances is almost unthinkable - this is how the most important feature of 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 the romantic ideal. The opposition of romance and reality, romance and the surrounding world is a fundamental feature of this literary movement.

Features of romanticism:

• the proclamation of the human personality, complex, deep;
• affirmation of the inner infinity of human individuality;
• a look at life "through the prism of the heart";
• interest in everything exotic, strong, bright, sublime;
• inclination towards fantasy, conventions of forms, mixture of low and high, comic and tragic, mundane and unusual;
• painful experience of discord with reality;
• rejection of the ordinary;
• the desire of the individual for absolute freedom, for spiritual perfection, an unattainable ideal, combined with an understanding of the imperfection of the world.

b) Exercise. What are the features of romanticism in Gorky's "Song of the Falcon"?

Answer. In the frame of the "Song of the Falcon" appears vivid image spiritualized nature. Nature is not only the background against which the action unfolds. The narrator and the old man direct their thoughts towards her, her secrets. The beauty of nature, its power is the embodiment of life. It is no coincidence that the motives of God, perpetual motion, harmony and mystery appear in the introductory part.

The plot is based on the dispute between the Falcon and the Uzh about the meaning of life. The dialogue of the heroes shows their incompatibility life positions. This is an ideological conflict.

"Old Isergil" (stage of obtaining new knowledge - heuristic conversation)

problem question. What is the purpose of the three-part composition of the story?

The action of the legends described in the story "Old Woman Izergil" takes place in chronologically indefinite antiquity - this is, as it were, the time that preceded the beginning of history, the era of first creations. However, in the present there are traces directly related to that era - these are blue lights, left from the heart of Danko, the shadow of Larra, which Izergil sees.

a) Legend of Larry.

What motivates Larra's character?

What concept of freedom does he embody?

How are people depicted in the legend?

What is the meaning of Larra's punishment?

Conclusion. Larra's exceptional individualism is due to the fact that he is the son of an eagle, embodying the ideal of strength and will. Pride and contempt for others - these are the two beginnings that the image of Larra carries in itself. The hero in proud solitude confronts people and is not afraid of their judgment, because he does not accept it and despises judges. They wanted to sentence him to death, but they sentenced him to immortality: “And they left, leaving him. He lay face up and saw - high in the sky with black dots, mighty eagles swam. There was so much longing in his eyes that one could poison all the people of the world with it. So, since then he was alone. Free, waiting to die. And here he is walking. He walks everywhere... You see, he has already become like a shadow and will be like that forever! He doesn't understand people's speech. Neither their actions, nothing. And everything is looking, walking, walking ... he has no life, and death does not smile at him. And there is no place for him among people ... That's how a man was struck for pride!

b ) The legend of Danko.

The legend of Danko ends with the words: “That’s where they come from, the blue sparks of the steppe that appear before a thunderstorm!” What sparks do you mean?

Perhaps the legend was told in order to explain where they come from. "blue sparks". Do you agree with this opinion?

What act would you call a feat?

Who and in the name of what accomplishes the feat in the legend?

Is Danko's act reasonable or not?

What feelings did Danko's feat evoke in you?

In the legend of Danko there are words: “Only one cautious person noticed this and, being afraid of something, stepped on a proud heart with his foot.” What scared "careful person"?

Conclusion. Izergil carries in her character the only beginning that she considers the most valuable: she is sure that her life was subordinated to only one thing - love for people. Also the only beginning brought to maximum degree, are also carried by the heroes of the legends told by her. Danko embodies the extreme degree of self-sacrifice in the name of love for people, Larra - extreme individualism.

in) The story of the old woman Izergil about her life.

- What role does the romantic landscape play in the legend?

In a romantic landscape, the heroine of the story appears before us - the old woman Izergil: “The wind flowed in a wide, even wave, but sometimes it seemed to jump over something invisible, and, giving birth to a strong gust, blowing the hair of women into fantastic manes that billowed around their heads. It made women strange and fabulous. They moved farther and farther away from us, and night and fantasy dressed them more and more beautifully.
It is in such a landscape - seaside, night, mysterious and beautiful - that the main characters 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.

How does Izergil evaluate the heroes of the legends she told?

“Do you see how much there is in the old days? .. But now there is nothing like that - no deeds, no people, no fairy tales such as in the frame ... Why? .. Come on, tell me! You won't tell... What do you know? What do you all know, young ones? Ehe-he! .. If we looked vigilantly into the old days - there are all the clues there ...<…>I see all sorts of people now, but there are no strong ones! Where are they?.. And there are fewer and fewer handsome men.”
"In life ... there is always a place for exploits."

How does the life story of Izergil reveal her striving for a romantic ideal?

How does her portrait relate to the story of the search for high love?

Izergil is a deep old woman, anti-aesthetic features are deliberately forced into her portrait: “Time bent her in half, her once black eyes were dull and watery. Her dry voice sounded strange, it crunched like an old woman spoke with her bones.

What brings Izergil closer to Larra?

Izergil is sure that her life, filled with love, went completely differently than the life of the individualist Larra, she cannot even imagine anything in common with him. Everything in the image of the old woman reminds the narrator of Larra - first of all, her individualism, taken to the extreme, almost approaching Larra's individualism, her antiquity, her stories about people who long ago passed their circle of life.

Conclusion. Creating an image main character, Bitter compositional means gives her the opportunity to present romantic ideal, expressing an extreme degree of love for people (Danko), and an anti-ideal that embodied individualism and contempt for others brought to its climax (Larra). The composition of the story is such that two legends frame the story of her own life, which is the ideological center of the story. Unconditionally condemning Larra's individualism, Izergil thinks that her own life and fate is more likely to strive for the Danko pole, which embodied the highest ideal of love and self-sacrifice. But the reader immediately draws attention to the ease with which she forgot her former love for the sake of a new one, how simply she left her once beloved people.

In everything - in the portrait, in the author's comments - we see a different point of view on the heroine. The romantic position, for all its beauty and loftiness, is denied by the autobiographical hero. He shows its futility and affirms the relevance of a more sober, realistic position.

Lesson on the topic "Romantic characters and their motivation in the stories "Makar Chudra", "Khan and his son"

Homework for the lesson:

a) problem question

Works to study:

1. Makar Chudra.
2. Khan and his son.

Type of lesson: acquisition and consolidation of new knowledge.

Main method: heuristic conversation.

During the classes

"Makar Chudra" (heuristic conversation with the stage of checking homework)

How does Gorky create a romantic character?

Makar Chudra is depicted against the backdrop of a romantic landscape: “A damp cold wind blew from the sea, spreading across the steppe the thoughtful melody of the splashing of the oncoming wave and the rustle 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 that surrounded us shuddered and, timidly moving away, revealed 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 landscape is animated, the sea and the steppe are boundless, they emphasize the boundlessness of the hero's freedom, his inability and unwillingness to exchange this freedom for anything. The position of the protagonist is already outlined in the exposition, Makar Chudra talks about a person who, from his point of view, is not free: “They are funny, those people of yours. They huddle together and crush each other. And there are so many places on earth…”; “Does he know his will? Is the expanse of the steppe understandable? dialect sea ​​wave gladdens his heart? He is a slave - as soon as he was born, he is a slave all his life, and that's it!

What are life values heroes of the legend?

Loiko Zobar: “Is he afraid of anyone!”; “He didn’t have a treasured one - you need his heart, he himself would tear it out of his chest and give it to you, if only you would feel good from him”; “With such a person, you yourself become better” (the words of Makar Chudra about Loiko); "…I free man and I will live the way I want!”; “She loves her will more than me, and I love her more than my will...”

Radda: “I have never loved anyone, Loiko, but I love you. Also, I love freedom! Here is my will, Loiko, I love more than you.

How does the legend reveal the worldview of Makar Chudra?

Implementation of homework

Exercise. problem question. Why is the story about the story of Loiko and Radda named after the narrator - "Makar Chudra"?

Answer. The consciousness and character of Makar Chudra become the main subject of the image. For the sake of this hero, the story is written, and artistic means, used by the author, he needs in order to show the hero in all his complexity and inconsistency, in order to explain his strength and weakness. Makar Chudra is at the center of the story and gets the maximum opportunity for self-realization. The writer gives him the right to speak about himself, freely expressing his views. The legend told by him, having artistic undoubted independence, nevertheless serves primarily as a means of revealing the image of the main character, whose name the work is named after.

What is the understanding of freedom by the heroes of the story?

What conflict is at the heart of the legend?

How is it allowed?

Makar Chudra (like the old woman Izergil) carries in his character the only beginning that he believes to be true: the maximalist desire for freedom. The same single beginning, brought to the maximum extent, is embodied by the heroes of the legend told by him. For Loiko Zobar true value too is freedom, openness and kindness. Radda is the highest, exceptional manifestation of pride, which even love cannot break.

Makar Chudra is absolutely sure that pride and love, two wonderful feelings brought by the romantics to their highest expression, cannot be reconciled, because a compromise is unthinkable for the romantic consciousness. The conflict between the feeling of love and the feeling of pride that the characters experience can only be resolved by the death of both: a romantic cannot give up either love that knows no boundaries or absolute pride.

Does the narrator agree with them?

How is his position expressed?

The image of the narrator is very important in the work. The narrator expresses the author's point of view on the characters and events taking place in the story. Author's attitude- admiration for the strength and beauty of the heroes of the story "Makar Chudra", poetic, aesthetic perception of the world in the story "Old Woman Izergil".

What is the meaning of the end of the story?

At the end of the story, Makar Chudra skeptically listens to the narrator - an autobiographical hero. At the end of the work, the narrator sees how the handsome Loiko Zobar and Radda, the daughter of the old soldier Danila, "circled in the darkness of the night smoothly and silently, and the handsome Loiko could not catch up with the proud Radda." In the words of the narrator, the author's position is manifested - admiration for the beauty of the characters and their uncompromisingness, the strength of their feelings, understanding the impossibility for the romantic consciousness of the futility of such an outcome of the case: after all, even after the death of Loiko, in her pursuit, she will not be equal to the proud Radda.

"Khan and his son"(consolidation and testing of knowledge)

Exercise. Make a table based on knowledge of the text of M. Gorky's story "Khan and his son."

References

1. VV Agenosov Russian literature of the XX century. Grade 11: Textbook for general education. Proc. Institutions. - M., 2001.
2. VV Agenosov Russian literature of the XX century. Grade 11: Lesson development. - M., 2000.
3. Gorky M. Favorites. - M., 2002.
4. Gorky M. Sobr. Op. in 30 volumes. T. 2. - M., 1949.
5. Zolotareva V.I., Anikina S.M. Pourochnye developments in literature. 7th grade. - M., 2005.
6. Zolotareva V.I., Belomestnykh O.B., Korneeva M.S. Pourochnye developments in literature. Grade 9 - M., 2002.
7. Turyanskaya B.I., Komissarova E.V., Kholodkova L.A. Literature in Grade 7: Lesson by Lesson. - M., 1999.
8. Turyanskaya B.I., Komissarova E.V. Literature in Grade 8: Lesson by Lesson. - M., 2001.

Early romantic stories by M. Gorky

“I came into the world to disagree,” - these words of Gorky can be attributed to any of the heroes of his romantic works. Loiko Zobar, Radda, Makar Chudra, Danko, Larra, Izergil - they are all proud and independent, they are distinguished by personal originality, brightness of nature, exclusivity of passions. Gorky's romanticism is formed in an era that, it would seem, was not intended for romanticism - the nineties of the 19th century, however, it is the writer's furious rebellion against the "lead abominations of life" that gives rise to the concept of a man-doer, the creator of his own destiny: Gorky's romantic heroes do not bow to circumstances, but overcome them. "We need feats, feats!" - Gorky wrote a few months before the creation of the story "Old Woman Izergil" and embodied in his romantic works heroes capable of accomplishing these feats, therefore works with a dramatic, and even tragic ending, reveal a bold, joyful look at the world of a young writer.

"Makar Chudra" (1892)

"Makar Chudra" is the first work that made Gorky famous. The heroes of this story - young gypsies Loiko Zobar and Radda - are exceptional in everything: in appearance, feelings, fate. The beauty of Radda cannot be expressed in words, she “could be played on the violin, and even to the one who plays this violin. Like his soul, he knows. Zobar's "eyes, like clear stars, burn", "a smile is a whole sun, a mustache lay on his shoulders and mixed with curls." Makar Chudra cannot hide his admiration for the prowess, spiritual generosity, inner strength of Zobar: “Damn me if I didn’t love him already, before he said a word to me. The kid was daring! Who was he afraid of? You need his heart, he himself would tear it out of his chest and give it to you, if only you would feel good from him. With such a person, you yourself become better. Few, friend, such people!” Beauty in Gorky's romantic works becomes a moral criterion: he is right and worthy of admiration simply because he is beautiful.

To match Zobar and Radd - and in her the same regal pride, contempt for human weakness, no matter what it is expressed. The large purse of the Moravian magnate, with which he wanted to seduce the proud gypsy, was only honored to be carelessly thrown by Radda into the mud. It is no coincidence that Radda compares herself to an eagle - independent, tall, soaring, lonely, because few people can match her. “Look for a dove - those are more pliable,” her father Danila advises the magnate.

The basis of a romantic work is conflict romantic hero with generally accepted values, in this case, two passions collide in the souls of Zobar and Radda - freedom and love as affection, responsibility, submission. “But I can’t live without you, how can you not live without me ... I have never loved anyone, Loiko, I love you. Also, I love free will. Will, Loiko, I love more than you. The heroes of Gorky faced a choice that can be called tragic, since it is impossible to make - there remains only a denial of the very need for choice, that is, life. “If two stones roll at each other, you can’t stand between them - they will mutilate.” Pride and love cannot be reconciled, since compromise is unthinkable for the romantic consciousness.

The compositional frame plays a special role in Gorky's story. A romantic story, in the center of which are exceptional characters and situations, establishes a special system of values ​​that does not fit into ordinary, everyday human life. The antithesis of the narrator and Makar Chudra, who told the legend of the love and death of the proud handsome gypsies, reveals the two worlds characteristic of a romantic work - inconsistency, opposition of the ordinary view of the world and life philosophy romantic hero. Freedom, not fettered by any attachments - neither to a person, nor to a place, nor to work - this is in the eyes of Makar Chudra supreme value. “This is how you need to live: go, go - and that's it. Do not stand in one place for a long time - what is in it? Look how day and night run, chasing each other, around the earth, so you run away from thoughts about life, so as not to stop loving it. And if you think about it, you will fall out of love with life, it always happens like that.

"Old Woman Izergil" (1895)

The system of images of the story "Old Woman Izergil" is built on the principle of antithesis, which is typical for a romantic work. Larra and Danko are proud, beautiful, but already in the description of their appearance there is a detail that sharply distinguishes them: Danko has eyes in which "a lot of strength and living fire shone", and Larra's eyes were "cold and proud." Light and darkness, fire and shadow - this will distinguish not only the appearance of Larra and Danko, but also their attitude towards people, their destinies, their memory. Danko has a fiery heart in his chest, Larra has a stone one, Danko will live in blue steppe sparks even after death, and the ever-living Larra will turn into a shadow. Larra sees nothing but herself. The son of an Eagle, a lone predator, he despises the laws of people, lives by his own laws, obeys only his momentary desires. “The punishment of a person is in himself” - that is why the eternal lonely life has become for Larra a punishment worse than death.

Burning is the ideal life of another hero of this story - Danko. Danko saves those people who, from weakness, exhaustion and fear, were ready to kill him, those among whom there was one who stepped on a proud heart with his foot. It is no coincidence that Gorky introduces this episode into the artistic fabric of the story: people were poisoned not only by the poisonous fumes of the swamp, but also by fear, they were accustomed to being slaves, it is very difficult to free themselves from this “internal slavery”, and even Danko’s feat in an instant is not able to wrest fear from human souls. People were frightened by everything: both the road back and the road forward, they accused Danko of their weakness - a man endowed with "courage to and”, that is, the courage to be the first. “People began to reproach him for his inability to manage them, they fell in anger and anger on Danko, the man who walked ahead of them.” Danko gives his life to people, dreaming of awakening the light in their souls.

The life of Izergil, the third heroine of the story, was called "rebellious" by Gorky. This life was filled with rapid movement and vivid feelings, next to it were often extraordinary, courageous, strong people - especially the red-haired Hutsul and the “pan with a chopped face”. She left the weak and vile without regret, even if she loved them: “I looked at him from above, and he floundered there, in the water. I left then. kicked him and hit him in the face, but he recoiled and jumped up ... Then I went too ”(about Arkadek).

Izergil was not afraid to sacrifice herself in the name of love, but at the end of her life she was left alone, "without a body, without blood, with a heart without desires, with eyes without fire - also almost a shadow." Izergil was absolutely free, she stayed with a man as long as she loved him, always parted without regret and even remembered little of the one with whom part of her life had passed: “Where did the fisherman go? - A fisherman? And he ... here ... - Wait, where is the little Turk? - Boy? He died ... "Izergil put her freedom above attachment to a person, calling it slavery:" I have never been a slave, no one's.

Another romantic hero of Gorky's stories can be called nature, which in its exclusivity is akin to Zobar, Radda, Danko, Izergil. Only where the steppe expanse and free wind could Gorky's romantic heroes live. Nature in the story "Old Woman Izergil" becomes one of the characters: it is a living being that takes part in people's lives. And just as among people, in nature there is good and evil. The Moldavian night, the description of which precedes the events of the first legend, creates an atmosphere of mystery. Before the appearance of Larra, nature dresses in bloody tones, becomes alarming. In the legend about Danko, nature is hostile to people, but its evil energy was defeated by Danko's love: with his feat, he overcame the darkness not only in the souls of people, but also in nature: “The sun was shining here; the steppe sighed, the grass shone in the diamonds of the rain, and the river sparkled with gold.

The exclusivity and colorfulness of the characters, the desire for freedom and the ability to take decisive action distinguish all the heroes of Gorky's romantic works. The words given by the writer to the old woman Izergil have already become an aphorism: “In life, you know, there is always a place for exploits.” This reflects the concept of a human agent who can transform the world. In the era of the turn of the century, this concept turned out to be in tune with the times when many already felt the approach of global historical changes.