In 1902, the great Russian writer M. Gorky wrote the play "At the bottom". In it, the author raised a question that remains relevant to this day - this is the question of freedom and the appointment of a person. M. Gorky was well acquainted with the life of the lower strata of society, and the sight of suffering, injustice evoked in him a feeling of acute rejection of reality. All his life he was looking for the image of the ideal Man, the image of the Hero. He tried to find answers to his questions in literature, philosophy, history, in life. Gorky said that he was looking for a hero where there are usually no people. In the play “At the Bottom”, the author showed the way of life and thinking of precisely those people who are already considered lost, useless for society. The author changed the name of the play many times: “The Bottom”, “Without the Sun”, “The Nochlezhka”. All of them are bleak, sad. Although it is impossible in another way: the content of the play requires gloomy colors. In 1901, the writer said of his play: “It will be scary...”
The play is rather ambiguous in its content, but its main meaning cannot be distorted or misunderstood.
According to the literary genre, the play “At the Bottom” is a drama. Drama is characterized by plot and conflict action. In my opinion, two dramatic principles are clearly marked in the work: social and philosophical.
Even its title, “At the Bottom”, speaks of the presence of social conflict in the play. The remark placed at the beginning of the first act creates a dull picture of a rooming house. “A basement that looks like a cave. The ceiling is heavy, stone arches, sooty, with crumbling plaster ... Everywhere along the walls there are bunk beds. The picture is not pleasant - dark, dirty, cold. The following are descriptions of the residents of the rooming house, or rather, descriptions of their occupations. What are they doing? Nastya is reading, Bubnov and Kleshch are busy with their work. It seems that they work reluctantly, out of boredom, without enthusiasm. They are all beggars, miserable, miserable creatures living in a dirty hole. There is also another type of people in the play: Kostylev, the owner of the rooming house, his wife Vasilisa. In my opinion, social conflict in the play lies in the fact that the inhabitants of the rooming house feel that they live “at the bottom”, that they are cut off from the world, that they only exist. They all have a cherished goal (for example, the Actor wants to return to the stage), they have their own dream. They seek the strength within themselves to confront this ugly reality. And for Gorky, the very desire for the best, for the Beautiful, is wonderful.
All these people are placed in terrible conditions. They are sick, poorly dressed, often hungry. When they have money, holidays are immediately organized in the rooming house. So they try to drown out the pain in themselves, to forget, not to remember their beggarly position " former people”.
It is interesting how the author describes the activities of his characters at the beginning of the play. Kvashnya continues to argue with Kleshch, the Baron habitually taunts Nastya, Anna groans “every goddamn day…”. Everything goes on, all this has been going on for more than a day. And people gradually stop noticing each other. By the way, the lack of a narrative beginning is hallmark drama. If you listen to the statements of these people, it is striking that all of them practically do not react to the comments of others, they all speak at the same time. They are separated under one roof. The inhabitants of the rooming house, in my opinion, are tired, tired of the reality that surrounds them. It’s not for nothing that Bubnov says: “But the threads are rotten ...”.
Such social conditions in which these people are placed, the essence of man is exposed. Bubnov remarks: “Outside, no matter how you paint yourself, everything will be erased.” The residents of the doss-house become, as the author believes, "unwittingly philosophers." Life makes them think about the universal concepts of conscience, labor, truth.
Two philosophies are most clearly opposed in the play: Luke and Satine. Satin says: “What is right, yes? .. Man - that's the truth! .. Truth is God free man!” For the wanderer Luke, such a “truth” is unacceptable. He believes that a person should hear something from which it will be easier and calmer for him, that for the good of a person it is possible to lie. Interesting points of view and other inhabitants. For example, Kleshch thinks: “... You can’t live ... Here she is true...! Damn her!”
Luka's and Satin's assessments of reality differ sharply. Luke brings a new spirit into the life of the rooming house - the spirit of hope. With his appearance, something comes to life - and people begin to talk more often about their dreams and plans. The actor lights up with the idea of finding a hospital and recovering from alcoholism, Vaska Pepel is going to go to Siberia with Natasha. Luke is always ready to console and give hope. The Stranger believed that one should come to terms with reality and look at what is happening around calmly. Luke preaches the opportunity to “adapt” to life, not to notice its true difficulties and one’s own mistakes: “It’s true that it’s not always a person’s illness ... you can’t always cure the soul with truth ...”
Satin has a completely different philosophy. He is ready to expose the vices surrounding reality. In his monologue, Satin says: “Man! It's great! It sounds… proud! Human! You have to respect the person! Don’t feel sorry… Don’t humiliate him with pity… you have to respect him!” But respect, in my opinion, is necessary for a person who works. And the inhabitants of the rooming house seem to feel that they have no chance to get out of this poverty. Therefore, they are so drawn to the affectionate Luke. The Stranger surprisingly accurately searches for something hidden in the minds of these people and paints these thoughts and hopes into bright, iridescent currents.
Unfortunately, in the conditions in which Satin, Kleshch and other inhabitants of the “bottom” live, such a contrast between illusions and real ty has a sad result. The question awakens in people: how and what to live on? And at that moment, Luka disappears ... He is not ready, and not willing. answer this question.
Comprehension of the truth fascinates the inhabitants of the rooming house. Satin is distinguished by the greatest maturity of judgments. Not forgiving the “lie out of pity”, Satin for the first time rises to the realization of the need to improve the world.
The incompatibility of illusions and reality is very painful for these people. The Actor ends his life, the Tatar refuses to pray to God... The departure of the Actor's life is the step of a person who has failed to realize the true truth.
In the fourth act, the movement of the drama is determined: life awakens in the sleepy soul of the “dormitory”. People are able to feel, hear each other, empathize.
Most likely, the clash of views between Sateen and Luke cannot be called a conflict. They run in parallel. In my opinion, if we combine the accusatory character of Sateen and pity for the people of Luke, then we would get the same an ideal person capable of reviving life in a rooming house.
But there is no such person - and life in a rooming house remains the same. Former outwardly. Some kind of turning point is happening inside - people are starting to think more about the meaning and purpose of life.
The play "At the bottom" as dramatic work conflicts are inherent, reflecting universal human contradictions: contradictions in views on life, in the way of life.
drama like literary genre depicts a person in acute conflict, but not hopeless situations. The play's conflicts are indeed not hopeless - after all (according to the author's intention), the active principle, the attitude to the world, still wins.
M. Gorky, a writer with an amazing talent, embodied the collision in the play “At the bottom” different views to being and consciousness. Therefore, this play can be called a socio-philosophical drama.
In his works, M. Gorky often revealed not only the everyday life of people, but also the psychological processes taking place in their minds. In the play “At the Bottom”, the writer showed that the neighborhood of people brought to life in poverty with a preacher of patient waiting “ the best person” necessarily leads to a turning point in the minds of people. In the rooming houses, M. Gorky captured the first, timid awakening human soul- the most beautiful thing for a writer.
Everything is in man, everything is for man!
Only man exists
everything else is his work
and his brain!
M. Gorky. At the bottom
Gorky's play "At the Bottom" not only has not left the stages of domestic theaters for about a hundred years, but also bypassed the largest theaters in the world. Until today, it excites the minds and hearts of readers and viewers, there are more and more interpretations of images (especially Luke). All this suggests that M. Gorky managed not only to look at the tramps with a fresh, truthful look - people who have sunk into the very dirt, “to the bottom” of life, crossed out from active life society of "former people", outcasts. But at the same time, the playwright sharply poses and tries to solve serious questions which worried and will worry every new generation, all thinking humanity: what is a person? what is truth and in what form do people need it? Is there an objective world or “What you believe is what it is”? and, most importantly, what is this world like and can it be changed?
In the play, we come across people who are useless outcasts in society, but it is they who are interested in questions about the place of man in the world around him. The heroes of the play do not resemble each other either in their looks, or thoughts, or life principles nor the way of life itself. The only thing they have in common is that they are superfluous. And at the same time, almost every one of the inhabitants of the rooming house is the bearer of a certain philosophical concept, on which they try to build their lives.
Bubnov believes that the world is vile and dirty, there is no good people, everyone just pretends, paints themselves, but "outside, no matter how you paint yourself, everything will be erased."
Kleshch is embittered at people, cruel to his wife Anna, but believes that hard, exhausting, but honest work can bring him back to the “real” life: “I am a working person ... I am ashamed to look at them .. I've been working since I was little... Do you think I won't break out of here? I’ll get out... I’ll tear off my skin, and I’ll get out. ”
Drunk and lost his name, the Actor hopes that his gift will return to him: "... the main thing is talent ... And talent is faith in oneself, in one's strength."
Nastya, a woman who sells her body, dreams of genuine, sublime love, which in real life unattainable.
Satin, a cheater-philosopher, has an opinion that is opposite to the principles of Klesch: “Work? For what? To be full?" It seems meaningless to him to spin in a wheel all his life: food is work. Satin owns the final monologue in the play, elevating the man: “Man is free ... he pays for everything himself: for faith, for unbelief, for love, for the mind ... Man is the truth!” material from the site
The inhabitants of the rooming house, brought together in a cramped room, are indifferent to each other at the beginning of the play, they hear only themselves, even if they are all talking together. But major changes in internal state The heroes begin with the appearance of Luke, an old wanderer who managed to wake up this sleepy kingdom, console and encourage many, all-pour or support hope, but at the same time, who was the cause of many tragedies. The main desire of Luke: "I want to understand human affairs." And he, indeed, very soon understands all the inhabitants of the rooming house. On the one hand, endlessly believing in a person, Luka believes that it is very difficult to change life, therefore it is easier to change yourself, to adapt. But the principle “what you believe in is what it is” makes a person come to terms with poverty, ignorance, injustice, and not fight for a better life.
The questions raised by M. Gorky in the play "At the Bottom" are timeless, they arise in people of different eras, ages, and religions. That is why the play arouses great interest among our contemporaries, helping them to understand themselves and the problems of their time.
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Essay text:
All in man, all for man! Only man exists, everything else is the work of his hands and his brain!
M. Gorky. At the bottom
Gorky's play "At the Bottom" not only has not left the stages of domestic theaters for about a hundred years, but also bypassed major theaters peace. Until today, it excites the minds and hearts of readers and viewers, more and more new interpretations of images (especially Luke) arise. All this suggests that M. Gorky managed not only to look with a fresh, truthful look at the tramps of people who have sunk into the very dirt, "to the bottom" of life, expelled from the active life of the society of "former people", outcasts. But at the same time, the playwright sharply poses and tries to solve serious questions that have worried and will worry every new generation, all thinking humanity: what is a person? what is truth and in what form do people need it? Is there an objective world, or "what you believe is what it is"? and, most importantly, what~is this world and can it be changed?
In the play we come across people who are useless outcasts in society, but it is they who are interested in questions about the place of man in the world around him. The heroes of the play are not similar to each other neither in their views, nor in their thoughts, nor in their life principles, nor in the very way of life. The only thing they have in common is that they are redundant. And at the same time, almost every one of the inhabitants of the rooming house is the bearer of a certain philosophical concept, on which they try to build their lives.
Bubnov believes that the world is vile and dirty, there are no good people here, everything is just pretending, painting myself, but "outside, no matter how you paint yourself, everything will be erased."
Kleshch is embittered at people, cruel to his wife Anna, but he believes that hard, exhausting, but honest work can bring him back to "real" life: "I'm a working person ... I'm ashamed to look at them ... I I've been working since I was little... Do you think I won't get out of here?
Drunk and lost his name, the Actor hopes that his gift will return to him: "... the main thing is talent ... And talent is faith in oneself, in one's strength."
Nastya, a woman who sells her body, dreams of genuine, sublime love, which is unattainable in real life.
Satin's cheater-philosopher has an opinion that is opposite to the principles of Klesch: "To work? For what? To be fed?" It seems pointless to him to spin in a wheel all his life: food is work. Satin owns the final monologue in the play, elevating man: "Man is free... he pays for everything himself: for faith, for disbelief, for love, for intelligence... Man is the truth!"
The inhabitants of the rooming house, brought together in a cramped room, are indifferent to each other at the beginning of the play, they hear only themselves, even if I am talking all together. But serious changes in the internal state of the heroes begin with the appearance of Luke the old wanderer, who managed to wake up this sleepy kingdom, console and encourage many, inspire or support hope, but at the same time, was the cause of many tragedies. The main desire of Luke: "I want to understand human affairs." And he, indeed, very soon understands all the inhabitants of the rooming house. On the one hand, endlessly believing in a person, Luka believes that it is very difficult to change life, it is easier for a lyricist to change himself, to adapt. But the principle "what you believe is what you are" makes a person put up with poverty, ignorance, injustice, and not fight for a better life.
The questions raised by M. Gorky in the play "At the Bottom" are timeless, they arise among people of different eras, ages, and religions. It is to the lyricist that the play arouses keen interest among our contemporaries, helping them to understand themselves and the problems of their time.
The rights to the essay "At the Bottom" by M. Gorky as a socio-philosophical drama belong to its author. When citing material, it is necessary to indicate a hyperlink to
In 1902, the great Russian writer M. Gorky wrote the play "At the bottom". In it, the author raised a question that remains relevant to this day - this is the question of freedom and the appointment of a person. M. Gorky was well acquainted with the life of the lower strata of society, and the sight of suffering, injustice evoked in him a feeling of acute rejection of reality. All his life he was looking for the image of the ideal Man, the image of the Hero. He tried to find answers to his questions in literature, philosophy, history, in life. Gorky said that he was looking for a hero where there are usually no people. In the play “At the Bottom”, the author showed the way of life and thinking of precisely those people who are already considered lost, useless for society. The author changed the name of the play many times: “The Bottom”, “Without the Sun”, “The Nochlezhka”. All of them are bleak, sad. Although it is impossible in another way: the content of the play requires gloomy colors. In 1901, the writer said of his play: “It will be scary...”
The play is rather ambiguous in its content, but its main meaning cannot be distorted or misunderstood.
According to the literary genre, the play “At the Bottom” is a drama. Drama is characterized by plot and conflict action. In my opinion, two dramatic principles are clearly marked in the work: social and philosophical.
Even its title, “At the Bottom”, speaks of the presence of social conflict in the play. The remark placed at the beginning of the first act creates a dull picture of a rooming house. “A basement that looks like a cave. The ceiling is heavy, stone vaults, sooty, with crumbling plaster ... Everywhere along the walls there are bunk beds.” The picture is not pleasant - dark, dirty, cold. The following are descriptions of the residents of the rooming house, or rather, descriptions of their occupations. What are they doing? Nastya is reading, Bubnov and Kleshch are busy with their work. It seems that they work reluctantly, out of boredom, without enthusiasm. They are all beggars, miserable, miserable creatures living in a dirty hole. There is also another type of people in the play: Kostylev, the owner of the rooming house, his wife Vasilisa. In my opinion, the social conflict in the play lies in the fact that the inhabitants of the rooming house feel that they live “at the bottom”, that they are cut off from the world, that they only exist. They all have a cherished goal (for example, the Actor wants to return to the stage), they have their own dream. They seek the strength within themselves to confront this ugly reality. And for Gorky, the very desire for the best, for the Beautiful, is wonderful.
All these people are placed in terrible conditions. They are sick, poorly dressed, often hungry. When they have money, holidays are immediately organized in the rooming house. So they try to drown out the pain in themselves, to forget, not to remember their beggarly position of “former people”.
It is interesting how the author describes the activities of his characters at the beginning of the play. Kvashnya continues to argue with Kleshch, the Baron habitually taunts Nastya, Anna groans “every goddamn day…”. Everything goes on, all this has been going on for more than a day. And people gradually stop noticing each other. By the way, the absence of a narrative beginning is a hallmark of the drama. If you listen to the statements of these people, it is striking that all of them practically do not react to the comments of others, they all speak at the same time. They are separated under one roof. The inhabitants of the rooming house, in my opinion, are tired, tired of the reality that surrounds them. It’s not for nothing that Bubnov says: “But the threads are rotten ...”.
In such social conditions in which these people are placed, the essence of a person is exposed. Bubnov remarks: “Outside, no matter how you paint yourself, everything will be erased.” The residents of the doss-house become, as the author believes, "unwittingly philosophers." Life makes them think about the universal concepts of conscience, labor, truth.
Two philosophies are most clearly opposed in the play: Luke and Satine. Satin says: “What is right, yes?.. A man is the truth!.. Truth is the god of a free man!” For the wanderer Luke, such a “truth” is unacceptable. He believes that a person should hear something from which it will be easier and calmer for him, that for the good of a person it is possible to lie. Interesting points of view and other inhabitants. For example, Kleshch thinks: “... You can’t live ... Here it is, the truth! .. Damn it!”
Luka's and Satin's assessments of reality differ sharply. Luke brings a new spirit into the life of the rooming house - the spirit of hope. With his appearance, something comes to life - and people begin to talk more often about their dreams and plans. The actor lights up with the idea of finding a hospital and recovering from alcoholism, Vaska Pepel is going to go to Siberia with Natasha. Luke is always ready to console and give hope. The Stranger believed that one should come to terms with reality and look at what is happening around calmly. Luke preaches the opportunity to “adapt” to life, not to notice its true difficulties and one’s own mistakes: “It’s true that it’s not always a person’s illness ... you can’t always cure the soul with truth ...”
Satin has a completely different philosophy. He is ready to denounce the vices of the surrounding reality. In his monologue, Satin says: “Man! It's great! It sounds... proud! Human! You have to respect the person! Don't feel sorry... Don't humiliate him with pity... you have to respect him!" But respect, in my opinion, is necessary for a person who works. And the inhabitants of the rooming house seem to feel that they have no chance to get out of this poverty. Therefore, they are so drawn to the affectionate Luke. The Stranger surprisingly accurately searches for something hidden in the minds of these people and paints these thoughts and hopes into bright, iridescent currents.
Unfortunately, in the conditions in which Satin, Kleshch and other inhabitants of the “bottom” live, such a contrast between illusions and real ty has a sad result. The question awakens in people: how and what to live on? And at that moment, Luka disappears ... He is not ready, and does not want to answer this question.
Comprehension of the truth fascinates the inhabitants of the rooming house. Satin is distinguished by the greatest maturity of judgments. Not forgiving the “lie out of pity”, Satin for the first time rises to the realization of the need to improve the world.
The incompatibility of illusions and reality is very painful for these people. The Actor ends his life, the Tatar refuses to pray to God... The departure from the life of the Actor is the step of a person who has failed to realize the true truth.
In the fourth act, the movement of the drama is determined: life awakens in the sleepy soul of the “dormitory”. People are able to feel, hear each other, empathize.
Most likely, the clash of views between Sateen and Luke cannot be called a conflict. They run in parallel. In my opinion, if we combine the accusatory character of Sateen and pity for the people of Luke, then we would get the very ideal Person who could revive life in a rooming house.
But there is no such person - and life in a rooming house remains the same. Former outwardly. Some kind of turning point is happening inside - people are starting to think more about the meaning and purpose of life.
The play “At the Bottom” as a dramatic work is characterized by conflicts that reflect universal contradictions: contradictions in views on life, in lifestyle.
Drama as a literary genre depicts a person in acutely conflicting, but not hopeless situations. The conflicts of the play are really not hopeless - after all (according to the author's intention) the active principle, the attitude to the world, still wins.
M. Gorky, a writer of amazing talent, in the play "At the Bottom" embodied the clash of different views on being and consciousness. Therefore, this play can be called a socio-philosophical drama.
In his works, M. Gorky often revealed not only the everyday life of people, but also the psychological processes taking place in their minds. In the play “At the Bottom”, the writer showed that the neighborhood of people brought to life in poverty with a preacher patiently waiting for a “better person” necessarily leads to a turning point in people's minds. In the rooming houses, M. Gorky captured the first, timid awakening of the human soul - the most beautiful thing for a writer.
In 1902, the great Russian writer M. Gorky wrote the play "At the bottom". In it, the author raised a question that remains relevant to this day - this is the question of freedom and the appointment of a person. M. Gorky was well acquainted with the life of the lower strata of society, and the sight of suffering, injustice evoked in him a feeling of acute rejection of reality. All his life he was looking for the image of the ideal Man, the image of the Hero. He tried to find answers to his questions in literature, philosophy, history, in life. Gorky said that he was looking for a hero where there are usually no people. In the play “At the Bottom”, the author showed the way of life and thinking of precisely those people who are already considered lost, useless for society. The author changed the name of the play many times: “The Bottom”, “Without the Sun”, “The Nochlezhka”. All of them are bleak, sad. Although it is impossible in another way: the content of the play requires gloomy colors. In 1901, the writer said of his play: “It will be scary...”
The play is rather ambiguous in its content, but its main meaning cannot be distorted or misunderstood.
According to the literary genre, the play “At the Bottom” is a drama. Drama is characterized by plot and conflict action. In my opinion, two dramatic principles are clearly marked in the work: social and philosophical.
Even its title, “At the Bottom”, speaks of the presence of social conflict in the play. The remark placed at the beginning of the first act creates a dull picture of a rooming house. “A basement that looks like a cave. The ceiling is heavy, stone vaults, sooty, with crumbling plaster ... Everywhere along the walls there are bunk beds.” The picture is not pleasant - dark, dirty, cold. The following are descriptions of the residents of the rooming house, or rather, descriptions of their occupations. What are they doing? Nastya is reading, Bubnov and Kleshch are busy with their work. It seems that they work reluctantly, out of boredom, without enthusiasm. They are all beggars, miserable, miserable creatures living in a dirty hole. There is also another type of people in the play: Kostylev, the owner of the rooming house, his wife Vasilisa. In my opinion, the social conflict in the play lies in the fact that the inhabitants of the rooming house feel that they live “at the bottom”, that they are cut off from the world, that they only exist. They all have a cherished goal (for example, the Actor wants to return to the stage), they have their own dream. They seek the strength within themselves to confront this ugly reality. And for Gorky, the very desire for the best, for the Beautiful, is wonderful.
All these people are placed in terrible conditions. They are sick, poorly dressed, often hungry. When they have money, holidays are immediately organized in the rooming house. So they try to drown out the pain in themselves, to forget, not to remember their beggarly position of “former people”.
It is interesting how the author describes the activities of his characters at the beginning of the play. Kvashnya continues to argue with Kleshch, the Baron habitually taunts Nastya, Anna groans “every goddamn day…”. Everything goes on, all this has been going on for more than a day. And people gradually stop noticing each other. By the way, the absence of a narrative beginning is a hallmark of the drama. If you listen to the statements of these people, it is striking that all of them practically do not react to the comments of others, they all speak at the same time. They are separated under one roof. The inhabitants of the rooming house, in my opinion, are tired, tired of the reality that surrounds them. It’s not for nothing that Bubnov says: “But the threads are rotten ...”.
In such social conditions in which these people are placed, the essence of a person is exposed. Bubnov remarks: “Outside, no matter how you paint yourself, everything will be erased.” The residents of the doss-house become, as the author believes, "unwittingly philosophers." Life makes them think about the universal concepts of conscience, labor, truth.
Two philosophies are most clearly opposed in the play: Luke and Satine. Satin says: “What is right, yes?.. A man is the truth!.. Truth is the god of a free man!” For the wanderer Luke, such a “truth” is unacceptable. He believes that a person should hear something from which it will be easier and calmer for him, that for the good of a person it is possible to lie. Interesting points of view and other inhabitants. For example, Kleshch thinks: “... You can’t live ... Here it is, the truth! .. Damn it!”
Luka's and Satin's assessments of reality differ sharply. Luke brings a new spirit into the life of the rooming house - the spirit of hope. With his appearance, something comes to life - and people begin to talk more often about their dreams and plans. The actor lights up with the idea of finding a hospital and recovering from alcoholism, Vaska Pepel is going to go to Siberia with Natasha. Luke is always ready to console and give hope. The Stranger believed that one should come to terms with reality and look at what is happening around calmly. Luke preaches the opportunity to “adapt” to life, not to notice its true difficulties and one’s own mistakes: “It’s true that it’s not always a person’s illness ... you can’t always cure the soul with truth ...”
Satin has a completely different philosophy. He is ready to denounce the vices of the surrounding reality. In his monologue, Satin says: “Man! It's great! It sounds... proud! Human! You have to respect the person! Don't feel sorry... Don't humiliate him with pity... you have to respect him!" But respect, in my opinion, is necessary for a person who works. And the inhabitants of the rooming house seem to feel that they have no chance to get out of this poverty. Therefore, they are so drawn to the affectionate Luke. The Stranger surprisingly accurately searches for something hidden in the minds of these people and paints these thoughts and hopes into bright, iridescent currents.
Unfortunately, in the conditions in which Satin, Kleshch and other inhabitants of the “bottom” live, such a contrast between illusions and real ty has a sad result. The question awakens in people: how and what to live on? And at that moment, Luka disappears ... He is not ready, and not willing. answer this question.
Comprehension of the truth fascinates the inhabitants of the rooming house. Satin is distinguished by the greatest maturity of judgments. Not forgiving the “lie out of pity”, Satin for the first time rises to the realization of the need to improve the world.
The incompatibility of illusions and reality is very painful for these people. The Actor ends his life, the Tatar refuses to pray to God... The departure from the life of the Actor is the step of a person who has failed to realize the true truth.
In the fourth act, the movement of the drama is determined: life awakens in the sleepy soul of the “dormitory”. People are able to feel, hear each other, empathize.
Most likely, the clash of views between Sateen and Luke cannot be called a conflict. They run in parallel. In my opinion, if we combine the accusatory character of Sateen and pity for the people of Luke, then we would get the very ideal Person who could revive life in a rooming house.
But there is no such person - and life in a rooming house remains the same. Former outwardly. Some kind of turning point is happening inside - people are starting to think more about the meaning and purpose of life.
The play “At the Bottom” as a dramatic work is characterized by conflicts that reflect universal contradictions: contradictions in views on life, in lifestyle.
Drama as a literary genre depicts a person in acutely conflicting, but not hopeless situations. The play's conflicts are indeed not hopeless - after all (according to the author's intention), the active principle, the attitude to the world, still wins.
M. Gorky, a writer of amazing talent, in the play "At the Bottom" embodied the clash of different views on being and consciousness. Therefore, this play can be called a socio-philosophical drama.
In his works, M. Gorky often revealed not only the everyday life of people, but also the psychological processes taking place in their minds. In the play “At the Bottom”, the writer showed that the neighborhood of people brought to life in poverty with a preacher patiently waiting for a “better person” necessarily leads to a turning point in people's minds. In the rooming houses, M. Gorky captured the first, timid awakening of the human soul - the most beautiful thing for a writer.
