Romantic works of A. M. Gorky saw the light in the 90s XIX years century It was a time of indifference to ideals and bold aspirations. The historical paths followed by the populists caused disappointment among the intelligentsia. The slogan of the 90s: "Our time is not the time of great tasks." The hero is overthrown, glorified average person. Life loses its high meaning.

Gorky was the spokesman for the new stage of the liberation movement in literature. The dullness of bourgeois reality led him not to deny the feat, but to the need to search for the heroic in a romantic, fictional environment. The romantic rebelliousness of young Gorky was a form of denial of philistinism. But his striving for another life dressed up in romantic attire only until the moment when the living impressions of reality pointed the artist to a concrete historical, and not a fabulously romantic way out.

In a letter to Chekhov, Gorky welcomed new Age: "I recently saw the play" Cyrano de Bergerac "and was delighted with it:" Way to the free Gascons! We southern sky sons, We are all under the midday sun, And born with the sun in our blood!

This admiration for people "with the sun in their blood" manifested itself in Gorky already in his very first story "Makar Chudra". The daring gypsies Loiko Zobar and the fabulous Rada loved each other deeply. But they loved freedom even more. And in her name they did not spare their lives. Gorky bows before the strong, mighty passion of a "natural" person who was born on the free steppes, free and removed from the world of petty thoughts, calculation, self-interest. The gypsy camp is a community where there are their own harsh laws, but, according to the author, they do not humiliate, but glorify a person, his unbending will. Such a choice of heroes is determined by the writer's hatred for the class of philistines. - slaves of a penny, living on petty passions.

In the "Song of the Falcon" the dispute between the Falcon (hero) and Uzh (philistine) leads the reader to the idea that a feat is necessary, even if others are not able to appreciate it. Gorky glorifies the "madness" of those who sacrifice themselves, not hoping for respect and understanding. This idea was especially important in an era when people lost their need for the heroic. The writer deeply believes that there are no vain sacrifices in the name of a brighter future. His revolutionary optimism was expressed with particular force in the "Song of the Petrel", which was a direct call for revolution, "storm".

The artistic style of Gorky's early romantic works is very peculiar: it is full of symbolism, hyperbole, and contrasts. Big role landscape plays: sea, steppe, mountains. The speech of the characters is excited, pathetic, devoid of ordinary expressions. The fabulousness of the style of the young Gorky came from the desire to bring "in poor life such fictions" that would awaken in people the desire for an extraordinary, free, heroic life.

However, Gorky begins to realize the importance of specific social and everyday characteristics of the characters. And he endows them with the real features of "people of the bottom", just as the romantics of the 19th century endowed their heroes with hallmarks"knights" or "noble savages".

Gorky creates his own own world. In it, one can often observe some features of contemporary Russia. Nevertheless artistic reality the writer lives on his own internal laws. And these laws are different from the laws that existed for realists XIX century.

In this world, nature is closely connected with state of mind heroes, which corresponds to the canons of romanticism. The sea in the story "Chelkash", the forest in the legend of Danko, the steppe in the story "Grandfather Arkhip and Lenka" change as the plot develops. If at the beginning of the work nature is calm and ordinary, then during the main conflict it "reflects" the spiritual tension of the characters. This is how a thunderstorm or storm begins. In addition, nature has a dual character. She either helps people, creating a natural background for free life, as at the beginning of the story "Old Woman Izergil", or opposes them. Rather, it is not nature itself that participates in this confrontation, but rather its "false likeness" created by people.

The embodiment of this "false likeness" is a port city that "breathes with the powerful sounds of a passionate hymn to Mercury", or a "living" forest that arose because of people's fear of nature. In both cases, the reality created by people "enslaved and depersonalized them", so it should disappear at the moment when people manage to conquer their fear. On the contrary, true nature is always alive. She embodies the immutable and eternal laws of life, so most of the stories end with landscapes symbolizing "eternity", the beauty and harmony of nature that is not subject to petty passions.

The protagonist is usually associated with nature. The whole story revolves around him. So, Chelkash feels free only in the sea, the dying Larra looks at the sky. Such a connection allows you to highlight the main character, which corresponds to the tradition of romanticism. This hero is an outcast in society, he is always alone. Far from being the "second self" of the author, he, nevertheless, embodies certain ideas close to Gorky.

The main character usually has an antagonist. Between them, a conflict arises, on the basis of which the plot unfolds. Thus, the main conflict is not only interpersonal, but also ideological. "Free" heroes oppose heroes dependent either on money, or on "traditions", or on "ignorance". Freedom for all is very different from freedom for oneself. Danko embodies the first, Larra embodies the second. Only freedom for all can bring happiness to people, teach them to "see life," as the old woman Izergil says. Her fate is opposed to the petty-bourgeois ideal of a "quiet life."

And Gavrila's dream "of a house", and Grandfather Arkhip's "care" for Lenka, and the "wisdom" of Uzh - this is a "petty-bourgeois ideal" for Gorky. The opposition between the "personality" and the "crowd", traditional in romanticism, becomes more complicated with Gorky. The characters are also evaluated from the point of view of ethics, so a paradoxical result is obtained: the man of the crowd is like a demon striving for "a will for himself" (in the sense that both of them can commit a crime). And here they oppose Danko, who sacrifices himself for the sake of others and therefore is a true "person".

Gorky saw that all ethical assessments are relative. He himself, for example, spoke out against Christian charity and ethics in the story "The Case with the Clasps." Gorky believed that man is not only an accumulation of sins and vices, but also a being capable of changing himself and the world. Because of this, any ethics must be "active", that is, it must evaluate a person from the point of view of his ability to "live, not reconcile."

The plot of the plot often turns out to be a problem to which two different systems views give different answers. This is a stolen handkerchief in the story "Grandfather Arkhip and Lenka", the problem of "the price of money" in "Chelkash" or "freedom" in "Old Woman Izergil" Then the conflict develops and a denouement occurs, and the hero may die, but his ideas win. They win not in real life, but in the reader's assessment of what is happening. The Falcon could not prove "his truth" to Uzh, for whom the happiness of flight is revealed in the fall. But it is the Falcon that appears before readers as a positive hero.

The confrontation between the two worldviews is also manifested in appearance characters, and in their perception of reality. "Beautiful people" are always compared to birds, they are "able to fly", as opposed to "born to crawl". In appearance and speech, they differ sharply from the surrounding people. World " beautiful people“They see it in their own way, for them there is nothing terrible and incomprehensible in it. For Chelkash, the “fiery blue sword” seen by Gavrila is a simple “electric lantern”.

Thus, artistic originality early works of Gorky is associated with the worldview of his characters. The plot is built on the basis of the opposition of two sets of ideas. Heroes who carry these ideas, even when they die, remain victorious. From the very beginning of the work, they are compositionally singled out and opposed to the rest of the characters due to the fact that they strive to "live, not reconcile." Because they oppose the philistine ideal, goodies often embodied in such characteristic images as "tramps". This is manifested in speech, and in the desire for "free nature", and in conflict with existing society. Such social isolation allows us to talk about their similarity with romantic heroes of the XIX century. At the same time, Gorky endows his heroes with the distinctive features of the "people of the bottom", which can be perceived as a desire for a realistic description of the life of Russia at the beginning of the 20th century.

Young people are especially fond of Gorky's romantic works, because in youth a person is most of all obsessed with the desire to remake, rebuild life. Ideal, bright, noble heroes, even a hundred years later, attract the reader with their dissimilarity to the people around us. "The madness of the brave is the wisdom of life!" Yes, existing life with its way of life is presented as a kind of truth, but it is not eternal. The struggle to change life, the eternal movement forward - that is the real truth!

1. Themes early creativity writer.
2. Romantic hero.
3. A feat in the name of people.

They call me a householder. Even a naturalist. But what kind of householder am I? I am romantic.
M. Gorky

Considering the early work of M. Gorky, critics disagreed - some argued that creative method Gorky - realism, since he adhered to naturalism in detail, others called his method romanticism. There was even a compromise name - "romantic realism" or "neorealism". It is now customary to call characteristic feature Gorky's early work is a synthesis of romanticism and realism. Gorky himself considered himself a romantic. He suffered romantic traditions from the 19th to the 20th century, so that in the literature of his time there would appear such a hero that people would follow. Writers have always been concerned eternal questions- O driving forces history, the purpose of man and the meaning of life, the relationship between the individual and the collective, faith and religion, freedom and necessity, humanism and cruelty. To eradicate malice and violence in the world - that was Gorky's goal. The revival of romanticism at that time took place not only in Russian, but also in foreign literature. The books of that time reflected a premonition of global change. This pushed writers to search for a romantic ideal. Gorky sang of the Man with capital letter: "I don't know anything better, harder, more interesting than a person. He is everything. He even created God... I am sure that man is capable of infinite improvement, and all his activities will also develop along with him, together with him from century to century. I believe in the infinity of life, and I understand life as a movement towards the perfection of the spirit. According to Gorky, reason and will can change a lot in life.

Romantic is usually called early period Gorky's work, when "Makar Chudra", "Old Woman Izergil", "Song of the Falcon", "Song of the Petrel" were written. These works were distinguished by a great variety of genres - Gorky wrote stories, legends, fairy tales, poems. All these works combine characteristic heroes. These are not people of our time - Gorky resorts to the form of legends, traditions, songs to designate the ideal of a person who still lives in the memory of people. Active fighters for justice, beautiful externally and spiritually, his freedom-loving heroes crave a storm, a feat, they are ready to selflessly devote their whole life to people or give it away for the sake of a happy future for other generations.

In the story "Makar Chudra", the writer turns to the very embodiment of freedom - the gypsies, draws a proud romantic hero, free from everything, incapable of compromise with feelings dignity. Loiko Zobar recalls fabulous goodness young man - handsome, daring, wise, courageous. His character traits- the desire for freedom, will, pride. Makar Chudra, who tells the legend, also counts the free gypsy life with his ideal. Therefore, Loiko ultimately prefers death rather than life and love without freedom. beautiful, brave and strong heroes leads to death the conflict between the feeling of love and the desire for will. The death of heroes in the mouth of Makar Chudra is perceived as a triumph of life and will. The author also shows that in his hero there were the beginnings of a fighter capable of accomplishing a feat in the name of people, but pride prevents him.

The hero of the story “Old Woman Izergil”, the arrogant proud Larra, the son of a woman and an eagle, finds punishment in himself: “Let him go, let him be free. Here is his punishment! Eternal loneliness - that's what pride leads to. The second, about whom the old woman Izergil tells, is Danko. Like Larra, he can be called a superman, but if Larra commits a crime in the human world, then Danko, on the contrary, is a feat. He is able to lead those around him, inspire hope and faith in them. This romantic hero longs to devote himself to people to such an extent that he rips his heart out of his chest to light the way for them, and dies. And the heart continues to shine.

A feat in the name of people is what a romantic hero must accomplish, overcoming even their disbelief. Danko loves his fellow tribesmen, and therefore brings them out of darkness into the light, but they treat the hero in different ways, ranging from disbelief to the fact that one “cautious person” puts out his hot heart with his foot. The old woman Izergil believes that "in life there is always a place for exploits." She herself risked her life more than once for someone else. She did not become a heroine, but every person should strive to become better.

In the Song of the Falcon, the heroic personality - the Falcon - collides with the world of everyday life, with the inhabitant Uzh. In the work we recognize the same freedom-loving romantic hero-fighter as in the stories. The falcon speaks of the happiness of the battle with the enemy, of a feat. It already embodies the petty-bourgeois views on life: “Well, what about the sky? - empty place... How can I crawl there? I'm fine here ... warm and damp! So Already answered the free bird and chuckled in his soul at her for these nonsense. And so I thought: "Fly or crawl, the end is known: everyone will fall into the ground, everything will be dust" ... ".

Gorky sings of the “madness of the brave”, in which there is “the wisdom of life”, says that the death of the Falcon is not in vain: “But there will be time - and drops of your hot blood, like sparks, will flare up in the darkness of life and many brave hearts will ignite the insane thirst for freedom, light!

"Song of the Petrel" sings of the coming revolution. The author calls the petrel "a prophet of victory", a bold one, in whose cry "thirst for a storm, the power of anger, a flame of passion and confidence in victory" are mixed. Black lightning, arrow, black storm demon - here it is new hero revolution. Gorky became the creator of a new direction in Russian literature - socialist realism, which he called "socialist romanticism", and its origins are in early works writer.

weave human destinies with legends in the work of M. Gorky "The Old Woman Izergil"

Main merit M. Gorky lies in the fact that he introduced courageous, freedom-loving heroes into literature, ready for exploits in the name of a great idea. This was new for the literature of the late nineteenth century. Gorky's images were painted vividly, bright colors, which contributed to the allocation of any separate, most main feature in the hero.

The story "Old Woman Izergil" refers to the early romantic works Gorky. main motive works are a thirst for achievement in the name of people's happiness. In this, the writer sees a positive ideal of a person, therefore the main characters in the story are half-fairy people.

The story consists of three parts: the legend of Larra, the legend of Danko and the story of the life of the narrator herself, Izergil. It's like a "story within a story".

Larra, the hero of the first parable, is the son of a woman and an eagle. He is obsessed with pride, arrogance towards the people with whom he lives. The hero shows an extreme degree of selfishness when he kills a girl just because she did not want to go with him. He, who considers himself the most prominent on earth, saw this as an insult to his honor.

A young man kills not because of love, but because of selfishness. He sees in the girl only a thing that should belong to him, because he wants to. When asked by the residents why he killed the girl, Larra replies: “I killed her because, it seems to me that she pushed me away ... But I needed her ... Do you only use your own? I see that each person has only speech, hands and feet ... and he owns animals, women, land ... and much more.

Then people gathered to come up with an execution for the proud man, worthy of his deed. The wisest one said: “Let him go, let him be free. Here is his punishment! At first, Larra (his name means "outcast") laughed out loud, as it seemed to him, at the stupidity of people.

For many years the hero walked alone, death had no power over him, even when he himself wanted it: “... he has already become like a shadow and will be like that forever! He doesn't understand people's speech, their actions, nothing. And he is looking for everything, 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 the young man was struck for his pride!

Larra refuses the freedom granted to him, tries to die, if only to free himself from the hated will. Life becomes hard labor for him.

The hero of the second legend is the young man Danko. For the sake of the freedom of his tribe, he makes the greatest sacrifice, while experiencing happiness. If Larra's shadow was left to wander on the ground, then beautiful blue sparks remind the descendants of Danko's feat.

From the swamp stench, people of the tribe in which Danko lived began to die. It was eerie and hopeless all around. exhausted people already wanted to bow down to the enemy, sacrificing their will. And only one, a handsome young man named Danko, did not want to lose his will, and decided to lead his fellow tribesmen out of the dark forest. He was not embarrassed by the upcoming difficulties.

But when it became very difficult and scary during the journey, the tribesmen attacked Danko with accusations: he, young and inexperienced, should not have taken on such a difficult task. Enraged, they stood around him, it was impossible to expect mercy from them.

The young man was not afraid own death- the tribesmen seemed to him pitiful and helpless, and he loved people. Danko tore his chest with his hands and tore out his heart from it. It blazed like the sun, and the whole forest fell silent, illuminated by "this torch of love for people":

"Let's go! Danko shouted and rushed forward to his place, holding his heart high and illuminating the way for people with it.

The burning heart of the young man saved people from inevitable death. A lot of water has flowed under the bridge since then, but the feat of the daredevil Danko has remained to live among the people. And all because he “loved exploits. And when a person loves feats, he always knows how to do them and finds where it is possible. In life ... there is always a place for exploits.

main task Gorky saw in the demonstration of the potential possibilities of Man, in selfless love to others, in the ability to sacrifice oneself when necessary. In his story "Old Woman Izergil", the writer expressed all this in the form of legends about Larra and Danko.

The writing of the work belongs to the period of early creativity (1894) of Maxim Gorky. His lines reflect the author's memories of Bessarabia. The topic was raised by the writer strong personality. He decided to start looking for an answer to the question concerning what qualities

should a person have?

Ideal personal qualities displayed in the image of Danko, his antipode was a character named Larra.

Gorky avoids evaluating and giving direct judgments, although the author's position still manifests itself when describing the portraits of heroes, conveying their feelings and thoughts. The author claims that an ideal person brave, always ready to sacrifice himself for the well-being of others, but the weak are characterized by such traits as pride, selfishness, pride. Gorky's opinion on this matter is correct, because philosophical reasoning regarding this problem raised in the work is relevant to this day.

According to the proud Larra, he is above the whole world. Hence his indifference to the lives of others, the desire only to take, without giving anything in return.

Due to the individualistic philosophy, Larra differs from everyone, as well as from another hero of the work, which has become his antipode. Danko sacrifices himself in the name of saving the people, and at the same time does not expect anything in return. People managed to slander him over a long period of time spent on overcoming the path, because they thought that he was deceiving them. "Danko ... saw that they were ... animals." But, despite this, he pities and loves his tribe, so he tears out a burning heart from his chest, with the help of which he lights the way for people. After his death, no one even remembers the guy's name. Maxim Gorky by this shows the reader that the actions performed by a person dissolve in the memory of people.

The characters, though completely different, both end tragically in their life path. The only difference is that Danko helps others survive by giving his heart, while Larra, refusing to admit his mistakes, becomes a wanderer doomed to immortality.

The opposition of the characters makes the plot of the story colorful, at the same time, the author shows human personality from all sides.

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Updated: 2017-01-26

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The Romantic Ideal of Man in M. Gorky's story "Old Woman Izergil"

The story "Old Woman Izergil" refers to the masterpieces of M. Gorky's early work. The writer here is not interested in the manifestation of the individual character of the hero, but in the generalized features of the ideal person. So, the story presents three heroes, each of whom has his own philosophy of life: Larra, the son of a woman and an eagle, Danko, the son of a man, and the old woman Izergil, a contemporary of the narrator.

Larra is the embodiment of spirituality. He imagines himself perfect, therefore he destroys those who are objectionable to him: “I am alone ... I do not worship anyone in life ... for I am the first in it!” Thoughtless following of instinct, striving to achieve a goal at any cost, an existence devoid of past and future - all this devalues ​​both the pride and beauty that were originally inherent in Larra. He could not and did not want to compromise, did not try to adapt his desires to the laws of society. Egoism is understood by him as a manifestation of personal freedom, and his right to any act is from birth the right of the strong. He is undoubtedly an exceptional romantic personality, ideal in its negative, soulless, immoral content.

Danko is a hero with diametrically opposed positions in life, a qualitatively different type of romantic ideal of a person. From deep compassion for fellow tribesmen who lost their will and courage, for their perishing souls, the fire of love was lit in Danko's heart. The anger that flared up in the tribesmen towards the brave young man, when he led the tribesmen to the light, caused this love to flare up to a bright torch that illuminated their path.

The source of Danko's feat is a deep belief in the possibility of awakening the human principle in people. Therefore, the hero leads his people from darkness, cold and death to light, sun, warmth, harmony. But Danko's self-sacrifice, his love for people was not appreciated. The “cautious person” imperceptibly tramples the coals from the burning heart of the hero, trying to kill even the memory of him. Apparently, the memory of Danko, an honest and courageous young man, would always make people remember their own cowardice and meanness. Danko, on the other hand, gives his life in the name of people and, dying, experiences true joy. Here it is - the romantic ideal of a positive hero, a person capable of a disinterested feat!

Between these two legends, the story shows the life story of the old woman Izergil. She is also a romantic heroine, her ideal is freedom. She proud man and live the way she wants. But for the sake of a loved one, Izergil is capable of a feat and self-sacrifice. In this she is close to Danko. In the way she thoughtlessly abandoned her loved ones, in the selfish desire for love and thirst for pleasure, Izergil is like Larra. Her whole life is a search for love, but, in fact, an attempt to find a bright personality in life, capable of a bold act. But real world not rich in such people, and the search proved fruitless. The weakness, the colorlessness of the surrounding people withered this once beautiful woman, but did not kill her dream of a proud man.

So, Gorky tried to show three destinies, three characters, three types of a romantic ideal of a person. The only problem is that although "in life ... there is always a place for a feat", ideal personalities are not perceived by people in society. The ideal person, according to Gorky, is doomed either to exile, or to death, or to loneliness.

Why did the meeting of Bazarov and Odintsova not lead to the happiness of mutual love? (based on the novel by I.S. Turgenev "Fathers and Sons")

Once, in a conversation with Flaubert, Turgenev said: "I believe that only love causes such a flowering of the whole being, which nothing else can give." Love, according to the writer, makes a person reveal himself from the best sides. Why didn’t Bazarov’s meeting with Odintsova lead to happiness mutual love?

With the arrival at the estate of Anna Sergeevna, Bazarov's confusion begins. “What a humble I have become,” notes Bazarov. The author traces internal state Bazarov (“he was easily irritated, spoke reluctantly”) and, at the same time, notes the deep psychological differences between the main character and Odintsova. He is completely captured by the feeling: “Passion beat in him, strong and heavy, a passion akin to malice.” Odintsova, accustomed to being guided in life more by reason than by feeling, under the influence of the passing life and the desire for novelty, “forced herself to reach a certain line” and calmly retreated. Bazarov, after his confession, “did not sleep or smoke” all night and ate almost nothing. The author notes: “His thin profile stood out gloomily and sharply from under his pulled cap.”

In the explanation of these heroes, everything is indicative: the difference in experiences, life attitudes, and finally, the main thing is the significance of what happened for their fate. After all, Odintsova again goes into her cozy little world, and later enters into a profitable marriage "by conviction." Bazarov, on the other hand, painfully feels the loss, several times he tries to call the woman to a new conversation, apologizing to her, forces himself to call love a “sham feeling”. But before his death, he says goodbye to Anna Sergeevna as to the beauty of life itself.

So, we see, firstly, that the love of Bazarov and Odintsova was not mutual - he loved only main character, and Odintsova allowed herself to be loved, played with feeling. Secondly, happiness between the heroes would not be possible, since these are two diametrically opposed personalities in character, conviction, moral and ethical principles. These are the people different eras who were brought together by chance.

Bazarov's love experiences are perceived ambiguously. Their passionate intensity, integrity and strength evoke hero worship. In a love conflict, he appears as a large and extraordinary personality: rejected, the hero won a moral victory over an egoistic woman. However, the feeling for her and the gap are tragic for Bazarov.

Throughout the novel, we observe the evolution of the protagonist: already in the fact that Turgenev forced him to fall into the net of a romantic feeling previously denied by him and fail in love, the author’s intention to debunk Bazarov’s nihilistic theories is visible.

The meeting of the protagonist with Odintsova is a kind of test for his character in order to reveal Bazarov from all sides. And Bazarov's love was initially doomed, as it contradicted him life position. This type does not attract Odintsov, but scares her, as it contradicts her “beliefs”.

The originality of the disclosure of the love theme in the lyrics of A.S. Pushkin (on the example of 3-4 poems)

Love in Pushkin's poetry is a deep, morally pure and selfless feeling that ennobles and purifies a person. Even when there is no response to it, love is a gift of life.

"I remember wonderful moment"- one of Pushkin's most penetrating, quivering, harmonic poems related to love topics. It is autobiographical and dedicated to Anna Petrovna Kern.

The poem begins with a recollection of a dear and beautiful image, for life entered into the consciousness of the lyrical hero. This deeply hidden, hidden memory is warmed by such a tremulous and hot, unfading feeling that we involuntarily and imperceptibly join this reverent admiration for the shrine of beauty:

I remember a wonderful moment:

You appeared before me

Like a fleeting vision

Like a genius of pure beauty.

The emotional tone of the subsequent stanzas also does not decrease. The lyrical hero recalls the years of his Petersburg life, which passed "in the languor of hopeless sadness, in the anxieties of noisy fuss." He recreates a different mood of feelings, recalling his life during the period of southern exile (“Storm, a rebellious impulse dispelled former dreams”). The poet also mentions the "darkness of imprisonment" of the Mikhailovsky exile, the painful days spent "in the wilderness": "Without a deity, without inspiration, Without tears, without life, without love."

But always in the memory of the hero there were “cute”, “heavenly” features, “gentle voice” still sounds in his soul.

The harmonious tranquility of the poem is achieved by the sincerity of intonation, melancholy reflections on the days lived "without a deity, without inspiration." But suddenly the harmony explodes. Quiet tenderness gives way to violent passion. Again - the revival of feelings in the soul of the poet, again - a surge of vitality, again - the arrival of creative inspiration: “The soul has come to awakening: And here you are again ...”

In this poem by Pushkin, the love theme is combined with the poet's philosophical thoughts about his life, about the joy of being, about creative inspiration in wonderful moments of meeting with enchanting beauty.

Tragic is also inherent in love - jealousy, separation, death of a loved one. Pushkin's love is often unrequited, it burns and burns itself, as in the poem "The Burnt Letter":

Goodbye love letter

…. burn love letter.

I am ready, my soul does not listen to anything.

Love, like a candle, burns out in a short moment, and only ashes and a devastated soul remain from it. It would seem that the lyrical hero should have been disappointed in this feeling. But Pushkin only touches on the tragic in love, his "sorrow is bright", and he never becomes discouraged. The lyrical hero always wishes the happiness of the one he loves, albeit hopelessly (“I loved you ...”):

I loved you so sincerely, so tenderly,

How God forbid you loved to be different.

The unrequited love of the lyrical hero Pushkin is devoid of any selfishness. He truly loves a woman, takes care of her, does not want to disturb her with his confessions.

Pushkin's love lyrics bribes with purity and depth of experienced feelings, harmony and tranquility.

The image of the "bottom" and the problem of a person's moral choice in M. Gorky's play "At the Bottom"

At all times, man has sought to know his "I", the purpose and meaning of life. Pushkin and Gogol, Tolstoy and Dostoevsky tried to solve the eternal problems of human existence. M. Gorky was no exception here, but he developed his own understanding of man and his life purpose. It is especially clearly manifested in the play "At the Bottom", written in 1902.

In this play, Gorky portrayed the life of tramps, the world of outcasts. Such a harsh, merciless truth about the life of the social lower classes, about their hopeless fate, the world dramaturgy has not yet known. Under the gloomy vaults of the Kostylevo rooming house, which looks like a cave and a prison cell, there are people with different characters, people from different social strata. Old and young, single and married, men and women, healthy and sick, hungry and well-fed coexist in one room. Overcrowding and terrible poverty give rise to mutual irritation, quarrels, fights and even murder.

Gorky does not give us a detailed description of the life path of the heroes, but the individual remarks that the characters utter in the course of the action allow us to see their destinies. Satin served on the telegraph, but, standing up for the honor of his sister, he ended up in prison. After that, his whole future life was a foregone conclusion. The actor once played on stage, but lost all the roles, addicted to alcohol. Vaska Pepel never knew any other life, except for thieves. Anna's tragic fate is revealed by her phrase that she does not remember when she was full, shaking over every piece of bread. The words of Kleshch are filled with despair and hopelessness: “There is no work ... there is no strength ... That's the truth! Shelter. There is no shelter!" All these heroes were brought to the rooming house for social reasons. But not only. In many respects it was also their moral choice. Satin, for example, has great potential. Staying in a rooming house is his conscious choice.

The author portrays the prisoners of the rooming house with deep sympathy, emphasizing in them manifestations of true humanity. Despite the hopelessness of their existence, each of the overnight stays cherishes a ghostly hope in their souls. We see that the human in these people has not yet died, they are not devoid of moral qualities, grains of goodness. But, at the same time, he denounces the impotence of the tramps, their inability to change anything, to go beyond complaints.

The arrival of Luke illuminated the rooming house with a ray of kindness and affection for people, with a desire to help them. Luke has the skill of a preacher and comforter. Gorky portrays him as a doctor who considers all people to be terminally ill, and sees his vocation in hiding this from them and alleviating their pain. But life at every step refutes Luke's position. When his "consolation deceit" was revealed, real life terrified the Actor - and he hanged himself, Nastya fell into despair, Vaska Pepel went to prison.

Luke is unable to change anything in reality. Satin rejects such an attitude as humiliating, implying some kind of wretchedness and failure of those to whom pity is directed: “You must respect a person! Do not regret ... do not humiliate him with pity, you must respect!

People will be able to rise from the "bottom" only when they learn to respect themselves, gain self-esteem, become worthy of the title of Human. According to the author, only a person's faith in his own forces and his courage can change the world and the fate of people.

What explains the "passivity" of Kutuzov during the Battle of Borodino? (According to the novel by L.N. Tolstoy "War and Peace")

In the novel War and Peace, Tolstoy discusses the role of the individual in history. The writer considers the main feature of a great man to be the ability to listen to the will of the majority, to folk life. According to Tolstoy, the will of one person cannot guide the will of millions of lives, and an event is made up only of the interaction of many wills. great person only the one who has achieved independence and freedom in alliance with the people and the nation, when he is connected with the mass of "ordinary people" by a nationwide joint action, a single thought about Russia.

Tolstoy does not recognize Napoleon as great because Napoleon does not understand the significance of the events taking place. Kutuzov, on the one hand, cannot know what awaits his army, and does a lot unconsciously, but within some of his limits, Kutuzov does the general consciously.

Kutuzov’s passivity at the military council in front of Austerlitz is explained not by his indifference or indifference, but by the commander’s constraint in the presence of Alexander I. But this passivity is only apparent: “He understands,” Prince Andrei thought about Kutuzov, “that there is something stronger and more significant than his will - this is an inevitable course of events, and he knows how to see them, knows how to understand their meaning, and in view of this meaning he knows how to renounce participation in these events from his personal will directed to something else.

In Tolstoy's description of Kutuzov's behavior during the Battle of Borodino, again, we are not talking about passivity, but about his directed activity. Kutuzov did not make any orders, but only agreed or disagreed with what was offered to him, thereby he made a choice and, with his consent, made a movement.

The greatness of Kutuzov is that he alone, contrary to all opinions, could "correctly guess the meaning of the people's meaning of the event and never betrayed him in all his activities."

Kutuzov loved, pitied the Russian soldier, did not want unnecessary losses. He was close to the Russian people with his faith in God, his sincerity, faith in victory. The commander appears as a spokesman for the interests of the people, whom he never betrays.

The main feature of Kutuzov is an understanding of the need for obedience to the "general course of affairs", a willingness to sacrifice one's personal feelings for the common cause. He alone believes that the Russians won near Borodino, because they understood with an unmistakable hunting instinct that the beast was mortally wounded, although it was still moving forward by inertia.

Kutuzov feels sorry for his soldiers and therefore orders his bloodless army to leave Moscow. When the enemy left this city, Kutuzov takes care of saving human lives and tries with all his might to keep the army from fighting. In this offensive passivity, the humanism of Kutuzov's personality is manifested. He knew with all his Russian being what every Russian soldier felt: the French were defeated, the enemies were fleeing, and they had to be escorted out. But at the same time, the commander felt, along with the soldiers, the whole burden of this campaign.

Thus, Kutuzov's passivity is only external. He leads the Russian army wisely and only reasonably - feeling the will of the Russian soldiers, adapting to the conditions, pitying his soldiers. This is the success of the victory of the Russian army and Kutuzov personally.

Philosophical motives in the lyrics of A.S. Pushkin (on the example of 3-4 poems at the choice of the examinee)

One of the fundamental ideas of Pushkin's philosophy is the idea of ​​the need for moral perfection. "To live ... to think and suffer" - this is one of Pushkin's key theses. The other is that “reading with disgust” the pages of a lived life, one should not forget the past. These thoughts were fully reflected in the philosophical lyrics of the poet.

The poem "Elegy" (1830) is one of those works by Pushkin in which the past, present and future are closely connected. The theme of youth is rethought in this poem, between the lines there is a motive of responsibility for the mistakes that a person makes. However, the poet does not deny the value of these mistakes, because. they are what make up our life experience. This is felt in the movement of images: “crazy years” - “sadness of bygone days”, “hangover” - “wine”.

The second stanza of the poem is not at all gloomy, but rather optimistic. With every word, the poet affirms the joy of a meaningful being, naming all the most important components of human life: to think, suffer, enjoy, revel in harmony and shed tears.

Here Pushkin's ideal more and more takes on Christian outlines: “to suffer” for a poet means, first of all, “to sympathize”. The lyrical hero does not renounce pleasure, however, its measure in comparison with other aspects of life is small: “... And I know that I will enjoy / Between sorrows, worries and anxieties ...”

“Again I visited ...” (1835) is one of Pushkin's most striking philosophical poems. It was written in the village of Mikhailovskoye, which the poet visited at a difficult time for himself: his conflict with secular society was ripe. Pushkin decides to move away from the world and settle in the countryside.

Staying in Mikhailovskoye caused the poet a wave of memories of the past and thoughts about the future. The world of the "past" "embraces" the lyrical hero. He plunges into memories, the first character of which is an old nanny. The image of the nanny is painted with tenderness and sadness: "the old woman is gone." This is how the motive of life and death begins to sound in the poem.

Further in the poem comes a sharp intonation and semantic change. A road and three pine trees are depicted. This picture is colored with lyrical feeling. The optimistic ending of the poem is predicted by the change that happened to the pines: "... near their obsolete roots / (Where everything was once empty, bare) / Now the young grove has grown." The motive of the family, thus, develops into the theme of the change of generation, the eternal, unceasing renewal of life.

The appeal "a young, unfamiliar tribe" is symbolic. It applies to young trees as well as to future generations. So, by the end of the poem, the motive of death is transformed into the motive of memory, and the recollection of one's own, personal, acquires a universal, philosophical character.

This short poem contains not only the life of Pushkin, but also the life of man in general, and the life of nature, and, even more broadly, the meaning of being.

Shortly before his death, Pushkin increasingly turned to Christian motives in his philosophical lyrics. From the poem: “Fathers are hermits and wives are blameless…” (1836) we learn that Christian shrines are not alien to the poet, that he turns to prayer in difficult times as a means of strengthening the spirit.

The poem consists, as it were, of several parts: messages about the hermit fathers and their prayers, then about the prayer that the poet especially singles out, and finally, the creative proposal of the text of the prayer itself. This text is based on the opposition of what the lyrical hero would like to give up in his life, what he would like to learn.

Prayers were composed by the holy elders not only in order to “fly the heart in the region of correspondence”, but also in order to “strengthen it in the midst of valley storms and battles”, that is, in ordinary worldly life.

What does the one who says the prayer ask the Almighty for? He wants the Lord to help him get rid of the melancholy and despondency that an idle life entails, so that life would be laborious and meaningful. He wants to conquer in himself "arrogance", that is, lust for power, the desire to control other people. It is important for him that "idle talk" disappear from his life.

Each of us has all the vices mentioned by Pushkin, but not everyone thinks about it. What qualities attract the poet, what would he like to learn? The answer is simple: to see and recognize your shortcomings, to be patient, moderate and chaste.

The poem sounds like a prayer. This is facilitated by the use of archaic words, and the abundance of deaf consonants, and assonance, and the measured calm rhythm - iambic six-foot.

The division of Pushkin's poetry into themes is infinitely arbitrary. It is obvious: no matter what he writes about, philosophical reflections permeate poems about love, and about creativity, and, of course, about freedom, because. it is in it that Pushkin sees the basis of the harmonious existence of the individual.

The theme of the struggle between good and evil in the novel by M.A. Bulgakov "White Guard" or "Master and Margarita" (at the choice of the examinee)

There is no evil without good, there is no Satan without God, and Satan is also natural in the world as the abode of good. This is the main philosophical thought in the novel The Master and Margarita. Therefore, Woland in this work ceases to be the bearer of evil. His actions become a natural continuation and addition to the world order.

Moreover, Bulgakov's Satan is easy to perceive as an auditor from God. He is the executor of his will. After all, it is the devil who fulfills the request of Levi Matthew on behalf of God - to arrange the fate of the Master in a new life.

Thus, objectively, Woland does good, but he is not very good either - he is eager to do evil.

Bulgakov's most important and most terrible devil is human society. Woland - the prince of darkness - is a petty hooligan compared to him. Arriving for an inspection in Moscow in the 1930s, he was practically at a loss: he had nothing to do, nowhere to do his primordial evil. Everything is already done, it remains only to pick up some crumbs. And the little people are so fucked up that wherever Satan turns around, whom he doesn’t click on the nose, they are all a scoundrel, all a petty demon, in comparison with which Woland’s retinue are merry naughty ones.

According to the writer, contemporary society, without the help of the devil, has done all the devilish work of seducing people into all mortal sins, of temptation and corruption. There is nothing for the devil to do here.

Moreover, the society deprives the honest artist of its support. And so the Master is forced to go under the care of Woland. The prince of darkness turns out to be the only powerful guardian among lawlessness and moral and physical oppression. It is natural that both love and creativity (the two highest manifestations of human spirituality) turn out to be unnecessary in this society. Therefore, the Master and Margarita are forced to go to Satan for help. Margarita says: "I became a witch from the grief and disasters that struck me."

Master, Ga-Notsri, Margarita cannot live among people in whom all values ​​have shifted. moral people who try to go through life in accordance with their conscience, have their own point of view, find themselves overboard in life, they are swallowed by a gray crowd: Yeshua is on the cross, and the Master is in a mental hospital.

It is quite obvious that therefore Bulgakov does not and cannot accept the contemporary reality generated by this society. This state is more terrible for him than the Devil himself.

Thus, the theme of good and evil in The Master and Margarita is one of the fundamental themes. The writer shows that according to the laws of the Universe, good and evil coexist harmoniously, complementing and intertwining with each other. But in the modern society of the writer, all laws have been violated. Evil has prevailed over good, and it is not known whether world balance will ever be restored.

Why is the path of Barbara impossible for Katerina? (According to the play by A.N. Ostrovsky "Thunderstorm")

"Thunderstorm" A.N. Ostrovsky - a folk social tragedy, the first in Russian literature. It expresses advanced democratic ideas for its time, depicts heroes closely connected with the way of life, customs and interests of the people.

The main conflict in The Thunderstorm is the struggle between old traditions and new trends. It is solved on the example of social, family relations and customs. Representatives of two worlds, old and new, are Katerina and Barbara in the play.

Barbara is spiritually primitive. She does not trouble herself with remorse or moral suffering. Her primitivism was born from her environment, from her whole way of life.

Barbara is guided in all her actions by the instinct of self-preservation, worldly gain: "do what you want, as long as everything is covered and covered." Surrounding her since childhood merchant environment brought up in the heroine the features of rudeness and swagger. But for all her cunning, adaptability and moral wretchedness, Barbara could not endure domestic tyranny. In the finale, she runs away from her mother's house.

Before Barbara, the path is open to both good and evil. There are certainly good things in it. The heroine is not alien to kindness and compassion. Freed from her mother's influence, she may develop the best sides of his nature.

The image of Katerina is covered with the finest poetry. It is characterized by deep spontaneity, naivety, tenderness and, at the same time, great strong-willed power. In this image, Ostrovsky showed the moral purity and beauty of the Russian woman from the people, her hatred of despotism and the desire for freedom, her ability not only to endure, but also to defend her human rights - resolutely, consistently, to the end.

Therefore, Katerina chooses a different life path. She cannot live in secret, "quietly." The open and truthful nature of Katerina tells her to act according to her conscience and the word of God, because the heroine is also very pious. And if she committed a misdemeanor, then she should be punished for it. That is why Katerina repents in public, confesses her betrayal to her husband. Barbara would never do that. This heroine and conscience would not be tormented.

Katerina's death is a passionate call of her soul to life on new principles, a protest movement. She does not want to put up, does not want to take advantage of the miserable vegetative life that Kabanikha prepared for her after confessing to treason. Katerina felt with all her being that “to live in a dark kingdom is worse than death,” and she chose to be freed from the oppression of the dark kingdom by her death.

The main difference between these heroines is that Varvara is mainly concerned about the external - so that people do not find out about her sins. This heroine does not think about her soul. Katerina, first of all, is concerned about the inner - her relationship with God, with her inner world. This fundamental difference and determines the lives and destinies of both heroines, which also radically differ from each other.

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