Why does Anna die at the bottom. M

characterization of Anna from the play at the bottom, tell pliz (((and got the best answer

Answer from?? Comme toi ??[guru]
Time, the circumstances of life, which gave rise to the social "bottom", prompted Gorky to turn to a new topic for him. In Kazan, Nizhny Novgorod, Moscow and St. Petersburg, the writer saw destitute people, outcasts of society, tramps thrown into basements and rooming houses. The writer had a burning need to talk about them and even present them on the stage. Let everyone see the other side of life.
The play opens with a detailed stage direction, reproducing a cellar that looks like a cave. The mention of the latter is not accidental. People here are doomed to live some kind of antediluvian, prehistoric life, forced to lead a truly cave existence. Further in this remark, heavy stone vaults are mentioned, which seem to put pressure on people, "wanting" to bend them down, to belittle them. The bunks on which Sateen lies, inclined to be proud of his rags, are vividly represented, on the left is a small closet, fenced off by a cotton canopy, behind which lies the sick, dying Anna. Anna dies in the second act.
The people of the bottom, first of all, lose their name, and this circumstance becomes one of the leitmotifs of the play. All the inhabitants of the rooming house had it once. “There is no person without a name,” the Actor will say. Anna's death is also a loss of a name. All who have lost their name are dead. For Gorky, it is important how the hero relates to the loss of the name, and that the Actor is "offended to lose his name" - an anticipation of his tragic end.
Life has robbed all these people. She deprived them of the right to work, like the Tick; for a family, like Nastya; for well-being, like a Baron; for a profession as an actor. These people, who love freedom so much, have essentially been deprived of this blessing by life. And it is no coincidence that they perceive their rooming house as a prison, singing in their song: "The sun rises and sets, but it is dark in my prison." And further: "Day and night sentries guard my window."
But all these characters appear in Gorky not only as victims of the reigning injustice, but also as bright, unique natures, as people who are able to think about something, think wisely, dream. So, the Actor dreams of recovering from alcoholism and, perhaps, returning to the stage again, where he once shone so much.
Anna also has a secret desire, who has endured endless torment and suffering. With heartache, she says: “I don’t remember when I was full ... I shook over every piece of bread, trembled all my life ... I suffered ... as if I couldn’t eat more than another ... all my life I went in rags .. . All my miserable life." Nevertheless, the exhausted Anna vaguely hopes to live a little longer, for which she is ready to endure more.
A wonderful future, in which everything will be in a person and everything for a person, when people will forget about the existence of the “bottom” itself. Unfortunately, we have not yet lived to see this future, but Gorky’s play strengthens us in the hope that it can come.

Answer from 3 answers[guru]

Hello! Here is a selection of topics with answers to your question: Anna's characterization from the play at the bottom, tell us pliz (((

The drama "At the Bottom" is a landmark work in Gorky's creative biography. The description of the heroes will be presented in this article.

This work was written at a critical time for the country. In Russia in the 90s of the 19th century, a serious outbreak broke out. Masses of impoverished, ruined peasants after each crop failure left the villages in search of work. Plants and factories were closed. Thousands of people found themselves without livelihood and shelter. This led to the fact that a large number of "tramps" appeared, who sank to the bottom of life.

Who lived in hostels?

Enterprising slum owners, taking advantage of the fact that people were in a hopeless situation, found how to make use of the stinking basements. They turned them into bunkhouses, where the poor, the unemployed, thieves, vagabonds and other representatives of the "bottom" lived. This work was written in 1902. The heroes of the play "At the Bottom" are just such people.

Maxim Gorky throughout his career was interested in the personality, the person, the secrets of his feelings and thoughts, dreams and hopes, weakness and strength - all this is reflected in the work. The heroes of the play "At the Bottom" are people who lived at the beginning of the 20th century, when the old world collapsed and a new life arose. However, they differ from the rest in that they are rejected by society. These are people of the "bottom", outcasts. The place where Vaska Pepel, Bubnov, Actor, Satin and others live is unattractive and scary. According to Gorky's description, this is a basement that looks like a cave. Its ceiling is stone vaults with crumbling plaster, sooty. Why did the inhabitants of the rooming house find themselves "at the bottom" of life, what brought them here?

Heroes of the play "At the bottom": table

What ruined the lives of these people?

Addiction to alcohol killed the Actor. By his own admission, he used to have a good memory. Now the Actor believes that everything is over for him. Vaska Pepel is a representative of the "thieves' dynasty". This hero had no choice but to continue his father's business. He says that even when he was little, even then he was called a thief. The former furrier Bubnov left the workshop because of his wife's infidelity, and also out of fear of his wife's lover. He went bankrupt, after which he went to serve in one "state chamber", in which he committed embezzlement. One of the most colorful figures in the work is Satin. He was a telegraph operator in the past, and went to prison for the murder of a man who insulted his sister.

Whom do the inhabitants of the rooming house blame?

Almost all the heroes of the play "At the Bottom" tend to blame the current situation not on themselves, but on life circumstances. Perhaps, if they had developed differently, nothing would have changed significantly, and all the same, the overnight stays would have suffered the same fate. The phrase that Bubnov uttered confirms this. He admitted that he actually drank the workshop away.

Apparently, the reason for the fall of all these people is their lack of a moral core, which makes up the personality of a person. You can cite the words of the Actor as an example: "Why did he die? I had no faith ..."

Was there a chance to live another life?

Creating images of the heroes of the play "At the Bottom", the author gave each of them the opportunity to live a different life. That is, they had a choice. However, for everyone, the first test ended in the collapse of life. The baron, for example, could improve his affairs not by stealing state funds, but by investing in profitable business that he had.

Satin could teach the offender a lesson in another way. As for Vaska Pepel, would there really be few places on earth where no one would know anything about him and his past? The same can be said about many of the inhabitants of the rooming house. They have no future, but in the past they had a chance not to get here. However, the heroes of the play "At the Bottom" did not use it.

How do heroes comfort themselves?

Now they can only live with unrealizable hopes and illusions. The Baron, Bubnov and the Actor live Dreams of true love amuse the prostitute Nastya. At the same time, the characterization of the heroes of the play "At the Bottom" is supplemented by the fact that these people, rejected by society, humiliated, are endlessly arguing about moral and spiritual problems. Although it would be more logical to talk about because they live from hand to mouth. The author's characterization of the heroes of the play "At the Bottom" suggests that they are occupied with such issues as freedom, truth, equality, labor, love, happiness, law, talent, honesty, pride, compassion, conscience, pity, patience, death, peace and much more. They are also concerned about an even more important problem. They talk about what a person is, why he is born, what is the true meaning of being. Philosophers of the rooming house can be called Luka, Satina, Bubnov.

With the exception of Bubnov, all the heroes of the work reject the "bedroom" way of life. They hope for a successful turn of fortune, which will bring them from the "bottom" to the surface. A tick, for example, says that he has been working since an early age (this hero is a locksmith), so he will certainly get out of here. "Here, wait... the wife will die..." he says. The actor, this chronic drunkard, hopes to find a luxurious hospital in which health, strength, talent, memory and applause of the audience will miraculously return to him. Anna, the unfortunate sufferer, dreams of bliss and peace in which she will finally be rewarded for her torment and patience. Vaska Pepel, this desperate hero, kills Kostylev, the owner of the rooming house, because he considers the latter to be the embodiment of evil. His dream is to go to Siberia, where he and his girlfriend will start a new life.

The role of Luke in the work

Luke, the wanderer, supports these illusions. He has the skill of a comforter and a preacher. Maxim Gorky depicts this hero as a doctor who considers all people to be terminally ill and sees his vocation in alleviating their pain and hiding it from them. However, at every step, life refutes the position of this hero. Anna, to whom he promises a divine reward in heaven, suddenly wants to "live a little more ...". Believing at first in a cure for alcoholism, the Actor takes his own life at the end of the play. Vaska Pepel determines the true value of all these consolations of Luke. He claims that he "tells fairy tales" pleasantly, because there is so little good in the world.

Satin's opinion

Luka is full of sincere pity for the inhabitants of the rooming house, but he cannot change anything, help people live a different life. In his monologue, Satin rejects this attitude, because he considers it humiliating, suggesting the failure and wretchedness of those to whom this pity is directed. The main characters of the play "At the Bottom" Satin and Luka express opposite opinions. Satin says that it is necessary to respect a person and not humiliate him with pity. These words probably express the position of the author: "Man!.. That sounds... proud!"

The further fate of the heroes

What will happen to all these people in the future, will the heroes of Gorky's play "At the Bottom" be able to change something? It is not difficult to imagine their future fate. For example, Klesh. He tries to get out of the "bottom" at the beginning of the work. He thinks that when his wife dies, things will magically change for the better. However, after the death of his wife, Kleshch is left without tools and money and gloomily sings along with others: "I won't run away anyway." In fact, he will not run away, like the other inhabitants of the rooming house.

What is salvation?

Are there any ways of salvation from the "bottom", and what are they? A decisive way out of this difficult situation is perhaps outlined in Sateen's speech when he speaks of the truth. He believes that the purpose of a strong person is to eradicate evil, and not to comfort the suffering, like Luke. This is one of the firmest convictions of Maxim Gorky himself. "From the bottom" people can rise only by learning to respect themselves, gaining self-esteem. Then they will be able to bear the proud title of Human. It still needs to be earned, according to Gorky.

Declaring his faith in the creative forces, abilities and mind of a free person, Maxim Gorky affirmed the ideas of humanism. The author understood that in the mouth of Satin, a drunken tramp, the words about a free and proud man sound artificial. However, they should have sounded in the play, expressing the ideals of the writer himself. There was no one to say this speech to, except for Sateen.

Gorky in the work refuted the main principles of idealism. These are the ideas of humility, forgiveness, non-resistance. He made it clear what beliefs are the future. This is proved by the fate of the heroes of the play "At the bottom". The entire work is permeated with faith in man.

Anna is a character in the play "At the Bottom", a consumptive woman living out her last days, the wife of the hard worker Klesch. She is tired of a life in which she shakes over every piece of bread and walks in rags. At the same time, Anna constantly endures her husband's abuse. Anyone sympathizes with the poor thing, but not her husband. He only insults and humiliates her, and sometimes beats her. She causes him only indifference and irritation.

One gets the feeling that the image of Anna shows all the women who endure a rude attitude in family life. It even becomes scary that she so calmly endures eternal humiliation. At the same time, she continues to take care of her husband and is ready to give him everything. So, in one episode, she says that Kvashnya left her dumplings for him to take and eat them. He grumbles at her all the time and does not perceive her requests in any way. When she, breathless, asks to open the door, he refuses, fearing that he himself will catch a cold. Not surprisingly, the only way out of such a life is death. And she's only thirty years old. Before her death, she is somehow consoled by Luke. He says that in the next world she will be able to rest from her bleak existence. After all, these torments are compensated by bliss in heaven. She dies soon after.

The play "At the Bottom" was conceived by Gorky as one of the four plays in the cycle, showing the life and worldview of people from different walks of life. This is one of the two purposes of creating a work. The deep meaning that the author put into it is an attempt to answer the main questions of human existence: what is a person and whether he will retain his personality, sinking "to the bottom" of moral and social life.

The history of the creation of the play

The first evidence of work on the play dates back to 1900, when Gorky, in a conversation with Stanislavsky, mentions his desire to write scenes from the life of a rooming house. Some sketches appeared at the end of 1901. In a letter to the publisher K. P. Pyatnitsky, to whom the author dedicated the work, Gorky wrote that in the planned play, all the characters, the idea, the motives for the actions are clear to him, and "it will be scary." The final version of the work was ready on July 25, 1902, published in Munich and went on sale at the end of the year.

Things were not so rosy with the production of the play on the stages of Russian theaters - it was practically banned. An exception was made only for the Moscow Art Theater, the other theaters had to receive special permission to stage.

The name of the play changed at least four times in the course of work, and the genre was never determined by the author - the publication read "At the bottom of life: scenes." The shortened and familiar name for everyone today first appeared on the theater poster during the first production at the Moscow Art Theater.

The first performers were the stellar cast of the Moscow Art Academic Theatre: K. Stanislavsky acted as Satin, V. Kachalov as Baron, I. Moskvin as Luka, O. Knipper as Nastya, and M. Andreeva as Natasha.

The main plot of the work

The plot of the play is tied to the relationship of the characters and in an atmosphere of general hatred that reigns in the rooming house. This is the outer canvas of the work. Parallel action explores the depth of a person's fall "to the bottom", the measure of the insignificance of a socially and spiritually descended individual.

The action of the play begins and ends with the storyline of the relationship between two characters: the thief Vaska Ash and the wife of the owner of the rooming house Vasilisa. Ash loves her younger sister Natasha. Vasilisa is jealous, constantly beating her sister. She also has another interest in her lover - she wants to get rid of her husband and pushes Ash to kill. In the course of the play, Pepel really kills Kostylev in a quarrel. In the last act of the play, the guests of the rooming house say that Vaska will have to go to hard labor, but Vasilisa will "get out" anyway. Thus, the action is looped by the destinies of the two heroes, but is far from being limited to them.

The time span of the play is several weeks of early spring. The season is an important part of the play. One of the first names given by the author to the work, "Without the sun." Indeed, spring is all around, a sea of ​​sunlight, and darkness is in the rooming house and in the souls of its inhabitants. Luka, a vagabond, whom Natasha brings one day, became a ray of sunshine for the overnight stays. Luke brings hope for a happy outcome to the hearts of people who have fallen and lost faith in the best. However, at the end of the play, Luka disappears from the rooming house. The characters who trust him lose faith in the best. The play ends with the suicide of one of them - the Actor.

Play analysis

The play describes the life of a Moscow rooming house. The main characters, respectively, were its inhabitants and the owners of the institution. Also, persons related to the life of the institution appear in it: a policeman, who is also the uncle of the hostess of a rooming house, a dumpling seller, loaders.

Satin and Luka

Schuler, the former convict Satin and the vagabond, the wanderer Luke, are carriers of two opposing ideas: the need for compassion for a person, a saving lie out of love for him, and the need to know the truth, as proof of a person’s greatness, as a sign of trust in his fortitude. In order to prove the falsity of the first worldview and the truth of the second, the author built the action of the play.

Other characters

All other characters form the backdrop for this battle of ideas. In addition, they are designed to show, to measure the depth of the fall, to which a person is able to sink. The drunkard Actor and the mortally ill Anna, people who have completely lost faith in their own strength, fall under the power of a wonderful fairy tale into which Luke takes them. They are the most dependent on him. With his departure, they physically cannot live and die. The rest of the inhabitants of the rooming house perceive the appearance and departure of Luke, as the play of a sunny spring ray - he appeared and disappeared.

Nastya, who sells her body "on the boulevard", believes that there is a bright love, and she was in her life. Kleshch, the husband of the dying Anna, believes that he will rise from the bottom and again begin to earn a living by working. The thread that connects him to his working past remains a toolbox. At the end of the play, he is forced to sell them in order to bury his wife. Natasha hopes that Vasilisa will change and stop torturing her. After another beating, after leaving the hospital, she will no longer appear in the rooming house. Vaska Pepel strives to stay with Natalya, but cannot get out of the networks of the imperious Vasilisa. The latter, in turn, is waiting for the death of her husband to untie her hands and give her long-awaited freedom. The Baron lives on with his aristocratic past. The gambler Bubnov, the destroyer of "illusions", the ideologist of misanthropy, believes that "all people are superfluous."

The work was created in conditions when, after the economic crisis of the 90s of the 19th century, factories in Russia stood up, the population was rapidly impoverished, many found themselves at the bottom rung of the social ladder, in the basement. Each of the heroes of the play in the past experienced a fall "to the bottom", social and moral. Now they live in the memory of this, but they cannot rise "into the light": they do not know how, they have no strength, they are ashamed of their insignificance.

Main characters

Luke became a light for some. Gorky gave Luka a "speaking" name. It refers both to the image of St. Luke, and to the concept of "deceit". Obviously, the author is trying to show the inconsistency of Luke's ideas about the beneficial value of the Faith for a person. Gorky practically reduces Luke's compassionate humanism to the concept of betrayal - according to the plot of the play, the tramp leaves the rooming house just when those who trusted him need his support.

Satin is a figure designed to voice the worldview of the author. As Gorky wrote, Satin is not quite a suitable character for this, but there is simply no other character with such powerful charisma in the play. Satin is the ideological antipode of Luke: he does not believe in anything, he sees the ruthless essence of life and the situation in which he and the other inhabitants of the rooming house find themselves. Does Satin believe in Man and his power over the power of circumstances and mistakes made? The passionate monologue that he utters while arguing in absentia with the departed Luka leaves a strong, but contradictory impression.

There is also a carrier of the "third" truth in the work - Bubnov. This hero, like Satin, "stands for the truth", only she is somehow very scary in him. He is a misanthrope, but, in fact, a murderer. Only they die not from the knife in his hands, but from the hatred that he harbors for everyone.

The drama of the play increases from act to act. Luke's consoling conversations with those suffering from his compassion and Sateen's rare remarks, which indicate that he is attentively listening to the speeches of the tramp, become the connecting canvas. The culmination of the play is Sateen's monologue, delivered after Luke's departure-flight. Phrases from it are often quoted because they have the appearance of aphorisms; “Everything in a person is everything for a person!”, “Lie is the religion of slaves and masters ... Truth is the god of a free person!”, “Man - it sounds proud!”.

Conclusion

The bitter outcome of the play is the triumph of the freedom of a fallen person to die, disappear, leave, leaving no trace or memories behind. The inhabitants of the rooming house are free from society, moral norms, family and livelihood. By and large, they are free from life.

The play "At the Bottom" has been alive for more than a century and continues to be one of the most powerful works of Russian classics. The play makes one think about the place of faith and love in a person's life, about the nature of truth and lies, about a person's ability to resist moral and social decline.

There are five female characters in the play. Anna is the wife of Kleshch, who humbly dies in the second act, the compassionate and economic Kvashnya, the young Vasilisa is the wife of the owner of the rooming house and the lover of Vaska Pepel, the young and downtrodden Natasha and Nastya, indicated in the author's remark with the bashful word "maiden".

In the semantic context of the work, female images are represented by two pairs of opposite characters: Kvashnya - Nastya and Vasilisa - Natasha. Outside of these pairs is Anna, who personifies pure suffering in the play. Her image is not clouded by passions

And wishes. She patiently and meekly dies. He dies not so much from a mortal disease, but from the consciousness of his uselessness to the world. She is one of those "naked people" for whom the truth of life is unbearable. “I feel sick,” she confesses to Luka. The only aspect of death that worries her is: "And how is it - also flour?" Clogged, fit for nothing in this world, it resembles a thing. She does not move around the stage - she is moved. Take out, leave in the kitchen, forget. Just like with a thing, it is treated even after death. "You have to get out! “We’ll pull it out ...” She passed away - as if the props had been taken away. “Coughing means it has stopped.”

Not so with the rest. In the first pair, Kvashnya represents the semantic dominant. She is almost always doing housework. He lives from his labors. Makes dumplings and sells them. What these dumplings are made of and who eats them, only God knows. She lived married, and now for her that she is married, that she is in a loop: “I did it once - I remember it for the rest of my life ...” And when her husband “died”, she “sat alone” all day with happiness and joy. She is always alone in the play. Conversations and events are touched by the edge, as if the inhabitants of the rooming house are afraid of her. Even Medvedev, the personification of law and power, her cohabitant, talks to Kvashnya respectfully - there is too much inquisitive reason, common sense and hidden aggression in her.

Her opposite, Nastya, is not protected and accessible. She does nothing, does nothing. She is a "girl". She almost does not react to the realities of the world around her. Her mind is not burdened with reflection. She is as self-sufficient as Kvashnya. Gorky implanted in her a strange, not invented by him world of "women's novels", a meager and meaningless dream of a beautiful life. She is literate and therefore reads. “There, in the kitchen, the girl is sitting, reading a book and crying,” Luka is surprised. This is Nastya. She weeps over a fiction that miraculously feels like her own life. She resembles a little girl who dreamed of a toy. Waking up, she pulls her parents, demands this toy for herself. At a tender age, children do not separate dream from reality. This happens later, in the process of growing up. Nastya not only does not grow up - she does not wake up. She wakingly dreaming of these confectionary, sinless dreams: “And his left-hander is huge, and loaded with ten bullets ... My unforgettable friend ... Raoul ...” The baron rolls over her: “Nastka! Why ... after all, the last time - Gaston was! Nastya behaves like a child. Having stuck her nose into reality, she is capricious, gets excited, throws a cup on the floor, threatens the inhabitants: "I'll get drunk today ... I'll get drunk." Getting drunk means getting away from reality again. Forget yourself. Judging by indirect hints, the Baron is with her in gigolos, but she is not aware of this either. Rays of reality only glare on the surface of her consciousness, not penetrating inside. Once Nastya opens up a little, and it becomes clear that her life is powered by the energy of hatred. Running away, she shouts to everyone: “Wolves! For you to breathe! Wolves! She utters this remark at the end of the fourth act, and, consequently, there is a hope of waking up. Vasilisa represents the imperious beginning of the play. She is Pallas Athena of the rooming house, her evil genius. She alone acts - all others exist. The criminal and melodramatic intrigues of the plot are connected with her image. There are no internal prohibitions for Vasilisa. She, like everyone in the rooming house, is a “naked person”, she is “allowed everything”. And Vasilisa takes advantage of this while the others are just talking. The author gave her a cruel and merciless character. The concept of "impossible" lies outside of her moral consciousness. And she thinks consistently: "To enjoy - to kill in order to enjoy." Her antipode Natasha is the purest and brightest image of the play. Out of jealousy for Vaska Pepl, Vasilisa constantly beats and torments Natasha, her husband, old Kostylev, helps her. The instinct of the pack kicks in. Natasha is one of all who believes and still hopes, she is waiting not for haberdashery, but for true love, she is looking for it. But, unfortunately, the geography of its search takes place on that section of the bottom, on which the Spanish galleons loaded with gold do not rest. The dim light reaching "from above, from the viewer" allows you to see only the faces of permanent residents. Natasha doesn't trust anyone. Neither Luka nor Ashes. It's just that she, like Marmeladov, "has nowhere to go." When Kostylev is killed, she shouts: “Take me too ... put me in prison!” It is clear to Natasha that Ashes did not kill. All the fault. Everyone was killed. This is her truth. Her, not Satin. Not the truth of a proud, strong man, but the truth of the humiliated and offended.

The female images in Gorky's play "At the Bottom" carry a serious semantic load. The flawed world of the inhabitants of the rooming house, thanks to their presence, becomes closer and more understandable. They are, as it were, guarantors of its authenticity. It is with their voices that the author openly speaks of compassion, of the unbearable boredom of life. They have their own bookish forerunners, many literary projections from the previous artistic tradition converged on them. The author does not hide it. Another thing is more important: it is they who evoke the most sincere feelings of hatred or compassion in the readers and viewers of the play.