“Cooling in faith is a consequence of the unwillingness to give up anything in oneself. Why is a crisis of faith dangerous? Character Characteristics Analysis

The purpose of the lesson: to create a problematic situation and encourage students to express their own point of view on the image of Luke and his life position.

Methodological techniques: discussion, analytical conversation.

Lesson equipment: portrait and photographs of A.M. Gorky from different years.

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Preview:

During the classes.

1. Analytical conversation.

Let us turn to the extra-event series of the drama and see how the conflict develops here.

How do the inhabitants of the shelter perceive their situation before Luke appears?

(In the exhibition we see people who have, in essence, come to terms with their humiliating position. The night shelters squabble sluggishly, habitually, and the Actor says to Satin: “One day they will completely kill you... to death...” “And you are a fool,” Satin snaps. “Why “- the Actor is surprised. “Because you can’t kill twice.” But the response is interesting. Actor: “I don’t understand... why is it impossible?” Perhaps it is the Actor, who died more than once on stage, who understands the horror of the situation more deeply than others, after all, it is he who will commit suicide at the end of the play.)

- What is the meaning of using the past tense in the characters’ self-characteristics?

(People feel like “former”: “Satin. I was an educated person” (the paradox is that the past tense is impossible in this case). “Bubnov. I was a furrier.” Bubnov pronounces a philosophical maxim: “It turns out that it’s like outside Don’t paint yourself, everything will be erased... everything will be erased, yes!”).

Which character is opposed to the others?

(Only one Kleshch has not yet come to terms with his fate. He separates himself from the rest of the night shelters: “What kind of people are they? A rag, a golden company... people! I am a working man... I’m ashamed to look at them... I’ve been working since I was little... Do you think I won’t get out of here? I’ll get out... I’ll tear off my skin, but I’ll get out... Just wait... my wife will die...” Tick’s dream of another life is connected with the liberation that his wife’s death will bring him. He does not feel the enormity of his statement. And the dream will turn out to be imaginary. )

Which scene sets up the conflict?

(The beginning of the conflict is the appearance of Luke. He immediately announces his views on life: “I don’t care! I respect swindlers too, in my opinion, not a single flea is bad: they’re all black, they all jump... that’s it.” And also: “For an old man, where it’s warm, there’s a homeland...” Luka finds himself in the center of attention of the guests: “What an interesting little old man you brought, Natasha...” - and the entire development of the plot is concentrated on him.)

How does Luke affect the night shelters?

(Luka quickly finds an approach to the shelters: “I’ll look at you, brothers, - your life - oh!...” He feels sorry for Alyoshka: “Eh, guy, you’re confused...” He does not respond to rudeness, skillfully avoids questions that are unpleasant for him, is ready to sweep the floor instead of the shelters. Luka becomes necessary for Anna, feels sorry for her: “Is it possible to abandon a person like that?” Luka skillfully flatters Medvedev, calling him “under,” and he immediately falls for this bait.)

What do we know about Luke?

(Luke says practically nothing about himself, we only learn: “They crushed a lot, that’s why he’s soft...”)

What does Luke say to each of the inhabitants of the shelter?

(In each of them, Luka sees a person, discovers their bright sides, the essence of personality, and this makes a revolution in the lives of the heroes. It turns out that the prostitute Nastya dreams of beautiful and bright love; the drunken Actor receives hope for a cure for alcoholism; the thief Vaska Pepel plans to leave to Siberia and start a new life there with Natalya, to become a strong master. Luka gives consolation to Anna: “Nothing, nothing else will be needed, and there is nothing to be afraid of - silence, peace - lie to yourself!” faith in the best.)

Did Luka lie to the night shelters?

(There may be different opinions on this matter. Luke selflessly tries to help people, instill in them faith in himself, awaken the best sides of nature. He sincerely wishes good, shows real ways to achieve a new, better life. After all, there really are hospitals for alcoholics, indeed Siberia - the golden side, and not just a place of exile and hard labor. As for the afterlife with which he attracts Anna, the question is more complicated; what did he lie about when Luka convinces Nastya that he believes in her feelings? her love: “If you believe that you had real love... then there was it!” He only helps her find the strength for life, for real, not fictional love.)

How do the inhabitants of the shelter react to Luke’s words?

(The lodgers are at first incredulous of his words: “Why are you lying?” Luka does not deny this; he answers the question with a question: “And... what do you really need... think about it! She really can , fucked up for you...” Even to a direct question about God, Luke answers evasively: “If you believe, he is; if you don’t believe, he is not... What you believe in, he is...”)

What groups can the characters in the play be divided into?

"believers" "non-believers"

Anna believes in God. The tick no longer believes in anything.

Tatar - in Allah. Bubnov never believed anything.

Nastya - in fatal love.

Baron - into his past, perhaps invented.

What is the sacred meaning of the name “Luke”?

(The name “Luke” has a dual meaning: this name is reminiscent of the evangelist Luke, means “bright”, and at the same time is associated with the word “evil” (devil).)

(The author's position is expressed in the development of the plot. After Luka leaves, everything happens not at all as Luka convinced and as the heroes expected. Vaska Pepel really ends up in Siberia, but only to hard labor, for the murder of Kostylev, and not as a free settler. The actor who lost faith in oneself, in one’s own strengths, exactly repeats the fate of the hero of Luke’s parable about the righteous land. Luke, having told a parable about a man who, having lost faith in the existence of a righteous land, hanged himself, believes that a person should not be deprived of dreams, even imaginary ones. while showing the fate of the Actor, he assures the reader and viewer that it is false hope that can lead a person to suicide.)

Gorky himself wrote about his plan: “The main question that I wanted to pose is what is better, truth or compassion. What is more necessary? Is it necessary to take compassion to the point of using lies, like Luke? This is not a subjective question, but a general philosophical one.”

Gorky contrasts not truth and lies, but truth and compassion. How justified is this opposition?

(This faith did not have time to take hold in the minds of the night shelters; it turned out to be fragile and lifeless; with the disappearance of Luka, hope fades.)

What is the reason for the rapid decline of faith?

(Perhaps the point is in the weakness of the heroes themselves, in their inability and unwillingness to do at least something to implement new plans. Dissatisfaction with reality, a sharply negative attitude towards it, are combined with a complete unwillingness to do anything to change this reality.)

How does Luke explain the failures of life for the homeless shelters?

(Luke explains the failures in the lives of the night shelters by external circumstances, and does not at all blame the heroes themselves for their failed lives. That is why they were so drawn to him and were so disappointed, having lost external support with Luke’s departure.)

Luke is a living image precisely because he is contradictory and ambiguous.

1. Discussion of questions D.Z.

The philosophical question that Gorky himself posed: what is better – truth or compassion? The question of truth is multifaceted. Each person understands the truth in his own way, still keeping in mind some final, highest truth. Let's see how truth and lies relate in the drama “At the Bottom.”

What do the characters in the play mean by truth?

(This word has multiple meanings. See the dictionary.

Two levels of “truth” can be distinguished.

D.Z.

Prepare for an essay on the works of M. Gorky.

“Cooling in faith is a consequence of the unwillingness to give up anything in oneself”

How can a person understand himself who, while remaining a member of the Church, feels the fading of faith? What is the internal logic of this process? Is it possible to reverse it? Abbot Nektary (Morozov) is thinking about this today.

Believe by inertia

Sometimes Christian believers have to give, according to the word of the Apostle Peter, an account of their hope (see: 1 Pet. 3, 15), answer a question approximately as follows: “You go to church, you are a Christian. How do you explain that sometimes Christians, church people do things that even pagans do not allow themselves to do?”

First of all, we will probably say that not everyone who attends church and is called a Christian actually is one. A person can be a believer - and the demons believe and tremble(James. 2, 19), a person can be a church member - know the teachings of the Church well, attend divine services; but he becomes a Christian only when he really begins, through pain, through a change in his heart, to learn the Christian life. But there are not so many such people - and in the Church you can meet, along with them, those who are completely alien to the spirit of Christ, but one should not judge people whose life choice is to be a disciple of Christ by the actions of nominal Christians.

And here the interlocutor, especially if he is a practical, business-like person, may ask: “But what then in the Church, where a person is called to learn the Christian life, do a huge number of people who do not study this life? What is the reason not to develop and not to leave?”

And this is a valid question. Moreover, most of us ask ourselves similar questions in everyday life and give reasonable answers. For example, parents bring their child to an art school or sports club. After some time, they will almost certainly ask the teacher or coach about whether there is a prospect, whether there is a result. And if it becomes clear to them that the child, after studying from year to year, draws some kind of doodles or cannot do the splits, they are unlikely to leave him there for no apparent reason, as long as he walks. And at the same time, it may not occur to the same people that their stay in the Church should not be like this either - “for no reason” and “for nothing.” This is a state when a person is still praying, still fasting, still confessing due to spiritual inertia: if it had not existed, he would have long been outside the Church, but he still retained the echo of a certain push that occurred in his spiritual life.

How does this inertia arise, what is destructive about it and what are its properties?

Domino effect

We can probably say that there are several reasons for the emergence of spiritual inertia. This may be a shallow understanding of Christianity, often due to the fact that a person is not accustomed to getting to the essence of things. He received some experiences in the Church, they touched him, inspired him, but the life of the Church remained a closed book for him — and when the period of calling grace has passed and everything is no longer so easy and joyful, he doesn’t even want to open it.

Another reason, very banal and ordinary, is negligence. And there is probably not a single person among us who does not suffer from this illness. But one person constantly strives to overcome himself, and then somehow moves forward, while the other chooses the path of creating an illusion for himself: yes, I don’t do this and I don’t do that, and I haven’t been to church for a long time, but I In principle, everything is fine in the Church and with me. What happens to the soul at this time? The same as with the muscles of the body, if they are not set in motion for a long time: the soul, if it does not work, at some point becomes completely powerless.

And there is one more very serious reason. It is no coincidence that the Lord says that if we follow Him, we will need to deny ourselves (see: Matt. 16, 24). Often a Christian during his first steps in the Church simply does not think about this, or it seems to him that he has already rejected himself. But sooner or later a person stumbles upon something so deep, intimate, and passionate in himself that he would really like to preserve in his life, but with which it is impossible to continue to follow the Lord. Maybe you need to forgive - and not some ordinary mistake, but something serious and difficult. Maybe you need to give up your illegal relationship with a person who is, let’s say, unfree. Yes, there are a lot of this kind of thing... And again, there are two ways: let the Lord take it from us, like matches are taken from a child, or cling to it with all our might and not give it to God, thereby putting a limit to our Christian life. And in the second case, the process of internal degradation begins - not only spiritual, but also intellectual: how many examples can you see of how a person who recently understood, saw, noticed everything in his spiritual state completely loses that spiritual vision and spiritual reasoning that first they helped him to follow Christ. And to see this in a person who has already met Christ in life is bitter - this is a great tragedy.

I think it would not be an exaggeration to say that cooling in faith is dangerous not only for an individual, but it is dangerous for the community in which this person is located, and, by and large, for the life of the Church as a whole. In a sense, there is a domino effect here: we see around us in the temple people who live relaxed, cool, do not strive for anything - and we ourselves give up. And if we are surrounded by people who live collectedly, responsibly, diligently, then we will doubly strive and try. And this is not some kind of “herd feeling” - this is a completely natural thing: good examples inspire, bad examples corrupt. Just don’t, of course, blame everything on the abundance of bad examples; the main thing is that we ourselves should not become a tempting example for our brothers in Christ.

“Do you want to get confused? Ask me how"

It happens that a person who has cooled in faith for any of the reasons described makes a conclusion for himself: “Christianity doesn’t work for me” - and goes to look for some “more effective method of personal growth” at all kinds of seminars and trainings. And here, by the way, one can ask the question: why are there so many of them in our time and of a very different nature - from business courses that promise inevitable business success, to some kind of literal sects? The fact is that a person who does not know how to work within the framework of his choice will endlessly search for something new — and there are many such rushing people in our time, so demand creates supply. Moreover, sometimes you try to understand: what has this or that person achieved, who promises to teach self-development and self-discovery to everyone? And you understand that his only achievement is that he found a certain number of people whom he was able to convince that they needed his services. When they tell me that someone “left Orthodoxy” because he discovered a different spiritual system for himself, I understand that sooner or later he will leave somewhere else, and then somewhere else - and in the end either will return to Christ, or will perish, completely confused, in some unthinkable sect, or will become an inveterate atheist, convinced that spiritual life is entirely a fiction, because “it doesn’t work in any way at all.”

But these people were baptized and, just like others, received the gift of the Holy Spirit. They were filled with spiritual fullness, but reached complete devastation. This always happens when a person does not perceive what is given to him as a gift - gradually it begins to seem to him that he has been given nothing. This is not only about the gift of faith - it is deeper, about the gift of life itself: a person who is not grateful to God for living can come to the conclusion that life is a curse, and turn his stay on earth into hell , which will separate him from God in eternal life. And of course, such terrible examples should encourage us to cultivate our faith, our ability to live with God, like some kind of fertile land.

Scare yourself

It was not by chance that I used the word “terrible” here. Perfect love casts out fear as the Apostle John the Theologian says (1 John. 4 , 18), and a believer should not be afraid of some paralyzing fear of his Creator, just as he should not be afraid of anything in the world that could make him betray God. But fear itself as a human feeling is an effective incentive, in some cases more effective than encouragement. And a person, in order to motivate himself to correct himself, can use it as a medicine. And sometimes it is even absolutely necessary for us to frighten ourselves: to understand the danger our negligence or our unwillingness to deny ourselves puts us in the face of, and to be afraid of this.

What will happen to us if we lose the gift of faith? The state of a person who has lost faith is despair; this is not always realized, but it is always so. This state is akin to the state of a swimmer who, while fleeing somewhere in stormy waves, has lost his life preserver - and these waves overwhelm him, he cannot swim out and feels that he is dying. And in my opinion, the fear of losing it completely after cooling off in faith is a very strong incentive to hold on to it and do everything so that it does not weaken, so that it becomes hotter.

A person who believes in Christ truly experiences life as a miracle. And isn’t this opportunity to experience life as a miracle and live on the eve of eternity now worth fighting for? There is no need to wait for some serious life shocks, some trials in which our faith will rise and be resurrected - it is much better today to try to fill our lives with all that feeds, strengthens and warms our faith in order to preserve this most important thing. a gift, the greatest treasure.

Photos from open Internet sources

“At the Bottom” is not only and not so much a social drama as a philosophical one. The action of drama, as a special literary genre, is tied to conflict, an acute contradiction between the characters, which gives the author the opportunity to fully reveal his characters in a short time and present them to the reader.

Social conflict is present in the play on a superficial level in the form of a confrontation between the owners of the shelter, the Kostylevs, and its inhabitants. In addition, each of the heroes who found themselves at the bottom experienced their own conflict with society in the past. Under one roof live the sharper Bubnov, the thief Ash, the former aristocrat Baron, and the market cook Kvashnya. However, in the shelter, the social differences between them are erased, they all become just people. As Bubnov notes: “...everything has faded away, only one naked man remains...” What makes a person a person, what helps and prevents him from living, gaining human dignity - the author of the play “At the Bottom” is looking for answers to these questions. Thus, the main subject of depiction in the play is the thoughts and feelings of the night shelters in all their contradictions.

In drama, the main means of depicting the hero’s consciousness, conveying his inner world, as well as expressing the author’s position are monologues and dialogues of the heroes. The inhabitants of the bottom touch upon and vividly experience many philosophical issues in their conversations. The main leitmotif of the play is the problem of faith and unbelief, with which the question of truth and faith is closely intertwined.

The theme of faith and unbelief arises in the play with the arrival of Luke. This character finds himself in the center of attention of the inhabitants of the shelter because he is strikingly different from all of them. To everyone he hooks up with

conversation, the old man knows how to pick up the key, instill hope in a person, faith in the best, console and reassure. Luke is characterized by speech using pet names, proverbs and sayings, and common vocabulary. He, “affectionate, soft,” reminds Anna of her father. On the night shelters, Luke, as Satin puts it, acts “like acid on an old and dirty coin.”

The faith that Luke awakens in people is expressed differently for each of the inhabitants of the bottom. At first, faith is understood narrowly - as Christian faith, when Luke asks the dying Anna to believe that after death she will calm down, the Lord will send her to heaven.

As the plot develops, the word “faith” acquires new meanings. The old man advises the actor, who has lost faith in himself because he “drank his soul away,” to seek treatment for drunkenness and promises to tell him the address of a hospital where drunkards are treated for nothing. Natasha, who doesn’t want to run away from the shelter with Vaska Ashes because she doesn’t trust anyone, is asked by Luka not to doubt that Vaska is a good guy and loves her very much. Vaska himself advises him to go to Siberia and start a farm there. He does not laugh at Nastya, who retells love stories, passing off their plot as real events, but believes her that she had true love.

Luke's main motto - “what you believe is what you believe” - can be understood in two ways. On the one hand, it forces people to achieve what they believe in, to strive for what they desire, because their desires exist, are real and can be fulfilled in this life. On the other hand, for most night shelters such a motto is simply “a comforting, reconciling lie.”

The characters in the play “At the Bottom” are divided depending on their attitude to the concepts of “faith” and “truth.” Because Luka promotes white lies, the Baron calls him a charlatan, Vaska Pepel calls him a “crafty old man” who “tells stories.” Bubnov remains deaf to Luka’s words; he admits that he does not know how to lie: “In my opinion, tell the whole truth as it is!” Luka warns that the truth can turn out to be a “butt”, and in a dispute with Bubnov and Baron about what the truth is, he says: “It’s true - it’s not always because of a person’s illness... you can’t always cure a soul with the truth ..." Kleshch, who at first glance is the only character who does not lose faith in himself, strives to escape from the shelter at all costs, puts the most hopeless meaning into the word "truth": "What kind of truth? Where is the truth?.. There is no work... no strength! That’s the truth!.. You can’t live, the devil, you can’t live... that’s the truth!..”

Nevertheless, Luke’s words find a warm response in the hearts of most heroes, because he explains the failures of their lives by external circumstances and does not see the reason for their failed lives in themselves. According to Luke, after leaving the shelter, he is going to go “to the crests” to see what kind of new faith people have discovered there. He believes that people will someday find “what is better,” you just need to help them and respect them. Satin also speaks about respect for people.

Satin protects the old man because he understands that if he lies, it is only out of pity for the inhabitants of the shelter. Satin's thoughts do not completely coincide with Luke's ideas. In his opinion, a “comforting” lie, a “reconciling” lie is necessary and supports those who are weak in soul, and at the same time covers up those who “feed on other people’s juices.” Satin contrasts Luke’s motto with his motto: “Truth is the god of a free man!”

The author's position in relation to Luke's consolatory sermon cannot be interpreted unambiguously. On the one hand, it cannot be called a lie that Luke shows Ash and Natasha the path to an honest life, consoles Nastya, and convinces Anna of the existence of an afterlife. There is more humanity in his words than in the despair of the Tick or the vulgarity of the Baron. However, Luke’s words are contradicted by the very development of the plot. After the sudden disappearance of the old man, everything does not happen as the heroes would like to believe. Vaska Pepel will indeed go to Siberia, but not as a free settler, but as a convict convicted of the murder of Kostylev. Natasha, shocked by her sister's betrayal and the murder of her husband, refuses to believe Vaska. The actor accuses the old man of not leaving the address of the treasured hospital.

The faith that Luke awakened in the souls of the heroes of “At the Bottom” turned out to be fragile and quickly faded away. The inhabitants of the shelter are unable to find the strength to oppose their will to reality, to change the reality around them. The main accusation that the author addresses to the heroes of the play is the accusation of passivity. Gorky manages to reveal one of the characteristic features of the Russian national character: dissatisfaction with reality, a sharply critical attitude towards it and at the same time a complete unwillingness to do anything to change this reality. Therefore, Luke’s departure turns into a real drama for the inhabitants - the faith that the old man awakened in them is unable to find internal support in their characters.

Luke's philosophical position is most fully expressed in the parable he told to the inhabitants of the shelter. The parable talks about a man who believed in the existence of a righteous land, and this faith helped him live, instilled joy and hope in him. When the visiting scientist convinced him that, according to all his faithful maps and plans, “there is no righteous land anywhere at all,” the man hanged himself. With this parable, Luke expressed the idea that a person cannot be completely deprived of hope, even if it is illusory. In a bizarre way, the plot of the parable is played out in the fourth act of the drama: having lost hope, the Actor hangs himself. The fate of the Actor shows that it is false hope that can lead a person into a loop.

Another interpretation of the question of truth is connected with the image of the Actor, namely the problem of the relationship between truth and artistic fiction. When the Actor tells Natasha about the hospital, he adds a lot to what he heard from Luke: “An excellent hospital... Marble... marble floor! Light... cleanliness, food...” It turns out that for the Actor, faith is an embellished truth, this hero does not separate two concepts, but merges them into one on the border between reality and art. The poem, which the Actor, unexpectedly remembering, quotes, is decisive for the conflict between truth and faith and at the same time contains a possible resolution to this conflict:

Gentlemen! If the truth is holy

The world doesn't know how to find a way -

Honor the madman who inspires

A golden dream for humanity!

The tragic ending of “At the Bottom” shows that the “golden dream” of humanity can sometimes turn into a nightmare. The Actor's suicide is an attempt to change reality, to move away from saving faith into nowhere. For the rest of the inhabitants of the shelter, his attempt seems desperate and absurd, as indicated by Satin’s last remark: “Eh... ruined the song... fool!” On the other hand, the song here can be interpreted as a symbol of the passivity of the characters in the play, their reluctance to change anything during their lives. Then this remark expresses that the death of the Actor completely disrupts the usual course of life of the inhabitants of the shelter, and Satin is the first to feel this. Even earlier, Luke’s words force him to deliver a monologue that answers the question of truth: “What is truth? Man - that’s the truth!” Thus, according to the author’s plan, Luke’s “faith” and Satin’s “truth” merge together, affirming the greatness of man and his ability to withstand life’s circumstances, even at the bottom.

The purpose of the lesson: to create a problematic situation and encourage students to express their own point of view on the image of Luke and his life position.

Methodological techniques: discussion, analytical conversation.

Lesson equipment: portrait and photographs of A.M. Gorky from different years.

Download:

Preview:

During the classes.

1. Analytical conversation.

Let us turn to the extra-event series of the drama and see how the conflict develops here.

How do the inhabitants of the shelter perceive their situation before Luke appears?

(In the exhibition we see people who have, in essence, come to terms with their humiliating position. The night shelters squabble sluggishly, habitually, and the Actor says to Satin: “One day they will completely kill you... to death...” “And you are a fool,” Satin snaps. “Why “- the Actor is surprised. “Because you can’t kill twice.” But the response is interesting. Actor: “I don’t understand... why is it impossible?” Perhaps it is the Actor, who died more than once on stage, who understands the horror of the situation more deeply than others, after all, it is he who will commit suicide at the end of the play.)

- What is the meaning of using the past tense in the characters’ self-characteristics?

(People feel like “former”: “Satin. I was an educated person” (the paradox is that the past tense is impossible in this case). “Bubnov. I was a furrier.” Bubnov pronounces a philosophical maxim: “It turns out that it’s like outside Don’t paint yourself, everything will be erased... everything will be erased, yes!”).

Which character is opposed to the others?

(Only one Kleshch has not yet come to terms with his fate. He separates himself from the rest of the night shelters: “What kind of people are they? A rag, a golden company... people! I am a working man... I’m ashamed to look at them... I’ve been working since I was little... Do you think I won’t get out of here? I’ll get out... I’ll tear off my skin, but I’ll get out... Just wait... my wife will die...” Tick’s dream of another life is connected with the liberation that his wife’s death will bring him. He does not feel the enormity of his statement. And the dream will turn out to be imaginary. )

Which scene sets up the conflict?

(The beginning of the conflict is the appearance of Luke. He immediately announces his views on life: “I don’t care! I respect swindlers too, in my opinion, not a single flea is bad: they’re all black, they all jump... that’s it.” And also: “For an old man, where it’s warm, there’s a homeland...” Luka finds himself in the center of attention of the guests: “What an interesting little old man you brought, Natasha...” - and the entire development of the plot is concentrated on him.)

How does Luke affect the night shelters?

(Luka quickly finds an approach to the shelters: “I’ll look at you, brothers, - your life - oh!...” He feels sorry for Alyoshka: “Eh, guy, you’re confused...” He does not respond to rudeness, skillfully avoids questions that are unpleasant for him, is ready to sweep the floor instead of the shelters. Luka becomes necessary for Anna, feels sorry for her: “Is it possible to abandon a person like that?” Luka skillfully flatters Medvedev, calling him “under,” and he immediately falls for this bait.)

What do we know about Luke?

(Luke says practically nothing about himself, we only learn: “They crushed a lot, that’s why he’s soft...”)

What does Luke say to each of the inhabitants of the shelter?

(In each of them, Luka sees a person, discovers their bright sides, the essence of personality, and this makes a revolution in the lives of the heroes. It turns out that the prostitute Nastya dreams of beautiful and bright love; the drunken Actor receives hope for a cure for alcoholism; the thief Vaska Pepel plans to leave to Siberia and start a new life there with Natalya, to become a strong master. Luka gives consolation to Anna: “Nothing, nothing else will be needed, and there is nothing to be afraid of - silence, peace - lie to yourself!” faith in the best.)

Did Luka lie to the night shelters?

(There may be different opinions on this matter. Luke selflessly tries to help people, instill in them faith in himself, awaken the best sides of nature. He sincerely wishes good, shows real ways to achieve a new, better life. After all, there really are hospitals for alcoholics, indeed Siberia - the golden side, and not just a place of exile and hard labor. As for the afterlife with which he attracts Anna, the question is more complicated; what did he lie about when Luka convinces Nastya that he believes in her feelings? her love: “If you believe that you had real love... then there was it!” He only helps her find the strength for life, for real, not fictional love.)

How do the inhabitants of the shelter react to Luke’s words?

(The lodgers are at first incredulous of his words: “Why are you lying?” Luka does not deny this; he answers the question with a question: “And... what do you really need... think about it! She really can , fucked up for you...” Even to a direct question about God, Luke answers evasively: “If you believe, he is; if you don’t believe, he is not... What you believe in, he is...”)

What groups can the characters in the play be divided into?

"believers" "non-believers"

Anna believes in God. The tick no longer believes in anything.

Tatar - in Allah. Bubnov never believed anything.

Nastya - in fatal love.

Baron - into his past, perhaps invented.

What is the sacred meaning of the name “Luke”?

(The name “Luke” has a dual meaning: this name is reminiscent of the evangelist Luke, means “bright”, and at the same time is associated with the word “evil” (devil).)

(The author's position is expressed in the development of the plot. After Luka leaves, everything happens not at all as Luka convinced and as the heroes expected. Vaska Pepel really ends up in Siberia, but only to hard labor, for the murder of Kostylev, and not as a free settler. The actor who lost faith in oneself, in one’s own strengths, exactly repeats the fate of the hero of Luke’s parable about the righteous land. Luke, having told a parable about a man who, having lost faith in the existence of a righteous land, hanged himself, believes that a person should not be deprived of dreams, even imaginary ones. while showing the fate of the Actor, he assures the reader and viewer that it is false hope that can lead a person to suicide.)

Gorky himself wrote about his plan: “The main question that I wanted to pose is what is better, truth or compassion. What is more necessary? Is it necessary to take compassion to the point of using lies, like Luke? This is not a subjective question, but a general philosophical one.”

Gorky contrasts not truth and lies, but truth and compassion. How justified is this opposition?

(This faith did not have time to take hold in the minds of the night shelters; it turned out to be fragile and lifeless; with the disappearance of Luka, hope fades.)

What is the reason for the rapid decline of faith?

(Perhaps the point is in the weakness of the heroes themselves, in their inability and unwillingness to do at least something to implement new plans. Dissatisfaction with reality, a sharply negative attitude towards it, are combined with a complete unwillingness to do anything to change this reality.)

How does Luke explain the failures of life for the homeless shelters?

(Luke explains the failures in the lives of the night shelters by external circumstances, and does not at all blame the heroes themselves for their failed lives. That is why they were so drawn to him and were so disappointed, having lost external support with Luke’s departure.)

Luke is a living image precisely because he is contradictory and ambiguous.

1. Discussion of questions D.Z.

The philosophical question that Gorky himself posed: what is better – truth or compassion? The question of truth is multifaceted. Each person understands the truth in his own way, still keeping in mind some final, highest truth. Let's see how truth and lies relate in the drama “At the Bottom.”

What do the characters in the play mean by truth?

(This word has multiple meanings. See the dictionary.

Two levels of “truth” can be distinguished.

Prepare for an essay on the works of M. Gorky.

1. “Truth” of Luke.
2. Interpretation of the image of Luke.
3. The role of Luke in the life of the inhabitants of the “bottom”.

The social and philosophical drama “At the Lower Depths” was conceived by Gorky in 1900. The play was first published in Munich in 1902. In Russia, the work was published by the publishing house “Znanie” in 1903. The play shows the life of the inhabitants of the shelter. These are degraded, unhappy, disadvantaged people. There is nothing bright left in their lives.

The image of Luke is rightfully considered the most complex in the play. This man is trying to console those who are suffering. His position directly contradicts the phrase: “Truth is the god of a free man.” Luke does not accept the cruel and evil “truth.” For him, truth is the “truth” that a person believes in.

Luke is very kind to others. He finds for everyone exactly the words that a person needs. Let this consolation have nothing to do with the real truth of life. But on the other hand, if you can make a person at least a little happier, why neglect this opportunity? The play poses a complex philosophical question: is Luke’s compassion better than the naked “truth”, which reveals to the inhabitants of the “bottom” all the wretchedness of their existence... Everyone can answer this question differently. But one cannot help but admit that Luke’s role in the lives of other characters in the play is great.

Luke is not trying to convince anyone of anything: He simply consoles those who need it. He does not impose his point of view, and this shows his wisdom. Luke is sure: “What you believe in is what it is.” One cannot but agree with this. A person’s subjective perception of the surrounding reality may differ greatly from the opinions of others. But the opinion of others does not necessarily have to be considered true. Luke helps the downtrodden find hope. But this is very important for a person.

Critics could not come to clear conclusions regarding the image of Luke. Some believed that Luka is a positive hero, because he helps people find something good in themselves. Others considered Luka a negative character, because after he left the shelter, the inhabitants of the “bottom” had an even harder time, because they were forced to say goodbye to illusions. Gorky's own attitude towards Luka was very contradictory. In 1910, the writer said about the hero of the play: “Luke is a swindler. He doesn't really believe in anything. But he sees how people suffer and rush about. He feels sorry for these people. So he says different words to them - for comfort.”

The inhabitants of the shelter treat Luka as a storyteller. They are not deluded by the old man’s words. For example, Ash says: “You lie well... You tell fairy tales nicely! Lie! Nothing...". This means that Luke’s words still find a response in the souls of tormented people.

Luke consoles Anna with conversations about the peace that will come after death. For a dying woman, these words can mean much more than the reasoning of the “working man”, her husband Kleshch, that after her death he will be able to arrange his life. This means that in this case, Luke’s role is certainly positive. To the actor suffering from drunkenness, Luka talks about special hospitals where alcoholics can be cured. This hope could give strength. And it cannot be blamed on Luke that, having lost hope, the Actor decides to commit suicide. Hope for a better life could make a person stronger if he initially had at least a little more strength and desire to break out of the vicious circle.

Luka tells Vaska Pepl that his life in Siberia will not be so bad. “And the good side is Siberia! Golden side! He who has strength and intelligence is like a cucumber in a greenhouse!” Let the old man's words raise doubts. But on the other hand, an attempt to instill confidence in the future is better than the intention to trample a person into the dirt, to deprive him of his last dream.

It is no coincidence that Luke tells a parable about how a certain man believed that somewhere there was a righteous land. And when faith was destroyed by a scientist who was able to prove that this land does not exist, the man hanged himself. He could not survive the collapse of his hopes. The old man is sure that a lie can bring salvation, but the truth, on the contrary, is dangerous and cruel.

The image of Luke is the personification of humanity and love for mankind. Paradoxically, he himself is the same inhabitant of the “bottom” as the others. But he has not lost his human qualities; he finds in himself kindness and compassion for those around him. The rest have long ceased to find even a drop of sympathy for those around them. How did Luke manage to maintain kindness within himself? Perhaps the reason for this is that, unlike those around him, he never ceases to love and respect the people around him. Even in cases where there is nothing to love and respect them for. Attempts to console the suffering are not valuable in themselves for Luke. He does not revel in his role as a comforter; he uses lies as a means to awaken something human in the dead souls of the inhabitants of the “bottom”. And it’s not his fault for the lack of results. One can blame Luka for the fact that after his departure, the life of the inhabitants of the shelter became even more difficult. They had to give up illusions, and again they found themselves face to face with the realities of life. But on the other hand, the reproaches against the elder seem unfounded. The trouble with the inhabitants of the “bottom” is that they are inactive, submit to circumstances, and do not try to do anything to change their fate. Luke could become a guiding star for the Actor. But it’s easier for him to believe Satin. It was not Luka, but Satin and the Baron who caused the Actor’s suicide. After all, it was they who convinced the unfortunate man that there were no hospitals for alcoholics. On the other hand, did it really matter in hospitals? Couldn't the Actor believe in his future and try to change something in his life? Luke tried to influence him, he said to Satin: “And why are you confusing him?” The rest are indifferent to the words, both their own and those of others.

Luka leaves the shelter because he cannot change the course of things. It is not in his power to help people leave the “bottom” and become full members of society. Luke understands that his help to the disadvantaged cannot be something material, tangible. The role of a comforter cannot be permanent, otherwise it will become devalued. Attempts to instill hope and encouragement should resemble a flash of light in impenetrable darkness. And then people will decide for themselves whether to do anything or not. The play does not answer whether the life of any of the inhabitants of the bottom will change. And, in my opinion, this is no coincidence; In his work, Gorky posed the most difficult questions, which everyone can answer in their own way.

During their school years, many probably had the opportunity to become acquainted with the work of the respected Russian writer Maxim Gorky - the play “At the Lower Depths,” which without embellishment describes to all of us the familiar archetypes of people living in Russian realities.

Despite the fact that more than a century has passed since the publication of the drama, the situations that it touches on remain relevant today.

In this article we will analyze in detail the image of the character Luke from this play, get acquainted with his statements and talk about the attitude of other heroes of the work towards him.

Where did the wanderer come from?

doesn't reveal the secret Luke's origins, only briefly mentions his wandering life. The wanderer has neither a homeland nor any specific place of residence. He himself talks about it this way: “To the old man – Where it’s warm, there’s homeland.”

The residents of the shelter are also not interested in the old man’s past; they are preoccupied with their problems and attempts “go out into the public”, and not drag out an existence “at the bottom” for the rest of your life.

Character Characteristics Analysis

Luke appears before us in the form a kind-hearted old man, preaching goodness, love, pity and the will of man to create his life as his heart dictates.

The hero really emanates an aura of peacefulness and understanding, which, of course, endears him to the characters in the play, making them believe that the future is not hopeless and there is a chance to improve their social situation, fulfill their dreams and desires.

To everyone who, willy-nilly, ended up in a shelter, Luka selects the right words, gives everyone hope and encourages them to believe in their dreams, no matter how funny they may seem to themselves and others.

But no matter how sweet and comforting the stranger’s words sounded, they were only empty sounds, distracting homeless people from everyday troubles, and not real support that gives strength to get out of poverty and ignominy.

Nevertheless, Luka is not a liar, he just sincerely feels sorry for those around him and encourages them, even if it is absolutely pointless and useless.

Luka’s relationship with other characters in the play “At the Lower Depths”

The characters relate to the old man in two ways:

• alone ( thief Vaska Ash, Actor, Anna, Nastya, Natasha) with relief they tell him about their life, confess and receive in response the necessary pity, sympathy and soothing statements;
• other ( card cap Bubnov, Satin, Baron, Klesch) do not trust a stranger too much and talk to him briefly and skeptically.

One thing is certain - no one remained indifferent to the appearance of such an extraordinary personality in such a dirty and doomed place.

After the sudden disappearance of the wanderer, the fate of some characters changed dramatically. The locksmith Kleshch's wife, Anna, died of tuberculosis, the Actor could not come to terms with the hopelessness of his life and hanged himself, Vaska Ash went to hard labor in Siberia because of an accidental murder, his dreams of an honest life with Natasha came to an end. The remaining heroes continued to while away their time in the shelter, but at the same time started to think about the meaning of one’s existence, one’s actions and the problems of others.

Parable of the Righteous Land

Luke's parable tells us about a man who endured all the hardships and suffering of earthly life, believing that there is a righteous land, where people live in excellent relationships, help each other and never lie. One day he went to a local scientist he knew and asked him to show the righteous land on a geographical map. He tried to find what he was looking for, but could not. Then the man got angry, hit the scientist, and then went home and hanged himself.

This parable seems to have predetermined the fatal fate of several characters - the death of Anna and the Actor, the imprisonment of the thief Vaska. They believed that their own righteous land would be found for them, that it was possible to get out of the bottom, poverty, but this did not happen. Luke soon left, and with him the hope that warmed the characters in the play went away.

Quotes

The play “At the Bottom” is rich thoughtful phrases and statements of the characters, but, perhaps, the most significant of them are the words of Elder Luke.

Here are a few of his quotes that everyone who has read Gorky’s play “At the Lower Depths” should analyze and reflect on:

“And everyone is people! No matter how you pretend, no matter how you wobble, if you were born a man, you will die a man...”

"I don't care! I respect swindlers too, in my opinion, not a single flea is bad: all are black, all jump...”

“You, girl, don’t be offended... nothing! Where is it, where are we supposed to feel sorry for the dead? Eh, honey! We don’t feel sorry for the living... we can’t feel sorry for ourselves... where is it!”

“So, you’ll die, and you’ll be at peace... you won’t need anything else, and there’s nothing to be afraid of!”

“...it’s not the word that matters, but why the word is said? - that's the problem!"

Bottom line

Maxim Gorky's image of the wanderer Luke turned out to be very multifaceted and reflective main philosophical questions about life, love, principles and priorities of a person.

And not only Luke - all the characters in one way or another reflect those who we meet in real life.

The writer managed to reflect in his work entertaining philosophical and psychological ideas:

All of the above is important for a correct understanding of the work and simply situations happening to people around us, it teaches us to sympathize and correctly set life priorities.

Russian writers have always shown interest in philosophical problems, that is, in the problems of human existence and the meaning of life. The work of M. Gorky was no exception, and the play “At the Lower Depths” is rightfully considered the first Russian socio-philosophical drama. One of the most complex in the play is the image of Luke. It is with this that the main philosophical question is connected: “What is better: truth or compassion?”

Luke is a traveling preacher. He appears in the shelter in the midst of disputes between its inhabitants about conscience and honor. Do people at the very bottom of their lives need them?

Luke's mission as a comforter falls to his lot. He calms everyone down and promises everyone relief from suffering. Moreover, Luka doesn’t invent anything. Knowing how to surprisingly subtly feel the dreams and desires of people, he only convinces them of what they themselves hope for deep down in their souls. The basis of Luke’s life position is the phrase he himself expressed: “What you believe in is what it is.” He advises the dying Anna not to be afraid of death, because death will free her from pain and torment. He talks to the actor about the possibility of recovery from alcohol in a special hospital. After Luka’s words, Ash begins to believe that he will find his happiness with Natasha on the “golden side” of Siberia.

The inhabitants of the shelter have different attitudes towards the old man. So, Nastya, for example, after Luka left, says: “He was a good old man!” The tick especially emphasizes that Luka is compassionate. And even Luke’s antagonist Satin notes that Luke “was like crumbs for the toothless,” that he affected him “like acid on a rusty coin.” But the Baron calls him a charlatan, and the same Kleshch says that the old man did not like the truth. And again, oddly enough, Satin rushes to Luka’s defense. He interrupts the Baron with the words: “Be silent!.. be silent about the old man!” How should we evaluate Luka?

A number of researchers associate the name of Luke with the evil one, with the tempter. But still this is not entirely true. He does not seduce or tempt anyone. However, his name is apparently connected with the word “crafty” in the meaning of “cunning”. Luka is not as simple as it seems at first glance: he is an extraordinary person with extensive life experience. He quickly navigates the situation and finds an approach to almost everyone. In addition, the hero’s name is also associated with the Evangelical Apostle Luke. Before us is a certain bearer of wisdom, an exponent of his truth, connected in a significant way with the Christian commandments. Luke’s story about how he took pity on two robbers who were plotting murder and fed them (that is, responded to evil with good) precisely confirms this.

Still, with all the complexity and ambiguity, Luke deserves respect. This person is above all kind and sympathetic. He is sincere in his attitude towards people at the bottom. In addition, he does not force his views on anyone. And most importantly, he himself has no personal benefit from this lie. According to Luke, a person lives “for what is best.” This means that his dreams, hopes, self-esteem should be strengthened, which he does, driven by pity and mercy.

The question of the author's attitude towards Luke is very complex. It is known that the writer more than once called him a swindler, a saint and a scoundrel. Yes, indeed, Luke expresses his compassion in a unique form - in the form of a lie, a beautiful fairy tale. But his lies are not everyday, they can sometimes even be called lofty. This is a type of Christian white lie. He believes that the truth is too scary for people, and therefore wants to embellish their existence by introducing a “golden dream” into it.

No matter how Gorky opposed his hero, nevertheless, the writer turned out to be better, wiser and kinder than he originally intended. When, at the end of the play, the night shelters try to “judge” Luka, the author refuses them to do so: Satin immediately and irrevocably stops all conversations.

Thus, in the play “At the Lower Depths” M. Gorky creates a very interesting and contradictory image. On the one hand, Luke is kind and helps people not to lose heart. On the other hand, his lies lead to the fact that the weakest people in spirit cannot stand it, and their return from the land of dreams to the horror of everyday life is too difficult for them to bear. So, for example, loss of faith leads the Actor to suicide.

Gorky, of course, stands in the position of Satin and condemns Luke. However, there is no such direct condemnation in the play. The reader and viewer will have to decide for themselves what is better: Satin’s truth or a lie to save Luke. Or maybe the truth lies somewhere in the middle.

So, Luke takes part in the destinies of people thrown to the bottom of life. In his speeches and actions, he tries to distract people from their joyless life, although he knows the sad outcome of each of the shelters. Luke's humanity is necessary for people, because he awakens in people empathy, compassion, those main values ​​without which one cannot be called a human being. But, of course, pity itself is not able to save people from suffering. Drastic changes to reality are needed. Therefore, Luka and Satin are not antagonists, but rather allies. Luka, like a doctor, patiently and wearily treats tormented souls, and Satin is a dreamer, endowed with the gift of bold creative thought, able to see far and vigilantly. But, unlike Luke, Satin is not a worker in the field of human suffering, but a contemplator. People themselves do not interest him. He is far from their suffering. He is only interested in his own thoughts, which escape far beyond the walls of the shelter.

“Luka and the inhabitants of the shelter. Disputes about ways to achieve the ideal in M. Gorky’s play “At the Depths”

Teacher: Potapushkina

Irina Grigorievna

Biysk 2007

Objectives: 1) while observing the fate of the heroes, show the reasons for the tragic fate of the heroes, the clash of different opinions about the truth;

2) developing the skill of analytical reading, the ability to generalize and systematize.

During the classes:

Formulation of the problem.

What conflict dominates the play?

At first glance, it is social, since the position of the heroes in society is obvious - they turned out to be outcasts, there is an ambivalent attitude towards such people: on the one hand, they cause disgust, on the other hand, one cannot help but sympathize with them. But there is no obvious contradiction, for example, between the inhabitants of the shelter and the rest of the characters in the play. In the dialogues and monologues of the characters on seemingly completely everyday and mundane topics, we see a hidden (or obvious) desire for an ideal, a desire to comprehend the meaning of life.

It is no coincidence that the key word of the play is the word “truth” as a philosophical category. The characters have different ideas about the truth. We must find out which “truth” is true, or maybe all the heroes are right in their own way?

On the eve of the lesson, groups of 2-3 people are given a task: select material about the character from the text, answer questions proposed by the teacher, and draw conclusions. During the lesson, each group presents to their classmates the results of their work, which should be recorded in a table. As the lesson continues, students turn to the text and answer the teacher’s questions.

“...Man – that’s the truth! Everything is in man, everything is for man!” (Lesson-seminar based on A.M. Gorky’s play “At the Lower Depths”)

Methodological development of open

literature lesson

Teacher: Khatkova S.I.

The purpose of the lesson : create a problematic situation and encourage students to express their own point of view on the image of Luke and his life position; identify the author's position in relation to the issue of truth.

Lesson objectives: find out the author’s techniques for conveying the atmosphere of spiritual separation of people, reveal the problems of imaginary and real overcoming a humiliating situation.

Teacher's opening speech.

The turn of the 19-20s in the development of Russian literature was marked by the emergence of new trends, trends, a non-standard approach to solving the problems posed in the work, and the originality of artistic forms.

And if A.P. became a recognized innovator in drama. Chekhov then developed and improved his innovative principles, such as:subtext, veiling of the main conflict, abundance of plot opinions, organization of stage action according to the principle of “disunity” of characters- another public writer and playwright M. Gorky.

1902 Gorky composes the play “At the Bottom of Life” and shows it to A.P. Chekhov. Tom likes everything about the play except the title. In his opinion, excessive literalism harms the work. This is how a name appears - a symbol denoting a certain state of the human body, consciousness and soul. “At the Lower Depths” is the pinnacle of Gorky’s dramaturgy and one of the most powerful dramatic works of our century, and by the standards of that time, the most advanced.

They said that the play was a success.

What are the reasons for the success of the play?

1. For the first time, the viewer saw an unfamiliar world of outcasts, humiliated and insulted. The viewer was captivated by the amazing power of realism, the sharpness and brightness of the depiction of life. World drama has never known such a harsh truth about the life of the lower social classes, about their hopeless fate.

2. On the eve of the 1905 revolution, the play responded to the sentiments of wide circles of democratic spectators.

3. The play was imbued with a protest against the soulless rules of capitalist society and called for a different, fair and free, worthy human life.

Teacher. This is a play about the present and future of the state, in which many contemporaries read a call for the destruction of social instability and the creation of a healthy society.

Where, before the formidable executioner,

The people bow their backs humbly,

And under the yoke and under the whip

He falls helplessly and groans...

There is no, not peace and not love, -

There needs weak blood

Ignite with the fire of indignation,

There needs to be a fighter's hatred

Breathe into sleeping hearts,

And at the hour of fatal retribution

Sound the alarm and call for battle.

Another poet wrote in the same 1902:

I would like to break my sleep,

Destroy the well-fed happiness...

I would like this happiness

Take it in battle by people's power,

To support the weak in spirit,

Humiliate - humiliate,

Those who offend - to offend

Breathe life into the dead again!

Your whole world will be hated!

Turn your entire system upside down!

What does Gorky show in the play?

Maxim Gorky is the greatest writer of his time.

His play “At the Bottom” reveals all the vices of modern society. The author describes the life and everyday life of people who have fallen to the bottom of society. These people, different in social origin, upbringing and education, once stumbled in life or simply went broke and ended up in a shelter where everyone is equal, and there is no hope of getting out of this hole.

What work will be discussed in the lesson?

Teacher. Continuing the traditions of Chekhov, Gorky built the play not on one, but on several conflicts:love, social, philosophical.

The love triangle (Ashes, Vasilisa, Natasha) and the development of relationships in it are the main intrigue;social conflict - between the owners and the inhabitants of the shelter.However, as Gorky said, “the main question that I wanted to pose isThis – What is better, truth or compassion? Those. The main conflict in the play isphilosophical: The humanism of Luke and the humanism of Satin are contrasted, two points of view on the essence of truth, faith, on the essence of man and the attitude towards him, on the future.

How is the setting of the drama depicted?

The location of the action is described in the author's remarks. In the first act, it is a cave-like basement, “heavy stone vaults, sooty, with crumbling plaster.” Thin partitions screen off Ash's room. “Everywhere along the walls of the bunk.” There is dirt everywhere, unpainted and dirty tables, benches, stools, tattered cards, pieces of oilcloth, rags.

Teacher. This means that the subject of the drama is the consciousness of people thrown to the “bottom of life.”

The inhabitants of the shelter? Who are they?

People who have sunk to the bottom of life end up in a shelter. This is the last refuge for tramps, “former people”. Here are all the social members of society: the bankrupt nobleman Baron, the hostel owner Kostylev, the policeman Medvedev, the locksmith Kleshch, the gambler Bubnov, the sharpie Satin, the thief Ash, the merchant Kvashnya. All of them are equalized by the status of the dregs of society. Both young and old live here.

Many night shelters do not even have a name, only nicknames remain. The Actor once bore the sonorous surname Sverchkov-Zadunaisky. And now even the memories are gone, “I’ve forgotten everything.”

How do the inhabitants of the shelter perceive their situation before Luke appears?

In the drama, from the very beginning, we see people coming to terms with their humiliating situation. They squabble sluggishly and habitually. This is not life, they are all already dead. They talk about themselves only in the past tense. They all feel like they have been.

Satin: “I was an educated person.”

Bubnov: “I was a furrier.”

Only Tick did not accept his fate. He separates himself from other night shelters: “I am a working man! Do you think I won't get out of here? I'll get out! I’ll tear off my skin, but I’ll get out,” he says.

Which scene sets up the conflict?

The beginning of the conflict is the appearance of Luke. He immediately announces his views on life: “I don’t care! I respect swindlers too, in my opinion, not a single flea is bad: they’re all black, they all jump... that’s it.” Luka finds himself in the center of attention of the guests and the entire development of the plot is concentrated on him.

He quickly finds an approach to the shelters. He does not respond to rudeness, skillfully avoids questions that are unpleasant for him, and is even ready to sweep the floor instead of the shelters.

What do we know about Luke?

He doesn’t say anything about himself except “They crumpled a lot, that’s why he’s soft.”

What does Luke say to each of the inhabitants of the shelter?

In each of the shelters, Luka sees a person, reveals their bright sides, the essence of personality, and this makes a revolution in the lives of the heroes. He reveals the good in every person and instills faith in the best.

What is Luke's consolation based on?

Luke's consolations are based on lies. His comforting lies preach slavish humility. He doesn’t call for a fight, “humble yourself,” he says.

Lies are needed by the weak. Strong-minded and free people have no use for lies. Truth is the god of a free man! One cannot but agree with these words of Satin.

How do the inhabitants of the shelter react to Luke’s words?

At first, the night shelters are incredulous at Luke’s words: “Why are you lying all the time?” Luka does not deny this; he answers the question with a question: “And what do you really need badly... think about it! She really can give you a hard time.” Even to a direct question about God, Luke answers evasively: “If you believe, he is; If you don’t believe it, no... What you believe in is what it is.”

Truth is a formidable weapon. It must be handled with care, it can hurt and kill, it can cripple life.

Luke understood this, and this is what he is trying to convey to us.

After all, we often need consolation rather than hard truth. A person needs hope, not lies for the sake of lies, not truth for the sake of truth, but hope.

The author's position is expressed in the development of the plot. After Luke leaves, everything happens completely differently than Luke convinced and as the heroes expected. Vaska Pepel does end up in Siberia, but only to hard labor, for the murder of Kostylev, and not as a free settler. The actor, who has lost faith in himself and in his strength, exactly repeats the fate of the hero of Luke’s parable about the righteous land. Luke, having told a parable about a man who hanged himself because he lost faith in the fact that there is no righteous land, believes that a person should not be deprived of dreams, hopes, even imaginary ones.

Gorky, showing the fate of the Actor, assures the reader and viewer that it is false hope that can lead a person to suicide.

Teacher. Gorky repeatedly thought about the ideological and philosophical content of the concept “Human" ; and the author’s assessment of its significance was invariably associated with respect and admiration for the moral and spiritual strength of man.

But this was not enough for Gorky.Free people from compassion - this is the pathos of his work.

The reconstruction of reality, the real liberation of man from the oppression of capitalism, which dooms him to suffering - this is what Gorky saw as true humanism.

The question posed by Gorky, “Which is better, truth or compassion,” is very important.

This is not a subjective question, but a general philosophical one.

Gorky contrasts not truth and lies, but truth and compassion.

Gorky vs.

How justified is this opposition?

All the heroes agree that Luke gave them false hope. But he didn’t promise to raise them from the bottom of life, he simply showed them their own capabilities, showed that there is a way out, and now everything depends on them.

How true is the self-confidence awakened by Luke?

This faith did not have time to take hold in the minds of the night shelters; it turned out to be fragile and lifeless; with Luka’s departure, hope fades.

What is the reason for the rapid decline of faith?

I think in the weakness of the heroes themselves, in their inability and unwillingness to do at least something to implement new plans.

They are not happy with reality and have a negative attitude towards it. This is all combined with a complete unwillingness to do anything to change this reality.

What do you think of Luke's character?

1a. The strength of the bow is that it is responsive to the pain and suffering of others. His humanism is concrete.

1b. Luke is not a satin who does nothing to prove his love for a person in practice.

1st century For example, I don’t see anything humane in Luke; with his consolations he drives a person to despair, and then abandons him to his fate.

This cunning old man protects his peace, does not quarrel with anyone and does not give in to others. “Silence”, “calmly”, “patience” - these are his favorite words. He preaches a slave psychology, fearing free and strong people.

1 year Luke's consolations are based on lies. His comforting lies preach slavish humility. He doesn’t call for a fight, “humble yourself,” he says.

1d. In fact, this is so, he preaches a slave psychology, he is afraid of free and strong people. “Silence”, “calmly”, “patience” - these are his favorite words.

Wordactive comes from the wordcase. And we see Luke doing something. He just talks. Can speech really be called action? Did they bring any benefit to any of the inhabitants of the shelter? When it comes down to it, Luka remains on the sidelines.

Here you also approach the interpretation of the image of Lukestraight-linear-simplified.

Only struggling, active philanthropy can be called true humanism.

Compassion and compassion brought to the point of the need to use lies are not the same thing.

Is Luka really responsive to the pain of others and sympathizes with the inhabitants of the shelter? Does he really mean well? Yes it is. But does it follow from this that it is in Luke that Gorky expresses his understanding of humanism and embodies active love of humanity? No, you cannot agree with this.

Gorky does not accept passive consciousness, the ideologist of which he considers Luka.

According to the writer, it can only try on a person with the outside world, but will not encourage him to change this world.

Mite (about Luke) “I understood, but did not show the way.” Kleshch does not understand that everyone must find the way alone.

He comes to terms with his situation. Humility is its real tragedy. He reassures himself - everyone is equal, everyone is the same in their poverty.

Teacher. The whole point of Luke's philosophy is the conviction that it is impossible to change the world, reality, but it is only possible to changeattitude person to this reality.

And in this case, it turns out that Luke dooms a person to eternal suffering, while sympathizing, he convinces people that it is impossible to get rid of suffering itself.

Gorky does not appear in the playagainst compassion and empathy. The whole play, telling about the tragedy of those thrown to the bottom,awakened in the reader and viewerempathy and compassion.

Vocabulary work:

Mercy - willingness to help someone or forgive someone out of compassion and philanthropy.

Compassion – sympathy, empathy.

Is it true - 1) truth is what corresponds to reality;

2) order based on justice and honor.

What is Satin's role? Whose position in the dialogue does Satin express in the monologue?

Luke’s lies do not suit Satin: “Lies are the religion of slaves and masters! Truth is the god of a free man! Satin’s truth is in man: (read the monologue).

These words, coming from the lips of a sharper and a drunkard, do not sound very limited. Rather, these thoughts belong to the author himself, for whom Man was at the center of the world model.

Teacher. This is the main content of Gorky’s attitude towards man. The writer puts above all else respect for people, which can make them stronger.

For Gorky, a person is “above satiety.” And only being “above” material well-being is he worthy of respect, respect in truth, the only thing possible for a “free person.”

What do the characters in the play mean by “truth”?

There are two levels of “truth” here. One level is the “private” truth that the heroes defend “for themselves.” Nastya assures everyone, and above all herself, of the existence of extraordinary, bright love. Klesh truthfully calls his situation, hopeless even after the death of his wife: “There is no work... no strength! This is the truth!”

Another worldview level of “truth” is found in Luke’s remarks. Luke’s “truth” and his “lies” are expressed by the formula “What you believe is what you believe.”

Bottom line.

Thus, exists in dramatwo truths: Luke's truth, with her indifferent and kind, Christian humility, with her holy lies, andtrue Satina, somewhat cruel, but proud -it is the truth of the negation of lies.

And the internal conflict of these two truths, positions so different from each other, was judged by history.

History has shown that the world can only be remade by “strong means” and that words of consolation will not help people become happier.

(an example from modern times)

Reality itself rejects Luke's comforting truth.

According to Gorky's work, it is difficult to make a choice between two truths: it is difficult not to say words of consolation to a dying person, on the one hand; and one cannot but agree with Satin, with his understanding of the truth.

This is where Gorky’s genius manifested itself: in the ability to pose a philosophical question and illuminate it from different sides, to show different points of view.

The writer was able to act not as a judge, but as an impartial witness of life.

When it’s still human – it’s great!

Of course, we can agree with Satin that Man is magnificent! But this is only when he is honest, noble, believes in himself, maintains the purity of his soul and, most importantly, remains capable of beautiful, strong, worthy actions.

What is modern about the play?

1. The philosophical debate about truth and lies remains indispensable to this day, and it is very important today.

If we consider this problem now, then the figure of Luke seems very attractive, his desire to alleviate the suffering of people can be explained by his love for people.

It seems to me that these people, who have run out of time, who don’t believe in anything (they are deceived by life), need Luke’s lies, his sympathy, more.

2. Gorky’s play “At the Lower Depths” reflected such social problems, which are very important and relevant today.

This is the appearance of people who, due to various social problems, a difficult socio-economic situation, unemployment, find themselves “at the bottom of life, without housing, no means of subsistence, no rights, not even documents.

What is modern about the play?

The historical situation of the late 19th - early 20th centuries is in many ways similar to the circumstances of modern life.

Unfortunately, now, in our difficult time of change, qualities such as mercy, kindness, and the desire to help are fading into the background.

Personally, I believe that although it is belied every day by our behavior, there is a place in everyone's soul for love, mercy and compassion.

The revival of the entire society begins with the moral improvement of each of its members.

We are people, not animals, because we can cry, laugh, love, hate, suffer and be happy, we can be merciful. By maintaining these qualities, we remain human and improve.

So who is right:

Satin, with its relentless exposure of illusions and consolation, orLuke, the preacher of these illusions?

Here's how literary critic Gay writes about it:“Both characters suffer defeats in the face of life. But the winner is the author and his concept of humanism. It (the concept) also absorbs the satin"Man is here Truth ... Everything is in man, everything is for man, andstatement Luke that “people live for the best.”

Cards-tasks for consolidation

Card No. 4

Which character in the play “At the Lower Depths” owns the phrase: “Man – that sounds proud!”?

Satin

Luke

To the actor

Card No. 5

Which of the characters in the play “At the Lower Depths” expresses the author’s position?

Bubnov

Satin

Mite

Luke

Card number 6

Which character in the play “At the Lower Depths” owns the words:

“Noise is not a hindrance to death.”

“When work is a duty, life is slavery.”

“Not a single flea is bad: all are black, all jump.”

“If you don’t like it, don’t listen, and if you lie, don’t interfere.”