Tragic collision. Lesson outline “Three truths in A.M. Gorky’s play “At the Depth” and their tragic collision The ninth educational situation is educational and cognitive

Alexey Ledyaev Tragic collision, 02/10/13. Tragic collision Human life is like a target, which is equally claimed by both God and the devil. Only Jesus asks permission to interfere in life, but the devil does not. The devil's main weapon is illusion, deception. There is a tragic collision of illusion with reality, and in this collision either illusions destroy reality, or reality destroys illusions. What you believe in will win in your life. Why was Christ crucified? The faith of that people in the illusions imposed by the devil crucified God's truth. And knowledge of the truth makes one with the head, not the tail. Jesus, unlike us Christians, is interested in public opinion. If our neighbors and neighbors believe in illusions, they will lead to their destruction. Jesus is interested in both public opinion and church opinion: “Who do you say that I am?” Whoever we revere Jesus to be, the people who live around us will also revere him to be. The revelation of Jesus reforms consciousness - it is like a detonator, an explosion of an atomic bomb. The revelation of Jesus is coupled with the revelation of the Living God, the Creator of the Universe. We need to know who He really is, to abandon the usual prayers - “blank cartridges”. Revelation of Jesus is more important than healing, prosperity. Do you really want to gain knowledge about Him? It is easy to crucify God's reality while in captivity of a religious myth. And to know reality is a fatal collision. In some cases, God's truth was crucified (the death of Christ), in others, truth defeated illusions, myth (the conversion of Saul). When you know the truth, you copulate with Him, and it is no longer you who live, but Christ who lives in you. John 18:37 Pilate said to Him, “So, are You a King?” Jesus answered: “You say that I am a King. For this purpose I was born and for this purpose I came into the world, to testify to the truth; everyone who is of the truth listens to my voice.” If God gave birth to us, then He gave us the ability to hear the voice of truth and distinguish it from others. I have a church where the Holy Spirit comes and He penetrates to the point of dividing soul and spirit to change the quality of my faith. Jesus is the King of kings, the Lord of lords, who defeated the devil, who took the keys of hell and death. The devil knows that our strength is in Christ Jesus, so our greatest war will be against Him. Do not give away the revelation of the great Jesus, the coming Master of the entire Universe! It won't be long before Jesus reveals himself. The main thing is that at this moment we say: “This is the God in whom we trusted!” Prayer for revelation of Jesus: “The Holy Spirit will visit you both at night and during the day! » Questions: 1. What is the main weapon of the devil? 2. Do we have the ability to distinguish truth from illusion? Why? 3. What is involved in the revelation of Jesus?

In the play “At the Bottom,” M. Gorky strives not only to depict a terrible reality to draw attention to the plight of disadvantaged people. He created a truly innovative philosophical and journalistic drama. The content of the seemingly disparate episodes is a tragic collision of three truths, three ideas about life.

The first truth is Bubnov's truth, it can be called the truth of fact. Bubnov is convinced that a person is born to die and there is no need to feel sorry for him: “Everything is like this: they are born, they live, they die. And I will die... and you... Why regret... You are superfluous everywhere... and all the people on earth are superfluous.” As we see, Bubnov completely denies himself and others; his despair is generated by unbelief. For him, the truth is a cruel, murderous oppression of inhumane circumstances.

Luke's truth is the truth of compassion and faith in God. Taking a closer look at the tramps, he finds words of consolation for each. He is sensitive and kind to those who need help, he instills hope in everyone: he tells the Actor about a hospital for alcoholics, advises Ash to go to Siberia, and talks to Anna about happiness in the afterlife.

What Luke says is not simply a lie. Rather, it inspires the belief that there is a way out of any hopeless situation. “People are looking for everything, everyone wants what’s best, God give them patience!” - Luke says sincerely and adds: “Whoever seeks will find... You just need to help them...” Luke brings saving faith to people. He thinks that with pity, compassion, mercy, and attention to a person, one can heal his soul, so that the lowest thief understands: “You have to live better! You have to live like this... so that you can... respect yourself..."

The third truth is Satin's truth. He believes in man as in God. He believes that a person can believe in himself and rely on his own strength. He sees no point in pity and compassion. “What good will it do you if I take pity on you?” - he asks Kleshch. And then he pronounces his famous monologue about man: “Only man exists, everything else is the work of his hands and his brain! Human! This is great! It sounds proud!” Satin is not just talking about strong personality. He talks about a person who is capable of rebuilding the world at his own discretion, creating new laws of the universe - about a man-god.

Three truths in the play tragically collide, which determines exactly the ending of the play. The problem is that in every truth there is a part of a lie and that the very concept of truth is multidimensional. A striking example of this - and at the same time a moment of collision of different truths - is Satin's monologue about a proud man. This monologue is pronounced by a drunken, despondent man. And the question immediately arises: is this drunk, degenerate person the same one who “sounds proud”? A positive answer is doubtful, but if it is negative, then what about the fact that “only man exists”? Does this mean that Satin, who is speaking this monologue, does not exist? It turns out that in order to perceive the truth of Satin’s words about a proud man, one must not see Satin, whose appearance is also true.

It is scary that an inhumane society kills and maims human souls. But the main thing in the play is that M. Gorky made his contemporaries feel even more acutely the injustice of the social system, made them think about man and his freedom. He says in his play: we must live without putting up with untruth and injustice, but not destroy our kindness, compassion, and mercy.

“At the Lower Depths” is staged in hundreds of theaters. Directors and actors are looking for new and new colors for Gorky's heroes, costumes and scenery are changing. But it takes your breath away when you realize that the play was written more than a hundred years ago. What has changed? There are still landfills and places where doomed people, broken by life, live out, just as crippled youth dreams of pure love and is waiting for a prince who will take him by the hand and lead him out of the nightmare, the workers rejected by progress and changes in society drink themselves in the same way, and strange people walk in the same way, offering illusory consolation, assuring that the truth has been revealed to them. And we all, sooner or later, are looking for the answer: what is the truth, what does a person need - cruel reality, consolation at any cost, or something third?
Three “truths” in the play are opposed to each other. One is the truth of cruelty. There is reality, you can't deceive a person,
pity him, humiliate him with this. "Human! This is great!” People must face the facts, no matter how scary they may be. Who says this in the play? Maybe a positive, strong, brave hero, a person who knows the purpose of life and fearlessly goes towards it? Alas, all the pathos is reduced by the fact that Gorky gives this anthem in honor of the proud man to the gambler and sharper Satin.
The truth of reality is that there is no work, no shelter, no hope, no strength. The right to life has been taken away, and there is only one way out: “We must die!” This is what Tick says, the only one who at first still hopes to escape from the hole, that this is not the end, but a temporary fall. The prostitute Natasha also hopes that reality will give way to love. Anna's husband has a terrible hope that his wife will finally die and things will become easier. The illusion of liberation lingers for everyone except Baron, but he also has a thread: “Everything is in the past.” This means that there was a past, something is not ahead, but at least behind. Bubnov is completely stupefied and indifferent. This person is already on the other side of truth and hope, he is dead, and neither illusions nor real changes will resurrect him.
And in this hell, where heaven itself mocks a person, depriving him of hope, a strange character appears. Luke is a wanderer. Such people were also called “strange”, from “to wander.” He walks the world armed with a single commandment: all people are worthy of hope and pity. He addresses the rabble: “Honest people.” These are respectful words, not empty. This is how they greeted hard-working people, owners, people, albeit poor, but not rejected by society. This somehow echoes the appeal “ kind person"Bulgakov's Yeshua and his words: "There are no evil people in the world." Luka is given by Gorky as a bearer of lies, giving alms instead real help. But how can he help? All that the wanderer has is warmth and pity for the person and the firm conviction that one cannot live without hope. He cannot help either with advice or deed. But with the arrival of Luke, light appears in the hole.
The heroes are not deceived; they do not believe Luke. Bubnov says that Luka keeps lying, but without benefit to himself. But his kindness, addressed to everyone, without question - whether these people deserve a good attitude, is felt by Ash, and Natasha, and Anna, and the Actor. So maybe this is the real truth? But the horror is that groundless hopes quickly dissipate, leaving behind even greater darkness and desolation. Luke gives temporary consolation, like medicines that do not cure a disease, but only dull the pain. But RYKII does not condemn or support the philosophy of consolation. He looks for the healthy side in her. Man - this really sounds proud, and the strength of a person is that, even by believing in the incredible, he can change reality itself by the power of faith.
You cannot kill a person with the truth, because besides the facts, which are always changeable, there is another truth - human soul, self-confidence, hope for the best, an ideal and a goal ahead, without which life is simply impossible and unnecessary.
This is the third truth - the truth of the great realist and humanist Gorky, the author's voice that sounds in the play, not drowning out the voices of the characters, but giving perspective and indicating a way out, if not for the heroes of the play, then for us.

Luke - Lucian (Latin - Light, luminous). Luke was also the name of one of the 70 disciples of Christ, sent by Him “to every city and place where He Himself wanted to go,” the author of one of the canonical Gospels and the “Acts of the Apostles,” a skilled physician. The Gospel of Luke emphasizes Christ’s love for the poor, harlots, and sinners in general. The cunning, cunning, insidious, secretive and evil, deceptive, feigned type of wanderer has “taken root” in Russian literature a long time ago. Remember, for example, Feklusha from the drama A. N. Ostrovsky "Thunderstorm". Is it possible to talk about the typological similarity of these characters? Luka's appearance is described in some detail: the author talks about his things: a stick, a knapsack, a pot and a teapot, but he is silent about his height, build and other “signs”. How do you imagine a wanderer, what external characteristics should this character have, what should he wear? How would you "model" Luke's biography? Why, for example, does the wanderer not tell tales (in the literal sense of the word) to the night shelters? Do you think there was love in his life? Why does he call himself either a runaway or a passer-by? Can Luka be called " former man"? Try to explain why Luke is older than the other characters in the play. Kostylev is closest in age to Luka. Why do you think both “elders” are called scoundrels by the night shelters, and Vasilisa calls her husband a convict? Have you noticed that in the last conversation Kostylev teaches Luka: “Not every truth is needed”? What does his “rattled laugh” tell you about the wanderer’s character? Remember how Vaska Ash characterizes the singing of the bow, as well as the author’s remark accompanying the appearance of the bow in the scene of the clash between Ash and Kostylev: “howling yawning.” Do you think Luke really feels sorry for people? How do you understand the word “pity”? Can we say that the wanderer looks indifferently at death, abomination, darkness around him? Does it “kindle” self-awareness, his own truth in every person? Can passivity really be active? What, then, is the secret of his charm, why are the night shelters drawn to him - after all, they are “grated rolls”, “shot sparrows”, who cannot be fooled by chaff, and they know the worth of a person?

Source of possible tragic conflicts- the connection between man and nature, the struggle for its development, conquest. Examples of reflection of the tragic collision of man with nature are K. Bryullov’s painting “The Last Day of Pompeii” and the film directed by Romm “Nine Days of One Year”. Death, as a base force of nature, is also perceived tragically. However, here too the aesthetic ideal acts as a measure of the event. Tragic death is the case if life is at the center of a person’s ideal. The ideal perishes in the real. Aspirations, unfinished business, plans that could bring benefit to people perish. If death is viewed as a biological pattern or a type of eternal, afterlife, happy life, then it loses its tragic aura.

The events of everyday life, in which there is neither death nor suffering, can become deeply tragic. Tragic feelings can cause the death of the ideal of humanity. For example, Chekhov's “Ionych” and “Darling” give rise to a tragic sound. An ugly, vulgar way of life destroys everything human in a person. The defeat of the human ideal and the abominations of life give rise to tragedy.

The psychological experiences of the tragic are quite deep: from compassion to shock. The word tragic itself is associated in our minds with pictures of someone’s death and suffering. We call an event tragic if it has such features of aesthetic perception as grief and mental pain. This is a reaction to pronounced contradictory, conflicting, colliding phenomena and characters. The foreshadowing of a tragic outcome gives rise to intense aesthetic feelings.

The tragic conflict between the real and the ideal, leading to the defeat of the ideal, can be interpreted in life and in art in two ways. If in the conflict between real social life and the humanistic ideal the heroes, and along with them the ideal itself, are defeated, the artist’s worldview can be called pessimistic. A heavy feeling of hopelessness, the hopelessness of life, the omnipotence of evil is evoked by Remarque’s novels, Bosch’s paintings, and some of Tchaikovsky’s works. Kafka's nightmares and the plays of the absurdist Beckett show a pessimistic understanding of the tragic aspects of life.

Another line of world art is determined by the optimistic type of resolution of tragic contradictions. The foundations of human existence have always rested on optimism in the sense of life. People’s lives could have ended long ago, and man would have ceased to exist as a biosocial species if he did not have faith and the strength to believe in the best. If you turn to folk art, to epics, fairy tales, epics, myths, then in many cases the hero is resurrected after death. Myths about Osiris, the Holy Scriptures about Christ are optimistic tragedies in man’s understanding of the laws of life. In Shakespeare's optimistic tragedies, the death of the heroes does not mean the death of the ideal itself.

The optimism of the Renaissance was inherited by the art of subsequent centuries. Tragic collisions of history often ended in the death of the hero. Physical death turned into moral victory and spiritual immortality. Optimistic tragedy thereby affirms faith in the future.