Early romantic works of M. Gorky

II. Abstract on the biography of Gorky

We listen to the message of the teacher or a pre-prepared student.

The creative path of the writer began with the publication in September 1892 in the Tiflis newspaper "Kavkaz" of the story "Makar Chudra". Then a literary pseudonym appeared - Maxim Gorky. And in 1895 the story "Old Woman Izergil" was published. Gorky was immediately noticed, enthusiastic responses appeared in the press.

III. Characteristics of the early stage of the writer's work (lecture with elements of conversation)

Gorky's early stories are of a romantic nature.

Let's remember what romanticism is. Name the romantic features of the stories you read.

Romanticism- a special type of creativity, a characteristic feature of which is the display and reproduction of life outside the real-concrete connections of a person with the surrounding reality, the image of an exceptional personality, often lonely and not satisfied with the present, striving for a distant ideal and therefore in sharp conflict with society, with people.

In the center of Gorky's narrative, there is usually a romantic hero - a proud, strong, freedom-loving, lonely person, a destroyer of the sleepy vegetation of the majority. About Loika Zobar, for example ("Makar Chudra"), it is said: "You yourself become better with such a person." The action takes place in an unusual, often exotic setting: in a gypsy camp, in communion with the elements with the natural world - the sea, mountains, coastal cliffs. Often the action is transferred to legendary times.

Let us recall the romantic works of Pushkin and Lermontov.

Distinctive features of Gorky's romantic images are proud disobedience to fate and impudent love of freedom, integrity of nature and heroism of character. The romantic hero strives for unrestricted freedom, without which there is no true happiness for him and which is often dearer to him than life itself. Romantic stories embody the writer's observations of the contradictions of the human soul and the dream of beauty. Makar Chudra says: “They are funny, those people of yours. They huddled together and crush each other, and there are so many places on earth ... "The old woman Izergil almost echoes him:" And I see that people do not live, but everyone tries on.

For a romantic consciousness, the correlation of character with real life circumstances is almost unthinkable - this is how the most important feature of the romantic artistic world is formed: principle of romantic duality. The ideal world of the hero is opposed to the real, contradictory and far from the romantic ideal. The confrontation between the romantic and the world around him is a fundamental feature of this literary trend.

Such are the heroes of Gorky's early romantic stories. The old gypsy Makar Chudra appears before the reader in a romantic landscape.

Give examples to prove this.

The hero is surrounded by “cold waves of the wind”, “the darkness of the autumn night”, which “shuddered and, timidly moving away, opened for a moment on the left - the boundless steppe, on the right - the endless sea”.

Let's pay attention to the animation of the landscape, to its breadth, which symbolizes the boundlessness of the hero's freedom, his inability and unwillingness to exchange that freedom for anything.

The main character of the story “Old Woman Izergil” (1894) also appears in a romantic landscape: “The wind flowed in a wide, even wave, but sometimes it seemed to jump over something invisible and, giving rise to a strong impulse, fluttered the women’s hair into fantastic manes that billowed around them. heads. It made women strange and fabulous. They moved farther and farther away from us, and night and fantasy dressed them more and more beautifully.

In the story "Chelkash" (1894), the seascape is described several times. In the light of the hot sun: “The waves of the sea, clad in granite, are suppressed by huge weights sliding along their ridges, they beat against the sides of ships, against the shores, they beat and grumble, foamed, polluted with various rubbish.” And on a dark night: “thick layers of shaggy clouds were moving across the sky, the sea was calm, black and thick as butter. It breathed a damp, salty aroma and sounded kindly, splashing on the sides of the ships, on the shore, slightly rocking Chelkash's boat. The dark skeletons of ships rose from the sea to a distant space from the coast, piercing into the sky sharp masts with multi-colored lanterns on top. The sea reflected the lights of the lanterns and was dotted with a mass of yellow spots. They fluttered beautifully on his velvet, soft, matte black. The sea slept with a healthy, sound sleep of a worker who was very tired during the day.

Let us pay attention to the detailed metaphorical nature of Gorky's style, to the bright sound writing.

It is in such a landscape - seaside, night, mysterious and beautiful - that Gorky's heroes can realize themselves. It is said about Chelkash: “A broad, warm feeling always rose in him at the sea, - embracing his whole soul, it cleansed him a little from worldly filth. He appreciated this and liked to see himself as the best here, among water and air, where thoughts about life and life itself always lose - the first - sharpness, the second - the price. At night, the soft noise of his sleepy breathing floats over the sea, this immense sound pours calmness into the human soul and, gently taming its evil impulses, will give birth to powerful dreams in it ... "

IV. Conversation on the romantic stage of M. Gorky's work

What are the main character traits of Gorky's romantic heroes?

(Makar Chudra carries in his character the only principle that he considers most valuable: the maximalist desire for freedom. The same principle is in the character of Chelkash with “his ebullient, nervous nature, greedy for impressions.” The author introduces Chelkash to the reader as follows: “an old poisoned wolf, well known to the people of Havana, an inveterate drunkard and a clever, brave thief.” A distinctive feature of Izergil is her confidence that her whole life was subordinated to love for people, but freedom was above all for her.

The heroes of the legends told by Makar Chudra and the old woman Izergil also embody the desire for freedom. Freedom, will is dearer to them than anything in the world. Radda is the highest, exceptional manifestation of pride that even love for Loiko Zobar cannot break: “I have never loved anyone, Loiko, but I love you. Also, I love freedom! Will, Loiko, I love more than you. The insoluble contradiction between the two principles in the romantic character - love and pride - is conceived by Makar Chudra as completely natural, and it can only be resolved by death.

The heroes of the legends of the old woman Izergal - Danko and Larra - also embody a single trait: Larra is extreme individualism, Danko is an extreme degree of self-sacrifice in the name of love for people.)

What is the motivation of the characters?

(Danko, Radda, Zobar, Chelkash are such in their essence, they are such from the very beginning. Larra is the son of an eagle, embodying the ideal of strength and will. Larra's character is motivated by his origin. Let's pay attention to the unusual and sonorous names of the heroes.)

How is the legendary past and present connected in Gorky's stories?

(The action of the legends takes place in ancient times - it’s like the time that preceded the beginning of history, the era of first creations. Therefore, in the present there are traces directly related to that era - these are blue lights left from Danko’s heart, Larra’s shadow, which Izergil sees, images Radda and Loiko Zobara, woven before the narrator's gaze in the darkness of the night.)

What is the meaning of opposing Danko and Larra?

(Larra is likened to a mighty beast: “He was agile, predatory, strong, cruel and did not meet people face to face”; “he had no tribe, no mother, no livestock, no wife, and he did not want any of this” As the years pass, it turns out that this son of an “eagle and a woman” was deprived of a heart: “Larra wanted to plunge a knife into himself, but“ the knife broke - they hit it like a stone. ”The punishment that befell him is terrible and natural - to be a shadow:“ He understands neither people's speech, nor their actions - nothing.” The anti-human essence is embodied in the image of Larra.

Danko carries an inexhaustible love for those who "were like animals", "like wolves" who surrounded him, "to make it easier for them to grab and kill Danko." One desire possessed them - to displace from their consciousness the gloom, cruelty, fear of the dark forest, from where "something terrible, dark and cold looked at the walking ones." Danko's heart caught fire and burned to dispel the darkness not only of the forest, but of the soul. The rescued people did not pay attention to the “proud heart” that fell nearby, and one “cautious person noticed this and, being afraid of something, stepped on the proud heart with his foot.” Let's think about what the person was afraid of. Let's note the symbolic parallels: light and darkness, sun and marsh cold, fiery heart and stone flesh.

Selfless service to people is opposed to Larra's individualism and expresses the ideal of the writer himself.)

Additional material for the teacher

He (Gorky) grew up and lived for a long time among all kinds of worldly filth.

The people he saw were sometimes its perpetrators, sometimes victims, and more often victims. And the culprits at the same time. Naturally, he had (and partly read out by him) a dream of other, better people. Then he learned to discern the undeveloped germs of another, better man in some of those around him. Mentally clearing these rudiments of adhering savagery, rudeness, malice, dirt and creatively developing them, he received a semi-real type of a noble tramp, who, in essence, was a cousin of that noble robber who was created by romantic literature.

He received his initial literary upbringing among people for whom the meaning of literature was exhausted by its everyday and social content. In the eyes of Gorky himself, his hero could acquire social significance and, consequently, literary justification only against the background of reality and as its true part. Gorky began to show his unrealistic heroes against the backdrop of purely realistic scenery. Before the public and before himself, he was forced to pretend to be a writer of everyday life. He half-believed in this half-truth for the rest of his life.

Philosophizing and resonating for his heroes, Gorky to the strongest degree endowed them with a dream of a better life, that is, of the desired moral and social truth, which should shine on everyone and arrange everything for the good of mankind. What this truth is, Gorky's heroes at first did not yet know what he himself knew. Once he looked for it and did not find it in religion. In the early 1900s he saw (or was taught to see) its guarantee of social progress as understood by Marx. If neither then nor later did he manage to make himself a real, disciplined Marxist, he nevertheless accepted Marxism as his official religion or as a working hypothesis on which he tried to base his artistic work.

About the play "At the bottom":

Its main theme is truth and lies. Its protagonist is the wanderer Luke, "the crafty old man." He appears in order to seduce the inhabitants of the "bottom" with a comforting lie about the realm of goodness that exists somewhere. With it, it is easier not only to live, but also to die. After his mysterious disappearance, life again becomes evil and terrible.

Luka has caused trouble for Marxist criticism, which is doing its best to explain to readers that Luka is a harmful person, relaxing the destitute with dreams, distracting them from reality and from the class struggle, which alone can provide them with a better future. Marxists are right in their own way: Luke, with his belief in the enlightenment of society through the enlightenment of the individual, is really harmful from their point of view. Gorky foresaw this and therefore, in the form of a corrective, he contrasted Luka with a kind of satin, personifying the awakening of the proletarian consciousness. Satin is, so to speak, the official reasoner of the play. “Lies are the religion of works and masters. Truth is the god of the free man,” he proclaims. But it's worth reading the play. And we will immediately notice that the image of Sateen, in comparison with the image of Luke, is painted pale and - most importantly, unloving. The positive hero was less successful for Gorky than the negative one, because he endowed the positive hero with his official ideology, and the negative one with his living feeling of love and pity for people. It is remarkable that, in anticipation of future accusations against Luka, it is Satina who makes Gorky defend him. When the other characters in the play scold Luca, Satin yells at them: “Be quiet! You are all cattle! Dube... keep quiet about the old man!... The old man is not a charlatan... I understand the old man... yes! He's right... but it's out of pity for you, damn you! There are many people who lie out of pity for their neighbor... There is a comforting lie, a reconciling lie.” Even more remarkable, Satine attributes his own awakening to the influence of Luke: “Old man? He is smart! He acted on me like acid on an old and dirty coin ... Let's drink to his health!

Famous phrase: “Man is great! That sounds proud!" - also put into the mouth of Satin. But he knew about himself. What, besides, it sounds very bitter. His whole life is permeated with acute pity for a man whose fate seemed hopeless to him. He saw the only salvation of man in creative energy, which is unthinkable without the incessant overcoming of reality - by hope. He did not highly appreciate the ability of a person to realize hope, but this very ability to dream, the gift of a dream, led him to delight and awe. He considered the creation of any dream, the ability to captivate mankind, to be a true sign of genius, and the maintenance of this dream was a matter of great philanthropy.

Lord! If the truth is holy

The world can't find the way

Honor to the madman who inspires

Mankind has a golden dream.

In these rather weak, but expressive verses, uttered by one of the characters in "At the Bottom", there is, as it were, Gorky's motto, which determines his entire life, writing, social, personal. Gorky happened to live in an era when the "golden dream" consisted in the dream of a social revolution as a panacea for all human suffering. He supported this dream, he became its herald - not because he believed so deeply in the salvation of the dream itself. In another era, with the same passion, he would have defended other beliefs, other hopes. Through the Russian liberation movement, and then through the revolution, he passed as the instigator and strengthener of dreams, Luka, the crafty wanderer. From an early story written in 1893 about an exalted siskin "who lied", and about a woodpecker, an unchanging "lover of truth", all his literary, as well as all his life activity, is imbued with a sentimental love for all kinds of lies and a stubborn, consistent dislike for the truth. .

The denunciation of a petty lie evoked in him the same annoying boredom as the destruction of a lofty dream. The restoration of truth seemed to him a gray and vulgar triumph of prose over poetry. Not without reason, in the same "At the Bottom", Bubnov, a mediocre, rude and tedious character, is brought out as a champion of truth. Which and the surname, it seems, comes from the verb "mumble".

... “These are people, and then they are people,” says Elder Luke, in this not entirely clear formula, undoubtedly expressing the distinct thought of the author himself. The fact is that these "people" should be printed with a capital letter. "People", that is, heroes, creators, engines of adored progress, Gorky deeply revered. People, just people with dim faces and modest biographies, he despised, called them "philistines". However, he admitted that these people also have a desire, if not to be, then at least to seem better than they really are: "All people have gray souls, they all want to brown." He treated such browning with cordial, active sympathy and considered it his duty not only to maintain in people a sublime idea of ​​themselves, but also to instill in them, as far as possible, such an idea. Apparently, he thought that such self-deception could serve as a starting point or the first impetus for the internal overcoming of philistinism. Therefore, he liked to serve as a kind of mirror in which everyone could see himself as loftier, nobler, smarter, more talented than he really was. Of course, the more the difference between the image and reality turned out, the more people were grateful to him, and this was one of the methods of his undoubted, noticed by many "charm".

lesson development on Russian literature XIX century. 10 Class. 1st semester. - M.: Vako, 2003. 4. Zolotareva I.V., Mikhailova T.I. lesson development on Russian literature ...

The writing

Proud disobedience to fate and impudent love of freedom. Heroic character. The romantic hero strives for unrestricted freedom, without which there is no true happiness for him and which is dearer than life itself.

At an early stage of his work, the writer turned to romanticism, thanks to which he created a number of vivid literary images. This literary trend allowed the writer not only to create an ideal image, but also to convey a romantic spirit: the Proud Falcon, dying in a deep gorge, the daredevil Danko, who lit the way for people with the torch of his heart, Radda with his beautiful voice - all these heroes of Gorky are united by the desire for freedom, they are not even afraid of death itself. In Gorky's stories, only freedom is a real value for a person. For example, he tells a legend about the love of two young gypsies, which became stronger than the love of freedom. The ending of the poem is tragic - Loiko kills Rada in front of the whole camp and dies himself. Gorky draws just such an ending to the poem, because neither Loiko nor Rada wanted to lose their freedom.

The heroes of the legends told by the Moldavian Izergil also aspire to freedom. The heroes of the story "Old Woman Izergil" - Larra and Danko - are opposed to each other, but they also have common similarities. Strength of character, pride are emphasized in Lara. But good qualities turn into their opposite because she despises people. Danko also strives for freedom, takes on a difficult mission - to lead people out of the forest. He rips out his heart, thus lighting the way for them. Gorky's romantic heroes have many positive, human qualities - love of freedom, as well as the ability to serve people.

Gorky's early work strikes, first of all, with its artistic diversity, unusual for a young writer, and the bold confidence with which he creates works of different colors and poetic intonation. The enormous talent of the artist of the rising class - the proletariat, drawing mighty strength from the "movement of the masses themselves", was revealed already at the very beginning of Maxim Gorky's literary work.
Speaking as the herald of the coming storm, Gorky fell into the tone of the public mood. In 1920, he wrote: "I began my work as a rouser of revolutionary mood, glorifying the madness of the brave." Exam questions and answers. Literature. 9th and 11th grades. Tutorial. - M.: AST-PRESS, 2000. - P.214. This applies, first of all, to Gorky's early romantic works. In the 1890s he wrote the stories "Makar Chudra", "Old Woman Izergil", "Khan and his son", "Mute", "Return of the Normans from England", "Blindness of Love", fairy tales "The Girl and Death", "About the Little Fairy and the Young Shepherd ”, “The Song of the Falcon”, “The Song of the Petrel”, “The Legend of Marko”, etc. All of them differ in one feature that can be defined in the words of L. Andreev: “the taste of freedom, something free, wide, bold”. Gorky M. Prose. Dramaturgy. Publicism. - M.: Olimp; LLC "Firm" publishing house "AST", 1999. - P.614. In all sounds the motive of rejection of reality, confrontation with fate, a daring challenge to the elements. In the center of these works is the figure of a strong, proud, courageous person who does not submit to anyone, unbending. And all these works, like living gems, shimmer with unprecedented colors, spreading a romantic glow around.

The story "Makar Chudra" - the statement of the ideal of personal freedom
In the center of the early works of Maxim Gorky are exceptional characters, strong in spirit and proud people who, according to the author, have "the sun in their blood." This metaphor gives rise to a number of images close to it, associated with the motif of fire, sparks, flames, torches. These heroes have burning hearts. This feature is characteristic not only of Danko, but also of the characters in Gorky's first story, Makar Chudra. Rogover E.S. Russian literature of the twentieth century. To help school graduates and applicants: Textbook. - St. Petersburg: "Parity", 2002. - P.131.
To the thoughtful melody of the splashing of the oncoming waves, the old gypsy Makar Chudra begins his story. From the very first lines, the reader is gripped by a feeling of the unusual: the boundless steppe on the left and the endless sea on the right, the old gypsy lying in a beautiful strong pose, the rustle of coastal bushes - all this sets up a conversation about something secret, the most important. Makar Chudra slowly talks about the vocation of man and his role on earth. “A person is a slave, as soon as he was born, a slave all his life and that's it,” says Makar. Gorky M. Prose. Dramaturgy. Publicism. - M.: Olimp; LLC "Firm" publishing house "AST", 1999. - P.18. And he opposes this with his own: “A person is born to know what the will is, the expanse of the steppe, to hear the voice of the sea wave”; "If you live - so kings over the whole earth."
This idea is illustrated by the legend about the love of Loiko Zobar and Rada, who did not become slaves of their feelings. Their images are exceptional and romanticized. Loiko Zobar has "eyes like bright stars are burning, and his smile is like a whole sun." Ibid., p.21. When he sits on a horse, it seems as if he was forged from one piece of iron along with the horse. Zobar's strength and beauty match his kindness. “You need his heart, he himself would tear it out of his chest and give it to you, if only you would feel good about it.” Ibid., p.20. To match the beautiful Rada. Makar Chudra calls her an eagle. “You can’t say anything about her in words. Maybe her beauty could be played on the violin, and even to those who know this violin as their soul.”
The proud Rada for a long time rejected the feelings of Loiko Zobar, for the will was dearer to her than love. When she decided to become his wife, she set a condition that Loiko could not fulfill without humiliating himself. An unresolvable conflict leads to a tragic ending: the heroes die, but remain free, love and even life are sacrificed to the will. In this story, for the first time, a romantic image of a loving human heart arises: Loiko Zobar, who could tear the heart out of his chest for the happiness of his neighbor, checks whether the heart of his beloved is strong and plunges a knife into it. And the same knife, but already in the hands of a soldier Danila, strikes the heart of Zobar. Love and thirst for freedom turn out to be evil demons that destroy people's happiness. Together with Makar Chudra, the narrator admires the strength of the characters' character. And together with him he cannot answer the question that runs like a leitmotif through the whole story: how to make people happy and what happiness is.
In the story "Makar Chudra" two different understandings of happiness are formulated. The first is in the words of a "strict man": "Submit to God, and he will give you everything you ask." Ibid., p.18. This thesis is immediately debunked: it turns out that God did not give the “strict man” even clothes to cover his naked body. The second thesis is proved by the fate of Loiko Zobar and Rada: the will is more precious than life, happiness is in freedom. The romantic worldview of the young Gorky goes back to Pushkin's famous words: "There is no happiness in the world, but there is peace and freedom ..."

The story "Old Woman Izergil" - awareness of a person's personality
On the seashore near Akkerman in Bessarabia, the author of the legend of the old woman, Izergil, is listening. Everything here is full of atmospheric love: men are “bronze, with lush black mustaches and thick curls to the shoulders”, women, “cheerful, flexible, with dark blue eyes, are also bronze.” The fantasy of the author and the night make them irresistibly beautiful. Nature is in harmony with the romantic mood of the author: the foliage sighs and whispers, the wind plays with the silky hair of women.
In contrast, the old woman Izergil is depicted: time bent her in half, a bony body, dull eyes, a creaky voice. Ruthless time takes away beauty and with it love. The old woman Izergil talks about her life, about her beloved: “Her voice crunched, as if the old woman spoke with bones.” Gorky leads the reader to the idea that love is not eternal, just as a person is not eternal. What remains in life forever? Gorky put two legends into the mouth of the old woman Izergil: about the son of an eagle, Lara, who considered himself the first on earth and wanted happiness only for himself, and about Danko, who gave his heart to people.
The images of Lara and Danko are in sharp contrast, although both of them are brave, strong and proud people. Lara lives according to the laws of the strong, to whom "everything is permitted." He kills the girl, as she did not submit to his will, and steps on her chest with his foot. Lara's cruelty is based on a sense of superiority of a strong personality over the crowd. Gorky debunks popular at the end of the XIX century. ideas of the German philosopher Nietzsche. In Thus Spoke Zarathustra, Nietzsche argued that people are divided into strong (eagles) and weak (lambs), who are destined to be slaves. Nietzsche's apology for inequality, the idea of ​​the aristocratic superiority of the elect over all the rest were subsequently used in the ideology and practice of fascism. Spiridonova L.A. "I came into the world to disagree."
In the legend of Lara, Gorky shows that the Nietzschean, who professes the morality “everything is permitted to the strong,” is waiting for loneliness, which is worse than death. “The punishment for him is in himself,” says the wisest of people after Lara commits a crime. And Lara, doomed to eternal life and eternal wandering, turns into a black shadow, dried up by the sun and winds. Condemning the egoist who only takes from people without giving anything in return, the old woman Izergil says: “For everything that a person takes, he pays with himself, with his mind and strength, sometimes with his life.”
Danko pays with his life, performing a feat in the name of people's happiness. The blue sparks flaring up at night in the steppe are the sparks of his burning heart, which lit the way to freedom. The impenetrable forest, where giant trees stood like a stone wall, the greedy mouth of the swamp, strong and evil enemies gave birth to fear in people. Then Danko appeared: - “What will I do for people,” Danko shouted louder than thunder. And suddenly he tore his chest with his hands and tore out his heart from it and raised it high above his head. It burned as brightly as the sun, and brighter than the sun, and the whole forest fell silent, illuminated by this torch of great love for people, and the darkness scattered from its light ... "
As we have seen, the poetic metaphor - "give your heart to your beloved" arose both in the story "Makar Chudra" and in the fairy tale about the little fairy. But here it turns into a detailed poetic image, interpreted literally. Gorky puts a new high meaning into the erased banal phrase, which for centuries accompanied a declaration of love: "give your hand and heart." Danko's living human heart has become a torch that illuminates the path to a new life for humanity. And although the “cautious person” nevertheless stepped on him with his foot, the blue sparks in the steppe always remind people of Danko’s feat.
The meaning of the story "Old Woman Izergil" is determined by the phrase "In life there is always a place for exploits." The daredevil Danko, who “burned his heart for people and died without asking them for anything as a reward,” expresses Gorky’s innermost thought: the happiness and will of one person are unthinkable without the happiness and liberation of the people.

"Song of the Falcon" - a hymn to action in the name of freedom, light
“The madness of the brave is the wisdom of life,” Gorky claims in The Song of the Falcon. The main technique by which this thesis is affirmed is the dialogue of two different "truths", two worldviews, two contrasting images - the Falcon and the Uzh. The same technique was used by the writer in other stories. The free shepherd is the antipode of the blind Mole, the egoist Lara is opposed to the altruist Danko. In The Song of the Falcon, a hero and a tradesman appear before the reader. Smug Already convinced of the inviolability of the old order. In a dark gorge, he is fine: "warm and damp." The sky for him is an empty place, and the Falcon, who dreams of flying into the sky, is a real madman. With poisonous irony, Uzh claims that the beauty of flying is in the fall.
In the soul of the Falcon lives an insane thirst for freedom, light. By his death, he affirms the correctness of the feat in the name of freedom.
The death of the Falcon is at the same time the complete debunking of the "wise" Uzh. In the "Song of the Falcon" there is a direct echo with the legend of Danko: the blue sparks of a burning heart flare up in the darkness of the night, forever reminding people of Danko. The death of the Falcon also brings him immortality: “And drops of your hot blood, like sparks, will flare up in the darkness of life and will ignite many brave hearts with an insane thirst for freedom, light!”
From work to work in Gorky's early work, the theme of heroism grows and crystallizes. Loiko Zobar, Rada, a little fairy commit crazy things in the name of love. Their actions are extraordinary, but this is not yet a feat. The Young-Girl, who comes into conflict with the Tsar, boldly conquers Fear, Fate, and Death ("The Young-Girl and Death"). Her courage is also the madness of the brave, although it is aimed at protecting personal happiness. Lara's courage and audacity lead to crime, for he, like Pushkin's Aleko, "only wants freedom for himself." And only Danko and Sokol by their death affirm the immortality of the feat. So the problem of the will and happiness of an individual fades into the background, giving way to the problem of happiness for all mankind. “The madness of the brave” brings moral satisfaction to the daredevils themselves: “I am going to burn as brightly as possible and illuminate the darkness of life more deeply. And death for me is my reward!” - Gorky Man declares. Spiridonova L.A. "I came into the world to disagree." Gorky's early romantic works awakened the consciousness of the inferiority of life, unfair and ugly, gave rise to a dream of heroes rebelling against the orders established by centuries.
The revolutionary romantic idea also determined the artistic originality of Gorky's works: pathetic sublime style, romantic plot, fairy tale genre, legends, songs, allegories, conditionally symbolic background of the action. In Gorky's stories, it is easy to detect the exclusivity of characters, the setting of action, and language, characteristic of romanticism. But at the same time, they contain features that are characteristic only of Gorky: a contrasting juxtaposition of the hero and the tradesman, the Man and the slave. The action of the work, as a rule, is organized around a dialogue of ideas, the romantic framing of the story creates a background against which the author's thought stands out prominently. Sometimes the landscape serves as such a frame - a romantic description of the sea, steppe, thunderstorms. Sometimes - harmonious harmony of the sounds of the song. The significance of sound images in Gorky's romantic works can hardly be overestimated: the violin melody sounds in the love story of Loiko Zobar and Rada, the whistle of the free wind and the breath of a thunderstorm - in the fairy tale about the little fairy, "wonderful music of revelation" - in the "Song of the Falcon", a formidable roar storms - in the "Song of the Petrel". The harmony of sounds complements the harmony of allegorical images. The image of an eagle as a symbol of a strong personality arises when characterizing heroes with Nietzschean features: the eagle Rada, free as an eagle, a shepherd, the son of an eagle Lara. The image of the Falcon is associated with the idea of ​​an altruistic hero. Makar Chudra calls a storyteller who dreams of making all people happy a falcon. Finally, the Petrel symbolizes the movement of the masses themselves, the image of the coming retribution.
Gorky generously uses folklore motifs and images, transcribes Moldavian, Wallachian, Hutsul legends that he overheard while wandering around Russia. The language of Gorky's romantic works is flowery and patterned, melodiously sonorous.

Conclusion
The early work of Maxim Gorky is remarkable for its different styles, noted by L. Tolstoy, A.P. Chekhov and V.G. Korolenko. The work of young Gorky was influenced by many writers: A.S. Pushkin, Pomyalovsky, G. Uspensky, N.S. Leskova, M.Yu. Lermontov, Byron, Schiller.
The writer turned to both realistic and romantic areas of art, which in some cases existed independently, but were often whimsically mixed up. However, at first, Gorky's works of the romantic style dominated, standing out sharply for their brightness.
Indeed, the features of romanticism predominate in Gorky's early stories. First of all, because they depict a romantic situation of confrontation between a strong person (Danko, Lara, Sokol) with the world around him, as well as the problem of a person as a person in general. The action of stories and legends is transferred to fantastic conditions ("He stood between the boundless steppe and the endless sea"). The world of works is sharply divided into light and darkness, and these differences are important in assessing the characters: after Lara, a shadow remains, after Danko, sparks.
The gap between the heroic past and the miserable, colorless life in the present, between the “proper” and the “existent”, between the great “dream” and the “gray era” was the soil on which the romanticism of early Gorky was born.
All the heroes of Gorky's early work are morally emotional and experience spiritual trauma, choosing between love and freedom, but they still choose the latter, bypassing love and preferring only freedom.
People of this type, as the writer predicted, may turn out to be great in extreme situations, in days of disasters, wars, revolutions, but they are most often not viable in the normal course of human life. Today, the problems posed by the writer M. Gorky in his early work are perceived as relevant and urgent for solving the issues of our time.
Gorky, who openly declared at the end of the 19th century about his faith in man, in his mind, in his creative, transforming possibilities, continues to arouse interest among readers to this day.

Early romantic stories by M. Gorky

“I came into the world to disagree,” - these words of Gorky can be attributed to any of the heroes of his romantic works. Loiko Zobar, Radda, Makar Chudra, Danko, Larra, Izergil - they are all proud and independent, they are distinguished by personal originality, brightness of nature, exclusivity of passions. Gorky's romanticism is formed in an era that, it would seem, was not intended for romanticism - the nineties of the 19th century, however, it is the writer's furious rebellion against the "lead abominations of life" that gives rise to the concept of a man-doer, the creator of his own destiny: Gorky's romantic heroes do not bow to circumstances, but overcome them. "We need feats, feats!" - Gorky wrote a few months before the creation of the story "Old Woman Izergil" and embodied in his romantic works heroes capable of accomplishing these feats, therefore works with a dramatic, and even tragic ending, reveal a bold, joyful look at the world of a young writer.

"Makar Chudra" (1892)

"Makar Chudra" is the first work that made Gorky famous. The heroes of this story - young gypsies Loiko Zobar and Radda - are exceptional in everything: in appearance, feelings, fate. The beauty of Radda cannot be expressed in words, it “could be played on the violin, and even to the one who plays this violin. Like his soul, he knows. Zobar's "eyes, like clear stars, burn", "a smile is a whole sun, a mustache lay on his shoulders and mixed with curls." Makar Chudra cannot hide his admiration for the prowess, spiritual generosity, inner strength of Zobar: “Damn me if I didn’t love him already, before he said a word to me. The kid was daring! Who was he afraid of? You need his heart, he himself would tear it out of his chest and give it to you, if only you would feel good from him. With such a person, you yourself become better. Few, friend, such people!” Beauty in Gorky's romantic works becomes a moral criterion: he is right and worthy of admiration simply because he is beautiful.

To match Zobar and Radd - and in her the same regal pride, contempt for human weakness, no matter what it is expressed. The large purse of the Moravian magnate, with which he wanted to seduce the proud gypsy, was only honored to be carelessly thrown by Radda into the mud. It is no coincidence that Radda compares herself to an eagle - independent, tall, soaring, lonely, because few people can match her. “Look for a dove - those are more pliable,” her father Danila advises the magnate.

The basis of the romantic work is the conflict of the romantic hero with generally accepted values, in this case, two passions collide in the souls of Zobar and Radda - freedom and love as affection, responsibility, submission. “But I can’t live without you, just as you can’t live without me ... I have never loved anyone, Loiko, I love you. Also, I love free will. Will, Loiko, I love more than you. The heroes of Gorky faced a choice that can be called tragic, since it is impossible to make - there remains only a denial of the very need for choice, that is, life. “If two stones roll at each other, you can’t stand between them - they will mutilate.” Pride and love cannot be reconciled, since compromise is unthinkable for the romantic consciousness.

The compositional frame plays a special role in Gorky's story. A romantic story, in the center of which are exceptional characters and situations, establishes a special system of values ​​that does not fit into ordinary, everyday human life. The antithesis of the narrator and Makar Chudra, who told the legend of the love and death of the proud handsome gypsies, reveals the two worlds characteristic of the romantic work - the inconsistency, the opposition of the everyday view of the world and the life philosophy of the romantic hero. Freedom, not fettered by any attachments - neither to a person, nor to a place, nor to work - in the eyes of Makar Chudra is the highest value. “This is how you need to live: go, go - and that's it. Do not stand in one place for a long time - what is in it? Look how day and night run, chasing each other, around the earth, so you run away from thoughts about life, so as not to stop loving it. And if you think about it, you will fall out of love with life, it always happens like that.

"Old Woman Izergil" (1895)

The system of images of the story "Old Woman Izergil" is built on the principle of antithesis, which is typical for a romantic work. Larra and Danko are proud, beautiful, but already in the description of their appearance there is a detail that sharply distinguishes them: Danko has eyes in which "a lot of strength and living fire shone", and Larra's eyes were "cold and proud." Light and darkness, fire and shadow - this will distinguish not only the appearance of Larra and Danko, but also their attitude towards people, their destinies, their memory. Danko has a fiery heart in his chest, Larra has a stone heart, Danko will live in blue steppe sparks even after death, and the ever-living Larra will turn into a shadow. Larra sees nothing but herself. The son of an Eagle, a lone predator, he despises the laws of people, lives by his own laws, obeys only his momentary desires. “The punishment of a person is in himself” - that is why the eternal lonely life has become for Larra a punishment worse than death.

Burning is the ideal life of another hero of this story - Danko. Danko saves those people who, from weakness, exhaustion and fear, were ready to kill him, those among whom there was one who stepped on a proud heart with his foot. It is not by chance that Gorky introduces this episode into the artistic fabric of the story: people were poisoned not only by the poisonous fumes of the swamp, but also by fear, they were accustomed to being slaves, it is very difficult to free oneself from this “internal slavery”, and even Danko’s feat in an instant is not able to wrest fear from human souls. People were frightened by everything: both the road back and the road forward, they accused Danko of their weakness - a man endowed with "courage to and”, that is, the courage to be the first. “People began to reproach him for his inability to manage them, they fell in anger and anger on Danko, the man who walked ahead of them.” Danko gives his life to people, dreaming of awakening the light in their souls.

The life of Izergil, the third heroine of the story, was called "rebellious" by Gorky. This life was filled with impetuous movement and vivid feelings; extraordinary, courageous, strong people often turned out to be next to it - especially the red-haired Hutsul and the “pan with a chopped face”. She left the weak and vile without regret, even if she loved them: “I looked at him from above, and he floundered there, in the water. I left then. kicked him and hit him in the face, but he recoiled and jumped up ... Then I went too ”(about Arkadek).

Izergil was not afraid to sacrifice herself in the name of love, but at the end of her life she was left alone, "without a body, without blood, with a heart without desires, with eyes without fire - also almost a shadow." Izergil was absolutely free, she stayed with a man as long as she loved him, always parted without regret and even remembered little of the one with whom part of her life had passed: “Where did the fisherman go? - A fisherman? And he ... here ... - Wait, where is the little Turk? - Boy? He died ... "Izergil put her freedom above attachment to a person, calling it slavery:" I have never been a slave, no one's.

Another romantic hero of Gorky's stories can be called nature, which in its exclusivity is akin to Zobar, Radda, Danko, Izergil. Only where the steppe expanse and free wind could Gorky's romantic heroes live. Nature in the story "Old Woman Izergil" becomes one of the characters: it is a living being that takes part in people's lives. And just as among people, in nature there is good and evil. The Moldavian night, the description of which precedes the events of the first legend, creates an atmosphere of mystery. Before the appearance of Larra, nature dresses in bloody tones, becomes disturbing. In the legend about Danko, nature is hostile to people, but its evil energy was defeated by Danko's love: with his feat, he overcame the darkness not only in the souls of people, but also in nature: “The sun was shining here; the steppe sighed, the grass shone in the diamonds of the rain, and the river sparkled with gold.

The exclusivity and colorfulness of the characters, the desire for freedom and the ability to take decisive action distinguish all the heroes of Gorky's romantic works. The words given by the writer to the old woman Izergil have already become an aphorism: “In life, you know, there is always a place for exploits.” This reflects the concept of a human agent who can transform the world. In the era of the turn of the century, this concept turned out to be in tune with the times when many already felt the approach of global historical changes.

Proud disobedience to fate and impudent love of freedom. Heroic character. The romantic hero strives for unrestricted freedom, without which there is no true happiness for him and which is dearer than life itself.

At an early stage of his work, the writer turned to romanticism, thanks to which he created a number of vivid literary images. This literary direction allowed the writer not only to create an ideal image, but also to convey a romantic spirit: the Proud Falcon, dying in a deep gorge, the daredevil Danko, who lit the road with the torch of his heart

To people, Radda with her beautiful voice - all these heroes of Gorky are united by the desire for freedom, they are not afraid even of death itself. In Gorky's stories, only freedom is a real value for a person. For example, he tells a legend about the love of two young gypsies, which became stronger than the love of freedom.

The finale of the poem is tragic - Loiko kills Rada in front of the whole camp and dies himself. Gorky draws just such an ending to the poem, because neither Loiko nor Rada wanted to lose their freedom.

The heroes of the legends told by the Moldavian Izergil also aspire to freedom. The heroes of the story - Larra and Danko - are opposed to each other, but they also have common similarities. Strength of character, pride are emphasized in Lara. But good qualities turn into their opposite because she despises people.

Danko also strives for freedom, takes on a difficult mission - to get people out of the forest. He rips out his heart, thus lighting the way for them. Gorky's romantic heroes have many positive, human qualities - love of freedom, as well as the ability to serve people.

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