Composition: The ideological and compositional role of the landscape in the early romantic stories of M. Gorky. The Role of Landscape in Early Romantic Stories
The ideological and compositional role of the landscape in the early romantic stories of M. Gorky
The ideological and compositional role of the landscape in the early romantic stories of M. Gorky
Oh I'm like a brother
I would be happy to embrace the storm!
M. Yu. Lermontov
A great master of words, A. M. Gorky creates wonderful romantic works, which from the very beginning announced the emergence of a bright talent, an extraordinary personality. Gorky the writer was interested in unusual heroic characters, in sharp contrast with the gray mass that dominates around.
The heroes of the stories "Makar Chudra" and "Old Woman Izergil" are rebellious and strong personalities, looking for meaning in the reality around them. To match the characters and the situation around them: the sea was blowing "damp cold wind", "inflating the flames of the fire." The narrator - the old gypsy Makar Chudra - is a rather unusual and colorful figure. He speaks almost in aphorisms, weightily and peremptorily expresses his outlook on life: “So you walk? This is good! You have chosen a glorious share, falcon. That's how it should be: go and look, you've seen enough, lie down and die - that's all!
In the legend he told about Loiko Zobar and Radda, Chudra's main position in life is revealed: above all else in the world, he values freedom. Even human life has no meaning if sol is lost. Chudra speaks poetically and beautifully about freedom, which few can appreciate. This is the destiny of only the elite, and the majority have no time to think about it. “Does he know his will? Is the expanse of the steppe understandable? Does the voice of the sea wave gladden his heart? He is a slave - as soon as he was born, he is a slave all his life, and that's it! What can he do with the oboe? Only to strangle himself if he grows a little wiser.
Makar advises his young interlocutor not to think about life, so as not to fall out of love with it. The beauty of the surrounding world acts as a contrast between the majesty created by nature, and people who do not know how or do not want to appreciate this gift, be content with it. The restless spirit of the heroes of the story is emphasized by the magnificent expanse surrounding them.
The author draws powerful elements: the sea and the steppe. Here everything is full-sounding, there are no semitones. Gorky is looking for a worthy hero who embodies the author's idea of strong personality. These searches continued in the story "Old Woman Izergil". From the anti-hero Larra, through the fate of Izergil, the author tries to bring the reader to an understanding the perfect hero- Danko. The harsh landscape of an impregnable forest, fetid swamps do not frighten the hero. Danko is full of love for people, for them he is able to sacrifice his life.
But the people cannot appreciate this feat. Weak and shy, people fear the hero himself. That is why they step on the flaming heart of Danko, so that a fire does not flare up from him. What can he bring? Yes, whatever. Fear rules the masses. And the author does not hide this from his readers. Nature is eternal and majestic. She indifferently looks at the pettiness of human concerns and interests, emphasizing the transient in human life and thoughts of people.
The author is delighted with the magnificence of the surrounding world. He sees its cosmic dimensions. From here, the human bustle seems almost ridiculous and pitiful, and only the chosen ones, like Danko, are able to rise above the crowd and die for the sake of life, misunderstood and unappreciated: laughed proudly. And then he fell and died. People, joyful and full of hope, did not notice his death and did not see that his brave heart was still burning next to the lifeless Danko. Only one cautious person noticed this and, being afraid of something, stepped on the proud heart with his foot ... And now it crumbled into sparks and died out ... - That's where they come from, the blue sparks of the steppe that appear before a thunderstorm!
Pictures of nature in the early romantic stories of M. Gorky not only frame the content and are the background, they are an integral and essential part of the content. Descriptions of nature allow the author to move, as if on a footbridge, from topic to topic, decorate the narrative, give scope to the artist's imagination of the word, emphasize the beauty of the author's speech. “It was quiet and dark in the steppe. Clouds were all crawling across the sky, slowly, boringly ... The sea was muffled and mournful.
Bibliography
For the preparation of this work, materials from the site http://ilib.ru/
The ideological and compositional role of the landscape in the early romantic stories of M. Gorky Oh, I, like a brother, would be glad to embrace the storm! M. Yu. Lermontov Big mass
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The ideological and compositional role of the landscape in the early romantic stories of M. Gorky
Oh I'm like a brother
I would be happy to embrace the storm!
M. Yu. Lermontov
A great master of words, A. M. Gorky creates wonderful romantic works, which from the very beginning announced the emergence of a bright talent, an extraordinary personality. Gorky the writer was interested in unusual heroic characters, in sharp contrast with the gray mass that dominates around.
The heroes of the stories "Makar Chudra" and "Old Woman Izergil" are rebellious and strong personalities, looking for meaning in the reality around them. To match the characters and the situation around them: the sea was blowing "damp cold wind", "inflating the flames of the fire." The narrator - the old gypsy Makar Chudra - is a rather unusual and colorful figure. He speaks almost in aphorisms, weightily and peremptorily expresses his outlook on life: “So you walk? This is good! You have chosen a glorious share, falcon. That's how it should be: go and look, you've seen enough, lie down and die - that's all!
In the legend he told about Loiko Zobar and Radda, Chudra's main position in life is revealed: above all else in the world, he values freedom. Even human life has no meaning if sol is lost. Chudra speaks poetically and beautifully about freedom, which few can appreciate. This is the destiny of only the elite, and the majority have no time to think about it. “Does he know his will? Is the expanse of the steppe understandable? Does the voice of the sea wave gladden his heart? He is a slave - as soon as he was born, he is a slave all his life, and that's it! What can he do with the oboe? Only to strangle himself if he grows a little wiser.
Makar advises his young interlocutor not to think about life, so as not to fall out of love with it. The beauty of the surrounding world acts as a contrast between the majesty created by nature, and people who do not know how or do not want to appreciate this gift, be content with it. The restless spirit of the heroes of the story is emphasized by the magnificent expanse surrounding them.
The author draws powerful elements: the sea and the steppe. Here everything is full-sounding, there are no semitones. Gorky is looking for a worthy hero who embodies the author's idea of a strong personality. These searches continued in the story "Old Woman Izergil". From the anti-hero Larra, through the fate of Izergil, the author tries to lead the reader to an understanding of the ideal hero - Danko. The harsh landscape of an impregnable forest, fetid swamps do not frighten the hero. Danko is full of love for people, for them he is able to sacrifice his life.
But the people cannot appreciate this feat. Weak and shy, people fear the hero himself. That is why they step on the flaming heart of Danko, so that a fire does not flare up from him. What can he bring? Yes, whatever. Fear rules the masses. And the author does not hide this from his readers. Nature is eternal and majestic. She indifferently looks at the pettiness of human concerns and interests, emphasizing the transient in human life and thoughts of people.
The author is delighted with the magnificence of the surrounding world. He sees its cosmic dimensions. From here, the human bustle seems almost ridiculous and pitiful, and only the chosen ones, like Danko, are able to rise above the crowd and die for the sake of life, misunderstood and unappreciated: laughed proudly. And then he fell and died. People, joyful and full of hope, did not notice his death and did not see that his brave heart was still burning next to the lifeless Danko. Only one cautious person noticed this and, being afraid of something, stepped on the proud heart with his foot ... And now it crumbled into sparks and died out ... - That's where they come from, the blue sparks of the steppe that appear before a thunderstorm!
Pictures of nature in the early romantic stories of M. Gorky not only frame the content and are the background, they are an integral and essential part of the content. Descriptions of nature allow the author to move, as if on a footbridge, from topic to topic, decorate the narrative, give scope to the artist's imagination of the word, emphasize the beauty of the author's speech. “It was quiet and dark in the steppe. Clouds were all crawling across the sky, slowly, boringly ... The sea was muffled and mournful.
Bibliography
For the preparation of this work, materials from the site http://ilib.ru/
The purpose of the lesson: to introduce students to the milestones of Gorky's biography and work; show the features of Gorky's romanticism. To trace how the writer's intention is revealed in the composition of the stories.
Methodical techniques: abstract, lecture, analytical conversation, expressive reading.
Lesson equipment: portrait and photographs of A.M. Gorky of different years.
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During the classes.
- The water word of the teacher.
The name of Alexei Maksimovich Gorky (Peshkov) is known to everyone in our country. Several generations studied his work from school. Certain ideas have developed about Gorky: he is the founder of literature socialist realism, "petrel of the revolution", literary critic and a publicist, the initiator of the creation and the first chairman of the Union of Writers of the USSR.
- Abstract on the biography of Gorky.
- Characteristics of the early stage of the writer's work.
Gorky's early stories are of a romantic nature.
Romanticism is 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. 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 rocks. Often the action is transferred to legendary times.
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 contradictions human soul and the dream of beauty.
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 world is formed: the 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 movement.
Such are the heroes of Gorky's early romantic stories.
The old gypsy Makar Chudra appears before the reader in 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 this freedom for anything.
In a romantic landscape appears and main character story “Old Woman Izergil” (1894): “The wind flowed in a wide, even wave, but sometimes it seemed to jump over something invisible and, giving rise to strong gusts, fluttered the women’s hair into fantastic manes that billowed around their 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. Dark hulls of ships rose from the sea to a distant expanse from the shore, thrusting sharp dreams into the sky 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: “On the sea, a wide, warm feeling always rose in him, covering 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 breath rushes over the sea, this immense sound pours calmness into the soul of a person and, gently taming her evil impulses, will give birth to mighty dreams in her ... "
- A 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 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: “old poisoned wolf, well familiar to the people of Havana, an inveterate drunkard and a clever, bold thief. hallmark Izergil is her confidence that all life was subordinated to love for people, but freedom was above all for her.
The heroes of legends, the old women Izergil - 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, Rada, Zobar, Chelkash are in their essence, they are from the very beginning.
Larra is the son of an eagle, embodying the ideal of strength and will. Let's pay attention to the unusualness and sonority of the names of the characters.
The action of the legends takes place in ancient times - it is as if 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 the blue lights left from Danko's heart, the shadow of Lara, which Izergil sees, the images of Rada and Loiko Zobar, woven before the narrator's gaze in the darkness of the night.)
What is the meaning of opposing Danko and Lara?
(Larra is likened to a mighty beast: “He was dexterous, 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” Over the years, 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 him like a stone. The punishment that befell him is terrible and natural - to be a shadow:" He does not understand a single word people, not their actions – nothing.” The image of Lara embodies an anti-human essence.
Danko carries inexhaustible love for those who were like animals, like wolves that surrounded him, so that it would be easier for them to capture and kill Danko. One desire possessed them - to displace darkness, cruelty, fear of the dark forest from their consciousness, from there "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 also of the soul. The saved 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 a cautious 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 Lara's individualism and expresses the ideal of the writer himself.)
V. Conversation.
Composition (building artwork) is subordinated to one goal - to most fully reveal the image of the protagonist, who is the spokesman for the author's idea.
How are the images of the characters revealed in the composition?
(The composition of “Makar Chudra” and “Old Woman Izergil” is a story within a story. This technique is often found in literature. Telling the legends of their people, the heroes of the stories express their ideas about people, about what they consider valuable and important in life. They seem to create coordinates by which one can judge them.
In composition important role play portrait characteristics. The portrait of Rada is given indirectly. We learn about her extraordinary beauty from the reaction of the people she struck. (Description of Rada.) The proud Rada rejected both the money and the proposal to marry the magnate. Pride and beauty are equal in this heroine.
But the portrait of Loiko is drawn in detail. (Description of Loiko.)
- What is the conflict in the work and how is it resolved?
(Telling about the love of Rada and Loiko, Makar Chudra believes that this is the only way he should perceive life real man, the only way to preserve their own freedom. The conflict between love and pride is resolved by the death of both -
no one wanted to submit to a loved one.)
(The image of the narrator is one of the most inconspicuous, he usually remains in the shadows. But the look of this person, traveling around Russia, meeting different people, is very important. The perceiving consciousness (the hero-narrator) is the most important subject of the image, the author's criterion expressions of the author's position. The interested look of the narrator selects the most striking characters, the most significant, from his point of view, episodes and talks about them. This is the author's assessment - admiration for strength, beauty, poetry, pride.)
(In “The Old Woman Izergil”, the author collides in the legends the ideal expressing love for people, and self-sacrifice, and the anti-ideal, individualism taken to the extreme. These two legends, as it were, frame the story of the life of the old woman Izergil herself. Condemning Lara, the heroine thinks that her fate is closer to Danko - she is also dedicated to love. But from the stories about herself, the heroine appears rather cruel: she easily forgot her former love for the sake of a new one, left the people she once loved. Her indifference is striking.)
What role does the portrait of the Old Woman Izergil play in the composition?
(The portrait of the heroine is contradictory. From her stories, one can imagine how beautiful she was in her youth. But the portrait of the old woman is almost disgusting, anti-aesthetic features are deliberately forced. (Description of the Old Woman.) The features of Lara's portrait bring these heroes closer. (Description of Lara.).)
What is the relationship between romanticism and realism in the story?
(The autobiographical hero is the only realistic image in Gorky's early romantic stories. His realism lies in the fact that the typical circumstances of Russian life in the 1890s were reflected in his character and fate. The development of capitalism led to the fact that millions of people, many of which they made up an army of tramps, vagabonds, detached from past life and did not find a place for themselves in the new conditions. Gorky's autobiographical hero belongs to such people.)
How the composition reveals the image romantic hero in the story "Chelkash"?
(Formally, the story consists of a prologue and three parts. The prologue outlines the scene - the port: “The ringing of anchor chains, the rumble of the clutches of wagons carrying cargo, the metallic shriek of iron sheets falling from somewhere on the pavement stone, the dull thud of wood, the rattling of cab carts, the whistles of steamboats, now muffledly roaring, the screams of loaders, sailors and customs soldiers - all these the sounds merge into the deafening music of a working day…”.Let us note the techniques by which this picture is created: first of all, sound writing (assonances and alliterations) and non-union, which gives dynamism to the description.)
What is the role of the portrait of the characters in the story?
(The portrait of the hero in the first part reveals his character: “dry and angular brushes covered with brown skin”; “tousled black hair with gray hair”; “crumpled, sharp, predatory face”; “long, bony, slightly stooped”; with “humped , predatory
nose" and "cold gray eyes." The author directly writes about his resemblance “to the steppe hawk with his predatory thinness and this aiming gait, smooth and calm in appearance, but internally excited and vigilant, like the years of that bird of prey that he resembled.”)
What is the meaning of the word "predator"?
(Let's pay attention to how many times the epithet "predatory" was encountered. Obviously, it reveals the essence of the hero. Let's recall how often Gorky likens his heroes to birds - an eagle, a falcon, a hawk.)
What is the role of Gabriel in the story?
(Chelkash is contrasted with Gavrila, a rustic rustic guy. The portrait of Gavrila is built in contrast with the portrait of Chelkash himself: “childish blue eyes” look “trustfully and good-naturedly”, movements are clumsy, his mouth is either wide open or “slaps his lips.” Chelkash feels like the master of life Gavrila, who fell into his wolf's paws, is mixed in with paternal feeling.Looking at Gavrila, Chelkash recalls his village past: "He felt lonely, torn out and thrown out forever from the order of life in which the blood that flows into his veins.")
When does the denouement of the story "Chelkash" take place?
(In the third part, in the dialogue between Chelkash and Gavrila, it finally becomes clear how much this different people. For the sake of profit, the cowardly and greedy Gavrila is ready for humiliation, for crime, for murder: he almost killed Chelkash. Gavril causes contempt, disgust in Chelkash.Finally, the author breeds the characters as follows: Gavrila “took off his wet cap, crossed himself, looked at the money clutched in his palm, breathed freely and deeply, hid it in his bosom and with wide, firm steps walked along the coast in the direction opposite to the one where Chelkash disappeared”.)
VI Questions on the early romantic stories of M. Gorky.
- How do you understand the principle of "romantic duality" in Gorky's work?
- What are the features of the landscape in Gorky's early romantic stories? What is the role of the landscape?
- How do you understand the words of the heroine of Gorky's story "Old Woman Izergil": "And I see that people do not live, but everyone tries on"?
- What was the “cautious man” from the story “Old Woman Izergil” afraid of, stepping foot on Danko’s “proud heart”?
- What literary characters can be compared with this "cautious person"?
- What is the ideal of a person in Gorky's early romantic stories?
- What, in your opinion, is the meaning of the opposition of Gorky's heroes - Chelkash and Gavrila?
- What do you see as the features of Gorky's romanticism?
The writer's landscape is opposed to people's lives.
M. Gorky's stories of the early 90s of the XIX century are devoted to the problems of human relationships. The author is looking for goodie, change paths modern society, observes the life of Russia. But nature also plays a significant role in his stories.
In the story "Chelkash" the landscape plays the role of a frame - it begins and ends the action.
At the beginning of the story, an industrial landscape is depicted - the sea in the port. It makes a dull impression: the sky “darkened from dust” is cloudy, the waves of the sea are chained in granite, “suppressed”, “beat and grumble”, they are polluted with various rubbish. Different sounds are heard: the ringing of chains, the rumble of wagons, the “metal scream of iron sheets”, knocking, rattling, whistles, screams. All these sounds are disharmonious, this is “deafening music of the working day”. The author calls the port "a passionate hymn to Mercury" - the god of trade. And people against the background of this landscape are “ridiculous and pitiful”, like slaves of what was created by their labor. Thus, this landscape reveals to us how the greatness and beauty of nature is suppressed by human activities.
The following description of the landscape is given by the author as an additional feature to the character of the hero. Chelkash, a man free from the conventions of society, from the power of money, property, without family and native roots, "loved the sea." It is akin to his independent soul. “His ebullient, nervous nature, greedy for impressions, never got tired of contemplating this dark latitude, boundless, free and powerful.” The sea “infuses calm into the soul of a person”, gives rise to powerful dreams in it ... Unlike Chelkash, Gavrila is afraid of the sea. He is frightened by the lack of soil under his feet, he is not happy with the beauty of the night sea, the lights of searchlights - he is full of fear. The landscape in this episode emphasizes the difference in the characters' characters, enhances the content of the images.
The landscape also ends the story. The sea broke out, "deafly murmured, the waves beat on the shore furiously and angrily." The tragedy of people is emphasized by the intense growth of a storm, a storm, when the rain poured down like a bucket, and everything is shrouded in mist. “The sea howled, threw big heavy waves onto the coastal sand… the wind roared… Everything around was filled with howling, roaring, rumble. Behind the rain, neither the sea nor the sky was visible. And the rain washes away the traces of blood on the sand, washes away the traces of people and tears. Human passions are petty, insignificant, transient. The element of nature is eternal, filled with power and greatness.
Gorky's landscape is opposed to people's lives, and this comparison is not in favor of human society.
Essay on literature on the topic: The role of landscape in the story
Other writings:
- (Option 1) Nature helps the writer to penetrate deeper into the depicted event, to characterize the hero, to more accurately determine the time and place of action. In his works, I. S. Turgenev more than once uses descriptions of nature, which make the literary text more expressive, colorfully richer. For example, based on the title Read More ......
- Pushkin's lyrics are unusually rich and varied both in content and in form. But he has relatively few landscape poems. Nature does not occupy such a place in his work as, for example, in F. Tyutchev, A. Fet. But the images of the Russian landscape constantly enter Read More ......
- The landscape is an important part of a work of art. The description of nature is considered an extra-plot element, that is, one that does not affect the development of the action. However, the landscape performs a number of significant functions in the story: it not only recreates the scene, its background, but also serves to Read More ......
- In Russian fiction rare works in which there is no landscape. The depiction of paintings of animate and inanimate nature helps the author to create a certain mood, to convey the state of mind of the hero, to reveal the idea of the work. For example, in L. N. Tolstoy’s story “After the Ball”, the narrative is clearly divided into Read More ......
- The novel by M. A. Sholokhov “Quiet Flows the Don” is a huge Russian national contribution to world literature. This is a true masterpiece in which Sholokhov appears as an innovative writer. Using the traditions of the classics, he makes his own discoveries, including numerous landscape paintings Read More ......
- Tale " Poor Lisa" is an the best work N. M. Karamzin and one of the most perfect examples of Russian sentimental literature. It has many beautiful episodes that describe subtle emotional experiences. In the work there are pictures of nature, beautiful in their picturesqueness, which harmoniously complement the narrative. Read More ......
- Realistic art always tries to reflect the really occurring events and phenomena. Choosing the most prosaic objects, things, events, Russian artists of the second half of XIX centuries have tried to convey life as it is, in its most ordinary form. Russian landscape Read More ......
- At the end of the 19th century, stories and short stories became widespread in Russian literature, replacing the novels of Turgenev, Dostoevsky, Tolstoy. A.P. Chekhov also actively used the form of a short work. The limited scope of the narrative required a new approach to the word from the writer. Read More ......
The Role of Landscape in Early Romantic Stories
Maxim Gorky.
In his early works, Maxim Gorky appears as a romantic. Romanticism presupposes the assertion of an exceptional personality, acting one on one with the world, approaching reality from the standpoint of his ideal, making exceptional demands on those around him. The hero is head and shoulders above other people who are next to him, he rejects their society. This is the reason for the loneliness so typical of the romantic, which is most often thought of by him as a natural state, because people do not understand him and reject his ideal. Therefore, the romantic hero finds an equal beginning only in communion with the elements, with the world of nature, the ocean, sea, mountains, coastal rocks.
“A damp, cold wind blew from the sea, spreading across the steppe the pensive melody of the splash of a wave running ashore and the rustle of coastal bushes. Occasionally his impulses brought with them shriveled, yellow leaves and threw them into the fire, fanning the flames; the darkness of the autumn night surrounding us shuddered and, timidly moving away, opened for a moment on the left - the boundless steppe, on the right - the endless sea and directly opposite me - the figure of Makar Chudra, the old gypsy ... ". (Selected Stories, essays, plays. - M., 1983.)
Therefore, it is of such great importance in romantic works a landscape devoid of halftones, based on bright colors, expressing the most indomitable essence of the elements and its beauty and exclusivity. The landscape is thus animated and, as it were, expresses the eccentricity of the character of the hero.
“The sea was still whispering with the shore, and the wind still carried its whisper over the steppe”;
“The sea quietly echoed the beginning of one of the ancient legends that, perhaps, were created on its shores”;
The sea was muffled and mournful. (Selected Stories, essays, plays. - M., 1983.)
For romantic consciousness, the correlation of character with real life circumstances is almost unthinkable - this is how the most important feature of romantic artistic world: the principle of romantic duality. Romantic, therefore perfect world the hero opposes the real world, contradictory and far from the romantic ideal. The opposition of romance and reality, romance and the surrounding world is a fundamental feature of this literary movement.
This is how we see the heroes of Gorky's early romantic stories: "Old Woman Izergil", "Makar Chudra". The old gypsy Makar Chudra appears to the reader precisely in a romantic landscape: he is surrounded by the "gloom 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."
So, the landscape is animated, the sea and the steppe are endless, they emphasize the boundlessness of the freedom of the heroes, their inability and unwillingness to change this freedom for anything. A little later, Makar Chudra will state this position directly, speaking of a person who, from his point of view, is not free: “Does he know his will? Is the expanse of the steppe understandable? Does the voice of the sea wave gladden his heart? He is a slave - as soon as he was born, he is a slave all his life, and that's it! (Selected Stories, essays, plays. - M., 1983.)
In a romantic landscape, the heroine of another story, the old woman Izergil, also appears before us: “The wind flowed in a wide, even wave, but sometimes it seemed to jump over something invisible, and, giving rise to a strong impulse, waving the hair of women into fantastic manes that billowed around their 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. (Selected Stories, essays, plays. - M., 1983.)
It is in such a landscape - seaside, night, mysterious and beautiful - that Makar Chudra and the old woman Izergil, the main characters of these stories, can realize themselves. Their consciousness, their character, its sometimes mysterious contradictions turn out to be the main subject of the image. The landscape was introduced to study the complex and contradictory characters of the characters, their strengths and weaknesses.
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