three truths and their tragic collision (based on the play by M. Gorky “at the bottom”)

The main directions in the development of the genre of literary fairy tales of the XX century. Fairy tales by R. Kipling, S. Lagerlef, A. Milne, Saint-Exupery, A. Lindgren, T. Jansson and others. Transformation of a foreign literary fairy tale in Russian literature. "The Adventures of Pinocchio" by K. Collodi and "The Golden Key" by A. Tolstoy. G.H. Andersen and his traditions in "Tales of Purring Cat" by N.P. Wagner. "Doctor Dolittle" by Hugh Lofting and "Doctor Aibolit" by K. Chukovsky (prose). "The Wizard of Oz" by Frank Baum and "The Wizard of the Emerald City" by A. Volkov.

Topic 4. Fantasy in children's reading.

Fantasy as a type of fantastic literature of the 20th century. Fairy tale and fantasy: common and different. D.R. Tolkien as the founder of the genre. The literary tale "The Hobbit, or There and Back Again" and the epic "The Lord of the Rings". Fantasy classification. The originality of children's fairy tale-fantasy. V.Krapivin's cycle "In the depths of the Great Crystal".

Topic 5. Domestic poetic literary fairy tale.

Domestic literary fairy tale: prosaic and poetic. Various ways of portraying the previous folklore and literary material. Poetic tales by A. Pushkin, V. Zhukovsky, P. Ershov. Ballad, poem, epic, song in the style of poetic fairy tales. Parody and stylization. Children's poetic fairy tale of the 20th century: socio-political fairy tale by V. Mayakovsky, fairy tale cycle by K. Chukovsky.

Topic 6. Prose literary tale.

Prose tales by N.M. Karamzin, A. Pogorelsky, V.F. Odoevsky, D.N. Mamin-Sibiryak. Tale in the genre of a literary fairy tale: P. Bazhov's works in children's reading. Innovative nature of the fairy tale of the XX century. Fairy tales by M. Gorky, Y. Olesha, L. Lagin, A. Sharov, S. Mikhalkov, E. Uspensky and others.

Topic 7. Development of the genre of autobiographical story about childhood.

The child and his world in the autobiographical genre from N.M. Karamzin and L.N. Tolstoy to I. Shmelev and V. Astafiev. Artistic detail. Gen. way. Inner monologue. Moral and psychological dominant in Russian realistic prose about children. The theme of childhood in the prose of A.P. Chekhov, L. Charskaya, A. Gaidar, V. Oseeva, L. Panteleev and others. Moral and psychological lessons of adolescent prose of the 60-80s: books by A. Likhanov, R. Pogodin, Yu. Nagibina and others.

Topic 8. Humor for children.

Humorous story. Traditions of Russian laughter culture. Antithesis. The function of the beginning of laughter in the formation of the artistic whole. Comic and dramatic. Comedy of characters and sitcom. "Mockingbird" image. I. Krylov - A.K. Tolstoy - Sasha Cherny. Poetic and prose genres. Oberiuts: "nonsense" and portraying folklore and literary themes, ideas, motifs, rhythmic patterns.

Works by N. Nosov, V. Dragunsky and others. "Undersand" by Y. Koval.

Topic 9. Genres of adventure and fantasy literature for children.

Adventure travel. Plot features. Formation of the type of hero. The ideal and the hero in the adventure literature of the Soviet period for children and youth. Conflict and moral dominance. Adventure literature and fantasy. genre synthesis. Domestic tradition of science fiction. Jules Verne and his "disciples" in Russian children's and youth literature.

Topic 10. Natural history book for children.

Natural history in art genres. Genre of adventure and travel in the presentation of scientific knowledge. Local history and geography in art and popular science genres. Scientific knowledge and artistic form in the works of V. Bianchi, N. Sladkov, I. Akimushkin and others. Encyclopedic book for children. Science in entertaining forms. V. Bragin. "In the land of dense grasses." Stories and stories about animals in children's reading. Moral and philosophical prose lessons of M. Prishvin, V. Astafiev, F. Abramov and others.

Topic 11. Poetry in children's and youth reading.

"Story" poetry: tasks, function of the plot, features of the formation of artistic content. Russian classics for children. Children's poetry of the XX century. S. Marshak, A. Barto, S. Mikhalkov, V. Berestov and others in the development of children's poetic genres. Features of rhythm. Word as work. Word and text. Ways of concentrating artistic content in poetry. Children's poetry. "Commandments for children's poets" by K. Chukovsky (book "From 2 to 5").

Topic 12. Prospects for the development of modern children's literature.

Synthetic and syncretic art genres for children. Theater. Puppet Theatre. Musical Theatre. Staged. Film version of a literary work. Animation. Periodicals for children. New names. Requirements for printed materials for children. The main results of the course. Perspective directions of scientific research of the history of children's literature.

Practical lessons.

Topic 1. The book of my childhood (2 hours).

Assignment: write an essay on one of the following topics:

1. My first book.

2. Favorite book of my childhood.

The purpose of the lesson: to reveal the emotional, cognitive, aesthetic levels of perception of the book in childhood.

Topic 2. Fairy tales and stories of H.K. Andersen (2 hours).

1. The fate of the storyteller. The origins of Andersen's special talent (abstract).

2. The innovative nature of Andersen's fairy tales and stories. (On the example of the fairy tales "The Snow Queen", "Wild Swans", "The Little Mermaid").

3. Ways of affirming the moral and aesthetic ideal in satirical, poetic and philosophical stories. (On the example of the stories "The King's New Dress", "Snowdrop", "Shadow").

4. Andersen's fairy tales in literature lessons in high school.

Theoretical concepts: fairy tale, history, literary fairy tale.

Literature:

1. Specified texts (any edition).

2. Paustovsky K. The great storyteller // H.K. Andersen. Tales and stories. M., 1990. S. 5-18.

3. Silman T. Enter. article // H.K. Andersen. Fairy tales and stories: In 2 vols. T. 1. L., 1977. S.5-26.

4. Braude L.Yu. Hans Christian Andersen. M., 1987. S.6-40, 54-72, 116-124.

5. Grenbeck Bo. Hans Christian Andersen. Life. Creation. Personality. M., 1979.

6. Korovin A.V. Fairy tales and stories of Andersen // Foreign literature of the 19th century. Workshop. M., 2002. S.149-174.

7. Merkin G.S. Studying Andersen's fairy tale "The Snow Queen" // Literature at school. 1997. No. 7. pp.134-140.

8. Kuzmina M.Yu., Buchugina T.G. The peculiarity of a literary fairy tale. Ulyanovsk, 2000. P.4-8. (Work out the concept of "literary fairy tale").

Topic 3. "Children's comic epic" by K. Chukovsky (2 hours).

1. Prepare a short message on the topic "Biography of K. Chukovsky."

3. Write in the notebook "Commandments for children's poets" from the book "From two to five" (ch. 6).

4. Reread the fairy tales: “Crocodile”, “Moydodyr”, “Cockroach”, “Fly-Tsokotuha”, “Barmaley”, “Fedorino grief”, “Confusion”, “Phone”, “Aibolit”, “Stolen sun”, “ Bibigon". One of them (optional) to analyze according to the plan:

1) The plot of the fairy tale (system of events).

2) Characteristics of the heroes. The role of humor in negative character creations.

3) The composition of the fairy tale. How did the Commandments for novice poets come to life in the fairy tale?

5. Make a conclusion about the psychological, pedagogical and aesthetic possibilities of K. Chukovsky's poetic tales.

LITERATURE:

1. Texts of fairy tales (any editions).

2. M. Petrovsky. Book about K. Chukovsky. // M., 1966. Ch. 5 (about fairy tales).

3. M. Petrovsky. Books of our childhood. // M., 1986. Ch. "Crocodile in Petrograd"

4. Smirnova V. About children and for children. M., 1967. S.13-46.

5. K. Chukovsky. From two to five. /Any edition/.

6. Children's literature: textbook (any).

7. Kudryavtseva L. Who is sitting under the miracle tree? // DV, 1994, N 8, p. 59-65.

Topic 4-5.

The theme of childhood in the autobiographical prose of Russian writers (4 hours).

1. Psychological and literary origins of the topic. "The Knight of Our Time" by N.M. Karamzin.

2. Autobiographical trilogy of Leo Tolstoy "Childhood", "Adolescence", "Youth".

a) History of creation. degree of autobiography.

b) Nikolenka Irteniev as a collective image of a child.

"Dialectics of the soul" of the hero.

c) Tolstoy's vision of childhood. The contrast of the world of children and the world

adults.

3. The tragic collision with the life of Theme Kartashov (N. Garin-

Mikhailovsky "Childhood of the Theme", "Gymnasium students").

4. The theme of childhood, nature and homeland in A.N. Tolstoy's story "Nikita's Childhood".

Literature:

1. Texts indicated in the plan.

2. Elizavetina G. Traditions of the Russian autobiographical story about childhood in the work of A.N. Tolstoy // Tolstoy A.N. Materials and research. M., 1985. 120-139.

3. Chernyshevsky N.G. Childhood and Adolescence. Military stories. Op. gr. L. Tolstoy / / Literary criticism: In 2 vols. T.2. M., 1981. S.32-45.

4. Lomunov K.N. Lev Tolstoy. Essay on life and creativity. M., 1978. S.41-57.

5. Yudina I.M. N.G. Garin-Mikhailovsky. L., 1969. S. 80-95. (IV ch.).

6. Zlygosteva N. "Happy, irrevocable time ..." (The theme of childhood in Russian classics) / / Literature at school. 1995. No. 4.

7. Brazhe T.G. The theme of childhood in the work of Garin-Mikhailovsky // Literature at school. 1998. No. 2.

8. Textbook on Children's Literature ..

Alexey Ledyaev Tragic collision, 10.02.13. Tragic Collision Human life is like a target, which both God and the devil equally claim. Only Jesus asks permission to intervene in life, and the devil does not. The main tool of the devil 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 the knowledge of truth makes the head and not the tail. Jesus, unlike us Christians, is interested in public opinion. If our neighbors and neighbors believe in illusions, they will lead them to destruction. Jesus is interested in both public opinion and church opinion: “Whom do you say that I am?” For whom we revere Jesus, the people around us will also revere. The revelation about Jesus reforms consciousness - it is like a detonator, an explosion of an atomic bomb. The revelation about Jesus is connected with the revelation about the Living God, the Creator of the Universe. We need to know Who He really is, to abandon the usual prayers - "blank cartridges". The revelation about Jesus is more important than healing, prosperity. Do you really want to get to know Him? It is easy to crucify God's reality while being held captive by a religious myth. And to know reality - this is a fatal collision. In some cases, God's truth was crucified (the death of Christ), in others, the 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 lives in you. John. 18:37 Pilate said to Him, “So, You are the King?” Jesus answered, “You say I am the King. For this I was born and for this I came into the world, to bear witness to the truth; everyone who is of the truth hears my voice.” If God begot 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 division of 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 away the keys of hell and death. The devil knows that our strength is in Christ Jesus, so the biggest war will be against Him. Do not give away the revelation about 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: “Here is the God in whom we trusted!” Prayer for a revelation about Jesus: “The Holy Spirit will visit you by night and by day! » Questions: 1. What is the main instrument of the devil? 2. Do we have the ability to distinguish between truth and illusion? Why? 3. What is involved in the revelation about Jesus?

"Three Truths" in Gorky's play "At the Bottom" and their tragic collision.

Lesson Objectives:

1. Through the positions of the heroes of the play, who are carriers of a certain ideology, to reveal the author's position in relation to the question of truth.

2. Expansion of ideas about the dramatic conflict.

3. Through the analysis of the philosophical conflict, the expansion of ideas about truth, humanism, human dignity.

4. Consolidation of skills in working with a comparative table.

preliminary work: make a comparative table with statements about truth, faith, man and his morality by Luka, Satin, Bubnov.

Epigraph: "... Which is better: truth or compassion?" (A.M. Gorky)

During the classes.

Teacher's word.

The purpose of our lesson is, based on the analysis of the materials of the comparative table, to determine the ideological positions of the characters, to identify the author's position in relation to the question of truth, to expand the understanding of the dramaturgical conflict based on the struggle of ideas, to reflect on truth, humanism, human dignity, the appointment of man.

"At the Bottom" is Gorky's second play. It was the writer's response to the most pressing social, philosophical and moral problems of the time. A sharp struggle unfolded around her. Critics wrote about the "naturalism" of the play, about the author's "lubok-tramp" romanticism. Critics of the reactionary-monarchist trend saw in it a revolutionary sermon that undermined social foundations. Liberal criticism presented the writer as a preacher of Christian morality, spoke of the appearance in Gorky's work of the "Karataev principle of reconciliation." Populist critics regarded Gorky's humanism as proud contempt for the "little man". The author himself said in an interview with the Petersburg News newspaper on June 15, 1903, that the main question that he wanted to put in the play was the question put forward as an epigraph. So which is better, truth or compassion?

Analytical discourse on the play.

1 Gorky created a work in which the driving force of the dramatic action is the struggle of ideas. External events are determined by the attitude of the characters to the main question about the person, the question around which there is a dispute, a clash of positions. Such concepts as "honor", "conscience", "soul", "freedom", "truth" arise from the first pages of the play, and it immediately becomes clear that ideas about them are different. The special hero of the play is Bubnov, his statements often seem cynical.

What do we know about Bubnov's past?

Subjective or objective reasons brought him to the bottom?

Working with table materials.

Preliminary conclusions:

Is it possible to assume that Bubnov's statements reveal the true meaning of the situation in which people find themselves7

2 Gorky always opposed the preaching of consolation, called it "offensive to people", considered it only a form of reconciliation with reality. The bearer of the idea of consoling deceit in the play is Luke.

The image of Luke in the system of characters (means of creating the image: portrait, speech, self-characterization of the hero, relationships with other characters in the play)

What do we know about Luke's past? (pay attention to Luke's class affiliation, his attitude to the ruling class, his "passportlessness")

What changes does the appearance of Luka bring to the life of the inhabitants of the rooming house?

What is the attitude of other heroes towards Luke?

Preliminary conclusions:

What is the meaning of the parable of the Righteous Land told by Luke?

Is Luke selfish in his lies?

How does he behave in critical situations? (Scene with Medvedev, Natasha's beating, Kostylev's murder) Why?

3 Luke's disappearance from the rooming house brings another character to the fore - Sateen. What does Satin say about the old man who left during the turmoil? (“He…acted on me like acid on an old and dirty coin…”)

The image of Sateen in the system of characters (the past of the hero, objective or subjective reasons brought him to the bottom).

Working with table materials.

Preliminary conclusions:

What statements of Satin are close to Gorky himself? On what basis can such conclusions be drawn?

However, why does the hero's pathetic speech have a reduced motivation? (He says it when he's drunk)

4 So, in the monologues of Sateen, the demand for truth was clearly heard. What is truth? What do we mean by this word?

Here is how the word is interpreted in Ozhegov's dictionary:

Truth - what exists in reality corresponds to the real state of affairs. Based on this formulation, then the statements of which of these characters honestly show the situation of the inhabitants of the rooming house? Does this truth suit the author?

Let's look at another interpretation of the word. Truth - justice, honesty, a just cause. How is this interpretation of the word realized in the play?

Summarizing.

Conclusion:

So, three truths collide in the play:

"The truth of the fact" from the mouth of Bubnov

the “truth” of the comforting lie, the bearer of which turns out to be the wanderer Luke

the truth of the "free Man" proclaimed by Satin.

Bubnov's "truth" is the truth that the author categorically does not accept. No matter how controversial Gorky's attitude to the position of Luka and Satin was, both of these positions are sharply opposed to Bubnovsky's cynicism, his contempt for the human person.

There has always been a lot of controversy about the philosophy of the play and the image of Luke. The complexity and inconsistency of the author's attitude towards Luke was pointed out. We are convinced that the character of Luke is psychologically complex and does not lend itself to a one-line interpretation.

Can it be argued that after the fiery monologue of Sateen, the life of the heroes of the play will soon change dramatically, the realization of the high destiny of a person will lead them out of the bottom of life? Certainly not. But if the understanding that “a person must be respected” becomes available to a “prisoner, murderer, cheater”, how not to recognize it to the reader and viewer, to whom, in fact, Satin's monologue is addressed.

Ostrovsky put two main thoughts in the basis of the play "Thunderstorm": a powerful denial of stagnation and oppression of the motionless "dark kingdom" and the emergence of a positive, bright beginning, a real heroine from the people's environment. The conflict of "Thunderstorm" is peculiar. It can be viewed in two ways. Ostrovsky himself defined his work as a drama, but this is a tribute to tradition. Indeed, on the one hand, The Thunderstorm is a social drama, but on the other hand, it is a tragedy. As a drama, this work is characterized by a special attention to everyday life, the desire to convey its "density". The writer describes the city of Kalinov in detail, specifically, in many ways, which has a generalizing meaning. So, for example, Kuligin exclaims: “The view is extraordinary! Beauty! The soul rejoices! ”: Others looked at her and are completely indifferent. Beautiful nature, the organ of the nightly festivities of youth, songs, Katerina's stories about childhood - all this is the poetry of the Kalinovsky world. But Ostrovsky confronts her with gloomy pictures of everyday life and everyday life, with the cruel attitude of people towards each other. Rudeness and poverty reign in this city, here “one can never earn with honest labor” “daily bread”, here merchants “undermine each other’s trade, not so much out of self-interest, but out of envy.” At the center of this closed “dark kingdom” is a rude and an ignorant merchant's wife - Kabanikha. She is the protector of the old foundations of life. She dictates moral laws to the whole city, imposes her will on everyone around, does not require unquestioning obedience. Freedom, according to the heroine, leads a person to moral decline. Another representative of the "dark kingdom" is Wild. The main meaning of his life is enrichment. The thirst for money turned him into a reckless miser. Strong materially, he is weak spiritually. He acts according to his own whim, arbitrarily, regardless of others. He was rude, there can be no other. But he retreats before those who are able to rebuff him. So, for example, he gives in to Kabanova. The only heroine who opposes Kabanikha, and indeed the entire Kalinovsky society, is Katerina. She cannot accept the foundation of life of the "dark kingdom", its laws. Nature is poetic, enthusiastic, freedom-loving, she is not capable of lies and falsehood that reign in Kalinov's world. Katerina can no longer endure the continuation of endless torture, decides to die, all the more so in her imagination it appears in bright, not gloomy colors: “Under the tree there is a grave ... how good.” In this case, "Thunderstorm" is a drama. But if you see that the fate of Katerina was determined by the collision of two historical eras, then the tragic interpretation of her character is quite legitimate. Indeed, compositionally, Kabanikha and Katerina stand in the center of the play. Both of them are maximalists, they cannot reconcile themselves with human weaknesses, both are equally religious. Their religion is harsh and merciless. Only Kabanikha is chained to the ground, and Katerina is striving for the sky. Katerina embodies the spirit of this world, its impulse, its dream. She was born and formed in the same conditions, that is, she is a product of this world. But Ostrovsky believed in the renewing power of a healthy nature, in the strength of the desire for freedom, in the creative principles of the national character, so he showed in Katerina a awakening sense of personality. This feeling does not take the form of public protest, but an individual form, the form of personal love. Ostrovsky showed the heroine at the moment of nascent love for Boris, who in her eyes stands out from among other residents. Katerina loves strongly, deeply, selflessly. Passion is born and grows in it, but this passion is highly inspired. Love evokes an emotional upsurge in her, a passionate desire to become a free bird and fly with spread wings. The awakened feeling of love is perceived by Katerina as a huge, indelible sin, because love for a stranger for her, a married woman, is a violation of her moral duty. She understands that a catastrophe is almost inevitable, that she cannot endure such a life for a long time. Katerina already comes to the play with a premonition of trouble “I will die soon ..”

Sections: Literature

textbooks on which educational work is carried out:

Russian literature of the XX century. Textbook for educational institutions. Grade 11. In two parts // Under the editorship of V.P. Zhuravlev. - M.: Education, 2007.

Class : 11.

Type: combined lesson.

Improving the skill of text analysis; the formation of universal educational actions in the process of analyzing the text of a dramatic work;

Satisfaction of intellectual interest;

developing:

Development of a culture of speech, skills of monologue and dialogic speech;

Development of the logic of thinking;

Development of creative thinking;

Acquisition of the ability to lead a discussion, speak in public;

educators:

Establishment in the process of joint actions of new connecting threads with classmates, with a teacher;

Instilling a sense of goodwill, attention and respect for the interlocutor;

Acquisition of moral values;

Resolution of personally significant problems in the process of considering situational tasks;

Activation of creative abilities of students.

Create a problem situation

Encourage students to express their own point of view on various issues.

Form of organization of the lesson: heuristic conversation, literary discussion, elements of a theatrical game.

Reproductive: verbal, visual;

Productive: creating diagrams, filling them with the results of observations and their own judgments, creating a multimedia presentation for students about Luke; using a multimedia presentation for the lesson, staging, reflection, group work.

Teaching aids: portrait of M. Gorky, illustrations for the play “At the Bottom”, multimedia presentation, computer equipment, books with the text of the play “At the Bottom”, textbooks, co-creation, mutual responsibility for the results of work, joint experience of success, interpretation of a literary work.

Form of organization of work in the classroom: frontal, group, individual, creative.

During the classes

The first learning situation is motivational

The teacher reports the topic of the lesson: The clash of heterogeneous worldviews in M. Gorky's play “At the Bottom”. The problem of humanism. (Presentation, slide number 1.)

Students work collectively in groups, interpret each word of the topic of the lesson, developing speech activity, mental activity, writing down options for semantic finds in a notebook:

What are goals our lesson?

Students intuitively perceive goals: understanding the author's intention, understanding it, identifying problems, discovering the author's spiritual world, enriching their spiritual world, developing a personality in the process of learning activities, developing a culture of speech, and others. (Presentation, slide number 2.)

The teacher, if necessary, supplements and generalizes the answers: the formation of universal educational actions in the process of analyzing the text of a dramatic work, the resolution of personally significant problems in the process of considering situational tasks, and the activation of students' creative abilities.

What is the main theme of M. Gorky's work in the late 19th - early 20th century?

Students.

At the end of the 19th - beginning of the 20th century, the main theme of M. Gorky's work was the theme of exposing the vices of capitalist reality.

Students name the problems of the struggle of life and death, the oppression of man, spiritual and material poverty, loneliness, the tragedy of society and man, humanism, anti-humanity of society, truth and lies. (Presentation, slide number 3.)

The second learning situation is learning-cognitive

A notable phenomenon in Russian literature at the beginning of the 20th century was Gorky's play "At the Bottom" (1902). What explains its exceptional success? (Presentation, slide number 4.)

Students.

A strong impression on the viewer was made by the combination of an extremely realistic depiction of people who have reached the last degree of squalor, despair and lack of rights, with the glorification of Man and his truth. Before the eyes of the public for the first time appeared hitherto unseen world of thieves, tramps, cheaters, that is, people who have sunk to the "bottom" of life. In it, as in an overturned mirror, the world from which these people were thrown was reflected. (Presentation, slide #5, #6.)
Gorky's play is directed against the social unrest of capitalist society and is permeated with a passionate call for a just life. "Freedom at all costs - that's its spiritual essence," - this is how K. S. Stanislavsky defined the idea of the play, who staged it on the stage of the Moscow Art Theater (1903). (Presentation, slide number 7.)

The main rule of a literature lesson: you cannot competently defend your point of view without knowing the work itself. Let me give you a little workout. I read a line from a play, and you decide who says it. (Presentation, slide number 8.)

“What is conscience? I'm not rich." (Bubnov.)
“A person lives in every way ... as the heart is adjusted, so it lives ...”. (Luke.)
“Education is nonsense, the main thing is talent!” (Actor.)
“It is not enough to know, you understand…”. (Natasha.)
“I'm fed up, brother, with all human words… all our words are fed up!” (Satin.)
“Can the kindness of the heart be compared with money? Kindness is above all blessings.” (Kostylev.)
"You must love the living, the living." (Luke.)
“It turns out - outside, no matter how you paint yourself, everything will be erased!”. (Bubnov.)
“When work is a duty, life is slavery!” (Satin.)
“I don’t have a name here… Do you understand how insulting it is to lose a name? Even dogs have nicknames…”. (Actor.)
“And all the people! No matter how you pretend, no matter how you wobble, but you were born a man, you will die a man ... ”. (Luke.)
“What kind of people are they? Roar, golden company... Do you think I won't break out of here? Just wait… the wife will die.” (Mite.)

Teacher comments on the level of knowledge of the text.

The third learning situation is educational and cognitive

What images and associations arise when perceiving the play? (Presentation, slide number 9.)

Students in groups make observations and record the results of their searches in a table format. Students creatively express their understanding and perception of the play by exchanging opinions in groups, then the representatives of the groups speak to their classmates.

images	Artistic media	My attitude
The image of the "bottom"	In remarks “cave”, “basement” are synonyms. The social “bottom” of life is an extended metaphor.	Poverty, dampness, lack of light, darkness, the habitat of animals, animals, and not people. The gloomy life of the Kostylevo rooming house is the embodiment of social evil. In one room, old and young, single and married, men and women, healthy and sick, hungry and well-fed gathered.
Images of overnight stays	The speech of the inhabitants of the rooming house: grunting, goat, dog. Colloquial style, rough vocabulary. Clothing: remark “rubbing rags on himself with his hands” (about Kleshche), “in a woman’s wadded jacket” (about Medvedev), the actor Anna is covered with some kind of junk. A conversation about conscience: why conscience, honor and conscience are not needed, conscience is needed by the rich.	Interpersonal relationships: disrespect, rudeness, contempt, cruelty, indifference to each other, hatred. The poverty is appalling. Overcrowding and terrible poverty give rise to mutual irritation, quarrels, fights and even murder. They live without conscience, without honor, resigned themselves to the fate of a rooming house, but a person cannot live without a conscience, conscience is an internal judge, this is an important sense of responsibility for oneself.
The fate of the inhabitants of the "bottom"	Thrown out of normal life: no job, no home, no family.	A formidable indictment against an unjust social system. Spiritual life has not stopped, thoughts, dreams, concepts of life arise here.
The society where such bunkhouses exist	Description of the place of action in each act. Inhumanity of social relations.	Before us is not just the slum living conditions of overnight stays. The Kostylev House with its owners and basement residents is a peculiar social structure, reflecting very expressively the structure of the whole society based on private property, on the humiliation of the poor. The roomers are the victims of ugly and cruel orders, in which a person ceases to be a person, turning into a powerless creature, doomed to drag out a miserable existence.

The fourth learning situation is intellectual-reflexive

What is the reason for the destruction of man? Why have people stooped to this level? Who is guilty? (Presentation, slide number 10.)

Students.

The inhabitants of the “bottom” are thrown out of normal life due to the wolf laws that reign in society. Man is left to himself. If he stumbled, got out of a rut, then he faces imminent moral, and often physical death.
People feel they are "ex". Some of them don't even have a name.
Disbelief in justice made Satine himself take revenge on the villain who killed his sister. This revenge led him to prison, which determined his future fate. Bubnov is forced to leave home, leaving the workshop to his wife and her lover, as he did not hope for protection from the representatives of the law.
Of course, the people who ended up in Kostylev's rooming house are not at all ideal. They make mistakes, they do stupid things, but they don't deserve to be thrown to the "bottom" of life by society without any support. Vaska Pepel, the son of a thief, born in prison, is doomed to follow in the footsteps of his parent, for a different path is ordered for him. The industriousness and perseverance of Tick, who does not want to accept the fate of a rooming house, did not help him rise from the "bottom" of life.

Fifth learning situation - learning and cognitive

What questions arise when you get acquainted with the tragic fate of the inhabitants of the rooming house? (Presentation, slide number 11.)

Students.

Can a person rise to the surface? What is the way out of this situation, what is the salvation of the people of the "bottom"?

Let's try to understand these complex philosophical questions. Which scene is the beginning of the conflict?

Students.

The beginning of the conflict is the appearance of Luke.

Teacher. (Presentation, slide number 12.)

Which is better: truth or compassion? Is it necessary to use comforting lies like Luke?

Students analyze the episode of the play associated with the appearance of Luke, write down the results of observations in notebooks, share their thoughts with classmates. (Presentation, slides No. 13, No. 14, No. 15, No. 16, created by one of the students, demonstrated by him.)

Sixth learning situation - intellectual-reflexive

What kind of person is Luke? What moral values do we acquire by getting to know Luke? (Presentation, slide number 17.)

Students work with the text, observe, lead a discussion, giving examples, write down their thoughts and interesting findings of others.

Luke's attitude to man (remarks)	The Moral Values We Acquire
It - whatever it is - is always worth its price. Every person lives ... as the heart is adjusted, so it lives ... today - good, tomorrow - evil ...	Every person is valuable.
I only say that if someone did no good to anyone, then he did bad. To love - you need to live ...	Doing good is the main principle of man.
A person must respect himself.	Respect is a respectful attitude towards oneself and towards another person.
Someone and be kind ... you need to feel sorry for people! Christ - from all regretted and ordered us ... Caressing a person is never harmful!	Pity, sympathy, call for patience.
People are looking for everything ... they want everything - the best ... Man - can do anything ... if only he wants to ... People, then? They will find! Who seeks - will find ... Who strongly wants - will find! They will come up with. You only need to help them, girl ... you need to respect ... What you believe is what you are...	Faith in man, in his strength.

The seventh learning situation is learning-cognitive, reflexive.

Teacher. (Presentation, slide number 18.)

The development of the plot focuses on how Luka behaves with each of the inhabitants of the rooming house. What does Luke bring to people?

The students worked at home with the text, selected the necessary material and recorded their observations in a table format, in the lesson, communicating in groups, they supplement their notes, representatives of the groups speak with the results of the generalization.

Contacts	Hero's Past	Luca's advice	What Luka brings to people	What has changed in the attitude of the hero to life
Luke-	“Beating… resentment ... nothing but - I did not see ... I did not see anything! I don’t remember when I was full ... All my life I went in rags ... ”	"Nothing will happen! Lie know! Nothing! Rest there!.. Be patient! Everyone, dear, endures ... everyone endures life in his own way ... "	Faith, patience, mercy, sympathy are humane values.	Anna dies calmly, patiently.
Luka-Nastya	"True love? And I had it ... real!	“If you believe, you had true love ... then it was!”	Support, kindness.	Nastya hears rude words from the Baron. He leaves wherever his eyes look, throwing to the rooming houses: “Wolves!”
Luka Ash	My parent spent all his life in prisons and ordered me too ... When I was little, they called me a thief at that time, a son of thieves ...	He advises to take Natasha and leave for Siberia: “And the good side is Siberia! Golden side! Whoever is in power and in the mind is there - like a cucumber in a greenhouse!	understanding, support.	For the murder of Kostylev, he ends up in hard labor instead of a happy life in Siberia.
Luca the Actor	Once he had a sonorous surname - Sverchkov-Zavolzhsky, did not play the first roles (he says that he played a gravedigger in Hamlet), lived in need; he began to drink, not seeing a way out - he drank himself, “drank away his soul” (act 2). “Before, when my body was not poisoned by alcohol, I, an old man, had a good memory… I drank my soul away… I didn’t have faith…”	“You get well! They treat drunkenness now ... Free of charge, brother, they treat ... such a clinic is built for drunkards ... so that, therefore, they can be treated for nothing ... "	Help with advice, persuasion, care.	The actor, who learned that the old man lied and there was no hospital, which means there was no hope for the future, despaired, he had only one way out - suicide.
Luka the Baron	Served in the state chamber, squandered money; for embezzlement of state money he went to prison, then ended up in a rooming house (act 4).	Luca to Baron: “Come on, here… caress! To caress a person is never harmful ... "	Humane advice.	According to his past, social status, the Baron is named, who “no, no, and will show himself as a gentleman.” The most ruthless of the hostels. “Ah…why was I born for some reason…huh?” I want him, even for a moment, to know his purpose.
Luka-Tick	He lost his job, although he was an “honest worker”, “he worked from an early age” (act 1).	Luka about the behavior of Klesh: “You should have seen ... how a man was shouting here!”, “You will run, if that way ... it comes to your heart ...”	Sympathy, compassion.	The selfish, embittered Klesch is looking forward to the death of his wife, whom, according to Kvashnya, “hit half to death.” He is deprived of the slightest sympathy for the dying companion of life.
Luka-Bubnov	Bubnov left home “out of harm's way” so as not to kill his wife and her lover, lost “his establishment” and ended up in a rooming house, he himself admits that he is “lazy”, and even a drunkard, “would have drunk ... the workshop” (act 3 ).	Luka Bubnov: “Here ... you speak the truth ... She, the truth, is not always due to illness to a person ... you can’t always cure the soul with the truth ...” Bubnov does not believe Luka: “Everything is a fairy tale ... Everything is fiction ... Righteous land! Same way!"		Continues to drink, unable to act to get out of a vicious life. Bubnov has his own truth: “But here I am ... I don’t know how to lie! For what? In my opinion, bring down the whole truth for what it is! Why be ashamed?

What is he, the old man, the wanderer Luka, who, according to Satin, “leaked his cohabitants” and who revolted in his soul what they had not believed in for a long time and what they did not love?

(Presentation, slide number 19.)

Reflection students.

Luka is a rather subtle psychologist, a tireless observer, an optimist. His advice was not implemented, not because they were bad, but because the inhabitants of the rooming house lacked the energy and will to put them into practice. But the souls of the inhabitants of the rooming house were agitated by the wanderer, their minds began to work more intensively. For example, Vaska Pepel pronounces the words: “I don’t repent ... I don’t believe in conscience ... But I feel one thing: we must live - otherwise! It is better to live! We must live in such a way that I can respect myself ... ”(Presentation, slide No. 20.)
Luke sincerely sympathizes with the victims of life, humiliated and offended people, unselfishly seeks to alleviate their suffering, to help them. He promises dying Anna after death life in paradise, where she will rest from earthly suffering. The old man advises Ash and Natasha to start a new life in the golden country of Siberia. He tells the actor about a free hospital for alcoholics, the address of which he has forgotten, but he will definitely remember, giving this drunk person hope for a return to his former life.
Luka is active and caring.
Luke, a wandering preacher, comforts everyone, promises deliverance from suffering to everyone, says to everyone: “You hope!”, “You believe!” /
Luka is an outstanding personality, he has a lot of life experience and a keen interest in people. He does not believe in anything, but he feels sorry for suffering people, so he says various comforting words to them. His whole philosophy is contained in the saying: "What you believe is what you are."
Luka is cunning, resourceful, dodgy.
Luka is humane, kind, affectionate, gives advice, shows care. However, there is a lot of contradictory, incomprehensible in it.
Luke's humanism is based on passive compassion, which, bringing momentary relief, deepens the gap between a person's dream of happiness and his real hopeless situation. This means that Luke's comforting lie only worsens the situation of the outcasts, leads them into a world of illusions, deprives them of their last strength to fight against social evil, social injustice, because of which Kostylev's rooming houses exist.
Luke's position is the idea of compassion for a person, the idea of "sublime deception", which allows a person to bear the burden of "low truths" encountered on his thorny path. Luke himself formulates his position. Turning to Ash, he says: “... why do you really need it painfully ... think about it, the truth, maybe it will blow up for you.” Then he talks about the "righteous land." Luka doesn't believe in her, he knows she doesn't exist. Luke is ready to welcome any idea, if it is capable of comforting a person, alleviating his suffering even for a minute. He does not think about the consequences of a lie that will sooner or later be revealed. In an effort to protect a person, Luke at the same time does not believe in him, for him all people are insignificant, weak, pitiful, in need of consolation.
The main feature of Luke's ideology is the feature of slavery. The philosophy of patience has something in common with the philosophy of oppression, the point of view of the slave - with the point of view of the master. Gorky puts this thought into the mouth of Satin: “Those who are weak in soul and who live on other people's juices need a lie ... It supports some, others hide behind it ... And who is his own master, who is independent and does not take someone else's - why should he lie?"

Eighth learning situation - intellectually transformative, reflective

We invite you to watch a scene from act 4 prepared by our students. (From the beginning of act 4 to the words: “Truth is the god of a free man!”).

Students.

The writer does not accept a naive belief in a miracle. It reveals the universal significance (even for the outcasts) and the elusiveness of genuine spiritual values. The combination of the eternal and the momentary, the stability and precariousness of habitual ideas, a small stage space (dirty rooming house) and reflections on the big world of humanity allowed the writer to embody complex life problems in an everyday situation.
In the mouth of Satin, the author puts his point of view of “improving the spirit”: “Man is the truth!”, “Everything is in a person, everything is for a person! Only man exists, everything else is the work of his hands and his brain! Human! It's great! That sounds…proud! Human! You have to respect the person! Don’t feel sorry… don’t humiliate him with pity… you have to respect!”
In the text of the drama, we find aphorisms that carry an ethical charge, help to assess the sincerity or falsity of the characters’ replicas, understand the reasons that caused it, make one penetrate into the connection between the word and character in a dramatic work, cause reflections on oneself living here and now: “Man - can teach goodness ... very simply!
The writer idealizes not tramps, insulted and humiliated by failures in life, but a proud freedom-loving force.
The play by M. Gorky is an innovative literary work. In the center of it is not only human destinies, but a clash of ideas, a dispute about a person, about the meaning of life, about truth. (Presentation, slide number 21.)

Ninth learning situation - learning and cognitive

The tenth learning situation "Lesson Outcomes" - reflexive

What influence did the research work on the topic of the lesson have on you?

Reflection students.

Reading the text of the play, commenting on it, talking about the characters, we identify the most important features of the socio-philosophical drama. The characters talk and argue a lot. Their conversations are the subject of the image in the play. The clash of ideas, life views, the struggle of worldviews determine the main conflict of the play.
People of the "bottom" are not villains, not monsters, not scoundrels. They are the same people as we are, only they live in different conditions. This amazed the first audience of the play and shocks new readers.
Gorky himself saw in the play a “signal for an uprising” and wrote that “this signal can be heard in the words of Satin, in his assessment of a person.” With an unusual stage fate, with the persistent popularity of the play on the stages of the world, it has caused and still causes a huge number of the most contradictory interpretations.
Gorky the thinker continues the debate about humanism, about those "truths" that exclude each other. He is our contemporary, a fighter for a person who strives for happiness, who believes in the future.
Gorky sincerely believes in Man, in the noble qualities of his soul, in happiness.

No wonder he said: "An excellent position is to be a man on earth." But there is not, and cannot be, happiness as long as a person is not free, as long as injustice reigns at every step. Man is worthy of happiness and freedom because he is a Man. This is Gorky's humanism. (Presentation, slide number 22.)

Maxim Gorky awakens in us the idea of what to be in the world of people. Finishing the lesson, we do not put an end to it, but continue our live work on ourselves.

Various opinions were voiced today about Luke, about his position in life, about his worldview. Discussing this character, we touched on many issues that go beyond the scope of a literary work, literary criticism in general.

When we see a beggar, a ragged person on the street, we often don’t think about the fact that in front of us is a person who has lost faith in himself and in people (there is no one on earth who would want to support this faith), we pass by and answer a request for help contemptuous, condemning look. But after all, this is either an old man whom we did not protect, or a child whom no one warmed up, or an adult who found himself in a difficult life situation. Shall we not pity the destitute, as Luke does? Do not we remember the words of Sateen: "We must respect the person!". The main thing: do not pass by, help the person! (Presentation, slide number 23.)

Be merciful! (Presentation, slide number 24.)

Grading.

Homework. (Presentation, slide number 25.)

1) Make a sample of the characters' statements on the questions: