Taking advantage of the amnesty, he returned to St. Petersburg in 1913 and collaborated with the Bolshevik newspapers “Zvezda” and “Pravda.” In 1915 he founded the journal “Letopis”, headed the literary department of the magazine, uniting around him such writers as V. Shishkov, M. Prishvin, K. Trenev, F. Gladkov. The last two would become influential Soviet writers.
1912-1916 - A. M. Gorky creates a series of stories and essays that made up the collection “Across Rus'”, autobiographical stories “”, “In People”. The last part of the trilogy, “My Universities,” was written in 1923.
When it began, Gorky acted as its decisive opponent. Gorky pinned all his hopes on the revolution, which should “turn yesterday’s slave into a person.”
1917 – 1921
After the February Revolution, Gorky participated in the publication of the newspaper “New Life,” which was the organ of the Social Democrats, where he published articles under the general title “Untimely Thoughts.” In these articles he expressed concerns about lack of preparedness October Revolution, was afraid that “the dictatorship of the proletariat would lead to the death of politically educated Bolshevik workers...”, that is, that layer that Gorky considered the most valuable in Russian life. Gorky criticizes the “methods” of the Bolsheviks and condemns their attitude towards the old intelligentsia. Gorky is afraid of undermining faith in socialism, he is afraid that the revolution does not bear signs of the spiritual rebirth of man. The bitter spirit of this period is full of despair, contradictions, indignation, pain, joy - and the belief that “in the end, reason wins.”
Gorky categorically did not accept the October Revolution, called Lenin a cold-blooded magician who was conducting a cruel social experiment on the skin of the proletariat, doomed to failure in advance, and noted with disappointment that instead of the “spiritual rebirth of man,” the revolution brought to the surface the darkest instincts of the people. He still placed all his hopes on the worker - the “aristocrat of democracy”, who embodied his mind and will, and was still afraid of the Russian peasant. , terror, robbery and persecution of the intelligentsia (“They are tearing the head off the working class!”) - all this disappointed Gorky in the Russian revolution.
Soon Gorky began to actively participate in the construction new culture: helped organize the First Workers' and Peasants' University, Bolshoi drama theater in St. Petersburg, created the publishing house “World Literature”. During the years of the civil war, famine and devastation, he showed concern for the Russian intelligentsia, when many scientists, writers and artists were saved by him from death by starvation.
1921 - A. M. Gorky’s departure abroad.
A. M. Gorky was forced to leave due to worsening ideological differences with the established government.
From 1924 the writer lived in Italy, in Sorrento. After the death of the leader of the Russian revolution, he published memoirs about Lenin, which gained enormous popularity in the Soviet Union.
Gorky begins work on the book “The Life of Klim Samgin,” which he continued to write until the end of his life.
Return to the USSR
In 1928, at the invitation of the Soviet government and Stalin personally, Gorky made a trip around the country, during which he was shown the achievements of the USSR, which were reflected in the series of essays “Around the Soviet Union.” In June 1929, M. Gorky visited the Solovetsky concentration camp, where many intellectuals were collected, who were there only for their personal beliefs. He was allowed to visit all parts of the island and talk with any of the prisoners. He listened to many complaints and requests, sympathized, promised to help, but when he arrived, he did not help anyone and, moreover, wrote an article in Izvestia praising the system of Bolshevik slavery.
In 1932 Gorky returns to Soviet Union. Here he receives Stalin’s order - to prepare the 1st Congress Soviet writers, and to do this, carry out preparatory work among them. Gorky created many newspapers and magazines: the Academ publishing house
Alexey Maksimovich Peshkov (better known as literary pseudonym Maxim Gorky, March 16 (28), 1868 – June 18, 1936) - Russian and Soviet writer, public figure, founder of the style of socialist realism.
Childhood and youth of Maxim Gorky
Gorky was born in Nizhny Novgorod. His father, Maxim Peshkov, who died in 1871, in the last years of his life worked as the manager of the Astrakhan shipping office of Kolchin. When Alexei was 11 years old, his mother also died. The boy was then brought up in the house of his maternal grandfather, Kashirin, a bankrupt owner of a dyeing workshop. The stingy grandfather early forced young Alyosha to “go among the people,” that is, to earn money on his own. He had to work as a store delivery boy, a baker, and wash dishes in a cafeteria. These early years Gorky later described his life in “Childhood,” the first part of his autobiographical trilogy. In 1884, Alexey unsuccessfully tried to enter Kazan University.
Gorky's grandmother, unlike his grandfather, was a kind and religious woman and an excellent storyteller. Alexey Maksimovich himself associated his suicide attempt in December 1887 with difficult feelings about his grandmother’s death. Gorky shot himself, but remained alive: the bullet missed his heart. She, however, seriously damaged her lung, and the writer suffered from respiratory weakness all his life.
In 1888, Gorky was briefly arrested for his connection with the Marxist circle of N. Fedoseev. In the spring of 1891 he set off to wander around Russia and reached the Caucasus. Expanding his knowledge through self-education, getting temporary work either as a loader or a night watchman, Gorky accumulated impressions, which he later used to write his first stories. He called this period of his life “My Universities.”
In 1892, 24-year-old Gorky returned to his native place and began to collaborate as a journalist in several provincial publications. Alexey Maksimovich initially wrote under the pseudonym Yehudiel Chlamys (which, translated from Hebrew and Greek, gives some associations with “cloak and dagger”), but soon came up with another one - Maxim Gorky, hinting at “bitter” Russian life, and the desire to write only the “bitter truth.” He first used the name “Gorky” in correspondence for the Tiflis newspaper “Caucasus”.
Maxim Gorky. Video
Gorky's literary debut and his first steps in politics
In 1892, Maxim Gorky’s first story “Makar Chudra” appeared. It was followed by “Chelkash”, “Old Woman Izergil” (see summary and full text), “Song of the Falcon” (1895), “ Former people"(1897), etc. All of them were not distinguished not so much by great artistic merit as by exaggerated pompous pathos, but they successfully coincided with new Russian political trends. Until the mid-1890s, the left-wing Russian intelligentsia worshiped the Narodniks, who idealized the peasantry. But from the second half of this decade, Marxism began to gain increasing popularity in radical circles. Marxists proclaimed that the dawn of a bright future would be ignited by the proletariat and the poor. Lumpen tramps were the main characters of Maxim Gorky's stories. Society began to vigorously applaud them as a new fictional fashion.
In 1898, Gorky's first collection, Essays and Stories, was published. He was a resounding (albeit completely inexplicable in terms of literary talent) success. Gorky's public and creative career took off sharply. He depicted the life of beggars from the very bottom of society (“tramps”), with strong exaggerations depicting their difficulties and humiliations, intensely introducing feigned pathos of “humanity” into his stories. Maxim Gorky gained a reputation as the only literary exponent of the interests of the working class, a defender of the idea of a radical social, political and cultural transformation of Russia. His work was praised by intellectuals and “conscious” workers. Gorky struck up close acquaintances with Chekhov and Tolstoy, although their attitude towards him was not always clear.
Gorky acted as a staunch supporter of Marxist social democracy, openly hostile to “tsarism.” In 1901, he wrote “Song of the Petrel,” an open call for revolution. For drawing up a proclamation calling for a “fight against the autocracy,” he was arrested that same year and expelled from Nizhny Novgorod. Maxim Gorky became a close friend of many revolutionaries, including Lenin, whom he first met in 1902. He became even more famous when he exposed secret police officer Matvey Golovinsky as the author of the Protocols of the Elders of Zion. Golovinsky then had to leave Russia. When Gorky's election (1902) to a member of the Imperial Academy in the category of belles-lettres was annulled by the government, academicians A.P. Chekhov and V.G. Korolenko also resigned as a sign of solidarity.
Maxim Gorky
In 1900-1905 Gorky's work became more and more optimistic. Of his works from this period of his life, several plays that are closely related to public issues. The most famous of them is “At the Bottom” (see its full text and summary). Staged, not without censorship difficulties, in Moscow (1902), it was a great success and was later performed throughout Europe and the United States. Maxim Gorky became increasingly close to the political opposition. During the revolution of 1905 he was imprisoned in St. Petersburg Peter and Paul Fortress for the play "Children of the Sun", which was formally about the cholera epidemic of 1862, but clearly alluded to current events. Gorky’s “official” companion in 1904-1921 was the former actress Maria Andreeva - a long-time Bolshevik, who became the director of theaters after the October Revolution.
Having become rich thanks to his writing, Maxim Gorky provided financial support to the Russian Social Democratic Labor Party ( RSDLP), while supporting liberal calls for civic and social reform. The death of many people during the demonstration on January 9, 1905 (“Bloody Sunday”) apparently gave impetus to Gorky’s even greater radicalization. Without openly aligning himself with the Bolsheviks and Lenin, he agreed with them on most issues. During the December armed rebellion in Moscow in 1905, the headquarters of the rebels was located in the apartment of Maxim Gorky, not far from Moscow University. At the end of the uprising, the writer left for St. Petersburg. A meeting of the Central Committee of the RSDLP, chaired by Lenin, took place at his apartment in this city, which decided to stop the armed struggle for now. A.I. Solzhenitsyn writes (“March of the Seventeenth,” ch. 171) that Gorky “in 1905, in his Moscow apartment during the days of the uprising, kept thirteen Georgian vigilantes, and he made bombs.”
Fearing arrest, Alexey Maksimovich fled to Finland, from where he left for Western Europe. From Europe he traveled to the United States to raise funds in support of the Bolshevik Party. It was during this trip that Gorky began to write his famous novel"Mother", which was first released on English in London, and then in Russian (1907). The theme of this is very tendentious work– joining the revolution of a simple working woman after the arrest of her son. In America, Gorky was initially greeted with open arms. He met Theodore Roosevelt And Mark Twain. However, then the American press began to be outraged by the high-profile political actions of Maxim Gorky: he sent a telegram of support to the union leaders Haywood and Moyer, who was accused of murdering the governor of Idaho. The newspapers also did not like the fact that the writer was accompanied on the trip not by his wife Ekaterina Peshkova, but by his mistress, Maria Andreeva. Strongly wounded by all this, Gorky began to condemn the “bourgeois spirit” in his work even more vehemently.
Gorky in Capri
Having returned from America, Maxim Gorky decided not to return to Russia yet, because he could be arrested there for his connection with the Moscow uprising. From 1906 to 1913 he lived on the Italian island of Capri. From there, Alexey Maksimovich continued to support the Russian left, especially the Bolsheviks; he wrote novels and essays. Together with Bolshevik emigrants Alexander Bogdanov and A. V. Lunacharsky Gorky created an intricate philosophical system called " god-building" She claimed to develop from revolutionary myths a “socialist spirituality”, with the help of which humanity, enriched with strong passions and new moral values, could get rid of evil, suffering and even death. Although these philosophical quests were rejected by Lenin, Maxim Gorky continued to believe that “culture,” that is, moral and spiritual values, was more important to the success of the revolution than political and economic measures. This theme lies at the heart of his novel Confession (1908).
Return of Gorky to Russia (1913-1921)
Taking advantage of the amnesty given for the 300th anniversary Romanov dynasty, Gorky returned to Russia in 1913 and continued his active social and literary activities. During this period of his life, he guided young writers from the people and wrote the first two parts of his autobiographical trilogy - “Childhood” (1914) and “In People” (1915-1916).
In 1915 Gorky, together with a number of other prominent Russian writers participated in the publication of the journalistic collection “Shield”, the purpose of which was to protect Jewry allegedly oppressed in Russia. Speaking at the Progressive Circle at the end of 1916, Gorky, “dedicated his two-hour speech to all sorts of spitting on the entire Russian people and exorbitant praise of Jewry,” says progressive Duma member Mansyrev, one of the founders of the Circle.” (See A. Solzhenitsyn. Two hundred years together. Chapter 11.)
During First World War his St. Petersburg apartment again served as a meeting place for the Bolsheviks, but in the revolutionary year of 1917 his relations with them worsened. Two weeks after the October Revolution of 1917, Maxim Gorky wrote:
However, as the Bolshevik regime strengthened, Maxim Gorky became more and more depressed and increasingly refrained from criticism. On August 31, 1918, having learned about the assassination attempt on Lenin, Gorky and Maria Andreeva sent a joint telegram to him: “We are terribly upset, we are worried. We sincerely wish you a speedy recovery, be of good spirits.” Alexey Maksimovich achieved a personal meeting with Lenin, which he described as follows: “I realized that I was mistaken, went to Ilyich and openly admitted my mistake.” Together with a number of other writers who joined the Bolsheviks, Gorky created the World Literature publishing house under the People's Commissariat of Education. It planned to publish the best classical works, however, in an environment of terrible devastation, almost nothing could be done. Gorky, however, began a love affair with one of the employees of the new publishing house, Maria Benckendorf. It continued for many years.
Gorky's second stay in Italy (1921-1932)
In August 1921, Gorky, despite a personal appeal to Lenin, could not save his friend, the poet Nikolai Gumilyov, from execution by the security officers. In October of the same year, the writer left Bolshevik Russia and lived in German resorts, completing there the third part of his autobiography, “My Universities” (1923). He then returned to Italy "for treatment of tuberculosis." While living in Sorrento (1924), Gorky maintained contacts with his homeland. After 1928, Alexey Maksimovich came to the Soviet Union several times until he accepted Stalin’s offer to finally return to his homeland (October 1932). According to some literary scholars, the reason for the return was the writer’s political convictions, his long-standing sympathies for the Bolsheviks, however, there is a more reasonable opinion that main role Gorky’s desire to get rid of debts incurred while living abroad played a role here.
The last years of Gorky's life (1932-1936)
Even while visiting the USSR in 1929, Maxim Gorky made a trip to the Solovetsky special purpose camp and wrote a laudatory article about Soviet punitive system, although I received detailed information from camp inmates on Solovki about the terrible cruelties that were happening there. This case is in “The Gulag Archipelago” by A. I. Solzhenitsyn. In the West, Gorky's article about the Solovetsky camp aroused stormy criticism, and he began to bashfully explain that he was under pressure from Soviet censors. The writer's departure from fascist Italy and return to the USSR was widely used by communist propaganda. Shortly before his arrival in Moscow, Gorky published (March 1932) in Soviet newspapers an article “Who are you with, masters of culture?” Designed in the style of Lenin-Stalin propaganda, it called on writers, artists and performers to put their creativity at the service of the communist movement.
Upon returning to the USSR, Alexei Maksimovich received the Order of Lenin (1933) and was elected head of the Union of Soviet Writers (1934). The government provided him with a luxurious mansion in Moscow, which belonged to millionaire Nikolai Ryabushinsky before the revolution (now the Gorky Museum), as well as a fashionable dacha in the Moscow region. During demonstrations, Gorky climbed to the podium of the mausoleum along with Stalin. One of the main Moscow streets, Tverskaya, was renamed in honor of the writer, as well as his hometown, Nizhny Novgorod (which regained its historical name only in 1991, with the collapse of the Soviet Union). The largest aircraft in the world, the ANT-20, which was built by Tupolev's bureau in the mid-1930s, was named "Maxim Gorky". There are numerous photographs of the writer with members of the Soviet government. All these honors came at a price. Gorky put his creativity at the service of Stalinist propaganda. In 1934, he co-edited a book that celebrated the slave labor built White Sea-Baltic Canal and convinced that in the Soviet “correctional” camps a successful “reforging” of the former “enemies of the proletariat” was taking place.
Maxim Gorky on the podium of the mausoleum. Nearby are Kaganovich, Voroshilov and Stalin
There is, however, information that all this lie cost Gorky considerable mental anguish. The higher-ups knew about the writer’s hesitations. After the murder Kirov in December 1934 and the gradual deployment of the “Great Terror” by Stalin, Gorky actually found himself under house arrest in his luxurious mansion. In May 1934, his 36-year-old son Maxim Peshkov unexpectedly died, and on June 18, 1936, Gorky himself died of pneumonia. Stalin, who carried the writer’s coffin with Molotov during his funeral, said that Gorky was poisoned by “enemies of the people.” Charges of poisoning were brought against prominent participants in the Moscow trials of 1936-1938. and were considered proven there. Former head OGPU And NKVD, Genrikh Yagoda, admitted that he organized the murder of Maxim Gorky on the orders of Trotsky.
Joseph Stalin and Writers. Maxim Gorky
Gorky's cremated ashes were buried near the Kremlin wall. The writer’s brain had previously been removed from his body and sent “for study” to a Moscow research institute.
Evaluation of Gorky's work
IN Soviet times, before and after the death of Maxim Gorky, government propaganda diligently obscured his ideological and creative wanderings, ambiguous relations with the leaders of Bolshevism at different periods of his life. The Kremlin presented him as the largest Russian writer of his time, a native of the people, true friend Communist Party and father " socialist realism" Statues and portraits of Gorky were distributed throughout the country. Russian dissidents saw Gorky's work as the embodiment of a slippery compromise. In the West, they emphasized the constant fluctuations in his views on the Soviet system, recalling Gorky’s repeated criticism of the Bolshevik regime.
Gorky saw literature not so much as a way of artistic and aesthetic self-expression, but as a moral and political activity with the goal of changing the world. Being the author of novels, short stories, autobiographical essays and plays, Alexey Maksimovich also wrote many treatises and reflections: articles, essays, memoirs about politicians (for example, Lenin), about people of art (Tolstoy, Chekhov, etc.).
Gorky himself argued that the center of his work was a deep belief in the value human personality, a celebration of human dignity and resilience in the midst of life's hardships. The writer saw in himself a “restless soul” that strives to find a way out of the contradictions of hope and skepticism, love of life and disgust at the petty vulgarity of others. However, both the style of Maxim Gorky’s books and the details of his public biography they convince: these claims were mostly feigned.
Gorky's life and work reflected the tragedy and confusion of his extremely ambiguous time, when the promises of a complete revolutionary transformation of the world only masked the selfish thirst for power and bestial cruelty. It has long been recognized that from a purely literary point of view, most of Gorky’s works are rather weak. Best quality His autobiographical stories are distinguished, where a realistic and picturesque picture of Russian life is given late XIX century.
1. General characteristics early creativity.
2. The main themes of the period.
3. The theme of human freedom using the example of M. Gorky’s stories “Makar Chudra” and “Old Woman Izergil”.
4. Two principles in the worldview of M. Gorky.
5. “People of the bottom” in the writer’s work.
6. Landscape as a way of displaying harsh reality.
I came into the world to disagree.
V. G. Korolenko
On turn of XIX-XX centuries, the name of M. Gorky has become popular not only in our country, in Russia, but also abroad. His fame was equal to such literary geniuses as A. P. Chekhov, L. N. Tolstoy, V. G. Korolenko. The writer tried to attract the attention of readers, writers, critics and public figures on the philosophical and aesthetic problems of life. It was these views of M. Gorky that were reflected in his early works.
Start creative path M. Gorky coincided with that period of time when man himself, in essence, completely devalued, was constantly humiliated, and simply became a “slave of things.” This situation and understanding of man forced the writer in all his works to constantly and persistently search for those forces that could liberate the people.) For the first time, the reader saw M. Gorky’s story “Makar Chudra” in 1892, which was published in the newspaper “Caucasus”. Then his works began to appear in other printed publications: Kazan newspaper “Volzhsky Vestnik”, Nizhny Novgorod newspaper “Volgar”. In 1895, M. Gorky wrote the following famous works, like “Chelkash”, “Old Woman Izergil”, “Song of the Falcon”. In 1897, the writer already collaborated with the capital’s newspapers “Russian Thought”, “Novoe Slovo”, “Severny Vestnik”.
In the early poems of M. Gorky, their artistic imperfection is immediately noticeable, but from the very beginning literary activity the writer showed himself as an innovator, as a person striving to “intervene in life.” In the poem “Beat!”, which was written in 1892 and published only in 1963, the writer calls for a fight against darkness, for militant activity.
Let hell burn in my blood
And the heart cries angrily [in it!]
Empty! Still live
And if your hands can, strike!
Beat the darkness that shackles everything around.
The writer addresses a new reader from a people “inquisitive and greedy for life.” He belongs to those people who are dissatisfied with their contemporary reality, existing injustice and are trying in every possible way to change their lives. Thus, the main themes of M. Gorky’s early work become the theme of the relationship between good and evil, strength and weakness, freedom and necessity.
The leading theme of the writer is the theme of resistance to reality. It is revealed through the images of many heroes who oppose reality and do not obey general rules, strive to find the truth and gain freedom. These were the heroes of M. Gorky’s brilliant works “Makar Chudra” and “Old Woman Izergil”.
In the story “Makar Chudra,” the hero, an old gypsy, denies the foundations of that life that dooms a person to a slave existence. This hero is a brave man, striving for freedom and changing life for the better.
In “Old Woman Izergil” this same theme of freedom becomes more complex. There are already two paths to freedom shown here. Danko gives himself completely to people, he strives to make them free. The hero dies having warmed others with his heart; it is this great love for people that can work miracles. Such a manifestation of a strong personality in the writer’s work is visible in many of his heroes, for example, Falcon (“Song of the Falcon,” 1895), Burevestnik (“Song of the Burevestnik,” 1901).
But if the path to gaining freedom is chosen incorrectly, then this can lead to completely the opposite result. In the image of Larra the half-man (the son of an eagle and an earthly woman), M. Gorky shows the highest degree of human pride and love of freedom. He “wanted to have everything and keep himself whole” by committing a crime - the murder of a girl, for which he was expelled from society. It would seem that Larra has acquired the long-awaited freedom, but freedom at the cost of other people’s misfortune brings only loneliness, melancholy and emptiness: “At first the young man laughed after the people... he laughed, remaining alone, free, like his father. But his father was not a man. And this one was a man.” And in the end there is nothing left of Lara, only melancholy. The sage was right when he said that “the punishment is in himself.”
M. Gorky’s worldview itself can be divided into two principles, which develop in the individual himself. The first is the desire to understand the truth of life, although sometimes it is cruel and unfair. The second principle is the desire to escape from this truth and escape from it into some romantic, saving dreams. For the writer, these two positions are expressed in the clash of the different characters of the heroes, and they are absolutely opposite in relation to each other. Such contrasting heroes include Lara and Danko, Snake and Falcon, Gavril and Chelkash. It is in the dialogue between two such different heroes that the inconsistency of the world itself is revealed. The search for truth is complicated by the fact that, on the one hand, the heroes always strive to be truthful, both to themselves and to life itself. But on the other hand, they see how difficult it is for many people to hear and perceive the truth. So in the play “At the Bottom” there is not one hero who would proclaim the truth. Here she is born from the many voices of heroes: Luke, Mite, Satin, Ash.
The theme of “former people” occupies an important place in the work of M. Gorky. These are people who belong to the very bottom of society, and at the same time they have truly high aesthetic qualities. This is Chelkash in the story of the same name from 1895. This character is distinguished by his humanity, open soul and independence. According to M. Gorky, tramps are “extraordinary people” for him. The writer saw that they live much worse " ordinary people“, but at the same time they feel much better than them, since they are not greedy, do not strangle each other and are not engaged only in accumulating money.
In his early works, to reveal the general color, emotional tension and strong-willed characters of the characters, the writer uses the technique of describing the landscape. Almost every work of M. Gorky contains: the splash of waves, the sound of the wind, the rustling of bushes and trees, the rustling of leaves. Such epithets help the reader understand all the diversity of our world, all its colors. IN early work It is difficult for a writer to draw the line between reality and fiction. M. Gorky on the pages of his books creates a certain art world which is unique to him. The reader is constantly faced with images of the elements (a raging sea, steep cliffs, a dormant forest), then with animals personifying man (Falcon, Petrel), and most importantly with heroic people acting at the call of the heart (Danko). All this was the innovation of M. Gorky - the creation of a new, strong and strong-willed personality.
Introduction
1. A word about the writer.
2Features of Gorky’s early work.
3. The story “Old Woman Izergil” - awareness of a person’s personality:
a) “ethereal cloud” of human life;
b) burning heart;
c) the origins of fame and infamy;
d) Izergil is a romantic ideal of freedom.
Conclusion
Introduction
Maxim Gorky entered literature during a period of spiritual crisis that struck Russian society at the turn of the century. Dreams of harmony between man and society that inspired writers of the 19th century centuries, remained unrealized; Social and interstate contradictions are aggravated to the limit, threatening to be resolved by world war and a revolutionary explosion. Lack of faith, despondency, and apathy have become the norm for some, while for others it has become an impetus to search for a way out. Gorky noted that he began to write “due to the force of pressure... from a painfully poor life,” to which he sought to contrast his idea of a person, his ideal.
The early work of M. Gorky (90s of the 19th century - the first half of the 1900s) goes under the sign of “collecting” the truly human: “I recognized people very early and, even in my youth, began to invent Man in order to satiate my thirst for beauty. Wise people... convinced me that I had invented a bad consolation for myself. Then I went to people again and - it’s so clear! “I am returning from them to Man again,” Gorky wrote at that time. Gorky's stories of the 90s can be divided into two groups. Some of them are based on fiction: the author uses legends or invents them himself. Others draw characters and scenes from real life tramps (“Chelkash”, “Emelyan Pilyai”, “Once Upon a Time in Autumn”, “Twenty Six and One”, etc.). The heroes of all these stories have a romantic attitude.
The hero of Gorky’s first story, “Makar Chudra,” reproaches people for their slave psychology. In this romantic narrative, slave people are contrasted with the freedom-loving natures of Loiko Zobar and the beautiful Rada. The thirst for personal freedom is so strong for them that they even look at love as a chain that fetters their independence. Loiko and Rada surpass everyone around them with their spiritual beauty and power of passion, which leads to a tense conflict that ends in the death of the heroes. The story “Makar Chudra” affirms the ideal of personal freedom.
The story “Old Woman Izergil” is one of the masterpieces of M. Gorky’s early work. The writer here is not interested in the manifestation of the individual character of the hero, but in the generalized concept of humanity in the individual.
In Gorky's early romantic works, a concept of personality is formed, which will be developed in the writer's later works.
1. A word about the writer
Alexey Maksimovich Peshkov (M. Gorky - pseudonym) was born in Nizhny Novgorod on March 16 (28), 1868. His father, a cabinetmaker who became the manager of a shipping office in Astrakhan, died early of cholera (1871). Mother, daughter of the owner of the dyeing workshop V.I. Kashirina, remarried, but soon died of consumption (1879). The boy lived in his grandfather’s house, where there were quarrels and litigation over the division of property between his mother’s brothers. It was very difficult for a child to be among them. He was saved by his active, gifted spirit and the love of his grandmother. At the age of six, Alyosha, under the guidance of his grandfather, mastered Church Slavonic literacy, then the civil seal. He studied for two years at a suburban school, passed the 3rd grade as an external student, and received a certificate of merit. By that time, the grandfather had gone bankrupt and gave his grandson “to the people.” Peshkov worked as a delivery boy in a fashion store, as a servant for a draftsman-contractor and Sergeev, as a cook on ships, as a student in a foreign-painting workshop, as a foreman at fair buildings, and as an extra in the theater. And he read a lot greedily, at first “everything that came to hand,” later he discovered the rich world of Russian literary classics, books on art and philosophy.
In the summer of 1884 he went to Kazan, dreaming of studying at the university. But he was forced to earn a living as a day laborer, laborer, loader, and baker's assistant. In Kazan, he met students, attended their meetings, became close to the populist-minded intelligentsia, read forbidden literature, and attended self-education circles. The hardships of life, perception of repression against students, personal love drama led to a mental crisis and attempted suicide. In the summer of 1888, Peshkov left with the populist M.A. Romas to the village of Krasnovidovo to promote revolutionary ideas among the peasantry. After the destruction of Romasya's bookstore, the young man went to the Caspian Sea and worked there in the fishing industry.
What we experienced over all these years gave rise to later autobiographical prose M. Gorky; He named the stories about the first three periods of his life according to their content: “Childhood”, “In People”, “My Universities” (1913–1923).
After staying in the Caspian Sea, “walking around Rus'” began. Peshkov traveled on foot, earning his living from the middle and southern regions of Russia. In between his travels, he lived in Nizhny Novgorod (1889–1891), doing various menial jobs, then was a clerk for a lawyer; participated in revolutionary conspiracy activities, for which he was first arrested (1889). In Nizhny I met V. G. Korolenko, who supported the creative endeavors of “this nugget with undoubted literary talent.”
2. Romantic ideas in the early works of M. Gorky
A special group in the writer’s work of the 1890s consists of romantic works(“Makar Chudra”, “Old Woman Izergil”, “About the Little Fairy and the Young Shepherd”, “Song of the Falcon”, “Mute”, “Khan and His Son”, etc.). The writer gives a new breath to this literary direction(romanticism), which had lost its influence by the middle of the 19th century.
What made Gorky turn to romanticism? Already in the writer’s early, creatively immature poem, the words sound: “I came into the world to disagree.” These words can serve as an epigraph to Gorky’s entire work. There is a motive for disagreement with the reality in which “lead abominations” reign social injustice, the oppression of some people by others, cruelty, violence, poverty, is leading. Gorky dreams of a strong, independent, free person, “with the sun in his blood.” But in real life and even in contemporary writer there were no such people in literature, so the writer directly stated, “...that the luxurious mirror of Russian literature for some reason did not reflect the outbursts of popular anger...” and accused literature of not looking for “heroes, it loved to talk about people who are strong only in patience, meek, soft, dreaming of paradise in heaven, silently suffering on earth.” This position was unacceptable for a maximalist writer. Therefore, Gorky turned to romanticism, which allowed him to portray a hero-activist. Gorky's romantic works are imbued with the pathos of life affirmation and faith in man.
The following features are characteristic of Gorky’s romantic works:
hero type– the hero stands out sharply from the environment (remember formula of romanticism : "an exceptional hero in exceptional circumstances") he is rejected, lonely, opposed to the world of everyday reality (cf. Falcon - Already), abstractly beautiful (Gorky’s heroes are not endowed with detailed portraits and psychological characteristics), proud, independent; this hero is ready to argue with fate itself, defending his right to freedom (and this main value, for which it is worth going to death);
Traditional choice themes of love of freedom(personal freedom), poeticization of freedom (the conflict “mind-feeling” is transformed in Gorky’s works into the conflict “feeling-freedom” (“Makar Chudra”); the author uses images-symbols, traditional in the works of romantics - sea, steppe, sky, wind, falcon (petrel));
The heroes do not act in the real world, but in a fictional world(the writer refers to a legend, a fairy tale, were - folklore material);
Plays a special role scenery, acting simultaneously as both the background and the hero of the story (the legend of Danko, “Old Woman Izergil”);
Use of special figurative means: hyperbole(in the description of feelings, thoughts, actions, portrait), epithets, metaphors, comparisons, personifications, highly solemn vocabulary(which makes prose similar to poetry);
Common framing composition(story within a story). This narrative composition is subordinated to one goal: to recreate the image of the main character as completely as possible.
In addition to the narrator (old woman Izergil, Makar Chudra), image of a “passer”, a listener(image of the narrator). This image does not manifest itself directly, but is necessary to express the author’s position.
The romantic hero is conceived as a destroyer of the sleepy existence of the majority. It is said about the gypsy Loiko Zobar (“Makar Chudra”): “With such a person you yourself become better...” In the bloody drama that unfolded between him and Radda, there is also a rejection of the ordinary human destiny. In the Wallachian fairy tale “About the Little Fairy and the Young Shepherd” (1892), the young shepherd dreams of “going somewhere far, far away, where there would be nothing that he knew...”, and the fairy Maya can only live in her native forest. The heroine of “The Girl and Death” (early 90s, published in 1917) carries in her heart “unearthly power” and “unearthly light.” Everywhere, boring everyday life is countered by rare energy of spiritual impulses. Chudra concludes his tale this way: “...go your own way, without turning to the side. Straight ahead and go. Maybe you won’t lose your life in vain.”
Having glorified a bright personality following his own path, Gorky turned to acute mental conflicts legendary heroes. In a number of romantic stories “Old Woman Izergil”, “Song of the Falcon” » (1895–1899), "Khan and His Son" (1896), "Mute » (1896) reflects a heterogeneous clash, often tragic, between a dream, spiritualized feeling, attraction to the Beautiful and fear of life, dull indifference to beauty.
3 The story “Old Woman Izergil” - awareness of a person’s personality
The story was published in 1894 in the Samara Gazeta, where Gorky received a position as a permanent employee. Ideologically and thematically, this work is close to the story “Makar Chudra”. Firstly, the writer here complicated the composition. He used double frame. The first “frame” is traditionally seascape, mysterious and fantastic. The image stands out against its background main character- the old gypsy Izergil, who tells a random listener (the image of the narrator) the story of her life. The image of the old woman is endowed with the same qualities as the image of Makar Chudra in the story of the same name. She is characterized by uncompromisingness, the desire for personal freedom, admiration strong personalities. And the legends inserted into her story (the first is about the proud Larra, the second about Danko), in addition to serving as a second “frame,” also allow us to better understand and comprehend life position main character. These legends tell about events of bygone days, and the heroes are exponents of two opposing points of view (antithesis) on the problem of the meaning of life.
Condemnation of individualism and affirmation of heroic deeds in the name of freedom and happiness of the people - this is the idea of the story “Old Woman Izergil”.
The story is structured in a unique way: with an internal unity of idea and tone, it consists of three, as it were, independent parts. The first part is the legend of Larra, the second is Izergil’s story about his youth, the third is the legend of Danko. At the same time, the first and third parts - the legends of Larra and Danko - are opposite to each other. Characteristic feature The story lies in the fact that it has two narrators and, accordingly, two narrative plans. The general narration is conducted on behalf of the author, who speaks with his thoughts, reflections, and assessments. In conclusion, he emphasizes the beauty of the tale of Danko. And the second narrator is the old woman Izergil, who keeps in her memory folk legends about heroism, about evil and good in human life.
The people surrounding the old woman Izergil are also depicted as mighty, strong and almost fabulous heroes.
Gorky writes about the Moldovans:
“They walked, sang and laughed; men - bronze, with lush, black mustaches and thick shoulder-length curls, in short jackets and wide trousers; women and girls - cheerful, flexible, with dark blue eyes, also bronze...
These people are not much different in appearance from Loiko Zobar, Radda and Danko. In this way, romantic and heroic features were emphasized in life. They are also given in Izergil’s biography. This was done to highlight important idea: heroic romance does not oppose life, it only expresses in a stronger and more vivid form what is inherent in reality itself.
The first legend tells about "antihero"- the selfish and proud Larre, who, being the son of an eagle and a mortal woman, is filled with contempt for people, their laws, their way of life.
Larra is the embodiment of extreme individualism. He considers himself the first on earth. He does not consider it necessary for himself to obey the laws of the human community, so he easily commits a crime - the murder of the girl who refused him. For this he is rejected human society, expelled from among people. At first he does not feel punished, but living alone makes him ask for death. People refuse him this, and even the earth does not want to accept him into its bosom. So he turns into an eternal wanderer, into a shadow, and he has no shelter or peace anywhere. And the greatest good - life - becomes hopeless torment for him.
The second legend introduces a different hero, Danko. He, just like Larra, is handsome and proud, and also stands out from the crowd of people. But Danko, unlike Larra, heroic personality. All of him short life given to people. Danko leads his people to freedom from a slave life: from the darkness of swampy swamps and dark forests, he leads his desperate fellow tribesmen to the light (read, to another life). There were extraordinary difficulties and insurmountable obstacles along the way. And when, tired of the difficult path, people lost heart, when they began to reproach Danko for his inability to manage them, they hesitated and were ready to turn back, the hero’s heart flared up with the fire of desire to save them. And in order to illuminate the difficult and long path and support the doubting and tired, he tore out his heart from his chest, which, like a torch, was burning with great love and compassion for people, and raised it high above his head.
“It burned so brightly; like the sun, and brighter than the sun, and the whole forest fell silent, illuminated by this torch great love to people, and the darkness scattered from its light and there, deep in the forest, trembling, it fell into the rotten mouth of the swamp. The people, amazed, became like stones.
- Let's go! - Danko shouted and rushed forward to his place, holding his burning heart high and illuminating the path for people with it.”
The idea of selfless love for people, heroic self-sacrifice in the name of the happiness of the people is affirmed by Gorky in the legend of Danko.
So, Larra's freedom – this is an individualistic, egoistic freedom that turns into punishment by loneliness. Freedom Danko – This is altruistic freedom, necessary in the name of selfless service to people.
The legends about Larra and Danko are conditional; they are needed in order to clarify the worldview of the main character and the point of view of the author.
Really, central place What occupies the work is Izergil’s own story about her life. This is a story of meetings and partings, short-lived romances that do not leave a noticeable mark on the heroine’s soul. Talking about her hobbies, the heroine focuses the listener’s attention on herself, on her indomitable thirst for life and love. But none of her lovers are described in detail, even the names of some have already been erased from her memory. They, like shadows, pass in front of the listener: a black-moustached fisherman from the Prut, a fiery red-haired Hutsul, an important Turk, his son, a “little Pole.” But only for the sake of his last lover, Arcadek, Izergil risks his life. Arcadek is a heroic person. He fought for the freedom of the Greeks and was ready to accomplish a feat, “he was ready to go to the ends of the world to do something.” To save him from captivity, Izergil, disguised as a beggar woman, enters the village where her lover and his comrades are languishing in prison. She has to kill the sentry. But having heard false gratitude, Izergil herself rejects her lover. As a result, the rebellious and proud Izergil becomes like all people: she starts a family, raises children, and when she grows old, she tells legends and fairy tales to the young, recalling past, heroic times.
Izergil herself lived a significant and colorful life in her own way. She loved helping good people.
But she lacked what we call ideal. And only Danko embodied the highest understanding of the beauty and greatness of man, sacrificing his life for the happiness of the people. So in the very composition of the story its idea is revealed.
What type of personality is represented in the image of the old woman Izergil? The old woman herself brings her life closer to Danko’s life; it is this hero who is an example for her. Indeed, one can find similar features in her life: the ability to achieve feats in the name of love, life among people. It is she who owns the aphoristic statements: “Beautiful people are always brave”, “In life there is always a place for feat.”
But still The image of the old woman is devoid of integrity; one can notice some contradictions: her feelings are sometimes shallow, superficial, her actions are unpredictable, spontaneous, selfish. These traits bring her closer to Larra. Thus, Izergil’s character is ambiguous and contradictory.
But in addition to the point of view of the heroine herself, the story also expresses point of view of the author-narrator. The narrator occasionally asks questions to the old woman, inquiring about the fate of her lovers. And it is from her answers that it becomes clear that Izergil is not very concerned about their fate. She explains this indifference to people in her own way: “I was happy about it: I never met again with those whom I once loved. These are not good meetings, it’s still as if they were with the dead...” The author does not accept this explanation, and we feel that he is still inclined to consider Izergil’s personality type to be close to Larra’s personality type. Portrait characteristics Izergil, given by the author-narrator, once again emphasizes this similarity: “Time bent her in half, her once black eyes were dull and watery. Her dry voice sounded strange, it crunched, as if the old woman was speaking with bones... Where her cheeks were, there were black pits, and in one of them lay a strand of ash-gray hair... The skin on her face, neck and arms was all cut up with wrinkles... “Such a portrait gives a resemblance to Larra, who “has now become like a shadow.”
So, central image The story is not ideal at all, but rather contradictory. This indicates that the consciousness of the individualist hero is anarchic; his love of freedom can be directed both for good and for evil of people.
In the story “Old Woman Izergil,” Larra, who considered himself “the first on earth,” 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 cattle, no wife, and he didn’t want any of this.” And as the years pass, it turns out that this “son of an eagle and a woman” is devoid of a heart: Larra wanted to stab himself with a knife, but “the knife broke - it was as if someone had hit a stone with it.” The punishment that befell him is terrible and natural - to be a shadow: “He understands neither the speech of people, nor their actions - nothing.” The anti-human essence is recreated in the image of Larra.
Danko cultivated in himself an inexhaustible love for those who “were like animals,” “like wolves,” who surrounded him, “to make it easier for them to capture and kill Danko.” And only one desire possessed him - to oust from their consciousness the darkness, cruelty, fear of the dark forest, from where “something terrible, dark and cold was looking at those walking.” bright feeling Danko was born of deep melancholy at the sight of his fellow tribesmen who had lost their human appearance. And the hero’s heart caught fire and burned to dispel the darkness not only of the forest, but above all of the soul. The final emphasis is sad: the rescued did not notice the “proud heart” that had fallen nearby, and one of them, “afraid of something,” stepped on it with his foot. The gift of selfless compassion seemed not to have been achieved; its highest goal.
The story “Old Woman Izergil” in two legendary parts and the woman’s memories of the lovers of her youth conveys the bitter truth about the dual human race. For centuries, he has united in himself antipodes: handsome men who love, and “old men from birth.” Therefore, the story is permeated with symbolic parallels: light and darkness, sun and swamp cold, fiery heart and stone flesh. The desire to completely overcome base experience remains unfulfilled; people continue to live in two ways.
Conclusion
The legend of Larra, the story of Izergil and the legend of Danko at first glance seem independent, existing independently of each other. Actually this is not true. Each of the three parts of the story expresses general idea and answers the question of what makes a person happy.
People decide to punish the selfish Larra with eternal loneliness. And the greatest good - life - becomes hopeless torment for him.
The old woman Izergil plays a significant role in the story. Fully preserving realistic character image, Gorky at the same time depicts a man of “rebellious life.” Of course, Izergil’s “rebellious life” and Danko’s feat are different phenomena, and Gorky does not identify them. But the image of the narrator enhances the overall romantic flavor of the work.
Izergil speaks with delight about people with a strong will, with powerful and bright characters, capable of feats. She remembers her lover: “...he loved exploits. And when a person loves feats, he always knows how to do them and will find where it is possible. In life, you know, there is always room for exploits.”
Gorky’s very manner of writing in “Old Woman Izergil” also has a romantic character. The writer emphasizes mainly the unusual, sublime and beautiful in both people and nature. When Izergil talks about Larra and Danko, fragments of clouds of “lush, strange shapes and colors” wander across the sky, the sky is decorated with golden specks of stars. “All this - sounds and smells, clouds and people - was strangely beautiful and sad, it seemed like the beginning of a wonderful fairy tale.”
Everything is here means of expression are subordinated not so much to the desire to accurately depict an object or phenomenon, but to create a certain heightened mood. This is served by the abundantly used hyperbole, lyrically colored epithets, and comparisons.
List of sources used
1. Dementyev A., Naumov E., Plotkin L. Russian Soviet literature. Textbook for 10th grade high school. 22nd edition. – M.: Education, 1973.
2. Eremina O. A. Lesson planning in literature. 8th grade for the textbook-reader “Literature. 8th grade: Textbook for general education. institutions. At 2 o'clock / Auto-stat. V. Ya. Korovina and others - M.: Education, 2002": Methodical manual/ O. A. Eremina. – M.: Publishing house “Exam”, 2003. – 256 p.
3. Russian literature of the twentieth century. Textbook for 11th grade general education institutions. At 2 p.m. Part 1 / L.A. Smirnova, A.M. Turkov, V.P. Zhuravlev and others; Comp. E. P. Pronina; Ed. V. P. Zhuravleva. – 2nd ed. – M.: Enlightenment. 1998. – 335 p.
4. Soviet literature: training manual for 6-7 grades. evening (shift) schools, 4th ed. / Compiled by E. V. Kvyatkovsky.
5. Tolkunova T.V., Alieva L.Yu., Babina N.N., Chernenkova O.B. Preparing for the literature exam: Lectures. Questions and tasks. – M.: Iris-Press, 2004. – 384 p. – (Home tutor).
6. Exam questions and answers. Literature. 9th and 11th grades. – M.: AST-PRESS, 1999. – 352 p.
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Presentation on the topic: The life and fate of Maxim Gorky
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Alexey Maksimovich Peshkov was born in Nizhny Novgorod in the family of a carpenter (according to another version, the manager of the Astrakhan office of the shipping company I.S. Kolchin) - Maxim Savvatyevich Peshkov (1840-1871), who was the son of a soldier demoted from the officers. M. S. Peshkov worked as a manager of a shipping office in the last years of his life, but died of cholera. Mother - Varvara Vasilievna, nee Kashirina (1842-1879) - from a bourgeois family; Widowed at an early age, she remarried and died of consumption. Gorky’s grandfather Savvaty Peshkov rose to the rank of officer, but was demoted and exiled to Siberia “for cruel treatment of lower ranks,” after which he enrolled as a bourgeois. His son Maxim ran away from his father five times and at the age of 17 he left home forever.
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In 1884 he tried to enter Kazan University. I became acquainted with Marxist literature and propaganda work. In 1888, he was arrested for connections with N. E. Fedoseev’s circle. He was under constant police surveillance. In October 1888, he became a watchman at the Dobrinka station of the Gryaze-Tsaritsina Railway. Impressions from his stay in Dobrinka will serve as the basis for the autobiographical story “Watchman” and the story “Boredom for the Sake.” In January 1889, at a personal request (a complaint in verse), he was transferred to the Borisoglebsk station, then as a weighmaster to the Krutaya station. In the spring of 1891, he set out to wander around the country and soon reached the Caucasus.
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Maxim Gorky, 1906 In 1892, he first appeared in print with the story “Makar Chudra”. Returning to Nizhny Novgorod, he published reviews and feuilletons in Volzhsky Vestnik, Samara Gazeta, Nizhny Novgorod List, etc. 1895 - “Chelkash”, “Old Woman Izergil”. 1896 - Gorky writes a response to the first cinematic session in Nizhny Novgorod: And suddenly something clicks, everything disappears, and a railway train appears on the screen. He rushes like an arrow straight towards you - watch out! It seems that he is about to rush into the darkness in which you are sitting, and turn you into a torn bag of skin, full of crumpled meat and crushed bones, and destroy, turn into rubble and dust this hall and this building where there is so much wine , women, music and vice. 1897 - “Former People”, “The Orlov Spouses”, “Malva”, “Konovalov”. From October 1897 to mid-January 1898, he lived in the village of Kamenka (now the city of Kuvshinovo, Tver Region) in the apartment of his friend Nikolai Zakharovich Vasiliev, who worked at the Kamensk paper factory and led an illegal workers' Marxist circle. Subsequently, the life impressions of this period served the writer as material for the novel “The Life of Klim Samgin.”
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1898 - The publishing house of Dorovatsky and A.P. Charushnikov published the first volume of Gorky's works. In those years, the circulation of the young author's first book rarely exceeded 1000 copies. A. I. Bogdanovich advised to release the first two volumes of “Essays and Stories” by M. Gorky, 1200 copies each. Publishers “took a chance” and released more. The first volume of the 1st edition of “Essays and Stories” was published in a circulation of 3,000 copies. 1899 - novel “Foma Gordeev”, prose poem “Song of the Falcon”. 1900-1901 - the novel “Three”, personal acquaintance with Chekhov, Tolstoy. 1900 Yasnaya Polyana. Leo Tolstoy and Maxim Gorky 1900-1913 - participates in the work of the publishing house "Znanie" March 1901 - "Song of the Petrel" was created by M. Gorky in Nizhny Novgorod. Participation in Marxist workers' circles in Nizhny Novgorod, Sormovo, St. Petersburg, wrote a proclamation calling for the fight against autocracy. Arrested and expelled from Nizhny Novgorod. In 1901, M. Gorky turned to drama. Creates the plays “The Bourgeois” (1901), “At the Lower Depths” (1902). In 1902, he became the godfather and adoptive father of the Jew Zinovy Sverdlov, who took the surname Peshkov and converted to Orthodoxy. This was necessary in order for Zinovy to receive the right to live in Moscow.
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February 21 - election of M. Gorky to honorary academician of the Imperial Academy of Sciences in the category of fine literature. In 1902, Gorky was elected an honorary member of the Imperial Academy of Sciences... But before Gorky could exercise his new rights, his election was annulled by the government, since the newly elected academician was “under police surveillance.” In this regard, Chekhov and Korolenko refused membership in the Academy. In the same year, Gorky published the poem “The Wallachian Legend,” which later became known as “The Legend of Marco.” According to contemporaries, Nikolai Gumilyov highly valued the last stanza of this poem. And you will live on earth like blind worms: They won’t tell any fairy tales about you, They won’t sing songs about you. - Maxim Gorky. “The Legend of Marco” 1904-1905 - writes the plays “Summer Residents”, “Children of the Sun”, “Varvary”. Meets Lenin. He was arrested for the revolutionary proclamation and in connection with the execution on January 9, but then released under public pressure. Participant in the revolution of 1905-1907. In the fall of 1905 he joined the Russian Social Democratic Labor Party. Villa in Capri (burgundy), which Gorky rented in 1909-1911.
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1906 - travels abroad, creates satirical pamphlets about the “bourgeois” culture of France and the USA (“My Interviews”, “In America”). He writes the play “Enemies” and creates the novel “Mother”. Due to tuberculosis, he settled in Italy on the island of Capri, where he lived for 7 years (from 1906 to 1913). Checked into the prestigious Quisisana Hotel. From March 1909 to February 1911 he lived at the Villa Spinola (now Bering), stayed at the villas (they have commemorative plaques about his stay) Blesius (from 1906 to 1909) and Serfina (now Pierina) ). On Capri, Gorky wrote “Confession” (1908), where his philosophical differences with Lenin and rapprochement with the god-builders Lunacharsky and Bogdanov were clearly outlined. 1907 - delegate to the V Congress of the RSDLP. 1908 - play “The Last”, story “Life unnecessary person" 1909 - the stories “The Town of Okurov”, “The Life of Matvey Kozhemyakin”. 1913 - Gorky edits the Bolshevik newspapers Zvezda and Pravda, art department Bolshevik magazine "Prosveshchenie", publishes the first collection of proletarian writers. Writes "Tales of Italy". 1912-1916 - M. Gorky creates a series of stories and essays that made up the collection “Across Rus'”, autobiographical stories “Childhood”, “In People”. The last part of the trilogy, “My Universities,” was written in 1923.
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1921 - M. Gorky’s departure abroad. The official reason for his departure was the resumption of his illness and the need, at Lenin’s insistence, for treatment abroad. According to another version, Gorky was forced to leave due to worsening ideological differences with the established government. In 1921-1923 lived in Helsingfors (Helsinki), Berlin, Prague.
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Since 1924 he lived in Italy, in Sorrento. Published memoirs about Lenin. 1925 - novel “The Artamonov Case”. Conversation between J.V. Stalin and A.M. Gorky. 1928 - at the invitation of the Soviet government and Stalin personally, he tours the country, during which Gorky is shown the achievements of the USSR, which are reflected in the series of essays “Around the Soviet Union.” 1931 - Gorky visits the Solovetsky special purpose camp and writes a laudatory review of its regime. A fragment of A. I. Solzhenitsyn’s work “The Gulag Archipelago” is dedicated to this fact.
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Maxim Gorky and Genrikh Yagoda. (From November 1935 to June 1936) 1932 - Gorky returns to the Soviet Union. The government provided him with the former Ryabushinsky mansion on Spiridonovka, dachas in Gorki and Teselli (Crimea). Here he receives Stalin’s order - to prepare the ground for the 1st Congress of Soviet Writers, and for this to carry out preparatory work among them. Gorky created many newspapers and magazines: the book series “History of Factories”, “History of the Civil War”, “Poet’s Library”, “History young man XIX century", the magazine "Literary Studies", he writes the plays "Yegor Bulychev and others" (1932), "Dostigaev and others" (1933).
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The circumstances of the death of Maxim Gorky and his son are considered “suspicious” by many; there were rumors of poisoning, which, however, were not confirmed. At the funeral, among others, Molotov and Stalin carried Gorky’s coffin. It is interesting that among other accusations against Genrikh Yagoda at the Third Moscow Trial in 1938 was the accusation of poisoning Gorky’s son. According to Yagoda's interrogations, Maxim Gorky was killed on Trotsky's orders, and the murder of Gorky's son, Maxim Peshkov, was his personal initiative. Some publications blame Stalin for Gorky's death. An important precedent for the medical side of the accusations in the “Doctors’ Case” was the Third Moscow Trial (1938), where among the defendants were three doctors (Kazakov, Levin and Pletnev), accused of the murders of Gorky and others.
