Female images in the play “at the bottom. Speech characteristics of Natasha in the play M
The play "At the Bottom", written by Maxim Gorky in 1902, brought him world fame. She was the writer's response to the most actual problems modernity. The ideological topicality of "At the Bottom" immediately attracted the attention of the Russian public.
Thematically, the play completed the cycle of the writer's works about "tramps". "She was the result of my almost twenty years of observation of the world" former people', he wrote. The inhabitants of the rooming house are already types in which Gorky gave huge socio-philosophical generalizations.
The heroes of "At the Bottom" - Actor, Ashes, Nastya, Natasha, Kleshch - strive to break free from the "bottom" of life, but feel their own impotence before the constipation of this "prison". They have a feeling of hopelessness of their fate and a craving for a dream, an illusion that could give them at least some hope for the future. For the Baron, this is past wealth, which he thinks about and dreams of returning. The Actor has his former service to art, Nastya has a fictional affair with a student, Natasha has the expectation of some extraordinary event that will turn her whole life upside down.
The most interesting type is, perhaps, Natasha. Her image is strikingly different from other inhabitants of the rooming house. It clearly shows the dignity, purity, pride that so captivated Ash. The main intrigue is whether the heroine will be able to retain these qualities? Probably not. The proof is her sister Vasilisa. Natasha has a lot in common with her - the same will, directness, pride. Obviously, once Vasilisa was the same as Natasha, but became a "beast", "reptile". There are hints in the play that explain this metamorphosis. Nastya says about Vasilisa: “You will go wild in such a life ... tie every living person to such a husband as hers ...” Vasilisa herself admits that she torments Natasha and pities her, and cannot help herself: “... so - I beat ... that I myself cry from pity ... And I beat. There were excellent inclinations in Vasilisa, and Natasha is a living reminder of this.
Here is a mirror that reflects Natasha's future. But while the heroine does not know her future and lives the way she lives. Her behavior is out of line common system relations in a rooming house. And especially her speech.
In his work “Notes on Mastery”, M. Gorky wrote: “Drawing a person as a personality, as an individuality, the writer cannot pass by such an essential thing, his character traits as speech, which reproduces culture, profession, psychological warehouse with extreme flexibility, mental state of a person. No two people speak the same way.
The character's speech is a characteristic, generalized speech that conveys the main, essential features of his character. Thus, by observing the character's speech, one can get an idea about himself, his culture and level of development.
Natasha's appearances on stage are always significant. There are only four of them, but in each of them it is revealed to the reader from a new side. Unlike other characters (Bubnova, Luka, Baron, etc.), Natasha does not constantly act on stage, which emphasizes her certain detachment from what is happening in the rooming house.
So, Natasha's appearance on stage is inextricably linked with Luka. It is she who introduces it to the inhabitants of the "bottom". This coincidence, of course, is not accidental. Now, along with Luka, Natasha becomes a symbol of comfort. Her mere presence puts people at ease. Here is what she says to Klesh: “Andrey! Your wife is in the kitchen with us ... you, after a while, come for her ... You should treat her tea more kindly ... after all, it won’t be long.
The speech of the heroine is simple and affectionate, for which she is respected. The vocabulary is colloquial, by which the author indicates the social status, but not rude, in contrast to the speech of other "guests". Natasha often uses affectionate words (grandfather, darling), Klesch calls by name, but no one else addressed him like that. The heroine is natural and sincere in the manifestations of her character, which is indicated by the fact that the author practically does not give remarks to her words.
The second appearance on the stage of Natasha is associated with the death of Anna. It is she who discovers that the patient has died. If in the first act Natasha revealed herself with the help of the image of Luka, here the heroine characterizes herself. Here's what she says: "Here I am ... someday the same ... in the basement ... downtrodden." Here the girl speaks of death for the first time, and this thought will become her hallmark. Also, looking at Anna, she says: “After all ... it’s good that she died ... but it’s a pity ... Lord! .. Why did a person live?”.
A large number of dots indicates the extreme emotionality of the character of the heroine, and besides, shyness and some "downtroddenness". By the way, later we will hear aphoristic statements from Natasha more than once.
In this episode, the heroine is revealed as a pitiful person ("Lord! If only they would be sorry ... if only someone would say a word!") And who is afraid of death. But most importantly, she is perhaps the only one of all the characters who thinks about her life. This quality of her will manifest itself in a conversation with Ash.
The third act begins with the fact that Nastya talks about her love for the student Raul, whom she invented for herself. Natasha patiently listens to Nastya and does not interrupt. He also listens attentively to Nastya and Luka ... All the rest laugh at the fabrications and bring Nastya to tears. Natasha, on the other hand, consoles the girl with words, which once again speaks of her gentleness: “They are out of envy ... they have nothing to say about themselves ...” Another aphorism.
But Natasha can show some cruelty. Here is what she answers the Baron to his nit-picking Nastya: “You! Shut up already ... if God has killed ... ”This, of course, is not an abusive speech of tramps, but still a rather rude phrase.
A little later, Natasha talks about truth and lies: “It seems that a lie ... is more pleasant than the truth ... I, too ...” Then the reader finds out that she is dreaming about something special, but immediately declares: “Well ... actually - what can you expect?" This inconsistency of character becomes the cause of the tragedy of the heroine. Hence the thought of death, which she is waiting for from day to day.
Natasha's language is generally quite primitive, even when she talks about her dreams. There are no metaphors or epithets in it, which indicates the low level of culture and education of the heroine. But, despite this, she has a sober mind and prudence, which helps her not to become embittered and not become the second Vasilisa: “And who should live well? Everyone is bad ... I see ... ".
This quality of her character comes out most clearly in a conversation with Ash, when he invites her to "go" with him. Natasha initially refuses him, and the reason for this was: "... to love you ... I don’t love you very much." Here it is, that sincerity and purity, which is so lacking in other inhabitants of the rooming house. That is why for the girl it was such a blow to be suspected of conspiracy between Ash and Vasilisa.
At the end of the fourth act, a completely different Natasha is in front of the reader, she "rushes about in unconsciousness." Her speech instantly changes, becomes rude: “Damn you!”, “Here he is, damned!”. She screams, the dots indicating only pauses in her speech, not uncertainty. There is no longer a kind, sweet girl in front of us, she died ...
The image of Natasha is logically complete, the environment ruined her too. And Gorky proved that such an environment cannot exist, since it kills everything human in a person.
Natasha is the sister of the hostess's wife, a kind and soft-hearted girl. She had a difficult fate - poverty and constant bullying from her sister and husband. And yet she managed to maintain spiritual purity and innocence. It is because of this that the thief Vaska Pepel falls in love with her. He calls her to go with him to Siberia:
“I said I will stop stealing! By God - I'll quit! When I say - I'll do it! I am literate… I will work… So he says – we have to go to Siberia of our own free will… We are going.”
But she honestly admits that she does not love him.
so, does not believe his intentions.
“And why am I going with you? After all ... to love you ... I don’t love you very much ... Sometimes - I like you ... and when it’s sickening to look at you ... It’s obvious - I don’t love you ... when they love you, they don’t see anything bad in a loved one ... but I see ... ”
Vasilisa, having learned that Pepel wants to leave her and leave with Natasha, begins to severely beat her sister and douses her with boiling water. Natasha is rescued in time, but Kostylev dies in the process. In a terrible tantrum, Natasha accuses the owner of the rooming house Pepel and her sister of the murder. Unable to bear such bullying anymore, Natasha shouts: “Take me too ... to prison me! For Christ's sake ... in jail me! ..”.
Later it becomes known that Natasha was in the hospital. Then she disappears in an unknown direction, just not to return to the rooming house.
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There are five in the play female characters. Anna is the wife of Kleshch, who humbly dies in the second act, the compassionate and economic Kvashnya, the young Vasilisa is the wife of the owner of the rooming house and the lover of Vaska Pepel, the young and downtrodden Natasha, and Nastya, indicated in the author's remark with the shy word "maiden".
In the semantic context of the work, female images are represented by two pairs of opposite characters: Kvashnya - Nastya and Vasilisa - Natasha. Outside of these pairs is Anna, who personifies pure suffering in the play. Her image is not clouded by passions and desires. She patiently and meekly dies. He dies not so much from a mortal disease, but from the consciousness of his uselessness to the world. She is one of those "naked people" for whom the truth of life is unbearable. "I'm sick of it," she admits to Luca. The only aspect of death that worries her is: "And how is it - also flour?" Clogged, fit for nothing in this world, it resembles a thing. She does not move around the stage - she is moved. Take out, leave in the kitchen, forget. Just like with a thing, it is treated even after death. "You have to get out! - We'll pull it out ... ”She passed away - as if the props had been taken away. “Coughing means it has stopped.”
Not so with the rest. In the first pair, Kvashnya represents the semantic dominant. She is almost always doing housework. He lives from his labors. Makes dumplings and sells them. What these dumplings are made of and who eats them, only God knows. She lived married and now for her that she is married, that she is in a loop: “I did it once - I remember it for the rest of my life ...” And when her husband “died”, she “sat alone” with happiness and joy all day. She is always alone in the play. Conversations and events are touched by the edge, as if the inhabitants of the rooming house are afraid of her. Even Medvedev, the personification of law and power, her cohabitant, talks to Kvashnya respectfully - she has too much incurious reason, common sense and hidden aggression.
Her opposite, Nastya, is unprotected and accessible. She does nothing, does nothing. She is a "girl". She almost does not react to the realities of the world around her. Her mind is not burdened with reflection. She is as self-sufficient as Kvashnya. Gorky implanted in her a strange, not invented world " women's novels”, a meager and meaningless dream of a beautiful life. She is literate and therefore reads. “There, in the kitchen, the girl is sitting, reading a book and crying,” Luka is surprised. This is Nastya. She weeps over a fiction that miraculously feels like her own life. She resembles a little girl who dreamed of a toy. Waking up, she pulls her parents, demands this toy for herself. At a tender age, children do not separate dream from reality. This happens later, in the process of growing up. Nastya not only does not grow up - she does not wake up. She dreams of these confectionery, sinless dreams in reality: “And his left-hander is agro-sized, and loaded with ten bullets ... My unforgettable friend ... Raoul ...” The baron rolls over her: “Nastka! Why ... after all, the last time - Gaston was! Nastya behaves like a child. Having poked her nose into reality, she is capricious, gets excited, throws a cup on the floor, threatens the inhabitants: "I'll get drunk today ... I'll get drunk." Getting drunk means getting away from reality again. Forget yourself. Judging by indirect hints, the Baron is with her in gigolos, but she is not aware of this either. Rays of reality only glare on the surface of her consciousness, not penetrating inside. Once Nastya opens up a little, and it becomes clear that her life is powered by the energy of hatred. Running away, she shouts to everyone: “Wolves! For you to breathe! Wolves! She utters this remark at the end of the fourth act, and therefore, there is a hope of waking up.
Vasilisa represents the imperious beginning of the play. She is the Athena Payalada of the rooming house, her evil genius. She alone acts - all others exist. The criminal and melodramatic intrigues of the plot are connected with her image. There are no internal prohibitions for Vasilisa. She, like everyone in the rooming house, is a "naked person", she is "everything is allowed." And Vasilisa takes advantage of this while the others are just talking. The author gave her a cruel and merciless character. The concept of "impossible" lies outside of her moral consciousness. And she thinks consistently: "To enjoy - to kill in order to enjoy." Her antipode Natasha is the purest and brightest image of the play. Out of jealousy for Vaska Pepl, Vasilisa constantly beats and torments Natasha, her husband, old Kostylev, helps her. The instinct of the pack kicks in. Natasha alone of all believes and still hopes, she is waiting not for haberdashery, but for true love, she is looking for it. But. unfortunately, the geography of its search takes place on that section of the bottom, on which the Spanish galleons loaded with gold do not rest. The dim light coming "from above, from the viewer" allows you to see only the faces of permanent residents. Natasha doesn't trust anyone. Neither Luka nor Ashes. It's just that she, like Marmeladov, "has nowhere to go." When they kill Kostylev, she shouts: “Take me too ... put me in prison!” It is clear to Natasha that Ashes did not kill. All the fault. Everyone was killed. This is her truth. Her, not Satin. Not the truth of a proud, strong man, but the truth of the humiliated and offended.
The female images in Gorky's play "At the Bottom" carry a serious semantic load. The flawed world of the inhabitants of the rooming house, thanks to their presence, becomes closer and more understandable. They are, as it were, guarantors of its authenticity. It is with their voices that the author openly speaks of compassion, of the unbearable boredom of life. They have their own bookish forerunners, many literary projections from the previous artistic tradition converged on them. The author does not hide it. Another thing is more important: it is they who evoke the most sincere feelings of hatred or compassion in the readers and viewers of the play.
Bubnov's image
Kartuznik, one of the inhabitants of the rooming house. We learn that in the past he was the owner of a dyeing workshop. But circumstances changed, his wife got along with the master, and in order to stay alive, he had to leave. Now this man has sunk to the bottom. B.'s position is skepticism, fatalism, he always belittles a person. He is cruel, does not want to retain any good qualities in himself. There is not an iota of compassion in him. To the request of the dying Anna to be quieter, he replies: "noise is not a hindrance to death ...". He believes that "all people on earth are superfluous ...". From B.'s point of view, it is at the absolute bottom of life that the true essence of a person is exposed, the stratification of civilized, cultural life flies off him: "... everything faded away, one naked man remained." Apparently, by this he wants to say about the animal essence of man. B. sees in him only low, selfish, not wanting to take into account the development of social, cultural life. In this case, his following phrase can be considered significant: "It turns out - no matter how you paint yourself on the outside, everything will be erased ... everything will be erased, yes!" Having sunk to the very bottom of life, B. no longer believes in man, he takes a passive, not only external, but also internal position.
The image of Nastya
Nastya is one of the inhabitants of the rooming house in the play "At the Bottom", a fallen woman who dreams of romantic love. Despite the fact that she is engaged in prostitution, she dreams of pure and devoted love. However, she is surrounded by poverty, hopelessness and humiliation.
In order to somehow forget and get away from reality, she came up with a fictional character, whom she calls either Raoul or Gaston. Much of her dream comes from the pulp novels she constantly reads. She makes up stories about her supposedly existing lover and tells the other guests. They just laugh and mock her. The only people who believe her are Luka and Natasha.
Despite all the insults and humiliation addressed to her, Nastya managed to maintain a sensitive soul. By nature, she is naive, touching and helpless. She does not despair and continues to believe in the existence of her "prince".
Image of the Baron
Dormitory occupant. Previously, he was a baron, had a fairly large social position. Over time, he sank to the very bottom of life, where he still remembers the delights of his past position. He is often laughed at and mocked about by the rest of the roomers.
Image of Luke
A very controversial character in the play. This is an elderly wanderer who appears for a while in a rooming house. L. consoles people. But how can you console these people who have been thrown out of life, who have sunk to the bottom of it? L. resorts to lies. But this is a white lie. Dying Anna, who has nothing good to remember in her life, L. says that she will be very happy in the next world. Prostitute Nastya tells everyone that there was a great love in her life. Everyone laughs in response. But Luka says that if she believes, then she really had this love. Thief Vaska Pepla L. persuades him to go to Siberia, because he can work honestly there. Alcoholic Actor L. tells about a free clinic where they treat drunkenness. He persuades him to prepare for treatment, to pull himself together. Justifying the need to feel sorry for a person, L. tells how he himself once felt sorry for the robbers, than he saved them. Otherwise, they would have killed him and perished in hard labor. L. also tells a parable about the "righteous land." One poor man believed in the existence of such a land. But the scientist did not have it on the map. The man became disillusioned with everything and hanged himself. So L. wants to show the need for pity and hope for every person. L. disappears unexpectedly, during the ensuing fight, when Pepel kills Kostylev. Such a disappearance is perceived ambiguously. In the last act, the roommates remember L., expressing different points of view on the comforting lie.
Actor Image
The actor is one of the inhabitants of the rooming house. The real name of the hero is unknown; in one scene, he laments that he "lost his name." Stage name A. in the past - Sverchkov-Zavolzhsky. A. is a drunkard who constantly recalls his acting past and quotes various literary works. Luke A., who appeared in the rooming house, tries to read poetry, but cannot remember them and repents that he “drank away his soul”. A. believes Luke's story about an alleged free hospital for alcoholics. He recalls and recites a passage from Beranger's poem that is directly related to the problem of the "comforting lie" posed in the play. A. tries to refrain from drinking, begins to work and save money for the road in order to recover and start life anew. After the disappearance of Luka, A. realizes that there are no real hopes for salvation, and commits suicide - hangs himself. The fate of A. is clearly associated with the fate of the hero of the “parable of the righteous land”, which Luke tells to the shelters.
The image of Natasha
Natasha – the sister of the host's wife, a kind and soft-hearted girl. She had a hard fate - poverty and constant bullying from her sister and her husband. And yet she managed to maintain spiritual purity and innocence. It is because of this that the thief Vaska Pepel falls in love with her. He calls her to go with him to Siberia. But she honestly admits that she does not love him that much, does not believe his intentions. Vasilisa, having learned that Pepel wants to leave her and leave with Natasha, begins to severely beat her sister and douses her with boiling water. Natasha is rescued in time, but Kostylev dies in the process. In a terrible tantrum, Natasha accuses the owner of the rooming house Pepel and her sister of the murder. Later it becomes known that Natasha was in the hospital. Then she disappears in an unknown direction, just not to return to the rooming house.
Ash Image
Inhabitant of a rooming house, a hereditary thief. P. is the lover of the hostess' wife, Vasilisa. This is very cruel woman, which constantly pushes him to theft. But P. was tired of such a life. He wants to be an honest person. He falls in love with Vasilisa's sister Natasha, a good girl, a victim of the masters of life. P. confesses his love to the girl and invites her to leave together. Luke encourages P. to go to work in Siberia. There P. wants to become decent and honest. Vasilisa is jealous of P., locks her at home and beats Natasha. Later, in the ensuing fight, P. kills Kostylev. We understand that now he has a direct path to prison or hard labor.
Image of Satin
Konstantin Satin - one of the inhabitants of the rooming house, a former telegraph operator. This is a man with his own philosophy of life. From the very beginning of the play, such words as "macrobiotics", "Sardanapal", etc. are heard from his lips. This hero is different from the rest of the inhabitants of the "bottom". About himself, he says: "I'm tired of human words, brother ... all our words are tired! I heard each of them ... probably a thousand times ...", "I was an educated person ...", " I have read many books... Then S. was imprisoned for almost five years for the murder of a man who offended his sister. After prison, he ended up in a rooming house and began to deliberately ruin his life. S. is a skeptic. He is apathetic, passive in life. His protest is a call for "doing nothing". "I'll give you one piece of advice: don't do anything! Just burden the earth!.." S. was not just thrown to the "bottom". He himself came there and settled there. He's so comfortable. And now he lives in the basement and drinks away and loses his opportunities. It is this hero who argues with Luke and his position of "comforting" lies. He talks about free man capitalized. S. considers humiliating the compassionate humanism of Luke. "You must respect a person! Do not pity ... do not humiliate him with pity ..." S. condemns the comforting lie: "Lie is the religion of slaves and masters ..." "Truth is the god of a free man!" "man - that's the truth!" "There is only man, everything else is the work of his hands and brain! Man! This is magnificent! This sounds ... proud!" But what is a person for S.? "What is a man? .. It's not you, not me, not them ... no! - it's you, me, they, the old man, Napoleon, Mohammed ... in one!"
The author in a polyphonic work, according to the definition of M. M. Bakhtin, does not join any of the points of view expressed: the solution of the philosophical questions posed does not belong to one hero, but is the result of the searches of all participants in the action. The author, as a conductor, organizes a multi-voiced choir of heroes "singing" the same theme in different voices.
Still, there is no final solution to the question of truth - freedom - man in Gorky's drama. However, this is how it should be in a play that raises "eternal" philosophical questions. The open ending of the work makes the reader think about them.
Natasha is the sister of the hostess' wife. She was extremely honest, kind and wonderful girl. The author treated this heroine very well, endowing her with the most wonderful and good qualities. As very often happens, people with a good disposition get a difficult fate.
This girl has had a hard time. Natasha lived in absolute poverty, living from penny to penny, in addition, she was a victim of constant ridicule from her older sister, who constantly undeservedly reproached her for all sorts of little things.
Even despite the fact that her sister behaved inappropriately with Natasha, she did not get angry, did not hatch a plan of revenge, she also strongly and sincerely loved the whole world around her, not blaming anyone for her troubles and problems.
The thief Vaska Pepel falls in love with the girl. He seriously offers the girl to move to Siberia and be with him for the rest of her life. He even gives his word that he will completely change his way of life, will become completely different - honest, real, he was sincerely ready to radically change.
The girl is doing the right thing in this situation. She honestly says that she does not love Vaska enough to take such a responsible and decisive step. She admits that she is not indifferent to him, but not to such an extent as to change her life for him.
Then Natasha's older sister, Vasilisa, finds out about this and, naturally, falls into anger. In a verbal skirmish, terrible things happen - Natasha is doused with boiling water by Vasilisa, but as a result of a skirmish, Kostylev dies. After this fight, Natasha begins to scream and complain to her sister for the first time.
After that, the author writes that the girl is in the hospital. After all this situation, the girl just disappears. Probably, she does not want to return to the rooming house to such an extent that she is ready for anything, if only what happened to her for such a long time would not be repeated.
Natasha is an amazingly pure and kind girl, she has a good heart. She does what her heart tells her, does not get angry at anyone and lives honestly and correctly, unlike her older sister, who mocks her more defenseless younger sister with complete impunity, who does not have the courage to fight back.
Life is not easy for people like Natasha, they are too sacrificial and honest, and other people begin to believe that they can use it.
Composition Natasha in the story At the bottom
In Gorky's wonderful work "At the Bottom" we can see many images that are most interesting for acquaintance, which the author created with the aim of conveying to the reader any idea that he presented in his, in this case "At the Bottom", work. It should highlight the image of a girl named Natasha.
Natasha is young beautiful girl, who is the sister of the hostess of the rooming house, and therefore helps her manage and monitor this enterprise, although she is not at all happy about this, since she constantly becomes the object of ridicule from her sister and her husband.
In character, Natasha stands out from the rest of her environment. She is a kind, sympathetic, always ready to help, believing in goodness and miracle girl. In contrast with other characters and images of the work, her image stands out very, very much, since all the others are the exact opposite of her character, and her lifestyle in general. That is why she becomes the object of ridicule, simply because she is so different from all the other people around her. This is the idea that Gorky is trying to convey to us. He says that they always try to belittle such kind and good people as Natasha, since they do not like manifestations of weakness and tenderness, and especially simple human feelings.
Also in her character, the reader can see exorbitant honesty in front of all the people around her. For her, honesty is one of the fundamental factors of a good person and good manners, as she believes that there is nothing worse than a lie, in any of its manifestations. Telling the truth to everyone, she can offend someone, but still she tries to tell only the truth, and nothing but the truth, letting the person know only dry facts. She is guided by this all her life, because of which she is also attacked by others, but still she speaks only the truth. This deserves respect for the character, and gives us her characterization as a very good and principled person.
I believe that the author made it just like that in order to convey to the reader the idea that even in such an unsightly, even disgusting place, you can meet such a wonderful person who, in contrast to everyone else, adds to this unpleasant place, her own ray of goodness and positive which gives the attentive reader food for thought.
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