The first is a simple and sincere poem in the native language that the officials see themselves in the dark dungeons:

The sun rises and sets
But my prison is dark
The jailer is watching my window
However you want to watch
I desire to be free
But how can I break my chains?
Oh... you chains are my pains
And you are the guardians of sorrows

The second is whether there is any hope of faith and honor from the oppressed nation?
For those people who have been reduced to the level of animals under the shadow of the autocratic government, what meaning can faith and honor have? Faith and honor endure the pain of living, not just survival. The deprived human being tries so hard to escape just to survive, and only the powerful deposit a small part of their power and wealth in the bank of conscience. In a society where the majority has turned into a jungle and the beings within it have become like wild boars, is there any problem other than water and food?

On the bridge: Do you have a conscience, Bob New?
Bob New: What? Conscience?
On the bridge: Yes
Bob New: What's the use of it? I'm not rich

The third: A play in four acts and 53 scenes
It can be completely certain that Maxim Gorky has lived more among all the characters in his books than in his room. He cannot be regarded as just an observer of the oppressed national life, but he himself is the bearer, the hopeless worker, and the intelligent beggar whose immoral wife has abandoned him. He has gained the light of his thought from living in these cold and gloomy basements of Russia. But Gorky does not have much talent and courage in writing. He presents the truth as it is drawn from the core of events without any embellishment to the reader. He writes, and how to write is not much of a problem for him. The current play can actually not be staged without any interference and addition because we are more familiar with the outline of a film than a play, and if it is to be staged, it will be named "The Show of 16 Poor Men" by quoting from "12 Angry Men".

And finally: Aman is a Russian name, and my mind is in a turmoil.

Dramatism presented by Russian novelists is on another level of depth. I have never read a play before, but this one hooked me almost instantly, especially after meeting Luka's character. His several dialogues are truly captivating, and I will share some of them below. The presentation of the lower classes in this book makes it even more valuable and empathetic. As I mentioned earlier, I have never read a play, but there is always a first, right? And here I am, fully mesmerized by it. The huge difference for me between a normal book and a play is that when reading a book, I always imagine the scene as it is happening. However, with this play, I was imagining not just a scene but myself sitting in a theater, watching actors/actresses play their roles. Truly, there are few literatures that can beat the Russian one. I ponder that it is because of the hardships and coldness their country contains. I was reading a book the other day that had a Russian quote in it. It sounded something like this:,,Если хочешь жить с волками, нужно выть как волки.”In English, it means If you want to live with wolves, you need to learn to howl like one, and that is exactly what many of the post-Soviet countries went through. Now, let me share my favorite quotes. Never mind—it’s always like this before you die, little dove—never mind, dear! Just have faith! Once you’re dead, you’ll have peace—always. There’s nothing to be afraid of—nothing. Quiet! Peace! Lie quietly! Death wipes out everything. Death is kindly. You die—and you rest—that’s what they say. It is true, dear! Because—where can we find rest on this earth?- Well? Is there a God? Tell me.-If you have faith, there is; if you haven’t, there isn’t . . . whatever you believe in, exists. Please—feel a little sorry for me! My life isn’t all roses—it’s a hell of a life . . . little happiness in it . . . I feel as if a swamp were sucking me under . . . and whatever I try to catch and hold on to, is rotten . . . it breaks . . . Your sister—oh—I thought she was different . . . if she weren’t so greedy after money . . . I’d have done anything for her sake, if she were only all mine . . . but she must have someone else . . . and she has to have money—and freedom . . . because she doesn’t like the straight and narrow . . . she can’t help me. But you’re like a young fir-tree . . . you bend, but you don’t break . . “The sun rises and sets . . But my prison is all dark. . . .”(The last one is my favorite.)

The play "At the Bottom" by Gorky is often regarded as a profound psychological exploration of how the light of hope is distorted in the battered human soul. It can be seen as an implicit debate between Gorky and Tolstoy regarding the goodness of man, the moral laws of the times, and their point of equilibrium. With this play, Gorky seems to draw a line under the 19th century and enumerate what should be carried forward into the new century.

However, I must admit that I did not like the text of the play "At the Bottom" very much. Sometimes, when approaching the classics, there is a risk of "stumbling" upon someone who is universally recognized as great and then having to live with that initial impression. In the end, all other reading was postponed for a week as I tried to reconcile my impression of the text with a more conventional view. I read quotes, reviews, lectures, articles, and overviews with a blank stare, but still could not see anything in the play except a set of outdated clichés, the whole value of which lies in the antithesis of lofty words and the lowly circumstances of life.

Moreover, these circumstances seem to be pasted into the play like some careless suprematist figures: not a picture of life, but a set of red and white circles on a black background. These circles torment each other with intervals of high-flown aphorisms - and that's the whole play. Or, as Dmitry Bykov joked in his lecture, what we have before us is not a shelter at the bottom of life, but the "Athenian School" of Raphael, where all the characters stand stiffly, unnaturally straightening their impoverished shoulders and philosophizing about moral values in Gorky's voice:

"I - know the lie! He who is weak in soul... and he who lives on the juices of others, the lie is necessary for him... it supports some, others hide behind it... And he who is his own master... who is independent and does not eat another's - why does he need a lie? The lie is the religion of slaves and masters... The truth is the god of a free man!"

From the text, it is evident that a great deal of work lies behind it; that this is not a flat pantomime of Gorky's philosophical thoughts, but a volumetric diorama that can and should be considered at different levels of approximation, in different perspectives and contexts - this is interesting, debatable, and sometimes even exciting. But with all this, it is completely unclear why the exacting and dry format of the play was chosen. Why not an essay or a novel? What place does the moral and ethical conflict have in the lives of flat characters, the whole portrait of whom consists of the fact that they lost interest in any questions a long time ago, except for the most urgent ones?

In total, in four short acts, approximately two dozen sufferings and as many characters are accommodated - and to cope with such a density of narration, some of the heroes have to be introduced into the frame almost lifeless. As a result, the action takes place so quickly that everything theatrical and dramaturgical in this play looks blatantly tacked on hastily, as if it was more important for the author that the characters managed to utter his thoughts than for the heroes themselves to acquire volume. At the same time, "At the Bottom" creates such a suffocating, manipulative inevitability of the outcome that in the end, you find yourself in a very awkward position, when you either have to fully agree with the author's message or speak out against everything good. Well, then: "At the Bottom" is a set of open questions of varying degrees of high-flownness and significance in the manipulative wrapper of a demented tragedy.

"Nastya (hits the glass on the table). And why... why do I live here... with you? I'll leave... I'll go somewhere... to the ends of the earth!

Baron. Without galoshes, lady?"

I chanced upon this book during the book swap at my workplace. The name Maxim Gorky seemed familiar to me. Upon further research, I discovered this captivating line in an article: "Gorky's work is so scarce that it's almost suspect, as if there might still be an aged Cold Warrior laboring away in a basement office somewhere in Washington..." As I delved deeper into his life, a truly fascinating character emerged. He was an orphan who left school at the tender age of 10 and ran away from home at 12. Eventually, he became a Socialist revolutionary and a friend and protégé of Tolstoy and Chekhov. At the age of 27, Gorky chose his own surname, which in Russian means "the bitter" - a fitting name for a man who endured a life filled with personal tragedies and political upheavals before meeting a mysterious end in one of Stalin's great purges. He struggled to reconcile his natural romanticism and belief in the inherent beauty and honor of humanity with the harsh reality of life as he experienced it and witnessed it around him.

"The lower depths" is a bleak and unforgiving character-driven play that描绘s a Russian dosshouse and the motley crew of thieves, prostitutes, and alcoholics who inhabit it. None of them quite manage to individually embody the role of the destitute philosopher, but each of them stumbles upon some sort of intellectual idea as they navigate their chaotic and hopeless lives. Ideas about the painful truth versus the comforting lie, truth and freedom. I found great enjoyment in reading it, despite the fact that reading plays can sometimes be dull. I would love to see a production of it. I envision a good production seething and boiling with dirt and darkness, interspersed with softer moments of tenderness. I will definitely keep my eyes peeled for it!

In Russian-speaking countries, this book is included as part of the school program.

However, I'm not entirely certain if it seems appropriate for teens to read and comprehensively understand it.

This is not due to the difficulty in grasping the plot, but rather because from the very first pages, the author inundates the reader with an excessive amount of dirt, sinfulness, intellectual emptiness, and stupidity.

Undoubtedly, the author had to present all this chaos in order to depict the typical mood of the impoverished people during that era.

Then comes the most fascinating part, where each individual holds their own distinct perspective on this situation and their own approach to emerging from the Lower Depths.

It makes one wonder if teens, with their still-developing minds and sensitivities, are truly ready to engage with such intense and complex themes.

Perhaps a more in-depth exploration and guidance are needed to ensure that they can gain a meaningful understanding from this literary work.

Prison is a place that is known for its harsh environment and lack of positive influence. It is often said that prison teaches no good. And the same can be said about Siberia. However, there is one thing that can have a profound impact on a person's life, and that is another human being. A human being has the power to teach another one kindness, and it can be done in the simplest of ways.

Prison teaches no good--and Siberia doesn't either--but another human being can... yes, a human being can teach another one kindness--very simply!

***

On the other hand, there are also situations where relationships can take a dark turn. For example, a woman might say, There--I'm not his wife yet--and he talks already of killing me! This shows the potential for violence and danger in some relationships. It is important to be aware of the signs of an unhealthy or abusive relationship and to seek help if necessary.

“Vale on orjade ja isandate usk…Aga vaba inimese jumal on tõde!”

This powerful statement challenges the traditional beliefs that have been imposed by oppressors and masters. It implies that the false gods they worship are not the true source of power and truth. Instead, it is the God of the free people that holds the real truth.

In a world where many have been subjugated and forced to conform to the beliefs of others, this message offers hope and liberation. It encourages individuals to break free from the chains of falsehood and seek the true God who can provide them with the strength and guidance they need.

By emphasizing the importance of a free person's connection with the true God, this statement calls for a revolution in thinking and a return to a more authentic and meaningful spiritual life. It reminds us that we have the power to choose our own path and to follow the God who truly represents our values and aspirations.

I liked the first two acts better.

They depicted a vivid and detailed picture of despair in the pre-communist Russia.

It was as if you could step right into that era and experience the hardships and frustrations of the people.

You could truly feel how those individuals, facing such difficult circumstances, would be driven to rise up against the last Tsar.

And in their search for a solution, they might have been lured by what, in my idea, is the terrible notion of communism.

It makes you wonder about the complex forces at play during that time and how the choices made would shape the future of the country.

The first two acts really set the stage and made me eager to see how the story would unfold further.

A truly original piece of theater, the author makes use of a group of lumpen-proletarians (so detested by Karl Marx) to construct a sublime comedy.

The lumpen-proletariat, often overlooked and marginalized in society, becomes the central focus here. Through their antics and interactions, the author weaves a story that is both humorous and thought-provoking.

The use of this particular group adds an interesting layer to the narrative. It challenges our preconceived notions and forces us to look at them in a new light. Instead of being simply objects of scorn, they are given a voice and a chance to shine on the stage.

The result is a comedy that is not only entertaining but also has a deeper message. It makes us question our own attitudes towards the less fortunate and reminds us that everyone has the potential to be a source of joy and laughter.

Overall, this original piece of theater is a testament to the power of creativity and the ability of art to transform our perspectives.

I read this play a long time ago.

I just remember how dark the space was, how bitter and moving it was, and how influential it was.

I must read it again one day.

This play left a deep impression on me. The dark atmosphere it created made me feel a sense of mystery and unease.

The bitter and moving plot made me emotional and touched.

Its influence is also very far-reaching, making me think about many issues.

I believe that reading it again will give me more new insights and experiences.

When I usually find the characters in a classic story or a play to be... not quite what I need for an enjoyable read,

I was pleasantly surprised to discover that I actually liked Luka's character here.

He was like a breath of fresh air in the literary landscape.

His personality and actions added a new dimension to the story, making it more engaging and interesting.

In fact, I would go so far as to say that he might've been the reason this story gained one more star.

Not only was Luka's character well-developed, but the realistic writing also contributed to the overall appeal of the story.

The author's ability to bring the characters and the setting to life made me feel as if I was a part of the story myself.

It was a truly immersive experience that I won't soon forget.

Overall, I would highly recommend this story to anyone who is looking for a well-written and engaging read.

Complex, brilliant and sobering.

These three words perfectly encapsulate the essence of a particular subject or experience. The complexity lies in the intricate web of details, relationships, and factors that make it truly multi-faceted. It is not a simple or straightforward matter, but rather a convoluted maze that requires careful navigation.

The brilliance, on the other hand, shines through in the unique and remarkable aspects that set it apart. It may possess a certain elegance, ingenuity, or innovation that catches the eye and leaves a lasting impression.

However, it is also sobering. The realization of the full extent of its complexity and the potential implications that come with it can be humbling. It forces us to face the harsh realities and make difficult decisions.

Together, these qualities create a powerful and captivating whole that demands our attention and respect.