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The Lower Depths | Introduction

The Lower Depths is Maxim Gorki’s best known play, widely considered both a masterpiece and an extremely problematic work. Subtitled Scenes from Russian Life, the play was a huge success from its first performance. The idea for the play was conceived in 1900, and it was written during the winter of 1901 and the spring of 1902. It was produced by the Moscow Arts Theatre on December 18, 1902. Konstantin Stanislavsky directed the play and starred in it as Sahtin, and as it was one of his earliest successes, it became a hallmark of his work, the Moscow Arts Theatre, and Russian socialist realism. The play is a portrait, without much overriding plot, of a destitute, lower-class group in a lodging house in Volga. Realistic depiction of this segment of Russian society was new and avant-garde at the turn of the century, in contrast to the age-old trend towards romanticizing the underclasses. Some critics at the time took issue with Gorki’s subject matter, and his pessimistic, unredemptive presentation of the lower depths. Others disliked the ambiguity of the moral message about the human condition, and the unconventional structure of conversation around this. Most agreed, however, that the play’s character sketches were powerful and moving, and the subject matter, at the very least, provocative. Debate over its chief theme, the merits of the ‘‘truth’’ versus the ‘‘consoling lie,’’ continues to engage audiences and scholars today, and it continues to be produced worldwide a century after its inception.

The Lower Depths Summary

Act I The Lower Depths opens in a cavernous, underground lodging house. Kvaschnya, the Baron, Bubnoff and Kleshtch argue about whether or not Kvaschnya will marry again. In the course of the conversation, the Baron mocks Nastiah, who is engrossed in her romance novel. Meanwhile, Anna moans from bed about the noise and her ailment. Kvaschnya urges her to eat while her husband, Kleshtch, ignores her.

Sahtin rises and a conversation ensues over who will sweep the floor. The Actor claims he is too debilitated by alcohol poisoning to do it. In the course of what turns into an argument, the audience learns about Sahtin’s former education, the Actor’s flair for drama, and Bubnoff’s past career as a faker of furs. Nobody sweeps the floor, and the Actor takes Anna outside for some air. All the while Kleshtch works away at an old lock.

Kostilioff comes downstairs in search of his wife, Wassilissa. Wordplay is exchanged between Kostiloff and several others over his status as a slumlord, and he appears to feign a Christian attitude. He wakes Pepel and they discuss money in a conversation revealing that they barter for stolen goods, even though Kostilioff professes innocence throughout. Shortly afterward, Natasha escorts in Luka, who is carrying a staff, a sack and a kettle. His role in the play is made immediately clear, as he declares he sees all men as equal and will be glad to sleep anywhere. Natasha urges Kleshtch and the others to have compassion for Anna as she approaches death. After she leaves, the men speculate on her, and Pepel’s interest in her is revealed.

Luka begins to sing a song about how no path can be found in darkness. The song leads to a discussion about despair, and Luka restates his conviction that all men are equal. Alyoshka enters the scene drunk, carrying an accordian, and proceeds giddily to ramble on about caring about nothing. Wassilissa enters and berates him for spreading rumors about her. She tries to kick him out but he darts around, teasing her. When Luka laughs, Wassilissa turns on him, asking for his passport and calling him a vagabond. Bubnoff tells her that Pepel is not around and she bristles at the suggestion that she has any motives besides keeping order. As she leaves she demands the floor be swept, and Bubnoff and Nastiah explain that she is bitter because Pepel no longer loves her. Luka concedes to sweep the floor. Nastiah explains that Wassilissa is angry with Alyoshka for spreading rumors that Pepel is finished with her. She mentions her own misery and feelings of superfluousness, and Bubnoff says that all people are superfluous.

Medviedeff enters and introduces himself to Luka, and Luka lightly mocks him, reinforcing the impression that he tests authority. Medviedeff describes dealing with the drunken Alyoshka and the rumors he is spreading about his niece, Wassilissa, but nobody explains the... » Complete The Lower Depths Summary