The author turns to Maxim Gorky’s literary–philosophical understanding of the meshchanstvo as a sociopsychological state and attitude to the world for which the main feature is the desire “to comfortably furnish the soul.” In this manifestation, the meshchanstvo instills “the poison of nihilistic individualism” in man, placing his Ego in the center of the world, an Ego devoid of social and cultural self-identification, which destroys a person from the inside. The most acute and irreconcilable of his evaluations of the meshchanstvo appeared in so called “Okurov Series”, which include The Town of Okurov, The Life of Matvei Kozhemiakin, and the unfinished Great Love. Gorky introduced a concept of “meshchanstvo” in two senses: a social/class sense and a spiritual/ethical sense, which, both individually and together, expressed a social force that was attempting to halt the passage of time. Recounting the daily worries and relationships of Okurov’s inhabitants, Gorky paints gloomy pictures of their everyday life, one colored by a state of “sleepy stupor,” which leads people toward a line behind which the original meanings of life disappear.

中文翻译：

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马克西姆·高尔基（Maxim Gorky）对“ Meshchanstvo”的批评是“灵魂的安排”

作者转向马克西姆·高尔基（Maxim Gorky）对网眼艺术的文学哲学理解，认为网眼艺术是一种对世界的社会心理状态和态度，其主要特征是渴望“舒适地提供灵魂”。在这种表现形式中，Meshchanstvo向人灌输“虚无的个人主义之毒”，将他的自我置于世界中心，这种缺乏社会和文化自我认同的自我，从内部摧毁了一个人。他对Meshchanstvo的评估中最敏锐，最不可调和的是出现在所谓的“ Okurov系列”中，其中包括Okurov镇，Matwei Kozhemiakin的生平以及未完成的《大爱》。高尔基从两种意义上引入了“ meshchanstvo”概念：一种社会/阶级意义和一种精神/伦理意义，它们既可以单独存在，也可以在一起，表达了一种试图阻止时间流逝的社会力量。为了回想起奥库罗夫居民的日常忧虑和关系，高尔基描绘了他们日常生活的阴郁图片，其中一幅以“昏昏欲睡的昏昏欲睡”状态着色，这使人们走到了一条线，在这条线之后生活的原始含义消失了。