Sixties. One of the main characters - Fyodor Sonnov, having reached by train to some station near Moscow, staggers through the streets of the town. Having met an unfamiliar young man, Fedor kills him with a knife. After the crime - absolutely meaningless - the killer "talks" with his victim, talks about his "guardians", about his childhood, other murders. After spending the night in the forest, Fedor leaves "for the nest", the town of Lebedinoye near Moscow. His sister Klavusha Sonnova lives there, a voluptuous woman who arouses herself by stuffing the head of a live goose into her uterus; the Fomichev family also lives in the same house - grandfather Kolya, his daughter Lidochka, her husband Pasha Krasnorukov (both are extremely lustful creatures, copulating all the time; in cases of pregnancy, Pasha kills the fetus with jolts of the penis), the younger sister, fourteen-year-old Mila and seventeen-year-old brother Petya, feeding on its own scabs. One day, Fyodor, already tired of the inhabitants of the house with his presence, eats Petenka's soup, boiled from acne. To protect his brother from the revenge of the Fomichevs-Krasnorukovs, Klavusha hides him in the underground. Here Fyodor, tired of idleness, from the impossibility of killing, cuts stools, imagining that these are figures of people. There is only one idea in his head - death. Upstairs, meanwhile, Lidinka, again pregnant, refuses to copulate with her husband, wanting to keep the child. He rapes her, the fetus comes out, but Lida declares to Pasha that the child is alive. Krasnorukov brutally beats his wife. She, sick, lies in her room.
Fedor, meanwhile, makes a dig on the Fomichev side, goes upstairs to implement a strange idea: "to take possession of a woman at the moment of her death." Lidinka gives herself to him and dies at the moment of orgasm. Fyodor, pleased with his experience, reports everything to his sister; he comes out of prison.
Pavel is imprisoned for the murder of his wife.
To Klavusha comes "tenant" - Anna Barskaya. A woman of a completely different circle, a Moscow intellectual, she looks at Fyodor with interest; they talk about death and the other world. "Wild" Fyodor is very interested in Anna; she decides to introduce him to the "great people" - for this they go somewhere in the forest, where there is a gathering of people obsessed with death - "metaphysical", as Fedor calls them. Among those present are three "jesters", sadistic fanatics Pyr, Johann and Igorek, and a serious young man Anatoly Padov.
"Jesters" together with Fedor and Anna come to Lebedinoye. Here they have a stormy time: they kill animals, Pyr tries to strangle Klavusha, but everything ends peacefully - she even promises to sleep with him.
Rumors reach Klava that Fedor is in some kind of danger. He leaves - "to wander around Rasei."
Klava has another tenant - the old man Andrey Nikitich Khristoforov, a true Christian, with his son Alexei. The old man feels imminent death, throws tantrums, interspersed with moments of Christian tenderness; thinks about the afterlife. After some time, he goes crazy: “jumping out of bed in only his underwear, Andrei Nikitich declared / that he had died and turned into a chicken.”
Alexei, depressed by his father's madness, tries to console himself by talking to Anna, with whom he is in love. She mocks his religiosity, preaches the philosophy of evil, the "great fall", metaphysical freedom. Frustrated, Alexei leaves.
At Anna's request, Anatoly Padov comes to Lebedinoye, to the "Russian, horse-drawn, dense folk obscurantism", constantly tormented by the question of death and the Absolute.
Very warmly received by Anna (she is his mistress), Padov watches what is happening in Lebedino. Young people spend their time in conversations with the impudent voluptuous Klavusha, with the "fuck" Andrei Nikitich, and with each other. One day Klavusha digs three holes as tall as a man; the favorite pastime of the inhabitants of the house is lying in these "grass graves". Alyosha returns to Lebedinoye to visit his father. Padov teases Alexei, mocks his Christian ideas. He is leaving.
Anatoly himself, however, also cannot sit in one place for a long time: he is also leaving.
Anna, exhausted by communication with Padov, in a nightmare sees another of her "metaphysical" friends - Izvitsky. She ceases to feel herself, it seems to her that she has turned into a wriggling void.
Fedor, meanwhile, travels deep into Russia, to Arkhangelsk. Sonnov observes what is happening around him; the world irritates him with its mysteriousness and illusory nature. The instinct pulls him to kill. Fedor arrives at the "small nest" - the town of Fyrino, to the relative of the old woman Ipatievna, who feeds on the blood of living cats. She blesses Fedor to kill - "You bring great joy to people, Fedya!" Fyodor, wandering in search of a new victim, runs into Micah, who castrated himself. Struck by his "blank spot", Fyodor refuses to kill; they become friends. Micah leads Fyodor to the eunuchs, for joy. Friends observe strange rites; Fyodor, surprised, remains, however, dissatisfied with what he saw, he is not satisfied with the idea of a new Christ by Kondraty Selivanov - "you must have your own, you must have your own."
The half-mad Padov arrives in Fyrino to meet Fedor. He is interested in Anatoly with his popular, unconscious perception of the wrongness of the world. In the conversation, Padov tries to find out if Sonnov is killing people "metaphysically" or in fact, in reality.
From Fedor, Anatoly returns to Moscow, where he meets his friend Gennady Remin, an underground poet, author of "corpse lyrics", an adherent of the ideas of a certain Glubev, who proclaimed the religion of the "higher self". The meeting of friends takes place in a dirty pub. Remin spends time here with four wandering philosophers; over vodka they talk about the Absolute. Carried away by Anatoly's stories about the company that settled in Lebedino, Gennady and a friend go there.
In Lebedino "the devil knows what was going on" - everyone converges here: sadistic jesters, Anna, Padov, Remin, Klava, the remnants of the Fomichev family. Anna sleeps with Padov; it seems to him that he is copulating "with the Higher Hierarchies", to her - that she has already died. Padova is haunted by visions and tries to run away from them.
Izvitsky appears in Lebedinoye - a man about whom there are rumors that he goes to God by the way of the devil. He is a great friend of Padov and Remin. While drinking, the comrades are having a philosophical conversation about God, the Absolute and the Highest Hierarchies - "Russian esotericism for vodka" as one of them jokes.
Fyodor and Micah also come to the house. Alyosha Khristoforov, visiting his father, watches with horror the "inhumans" gathered here.
The boy Petya, who feeds on his own skin, exhausts himself and dies. At the funeral, it turns out that the coffin is empty. It turns out that Klavusha took out the corpse and at night, sitting across it, ate a chocolate cake. The cackling chicken-corpse Andrey Nikitich rushes about the yard; grandfather Kolya is going to leave. The girl Mila falls in love with Micah - she licks his "empty place". All three leave the house.
The rest spend their time in absurdly crazy conversations, wild dances, and hysterical laughter. Padova is very attracted to Klavush. The tension is growing, something is happening in Klavusha - “they seemed to have gone berserk, reared up and her Klavenko-Sonn forces spun with terrible force.” She kicks the whole company out of the house, locks it up and leaves. Only a chicken corpse remains in the house, becoming like a cube.
"Metaphysical" return to Moscow, spend time in dirty pubs talking. Anna sleeps with Izvitsky, but, watching him, she feels something is wrong. She guesses that he is jealous of himself for her. Izvitsky voluptuously adores his own body, feels himself, his reflection in the mirror, as a source of sexual satisfaction. Anna discusses "ego-sex" with Izvitsky. Having parted with his mistress, Izvitsky struggles in the ecstasy of self-love, experiencing an orgasm from the feeling of unity with the “native self”.
At this time, Fedor is approaching Moscow; his idea is to kill the "metaphysical", in order to break through into the other world in this way. Sonnov goes to Izvitsky, where he observes his "delusions of self-delight." Struck by what he saw, Fyodor is unable to interrupt "this monstrous act"; he is furious from the fact that he is faced with a different, not inferior to his own, "other world", goes to Padov.
Meanwhile, Alyosha Khristoforov, convinced of his father's madness, also goes to Padov, where he accuses him and his friends of driving Andrei Nikitich crazy. "Metaphysical" reproach him for excessive rationalism; they themselves unanimously came to the religion of the "higher Self". This is the topic of their hysterical, hysterical conversations.
Fedor, with an ax in his hand, eavesdrops on the conversations of Padov and his friends, waiting for the right moment to kill. At this time, Fedor is arrested.
In the epilogue, two young admirers of Padov and his ideas, Sashenka and Vadimushka, discussing endless metaphysical problems, recall Padov himself, talk about his state close to madness, about his “travels in the beyond”. It turns out that Fedor is sentenced to death.
Friends go to visit Izvitsky, but, frightened by his expression, run away. Anatoly Padov is lying in a ditch, screaming hysterically into the void from the insolubility of the “main issues”. Suddenly feeling that "everything will soon collapse", he rises and goes - "towards the hidden world, about which one cannot even ask questions ...".
retold
In his work, Yuri Mamleev describes a gloomy world filled with mysteries, prompting readers to seriously reflect on the unknown depths of the human soul, the finiteness and meaninglessness of life, the inevitability of death. The heroes of the author, as a rule, are people with serious mental disabilities or simply inadequate outcasts. Their images openly demonstrate all the most pernicious that can exist in the world. They are tireless researchers of everything transcendent, including the nature of death, surrounded by a mystical halo of mystery. How did Mamleev develop these themes in his story “Jump into the Coffin”? We will consider a brief summary of the work and its problems as detailed as possible below.
Characters The events that the author tells about in his story take place in the most ordinary communal apartment. That's just the people who live in it, are able to break the usual patterns of behavior. There you can meet the sorcerer Kuzma and the most developed member of the Pochkarev family - Nikifor. He was already three and a half years old, but everyone still calls him a baby, because he behaves as if he had not yet left this age. The sorcerer Kuzma is afraid of Nicephorus, because he cannot understand what spirit sent him into this world. However, no one especially loves the baby. And he communicates mainly with the seventy-year-old Catherine, who suffers from an illness unknown to science. Doctors only shrug their shoulders, and the old woman becomes practically incapacitated, which greatly upsets her always cheerful cousin Vasily, her slightly hysterical sister Natalya and her son Mitya, who abuses alcohol.
Catherine's illness becomes a real stumbling block for her relatives, a problem that prevents them from living. It is with the theme of spiritual callousness that Mamleev begins his story “Jump into the Coffin”.
Summary: Vasily, Natalya and Mitya endlessly send Ekaterina to the hospital, which, however, does not change the situation in any way. The old woman cannot serve herself and is getting weaker every day. She comes to life only when Nikifor appears. And after the final verdict of the doctor: "incurable, will die soon" - relatives begin to tensely expect the end of their torment. Mitya is tired of taking out the pots. Natalya suddenly discovers with surprise the absence of unchanging love for her sister. Vasily is rapidly losing his sense of humor. And since the longed-for moment of Catherine's death does not come, the relatives unanimously decide to bury the old woman alive. They frankly tell their ward about this idea and ask her consent to such a crazy plan. The old woman accepts the proposal to suffocate in a coffin without enthusiasm, but promises to think and give an answer.
Yuri Mamleev offers the reader such an ambiguous plot with a fair amount of grotesque. He frankly exposes in it all the basest thoughts that can be born in a person’s head. The author simply turns human souls inside out, putting them on public display, and in parallel begins to develop the theme of death. What is death? Relatives demand an immediate response from the old woman, arguing that they themselves will die sooner than Catherine. They thought of everything, including how to get a death certificate and not be dishonored. Ekaterina already looks like a dead woman, the main thing is that she lies quietly and does not inadvertently thwart their plan. The transition to non-existence frightens the old woman. Vasily just shrugged his shoulders. Through the mouth of an old man, Yuri Mamleev asks an existential question: "What is death?"
What is the point of being afraid of her if she is an unknown mystery? Death for Vasily is an abstract concept, therefore he treats it superficially and easily. However, for Catherine, this issue is more pressing. After all, it is not for him to suffocate in a coffin, but for her. However, she knows who to turn to in order to make a decision - to Nikifor. Image of Nikifor It is through the image of a baby that Mamleev develops the idea of transcendental reality in the story “Jump into the Coffin”. The problematics of the work are closely connected with the unknown, imprisoned in Nicephorus, who did not come to the world that he wanted, did not want to grow up, perceived being in a different way and, unlike the elders, knew the highest truth. Even before the doctor’s verdict about Catherine’s incurability, he understands that she will soon be gone. In Nikifor, all the inhabitants of the communal apartment see something foreign: the baby is shunned by the sorcerer Kuzma, Natalya wants to spit in his direction. Mitya does not consider Nicephorus to be a person at all. However, it is to him that Catherine turns for advice. With his approval, she decides to become a dead woman during her lifetime, and then die. Unknown knowledge, the metaphysical component of being, is put into the image of a baby in the story “Jump into the Coffin” by Mamleev. We continue to review the summary. Preparing for death Having received Nikifor's approval, the old woman agrees to the crazy idea of her relatives, who immediately go to the doctor. Gray with illness, she does not arouse any suspicion in the nurse who came to witness the death.
And Vasily, Natalya and Mitya, happy with the speedy deliverance from the ill-fated burden, begin to equate the living Catherine to the real deceased. Even a request for a cup of tea causes them something between bewilderment and indignation. Can the dead eat and drink? They should not have simple human desires. In addition, if you feed and drink Catherine, she will inevitably have to be taken to the restroom, otherwise the smell from the coffin will betray a false death.
Total egocentrism, coupled with exorbitant cynicism, causes some shock when reading the work "Jump into the Coffin". Mamleev, whose story is a storehouse of paradoxes, not only demonstrates the dark side of the human soul, but also leads the reader through the awareness of death as an integral part of life. Is death part of life? Of course, Catherine is afraid of her fate, despite the fact that she voluntarily agreed to the funeral and, it seems, resigned herself to her imminent death. The status of the deceased does not prevent her from continuing to feel like a living person, and even in her sleep she screams about her unwillingness to leave this world. Catherine seems to be born again, begins to move quickly and shows all the signs of health. Seeing the old woman's unusual liveliness, the relatives think about canceling the funeral, despite the possible consequences: the prospect of shame and imprisonment. However, the sudden surge of strength quickly fades away. Ekaterina is weakening, but in a different way. To the discouraged relatives, she says that she herself wants to fall into the coffin. They do not mind, they only decorate the bed of the living deceased with flowers. Ekaterina says nothing more, doesn’t think about anything, as if falling into the void. Perhaps she is no longer afraid of death and perceives it as a kind of natural part of life. This is partly the meaning of Mamleev's story "The Jump into the Coffin".
Analysis of further events is reduced to the metaphysical theme of death/immortality.
Is the soul immortal? At the funeral, the old woman lies motionless, only winks twice at the priest, who reads prayers. However, he does not even think about checking whether the deceased is really dead, attributing everything to demons who decided to embarrass him. The coffin is covered with a lid and carried to the cemetery, and an endless distance stretches before the heroes, as if calling to another, eternal unknown life. Describing nature in this way in the story “Jump into the Coffin”, Yuri Vitalievich Mamleev makes one think about what will be beyond the life line. The end of the work has a sublimely enthusiastic coloring, smacking of mysticism. The lid of the coffin is hammered without incident. Natalya succumbs to a spiritual impulse and clings to her. At this moment, it seems to her that ominous curses are coming from the coffin, directed against the whole world. Catherine's soul, meanwhile, is separated from the body and goes to the call of the Great Spirit, approaching the Earth. Metaphysical realism of Yu. Mamleev Yu. Mamleev touches on the issues of life and death, the unknown depths of the human personality in almost all of his creations, including the story "Jump into the Coffin". The author defined the genre in which it is written as metaphysical realism. Its essence lies in the close relationship of human life with the knowledge of the transcendental component of the world and personality. Mamleev analyzes it, he makes the reader think about it.
The main characters of the author face deep hidden phenomena. It is through their assessments that Mamleev describes the unknown in his story “Jump into the Coffin”. We have analyzed the summary of the work above. This is a kind of fusion of the grotesque and deep philosophical thought, which will not only shock the reader, but also make him reflect on the darkest component of human existence.
Not quite ordinary people lived in one communal apartment: the sorcerer Kuzma, the baby Nikifor, who was already three and a half years old, the seventy-year-old Ekaterina, who was sick with an unknown illness, her sister Natalya with her drunkard son Mitya, and the cousin of the sisters Vasily.
All problems in the family began with complications from Catherine's illness. She spent a lot of time in hospitals, but the doctors could not do anything. A sick old woman covers in front of her relatives. They had to take care of a disabled relative. Sister Natalya, who loved her sister when she was healthy, suddenly realized that she was indifferent to her. Brother Vasily, who always had a cheerful disposition, began to feel sad. Mitya is also tired of taking out the pots for Ekaterina. The old woman was a burden to everyone.
After the last hospitalization, the doctors said that Ekaterina would live no more than a year. Relatives began to wait for her to die.
Catherine could no longer almost get out of bed. She lay as if dead. When little Nikifor came to her, the old woman rejoiced at his visits. She seemed to understand what he was saying to her.
The sorcerer Kuzma, on the contrary, was afraid of Nicephorus. He said that the child was of unknown origin.
Then the relatives, tired of caring for the sick Catherine, offer her to pretend to be dead. They'll take a doctor's note and bury her alive. The old woman, after thinking and consulting with Nikifor, agreed to lie alive in the coffin.
The nurse, without even examining Ekaterina, wrote out a death certificate. Vasily bought a coffin. Catherine herself lay down in it.
The old woman's thoughts were already confused in her head, she was as if in a different world.
During the funeral service in the church, Catherine winked at the priest, but he decided that this was a temptation from demons.
Vasily was afraid that when they began to hammer the lid with nails, the deceased would change her mind about dying and scream. But, everything went well. The old woman lay quietly and did not cause trouble to her relatives.
During the lowering of the coffin into the grave, her soul was separated from the body.
Picture or drawing Mamleev - Jump into the coffin
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In his work, Yuri Mamleev describes a gloomy world filled with mysteries, prompting readers to seriously reflect on the unknown depths of the human soul, the finiteness and meaninglessness of life, the inevitability of death. The heroes of the author, as a rule, are people with serious mental disabilities or simply inadequate outcasts. Their images openly demonstrate all the most pernicious that can exist in the world. They are tireless researchers of everything transcendent, including the nature of death, surrounded by a mystical halo of mystery. How did Mamleev develop these themes in his story “Jump into the Coffin”? We will consider a brief summary of the work and its problems as detailed as possible below.
Characters
The events that the author narrates in his story take place in the most ordinary communal apartment. That's just the people who live in it, are able to break the usual patterns of behavior. There you can meet the sorcerer Kuzma and the most developed member of the Pochkarev family - Nikifor. He was already three and a half years old, but everyone still calls him a baby, because he behaves as if he had not yet left this age. The sorcerer Kuzma is afraid of Nicephorus, because he cannot understand what spirit sent him into this world.
However, no one especially loves the baby. And he communicates mainly with the seventy-year-old Catherine, who suffers from an illness unknown to science. Doctors only shrug their shoulders, and the old woman becomes practically incapacitated, which greatly upsets her always cheerful cousin Vasily, her slightly hysterical sister Natalya and her son Mitya, who abuses alcohol.
Catherine's illness becomes a real stumbling block for her relatives, a problem that prevents them from living. It is with the theme of spiritual callousness that Mamleev begins his story “Jump into the Coffin”.
Vasily, Natalya and Mitya endlessly send Ekaterina to the hospital, which, however, does not change the situation in any way. The old woman cannot serve herself and is getting weaker every day. She comes to life only when Nikifor appears.
And after the final verdict of the doctor: "incurable, will die soon" - relatives begin to tensely expect the end of their torment. Mitya is tired of taking out the pots. Natalya suddenly discovers with surprise the absence of unchanging love for her sister. Vasily is rapidly losing his sense of humor. And since the longed-for moment of Catherine's death does not come, the relatives unanimously decide to bury the old woman alive. They frankly tell their ward about this idea and ask her consent to such a crazy plan. The old woman accepts the proposal to suffocate in a coffin without enthusiasm, but promises to think and give an answer.
Yuri Mamleev offers the reader such an ambiguous plot with a fair amount of grotesque. He frankly exposes in it all the basest thoughts that can be born in a person’s head. The author simply turns human souls inside out, putting them on public display, and in parallel begins to develop the theme of death.
Relatives demand an immediate response from the old woman, arguing that they themselves will die sooner than Catherine. They thought of everything, including how to get a death certificate and not be dishonored. Ekaterina already looks like a dead woman, the main thing is that she lies quietly and does not inadvertently thwart their plan.
The transition to non-existence frightens the old woman. Vasily just shrugged his shoulders. Through the mouth of an old man, Yuri Mamleev asks "What is death?"
What is the point of being afraid of her if she is an unknown mystery? Death for Vasily is an abstract concept, therefore he treats it superficially and easily.
However, for Catherine, this issue is more pressing. After all, it is not for him to suffocate in a coffin, but for her. However, she knows who to turn to in order to make a decision - to Nikifor.
Image of Nicephorus
It is through the image of the baby that Mamleev develops the idea of transcendental reality in the story “Jump into the Coffin”. The problematics of the work are closely connected with the unknown, imprisoned in Nicephorus, who did not come to the world that he wanted, did not want to grow up, perceived being in a different way and, unlike the elders, knew the highest truth.
Even before the doctor’s verdict about Catherine’s incurability, he understands that she will soon be gone. In Nikifor, all the inhabitants of the communal apartment see something foreign: the baby is shunned by the sorcerer Kuzma, Natalya wants to spit in his direction, Mitya does not consider Nikifor a person at all. However, it is to him that Catherine turns for advice. With his approval, she decides to become a dead woman during her lifetime, and then die.
Unknown knowledge, the metaphysical component of being, is put into the image of a baby in the story "Jump into the Coffin" by Mamleev. We continue to review the summary.
Preparing for death
Having received the approval of Nikifor, the old woman agrees to the crazy idea of \u200b\u200brelatives, who immediately go to the doctor. Gray with illness, she does not arouse any suspicion in the nurse who came to witness the death.
And Vasily, Natalya and Mitya, happy with the speedy deliverance from the ill-fated burden, begin to equate the living Catherine to the real deceased. Even a request for a cup of tea causes them something between bewilderment and indignation. Can the dead eat and drink? They should not have simple human desires. In addition, if you feed and drink Catherine, she will inevitably have to be taken to the restroom, otherwise the smell from the coffin will betray a false death.
Total egocentrism, coupled with exorbitant cynicism, causes some shock when reading the work "Jump into the Coffin". Mamleev, whose story is a storehouse of paradoxes, not only demonstrates the dark side of the human soul, but also leads the reader through the awareness of death as an integral part of life.
Is death part of life?
Of course, Catherine is afraid of her fate, despite the fact that she voluntarily agreed to the funeral and, it seems, resigned herself to her imminent death. The status of the deceased does not prevent her from continuing to feel like a living person, and even in her sleep she screams about her unwillingness to leave this world. Catherine seems to be born again, begins to move quickly and shows all the signs of health.
Seeing the old woman's unusual liveliness, the relatives think about canceling the funeral, despite the possible consequences: the prospect of shame and imprisonment.
However, the sudden surge of strength quickly fades away. Ekaterina is weakening, but in a different way. To the discouraged relatives, she says that she herself wants to fall into the coffin. They do not mind, they only decorate the bed of the living deceased with flowers. Ekaterina says nothing more, doesn’t think about anything, as if falling into the void. Perhaps she is no longer afraid of death and perceives it as a kind of natural part of life. This is partly the meaning of Mamleev's story "The Jump into the Coffin". Analysis of further events is reduced to the metaphysical theme of death/immortality.
Is the soul immortal?
At the funeral, the old woman lies motionless, only winks twice at the priest, who reads prayers. However, he does not even think about checking whether the deceased is really dead, attributing everything to demons who decided to embarrass him.
The coffin is covered with a lid and carried to the cemetery, and an endless distance stretches before the heroes, as if calling to another, eternal unknown life.
Describing nature in this way in the story “Jump into the Coffin”, Yuri Vitalievich Mamleev makes one think about what will be beyond the life line. The end of the work has a sublimely enthusiastic coloring, smacking of mysticism.
The lid of the coffin is hammered without incident. Natalya succumbs to a spiritual impulse and clings to her. At this moment, it seems to her that ominous curses are coming from the coffin, directed against the whole world. Catherine's soul, meanwhile, is separated from the body and goes to the call of the Great Spirit, approaching the Earth.
Metaphysical realism of Y. Mamleev
Yu. Mamleev touches upon the issues of life and death, the unknown depths of the human personality in almost all of his creations, including the story "Jump into the Coffin". The author defined the genre in which it is written as metaphysical realism. Its essence lies in the close relationship of human life with the knowledge of the transcendental component of the world and personality. Mamleev analyzes it, he makes the reader think about it.
The main characters of the author face deep hidden phenomena. It is through their assessments that Mamleev describes the unknown in his story “Jump into the Coffin”. We have analyzed the summary of the work above. This is a kind of fusion of the grotesque and deep philosophical thought, which will not only shock the reader, but also make him reflect on the darkest component of human existence.
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