Poverty is not a vice, the meaning of the work. Characters of the play “Poverty is not a vice” A

Poverty is not a vice - Ostrovsky's play, which we met in class at school. The writer wrote it in 1853, and a year later the play was published as a separate book. The play, like the book, was a success. Today we became acquainted with this work. Now let’s take a look at Ostrovsky’s work: Poverty is not a vice, having examined the problems that the writer raises.

Analysis of the play Poverty is not a vice

In the play, Ostrovsky raises various problems, including the confrontation between the environment and the individual. Very often a person is treated depending on his wealth. The richer he is, the more he is respected, but spiritual and moral qualities are not taken into account.

Studying Ostrovsky and his Poverty is not a vice, and analyzing his work in 9th grade, we see the influence of money on people's destinies. The author showed us exactly how money can influence a person when a person begins to obey it and depend on it. Money comes to the fore, but caring for loved ones becomes secondary. But Ostrovsky could not allow the victory of money over human feelings and proved to readers that even wealth can be powerless. Proof of this was the love of the noblewoman Lyuba Gordeeva, whom her father wanted to marry a Moscow rich man, to the clerk Mitya. After going through trials, the loving hearts were finally reunited. And here Tortsov’s brother Gordeya Lyubim played an important role. It was he who spoke about the approaching plans of the manufacturer Korshunov, for whom Gordey wanted to give his daughter, despite the fact that she loved someone else. Africanus ruined Lyubim, and now has his sights set on Gordey. As a result, Korshunov demands an apology, and Gordey, to spite the manufacturer, gives Lyuba in marriage to Mitya. Gordey softened and was grateful to his brother for guiding him to his senses and not allowing him to make a mistake.

So two hearts were reunited, love triumphed over wealth.

Doing our brief analysis, we see that vices are punished, and goodness triumphs. The wedding of the heroes becomes proof that poverty cannot be a vice, but callousness and thirst for profit are the real shortcomings.

In Wikisource

"Poverty is not a vice"(original title “God opposes the proud”) - a comedy in three acts by Alexander Nikolaevich Ostrovsky. Written in 1853. Published as a separate edition in early 1854.

Act one

Mitya walks around the room; Yegorushka sits on a stool and reads “Bova Korolevich”, then stops and tells Mitya that everyone at home has gone for a ride. Only Gordey Karpych remained, he is terribly angry with his brother, Lyubim Karpych, who the day before at the festive dinner got drunk, began to throw out different knees, and made all the guests laugh. Gordey Karpych considered this an insult, got angry and drove his brother away. In retaliation, Lyubim Karpych committed mischief: he stood with the beggars near the cathedral. Gordey Karpych has gone wilder than ever and is now angry with everyone.

Pelageya Egorovna, Lyubov Gordeevna and guests arrived. Yegorushka grabs the book and runs away. Mitya is left alone, he complains about life (“I’m a stranger to everyone here, I have no relatives or friends!”), sits down at the desk and tries to work. But the work is not going well. Mitya’s thoughts are occupied with her beloved.

Pelageya Egorovna stops at the door and affectionately invites Mitya to come visit them in the evening. Gordey Karpych will not be at home, he will go to his new friend - manufacturer Afrikan Savich Korshunov. Pelageya Egorovna complains about Korshunov, a violent man who often drinks in the company of his English director. Tortsov used to be distinguished by his prudence, but when he went to Moscow last year, everything Russian became not pleasant to him: “I don’t have anyone to keep company with here, they’re all bastards, men, and they live like peasants,” and he made acquaintance with the “Moscow” Korshunov gets rich and gets his new friend drunk. He wants to marry his daughter, Lyubov Gordeevna, exclusively in Moscow.

Yasha Guslin, Tortsov’s nephew, enters. He is also invited to visit in the evening, and Yasha happily agrees. Mitya shares his concerns with Yasha: Mitya, the only son of an old and poor mother, must support her on a small salary; from Gordey Karpych he sees only insult, abuse and reproaches of poverty; Mitya could go to the Razlyulyaevs, but Tortsov has the sweetheart of his heart - Lyubov Gordeevna. Yasha advises Mitya to get this love out of her head, because Gordey Karpych will never bless their unequal marriage.

Razlyulyaev enters the room with a harmonica, he is cheerful and carefree, plays and sings, declares that he will party throughout the holiday, and then marry a rich woman. He sits next to Guslin and listens to the song he wrote. Mitya offers to sing, and everyone sings. In the middle of the song Gordey Karpych Tortsov enters. Everyone stops talking and stands up. Tortsov attacks Mitya with angry reproaches. He notices a book of poems by Koltsov, which Mitya is reading, and a new portion of reproaches follows. Then Razlyulyaev gets it too. And after an angry tirade, Gordey Karpych leaves.

After Gordey Karpych leaves, Lyubov Gordeevna, Anna Ivanovna, Masha and Lisa come into Mitya’s room. They were bored upstairs, they began to look for interesting company. Anna Ivanovna behaves very freely; Mitya, Lyubov Gordeevna and her friends opposite are constrained and awkward. Anna Ivanovna openly asks Guslin when he will marry her. Guslin replies that he will get married as soon as he receives permission from Gordey Karpych; then he motions to Anna Ivanovna and whispers in her ear, pointing to Lyubov Gordeevna and Mitya. At this time, Razlyulyaev amuses the girls: “I love to dance. Girls, someone will love me... for my simplicity.” The girls answer that they don’t say such words to girls, and Lyubov Gordeevna adds, looking at Mitya: “Maybe someone loves someone, but won’t say: you have to guess for yourself.” Anna Ivanovna, having finished her meeting with Guslin and looking ambiguously first at Lyubov Gordeevna and then at Mitya, invites everyone to go upstairs. She opens the door and lets everyone in, but slams it in front of Lyubov Gordeevna. Lyubov Gordeevna knocks and asks to be let out; the girls outside the door are having fun.

Mitya and Lyubov Gordeevna are left alone, and Mitya timidly says that he composed poetry for her. Lyubov Gordeevna asks Mitya to read them. Mitya sits down near the table, Lyubov Gordeevna moves very close to him. Mitya reads: “...The guy is ruining his heart in vain, Because the guy loves an uneven girl...” Lyubov Gordeevna sits for a while, thinking, then writes an answer and gives it to Mitya with the condition that Mitya will read it later, when Lyubov Gordeevna leaves. At the door she runs into Lyubim Karpych. He is amused, seeing his niece’s fright, then assures that he will not tell his brother anything. Lyubov Gordeevna runs away.

Lyubim Karpych passes by and asks Mitya to shelter him for a while: after that dinner party, his brother does not let him on the doorstep. Lyubim Karpych tells Mitya the story of his life: when his father died, Lyubim Karpych was twenty years old. Gordey took the establishment for himself and gave it to his brother in money and bills. We love Karpych went to Moscow to receive money for tickets and plunged headlong into the beautiful Moscow life. And after some time, almost the entire inheritance was spent. Lyubim Karpych entrusted what was left to his friend, Afrikan Korshunov, who deceived him. Lyubim Karpych was left with nothing. He stayed in Moscow and became a buffoon. That winter, Lyubim Karpych caught a bad cold, and they took him to the hospital. Once he recovered, he decided to go and pray to God and go back to his brother. His brother received him unkindly, began to feel ashamed and blame him. After the notorious dinner, Lyubim Karpych became offended and decided to teach his brother a lesson (“He, the fool, needs science”).

Mitya is about to go upstairs and remembers the letter. With trembling hands, he takes it out and reads: “And I love you. Lyubov Tortsova. Mitya grabs his head and runs away.

Act two

Evening. Living room in Tortsov's house. The living room is dark; There is only light from the door on the left. Lyubov Gordeevna and Anna Ivanovna enter this door. Lyubov Gordeevna tells how much she loves Mitya. Anna Ivanovna warns her against rash actions, then leaves.

Mitya enters. He asks Lyubov Gordeevna if her confession is a joke. Lyubov Gordeevna replies that everything written in the note is true, and requires reciprocal assurances of love. At first she pretends that she doesn’t believe Mitya (“And I thought that you loved Anna Ivanovna”), but then she admits that she just wanted to joke. But Mitya has no time for jokes, he is too worried about the fate of their love. Mitya and Lyubov Gordeevna decide the next day to throw themselves at the feet of Gordey Karpych and declare their love, and then whatever happens. They hug. When someone's footsteps are heard, Mitya quietly leaves.

Nanny Arina enters the living room with a candle and sends Lyubov Gordeevna to her mother. Egorushka runs into the room, and Arina asks him to call the neighboring maidservants to sing Christmas songs. Yegorushka rejoices at the upcoming fun and runs away.

Pelageya Egorovna enters the living room, she gives Arina instructions, then invites the others to come in: Lyubov Gordeevna, Masha, Lisa, Anna Ivanovna, Razlyulyaeva, Mitya, Guslin and her two elderly friends. The old women and Pelageya Egorovna sit down on the sofa; Anna Ivanovna and Guslin sit on chairs and talk quietly, Mitya stands next to them; Masha, Lyubov Gordeevna and Lisa walk around the room, hugging each other; Razlyulyaev follows them. The girls cheerfully pick each other with Razlyulyaev, the old women talk to each other, looking at them, and then offer Guslin to sing some song. While Guslin is singing, Arina enters with drinks and treats, treats the young ladies with sweets, and serves Madeira to the old women. Anna Ivanovna talks quietly with Pelageya Egorovna, Razlyulyaev picks up Arina and starts dancing, Arina fights back. Anna Ivanovna stands up for Arina and herself volunteers to dance with Razlyulyaev.

Neighborhood girls come in, are warmly greeted and seated. Arina brings a dish covered with a towel - the girls will sing dishes and tell fortunes. The young ladies remove the rings and place them on a plate; the girls start singing. Razlyulyaev, in the words “There will be guests to you, suitors to me... Whoever gets it will come true for him,” takes out the ring and gives it to Lyubov Gordeevna.

The mummers arrive (an old man with a balalaika, a leader with a bear and a goat) and Yegorushka. The ceremonial songs are abandoned, the mummers are treated to wine, and they begin to amuse the guests: sing, dance, act out skits; Yegorushka dances with them. While the guests are looking at the mummers, Mitya quietly whispers something to Lyubov Gordeevna and kisses her. Razlyulyaev notices this, comes up and declares that he will tell everything to Pelageya Egorovna, that he himself wants to marry Lyubov Gordeevna, because his family has a lot of money, and Mitya has nothing to hope for in this case. Guslin stands up for Mitya. Their argument is interrupted by a knock on the door - the owner has arrived.

Gordey Karpych and Korshunov enter the living room. Gordey Karpych rudely drives away the mummers and girls, fawns over Korshunov, and apologizes for the “lack of education” of his wife, who organized the evening “not in full shape.” But Korshunov, an old sensualist, on the contrary, likes the company of young girls. He sits down in a chair, chuckles, and favorably accepts the attention to his person. Tortsov is trying with all his might to create an “effect”: he orders champagne to be served and candles to be lit in the living room to illuminate the new “furniture”. Pelageya Egorovna goes out to carry out her husband’s orders, followed by Arina and the old women guests.

Korshunov approaches the young ladies, Lyubov Gordeevna, giggles joyfully, hints at “Yuletide days” and offers to kiss. The young ladies are not happy and refuse. Gordey Karpych orders to obey, and Lyubov Gordeevna yields. While Korshunov is kissing the young ladies, Gordey Karpych notices Mitya and drives him away; Guslin and Razlyulyaev leave after Mitya.

Korshunov sits down next to Lyubov Gordeevna, chuckles voluptuously and presents an expensive gift - diamond earrings. Lyubov Gordeevna coldly answers Korshunov, who, without ceremony, grabs and kisses her hand, starts talking about love and his wealth. Lyubov Gordeevna is disgusted by this old man, she gets up to leave, but her father orders her to stay. She returns to her place, and Korshunov again grabs her hand, strokes it and puts a diamond ring on her finger. Lyubov Gordeevna pulls out her hand, takes off the ring and gives it to Korshunov.

Pelageya Egorovna, Arina and Egorushka enter the living room with wine and glasses. Korshunov pretends to be an important guest. Gordey Karpych brings wine to Korshunov, orders his wife to bow, and the girls to sing a song of praise. After drinking, Korshunov sits down next to Lyubov Gordeevna, calls one of the girls, pats her on the cheek, chuckles and pours change into her apron. Then he orders Gordey Karpych to get down to business. Gordey Karpych intends to move from the city, where there is “ignorance and lack of education,” to Moscow. Moreover, there will be his own person there - son-in-law Afrikan Savich. They have already agreed and shook hands.

Pelageya Egorovna is horrified and screams “My daughter! Will not give it back!"; Korshunov harshly remarks to Tortsov: “I promised, so keep your word.” Lyubov Gordeevna rushes to her father and begs him to change his mind. Gordey Karpych is relentless: “You fool, you yourself don’t understand your happiness. In Moscow you will live like a lord, you will ride in carriages... I order so.” And Lyubov Gordeevna humbly answers: “Your will, father!”, bows and goes to her mother. Satisfied Gordey Karpych orders the girls to sing the wedding song and invites the dear guest to go to another room. Lyubov Gordeevna cries in her mother’s arms, her friends surround her.

Act three

Morning. A room in Tortsov's house. One door leads to the hall where guests dine, the other to the interior rooms. Arina is sitting in the room, with several maids with her. Pelageya Egorovna enters and dismisses them. Pelageya Egorovna is all in pre-wedding troubles, but her soul is heavy.

Anna Ivanovna enters, followed by Mitya. Barely holding back tears, he says that he has come to say goodbye to his kind hostess: tonight he is leaving for his mother and will never return. Mitya bows at the feet of Pelageya Egorovna, kisses her and Anna Ivanovna. Then he decides that he should say goodbye to Lyubov Gordeevna. Pelageya Egorovna sends for her daughter, Anna Ivanovna sadly shakes her head and leaves.

Pelageya Egorovna complains to Mitya about her grief: against her will she gives her daughter to a bad man. Mitya, almost crying, reproaches her for not resisting her husband’s willfulness. Pelageya Egorovna is distressed and asks Mitya to have pity and not to reproach her. Mitya, in a fit of emotion, decides to open up and says that yesterday he and Lyubov Gordeevna agreed to ask for a blessing; and this morning this news... Pelageya Egorovna is amazed, she sincerely sympathizes with Mitya.

Lyubov Gordeevna enters, says goodbye to Mitya, and cries. Mitya, out of despair, invites Pelageya Yegorovna to bless them, and then secretly take Lyubov Gordeevna to her old mother and get married there. Pelageya Egorovna is horrified (“What did you, dissolute, come up with? Who dares to take such a sin on his soul...”). And Lyubov Gordeevna is against such a plan. She tells Mitya that she loves him, but she won’t get out of her parents’ will, “that’s how it’s been done since ancient times.” And let her suffer for her hateful husband, but know that she lives by the law, and no one will dare to laugh to her face. Mitya humbly accepts Lyubov Gordeevna’s decision, says goodbye and leaves.

Korshunov enters the room from the dining room, he asks Pelageya Egorovna to leave so that he can talk in confidence with the bride “about his affairs.” Korshunov sits down next to the crying Lyubov Gordeevna and tells her about all the “benefits” of marriage with an old man (“The old man will give you a gift for love... and gold, and velvet...”, and the young husband “you’ll see, he’ll get involved with someone on the side... and your wife is drying up"), continuously kisses her hands and chuckles. Lyubov Gordeevna asks if his late wife loved Korshunov. Korshunov answers very harshly that she didn’t love her. In essence, Korshunov bought himself a wife: “You see, they needed money, they had nothing to live on: I gave, I didn’t refuse; but I need to be loved. Well, am I free to demand this or not? I paid money for that. It’s a sin to complain about me: whoever I love will live well in the world; and don’t blame anyone I don’t love!”

Gordey Karpych enters the room. He speaks obsequiously to Korshunov, boasts of his “culture”: “In another place, a fine guy in a hoodie or a girl is serving at the table, but I have a waiter in thread gloves... Oh, if I lived in Moscow or in St. Petersburg, I would “It seems he imitated every fashion.” Egorushka runs in and, laughing, says that Lyubim Karpych came and began to disperse the guests. Gordey Karpych gets angry and leaves with Yegorushka.

Razlyulyaev, Masha and Lisa enter, followed immediately by Lyubim Karpych. He makes fun of Korshunov; He seems to be joking, but at the same time he accuses Korshunov of ruining him: “You exalted me so much, elevated me to such a rank that I didn’t steal anything, but I’m ashamed to look people in the eye!” We love Karpych and demands that he pay off his old debt and for his niece, one million three hundred thousand.

Gordey Karpych enters, he drives his brother out of the house. But the determined Lyubim Karpych does not leave, he accuses Korshunov of dishonor and crimes. Gordey Karpych orders his brother to be taken away, but Lyubim leaves himself. The wounded Korshunov complains about the insult caused to him, says that he will leave for Moscow, demands that Gordey bow “so that I can take your daughter.” The offended Gordey Karpych refuses to bow, in a fit of anger he says that tomorrow he will give his daughter to Mitka, who at that moment entered the room. Enraged, Korshunov leaves.

Mitya and Lyubov Gordeevna admit that they have loved each other for a long time, and ask to bless “like parents, with love,” and not out of spite. Gordey Karpych again reproaches Mitya for being poor and no match for the Tortsov family. Pelageya Egorovna and Lyubov Gordeevna and Lyubim Karpych who entered ask to bless the newlyweds. In response, Gordey Karpych wipes away a tear, hugs and blesses Mitya and Lyubov Gordeevna. Yasha Guslin asks permission to marry Anna Ivanovna and also receives a blessing. Razlyulyaev congratulates Mitya, Pelageya Egorovna asks the girls to sing a cheerful wedding song.

Productions

• Premiere on January 25, 1854 at the Maly Theater with the active participation of Ostrovsky. (Gordey Tortsov - Stepanov, Pelageya Egorovna - Orlova-Sinepkaya, Lyubov Gordeevna - Voronova. We love Tortsov - P. Sadovsky, Korshunov - Shchepkin, Mitya - Samarin, Guslin - Kalinovsky, Razlyulyaev - S. Vasiliev, Anna Ivanovna - Nikulina-Kositskaya, Arina - Akimova).
• September 9, 1854 at a benefit performance directed by Yablochkin at the Alexandria Theater (Gordey Tortsov - Grigoriev 2nd, Pelageya Egorovna - Linskaya, Lyubov Gordeevna - Chitau, Lyubim Tortsov - V. Samoilov, Korshunov - Martynov, Mitya - Burdin, Guslin - Kalinovsky, Razlyulyaev - Markovetsky, Anna Ivanovna - Oplova , Arina - Gromova). Aug 19 1884 in the same place (Lyubov Gordeevna - Savine); 25 Jan 1894 in the same place (Lyubov Gordeevna - Paskhalova, Lyubim Tortsov - Davydov, Korshunov - Varlamov, Anna Ivanovna - Savina, Mitya - Apollosky, Pelageya Egorovna - Strelskaya, Razlyulyaev - Sazonov).
• Maly Theater (September 17, 1908, Gordey Tortsov - M. Sadovsky, Pelageya Egorovna - Sadovskaya, Lyubim Tortsov - K. Rybakov, Razlyulyaev - Yakovlev)
• Korsh Theater (September 26, 1914; dir. Sanin; Pelageya Egorovna - Blumenthal-Tamarina, Lyubim Tortsov - Borisov).
• Petrograd Academic Drama Theater (December 3, 1921; Pelageya Egorovna - Korchagina-Alexandrovskaya, Lyubov Gordeevna - Domashova, Lyubim Tortsov - K. Yakovlev, Korshunov - Korvin-Krukovsky, Mitya - Peshkov, Razlyulyaev - Voronov, Anna Ivanovna - Pototskaya)
• Moscow Theater named after. Lenin Komsomol (1935; director Sudakov, art director Matrunin; Lyubov Gordeevna - Polovikova, Lyubim Tortsov - Solovyov);
• Moscow theater-studio under the direction. Dikogo (1936; gezh. Toporkov, art. Mepytsutin);
• Moscow Theater named after. Ermolova (1936; dir. Tereshkovich)
• St. Petersburg Theater of Youth Creativity named after. M. G. Dubrovina (director D. V. Lavrov)

Students traditionally get acquainted with Ostrovsky’s work in 9th grade during literature lessons. Ostrovsky’s play “Poverty is not a vice” reflected the picture of the life of the Russian merchants contemporary to the author. Information about the topic, idea, issues and genre of the work will be useful for preparing for a lesson, test, or writing a creative work. In our article you will find a brief as well as a complete analysis of the play according to plan.

Brief Analysis

Year of writing– 1853

History of creation- the play was written to ridicule the fashion for Western trends in the way of life of the merchants, and to emphasize the truly Russian character that is represented in this class. His friendship with the Slavophiles influenced the content of the work. After reading and staging the play, Ostrovsky became recognized and famous, and the success exceeded all expectations.

Subject– the influence of money on relationships between people in society, the choice of life path, obstacles and circumstances in a person’s destiny.

Composition– three acts with a sharp unexpected ending in the last act, a richness of folklore moments ringing important scenes, parallel comparison of heroes.

Genre- a comedy in three acts.

Literary direction– critical realism and romanticism.

History of creation

Originally the play was supposed to be called “God Resists the Proud.” The idea appeared in July 1953, in August the author began work on the work, and finished it at the end of the same year.

The roles were distributed among the actors even before its writing was completed. In 1854, on January 25, the play was first staged at the Maly Theater in Moscow. It was a huge success and was liked by a wide range of viewers.

The work was written by Ostrovsky under the influence of his Slavophile friends, so after the play was staged, many of the author’s friends recognized themselves in it. The truly Russian character of Lyubim Tortsov played a decisive role in the fate of the play. In this hero, critics saw the ideal image of a Russian person. The success of the play, even after its first readings in Moscow, exceeded all the expectations and even the dreams of the author.

It should be noted that Ostrovsky dedicated the play to his friend, the outstanding theater actor Prov Mikhalovich Sadovsky. It was he who best played the role of Lyubim Tortsov in the play. The Moscow merchant class was well known to Ostrovsky, because he had to leave higher education and enter the service of the court. It was the merchant class that most often turned to the courts; here the future playwright became acquainted with native Russian characters and characters worthy of entering literature.

Subject

“Poverty is not a vice” reveals topic true Russian character, shows that link of Russian society that has preserved all the customs, traditions and inner essence of the people's soul. That is why the play is called a hymn to the Russian merchants: life, family life, rituals, habits, traditions, all this was described by the author in the work. Subjects reveals relationships between people based on their level of well-being. The author touches upon Problems choosing the future, obedience and respect for elders, the theme of love, family, sin.

A red thread runs through the entire narrative thought that a Russian person is not ideal, he makes mistakes, spends his life on sins and dissipation, but he is able to admit mistakes and take the right path. This is the strength of the Russian person. To understand what this work teaches, you need to focus on the plot. The conclusion is obvious: no new-fangled worldviews can coexist in the Russian soul if they contradict folk wisdom, heart, and common sense. The essence of comedy Ostrovsky is that money is not always omnipotent; the honor and dignity of an intelligent person is higher than any material wealth.

Composition

Ostrovsky's comedy consists of three acts; this division also has a semantic basis. The climax of the action occurs in the last act, followed by a denouement and a happy ending. The conflict is based on the demands of fashion, the spirit of the times and their clash with Russian reality. In the understanding of Gordey Karpych, education is only the external side (a new frock coat, champagne, furs and carriages).

A feature of the composition of the play can be considered the saturation with folklore elements (proverbs, songs, jokes), they ring each action, accompany all the important moments, emphasizing and shading them in a special way. The technique of prepared appearance of heroes is widely used: at the beginning they are talked about, then they go on stage.

In the play, the characters are viewed in parallel, so their images are easier to perceive - in comparison. The author's stage directions and scenery play an important role in creating vivid scenes and the perception of what is happening. Ostrovsky is recognized as the “father of Russian theater”; it was he who created the theory of the behavior of characters on stage, taking into account the characteristics of the genre. His plays have been staged for more than a century and a half, they are immortal, which is due to the talent and genius of the author.

Main characters

Genre

In “Poverty is not a vice,” the analysis will be incomplete if we do not note the genre specificity of the work. Ostrovsky's comedy is unique for its everyday scenes, the clarity of his remarks, and the depth of the characters' monologues. Mandatory for the author were the “speaking” names of the characters, their static nature and at the same time the completeness of the images. The playwright’s satire is subtle, not caustic, but hits the mark: it’s not for nothing that many acquaintances after the production stopped communicating with Ostrovsky, recognizing themselves in the characters of the play.

Work test

Rating analysis

Average rating: 4.5. Total ratings received: 64.

The famous play “Poverty is not a vice” was written by the wonderful writer Alexander Nikolaevich Ostrovsky in 1953. And exactly a year later this work was published as a separate book. It is known that Ostrovsky’s comedy was a success, so in 1854 it was staged on the stages of the Moscow Maly and Alexandria theaters. The author himself did not expect such success. Let's briefly consider the features of this comedy.

In contact with

History of the play

Alexander Ostrovsky planned to write his new work in mid-July 1853, but was able to fulfill his plan only at the end of August. The author conceived a plot in which there should have been only two acts. But during writing, Alexander Nikolaevich changed not only the structure of his book, but also the name. When its writing was finished, when reading it there was unexpected and huge success, which stunned even Ostrovsky himself.

Important! The original title of Ostrovsky’s work is “God Resists the Proud.”

Meaning of the name

The title of the play allows us to see that, despite the fact that there is no justice in the world in which the main characters live, love can still exist. The world of the Russian worker is beautiful, its holidays and rituals are beautiful. But at the same time, the Russian people are starving and live their lives in poverty, from which they cannot get out. The workers are completely dependent on their boss, who is rude and rude. First place comes not spiritual values, but wealth, and this is the main vice of humanity.

Problems raised by Ostrovsky

The writer Ostrovsky raises many problems in the play “Poverty is not a vice,” but the main one is the confrontation between the individual and the environment.

If a person is poor, then often many of the values ​​of this world pass him by. He turns out to be unhappy in love, and difficulties arise constantly on his way.

But money cannot bring happiness either. You cannot love for money or be friends, as this will still turn into hatred.

But relationships with a person often develop because of how rich he is. Unfortunately, mental and moral qualities recede into the background.

The idea of ​​the play “Poverty is not a vice”

Alexander Nikolaevich in the play perfectly describes how money influences a person, how quickly he begins to obey it, putting it first, and forget about what surrounds him, even about his family and friends. But Ostrovsky shows that, having enormous power over people, they are still powerless. And this idea is proven in the story of Lyubov Gordeevna, who was able to defend her love, although both she and Mitya had to go through trials.

Plot feature

A feature of the plot as a whole is the disclosure of the main, main problem through the conflict of the play. According to the writer, the older generation is trying to completely subjugate adult children. They do not think about the happiness of the younger generation, but only trying to increase their wealth in. Love means nothing in their value system.

Important! Ostrovsky shows not only the conflict between generations, but also the tyranny of people who have money.

The comedy is structured as follows:

1. The plot in which the young and poor clerk Mitya confesses his feelings to Lyuba.
2. The climax in which Lyuba's father wants to marry his daughter to a rich manufacturer.
3. The denouement in which the reader constantly hears Lyubim's monologue, and the lovers receive parental blessing.

Characteristics of the characters

Play Poverty is not a vice Ostrovsky

Ostrovsky has few characters, but all of them are necessary in order not only to understand the content, but the writer is trying to make fun of stupidity and ignorance of society, headed by money.

Characters:

• Tortsov Gordey Karpych, rich merchant.
• Pelageya Egorovna, wife of Tortsov.
• Lyuba, their daughter.
• We love Tortsov, the brother of a rich merchant.
• Korshunov Afrikan Savvich, manufacturer.
• Mitya, clerk.

Many expressions of Ostrovsky’s heroes have firmly entered our speech and become popular. And this happened because the language of the characters in Ostrovsky’s work is expressive, flexible, bright and rich. An apt word or expression has been chosen for everything.

Lyubov Gordeevna: description and brief description

Ostrovsky created several female characters in his literary work “Poverty is not a vice,” denouncing people who have wealth. One of them is Lyuba, who grew up in a merchant family, but suddenly unexpectedly fell in love with Mitya. The guy is poor and serves as a clerk for her father.

Note! The girl herself is well aware that Mitya is not suitable for her as a groom, since he is not her equal in terms of wealth and position in society.

And the father, Gordey Tortsov, had long ago chosen the groom he liked. Chance decides Lyuba's fate and gives her the opportunity to be happy with the one she loves. All the father's plans collapse, and the marriage with the unloved groom did not take place.

The first action takes place in Tortsov’s house, where Mitya is reading a book, and Yegorushka tells him the latest news. The clerk tried to work, but all his thoughts were about his beloved.

But then Pelageya Egorovna came, complaining about her husband. According to her, after a trip to Moscow, he stopped loving Russian and began to drink a lot. And he even conceived his own daughter to marry in Moscow give away.

And Mitya told his story to Yasha. He is forced to work in Tortsov's house, since his beloved lives here. But he is the only son of a poor mother, to whom he gives all his salary. And he could get more if he went to Razlyulyaev, but he cannot leave Lyubasha.

But soon the cheerful Razlyulyaev appears, with whom the young people begin to sing. Suddenly, right in the middle of the song, Tortsov appears in the room. He starts yelling at Mitya and then drives off again. After his departure, girls enter the room, among whom is Lyubov Gordeevna.

Soon Mitya and Lyuba Tortsova are left alone in the room. The clerk reads the poems he composed for her. After listening to the life story of Lyubim Tortsov, Mitya reads a note from Lyuba, where the girl confesses her love to him.

The second act takes the reader into the living room of Tortsov’s house, where it is already dark. Lyuba confesses to Anna Ivanovna that she loves Mitya. Soon the clerk appears and decides to confess his love. The young people decide to inform Tortsov about this tomorrow and ask for his blessing.

When Mitya leaves, girls appear, having fun, singing songs and telling fortunes. The mummers also appear. At this time, Mitya kisses Lyuba, but Razlyulyaev is dissatisfied, since he himself was going to marry the girl, because he had money. But then Tortsov unexpectedly appears again. He came home with Korshunov, whom he constantly fawns over. Having driven away the guests, he apologizes for his uneducated wife. Korshunov gives Tortsov’s daughter earrings with diamonds.

Tortsov informs the family that he is going to move from the district town to Moscow. After all, he had already found his son-in-law there, with whom they had already agreed on the wedding. Mother and Lyuba against such a decision of the father, they cry and ask not to destroy the young girl. But Tortsov doesn’t even want to hear anything.

The third act begins in the rooms where preparations for the daughter’s wedding have been underway since the morning. Mitya decided to go to his mother and came to say goodbye, but he himself could barely hold back his tears.

The young man, hearing that Pelageya Egorovna was against marriage with a bad person, reveals a secret that they are in love. Soon the girl appears. The hour of farewell comes when they both cry.

In desperation, Mitya offers to secretly bless them, and then they can go together to his mother, where they can get married in peace. But no one can go against their father’s will, because it is sinful. The young man, having accepted the girl’s decision, leaves sad.

Korshunov tries to explain to Lyubasha what happiness awaits her with a rich husband. But then Lyubim Karpych appears, who not only disperses the guests, but also demands that the old debt be returned. A scandal arises, and in a fit of anger Gordey Karpych, considering himself insulted, gives consent to the marriage of Mitya and Lyuba.

The play “Poverty is not a vice” - summary

Poverty is not Ostrovsky’s vice - analysis, content, plot

Conclusion

Ostrovsky ends his work with the triumph of good and the punishment of vice. It is the wedding of the main characters that proves the title that poverty cannot be a vice, and the main vice is the callousness of human souls and the thirst for wealth.

Literature lesson in 9th grade. A. N. Ostrovsky. The play "Poverty is not a vice." Lesson objectives:  To identify the features of Ostrovsky’s dramaturgy using the example of analysis of the conflict in the comedy “Poverty is not a vice.” Objectives:  To develop in schoolchildren the ability to think logically: find the main thing, compare, generalize, draw conclusions; Develop the ability to discuss a given topic; Develop monologue speech;    To cultivate the correct attitude towards the moral values ​​of the Russian mentality;  Cultivate interest and respect for Russian literature. 1. Introductory speech by the teacher. Today we are going to get acquainted with the playwright Alexander Nikolaevich Ostrovsky and his play, written in the early period of his work, “Poverty is not a vice.” Write down the topic of the lesson in your notebook: “A. N. Ostrovsky. "Poverty is not a vice". In high school, you will study his famous play "The Thunderstorm." But now this name is new to us, so a few words about the playwright himself. Features:  Showing important all-Russian problems through family and everyday conflict;  Bright, recognizable characters; 2. Analysis of the conflict of the play. (Sl. 9) Today we begin our acquaintance with Ostrovsky’s comedy “Poverty is not a vice.” Name. So, poverty is not a vice. How do you understand this saying? What genre does this expression belong to? In addition to this title, among Ostrovsky’s plays there are also the following: Our own people - we’ll be numbered!, Every wise man has enough simplicity, Don’t sit on someone else’s sleigh, There’s a hangover at someone else’s feast, An old friend is better than two new ones, Your own dogs are squabbling - don’t bother someone else’s, It’s not all Maslenitsa for the cat, There wasn’t a penny, but suddenly it’s Altyn, Guilty without guilt. From fifty drama works. O. A dozen plays are named proverbs. You won't find anything like this from any other writer. Features:  Originality of names. Working with slide 9. Reading the slide text. You have read the play. You know that any dramatic work is built on conflict. Conflict is a confrontation, a clash on which the development of the plot in a work of art is built. Anya, remind me what the basis of conflicts is in the plays of the young Ostrovsky. Find antonymous concepts in this sentence. (patriarchal (ancient) way of life - innovations). What do you think Ostrovsky sees as the ideals of folk morality? (the strength of family foundations, the trust of children in their parents, the inviolability of the customs that reign in this merchant family, the integrity and clarity of their worldview). What is this world up against? (innovations, modern, so-called “civilization”). Notebook entry (missing lines):

Comedy conflict: The patriarchal world of folk morality is opposed to the modern world of power and money. So, we have identified a nationwide problem, which is shown through family and everyday conflict. Who is participating in it? (Sl. 10). Poster. Reading the names and surnames of the characters. How do you explain that the author gave the name Lyubim to one of the Tortsov brothers, and Gordey to the other? What qualities of people are suggested by names and surnames - African Korshunov (predator), Lyubov, Guslin, Razlyulyaev, Mitya? (Gordey - a proud, rich merchant, Lyubim - beloved by everyone, a good person, but a loser, Guslin - a simple, cheerful guy (from the word "harp" - an old folk instrument), Razlyulyaev - a simple, cheerful guy (from the outdated word "razlyuli" fun ), Mitya - dedicated to the Greek goddess of earth and fertility, Demeter) P. Already in the poster O. secretly commented on his heroes. How? U. - gave them meaningful first and last names. Feature:  Speaking names. Once again I draw your attention to the author’s presentation of the characters in the poster. Which name does not fit into the general range of names? Why? For what purpose does O. indicate the status of the characters in this way? Why doesn’t the name Gordey evoke positive associations among familiar names? Features:  Unusual presentation of the characters in the poster, which determines the conflict that will develop in the play. Between which characters is the main conflict brewing? Why? (The merchant Gordey Karpych Tortsov is fascinated by the manufacturer Korshunov, wants to live according to fashion, in a new way, and is even ready to give his only daughter to the old man) What about the mother? (Narrow-minded, weak-willed, indecisive, she cannot resist her husband) What is Lyubim’s role in this family conflict? (He exposes Korshunov, a predator, upsets the wedding of Lyubov and Korshunov, stands up for Lyubov and Mitya, helps his brother see the light.) With what words does Lyubim Tortsov start the conflict? (Read: D. 1, revelation 12. We love Karpych (takes). I need a ten-kopeck piece. It’s all silver, I don’t need silver. Give me another seven-ruble coin, and it will be in real time. (Mitya gives it.) That’s enough . You are a kind soul, Mitya! (Lies down.) Brother doesn’t know how to appreciate you. Well, I’ll do a trick with him. Give a smart man money, he’ll do the job, I’ve seen everything, everything. ... Great science has happened! But you better not give money to a fool, otherwise he will break down... fu, fu, fu, trrr!... like my brother, and like me, a brute... (in a half-asleep voice.) Mitya, I’ll come to you for the night. . Come. Now the office is empty... holidays... We love Karpych (falling asleep). And my brother and I will do a funny thing. (Falls asleep.) (Sk. 11 - read as a summary of the answer to the question) 5. Brief overview of the actions. Assignment: Sort by actions: exposition, plot; development of action, climax; denouement.

(Mk. 12) 1 action. The first act is a voluminous, bright, spectacular plot of the entire upcoming action. This is the initial moment in the development of events, prepared by the exposition. Here the reader gets the first ideas about the characters portrayed and the conflict between them. In the first act, Lyubim Tortsov’s words about his brother, important for the development of the action, are heard: “He, the fool, needs science,” “Well, I’ll do a trick with him. Wealth is evil for fools!”, “And my brother and I will do a funny thing.” The conflict is planned. The secret letter addressed to Mitya also indicates a love affair: “And I love you. Lyubov Tortsova. P. How do we get to know the main characters: Gordey Karpych and Lyubimy Karpych? W. – We hear about them from other characters. About Gordey from Yegorushka: he swears, is angry with Lyubim Karpych, from Pelageya: he drinks with African, as if they replaced him. (D. 1, Rev. 3) About Lyubim from Yegorushka: he made everyone laugh at dinner, Proudly kicked him out, Lyubim got into trouble in revenge: he stood with the beggars at the cathedral. Feature:  “Prepared appearance” of the main characters, others talk about them first. P. From what lines do our heroes directly enter into action? U. – Lyubim’s first remark (he saw Lyubov Gordeevna and Mitya alone in the room), covering his face with his hands: “Stop! What kind of person? By what type? For what purpose? Take it into doubt! Me, niece! What, were you scared? Go, don't be afraid! I’m not a prover, but I put everything in a box...” (D.1, Rev. 11) Gordey’s first remark (D.1, Rev. 7) enters the room where young people are having fun: “Why are you singing! They bawler like men! (Mitya) And you too! It seems that you don’t live in such a house, not with men. What a half-beer house! So that I don’t have this in the future! P. – What can you tell about the characters based on their first line? (L. – jokes, jokes, “not a prover”; G. – rude, humiliating, “manly” curse). Feature:  The significance of the hero’s first remark) Second act. The action is rapidly developing, involving new characters, and they all play their role in the course of the drama and the development of the conflict. The atmosphere of common young love, celebration and cheerful chaos with songs and music, fortune-telling, mummers, performances with a bear and a goat is destroyed with with the appearance of Gordey Karpych and Korshunov. The possibility of happiness for the young heroes becomes illusory. “Son-in-law African Savich” is sure that he has no reason to worry, orders the girls a “wedding” song, Lyubov Gordeevna is worried, her friends surround the excited girl P. What a holiday. speech? Christmastide. What kind of holiday? By what signs can you guess that it’s Christmastide? Why does Ostrovsky correlate the time of the play with the time of Christmastide celebrations? U. – Observance of folk religious traditions. The main meaning is holy. period, according to popular ideas, was the revival of order in the world and in the life of every person as a particle of this world. (Traditions of oral folk art - folklore) Features:  Folklore moments.) Act three. The conflict of the drama, the clash of characters, ends. Despite the fact that (Sl. 14) the denouement logically follows from the development of the action, it is still of an unexpected nature: this is really an emphatically happy ending, because the development of the action was dramatic.

The “thing” that Lyubim came up with helps the young couple out. This “thing” also saves Gordey from the ruin that threatened him if he became related to Korshunov, who is dishonest in financial matters. Thus, the denouement is directly related to the development of action in the second act; it is the final moment in the development of conflict and intrigue. We love Tortsov interferes with the natural course of events and prevents the triumph of evil. He puts the protest against the powers that be in a catchy form: “It is good for him to live in the world who has no shame in his eyes.” Again the proverb! It is aptly said that Ostrovsky’s theater is a speech theater. His plays have beautiful, poetically rich language. In fact, in Ostrovsky, someone who is a poet at heart speaks poetically. In Ostrovsky, each character speaks in his own language. The speech of the heroes is the most important means of characterizing them. Let's prove it. Reading passages. (Pelageya, We Love) Gordey Karpych. No, tell me this: am I okay? In another place, a guy in a suit or a girl is serving at the table, but I have a waiter in thread gloves. This ficiant, he is a scientist, from Moscow, he knows all the rules: where to sit, what to do. What about others? They will gather in one room, sit in a circle, and the peasants will sing songs. It is, of course, fun, but I think that it is low, there is no tone. And what do you drink because of your lack of education! There are different liqueurs, cherry blossoms... but they don’t understand that there’s champagne for that! Oh, if I lived in Moscow or in St. Petersburg, I would, it seems, imitate every fashion. Explain the speech features of those characters whose monologues we read. (Proudly illiterate, he believes that education is useless, the main thing is to live according to fashion. We love: his speech has an element of undoubted intelligence; his speech is not patriarchal, not folklore, but belongs to Ostrovsky’s contemporary urban culture; one of all the characters, he uses some snatches of foreign phrases are quite correct and appropriate). Features:  The originality of the speech characteristics of the characters. P. – If I asked you to identify similarities and differences between certain characters in the play, who would you compare and contrast? Why? (Mitya - Korshunov. Similarities: intention to marry Lyubov Gordeevna; difference: Mitya’s honesty - Korshunov’s actions on the sly; We love Tortsov - Gordey Tortsov. Similarities: brothers, in the end, Gordey sees the light, turns out to be no stranger to the truth. Difference: G. - tyrant , what is important to him is external polish, not the human soul; L., who in his youth also succumbed to the supposedly obligatory maintenance of status and squandered his entire fortune, realized that the main thing in life is not money, because you can remain a good person without money; - Korshunov. Similarities: former comrades. Difference: honesty of the first and dishonor of the second.) Feature:  Parallel consideration of compared heroes. 6. This comparison will be your homework, and you also need to answer the question: why is Lyubim Tortsov - Ostrovsky’s favorite hero? 7. Let's summarize the lesson. (Sl. 15) Let us list the features of the dramaturgy of Alexander Nikolaevich Ostrovsky: If time permits, we can discuss the words of A.I. Goncharov: “You alone completed the building, at the foundation of which Fonvizin, Griboyedov, Gogol laid the cornerstones. But only after you, we Russians,

We can proudly say: “We have our own, Russian, national theater. It should rightly be called the “Ostrovsky Theater”.