1. Calculation and feelings, their role in the development of the plot.
2. The image and fate of Larisa Ogudalova.
3. Representatives of the business world in the play.
4. Drama of injured pride: Julius Karandyshev.
In the play "Dowry" A. N. Ostrovsky clearly demonstrated that the main driving force in society are money. It is they who give a person the opportunity to manage others, to feel confident and independent: successful businessmen Knurov and Vozhevatov are respected people in the city, all doors are open to them, and they themselves are fully aware of all the advantages of their position: “Yes, you can do business with money, you can . Well, Vasily Danilych, who has a lot of money. There is no such “goods” that could not be purchased for money: for them, the squandered nobleman Paratov sells his “volushka”, Larisa’s mother fishes them out from wealthy guests with various tricks, for money Larisa herself, disappointed in love, is ready to go with Knurov, who is not averse to having fun. The cunning swindler, the actor Schastlivtsev, is trying to extract all the material benefits from his acquaintance with rich people, having incurred debts at their expense, and the petty official Karandyshev is trying his best to catch up with the rich, whom he secretly envies. Thus, we see that, to one degree or another, money influences the behavior of all the characters in the play.
And what role do feelings play in the development of the plot, primarily love? Larisa, the main character of the play, is constantly in the spotlight, they talk about her, admire her. However true love of all actors only she felt: “I was looking for love and did not find it. They looked at me and look at me as if they were fun. No one ever tried to look into my soul, I didn’t see sympathy from anyone, I didn’t hear a warm, heartfelt word, ”Larisa comes to this conclusion. In fact, who from her environment is capable of high feelings? “No, somehow I, Mokiy Parmenych, don’t notice this at all in myself,” says the young merchant Vozhevatov about love. “What is “sorry”, I don’t know. I, Moky Parmenych, have nothing cherished; I will find a profit, so I will sell everything, anything ”- this is the true essence of Paratov, who for a long time seemed to Larisa "the ideal of a man." And this man shamelessly lied to Larisa: “... There is no innate huckstering in me; noble feelings still stir in my soul. Knurov is at least honest: "... I am ready to offer you such an enormous content that the most evil critics of someone else's morality will have to be silent and gape in surprise." Yes, and Karandyshev, who declares that he loves Larisa, treats her the same way as everyone else - as a thing, believing that he has the right to control her fate, her life: “So don’t get you to anyone!”
The internal conflict of the play lies in the fact that with significant attention from others, Larisa is actually immensely lonely. Not only that, its concepts and aspirations do not fit into the system of values prevailing in society. Larisa is alien to calculation and pretense, and this becomes the cause of her mental suffering. But she, with all her high merits, does not know how to evaluate people. She takes Paratov's external brilliance for the true breadth of the soul; she believes this man even after he disappeared, after saying beautiful words about your love. Since there is no lie in Larisa, she does not see it in others either; indignant that “everyone loves himself,” that everyone thinks only of themselves, she also, in essence, does not see those around her, measures them by her own standards. Her decision to marry Karandyshev the highest degree an unreasonable decision: even before the wedding it is clear that she, sensitive, vulnerable and proud, will not get along with this man, in whom the base possessive instinct is extremely developed and pride is painfully heightened. And Larisa does not want and does not know how to look soberly at her fiancé, as well as at her loved one - she fences herself off from the real Karandyshev with ghostly pictures of a future family life in which the girl hopes to find peace of mind. But is it possible to find spiritual harmony, being in the company of a person whom you do not love and even respect? “... You are too petty, too insignificant for me,” but is this true only in relation to Karandyshev? And Paratov? After all, he, too, with all his brilliance, which Karandyshev so lacks, does not deserve respect.
In the play "Dowry", Ostrovsky masterfully showed not only the character of the main character, but also the people around her. The hereditary merchants Knurov and Vozhevatov, despite the cynicism with which they cast lots on who to take Larisa for maintenance, nevertheless turn out to be more honest than the nobleman Paratov. “Honest merchant's word” still has value in the views of Knurov and Vozhevatov: “... Having given your word, hold on; and not giving, be strong! The honesty of these practical people, albeit not burdened by high spiritual ideals, distinguishes them favorably from Paratov, immoral and cruel lie which becomes one of the reasons for the death of Larisa.
Ostrovsky shows and others character traits successful businessmen: the arrogance of Knurov, who talks only to a select few, the witty hypocrisy of Vozhevatov, who drinks champagne as if it were tea in order to avoid unnecessary gossip.
Clever businessmen secretly laugh at Paratov, who pays too much attention to secular gloss, loves to spend money, not counting why he squandered. Ostrovsky shows the shift in value priorities that has taken place in society: if before the nobleman was more respected than the representatives of the merchant class (this theme sounds, for example, in the play “Our people - let's get along”), now the merchants allow themselves to make fun of noble inexperience, ostentatious chic: “ ... Where is he! This is not a bar business. Here you will find a benefit if you buy something cheap. ”
In stark contrast to self-confident entrepreneurs and the brilliant gentleman Paratov is the image of Yuli Karandyshev, Larina's fiancé. The desire to "magnify" exposes this person in a pitiful, ridiculous way. Karandyshev's main trouble is not even in his insignificant income, but in the fact that he tries to get on friendly terms with the rich, forgetting ancient wisdom: "A goose is not a comrade to a pig." This person has a painfully heightened self-esteem - deep down, aware of his own insignificance, Karandyshev suffers painfully from jealousy. He is ready to be jealous of Larisa for anyone; wanting to somehow raise his own importance in her eyes, he gets into conversations with inappropriate remarks, tries to tell Larisa how she should behave, reproaches her for her behavior, which, from his point of view, is wrong. But all these miserable attempts to appear smart and significant suffer a crushing collapse - Karandyshev increasingly reveals his personal failure. The murder of Larisa is the highest manifestation of base emotions that cover Karandyshev.
Summarizing the above, we can say that Ostrovsky not only skillfully recreated the features of life of certain circles of society, showed a tragic discrepancy between the world of the Chistogan and the desire human soul To selfless love, but also showed the characters that, with minor changes, still exist in society.
A.N. Ostrovsky created an amazing gallery of Russian characters. Representatives of the merchant class became the main characters - from "domostroevsky" tyrants to real businessmen. The playwright's portrayals of women were no less vivid and expressive. Some of them looked like the heroines of J.S. Turgenev: they were just as brave and resolute, had warm hearts and never gave up their feelings. Below is an analysis of Ostrovsky's "Dowry", where the main character is a bright personality, different from the people who surrounded her.
History of creation
The analysis of Ostrovsky's "Dowry" should begin with the history of its writing. In the 1870s, Alexander Nikolayevich was an honorary judge in one county. Participation in trials and familiarity with various cases gave him new opportunity search for themes for their works.
Researchers of his life and work suggest that the plot for this play was taken from his judicial practice. It was a case that made a lot of noise in the county - the murder local resident his young wife. Ostrovsky began writing the play in 1874, but progress was slow. And only in 1878 the play was completed.
Actors and their brief description
The next point in the analysis of Ostrovsky's "Dowry" is a small description of the characters in the play.
Larisa Ogudalova is the main character. A beautiful and impressionable noblewoman. Despite her sensitive nature, she is a proud girl. Its main disadvantage is poverty. Therefore, her mother tries to find a rich groom for her. Larisa is in love with Paratov, but he leaves her. Then, out of desperation, she decides to marry Karandyshev.
Sergey Paratov is a nobleman who is over 30 years old. An unprincipled, cold and calculating person. Everything is measured in money. Going to marry rich girl, but does not tell Larisa about it.
Julius Kapitonych Karandyshev is a petty official who has little money. conceited, his the main objective- win the respect of others and impress them. Jealous of Larisa to Paratov.
Vasily Vozhevatov is a young rich merchant. I've known the main character since childhood. A cunning person without any moral principles.
Moky Parmenych Knurov is an elderly merchant, the richest man in the city. He likes young Ogudalova, but he - married man. Therefore, Knurov wants her to become his kept woman. Selfish, he cares only for his own interests.
Harita Ignatievna Ogudalova - Larisa's mother, widow. Cunning, she tries to profitably give her daughter in marriage so that they do not need anything. Therefore, he believes that any means are suitable for this.
Robinson is an actor, mediocrity, a drunkard. Friend of Paratov.
One of the points in the analysis of Ostrovsky's "Dowry" is a brief description of the plot of the play. The action takes place in the Volga city of Bryakhimov. In the first act, the reader learns from the conversation between Knurov and Vozhevatov that Sergei Paratov, a wealthy gentleman who loves to appear spectacularly in society, is returning to the city.
He left Bryakhimov so hastily that he did not say goodbye to Larisa Ogudalova, who was in love with him. She was in despair because of his departure. Knurov and Vozhevatov say that she is beautiful, smart and performs romances incomparably. Only her suitors shun her, because she is a dowry.
Realizing this, her mother constantly keeps the doors of the house open, in the hope that a rich groom will marry Larisa. The girl decides to marry a petty official, Yuri Kapitonych Karandyshev. During the walk, the merchants inform them of Paratov's arrival. Karandyshev invites them to a dinner party in honor of his fiancee. Julius Kapitonych arranges a scandal for the bride because of Paratov.
Meanwhile, Paratov himself, in a conversation with the merchants, says that he was going to marry the daughter of the owner of the gold mines. And Larisa is no longer interested in him, but the news of her marriage makes him think.
Larisa quarrels with her fiancé because she wants to leave with him for the village as soon as possible. Karandyshev, despite the constraint on funds, is going to give a dinner party. Ogudalova is having an explanation with Paratov. He accuses her of cheating and asks if she loves him. The girl agrees.
Paratov decided to humiliate Larisa's fiancé in front of the guests. He gets him drunk at dinner, and then persuades the girl to go on a boat trip with him. After spending the night with her, he tells her that he has a fiancee. The girl realizes that she is disgraced. She agrees to become the kept woman of Knurov, who won her in a dispute with Vozhevatov. But Yuri Karandyshev shot Larisa out of jealousy. The girl thanks him and says that she is not offended by anyone.
The image of Larisa Ogudalova
In the analysis of Ostrovsky's "Dowry" one should also consider the image of the main character. Larisa appeared before the reader as a beautiful, educated noblewoman, but without a dowry. And, finding herself in a society where the main measure is money, she was faced with the fact that no one takes her feelings seriously.
Possessing an ardent soul and a warm heart, she falls in love with the treacherous Paratov. But because of his feelings, he cannot see his true character. Larisa feels lonely - no one even tries to understand her, everyone uses her like a thing. But despite the subtle nature, the girl has a proud disposition. And just like all heroes, she is afraid of poverty. Therefore, she feels even more contempt for her fiancé.
In the analysis of Ostrovsky's "Dowry" it should be noted that Larisa does not have great fortitude. She does not decide to commit suicide or start living the life she wants. She accepts the fact that she is a thing and refuses to fight any further. Therefore, the groom's shot brought her peace, the girl was glad that all her suffering was over, and she found peace.
The image of Yuri Karandyshev
In the analysis of the play "Dowry" by Ostrovsky, one can also consider the image of the heroine's fiancé. Julius Kapitonich is shown to the reader as small man who is important to earn the recognition of others. For him, a thing has value if rich people have it.
This is a proud man who lives for show and causes only contempt from others because of his pathetic attempts to be like them. Karandyshev, most likely, did not like Larisa: he understood that all men would envy him, because she was the dream of many. And he hoped to get what he wanted public acceptance after their marriage. Therefore, Julius Kapitonich could not come to terms with the fact that she left him.
Comparison with Katerina
Comparative analysis of "Thunderstorm" and "Dowry" by Ostrovsky helps to find not only similarities, but also differences between the works. Both heroines - bright personalities, and their chosen ones are weak and weak-willed people. Katerina and Larisa have warm hearts and fall in love with men who match their imaginary ideal.
Both heroines feel lonely in society, and internal conflict heating up more and more. And this is where the differences come in. Larisa didn't have that inner strength, which was with Katerina. Kabanova could not come to terms with life in a society where tyranny and despotism reigned. She rushed into the Volga. Larisa, realizing that for everyone she is a thing, cannot decide on such a step. And the girl does not even think about the fight - she just decides to live now like everyone else. Perhaps that is why the viewer immediately liked the heroine Katerina Kabanova.
Stage productions
In the analysis of Ostrovsky's drama "Dowry", it can be noted that, contrary to expectations, the performances failed. The viewer seemed bored with a story about a provincial girl who was deceived by a fan. Critics also disliked actor play: for them it was too melodramatic. And only in 1896 the play was staged again. And even then the audience was able to accept and appreciate it.
An analysis of Ostrovsky's work "Dowry" allows us to show what a serious psychological subtext the play has. How detailed the characters are. And, despite the sentimental scenes, the play belongs to the genre of realism. And her characters have replenished the gallery of Russian characters, masterfully described by A.N. Ostrovsky.
The play "Dowry" is one of the psychological dramas that Ostrovsky turned to in the 1870s. It is somewhat out of the general context of the author's drama, along with social questions, it contains psychological questions. After we pass brief analysis of the play "Dowry", the accents that Ostrovsky placed in the work will become more obvious, and the author's idea will also be clear.
Socio-psychological problems of the play "Dowry"
A dowry is a girl who does not have a dowry, and therefore it is difficult for her to get married. This defines the main conflict in the play. The social position of the heroes determines their fate, their outlook on life and, in many respects, their character. So, at the beginning of the play, two successful merchants Knurov and Vozhevatov talk about the omnipotence of capital.
Let's start our analysis of the play "Dowry" with this thought. They are accustomed to measuring everything with money. It is noteworthy that Vozhevatov replies to Knurov’s remark about how nice it would be to “ride” with Larisa to Paris, and not fall in love with her for long, Vozhevatov replies: “There is a price for every product”, “I ... I won’t give too much.” In the hierarchy life values the main place is occupied by money, wealth, luxury. This determines the relationship of people to each other. Paratov is universally respected by the fact that he littered with money. Larisa's mother, Harita Ignatievna, welcomes wealthy suitors without thinking about her reputation. According to the merchants, in her house she has a “bazaar”, “campaign”. Karandyshev is jealous of wealthier people, which exacerbates his painful pride.
In this world, everything is bought and sold. When analyzing the play "Dowry", note this. Paratov says that he is “marrying a million”, having no feelings for the bride at all. In the finale, Larisa, having learned that Knurov and Vozhevatov are playing toss, who will get it, bitterly exclaims: “They are right, I am a thing, not a person.”
But the psychological conflict is no less important. It is determined by the contradiction between the world of capital, its values and the desire for sincerity of feelings, the purity of human relations. The tragedy of Larisa is that she "looked for love and did not find it." Knurov notices that Larisa is "simple" in the sense that she does not know how to be hypocritical, cunning, luring suitors. She believes in Paratov's feelings, realizing only at the end that he deceived her. He does not immediately realize how small and insignificant Karandyshev is. The contradictions between inner aspirations and reality lead to a dramatic denouement.
Analysis of the play "Dowry" - a system of images
The system of images in drama seems to form two poles. On one of the rich merchants, wealthy people, respected in the city. On the other - Larisa Ogudalova. Merchants, unlike Ostrovsky's other dramas, are educated and travel to Europe. However, they life priorities It's still money and pride. These are Knurov, Vozhevatov, Paratov, Karandyshev, despite the difference social position. Everyone believes that Paratov is a "brilliant gentleman", a man of a broad soul. In fact, for him “there is nothing cherished”, marriage to money is more important than Larisa, who truly loves him. Karandyshev, speaking about feelings for the bride, thinks only how everyone will envy him now. Even the mother of the main character, Harita Ignatievna, sells her daughters, trying to marry them off. But as can be seen from the analysis of the play "Dowry", this does not bring them happiness.
main character plays - Larisa Ogudalova. Her name comes from the Greek for "seagull". Larisa is a romantic, talented, subtle nature. She plays beautifully, she is noble and beautiful. But because of poverty, they look at it only as a momentary entertainment.
Larisa is taller, bolder, better than others. For all outside attention Larisa is alone with herself. Her spiritual qualities, mind, talent turn out to be of no use to anyone: they go to her house only to have fun and spend time. Love for Paratov also does not find a response. He seduces her, knowing that he will not exchange a millionth bride for a dowry. Karandyshev puts above all his offended pride, and marriage to Larisa is a reason for him to assert himself. Understanding her loneliness, hopelessness in the world of omnipotence of capital and calculation lead Larisa to the thought of “how good it is to die”, to forgive everyone and die. Therefore, she calls Karandyshev's shot a "good deed."
In this article, you have read a brief analysis of the play "Dowry" by Ostrovsky. Visit our literary blog where you will find many articles on this topic. Also read
Ostrovsky's psychological drama The Dowry, like the play The Thunderstorm, is one of Ostrovsky's dramatic masterpieces. It is distinguished by the acuteness of social problems, the colorfulness and brightness of characters, refined psychologism, and the rarest expressive interweaving of the social and the individual-personal.
Almost twenty years separate "Dowry" (1978) from "Thunderstorm" (1859). Intensive changes in Russian life led to increased capitalization, "the triumph of the bourgeoisie." The action of the play takes place in the Volga city of Bryakhimov in the "present days" (that is, in the late 70s of the XIX century). The heroes of the play are Europeanized merchants who, in the words of one of the servants, go to talk "to Moscow, St. Petersburg and abroad."
Cross-cutting in the play, in many respects determining its conflict, is the motive of the omnipotence of capital. A significant part of the exposition of the drama "Dowry", the analysis of which we are interested in, is occupied by the dialogue of the millionaire Knurov with the representative of a wealthy trading company Vozhevatov. Both merchants, like most of Ostrovsky's characters, significant surnames: "knur" - boar, wild boar, "chewed" - polite, courteous. Merchants are discussing sensational news: the consent of the first beauty of the city, charming and artistic Larisa Ogudalova, to marry a poor official Karandyshev, who is completely insignificant in the eyes of successful merchants. “Well, what is Karandyshev!” - Knurov declares contemptuously (d. 1, yavl. 2).
From the dialogue of the merchants, we learn about Larisa's relationship with her beloved Paratov, who, according to Vozhevatov, "recaptured all the suitors, and his trace caught a cold, disappeared to no one knows where" (d. 1, yavl. 2). Larisa is in a hopeless situation, she is a dowry, and this is the main reason for her personal misfortunes. The interlocutors also evaluate their own chances in competition for Larisa. The struggle for it, conducted almost according to the laws of the stock market game, reveals in each of the rivals all the immensity of their personal ambitions, the desire to establish themselves as the “hero of the day”. Whatever the merchants talk about, even about the most personal, intimate, the motive of buying and selling is always in the first place.
Each of the characters in the play "Dowry" (Ostrovsky), the analysis of which interests us, in accordance with his ideas, strives to master the "art of life". Among the hierarchy of life values of merchants and nobles, wealth, luxury, and refined pleasures come to the fore. Knurov, who has a huge fortune, behaves like a person for whom "impossible is not enough." “Paratov lives with chic” - this is how merchants evaluate the lifestyle of the “brilliant gentleman”. “She loves to live happily herself,” says the young, lucky Vasya Vozhevatov, a regular in her house, about the mother of the heroine Kharita Ignatievna Ogudalova. The poor official Karandyshev, "a proud and envious man", striving for success and comfort, appears as a parodic double of Paratov. Karandyshev cannot assimilate the alien, inorganic style of behavior for him and goes astray. According to A. I. Zhuravleva's apt expression, he cannot "get into the image." And only the mentally refined Larisa, as it were, exists “above everyday life”, craves a spiritual and moral life, dreams of a sublime romantic relationship. Naturally, with such different ideas about life, they speak different languages with Karandyshev.
The question naturally arises: is Karandyshev sincere in his feelings for Larisa? Without a doubt, this petty official with great ambitions loves her in his own way. But this feeling is inseparable from his hysterical ambition, the desire to magnify himself, to present his “capital” to his rivals. M. V. Otradin correctly notes that the relationship between Larisa and Karandyshev "immediately manifests itself as mutual claims." Karandyshev, having barely become a groom, begins with accusations, behaves ignoblely, reminds his bride of life "in the camp". Larisa answers him with devastating, merciless frankness: “If I didn’t look for silence, solitude, if I didn’t want to run away from people, would I go for you?” (d. 1, yavl. 4). Romantically inclined Larisa does not hide from Karandyshev that her ideal man is Sergey Sergeyich Paratov. She perceives Paratov in the halo of high romance associations (M. V. Otradin), sees in him a bold, generous, exceptional person in everything. By agreeing to marry Karandyshev, Larisa changes her ideas about love and true happiness. However, Larisa's consent to marriage with an unloved person allows different interpretations. Having lost, it would seem, the newfound happiness (Paratov left and forgot about Larisa), she does not lose hope for a worthy and moral life. And that is why he chooses the path of marriage. “At least for Karandyshev, but marry,” Vozhevatov says, not without annoyance. It is noteworthy that Larisa's mother, Harita Ignatievna Ogudalova, is much less picky about the means of achieving well-being in life. She does not exclude "warm participation" in the life of the daughter of a rich man, as evidenced by her conversation with Knurov. “Well, how will this participation be found,” she agrees with Knurov (d. 2, yavl. 2). In the eyes of the eldest Ogudalova, the daughter is a commodity, so the marriage of Larisa or the “patronage” of a sympathetic rich man for her - her mother - are worth each other.
The main event in the first act is Paratov's return to Bryakhimov. His arrival is important not only for the influential people of the city. Both tavern servants and gypsies welcome him. Paratov is everyone's favorite. When he talks about the mechanics from “Swallows”: “He is a foreigner, he is a Dutchman, his soul is short; they have arithmetic instead of a soul ”(d. 1, yavl. 6), the reader (viewer) has the right to expect that Paratov himself is a truly Russian person with broad soul. Paratov strives to be perceived in this way. But here it is revealed that it is not difficult for him to find a common language with the merchants: “I, Moky Parmenych,” he turns to Knurov, “have nothing cherished; I will find a profit, so I will sell everything, anything ”(case 1, yavl. 6). This very frank self-confession is followed by a message about his marriage to a girl with a very rich dowry. Ostrovsky shows that in Russian society there is a process of erasing the differences between the estates. The big gentleman talks and acts quite like a merchant. The fact that Paratov, with his education and intelligence, his ability to feel the beautiful, serves the same idols as the merchants, dramatically sharpens the conflict, inevitably brings the catastrophe closer.
It is noteworthy that, compared to the mighty of the world this comic actor Arkady Schastlivtsev (in the plot his role is secondary) appears to be a more natural person. His reactions to the world are more direct, but this only aggravates his position as a jester, with whom the enlightened Russian tyrants of the newest formation “take their souls”. Larisa's fiancé finds himself in a similar buffoonish position, to whom rival men are constantly trying to point out his true place. Larisa herself correlates with Robinson, whom the "medics" look at as a thing.
During the meeting with Larisa (d. 2, yavl. 8) Paratov behaves like a director and an actor at the same time. His appeal to Shakespeare's Hamlet can be explained by the desire to play, change roles, masks. Paratov is an extremely egocentric person, accustomed to excel in everything and, above all, in love. His male pride is flattered that Larisa is still in the grip of passionate feelings. Undoubtedly, he belongs to the “predatory” type of heroes (“paraty” is a strong, predatory beast). In response to Larisa’s request not to abuse her frankness, Paratov hypocritically declares: “I, Larisa Dmitrievna, am a person with rules, marriage is a sacred matter for me” (case 2, scene 8). The truth of these words is refuted by all his subsequent behavior, the whole course of events. For him, marriage is a bargain, he sells both his freedom, and his attraction to Larisa, and the possible prospect of happiness with her for a large dowry of an unloved metropolitan bride.
It can be said without exaggeration that self-love is the "Archimedean lever" by which action moves. “Everyone loves themselves,” Larisa says bitterly.
Karandyshev, planning a dinner party, cherishes a secret desire to laugh at the rich "buffoons" and take revenge on them. At dinner, he raises a toast to his fiancee Larisa - and utters a commendable word to himself. Karandyshev feels himself at the zenith of greatness, and his guests see only how ridiculous he is. In the struggle of ambition, the strong and successful win. Paratov, mocking the host of the dinner, achieves his goal: in the eyes of Larisa, Karandyshev is humiliated, and therefore destroyed. Larisa is released from internal obligations to her fiancé.
Karandyshev does not even think about the fact that for Larisa marriage with him is a compromise, that in the family she hopes to find solitude and peace. For him to intermarry with noble family Ogudalov, to get a beautiful wife - "to play for a raise." So he dreams of the front door lavish wedding, which disgusts Larisa.
In the center of the drama is the fate of a charming and talented homeless woman, around whom frank and cynical bargaining is being carried out. In the process of developing the action, the “torture of feelings” (B. Eikhenbaum’s term) of the heroine drags on as much as possible. Paratov, who decided to destroy Karandyshev, does not think about how much pain he will cause Larisa.
The dominant motifs of the play are formed and supported by the musical romance element. Larisa sings a romance to the verses of Baratynsky "Do not tempt me without need." This elegy is dominated by disappointment, fatigue of the soul, inability to seduce love. The romance can be seen as the key to the heroine's drama. Larisa's singing is the voice of a suffering soul. The girl of the play, having a high romantic feeling for Paratov, tried, but could not come to terms with the role of the bride of an unloved person, whom her mother kept in the house "just in case".
In the analyzed play "Dowry" by Ostrovsky, as in romances, there are many internal paradoxes. Larisa's suffering, it would seem, reached last line. And suddenly she heard in the words of the admiring Paratov what she had been waiting for and wanted to hear, in her own way she perceived and interpreted his unsteady, but passionate confessions. Her soul instantly responds to the loving, excited voice of her beloved. To live for Larisa means to love. Therefore, without hesitation, she agrees to go beyond the Volga with a man in whom she had already lost faith (case 3, appearance 12). Paratov's remark - "She will go" - addressed to Knurov and Vozhevatov, as if crosses out the entire previous situation (Karandyshev's matchmaking, consent to Larisa's marriage). Paratov always feels himself the master of the situation.
For Karandyshev, the flight of the guests and the bride is a terrible blow. His monologue: "Yes, it's funny... I'm a funny person..." (case 3, appearance 14) is full of pathetic intonations. And the reader (viewer) - perhaps for the first time - begins to sympathize with him. Psychological characteristic this character is noticeably more complicated, his position is dramatized. Karandyshev is going to take revenge on his offenders, and this rebellion against them: “I will take revenge on each of them, each one, until they kill me myself” (d. 3, yavl. 14) is completely natural.
In Ostrovsky's "Dowry" a significant place is given to the motive of the game, which is multifaceted by the author both in the action of the play, and in the characters, and in the relations of the characters. This and bad joke with the actor Schastlivtsev, whom Paratov passes off as a foreigner Robinson and promises to send him to Paris. But "Paris", where Schastlivtsev ends up, is a Brakhimov restaurant. This is a game of feelings and pride of the central characters.
This is one of the forms of embodiment of the conflict. In the second act, Paratov is talking to Larisa's mother. He playfully remarks: “It’s not for us, frivolous gentlemen, to start new turns!” (Javl. 7). In fact, he is far from gentlemanly: a noble gloss is his mask, and behind it are the nature and interests of the businessman. Harita Ignatievna is trying to reveal Paratov's game, to discover his secret intentions: “I understand: do you want to get married profitably?” Marrying the dowry Larisa is impossible for Paratov - this is a game, not standing candle: “After all, I almost married Larisa - if only I could make people laugh! Yes, I played a fool” (case 1, appearance 7). Yes, and the very relationship with Larisa, awakening the passion of the player in Paratov, is cruel, dangerous game, a completely conscious risk: “I will abandon all calculations, and no power will snatch you from me; except together with my life” (case 3, appearance 12). In the scene of recognition, Paratov's ornate speeches are regarded by Larisa as a play on words: “No, no, Sergey Sergeyevich, you don’t say phrases to me! ..” (d. 4, yavl. 7). The concept of "game" is also realized in the play in a metaphorical sense: "life is a game". “I have lost more than a fortune, I have lost you; I myself suffer, and I made you suffer” (case 3, appearance 12). The last action begins with a scene card game, and it is followed by an episode of Larisa's toss prank, where Knurov and Vozhevatov rely on chance.
The “cruel game” of Paratov and Larisa ended with the fact that the true Paratov finally opens up to the heroine, for whom calculation and profit are above all. Disappointment in a loved one for Larisa is tantamount to a loss of the meaning of life. Suffering from the betrayal of Paratov, the dowry does not find sympathy in anyone, even in her childhood friend, Vozhevatov. The last dialogue in the play, between Larisa and Karandyshev, goes on strong emotional swings. The killer word "thing" that finds for ex-fiancee Karandyshev, becomes one of the leitmotifs of this last conversation. “I take you, I am your master,” says Karandyshev (d. 4, yavl. 11). But further, shocked by Larisa's intention to go to Knurov, he softens: “Larisa Dmitrievna! Stop! I forgive you, I forgive everything." Karandyshev begs to make him happy, confesses his love. And then - in response to Larisa's categorical refusal and contempt - a new emotional drop follows: "So don't get you to anyone!" Former fiance Larisa, who decided to protect her and avenge her (one of all and one against all), is not kept at this height and kills his beloved, confirming the view of her as a thing (B. O. Kostelyanets).
Larisa regards Karandyshev's shot as a boon. There is no Katerina's integrity in her, so Larisa found herself on the verge of compromise and moral decline, although she has a passionate dream of the purity and beauty of human relations. Death allows her to maintain integrity and height, not to lose dignity. But, as A. I. Zhuravleva emphasizes, “the more softness and forgiveness the heroine has, the sharper the judgment of the viewer.”
The meaning of the title of the play "Dowry", the analysis of which we have carried out, is focused not only on the social and everyday, but also on the moral and psychological conflict. “You can’t call Katerina a dowry. It is rich: behind it is the power of tradition, the strength of the people's worldview and folk poetry. Larisa is beautiful, but she is by herself, ”N. N. Skatov rightly noted. The heroines of two dramaturgical masterpieces by Ostrovsky appear individually unique and are among the most charming female images Russian and world literature.
Today in the lesson we will talk about the features of the problems of Ostrovsky's drama "The Dowry", about the characteristics and stage roles of some of its heroes. We will also discuss and analyze such plays as The Forest, Enough Simplicity for Every Wise Man, and the trilogy about Balzaminov. Let's spend brief digression on the work of the playwright after writing the play "Thunderstorm".
Rice. 1. Title page one of the editions of the drama "Dowry" (1948) ()
"Dowry" Ostrovsky wrote in 1878. On November 10, it was staged in Moscow, and two weeks later, on November 22, 1878, in Alexandrinsky theater St. Petersburg. In the January issue of Domestic notes” appeared this play already printed. This is a drama in four acts, the action takes place in our time. The place of action is the city of Bryakhimov. This is the same fictional, generalized city as Kalinov in The Thunderstorm.
Rice. 2. Illustration for the drama "Thunderstorm" ()
Briakhimov is also the scene of action in the plays "Handsome Man" and "Talents and Admirers", both of which were written later than "Dowry". As in The Thunderstorm, the scenery is Privolzhsky Boulevard, but the space, unlike the play of 1859, is divided into levels, it is organized vertically. The coffee house is the Volga. In the performance of the theater-studio of Pyotr Fomenko, these levels are emphasized and part of the action takes place on the stage at the top of the stairs. It's interesting to look at the names of the characters. In Ostrovsky, the names of the characters are often speaking. Often, but not always. Sometimes Ostrovsky names completely opposite characters in the same way. In "Dowry" surnames really speak. For example, the surname Knurov. Knur is a boar, a boar. Knurov is a character of a new type. This is the master of life, a rich merchant, but this is not Dikoy, not Bolshov, not Tortsov. There are no boots, no undershirt, no cap, no beard. He has a French newspaper sticking out of his pocket, which he reads for quite some time. And when he is on stage, it is as if he is shielded by this newspaper from his unworthy interlocutors. The next character is Vozhevatov. The very word chewy means courteous, affable. The figure is quite unconventional. Firstly, he is young, this will be discussed from the very beginning of the play, and secondly, he has known Larisa since childhood and sympathizes with her, although he is not in love. Thirdly, he still feels the excitement of buying, acquiring. This is a different type of merchant, entrepreneur, money bag". There is such a character in the play as Paratov. The surname Paratov is formed from the adjective paraty, is a hunting term. Word paraty means strong, fast, cunning. Indeed, Paratov is an unusually curious character. He is always spectacular, even theatrical, he is able to knock a coin out of Larisa's hands, he loves a fast ride, although if the captain of the ship had obeyed him, then perhaps the boilers would really have burst. It is important that already in the first conversation with Vozhevatov he says that he has " ... there is nothing cherished, I will find a profit, so I will sell everything, anything ... ”.
This expression sets the tone of Paratov's character, who, having seduced Larisa very effectively, tells her that he has wedding ring, he is engaged, he feels that he has already sold his freedom. This character is very important.
The name of Larisa's mother is Harita. It means in gypsy charmer. The gypsy theme in this play is extremely important. Extremely much in the mood of this play is born from the gypsy choir, from gypsy songs, and not only gypsy ones. Music plays here all the time. Here and "Mother Dove", and "Do not tempt me." Larisa sings. The musical component of the plays, and, accordingly, the performance, the film, if we talk about the film adaptation of this play by Eldar Ryazanov called " Cruel romance' is also extremely important.
The name Larisa means pleasant, sweet. The name of the character here enters into a dialogue with the character. This is not just a label: if Larisa, she will always be pleasant and sweet. And she's not sweet at all. Or Vozhevatov should always be polite and courteous, but remember his relationship with Robinson. Robinson is a character that the reader of Ostrovsky should be familiar with. This is the actor of Schastlivtsev, who appears in the play "The Forest", written much earlier than "Dowry".
The title of the comedy "Forest" is as ambiguous as the title of "Thunderstorms".
Rice. 3. Title page of one of the editions of the play "Forest" (1950) ()
On the one side, we are talking for the sale of timber. The landowner Gurmyzhskaya is selling her forest. This is a reflection of the real process, when noble estates fall into decay, estates are sold, smaller, etc. Bodaev, one of the characters in this comedy, says: “A lover needs a yarmulke with a tassel - she sells wood, drill, cherished, to the first rogue”. Indeed, Vosmibratov is the first rogue. But on the other hand, the forest is also the scene of action. Peter and Aksyusha, Schastlivtsev and Neschastlivtsev meet in the forest. And here again the play becomes in the context of Ostrovsky's work: one of the signs leads to the estate of Gurmyzhskaya Penka, and the other to the city of Kalinov (the scene of "Thunderstorm"). It is no coincidence that Karp says: “We live here in the forest, we pray for stump, and even then with laziness”. And then Neschastlivtsev will say to Schastlivtsev: "How did we get into this forest?" That is, the forest is not only trees, the forest is life in the Gurmyzhskaya estate, life with monstrous orders.
Unlucky: And really, brother Arkady, why did we come in, how did we get into this forest, into this dense cheese forest? Why did we, brother, frighten away owls and owls? What's to stop them! Let them live how they want! Everything is in order here, brother, as one should be in the forest. Old women marry high school students, young girls drown themselves from the bitter life of their relatives: the forest, brother.
This is how the meaning of the title grows and becomes symbolic.
The names of the characters are very interesting. As always, with Ostrovsky they are significant. For example, Milanov. Milanov was in Fonvizin's Undergrowth. Milanov is a sensitive scoundrel.
Milanov: When were people happy? Under bushes. What a pity that we have moved away from the primitive simplicity that our paternal relationship and paternal measures applied to our lesser brethren have ceased! Severity in handling and love in the soul - how harmoniously elegant!
That is, he longs for the fact that after the reforms it is impossible to flog the peasants, it is impossible to dispose of them with impunity, as if they were things.
Milanov: Estates are ruined not because of the ladies, but because there is a lot of freedom.
Bodaev: What kind of freedom? Where is it?
The play is based on a traditional situation: young people who love each other, in whose path there is an obstacle. In the end, these obstacles must be overcome. This is what happens in a classic play. In the work of Ostrovsky, money appears, with the help of which everything is decided.
Bulanov: For money, people lay their souls to hell.
Comedy is hot. There are clear links to modernity here, for example, Zemstvo ( local government), which Bodaev terribly dislikes. It becomes clear to us how the theater exists within the theater. This is the most important thing in the play "Forest".
At first, Aksyusha asks Gurmyzhskaya why this comedy with her marriage to Bulanov is needed. Gurmyzhskaya, like a cynical and hypocritical creature, says that if necessary, she will force her to play this comedy. Here, everyone plays their part. For example, Gurmyzhskaya. The first role is that she is a benefactor.
Gurmyzhskaya: You play a role, and you will play.
How much trouble I have suffered for this stupid comedy with relatives!
Am I living for myself? Everything I have, all my money belongs to the poor.
It is a sin to offend an orphan. Don't forget God!
The second role is that she is a beloved old woman who marries the schoolboy Bulanov.
Bulanov also has several roles: he is a simpleton, a lover and a master of the game.
Schastlivtsev is a comic character. This is clearly seen from conversations with Neschastlivtsev, who, playing the part noble man, becomes such. For example, he gives the last thousand to Aksyusha.
There is a continuation after the above remark about the forest:
Gurmyzhskaya (shrugs): Comedians.
Unlucky: Comedians? No, we are artists, noble artists, and comedians are you. If we love, we love so much; if we do not love, then we quarrel or fight; if we help, so the last penny of labor. And you? All your life you have been talking about the good of society, about love for humanity. What did you do? Who was fed? Who was comforted? You amuse only yourself, you amuse yourself. You are comedians, jesters, not us.
"The Forest" is a comedy, and there are a lot of signs of comedy in this play, although all together they do not correspond to the type of comedy. It can be considered satirical, topical, in which there is the abolition of serfdom, and the Zemstvo, and the ruin of the landowners. But there are features here too. classic comedy: a young couple, love, obstacles that are eliminated by the end. There is also a comedy of intrigue here, for example, events connected with the image of Gurmyzhskaya's nephew. There are also features of vaudeville comedy, for example, Schastlivtsev's appeal to Karp, whom he calls either perch or burbot. There are fake orders and a broken pistol, which nevertheless allow Neschastlivtsev to get 1000 rubles from Vosmibratov, which he was going to steal from Gurmyzhskaya. There are 5 acts in the comedy, which corresponds to the classic comedy.
We have already spoken about space: everywhere there is a forest. There is folk story: unfortunate orphan, kind deliverer, happy denouement. There are premonitions here, for example, interesting transitions of thousands of rubles. At first, this thousand Eight Brothers is not given by Gurmyzhskaya, then Neschastlivtsev receives it and returns it to Gurmyzhskaya. But Gurmyzhskaya herself owes him a thousand rubles, and Neschastlivtsev receives his thousand with the help of a pistol. But Aksyusha needs money, so she gets a thousand rubles. Thus, there is a circulation of money.
Quotations are also important, for example from Schiller. The play also clearly expresses the motive of the road and wanderings. The ending of the play is very strong:
Unlucky: Oh people, people!(Goes to a corner, puts on a knapsack.) Well, Arkady, we feasted with you, made some noise, brother; now back to work!(Goes to the middle of the stage, calls Karp and speaks to him with an arrangement and impressively.) Listen Karp! If a troika arrives, you, brother, bring it back to the city; say that the gentlemen went on foot. Hand, comrade!(Gives his hand to Schastlivtsev and slowly walks away.)
Here he is in a slightly different role. He is a jester, but not just a jester, but a jester who is aware, selling his dignity. The dialogue between Robinson and Paratov is very important here. Paratov mockingly asks Robinson if he is going to Paris soon. A small game is built on the words "to go to Paris". Robinson thinks that he will be taken to the capital of France, and "Paris" is a tavern in the vicinity of the city, where Vozhevatov promises to take him.
Robinson: Who is it with? With you wherever you want, and I won’t go with a merchant. No, with merchants, it's over.
Paratov: What's wrong?
Robinson: Ignorant!
Paratov: Like? How long have you guessed?
Robinson: Always knew. I am always for the nobles.
Contemporaries feel what we do not feel. We can now give sociological commentary as much as we like, saying that the nobles are ruining, growing smaller, being born, but the merchants ... This is just a sociological commentary. For contemporaries, this was life, this was what they lived. This is important to understand.
Paratov: It does you credit, Robinson. But you are not proud of time. Apply yourself to circumstances, my poor friend! The time of enlightened patrons, the time of patrons has passed; now the triumph of the bourgeoisie, now art is worth its weight in gold, in the full sense a golden age is coming ...
Not the golden age of art, not art above all, but how much gold you deserve, how much you are worth. About the spirit of commerce in contemporary art for the first time they spoke not in the 21st century.
Paratov: But, don’t ask, sometimes they’ll give you a drink of wax, and in a barrel from the mountain, for your own pleasure, they’ll give you a ride - which Medicis you will attack.
The Medici is the patron of the arts of the Renaissance. And here Paratov says: "which patron will get". They can give you a drink with wax, and ride in a barrel from the mountain. Everything will be done for money.
In 1860, Ostrovsky received the Uvarov Prize for the play The Thunderstorm (1859). At the end of 1860, after an 11-year ban, the play “Our people - let's settle down” (1849) was allowed to be staged, but with a changed ending. Ostrovsky refers to historical topics and writes such plays as "Dmitry the Pretender and Vasily Shuisky", "Kozma Zakharyich and Minin-Sukhoruk", "Tushino". He writes these plays in the six years from 1861 to 1866, a period in which historical theme was characteristic of Russian literature. Ostrovsky translates a lot: "The Taming of the Shrew" (W. Shakespeare), "The Family of the Criminal" (P. Giacometti), "Coffee House" (C. Goldoni), "Mandrake" (N. Machiavelli). In 1861, Ostrovsky completed the play "What you go for, you will find."
Rice. 4. Illustration for the film "Balzaminov's Marriage" ()
This is the third play from the trilogy about Misha Balzaminov, an unlucky and close-minded, poor and stupid character who dreams of marrying a rich bride (Fig. 4). And now, during the first two plays, nothing works out for him, and on the third time he finds the widow Belotelov, and the matchmaker arranges their marriage. This third play was published in the Dostoevsky brothers' journal Vremya, and Dostoevsky (Fig. 5) writes a letter to Ostrovsky:
Rice. 5. F.M. Dostoevsky ()
“The corner of Moscow that you looked at is conveyed so typically that it was as if he himself was sitting and talking with Belotelova. In general, this Belotelova, the girls, the matchmaker, the mother, the matchmaker, and, finally, the hero himself - this is so alive and real, so the whole picture that now, it seems, she will never fade in my mind. But of all your matchmakers, Krasavina should take first place. I saw her a thousand times, I knew her, she went to our house when I lived in Moscow, ten years old; I remember her." Indeed, Ostrovsky in this trilogy about Balzaminov depicts a very special world beyond Moscow with its unhurried way of life, ridiculous pretentious scholarship and fantastic judgments. In the play A Festive Dream Before Dinner (1857), a matchmaker appears in the house of a merchant's widow with a marriageable daughter:
Krasavina: Yes, they say, the white black is rising against us, leading two hundred million troops.
Nichkin: Where is he from, the white black man?
Krasavina: From White Arabia.
In 1868, Ostrovsky wrote the comedy Enough Simplicity for Every Wise Man. In this comedy, all the wise men: retrogrades, conservatives, and liberals. And the plot of this comedy is this: a certain young man, smart, cynical, is going to advance in his career and decides that all means are good for this. He courts the wife of a very stupid but high-ranking official who loves to teach others. And Glumov meekly listens to all his teachings, and his wife, who is rather middle-aged, but with great pretensions, hints at his passion for her. He arranges the matter in such a way that the rather absurd widow Turusina is trying to give up her only daughter with a large dowry for him. He enters the secretary to the retired official Krutitsky, who has many ideas, in particular about the dangers of reforms. And in order to somehow reward himself for this cynicism, Glumov keeps a diary, where he gives merciless characteristics to everyone. But one day he forgets this diary, and the diary gets to Mamaeva, who makes it public. At first, everyone is shocked by what Glumov writes about them in his diary. And here is what Glumov says at the end of the play:
Glumov: You are outraged by my diary. How he got into your hands - I do not know. Enough simplicity for every sage. But know, gentlemen, that while I was among you, in your company, I was only honest when I wrote this diary. And any honest person cannot treat you otherwise. You raised all the bile in me. What are you offended by in my diary? What did you find new in it? You yourself constantly say the same thing about each other, just not in the eyes. If I myself read to you, each separately, what is written about others, you would applaud me. If anyone has the right to be offended, angry, lose his temper, rage, it's me. I don't know who, but one of you honest people stole my diary. You have smashed everything from me: you have taken my money, you have taken away my reputation. You drive me away and think that this is all - that's how the matter will end. You think that I will forgive you. No, gentlemen, it will be bitter for you. Farewell!(Exits.)
Silence.
Krutitsky: But he is still, gentlemen, whatever you say, business man. It is necessary to punish him; but, I suppose, after a while you can caress him again.
Gorodulin: Certainly.
Mamaev: I agree.
Mamaeva: I will take this upon myself.
This is how the play ends.
In 1870, Ostrovsky wrote the comedy "Forest", and in 1873 - "The Snow Maiden" (Fig. 6).
Rice. 6. Edition of the fairy tale "Snow Maiden" ()
Ostrovsky develops such a rhythm: from May to September he lives in the Shchelykovo estate and thinks about the play, prints it in the fall, and puts it on in the winter. But it was not always so. The press was not sympathetic towards Ostrovsky, all the time looking for flaws in the writer's work. In 1875, Ostrovsky staged the noble comedy "Wolves and Sheep" (Fig. 7),
Rice. 7. Title page of one of the editions of the play "Wolves and Sheep" ()
in 1880 he publishes the play “The Heart is Not a Stone”, in the same 1880 he participates in the Pushkin Festival, at which both Turgenev and Dostoevsky performed. In 1882, he published the play "Talents and Admirers", in 1884 - "Guilty Without Guilt", and in 1886 he became the head of the repertoire of Moscow theaters, and on June 2, 1886, he died in his Kostroma estate, where he was buried.
Ostrovsky has characters that are very complex, very ambiguous. For all that, both Kabanikha, and Varvara, and Katerina are unusually complex characters, but the main thing in them is still not internal inconsistency, not the complexity of psychological motives, but the strength with which this or that trait is expressed. In "Dowry" everything is more complicated. Karandyshev ( pencil, shorty, undersized) is not only pathetic, not only ridiculous, he is not only a nonentity. We will see how this character is complicated.
It is no coincidence that Knurov, after the story of the picnic across the Volga, when Larisa is already disgraced and unhappy, calmly and cynically says: “I can offer you such a huge content that the most evil critics of someone else’s morality will have to shut up and open their mouths in surprise ... I would not have thought for a single minute to offer you a hand, but I am married ...”.
The fact that Knurov is ready to buy Larisa is clear from the very beginning. But the fact that Knurov is ready to play Larisa with Vozhevatov in a “toss”, that is, in “heads and tails”, we see this on stage. But how sincere is he when he says that he would not have thought to offer Larisa a hand, but is he married? This is a new, non-obvious motive, a shade in the character of this hero.
In the first act of Ostrovsky's play, as always, there is an exposition. Minor characters represent the main ones, their backstories. Cannon shot. This is a tie. Already Larisa told Karandyshev: “If Sergey Sergeevich had appeared, everything would have been different”. Larisa wants to do away with the gypsy camp, with the humiliating share of homelessness, with the fact that her mother is sold to anyone. She is desperately ready to marry Karandyshev, but warns him that so far she does not see any merit in him.
Larisa. Don't attribute my choice to your virtues, I don't see them yet. I just want to love you; modest beckons me family life She looks like heaven to me. You see, I am standing at a crossroads; support me, I need encouragement, sympathy; treat me gently, with kindness! Seize these minutes, do not miss them!
And for Karandyshev it is important that he defeated everyone here, that the impregnable Larisa agreed to marry him. For him, this ambition, a feature of the hero of Dostoevsky, is extremely important, which is why he does not want to leave. The drama will unfold before our eyes. If he took Larisa, as she asked, take her somewhere in the outback, where he is going to go to the officials, and there would be no drama. This is the difference between drama and tragedy. Tragedy will inevitably happen, tragedy is the will of fate, fate. Drama is the result of human decisions. Therefore, "Dowry" is a psychological drama, and "Thunderstorm" is a tragedy.
Another presentiment, a prediction, is in the first act. It is a premonition, but not a prophecy. Larisa sees the bars, her head is spinning, she is afraid of falling from here, breaking loose. This is, in fact, the plot of "Thunderstorm", but Larisa did not take this step.
The second act begins with a dialogue between Knurov and the rather sly, greedy mother Larisa. Here Paratov appears at Larisa's, here is some clash between Paratov and Karandyshev, an invitation to dinner. It is clear that for Knurov, Vozhevaty, Paratov, an invitation to Karandyshev's dinner sounds like an insult, but all three accept it. Knurov - because Harita asks. He is sure that one way or another, married or not, Larisa will very soon be disappointed in her Karandyshev and she, like an expensive diamond, will need an expensive setting, and this is where she will need it. Vozhevatov accepted an invitation to dinner because, like Paratov, he was going to play a trick on Karandyshev and ridicule him. For this they needed Robinson. Here, in addition to the humiliation of the coming Karandyshevsky, Ostrovsky brings his aunt to the stage, who will argue that too expensive wine has been bought, too expensive snacks, everything could have been done cheaper, everything is extremely ruinous.
Third action. Dinner. Karandyshev proposes a toast to Larisa, who knows how to appreciate and choose people. Everything goes according to the plan of Vozhevaty and Paratov. They solder Karandyshev, and when he goes on stage, enters the room, it turns out that not only Knurov, Vozhevatov, Paratov left, but Larisa also left. And here comes a very important conversation.
Karandyshev: Yes, it's funny... I'm a funny person... I know myself that I'm a funny person. Do people get executed for being funny? I'm funny - well, laugh at me, laugh in my eyes! Come and dine with me, drink my wine and swear, laugh at me - I'm worth it. But to break the chest of a ridiculous man, tear out his heart, throw it under his feet and trample him! Oh oh! How can I live! How can I live!
This is the monologue of Dostoevsky's hero. funny man, which turns out to be deeply wounded, wounded. He is quite ambiguous. And the heroine says to her mother: "Either I'll be happy, or look for me in the Volga". She will not be happy, but she will not rush into the Volga either.
Fourth action. This action could be given the name "Thing". First, Robinson is passed to each other. Then Knurov and Vozhevatov play Larisa in the toss. Karandyshev appears with a pistol. Funny figure. Before that, it was said that he bought a cheap carpet, hung old sabers there, a Turkish dagger that cannot be removed from its scabbard, pistols, a gun that does not shoot. His last conversation with Larisa is not as simple as the character of Karandyshev. First, Karandyshev shames Larisa, is indignant at her behavior, then claims his rights to her: "I am your master", and then says (this is to the question of whether or not Karandyshev has love for Larisa): "Larisa Dmitrievna! Stop! I forgive you, I forgive everything". To which Larisa says with a bitter smile: “So I don’t forgive myself that I decided to link my fate with such a nonentity as you”. Larisa almost cynically says: “Yes, I am a thing, but if to be a thing, then dear. Call Knurov ".
Karandyshev (getting up): Oh, don't repent! You must be mine.
Larisa: Whose to be, but not yours.
Karandyshev: Not mine?
Larisa: Never.
Karandyshev: So don't give it to anyone!(Shoots her with a pistol.)
Larisa (grabbing her chest): Oh! Thank you!
Karandyshev: What am I, what am I...ah, crazy!(Drops the gun.)
Larisa (gently). My dear, what a blessing you have done for me! Pistol here, here, on the table! It's me... myself. Ah, what a boon...(Raises the gun and puts it on the table.)
Paratov, Knurov, Vozhevatov, Robinson, Gavrilo and Ivan go out to their coffee shop.
All: What's happened? What's happened?
Larisa: It's me myself ... no one is to blame, no one ... It's me myself.
Behind the scenes, the gypsies sing a song.
Paratov: Please shut up! Please shut up!
Larisa (in a gradually weakening voice): No, there is no need ... Let them have fun, whoever has fun ... I don't want to disturb anyone! Live, live everyone! You need to live, but I need to ... die ... I don’t complain about anyone, I don’t take offense at anyone ... you are all good people ... I love you all ... I love you all.(Sends a kiss.)
Loud gypsy choir.
Everything is important in this play: the motive of the game, the stage game, Robinson, dinner at Karandyshev's, where everyone plays the guests who are interested in the host, the game of toss, Paratov's shooting. Here are important subject details: and a grill, and a guitar, and a gun. The duration of the action is less than a day, as in the classical play, Ostrovsky does not need more. Money, calculation, suicide, the Volga, music - all this is included in the play and is realized only in the play. The play builds drama from beginning to end. This play during the life of Ostrovsky was not successful, and Savina, for whom Ostrovsky wrote this role, abandoned it after the ninth performance. Sozonov stopped playing Karandyshev. This play was expected only in 1896, when big stage Larisa was played by Vera Komissarzhevskaya.
Let's end the lesson with a question, the answer to which you can find by looking at the illustrations and recordings of films and performances of past years. How to play Larissa? Play her as an exceptional heroine, raised above everyone (as Komissarzhevskaya played), or play her as one of them (a heroine who is mistaken, subject to the same temptations that other heroes of the play did not pass). Questions remain, and consequently, there remain different possibilities for different readings of the play, different staging of performances, for different understandings.
Bibliography
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- telenir.net().
- Rud.exdat.com().
- Lit-helper.ru ().
Homework
- What are the main features of the problems of Ostrovsky's drama "Dowry"?
- Make up comparison table plays "Dowry" and "Forest".
- * Prepare a report on Ostrovsky's work after The Thunderstorm.
