In 1878 A.N. Ostrovsky completed his play “Dowry”; in 1879 it was first published and staged. Since then, she has practically never disappeared from the stage, enjoying enormous success. Even now this is one of the most popular plays in the classical repertoire; the film “ Cruel romance" What attracts the viewer to this drama?
In comparison with “The Thunderstorm,” Ostrovsky used a completely different method - the method of psychological authenticity. Recreating the environment, the situation, creating a plot, the genius of the playwright creates realistic characters and masterfully shows the inner train of thought, justifying every action, every impulse of the soul. This drama most fully reflected the realistic tendencies of Ostrovsky's work.
The situation underlying the plot and the title of the play is not new. Homelessness is a typical phenomenon for that time. In “The Dowry” the critical power of Ostrovsky did not disappear, even in his early comedies he denounced the growing strength of the bourgeoisie, for which money is a fundamental factor in life. It’s just that the denunciation has outgrown the comedy genre and has become more subtle - the playwright shows how the cold calculation of merchants ruins the lives of open, honest people.
Having analyzed Ostrovsky’s work, we came to the conclusion that clear, transparent ideological structure plays. Ostrovsky is almost always clear who positive hero those who are negative often have a reason. The playwright always puts some idea into the play or poses a problem, condemning any manifestations of injustice. The ideological field of dramaturgy by A.N. Ostrovsky - social issues. He raises questions of monetary relationships, he is concerned about the power of money, its power over people. Sometimes money is the reason for adventures and machinations - and therefore funny, entertaining intrigue (where there is still social implications), and sometimes money becomes the cause of tragedy, as in the play “Dowry”.
The motive of money, from the author’s point of view, allows us to reveal the very essence of human relations: in monetary matters all the most important qualities of a person are manifested, their value is tested, and their destiny is accomplished. If in Ostrovsky’s early plays social issues are in the background, they latently manifest themselves during comprehension, then in later plays the conflict is already obviously socio-psychological.
Development psychological realism in the second half of the 19th century it also appeared in drama. Interest in human personality in all its states forced writers to seek means for their expression. In drama, the main such means was the stylistic individualization of the characters’ language, and the leading role in the development of this method belonged to Ostrovsky. In addition, Ostrovsky made an attempt to go further in his psychologism, along the path of providing his characters with the maximum possible freedom within the framework of the author's plan.
In the course of the study, we tried to establish what predetermined the presence of psychological drama in the work of Alexander Nikolaevich Ostrovsky. First of all, in our opinion, by the fact that he initially created his works for the theater, for stage embodiment. Orientation towards the stage existence of drama determines Special attention the author to the psychological characteristics of each character: both the main and secondary characters.
The author uses various means to create integral, psychologically full-blooded social types. The main means of psychological characterization characters is their speech: vocabulary, dialogues, monologues, intonations. In addition to the peculiarities of language, Ostrovsky also uses the behavior of his characters to convey their psychological characteristics. Means psychological characteristics Ostrovsky does not contain the self-recognition of the heroes, nor reasoning about their feelings and properties, but mainly their actions and everyday dialogue.
By complex pattern emotional experiences “Dowry” represents a new word in Ostrovsky’s work. Along with the genre satirical comedy it is customary to talk about the formation in late creativity Ostrovsky genre of psychological drama. The emergence of psychologism in Ostrovsky’s work is not simply associated with breaking stereotypes in the description of heroes. Psychological drama in Ostrovsky’s theater arises on the basis of a kind of compromise between action that requires “reducing” the complexity of the human personality, and attention to its problematic nature.
The complexity of the characters' characters - be it their inconsistency inner world, like Larisa, or the discrepancy between the inner essence of the hero and external behavior, like Paratov - this is the psychologism of Ostrovsky’s drama. Rare artistic effect final scene A. N. Ostrovky builds on the acute collision of multidirectional emotions: the more gentleness and forgiveness the heroine has, the sharper the viewer’s judgment.
The drama “Dowry” became the pinnacle of Ostrovsky’s creativity, a work in which the motives and themes of most plays came together in a surprisingly capacious artistic unity late period. This play, revealing in a new way complex and psychologically polyphonic human characters, anticipates the inevitability of the emergence of a new theater in Russia.
The characters in “Dowry” are representatives of Russia at one of the turning points of its social and cultural development. New times give rise to new values that shape attitudes, life programs, human behavior and aggravate the problems of personal culture. A. N. Ostrovsky depicts and evaluates these changes from the point of view of Christian morality, defending the soul, love, beauty, unity of people as eternal truth, eternal blessings human existence. According to A.I. Zhuravleva, “the basis of all Ostrovsky’s activities was unconditionally solid moral attitude to art as a matter of enlightenment and guidance on the path of good, but not from the position of a Teacher and Prophet, but through the artist’s means - through showing everyday situations and the moral conflicts that arise in them.”
We set ourselves the task of first identifying the attitudes of the characters in “Dowry”. We will talk about etiquette, gestures, playful and funny forms of creating characters' characters.
The attitudes in the actions of those who surround Larisa Ogudalova are the same at their starting point. Each is filled with selfish ambitions, a desire to “glorify”, to show off in a chosen society. The very thought of becoming “a byword on everyone’s lips” is tempting. The sphere of values recognized by this circle of society is voluminously expressed in Knurov’s words about Karandyshev: “Perhaps, from his point of view, he is not stupid. What is he? Who knew him, who paid attention to him? And now the whole city will talk about him, he fits into the best society.” To rise to a higher, and therefore more noticeable, step, and to stay on it is perhaps the only goal of the “heroes” of “Dowry”. In order to “establish themselves” in society, everyone persistently seeks an appropriate appearance.
Characters concerned with their prestige - Knurov, Vozhevatov, Ogudalova, Paratov, Karandyshev - invariably follow certain rules of behavior, let's call them etiquette, which, however, is not intended by anyone or anything - is not strictly prescribed, but careful adherence to its unspoken guidelines has special meaning in the city of Bryakhimov.
The most prominent figure in this regard is Knurov. For him, adherence to etiquette is a sign of belonging to a high stratum of society; It is important for him to convince the Bryakhimovites of his absolute superiority and to retain the “throne”. The emotional atmosphere of Knurov’s behavior is tension and anxiety. If noble etiquette was carried out organically and effortlessly, then merchants try to follow etiquette rules with a certain amount of concern and anxiety, taking additional care to exalt themselves in the eyes of society. (It’s interesting how “etiquette” is transformed when borrowed by merchants: Larisa’s “toss” game is a kind of remake of a noble duel, and Vozhevatov’s “honest word of honor” is the bad counterpart of a nobleman’s “word of honor.”)
So, Knurov needs a mask of restraint and aloofness, inaccessibility and power - everything that would force others to respect him. But his prudence and caution, constant consideration of other people’s opinions, etc., take on a comic shade in the eyes of the playwright. It is also funny that etiquette is observed in front of people who are openly despised. Knurov’s remarks are expressive in their consistency: “people will look and say,” “they have a lot of all sorts of rabble, then they meet, bow, and start talking.” Such details prepare the reader and viewer for a funny perception of Knurov’s first question in a conversation with Ogudalova - it was asked almost anecdotally, bluntly, “at the door”: “Do you have anyone?”
Characters, by establishing themselves through etiquette, strive to make others understand who they are, while emphasizing their differences social status those around you. In this regard, we remember “ Dead Souls Gogol: “It must be said that in Rus', if we have not yet kept up with foreigners in some things, we have far surpassed them in the ability to communicate. It is impossible to count all the shades and subtleties of our appeal... It’s not that with us, we have such sages who will speak completely differently to a landowner who has two hundred souls than to one who has three hundred, and to one who has three hundred. , they will again speak differently than with the one who has five hundred of them, and with the one who has five hundred of them, again differently than with the one who has eight hundred of them - in a word, even if it goes up to a million, all shades will be found.” .
The scene of the invitation to dinner represents Knurov, Vozhevatov, Ogudalova, and Karandyshev as virtuosos of etiquette, revealing social-hierarchical distances. Here, unexpectedly, contrasting treatment options coexist. Knurov is quite taciturn when communicating with Ogudalova and does not seem to notice Karandyshev. Mokiy Parmenych and Vozhevatov are a match, allowing a casually administrative tone with Ogudalova and caustic mockery in dealing with Karandyshev. Ogudalova freely moves from a familiar manner of speaking with Vasya to flattering ingratiation to Knurov. And Karandyshev is familiar with the subtleties of treatment: he addresses Vozhevatov casually, and respectfully and fearfully towards Knurov. It’s truly impossible to count the numerous shades. Everyone demonstrates their art of manners. At the same time, “everyone loves themselves,” as Larisa will say. Etiquette behavior, which serves self-affirmation in earthly existence, is devoid of a spiritualizing principle and therefore embodies a false hierarchy of values.
The reasoning of the characters in “The Dowry” looks inorganic, like the moralistic masks of the heroes in “The Minor” by Fonvizin. The roll call between the reasoners of “The Dowry” and the plays of classicism has a parodic and comic character. If the heroes of tragedies and comedies of the 18th century. wear masks of preachers of a new morality, then the characters in “The Dowry” pretend to be “idols” of the bourgeois environment. This reasoning appears artificial and ridiculous because it is not based on any moral basis. They elevate ambition, posturing, and lies to the rank of a serious and high principle. Ostrovsky's heroes admire themselves in forms of reasoning.
Paratov and Karandyshev are united by the author in their acting, aimed at impressive and beautiful self-affirmation: each deliberately creates his own appearance in order to stand out from the general background and amaze the city. The element of Paratov’s behavior is recklessness, unbridled revelry, which charms the Bryakhimovites, including Larisa. Karandyshev, too, at first, without condemnation, notes the joyful revival in the city upon the arrival of the “brilliant gentleman.” But the playwright is more insightful than his heroes; he is not inclined to be deluded by Paratov’s “broad nature”. Ostrovsky appeals to a sober and at the same time ironic assessment of the hero’s behavior as self-representation, as a “performance.” Let us remember: Paratov is expected in Bryakhimov, but he is delayed in order to make noise and effect.
The main character of the play, the daughter of Kharita Ignatievna. This is a beautiful and smart girl with gorgeous personal qualities. She is modest, well-read, open, honest, not flattering, has a whole range of talents, and is capable of deep feelings. However, in the society that surrounds her, her sincerity and virtues are considered almost a vice. One of the newly minted young businessmen, Vozhevatov, notes that dowryless women like her should not be so straightforward.
One of the main characters of the play, a young and poor official, Larisa Dmitrievna's fiancé. This is a modest young man with aspirations for more. Its main features are a painful sense of self-esteem and vulnerable self-esteem. Getting ready to marry Larisa, he considers himself a benefactor saving a homeless woman. In fact, he wants to possess the “thing” in order to wipe the noses of its previous admirers.
One of the main characters of the play, a brilliant gentleman from a ship owner of about 30 years old, Larisa's lover. This is a real reveler, a brave playmaker, prominent and handsome man, a womanizer and heartthrob who is essentially a rich dowry hunter. Larisa Dmitrievna is madly in love with him, a young and beautiful dowry whose head he turned just to amuse his vanity.
One of the characters in the drama, an elderly and wealthy man, a major businessman with an enviable fortune. This is a true representative of the “pure public” of the city of Bryakhimov, as the barman Gavrilo notes. At the beginning of the play it becomes clear that he has certain habits. For example, he likes to take care of his health by taking long walks along the boulevard to work up an appetite.
One of the characters in the play, a young man, a representative of a wealthy trading company, likes to dress in a European style, typical example merchant nobility of the 19th century. This hero relies only on cold calculation and money is an end in itself for him. He treats people depending on their material well-being and social status.
A cunning and agile widow, mother of Larisa Dmitrievna. Thanks to her dexterity, their house is always full of guests, in particular grooms. The author persistently emphasizes the difference between the daughter and the mother. If Kharita Ignatievna dresses elegantly, but beyond her years, then Larisa is always dressed tastefully, but modestly. She knows how to flatter and ingratiate herself, accept gifts and material benefits from the rich, while Larisa is far from this.
Gavrilo
A minor character, the owner of a coffee shop on the boulevard, where the important events of the play take place.
The psychological drama of Alexander Nikolaevich Ostrovsky “Dowry” is the strongest classical play of the 19th century. A typical Volga merchant town with bankrupt nobles, where serious passions flare up. It may seem that the basis of the play is love. Upon reading, instead of something creative, we see a calculation that becomes a miscalculation, and as a result, a failed “trade.” The image of Larisa Ogudalova appears as the embodiment of a beautiful and desirable “thing”.
How the play was created
The story of the creation of “Dowry” is as follows. The work, which today is considered a classic of world drama, is studied according to school curriculum, was not accepted during the author’s lifetime.
The premiere performance of the play “Dowry” took place in the fall of 1878 and aroused rejection from theater critics and spectators. Further fate The play was not easy to develop due to the failure of the first productions. The drama genre was not chosen by chance: in order to reveal the depth of the psychological experiences of the main characters.
The author actually spent five years working on the play, during which he either postponed the work (the plot of the work was somewhat modified) or returned again. Ostrovsky served as a justice of the peace, so there is an opinion that the play is based on real events: if the main character really had a prototype, it means that a specific person is to blame for the death of this girl.
Nowadays the concept of “dowry” is practically not used; its meaning has changed. Previously, a girl's dowry was mandatory. Basically, who is the poor girl? - just a stone around her husband’s neck, because then a woman did not have the opportunity to work and increase her capital. Even an intelligent, beautiful girl, distinguished by a rich spiritual world, was perceived as a second-class person. The dowryless woman had to endure everything without complaint, hoping for sincere, mutual love there was almost none left.
Main characters
The main characters of the play are residents of a small county town on the banks of the Volga. Names and characteristics of the heroes:
- Larisa Ogudalova is a bride of marriageable age, but without a dowry. Nature is dreamy, impetuous, creatively developed, passionate loving life, but forced to step on her own throat due to the severity of her financial situation. The author clearly described the character of Larisa Ogudalova in the play, showing active development.
- Kharita Ignatievna is a mother, a noblewoman by birth, widowed and ruined. Clever, calculating, forgetting about moral values. The image of Larisa Ogudalova is shown by the author based on the principle of contrast with her.
- Yuri Karandyshev - image " little man"with an inordinate amount of pride. Although he is the groom and the winner, he is absurd and unlucky, and does not inspire respect from any of the characters. The image of Karandyshev in the drama is tragic and pathetic at the same time.
- Sergey Paratov – romantic hero, in behavior - “the master of life”, but in essence - a ruined nobleman, forced to enter into a marriage of convenience in order to improve his financial situation.
- Vasily Vozhevatov is a merchant who came from the people and made himself. Initially he is presented as a friend of Larisa’s childhood and youth, but then the baseness of his thoughts is revealed. I am ready to sacrifice human lives and destinies for the sake of a bet.
- Mokiy Knurov is a successful merchant who views people as things, from the perspective of a “commodity”. Knurov’s sympathy for the main character of the play is just a thirst for possessing a “beautiful thing.” The merchant is married, so he offers her to become his kept woman.
- Robinson - Paratov's jester, was once an actor Schastlivtsev. He drank a lot, because of this he fell down the social ladder.
- Gavrilo is the owner of the coffee shop.
- Ivan is Gavrila's servant.
Larisa Ogudalova - marriageable bride
Exposition of the storyline
We offer summary by chapter. In the play “Dowry” the plot is structured as follows.
Act one
Near the city coffee shop, a meeting takes place between the merchants Knurov and Vozhevatov, awaiting Paratov’s return. Vozhevatov decided to buy the Lastochka from the shipowner.
In a conversation “over tea” (they drink champagne from tea cups), Vozhevatov tells the story of Larisa Ogudalova, who was forced to marry Karandyshev. Knurov is surprised by this choice: despairing after Paratov’s departure, the girl agreed to marry the first one who wooed her.
The newly-made groom also comes there. Karandyshev shows off and invites the merchants (as equals) to his place for a dinner dedicated to the bride.
Left alone with Larisa, he brings the girl to tears with his words. The “ideal man” for her is Sergei Paratov. A fireworks shot is heard regarding Paratov's arrival. Larisa, frightened, asks to be taken away.
Paratov returns after a year's absence, Robinson is with him. Knurov asks if it’s a pity to part with “Swallow”? Sergei Sergeevich replies that this feeling is alien to him and expresses his readiness to sell everything at a profit. Then he talks about his rich bride with gold mines. Before the imminent wedding, Paratov wants to have a lot of fun. Then Vozhevatov discusses an evening picnic with Gavrila, almost forgetting about Karandyshev’s invitation.
Act two
Knurov comes to the Ogudalovs, outraged by Karandyshev’s poverty and the future marriage in general. The merchant invites Kharita Ignatievna to make Larisa his kept woman, since he is sure of the advisability of leaving such a husband.
The prudent mother takes advantage of this offer, Knurov himself says that the girl should have nice outfits made and the bills sent to him.
Larisa feels bad in the city, the girl thinks about the village - a “quiet corner”. She wants to play a romance on the guitar - she is upset. Seeing the gypsy Ilya, he calls him to her. He talks about Paratov’s return. The mother considers this circumstance as the appearance of another groom, although her daughter refuses to tolerate such humiliation.
Karandyshev arrives, cruelly condemning the morals of the city, and opposes leaving, although the bride asks him to do so. Unexpectedly for everyone, Paratov comes to them.
While talking with his mother, the ex-groom talks about his upcoming wedding, then asks to call the girl. Left alone, he reproaches her and talks about her frivolity, like any other woman. She is offended, but at the end of the conversation she blurts out about her love for Paratov, and in response she hears an offer to remain friends. Having achieved his goal, while talking, he touches Karandyshev, who came to them, and a quarrel occurs between them. The mother forces the future son-in-law to invite Paratov to dinner. Then Vozhevatov arrives and tries to pass off Robinson, who accompanied him, as a foreigner.
Act three
In the groom's office, the girl and her mother are discussing how this dinner party went wrong. Everyone laughed at the owner and even got him drunk on purpose. Guests come here too. Knurov is outraged by how bad the wines and appetizers were.
All the men laugh at the owner again. Karandyshev, who came here, continues to show off and does not react to the bride’s remarks. At Paratov’s request, Larisa performs a romance with the gypsy, although the groom is strongly against it, and then, delighted, leaves to get champagne.
Paratov, left alone with Larisa, persuades her to go with them on the ship. She recognizes him as her master and agrees to everything. While Karandyshev is in Once again goes for wine, everyone runs away. Returning, he swears revenge, takes a pistol and runs away.
Act four
Karandyshev is in a coffee shop, trying to ask Robinson about where everyone else is, but he pretends that he doesn’t understand anything.
The picnic is over. Knurov and Vozhevatov discuss the current situation. It is clear to them that Paratov will not refuse a profitable wedding. Each of the men is ready to take a compromised girl as his mistress, they play her toss. Knurov wins.
Paratov is grateful to Larisa for being with them on the picnic, but reminds him that he cannot get married, since he has a fiancée. She consoles her with the fact that Karandyshev will take her back even now, and gives Robinson instructions to take her home.
Desperate, the girl turns to Vozhevatov for help, but he hands her over to Knurov, who calls her with him to Paris for full support. Larisa doesn't answer.
She is found by Karandyshev, who was ready to become her protector, but this is precisely what the girl perceives as an insult. Then the groom, blinded by jealousy, says that she is a toss for everyone.
The girl agrees to be a thing, but does not intend to belong to him, so she decides to go with Knurov. In a fit of anger, Karandyshev shoots her. Full of gratitude, the heroine dies, saying that it was all herself. And behind the stage the gypsies sing. It is difficult to say who is really to blame for Larisa’s death.
Attention! The gypsies sing at all key moments in the play.
Ostrovsky specifically introduces this technique of contrast to show how a Russian person loves the “celebration of life” and is drawn to it and, at the same time, that this fun is alien, not characteristic of him.
"Dowry." Alexander Ostrovsky
A brief retelling of the drama by A. N. Ostrovsky “Dowry”.
Conclusion
The author shows in the play “Dowry” the unsightly side of his contemporary society, where everything is bought and sold. Circumstances lead to the death of a young girl who could not survive among cruelty and...
The concept of the drama “Dowry” was conceived by A. N. Ostrovsky in 1874. The original plot was completely different (an old woman with three daughters, two lovers). According to some reports, the writer came up with the original version under the impression of the Kineshma case of a husband killing his wife out of jealousy. A big role in the scandalous story was played by the “millionaire” I. A. Konovalov (a possible prototype of Knurov).
The play was completed at the end of 1878. A few days later its premiere took place at the Moscow Maly Theater.
Meaning of the name
The title "Dowry" refers to main character and her life tragedy. Larisa does not have a good dowry, which in Ostrovsky's era was a serious obstacle to marriage.
The main theme of the work
The main theme of the work is tragic fate homeless women.
Larisa is a very beautiful, educated girl with a taste for music. These undoubted advantages attract fans to her. But as soon as admirers of Larisa’s talents find out that she is poor, the courtship stops. Nobody wants a poor wife who has to be supported.
Kharita Ignatievna continues to place her trust in Larisa big hopes. She specifically attracts young people to the house, forcing her daughter to entertain them. The eldest Ogudalova admits that Larisa has absolutely no feminine cunning. If Larisa had wanted to, she would have “wounded” a rich man long ago. The girl hates lies and pretense. She dreams of pure great love.
Larisa’s dream began to come true when she met Paratov. For the first time, the girl saw a real man who appreciated her personal merits, and not her financial situation. However, Sergei Sergeich suddenly disappeared; The life of the homeless woman fell into the usual rut, boring to tears.
Larisa makes the decision to marry the insignificant Karandashev out of despair before the collapse of her dreams. A marriage with Yuliy Kapitonich will not bring her happiness, but at least it will allow her to take a certain position in society and take her out of the “booth” into which her house, filled with suitors through her mother’s efforts, has turned.
Paratov's unexpected return becomes the cause of the tragedy that unfolds. Dead hopes come to life again in Larisa's soul. She, without hesitation, leaves her fiancé and goes after her loved one. Having given herself to Paratov, Larisa is sure that this automatically makes them husband and wife. Sergei Sergeevich's gross deception deals the final blow to the dreamy girl. She no longer expects anything from her disgusted life.
Larisa remains grateful to Karandyshev for his fatal shot. Only in this terrible way does she manage to break free and stop feeling the stigma of being homeless.
Issues
Larisa's main problem is that due to the lack of a dowry, no one around her sees her as a living person with her own feelings and desires.
The mother dreams of getting rid of her daughter as quickly as possible and hopes to improve her financial situation with the help of her profitable marriage. For Knurov and Vozhevatov, Larisa is a toy, an “expensive diamond” that requires an “expensive frame” and a “good jeweler.” Both businessmen play a toss with the girl in the finale with open cynicism.
Ilya Kapitonich seems to really love Larisa, but after receiving the girl’s consent to marriage, his attitude changes. The quiet and modest official is transformed. Larisa becomes for him just a successful means to finally satisfy his pride. It is no coincidence that the homeless woman says to her fiancé: “...I am a doll for you, you will play with me, break me and throw me away.”
The opportunity to “play” with Larisa is provided “ the ideal man" For Sergei Sergeevich, using the “expensive toy” is not a big deal, because the homeless woman believed him and was cruelly deceived.
Larisa’s fall also did not particularly excite anyone except herself. Paratov speaks of “instant infatuation.” Knurov is even pleased with this, since the “expensive diamond” becomes much more affordable. The pitiful Karandyshev hopes to once again take possession of the now fallen woman.
Another problem raised in the drama is the appearance in Russia in late XIX century of a new type of people. "Millionaire businessmen" like Knurov, having made money in short term fabulous states, felt like complete masters of life. Larisa and Karandyshev seem to them to be such small people that their feelings and desires do not matter.
Composition
The drama consists of four acts with a clearly defined exposition (the conversation between Knurov and Vozhevatov), a beginning (the arrival of Paratov), a climax (the gala dinner and the flight of the bride) and a denouement (the murder of Larisa).
What the author teaches
Using the example of Larisa Ogudalova, Ostrovsky shows what a callous attitude towards a living person can lead to. The fate of the smart and beautiful girl She found herself mercilessly broken only because she had no money.