Composition
The entire action of "The Dowry" is concentrated around one character - Larisa - and is focused and intense. One could even say that in general “The Thunderstorm” is more epic, and “Dowry” is more dramatic. This is manifested, in particular, in the fact that the action in “Dowry” proceeds faster than in “The Thunderstorm”. In “The Thunderstorm” the action begins almost before our eyes, but in “Dowry” the action is already “set” before the curtain rises. Larisa was in love with Paratov even earlier; after his sudden departure, out of despair, she agrees to become Karandyshev’s wife. The plot spring is already stretched. Therefore, the playwright gets the opportunity to observe the “unity of time.” The most ardent supporter of classicist rules could be pleased with Ostrovsky. After all, the so-called “unity of time” required that the stage action last no more than a day. In “Dowry” it proceeds even faster: it begins at noon and ends at midnight. But these 12 hours turned Larisa’s whole life upside down, who finally understood her position in a possessive world.
At the end of the play, she says bitterly: “They looked at me and look at me as if I was playing. No one ever tried to look into my soul, I didn’t see sympathy from anyone, I didn’t hear a warm, heartfelt word. But it’s cold to live like this.”
Larisa's drama lies in the fact that she lives in a cold, cruel and... a ruthless world in which there is no mercy. This applies to everyone who surrounds the heroine: to her own mother, to Knurov, Vozhevatov, Paratov, Karandyshev...
In “The Dowry,” the clash between the cynical, inhumane philosophy and practice of businessmen and the “warm heart” of the heroine, who is trying to defend her human individuality, perishing in an unequal struggle with a world in which money, profit, and calculation reign, is clearly evident.
Larisa is a beautiful, smart, proud, proud girl. She is endowed with emotional sensitivity and responsiveness. Her self-esteem does not allow her to passively accept her surroundings. She is opposed to all other characters. They pursue their personal, selfish goals, but Larisa is incapable of lies and deception. She lives in anticipation of extraordinary happiness, reaches out to people, is ready to believe them, but her dreams of happiness are unrealistic.
"Larissa" means "seagull". The heroine of "Dowry", like Katerina from "The Thunderstorm", also wants to fly far, far away. Hence her attraction to wide, boundless space, which is repeatedly emphasized in the play.
Both in "The Thunderstorm" and in "Dowry", the action mainly takes place on the street, on the banks of the Volga. This enlarged the conflict, helped to perceive the tragic fate of the heroine against the broad background of Russian nature, symbolizing the aspiration to another - bright, free life, for flight. But the very first remark in the play “Dowry” connects two opposite spheres: the vulgar, ordinary, everyday “here” and the mysteriously poetic “there”. Here is an ordinary coffee shop with waiters, there is a view of the Volga and a large space: forests, villages, etc. And Larisa, as soon as she appeared on stage, sits on a bench and looks through binoculars at the Volga. Why do you think Ostrovsky makes her use binoculars? You can admire nature without it. Larisa is not sitting in the theater, but on the boulevard... Obviously, with the help of binoculars, she wants to bring the poetic space, the Volga distance, closer to herself and at the same time move away, isolate herself from the vulgar reality that is so disgusting to her.
The world of romance with its tenderness, strain, openness in expressing feelings - this is Larisa’s world. She perceives life through the prism of romantic ideas and ideals. However, beautiful illusions cannot last long. Her lofty ideas about love, about the “ideal man,” about friendship, about life in general naturally fail.
In Russian literature, love has always been a serious test for characters, a test of humanity, on mental fortitude and nobility. In "The Dowry" only Larisa passes this test. All the others (Paratov, Knurov, Vozhevatov, Karandyshev) are unworthy of love. They have their own value system: either love or calculation. Calculation wins. How does Larisa herself relate to this value system? It is hardly possible to answer this question unambiguously. She, of course, resolutely protests against the world of huckstering, cynicism, and humiliation of human dignity, but, at the same time, she is already experiencing the influence of the new time, its social, ideological, and moral tendencies. She no longer has the integrity that was so characteristic of Katerina. Let us note once again: Larisa, of course, has something that sharply distinguishes her from those around her: a bright character, talent, inner purity, truthfulness. “Not like my mother,” Vozhevatov says about her. “That one is all cunning and flattery, but this one suddenly, out of the blue, says that it’s not necessary.” “So the truth?” - asks Knurov. “Yes, it’s true, but women without dowries can’t do that,” says Vozhevatov.
Even in the way she dresses, Larisa differs sharply from her own mother. The author's remarks in this regard are accurate and expressive. The eldest Ogudalova is “dressed elegantly, but boldly and beyond her years,” and the youngest is “dressed richly, but modestly.” (Try the oral drawing technique here too.)
And yet Larisa is much to a greater extent than Katerina, who belongs in this world. She can be ruthless and heartless. In the first act, Larisa reprimands Karandyshev, reproaching him for his tactlessness: “I have become very sensitive and impressionable.” All this is true, but she requires sensitivity only towards herself. In the second act, Karandyshev literally begs her: “Please take pity on me at least a little!” Larisa is not inclined to feel sorry for him. “You’re only talking about yourself,” she reproaches her fiancé. “Everyone loves themselves!” Karandyshev really thinks first of all about himself; but does Larisa act differently?
Marking the depth inner world of his heroine, Ostrovsky does not idealize her at all. One senses in Larisa early fatigue from life, some kind of emptiness, disappointment. In “The Thunderstorm,” it was still felt that Katerina came into this world from somewhere from the outside, that she was “not of this world” (to use the name of one of the later plays Ostrovsky). Larisa grew up here, was brought up here, got her first ideas about life, about people. And her childhood friend Vasya Vozhevatov quietly brought her novels, “which girls are not allowed to read.” It becomes clear why she is not just in love with Paratov: in her eyes, he is the ideal man, and this is already a criterion, a kind of starting point that determines many contradictory traits in her consciousness and behavior.
The pernicious influence of the environment has already affected the heroine of “The Dowry” and poisoned her pure soul. The drama occurs not only around her, but also in herself. She ultimately recognizes herself as a thing and is even ready to accept Knurov’s cynical proposal. “Now gold sparkled before my eyes,” she says, “diamonds sparkled.” In the finale, Larisa does not spare either Karandyshev or, what is especially important, herself: “... I was looking for love and did not find it... it is not in the world... there is nothing to look for. I haven’t found love, so I’ll look for gold.”
In Larisa’s final monologue, there is some kind of strain, something similar to hysteria. Perhaps she herself is not even aware of the fact that she is saying that she has a choice of what awaits her in the future. “Call Knurov” - it’s the same as being in a loop or in a pool. Therefore, Karandyshev’s shot is the only way out for her, getting rid of shame, from the slow painful execution of consciousness. Like Katerina, she judges herself. She is not afraid of the judgment of people, but of the judgment of her own conscience. Death turns out to be the only and most desirable way out.
"Dowry" is one of best plays late Ostrovsky. This is where things get noticeably more complicated. psychological characteristics actors. Unlike, for example, Kabanikha or, moreover, Dikiy, the characters surrounding Larisa do not look like outright villains. Their characters are more complex, sometimes contradictory. The internal psychological complexity of the play's characters is one of the manifestations genre specificity"Dowryless women." Before us is a psychological drama, leading in the future to the dramaturgy of A.P. Chekhov.
Other works on this work
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Ostrovsky’s play “Dowry” Person or thing Larisa in Ostrovsky's play "Dowry" Larisa Dmitrievna and Kharita Ignatievna Ogudalovs The fate of Larisa in the context of the acquaintance of Paratov and Karandyshev My favorite heroine is Larisa Ogudalova What is stronger than the power of money or the power of feelings, the power of genuine talent (my thoughts on reading Ostrovsky’s play “Dowry”)The entire action of "The Dowry" is concentrated around one character - Larisa - and is focused and intense. One could even say that in general “The Thunderstorm” is more epic, and “Dowry” is more dramatic. This is manifested, in particular, in the fact that the action in “Dowry” proceeds faster than in “The Thunderstorm”. In “The Thunderstorm” the action begins almost before our eyes, but in “Dowry” the action is already “set” before the curtain rises. Larisa was in love with Paratov even earlier; after his sudden departure, out of despair, she agrees to become Karandyshev’s wife. The plot spring is already stretched. Therefore, the playwright gets the opportunity to observe the “unity of time.” The most ardent supporter of classicist rules could be pleased with Ostrovsky. After all, the so-called “unity of time” required that the stage action last no more than a day. In “Dowry” it proceeds even faster: it begins at noon and ends at midnight. But these 12 hours turned Larisa’s whole life upside down, who finally understood her position in a possessive world. At the end of the play, she says bitterly: “They looked at me and look at me as if I was playing. No one ever tried to look into my soul, I didn’t see sympathy from anyone, I didn’t hear a warm, heartfelt word. But it’s cold to live like this.” Larisa's drama lies in the fact that she lives in a cold, cruel and... a ruthless world in which there is no mercy. This applies to everyone who surrounds the heroine: to her own mother, to Knurov, Vozhevatov, Paratov, Karandyshev... In “The Dowry” a clash is clearly manifested between the cynical, inhumane philosophy and practice of businessmen and the “warm heart” of the heroine, trying to defend her humanity individuality perishing in an unequal struggle with a world in which money, profit, and calculation reign. Larisa is a beautiful, smart, proud, proud girl. She is endowed with emotional sensitivity and responsiveness. Her self-esteem does not allow her to passively accept her surroundings. She is opposed to all other characters. They pursue their personal, selfish goals, but Larisa is incapable of lies and deception. She lives in anticipation of extraordinary happiness, reaches out to people, is ready to believe them, but her dreams of happiness are unrealistic. "Larissa" means "seagull". The heroine of "Dowry", like Katerina from "The Thunderstorm", also wants to fly far, far away. Hence her attraction to wide, boundless space, which is repeatedly emphasized in the play. Both in "The Thunderstorm" and in "Dowry", the action mainly takes place on the street, on the banks of the Volga. This enlarged the conflict and helped to perceive the tragic fate of the heroine against the broad background of Russian nature, symbolizing the aspiration to a different life - a bright, free life, to flight. But the very first remark in the play “Dowry” connects two opposite spheres: the vulgar, ordinary, everyday “here” and the mysteriously poetic “there”. Here is an ordinary coffee shop with waiters, there is a view of the Volga and a large space: forests, villages, etc. And Larisa, as soon as she appeared on stage, sits on a bench and looks through binoculars at the Volga. Why do you think Ostrovsky makes her use binoculars? You can admire nature without it. Larisa is not sitting in the theater, but on the boulevard... Obviously, with the help of binoculars, she wants to bring the poetic space, the Volga distance, closer to herself and at the same time move away, isolate herself from the vulgar reality that is so disgusting to her. The climax of the play can be considered the scene when Larisa sings a romance to the words of E. A. Baratynsky. The world of romance with its tenderness, strain, openness in expressing feelings - this is Larisa’s world. She perceives life through the prism of romantic ideas and ideals. However, beautiful illusions cannot last long. Her lofty ideas about love, about the “ideal man,” about friendship, about life in general naturally fail. In Russian literature, love has always been a serious test for characters, a test of humanity, mental fortitude and nobility. In "The Dowry" only Larisa passes this test. All the others (Paratov, Knurov, Vozhevatov, Karandyshev) are unworthy of love. They have their own value system: either love or calculation. Calculation wins. How does Larisa herself relate to this value system? It is hardly possible to answer this question unambiguously. She, of course, resolutely protests against the world of huckstering, cynicism, and humiliation of human dignity, but, at the same time, she is already experiencing the influence of the new time, its social, ideological, and moral tendencies. She no longer has the integrity that was so characteristic of Katerina. Let us note once again: Larisa, of course, has something that sharply distinguishes her from those around her: a bright character, talent, inner purity, truthfulness. “Not like my mother,” Vozhevatov says about her. “That one is all cunning and flattery, but this one suddenly, out of the blue, says that it’s not necessary.” “So the truth?” - asks Knurov. “Yes, it’s true, but women without dowries can’t do that,” says Vozhevatov. Even in the way she dresses, Larisa differs sharply from her own mother. The author's remarks in this regard are accurate and expressive. The eldest Ogudalova is “dressed elegantly, but boldly and beyond her years,” and the youngest is “dressed richly, but modestly.” (Try to use the technique of oral drawing here too.) And yet Larisa is much more at home in this world than Katerina. She can be ruthless and heartless. In the first act, Larisa reprimands Karandyshev, reproaching him for his tactlessness: “I have become very sensitive and impressionable.” All this is true, but she requires sensitivity only towards herself. In the second act, Karandyshev literally begs her: “Please take pity on me at least a little!” Larisa is not inclined to feel sorry for him. “You’re only talking about yourself,” she reproaches her fiancé. “Everyone loves themselves!” Karandyshev really thinks first of all about himself; but does Larisa act differently? Noting the depth of the inner world of his heroine, Ostrovsky does not idealize her at all. One senses in Larisa early fatigue from life, some kind of emptiness, disappointment. In “The Thunderstorm,” it was still felt that Katerina came into this world from somewhere from the outside, that she was “not of this world” (to use the title of one of Ostrovsky’s later plays). Larisa grew up here, was brought up here, got her first ideas about life, about people. And her childhood friend Vasya Vozhevatov quietly brought her novels, “which girls are not allowed to read.” It becomes clear why she is not just in love with Paratov: in her eyes, he is the ideal man, and this is already a criterion, a kind of starting point that determines many contradictory traits in her consciousness and behavior. The pernicious influence of the environment has already affected the heroine of “The Dowry” and poisoned her pure soul. The drama occurs not only around her, but also in herself. She ultimately recognizes herself as a thing and is even ready to accept Knurov’s cynical proposal. “Now gold sparkled before my eyes,” she says, “diamonds sparkled.” In the finale, Larisa does not spare either Karandyshev or, what is especially important, herself: “... I was looking for love and did not find it... it is not in the world... there is nothing to look for. I haven’t found love, so I’ll look for gold.” In Larisa’s final monologue, there is some kind of strain, something similar to hysteria. Perhaps she herself is not even aware of the fact that she is saying that she has a choice of what awaits her in the future. “Call Knurov” - it’s the same as being in a loop or in a pool. Therefore, Karandyshev’s shot is the only way out for her, getting rid of shame, from the slow painful execution of consciousness. Like Katerina, she judges herself. She is not afraid of the judgment of people, but of the judgment of her own conscience. Death turns out to be the only and most desirable way out. "Dowry" is one of the best plays of the late Ostrovsky. Here the psychological characteristics of the characters become noticeably more complicated. Unlike, for example, Kabanikha or, moreover, Dikiy, the characters surrounding Larisa do not look like outright villains. Their characters are more complex, sometimes contradictory. The internal psychological complexity of the play's characters is one of the manifestations of the genre specificity of "Dowry". Before us is a psychological drama, leading in the future to the dramaturgy of A.P. Chekhov.
The entire action of "The Dowry" is concentrated around one character - Larisa - and is focused and intense. You could even say that in general “The Thunderstorm” is more epic, and “Dowry” is more dramatic. This is manifested, in particular, in the fact that the action in “Dowry” proceeds faster than in “The Thunderstorm”. In “The Thunderstorm” the action begins almost before our eyes, but in “Dowry” the action is already “set” before the curtain rises. Larisa was in love with Paratov even earlier; after his sudden departure, out of despair, she agrees to become Karandyshev’s wife. The plot spring is already stretched. Therefore, the playwright gets the opportunity to observe the “unity of time.” The most ardent supporter of classicist rules could be pleased with Ostrovsky. After all, the so-called “unity of time” required that the stage action last no more than a day. In “Dowry” it proceeds even faster: it begins at noon and ends at midnight. But these 12 hours turned Larisa’s whole life upside down, who finally understood her position in a possessive world.
At the end of the play, she says bitterly: “They looked at me and look at me as if I was playing. No one ever tried to look into my soul, I didn’t see sympathy from anyone, I didn’t hear a warm, heartfelt word. But it’s cold to live like this.”
Larisa's drama lies in the fact that she lives in a cold, cruel and... a ruthless world in which there is no mercy. This applies to everyone who surrounds the heroine: to her own mother, to Knurov, Vozhevatov, Paratov, Karandyshev...
In “The Dowry,” the clash between the cynical, inhumane philosophy and practice of businessmen and the “warm heart” of the heroine, who is trying to defend her human individuality, perishing in an unequal struggle with a world in which money, profit, and calculation reign, is clearly evident.
Larisa is a beautiful, smart, proud, proud girl. She is endowed with emotional sensitivity and responsiveness. Her self-esteem does not allow her to passively accept her surroundings. She is opposed to all other characters. They pursue their personal, selfish goals, but Larisa is incapable of lies and deception. She lives in anticipation of extraordinary happiness, reaches out to people, is ready to believe them, but her dreams of happiness are unrealistic.
"Larissa" means "seagull". The heroine of "Dowry", like Katerina from "The Thunderstorm", also wants to fly far, far away. Hence her attraction to wide, boundless space, which is repeatedly emphasized in the play.
Both in "The Thunderstorm" and in "Dowry", the action mainly takes place on the street, on the banks of the Volga. This enlarged the conflict and helped to perceive the tragic fate of the heroine against the broad background of Russian nature, symbolizing the aspiration to a different life - a bright, free life, to flight. But the very first remark in the play “Dowry” connects two opposite spheres: the vulgar, ordinary, everyday “here” and the mysteriously poetic “there”. Here is an ordinary coffee shop with waiters, there is a view of the Volga and a large space: forests, villages, etc. And Larisa, as soon as she appeared on stage, sits on a bench and looks through binoculars at the Volga. Why do you think Ostrovsky makes her use binoculars? You can admire nature without it. Larisa is not sitting in the theater, but on the boulevard... Obviously, with the help of binoculars, she wants to bring the poetic space, the Volga distance, closer to herself and at the same time move away, isolate herself from the vulgar reality that is so disgusting to her.
The world of romance with its tenderness, strain, openness in expressing feelings - this is Larisa’s world. She perceives life through the prism of romantic ideas and ideals. However, beautiful illusions cannot last long. Her lofty ideas about love, about the “ideal man,” about friendship, about life in general naturally fail.
In Russian literature, love has always been a serious test for characters, a test of humanity, mental fortitude and nobility. In "The Dowry" only Larisa passes this test. All the others (Paratov, Knurov, Vozhevatov, Karandyshev) are unworthy of love. They have their own value system: either love or calculation. Calculation wins. How does Larisa herself relate to this value system? It is hardly possible to answer this question unambiguously. She, of course, resolutely protests against the world of huckstering, cynicism, and humiliation of human dignity, but, at the same time, she is already experiencing the influence of the new time, its social, ideological, and moral tendencies. She no longer has the integrity that was so characteristic of Katerina. Let us note once again: Larisa, of course, has something that sharply distinguishes her from those around her: a bright character, talent, inner purity, truthfulness. “Not like my mother,” Vozhevatov says about her. “That one is all cunning and flattery, but this one suddenly, out of the blue, says that it’s not necessary.” “So the truth?” - asks Knurov. “Yes, it’s true, but women without dowries can’t do that,” says Vozhevatov.
Even in the way she dresses, Larisa differs sharply from her own mother. The author's remarks in this regard are accurate and expressive. The eldest Ogudalova is “dressed elegantly, but boldly and beyond her years,” and the youngest is “dressed richly, but modestly.” (Try the oral drawing technique here too.)
And yet Larisa is much more at home in this world than Katerina. She can be ruthless and heartless. In the first act, Larisa reprimands Karandyshev, reproaching him for his tactlessness: “I have become very sensitive and impressionable.” All this is true, but she requires sensitivity only towards herself. In the second act, Karandyshev literally begs her: “Please take pity on me at least a little!” Larisa is not inclined to feel sorry for him. “You’re only talking about yourself,” she reproaches her fiancé. “Everyone loves themselves!” Karandyshev really thinks first of all about himself; but does Larisa act differently?
Noting the depth of the inner world of his heroine, Ostrovsky does not idealize her at all. One senses in Larisa early fatigue from life, some kind of emptiness, disappointment. In “The Thunderstorm,” it was still felt that Katerina came into this world from somewhere from the outside, that she was “not of this world” (to use the title of one of Ostrovsky’s later plays). Larisa grew up here, was brought up here, got her first ideas about life, about people. And her childhood friend Vasya Vozhevatov quietly brought her novels, “which girls are not allowed to read.” It becomes clear why she is not just in love with Paratov: in her eyes, he is the ideal man, and this is already a criterion, a kind of starting point that determines many contradictory traits in her consciousness and behavior.
The pernicious influence of the environment has already affected the heroine of “The Dowry” and poisoned her pure soul. The drama occurs not only around her, but also in herself. She ultimately recognizes herself as a thing and is even ready to accept Knurov’s cynical proposal. “Now gold sparkled before my eyes,” she says, “diamonds sparkled.” In the finale, Larisa does not spare either Karandyshev or, what is especially important, herself: “... I was looking for love and didn’t find it... it doesn’t exist in the world... there’s nothing to look for. I haven’t found love, so I’ll look for gold.”
In Larisa’s final monologue, there is some kind of strain, something similar to hysteria. Perhaps she herself is not even aware of the fact that she is saying that she has a choice of what awaits her in the future. “Call Knurov” - it’s the same as being in a loop or in a pool. Therefore, Karandyshev’s shot is the only way out for her, getting rid of shame, from the slow painful execution of consciousness. Like Katerina, she judges herself. She is not afraid of the judgment of people, but of the judgment of her own conscience. Death turns out to be the only and most desirable way out.
"Dowry" is one of the best plays of the late Ostrovsky. Here the psychological characteristics of the characters become noticeably more complicated. Unlike, for example, Kabanikha or, moreover, Dikiy, the characters surrounding Larisa do not look like outright villains.
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The entire action of "The Dowry" is concentrated around one character - Larisa - and is purposeful and intense. You could even say that, overall, “The Thunderstorm” is more epic, and “The Demon Dowry” is more dramatic. This is manifested, in particular, in the fact that the action in “Dowry” proceeds faster than in “The Thunderstorm”. In “The Thunderstorm,” the action begins almost before our eyes, but in “Dowry,” the action is already “set” before the curtain rises. Larisa was in love with Paratov even earlier; after his sudden departure, out of despair, she agrees to become Karandyshev’s wife. The plot spring is already stretched. Therefore, the playwright gets the opportunity to observe the “unity of time.” The most ardent supporter of classicist rules could be pleased with Ostrovsky. After all, the so-called “unity of time” required that the stage action last no more than a day. In “Dowry” it proceeds even faster: it begins at noon and ends at midnight. But these 12 hours turned Larisa’s whole life upside down, who finally understood her position in a possessive world.
At the end of the play, she says bitterly: “They looked at me and look at me as if I was playing. No one ever tried to look into my soul, I didn’t see sympathy from anyone, I didn’t hear a warm, heartfelt word. But it’s cold to live like this.”
Larisa's drama lies in the fact that she lives in cold, cruel and. a ruthless world in which there is no mercy. This applies to everyone who surrounds the heroine: to her own mother, to Knurov, Vozhevatov, Paratov, Karandyshev...
In “The Dowry,” the clash between the cynical, inhumane philosophy and practice of businessmen and the “warm heart” of the heroine, who is trying to defend her human individuality, perishing in an unequal struggle with a world in which money, profit, and calculation reign, is clearly evident.
Larisa is a beautiful, smart, proud, proud girl. She is endowed with spiritual sensitivity and responsiveness. Self-esteem does not allow her to passively put up with the environment. She is opposed to all other characters. They pursue their personal, selfish goals, but Larisa is incapable of lies and deception. She lives in anticipation of extraordinary happiness, reaches out to people, is ready to believe them, but her dreams of happiness are unrealistic.
"Larissa" means "seagull". The heroine of "Dowry", like Katerina from "The Thunderstorm", also wants to fly far, far away. Hence her attraction to a wide, boundless space, which is repeatedly emphasized in the play.
Both in "The Thunderstorm" and in "Dowry", the action mainly takes place on the street, on the banks of the Volga. This enlarged the conflict and helped to perceive the tragic fate of the heroine against the broad background of Russian nature, symbolizing the aspiration to a different life - a bright, free life, to flight. But the very first remark in the play “Dowry” connects two opposite spheres: the vulgar, ordinary, everyday “here” and the mysteriously poetic “there”. Here is an ordinary coffee shop with waiters, there is a view of the Volga and a large space: forests, villages, etc. And Larisa, as soon as she appeared on the stage, sits on a bench and looks through binoculars at the Volga. Why do you think Ostrovsky forces her to use binoculars? You can admire nature without it. Larisa is not sitting in the theater, but on the boulevard... Obviously, with the help of a binocular, she wants to bring the poetic space, the Volga distance, closer to herself and at the same time move away, isolate herself from the vulgar reality that is so disgusting to her.
The world of romance with its tenderness, strain, openness in the expression of feelings - this is the world of Larisa. She perceives life through the prism of romantic ideas and ideals. However, beautiful illusions cannot last long. Her lofty ideas about love, about the “ideal man,” about friendship, about life in general naturally fail.
In Russian literature, love has always been a serious test for characters, a test of humanity, mental fortitude and nobility. In "The Dowry" only Larisa passes this test. All the others (Paratov, Knurov, Vozhevatov, Karandyshev) are unworthy of love. They have their own value system: either love or calculation. Calculation wins.
How does Larisa herself relate to this value system? It is hardly possible to answer this question unambiguously. She, of course, resolutely protests against the world of huckstering, cynicism, and humiliation of human dignity, but, at the same time, she is already experiencing the influence of the new time, its social, ideological, and moral tendencies. She no longer has the integrity that was so characteristic of Katerina. Let us note once again: Larisa, of course, has something that sharply distinguishes her from those around her: a bright character, talent, inner purity, truthfulness. “Not like my mother,” Vozhevatov says about her. “That one is all cunning and flattery, but this one suddenly, for no apparent reason, says that it’s not necessary.” “So the truth?” - asks Knurov. “Yes, it’s true, but women without dowries can’t do that,” says Vozhevatov.
Even in the way she dresses, Larisa differs sharply from her own mother. The author's remarks in this regard are accurate and expressive. Senior Ogudalova “dressed elegantly, but boldly and beyond her years,” and the youngest “dressed richly, but modestly.”(Try the oral drawing technique here too.)
And yet Larisa is much more at home in this world than Katerina. She can be ruthless and heartless. In the first act, Larisa reprimands Karandyshev, reproaching him for his tactlessness: “I have become very sensitive and impressionable.” All this is true, but she requires sensitivity only towards herself. In the second act, Karandyshev literally begs her: “Please take pity on me at least a little!” Larisa is not inclined to feel sorry for him. “You’re only talking about yourself,” she reproaches her fiancé. “Everyone loves themselves!” Karandyshev really thinks first of all about himself; but does Larisa act differently?
Noting the depth of the inner world of his heroine, Ostrovsky does not idealize her at all. One senses in Larisa early fatigue from life, some kind of emptiness, disappointment. In “The Thunderstorm,” you still felt that Katerina came into this world from somewhere from the outside, that she was “not of this world” (to use the title of one of Ostrovsky’s later plays). Larisa grew up here, was educated here, and got her first ideas about life and people. And her childhood friend Vasya Vozhevatov quietly brought her novels, “which girls are not allowed to read.” It becomes clear why she is not just in love with Paratov: in her eyes, he is the ideal man, and this is already a criterion, a kind of starting point that determines many contradictory traits in her consciousness and behavior. Material from the site
The pernicious influence of the environment has already affected the heroine of “The Dowry” and poisoned her pure soul. The drama occurs not only around her, but also in herself. She ultimately recognizes herself as a thing and is even ready to accept Knurov’s cynical proposal. “Now gold sparkled before my eyes,” she says, “diamonds sparkled.” In the finale, Larisa does not spare either Karandyshev or, what is especially important, herself: “... I was looking for love and did not find it... it is not in the world... there is nothing to look for. I haven’t found love, so I’ll look for gold.”
In Larisa’s final monologue, there is some kind of strain, something similar to hysteria. Perhaps she herself is not even aware of what she is saying, what the choice brings her, what awaits her in the future. “Call Knurov” - it’s the same as being in a loop or in a pool. Therefore, Karandyshev’s shot is the only way out for her, deliverance from shame, from the slow painful execution of consciousness. Like Katerina, she judges herself. She is not afraid of the judgment of people, but of the judgment of her own conscience. Death turns out to be the only and most desirable way out.
“Dowry” is one of the best plays of the late Ostrovsky. Here the psychological characteristics of the characters become noticeably more complicated. Unlike, for example, Kabanikha or, moreover, Dikiy, the characters surrounding Larisa do not look like outright villains. Their characters are more complex, sometimes contradictory. The internal psychological complexity of the play's characters is one of the manifestations of the genre specificity of "Dowry". Before us is a psychological drama, leading in the future to the dramaturgy of A.P. Chekhov.
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“I was looking for love and didn’t find it”
(A. N. Ostrovsky).
Love She is like a bird, free and unpredictable. She floats high in the clear, cloudless sky. It’s as if you feel her presence above you, you stretch out your hands to her - she flaps her wing and floats off into the endless expanses of the sky. The space in which it lives captivates you, and when you suddenly manage to fly after this bird, you are overcome with a feeling of bliss. You are free, you are flying, overwhelmed by a feeling of lightness and calm. But only a few manage to take off after the bird. Few manage to gain mighty wings. And few manage to stay afloat on the waves of the heavenly ocean.
The city of Briquettes, in which the play takes place, is like a cage: “In the depths there is a low cast-iron grate, behind it is a view of the Volga, of a large space: forests, villages, etc.” This city has its own life. Larisa Dmitrievna Ogudalova, whose name translates as “seagull”, is like a bird in this cage. Her soul yearns for its native element - the element of freedom, peace, - happiness. She dreams of spreading her wings and plunging into the heavenly waters. She dreams of pure feeling, she is looking for love.
Larisa is surrounded by cynical people, for whom true meaning have money, power and position in society. Those people who, for selfish reasons, can sacrifice their feelings and sell themselves.
Larisa's mother, Kharita Ignatievna, offers her daughter as a commodity and catches rich suitors. “She loves to live a cheerful life,” says Vasily Danilych Vozhevatov, “whoever likes his daughter, so fork out.” Larisa is beautiful, intelligent, talented, “her appeal is free, it’s attractive.” These qualities are a very expensive commodity that not everyone can pay for. Kharita Ignatievna makes money off her daughter, collecting little by little from all Larisa’s suitors. Larisa Ogudamova is surrounded by men. Men different years, with different states and different positions in society. Among all the suitors who go to Larisa (“some old man with gout and a rich manager of some prince, always drunk,” or a cashier who simply showered Kharita Ignatievna with money and who was arrested in their own house), Sergei Sergeich stands out Paratov. "Brilliant gentleman" outshines everyone. Sergey Sergeich is the ideal man for Larisa. Handsome, courageous, brave. The man who has kind heart and of which, she says, she cannot be sure. But we see that Paratov is far from ideal. He is, of course, brave and risky, he is sociable, he is respected in society, but, it seems to me, self-interest is too strong in him. Perhaps love for Larisa lives in his heart. He, at least, is very passionate about her, but Paratov refuses the immaculate, sincere Larisa, her pure love in favor of base values - money. He says about himself: “I don’t have anything treasured; if I find a profit, I’ll sell everything, whatever.” Sergei Sergeich is going to marry a very rich girl. He found a benefit: for the sake of gold mines he is ready to sell his freedom, to sell himself
Larisa’s feeling for Paratov is pure and bright. She does not deny her feelings and directly says that if Sergei Sergeich appeared, then one look from him would be enough for her to belong to him again. And Sergei Sergeich seems to be deliberately tormenting Larisa Dmitrievna: he is seeking recognition that she loved him and still loves him. Larisa was waiting for a reciprocal feeling from Paratov, but he answered her only with fleeting passion and infatuation. After all, for Paratov there is no sense of ideal. “There is no equality in love,” he says. And if equal love happens on both sides, then “it turns out to be some kind of pastry cake, some kind of meringue.”
Larisa is ready to run away with Paratov: “Sergei Sergeich came for one day, and for his sake she leaves her fiancé, with whom she will live her whole life.” Paratov seems to have a magical effect on Larisa. With his words, with his promises, he makes her believe him again, forgive him, forget the offense. She belongs to him again. “You are my master,” Larisa says to Paratov.
“I will give up all calculations and no force will snatch you from me.” All these promises were empty. Paratov wanted to persuade Larisa to go with him beyond the Volga. Last days He planned to spend his bachelor life as fun as possible and for this he invited Larisa Dmitrievna.
Larisa believed Paratov’s promises, and he killed her last faith that real love exists. “The heat of passion soon passes,” says Paratov, “what remains are the chains and common sense, which says that these chains cannot be broken, that they are inseparable.” And people who know Paratov, such as Vozhevatov and Knurov, claim that no matter how brave Sergei Sergeich neither was, but I wouldn’t trade the millionaire bride for Larisa.
The romance that Larisa sang to the guests very accurately characterized the heroine’s state:
Don't tempt me unnecessarily
The return of your tenderness
Paratov again aroused feelings for him in Larisa, although she had already come to terms with her situation. She decided to marry Karandyshev, dreamed of a simple life in Zabolotye, dreamed of walking through the forests, picking berries and mushrooms. “At least I will rest my soul,” says Larisa, “even if it is wild, and deaf, and cold there; for me, after the life that I experienced here, every quiet corner will seem like paradise.
Yuliy Kapitonich Karandyshev may love Larisa. He admires her, idolizes her. For three years he looked after Larisa. Yuliy Kapitonich endured both ridicule and the fact that he was kept as a suitor just in case. And he was rewarded for his constancy and patience. Larisa is going to marry him out of despair: “Don’t attribute my choice to your merits,” says Larisa Dmitrievna. She does not deny that Karandyshev for her is a straw that a drowning man clutches at." But Karandyshev is proud. It doesn’t matter to him that Larisa doesn’t love him. The main thing is that outsiders think that Larisin’s choice was free, that she prefers him to other suitors. Larisa for Karandyshev is like a step into high society cities. He wants to achieve the respect of Knurov, Vozhevatov, Paratov... While Larisa Dmitrievna wants to go to Zabolotye, wants silence and solitude, Yuliy Kapitonich specially takes her through the streets. “He wants to show off. And it’s not surprising: from nothing he got into people,” says Kharita Ignatievna. He wants to show off, to be proud, because he “fits into the best society.” Larisa finds Karandyshev unpleasant: “How can I respect a person who indifferently endures ridicule and all kinds of insults!” She is ashamed of Yuli Kapitonich. By the fact that Paratov, Vozhevatov and Knurov mock Karandyshev, they torment Larisa.
Vasily Danilych Vozhevatov is a friend of the Ogudalov family. He knows Larisa from an early age. And he likes her too. But, as a person with a position in society, with values like a merchant’s word, he does not give vent to his feelings. Even when Larisa Dmitrievna asks him for help, when she needs his support more than ever, he refuses to help her simply because he lost her in a dispute with Knurov. Vozhevatov even sees a certain benefit in losing: there are fewer expenses.
Mokiy Parmenych Knurov believes that they, Larisa’s close friends, are obliged to take part in her fate. Knurov immediately defines Larisa as a thing: “It would be nice to go to Paris with such a young lady to an exhibition.” He believes that Larisa was not created for the poor family life, there is no earthly, everyday thing in it. “This woman is created for luxury,” says Knurov. “An expensive diamond requires an expensive setting.” Mokiy Parmyonich offers Larisa his protection. He seems to want to act as a jeweler who will sharpen the stone and select an expensive setting.
Larisa understands that everyone perceives her as a thing: “I see that I am a doll for you; if you play with me, you will break me and throw me away.”
In the end, Larisa Dmitrievna finds herself at a fork in the road. She has three paths. The first is to come to terms with the humiliating situation, marry Karandyshev, who will forgive her everything, go to Zabolotye, where she will continue to live quietly and lead household; the second is to admit to yourself that it is a thing, and an expensive thing, and to be under the protection of Knurov. Immerse yourself in luxury and brilliance. And the third is suicide. During a conversation with Paratov, Larisa mentioned suicide: “For unfortunate people there is a lot of space in God’s world; here is the garden, here is the Volga. Here you can hang yourself on every branch, on the Volga - choose any place. It’s easy to drown yourself everywhere if there is desire and strength will suffice."
Larisa did not have to choose one of the paths. Yuliy Kapitonich shot her. He freed her from mental torment and thereby performed a good deed for her. Larisa Ogudalova suffered, endured a lot of humiliation, and was looking for a pure and beautiful feeling. She didn't find love, but her soul burst out. It was as if she had fluttered out of a cage and found freedom.
: Ostrovsky A. N. |