The theme is “The Tragedy of Loneliness” based on A. Ostrovsky’s play “Dowry.”
Epigraph: “In a play like “The Demon Dowry,” it is not only the artist’s thought that captivates—the moral and humane thought. She has the very depth of life, the desire to comprehend its riddle, to touch... the good and the bad in people.” V. Lakshin.
Students are transported mentally to Shchelykovo, where the playwright is working on the play “Dowry.” According to the author, it offers a new view
works. What is he thinking about in the silence of his office? Why is it now, when the woman who devotedly loved him has passed away, that he turns to the topic of love? Were those words spoken? Or did your heart hurt because you were too late to say them? What did Ostrovsky want to tell us? And isn’t this the secret of the play that future generations will have to unravel? And the newspapers of that time vied with each other: “How the talent of our first playwright was crushed!”; “Ostrovsky outlived his talent!”; “Oh, Ostrovsky! Why didn’t you die before writing Late Love?
But why does this “failed play” touch you so much, why doesn’t it let you go, makes you think? What is her secret? The mystery of the “Dowry?”
Usually the names of Ostrovsky's plays are sayings, proverbs, that is, phrases with meaning (“Truth is good, but happiness is better”, “The heart is not a stone”, “Guilty without guilt”, etc.). Even “I Rose” has subtext. In "Dowry", at first glance, there is no subtext. Well, who is this homeless woman;!? According to Ostrovsky, the word “dowryless” had another meaning: a girl with high moral qualities who does not require a dowry.
There is a difference, and the title of the play sounds different, and we think about it. Who is she, Larisa Ogudalova? What is most important to her: a dowry? money? Or maybe something else? And the mysteries continue. Analyzing the list characters, we note that Larisa is the only one whose last name is not indicated. Why? How is it different from others? We come to the conclusion that Ostrovsky has meaningful first and last names (gut - deceive, Larisa - seagull, knur - boar, etc.) and the heroine does not fit into this circle of people, the main thing is that she - seagull.
So the curtain rises. What should we see? (On the board is a sketch of the scenery for the drama.) Reading the stage directions, we find artistic details, which alarm us. Yes, freedom, space, will, but... behind bars, there, in the distance. And here... a coffee shop, here there is music, gypsies, wine, noise. And in this world lives a heroine. What do we know about her? What is the need for its appearance? What does Larisa do while everyone is talking... about her?
But the most unexpected thing is her first words. When a person arrives, it is logical to say “hello,” and Larisa’s first words in the play are the words “goodbye.” Why? Analyzing Act I, we come to the conclusion that the heroine is on the threshold of life, she is leaving, but where? Who is she saying goodbye to? The words “I'm at a crossroads” prove this. What are Larisa's paths?
The first path is undoubtedly the path to Paratov. Analyzing act I, phenomenon 4, we answer the questions: How does Larisa Paratova see? Is he her ideal? And since an ideal is the perfect embodiment of a dream, let’s try to understand what Larisa dreams about.
Why does the conversation about Paratov end with a conversation about death? Obviously, because this is not the path to freedom, which Larisa strives for, but the path to death, perhaps spiritual. But these are just guesses. Maybe we're wrong? Let's take a closer look at Paratov.
Students answer the questions: How does Paratov appear? What can we tell about him based on how he got here? Why, having taken Robinson with him, did he not take the Unlucky - the merchant's son? What is Robinson for him? Does Paratov know the word pity?
But that's not all. Paratov has two faces - two masks. One is for everyone, for show, and the other is not visible to everyone, but Larisa sees it.
Let's analyze the monologue about Larisa when Paratov finds out about her marriage. What do the dots here indicate? Paratov thinks. But when a person thinks, can he pretend? Let's connect these phrases. What will we get?
“Well... God be with her...! Married... getting married... Still, my soul feels lighter..."
A completely different person is in front of us, and only Larisa could see this person. But why only her? What makes her different from everyone else? Let's analyze Act II, Episode 3: Where is Larisa going? Why isn't she attracted to gifts? What does she dream about? Compare the dreams of Larisa and the people around her. What's the difference? Why does Larisa sing during a conversation? What is the most important thing in this life for her?
During the conversation, the romance “Amulet” by Lunev and Kozlova is heard. Love lives in the heroine's heart. Dreams about her
Larisa, love is everything to her (according to Ostrovsky, love will save the world), but no one needs this love. Larisa understands this, or rather, begins to understand, which is why she is so scared, restless, and incredibly hard.
Analyzing the conversation with her mother (Act II, Appearance 6), we try to understand what Larisa is afraid of. After all, Para-tov has not appeared yet! And she is afraid of this loneliness.
Maybe Paratov still needs her?
Let's analyze Act II, Scene 8. This is a very strange meeting. Questions arise immediately: Why is there no greeting? No remarks, why? Why does Larisa allow herself to be thought of “anything”? Why does he still confess his love? Why doesn’t Paratov ask who Larisa is marrying? Why does he need her love?
Larisa's love for Paratov is the consolation of his pride. But this is not what Larisa is waiting for. However, he decides to go with him, why? Analyzing Act III, 12th appearance.
What makes Larisa choose this path? The romance “Everything Ends One Day” by V. Zakharov is playing. Larisa “drinks the sweet poison of the desired deception...” And what is the ending of the path to Paratov? (Act IV, scene 7.) And the ending is in the eyes of Paratov. “It’s bright in my eyes, like the sky... I’ll think about myself...!”
Yes, Larisa will change her mind, because she has another path. With Karandyshev.
Analyzing the play, we answer the following questions: What is Karandyshev like? (Act II, 6th, 9th appearances.) Why is Larisa still going to marry him? Does Karandyshev love Larisa? (111th action, 11th appearance.)
We see that there is no love here either, here is only the owner’s right to property. Larisa cannot accept this.
So - to Knurov? What is Knu-rov like? Does he love Larisa? (Act II, Appearance 8.) There is not a word about love in their conversation! ...Nobody needs the love of a lonely seagull...
Now Larisa is pronouncing a monologue about death. She is left with death. Larisa’s sad song is finished, her sad romance is interrupted, like a bird with a broken wing, she rushes through this life full of cruelty, not saving Larisa’s amulet of happiness. The tragedy of the heroine is the tragedy of a lonely soul.
The topic of the lesson is “Temptation - the leitmotif of the drama by A.N. Ostrovsky "Dowry"
Temptation is not evil, but good. It makes the good even better. This is a crucible for purifying gold... St. John Chrysostom
Goals and objectives of the lesson. By examining the main motives of the drama, prove that the motive of temptation is the leitmotif. Correlate final scene"Dowryless" with Christian understanding temptations. To improve students' skills in working with the text of a literary work and a literary critical article. Review some literary concepts. Arouse interest in the spiritual problems of existence.
Lesson equipment. Materials for preparing homework in groups (fragments of articles about “Dowry” by Y. Lebedev and V. Vishnevskaya, texts of poems by E.A. Boratynsky “Disbelief” and Medvedev “No, he didn’t love...”), video cassette with a fragment of E. Ryazanov’s film “Cruel Romance”.
The song sounds based on the words of Boratynsky “Do not tempt me unnecessarily.” Preferably a live performance.
We continue our acquaintance with one of Ostrovsky’s best creations. In the last lesson we talked about the history of creation, the theme of the work, and its main motives. What did you, readers of the late 20th century, raise the most questions about? Perhaps this play seemed quite simple to you?
In the literature about Ostrovsky and the drama “Dowry,” the main disputes arise in connection with the final scene. And the original reading of the play by film director Eldar Ryazanov also raises questions specifically about the ending. Let's compare Ostrovsky's text and the final scene of the film. (Watch a fragment of the ending of the film “Cruel Romance.”)
What does Ryazanov have left behind the scenes?
How significant is the ending in a musical or literary work?
Two modern critics that's how they interpret it last words Larisa (statements written on the board):
“In all this - and in death next to the gypsy revelry, and in words of forgiveness
and love is some kind of sacrilege” (V.Ya. Lakshin).
“The consciousness of the saving power of Christian love sounds in Larisa’s farewell words...” (Yu.V. Lebedev).
Which of them, in your opinion, is closer to Ostrovsky’s plan? (A little discussion is possible.)
Let's leave final conclusions. Let's turn to the text. As always, the title of the drama is significant for Ostrovsky. IN in this case it has two meanings, which ones? (Social and spiritual.)
Can Larisa's tragedy be explained by social reasons? (Yes.)
Will social analysis of drama allow us to understand last scene? (No.)
This means we need another way. Russian religious philosopher of the early 20th century Nikolai Berdyaev noted that “all our literature XIX centuries wounded by the Christian theme, all of it is looking for salvation, all of it is looking for deliverance from evil, suffering, the horror of life for human personality, humanity, peace." Perhaps this thought will help us? Perhaps the path of spiritual analysis of Ostrovsky’s drama will be more fruitful? In the last lesson, you noticed that, along with main theme Ostrovsky sounds additional ones that set off the main one. What are they called? (Motives.)
We called these motives: the motive of space, the motive of the person-thing, the motive of brilliance, the motive of temptation, the motive of loneliness.
Which of these motives is closer to Berdyaev’s just spoken words? (Motive of temptation.)
Let us outline the topic of our lesson: The motive of temptation in Ostrovsky’s drama “The Demon Dowry.” The main task Work in the lesson will determine the study of this motive. How do you explain the meaning of the word temptation? (Temptation.)
Are you susceptible to temptation? Do they interfere with your life?
What temptations captured the heroes of Ostrovsky’s drama? Where does the motive of temptation begin to sound? Based on the text, tell us about the temptations of Knurov, Vozhevatov, Kharita Ignatievna, Karandyshev.
What is the nature of these temptations? (These are temptations of the material order.)
The temptations of Ostrovsky's characters are in one way or another connected with the heroine of the drama. What is she like, Larisa Ogudalova? Why does everyone only talk about her?
Is it only beauty and musical abilities attracted to Larisa? Perhaps there must be something in it that is close to everyone?
However, Larisa's beauty has some flaws. Which? (This is the beauty of a soul losing faith. It is divorced from reality.) Apparently, for this reason, Larisa’s beauty is subject to temptation. What are they trying to seduce her with?
Knurov in the Ogudalovs' house. Listen to his first phrase addressed to Kharita Ignatievna: “What do you think about your daughter, what is she like?” Is the pronoun what here by chance?
That is, with all his passion, Knurov is first of all tempted by a beautiful thing. The motive of the person-thing, as it were, complements the motive of temptation. It is complemented by another motif - the motif of brilliance. You observed it in your homework. Tell us about your observations.
Money, glitter, jewelry - they tempt Larisa. And she is tempted.?
What is it that seduces the heroine?
Why?
What is this ideal man Paratov and why he is so successful in the role
tempter?
Somewhere in the history of Russian literature we have already encountered something similar. From whom? (Pechorin at Lermontov.)
Are their similarities significant? (No, it is only external. Paratov is a shallow likeness of Pechorin.)
But why does Larisa idealize Paratov so much?
The climax of the drama is Larisa singing a romance to the words of Boratynsky. Is that romance in Ostrovsky a coincidence?
You have become acquainted with fragments of an article by Inna Vishnevskaya. It talks about the performance of the role of Larisa by the great Russian actress V.F. Komissarzhevskaya. There is a whole legend associated with this performance in the history of Russian theater. But today we are interested in something else. Vera Feodorovna, instead of “Don’t tempt...”, sang another popular romance to Medvedev’s words “No, he didn’t love.” You compared these two texts. What has changed in the interpretation of the main character?
A man with a dark, black soul. Who is this? (Devil.)
Does Larisa's temptation end with Paratov's confession?
But these are again temptations of a material order. Larisa’s soul dreams of nothing but love. The motives that we saw in the drama converge and echo the motive of temptation. So this is the central motive? (Yes, this is the leitmotif.)
This means that the theme of our lesson is transformed into another: “Temptation is the leitmotif of Ostrovsky’s drama “Dowry.” - Paratov is the ideal for Larisa. But the ideal man reveals all his cards. What kind of person appears before her? What does the quote from Lermontov mean in Larisa’s mouth: “In the eyes, it’s as bright as the sky”?
Which biblical story arises in your mind when we talk about temptation? (Christ is tempted by the devil in the desert.)
Do the heroes of Ostrovsky's drama talk about God?
Yes, God has left their souls, because they all find themselves in the grip of temptations and enticements. How does Orthodoxy define temptation? (This is a test of faith.)
Let us turn to the words of John Chrysostom, which we took as the epigraph to the lesson. Is Larisa’s last remark “I love you all” appropriate in this sense?
Will Larisa's soul regain its lost faith? (Discussion.)
Which of the two critics is closer to the truth? (Answer options.)
Thus, the leitmotif of Ostrovsky’s drama carries a complex semantic load. If the souls of people are deprived of a moral core, moral strength, then they fall into the power of temptations and enticements. Finding faith will be the more difficult the more moral flaws the soul has. In this sense, Ostrovsky’s drama sounds quite modern and relevant.
Perhaps not everyone will agree with the conclusions of the lesson, so homework will allow us to justify other positions.
Karandyshev collected crappy weapons into his collection. His pistol misfired. What could Larisa's fate be in this case? You will prepare a short essay about this for the next lesson.
Someone was dissatisfied with how we resolved the dispute between two critics. Or maybe their positions are not so contradictory? Give your arguments.
Without a doubt, interest in Ostrovsky’s “Dowry-less” is largely caused by the original film adaptation of the play by Eldar Ryazanov. One can speak of originality already because the perception of the film’s characters by young viewers, on the one hand, is perplexing, on the other hand, it confirms the idea expressed more than once that each generation tries on great works to its own experience.
When asked which of the characters in “Dowryless” she liked the most, the tenth-grader confidently stated Knurov. And others immediately agreed with her. Their arguments: Knurov is a solid, reliable person, with someone like that you won’t be lost in life. Of course, this comes from the film. Ryazanov really makes Knurov-Petrenko attractive. And it fits the definition of “new Russian” in the best sense.
Yes, social reasons contributed to the tragic outcome of the story of Larisa Ogudalova. But Ostrovsky himself explores, first of all, the tragedy of a talented individual, and not a girl without a dowry. That is, for the playwright, the determining factors are not social, but spiritual reasons. This is the only way to consider the ending of “The Dowry,” which is incomprehensible to the modern reader. Ostrovsky, like all Russian classic XIX century, true Christian tradition He necessarily correlates the behavior and actions of his heroes with the moral principles of Orthodoxy. This determined the topic of the lesson in the Xth grade. He is the second, at the first there was a conversation about the era, the history of creation, heroes (excellent material for him was published by Yu. Lebedev in the 4th and 5th issues of the magazine for 1996).
Exploring various motives that in their own way complement the tragic historian Larisa, we come to the conclusion that her short life is a life among seductions and temptations. And if Larisa rejects the temptations of the material order, then the spiritual ones seize her without a trace. This realization comes too late. Temptation is good, through it faith is strengthened. This Christian truth is revealed to Larisa at the moment of death, and only because of this she turns her last words of forgiveness and love to those who have just betrayed her.
Such a study is an attempt, following Ostrovsky, to penetrate the idea of careful attitude to talent.
The drama “The Dowry” was written in 1879, in which the author reflected a state characteristic of that time: a leap in the development of trade and industry, a change in the old, old, towards civilization, the weakening of the nobility and its role in society. But the author is most interested in the rise of the sense of personality caused by the reforms, therefore “Dowry” is primarily a psychological drama, main role in which, of course, a woman plays, the heroine with a rich inner world. In his play, Ostrovsky reveals the entire system
The relationship between a woman and society. For men, a woman began to turn from a gentle, loving creature into an object of cynical bargaining; she is treated like a thing.
Larisa, the main character of the play, becomes a victim of this indifferent society. This sensitive and beautiful girl sings with an open soul and plays different musical instruments. She is educated and talented, this attracts numerous guests to the Ogudalovs’ house. Larisa reaches out to social life, full of love and kindness, “to whom she is disposed, she does not hide it at all.” But can she live in a society where everything is bought and sold? The fate of the heroine is foreseen at the very beginning of the play. Her mother married off her beloved daughters only to rich and noble suitors. So for Larisa, her mother decided to find a profitable match. This one is beautiful and kind girl becomes a bait for rich suitors.
Ogudalova lives modestly, however, there are always many guests in her house. And the question involuntarily arises: where does the hostess get the money? Larisa was created for luxury, she gave pleasure to such large businessmen as Vozhevatov, Knurov, Paratov, but you have to pay for pleasure. “An expensive diamond requires a setting... and a good jeweler.” So Ogudalova collects money from those who liked her daughter. But such a life did not poison the ordinary people in Larisa. human qualities. The best sides Larisa's nature - sincerity, naturalness, ability to love deeply - can be regarded by people as shortcomings in a society where the main advantage of a bride is her rich dowry.
A girl in Russian society is not considered a person, she is just a bride, which means her goal before marriage is to lure a worthy and wealthy groom. Her mother demands this from her, despite her daughter’s protests: “We are poor people, we have to humiliate ourselves all our lives. It’s better to humiliate yourself from a young age, so that later you can live like a human being.”
Larisa sincerely and tenderly fell in love with the “brilliant boyar” Paratov, who for her is the ideal man, and she is ready to go with him to the ends of the earth. The love is so great and deep that the heroine cannot see in him just an ordinary merchant who strives only for personal enrichment. Larisa felt happy for the first time, but even here she would be deeply disappointed. Paratov unexpectedly leaves, deeply offends her feelings. Love is desecrated, for Paratov Larisa is just entertainment. The girl’s emotional experiences are aggravated by the shame she experienced in own home: the scandal associated with the arrest of a cashier who ran away with money gave rise to gossip and slander about the Ogudalov family. Therefore, Larisa’s consent to marry Karandyshev was forced, he just turned up at the right time. The heroine wants to go live in the village, she wants a quiet, modest family life. But Karandyshev is so happy about his victory that he is completely indifferent to the feelings of the young lady. “For three years I suffered humiliation, for three years I endured ridicule right in the face from your acquaintances; I, in turn, need to laugh at them” - this is what drives Karandyshev’s behavior. He is tactless towards Larisa, reproaches her for her past, her “gypsy camp”, and her love for Paratov. He, of course, is not the person who could give Larisa happiness - he is too vain and selfish. A torrent of ridicule, humiliation and condemnation falls on Larisa and her fiancé.
But, having returned, Paratov does not bring Larisa joy and peace. He left again out of urgent need, as he explains, to “save” his estate from negligent managers. He knows that he is guilty before Larisa, and when he learns about her marriage, he even rejoices: “... that means the old scores are over,” and he can come to them again. But the biggest problem is that for Larisa he is idealized. Blindly trusting her hero, she could not see his true motives: calculation and self-interest. But he doesn’t even hide them in front of others: “I... have nothing cherished; If I find a profit, I’ll sell everything, anything.” He is also open to Kharita Ignatievna: “I want to sell my will,” he tells her about his upcoming marriage. He regards his infatuation with Larisa as stupidity, but if he married her, “he would make people laugh!”
The theme of bargaining and the power of money runs throughout the play, more clearly emphasizing the illusory nature of Larisa’s hopes for happiness. When they meet, Paratov playfully reproaches the girl and at the same time all women for treachery and inconstancy, quoting Shakespeare; it is important for him to make sure of his power, that she still loves him. And his demand to Larisa to leave her fiancé during a dinner party and leave with a single company across the Volga is also a consequence of his selfishness. Out of shame for the groom, who behaves pompously, out of despair, Larisa agrees to this trip, knowing full well that this trip will decide everything: “Either you rejoice, mom, or look for me in the Volga.” The reputation of a decent girl will be ruined irrevocably, and you can forget about the wedding with Karandyshev. But she loves Paratov so much and believes him so much! The more terrible her epiphany will be later, the tragic moral choice, who will stand in front of the girl: return to Karandyshev, or become the kept woman of a rich merchant.
Karandashev's shot brings Larisa relief from her suffering. The girl thanks the killer for saving her from life in this world, in which “she didn’t see sympathy from anyone... and didn’t hear a warm, heartfelt word. But it’s cold to live like this.”
She dies, forgiving all people and blaming no one. Her tragedy is the tragedy of a pure, selfless soul who believes in goodness and love and realized how cruel this world really is, and how she was deceived.
In the play “Dowryless” Larisa is lonely beautiful soul suffering from misunderstanding. Perhaps, if not for the cynicism of society shown towards her by those close to her, the fate of the main character would have been much happier.
"Thunderstorm" - "the most decisive work Ostrovsky,” according to Dobrolyubov. The drama reproduces complex phenomena of social life. Ostrovsky exposed the hypocrisy of tyrants, their “ cruel morals" But the end of the “dark kingdom” is approaching, something new is awakening in life. This “something” is the background of the play, revealing the instability and the near end of tyranny.
A. I. Ostrovsky in his work shows not only history tragic love, but also the struggle between the obsolete morality of tyrants and their unrequited victims and the new morality of people in whose souls a sense of human dignity is awakening.
Main character in Ostrovsky's drama "The Thunderstorm" - Katerina Kabanova. Her speech is imbued with lofty poetry expressing the structure of Katerina’s feelings and thoughts. Creating the image of Katerina, Ostrovsky embodied his deep love for the Russian language in her speech. Katerina’s speech is musical, melodious, reminiscent of folk songs. At the moment of greatest tension of spiritual feelings and strength, it is expressed in the language of folk poetry: “Violent winds, bear with him my sadness - melancholy!”
Katerina’s character is “focused and decisive, unswervingly true to her instincts natural nature“, full of faith in new ideals and selfless in the sense that it is better for him to die than to live under those principles that are disgusting to him.” Ostrovsky seems to let us listen to Katerina in a variety of emotional states: both quiet joy and inescapable melancholy, in the expectation of happiness and in anticipation of trouble, in confusion of feelings and in a fit of passion, in terrible despair and in the fearless decisive decision to accept death. It is not death that is desirable, but life that is unbearable. To live just to live is not good, it is not worthy of a person. Katerina rejects life half her life. To live means for her to be herself.
Katerina’s suicide is a terrible challenge to “tyrant” power, a protest against Kabanov’s concepts of morality, taken to the last step. The thunderstorm in the play is not just a majestic natural phenomenon, but a social upheaval. The drama reflected the rise social movement, those moods by which they lived advanced people era of the 50-60s.
“The Thunderstorm” reflected the impressions of the trip along the Volga, which Ostrovsky undertook in the summer of 1856 as part of an expedition that studied the life of the inhabitants of the Volga region. In his drama, he reflected not only the Volga city, not some specific individuals, but also the customs and life of the inhabitants of Torzhok, Kineshma, the stories of old-timers of Kostroma, the life of Zamoskvorechye - all this was reworked into creative laboratory writer and turned into deeply typical pictures of Russian life. A. N. Ostrovsky in his play “The Thunderstorm” asserts the right and duty of a person to be himself.
“The Dowry,” which was completed 20 years after “The Thunderstorm,” is dedicated to similar themes—the struggle for the preservation of human dignity, the clash of the living soul with the world of pure wealth. There are many similarities in the construction of both plays. The cities on the banks of the Volga are chosen as the setting for them. Like Katerina, Larisa Ogudalova looks at the river from the height of the cliff. In the last act here, she reflects on death as a deliverer: “And if you fall, they say: certain death! (Thinking.) It would be nice to throw myself...” But Larisa does not have enough strength to commit suicide. We can say that the heroine forces Karandyshev to kill her. She accepts this death as liberation. This is also indicated by a seemingly insignificant detail: she picks up the pistol from which her fiancé shot at her, so that he would not be accused of murder. No matter how different the heroines of these plays by Ostrovsky may be at first glance, social status, character traits, but their fate is the same. The reasons are the same tragic death. Larisa says: “No one has ever tried to look into my soul: But it’s cold to live like that. It’s not my fault, I was looking for love and didn’t find it... it doesn’t exist in the world... there’s nothing to look for.” The loneliness of this heroine is even greater than the loneliness of Katerina. It would seem that everything around has changed, the enlightened merchants Knurovs and Vozhevatovs have replaced the tyrants Dikiy. But behind their imaginary civility lies the same merciless grasp of the businessman. They are convinced of their own power, of the omnipotence of money. Knurov just wants to buy the love of the dowry Larisa. Vozhevatov wants the same thing. They simply play it toss, and Vasily Vozhevatov loses to Knurov. Then he refuses to help Larisa, citing the merchant's word of honor. Paratov, whom Ogudalova sincerely loves, mercilessly abandons her. Although this brilliant gentleman despises both Knurov and Vozhevatov in his soul, he follows the same life principles: “I have nothing treasured; I’ll find a profit, so I’ll sell anything.” He even sells himself, as he puts it, “his freedom,” when he marries profitably and takes gold mines as a dowry. This was precisely the reason why he abandoned the girl who trusted him; although he understood all the strength of her feelings, the bright talent of this nature. Karandyshev loves Larisa Ogudalova, dreams of her, but with the help of marrying her, he strives to enter the circle of the chosen, “best” people of the city, tries to become on an equal footing with Mokny Knurov, Vozhevatov and others. He, it seems to me, is less guilty than others in the death of the heroine. The heroine could not find happiness, but her last words are filled not with despair, but with bright sadness and love. She, dying, says: “You are all good people - I love you all... all of you.” But these words also sound like a fair accusation." good people", which led to the death of a man with a beautiful soul and a pure heart. Katerina’s drama was repeated: in “ dark kingdom“There is no place for love, truth and happiness.
In the wonderful plays of A. N. Ostrovsky, we, the readers, are shocked by the tragedy of an honest and generous man in a cruel world.The tragedy of a suffering soul in the world of businessmen (based on the drama by A. N. Ostrovsky "Dowry")
Tragedy... This word suggests death. At the end of the play, a wonderful, gifted, fragile girl, Larisa Ogudalova, dies. Her death is not accidental. The playwright consistently takes his heroine through suffering and shock, forcing her to experience all the bitterness of deceived love and the collapse of hopes for happiness.
What is the reason for this tragedy? A young girl from an impoverished noble family has a sensitive, loving soul, musical talent, and beauty. But this wealth cannot replace what is most valued in the world of businessmen - money, a dowry that would provide her with a worthy position in society. Discussing Larisa's upcoming marriage, Vozhevatov openly says that nowadays there are as many suitors as there are dowries, that is, every person is looking primarily for profit. Therefore, Larisa’s life turns, as Karandyshev puts it, into a gypsy camp. She is forced, by order of her enterprising mother, to be nice to rich bachelors, entertain numerous guests, attracting them with singing and beauty.
Larisa's first dialogue with her groom convinces us that she does not like such a noisy, chaotic life. Her pure and honest nature strives for quiet family happiness with her loved one. Vozhevatov calls Larisa simple-minded, meaning by this definition not stupidity, but sincerity, lack of cunning, flattery and pretense. This girl has created her own world with her poetic imagination, into which music takes her. She sings beautifully, plays the guitar and piano, expressing her innermost feelings and experiences in the sounds of an ancient romance. Possessing a sublime poetic soul, Larisa perceives the people around her as heroes of a Russian romance, not seeing their vulgarity, cynicism, and greed. Paratov in her eyes is the ideal man, Karandyshev is an honest, humane person who is not understood by others, Vozhevatov is a close childhood friend. But all these heroes turn out to be different; they reveal their true nature in their relationship to Larisa. The brilliant Paratov turns out to be an ordinary seducer who destroys a loving girl for the sake of fleeting pleasure. He, without hesitation, leaves her to marry the owner of the gold mines. With cynical frankness, he admits to Knurov that there is nothing cherished for him, that he is ready to sell anything for profit. And he really proves this with action: he sells “Swallow” and abandons his beloved girl. This means that all of Paratov’s actions are driven by the desire for wealth and profit. This is the life position of the other characters in the play, because all their relationships are determined by a tight wallet. The conversations of the characters constantly come down to money, to buying and selling. Let us recall the remarkable dialogue between Kharita Ignatievna Ogudalova and the wealthy merchant Knurov on the eve of a dinner party at Karandyshev’s. Mokei Permenych quite unequivocally offers Ogudalova to take care of her daughter. And his own mother listens to him with understanding and gratitude, actually accepting this proposal.
Perhaps the only person in the play for whom money does not play any role is Larisa. She values in people not wealth, but kindness, honesty, and decency. That is why she decides to marry a poor official Karandyshev and go to the village with him. Having lost all hope of happiness with her loved one, she wants at least understanding and respect, an honest, worthy life. Unable to pretend, Larisa admits to her groom that she only wants to love him, because she is attracted by a modest family life, which expects sympathy, tenderness and affection from him. She wants to believe that such an attitude from her future husband will cause her to reciprocate over time. But many of Karandyshev’s tactless remarks and his behavior convince us that this is not the person with a kind and sensitive soul who can make the heroine happy. This includes reproaches of the “gypsy camp”, and jealous quibbles about free conversation with Vasya Vozhevatov, and malicious envy of successful businessmen. The very ridiculous idea of a dinner party is the result of painful wounded pride, envy, jealousy and vanity, which, in general, form the basis of his character. Karandyshev lacks sensitivity and love for the bride. Neither he nor Kharita Ignatievna pays attention to Larisa’s persistent requests for a modest and simple wedding. They are overcome by vanity thoughts about a magnificent celebration where the bride will shine with beauty and rich attire. And Larisa utters almost prophetic words here: “I see that I am a doll for you; if you play with me, you will break me and throw me away.” In the finale of the drama, Karandyshev will find a more accurate and cruel word, which will hit Larisa like a slap in the face. This word is "thing". It is this that helps to understand the reason for the tragic fate of the heroine. She lives in a world where everything is bought and sold, including beauty, love, honor. All this is a product that has its own buyer. After all, Knurov and Vozhevatov are busily concluding a trade deal, playing Larisa toss. Bound by the “honest merchant word,” Vasily Vozhevatov, an old childhood friend, refuses her even pity and consolation in order to make way for the winning Knurov.
At the end of the drama, the shocked Larisa has an epiphany. She recognizes herself as a thing that the people around her can dispose of at their own discretion. The cruelty of this discovery evokes a desperate protest in the heroine, which is expressed in thoughts of suicide. But Larisa does not have the determination and will of Katerina, the strength and integrity of her character. She lacks the strength to give up her life. And she finds another way out - to challenge the painful world of self-interest and profit by accepting Knurov’s offer. In this case, it will at least become an expensive item for a rich owner. Such a decision means the moral death of the heroine, from which Karandyshev’s shot will save her. Larisa's last words are gratitude for the fact that she was spared humiliation and final fall. For her, like for Katerina Kabanova, there is no place in the cruel world of profit, profit, deception and betrayal. Thus, Ostrovsky’s wonderful drama “Dowry” reveals the conflict of a pure, honest, spiritualized personality with a society where everything is subordinated to the powerful power of money.
References
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