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A. Ostrovsky "Dowry": description, characters, analysis of the work

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The study of the work of A.N. Ostrovsky - the first writer in the course of studying Russian literature in the 10th grade - poses a number of acute and important problems for the teacher related to literary education. Each teacher experiences the work of this writer in his own way.

I propose to study the topic "A.N. Ostrovsky's Creativity" on the example of several of his works with a detailed analysis of two plays: "Thunderstorm" and "Dowry". In the cycle of lessons on the study of this topic, I propose to include the topic: “The richness and diversity of the world drawn by the playwright. Issues of morality, the fight against evil, etc.”. For this lesson, students are asked to read of their choice) one of the plays: “Let's get our people together”, “Forest”, “Profitable place”, “Wolves and sheep”, etc. Further in the lesson, students are invited to analyze what they have read with the help of a teacher. Thus, the students begin to form a more general idea about the nature of the plays by A.N. Ostrovsky, about the originality of the conflict of these plays, their themes and features of dramaturgy. I consider such a study appropriate, because. students will be able to get not only a more general idea of the work of this writer, but also try to draw parallels with our modern life.

This methodological development proposes a series of lessons on the study of the drama by A.N. Ostrovsky “The Dowry”.

I propose to allocate 8 hours for the study of this topic.

1st lesson. The creative history of the play "Dowry".

2nd lesson. Life and customs of the Russian province. Images of Knurov, Vozhevatov, Paratov. Two hours are allotted for this topic, because the issues raised in this lesson are closely related to each other and it is inappropriate to divide this topic into two separate lessons.

3rd lesson. Tragedy of the Little Man. The image of Karandyshev.

I propose to take one hour to study this problem, because. we will return to this problem in the future, speaking about the image of Larisa Ogudalova.

4th lesson. The tragic fate of Larisa in the world of a purebred. “I am a thing, not a person...” I propose to allocate two hours to study one of the main problems of the play..

5th lesson. The play "Dowry" on the stage and in the cinema.

This two-hour lesson provides students with material on the stage history of the play, as well as a range of creative activities.

MATERIALS FOR THE 1st LESSON

Lesson topic: The creative history of the play "Dowry".

The purpose of the lesson: to familiarize students with the historical situation, with the social life of the 70s of the nineteenth century, which influenced and created the basis for writing a new play, with new types of characters, to show how important this play was for the author himself.

The task of the lesson: on the basis of a conversation with students who were given the task for the lesson - to make a “citation description” of the images of Knurov, Vozhevatov and Paratov, to analyze these images of the “masters of life”.

Teacher's story. Students write down their story for the teacher.

With the rapid and rapid development of capitalist relations, in the 70s. great changes are taking place in the merchant world. It becomes more and more complicated and breaks ties with the old folk morality, with the Domostroy traditions. Merchants from small merchants become millionaires, international connections are established, and they receive a European education. The patriarchal simplicity of morals is a thing of the past. Folk song is replaced by romance. 70s The nineteenth century is an atmosphere of money hype, a wolf struggle for a place under the sun, this is a time of selfishness and cynicism. (F.M. Dostoevsky “Teenager”, “Crime and Punishment”, etc.).

The world of patriarchal merchants, with whom Ostrovsky says goodbye, is replaced in his later work by the realm of predatory, tenacious and smart businessmen. The appeal to new social phenomena leads to great changes in the artistic essence of Ostrovsky's later dramas. Especially clearly this evolution of the writer's dramatic talent is palpable in his drama "Dowry".

According to the author's note on the draft of The Dowry, the drama was conceived on November 4, 1874. The original plot of the play was different. In the diary of I.A. Shlyapkin, there is a record of the story of M.I. Pisarev, who conveyed the following outline of the idea from the words of the playwright: “On the Volga, an old woman with three daughters. Two rollicking - and horses to rule, and to hunt. Their mother loves them very much, they have a dowry. The youngest is quiet, thoughtful, dowryless. Two people are in love. One villager, stay-at-home; have fun, so have fun, everything works out for him. Reads "Apostle", goes hunting. Another picked up the tops, but empty. Lives in St. Petersburg, in the summer in the countryside, phrase-monger. A girl fell in love with him, drama.”

After this story, students are invited to draw parallels between Ostrovsky's idea and how he brought it to life - i.e. with the plot of the play.

Teacher's question. Which of the characters in the play do we recognize in this brief retelling of the play's intent?

Estimated student response. In this concise retelling, the contours of the characters of the future heroes of the "Dowry" - the "phraser" Paratov, the thoughtful Larisa, and others are barely visible.

Teacher's word. Among the old-timers of the city of Kineshma, the legend was steadfastly held that the plot of the "Dowry" was inspired by Ostrovsky's criminal case, which was heard in the Kineshma court. The murder by a husband out of jealousy of his young wife was notable for the fact that behind the scenes of this tragic and scandalous incident was the Volga "millionaire" Ivan Aleksandrovich Konovalov. This possible prototype of Knurov, outwardly very representative and respectable businessman of the new century, secretly kept a whole harem. However, one can only guess to what extent this whole story influenced the formation of Ostrovsky's plan.

The playwright had obviously been busy with work on The Bride since September 1875, but she entered the decisive stage in September-October 1876. “All my attention and all my strength,” Ostrovsky wrote from Shchelykovo, “is focused on the next big play, which was conceived more than a year ago and on which I was constantly working. I am thinking of finishing it this year and will try to finish it in the most thorough way, because it will fortieth my original work.

The play was completed on October 17, 1878. Ostrovsky wrote: “I have already read my play in Moscow five times, among the listeners there were people who were hostile to me, and everyone unanimously recognized The Dowry as the best of all my works.” The hopes associated with this play, the consciousness of the significance of their plan, were reflected in the inscription on the draft autograph: "OPUS 40" and in a line from a letter to the head of the repertoire of the imperial theaters Fedorov S.P., sent to St. Petersburg simultaneously with the manuscript: “This play begins new variety my works."

The premiere at the Moscow Maly Theater took place on November 10, 1878. The first critical responses were associated with theatrical performances that preceded the publication of the play, and they were unfavorable for the author: stories of a stupid, seduced girl? The one who waited for a new word, new types from the venerable playwright was cruelly mistaken...”. A new era in the stage history of "Dowry" began after the death of Ostrovsky, when on September 17, 1896, V. Komissarzhevskaya played the role of Larisa on the stage of the Alexandrinsky Theater. The same V. Komissarzhevskaya plays the role of Nina Zarechnaya in A.P. Chekhov's The Seagull, which personifies the opening of the second stage in the development of the Russian national theater.

Explanation. It is possible to offer this material to one of the students in advance, so that later in the lesson he would make a short message about the creative history of the play “Dowry”.

Materials of the 2nd lesson on the play “Dowry”

Life and customs of the Russian province.

Images of Knurov, Vozhevaty and Paratov.

In this lesson, the teacher moves along with the students to a more detailed textual analysis of images.

Teacher's question. Try to determine the essence of the conflict in this play.

Suggested answer. The conflict of “Dowry” is a variation on the theme “Thunderstorms”. A young girl from a poor family, pure and loving life, artistically gifted, faces the world of businessmen, where her beauty is valued in “gold”.

Question. Where does the play take place?

Student response with teacher explanation.

The action takes place in the city of Bryakhimov. This is a fictional Ostrovsky city. The name is borrowed from the chronicle: in ancient times, Bryakhimov existed in the upper reaches of the Volga, in the vicinity of the present city of Vasilsursk.

Question. Why does Ostrovsky choose the Volga and the cities on its banks as the setting for his plays?

There was already a conversation about this with the students when it was about the initial period of the playwright's work. (The Volga is the cradle of Russian cities, the sea route, the main trade route, etc.).

Teacher's word. The drama is based on a social theme: Larisa is poor, she is a dowry, and this determines her tragic fate. She lives in a world where everything is bought and sold, including girlish honor, love and beauty. Larisa is a romantic nature. As the action develops in the drama, the discrepancy between the romantic ideas of Larisa and the prosaic world of people surrounding her and worshiping her grows. These people are complex and contradictory in their own way. Let's try to figure out what they are, using specific examples.

Additional material.

The surnames in this play very accurately and figuratively reflect the main quality of this or that character, which is the basis of the surname. ( Analyzing the images of the characters, incidentally touching on the anthroponymy of the play, the students should come to the conclusion that most of the names, patronymics and all the surnames in the "Dowry" carry a significant semantic load). For four decades of tireless creative activity (1846 - 1886), A.N. Ostrovsky used a wide variety of means to name the heroes of his works. Ostrovsky was a connoisseur of the wealth of the Russian language, he knew the folk dialects perfectly.

(Students will be interested to know that the playwright was painstakingly working on compiling a dictionary of the Russian language. The dictionary was not completed, but "Materials for the Dictionary" was included in the XIII volume of the collected works of A.N. Ostrovsky. The fact that the naming of heroes is carried out in accordance with the main qualities of their character, appearance, demeanor, will help students to penetrate deeper into the essence of the character's image, to consider it comprehensively and carefully understand the sometimes unpredictable behavior of the hero, which is often so aptly reflected in his surname, name, patronymic).

It is expedient to write down this information to the students in a notebook under the dictation of the teacher.

Writing in notebooks.

The surnames in this play very accurately and figuratively reflect the main quality of this or that character, which is the basis of the surname. Most of the names, patronymics and all the surnames in the "Dowry" carry a significant semantic load.

Write on the board and in a notebook.

Moky Parmenych Knurov

Moky - from the Greek. derisive, mocker

Parmenych - from the Greek. Parmenius- firmly standing

Knurov - from knur- boar, wild boar, boar (V.I. Dal)

Question. What do we learn about this hero from the stage direction?

Suggested answer.

A big businessman, "an elderly man with a huge fortune."

Questions. Who is the first to speak about this character in the play? How is he interacting with other characters? What habits and character traits of Knurov are revealed in the course of the play? What is the attitude of the heroes of the play to Knurov?

Estimated student responses.

With emphasized respect, the barman Gavrilo ranks him among the “clean public” of the city of Bryakhimov. In a conversation between the barman and the servant Ivan, some of the habits and features of Knurov's character are mentioned. Showing constant concern for his health, Knurov constantly “for exercise” “every morning the boulevard measures back and forth, just as promised.” “What kind of dinners does he have!” Gavrilo explains, “do you eat such a dinner without exercise?” In dealing with people, Knurov is strictly selective, keeps his distance, does not waste words in vain. “Who should he talk to? There are two or three people in the city, he talks to them, but no one else; Well, he is silent... And he travels to Moscow, St. Petersburg, and even abroad to talk, where it is more spacious for him.” The environment is clearly aware of the power of Knurov's influence. Vozhevatov bows “respectfully” when meeting with him. Ogudalova greets Knurov with special respect, excited by the honor shown to her home: “On what to write down such happiness? .. I am so glad, I’m at a loss right ... I don’t know where to put you”; “we deliver your visit for special happiness; nothing compares to it.” If Vozhevatov is his own person for Knurov and he “gives a hand” to him at a meeting, then Knurov behaves with others in a completely different way. As noted in the remark: “Knurov, silently and without getting up, gives Ogudalova a hand, nods slightly to Karandyshev and plunges into reading the newspaper,” with which he defiantly fences himself off from unwanted interlocutors. Reluctantly bound by the promise to be at the dinner with Larisa's fiancé, Knurov rejoiced at the arrival of Paratov, who belonged to the people of his circle: “I am very glad, after all, there will be someone to say at least a word at dinner.”

This work of students is based on knowledge of the text and the ability to work in it. It is assumed that students should try not to retell the text in their own words, but to find the exact wording in the text to answer the questions posed. This work will help students develop skills in working with a literary text.

Question. Find in the text the key phrase that Knurov utters and which is a characteristic of his inner world, the leitmotif of the image.

Suggested answer. Knurov is always, first of all, a businessman. He appreciates money, a profitable business (“It’s good for him, Vasily Danilych, who has a lot of money”). Keeping in mind his condition, for which, according to his concepts, you can buy everything (up to the love of a beautiful woman), Knurov confidently declares: “For me, the impossible is not enough.”

Question. How does Knurov feel about Larisa Ogudalova? How does he assess what happens to Larisa in the future?

Suggested answer. Knurov highly appreciates the beauty of Larisa Ogudalova, which could greatly decorate his life, bring a pleasant variety to it (for a lot of money, of course). “And it would be nice to take a ride to an exhibition with such a young lady in Paris.” Vozhevatov's story about the Ogudalov family, about Larisa's love for Paratov, who had deceived her, about the desperate situation of a beautiful homeless woman who decided to marry Karandyshev, strengthened Knurov in his desire to buy Larisa's favor. He calls her an “expensive diamond”, while Knurov has prepared for himself the role of a jeweler artist who will be able to process this diamond and turn it into a priceless jewelry that has become his property.

Question. How does Knurov carry out his intention?

Suggested answer. To carry out his intention, Knurov immediately goes to work. During a visit to the Ogudalovs, without any emotions or words, he hints to Kharita Ignatievna that he is ready to become the patron of her daughter (“I will not regret anything for Larisa Dmitrievna”). And then, in accordance with his own ideas, he coolly explains: “Perhaps you think that such proposals are not disinterested?.. Find people who will promise you tens of thousands for free, and then scold me.” Knurov puts his patronage in concrete forms: he promises Ogudalova to take on all the expenses for Larisa’s wedding dress (“It will be a shame to see if she is dressed somehow. So you order all this in the best store, but don’t count and don’t spend a penny! send it to me, I will pay”), gives money to Ogudalova for a gift.

Question. How does Knurov assess what is happening between Larisa and Paratov on the ship?

Suggested answer. Everything that happened to Larisa in the future, Knurov perceives as events favorable to his plans. He understood what the trip across the Volga meant for Larisa, who had run away from her fiancé, realized that she again believed the words of Paratov, who treated her extremely cruelly. “It seems the drama is starting,” Knurov anticipates. Now that Larisa has compromised herself in such a way, having committed such an act reprehensible in the eyes of society, and Paratov refuses her, Knurov acts decisively, having accurately calculated the situation. “It seems to me that she is now in such a position that it is not only permissible for us close people, but we are even obliged to take part in her fate,” he says to Vozhevatov. The quick-witted interlocutor clarifies, exposing the meaning of these words: “So you want to say that now there is an opportunity to take her with you to Paris?”

Obstacles of a moral nature have already been eliminated by the situation in which Larisa found herself offended and having lost all hope of happiness, but Vozhevatov remained a rival. As a businessman with a businessman, Knurov is talking to him: “Everything is bothering me, and I am you. Maybe you are not afraid of competition? I am not very afraid either; but still awkward, restless; much better when the field is clear.” And business people play Larisa, like a thing, in a toss. The winning Knurov sternly warns Vozhevatov: "You are a merchant, you must understand what the word means."

Teacher's word. Here everything that was planned at the very beginning, in the second manifestation of the first act, was closed, logically completed. Read this phenomenon again, think about its meaning. This is a skillful dramaturgic miniature, this is a sketch, a diagram of the performance that was then played out before the eyes of the audience. And the director of this performance was Mokiy Parmenych Knurov. The strongholds of the proposed scenario were Knurov's remarks, which the students themselves must indicate in the text:

“However, her position is unenviable”;

“It would be nice to go to an exhibition with such a young lady in Paris”;

“Pity poor Larisa Dmitrievna, pity...”;

“Can't you see that this woman is made for luxury. An expensive diamond requires an expensive setting.”

Vozhevatov notes: “And a good jeweler...”.

It is advisable to write down the strong points in the notebook - Knurov's remarks and the conclusion that the teacher, together with the students, makes in the lesson.

Larisa's fate is sealed. Knurov - this idol of the modern world - set a goal, and for him, we remember, nothing is impossible.

Such is life, such is the cruel reality. And her horrors become even more terrible because they touched a poetically sublime person, capable of deeply loving and even idealizing everyone around.

Question. What kind of happiness does Knurov want to offer Larisa?

Suggested answer.

Knurov really wants to make Larisa happy in the sense in which he himself understands happiness. When the girl realized how low and inhumanly Paratov acted with her, Knurov makes her an offer to go with him to Paris, to become his kept woman for “full security for life”. “Don’t be afraid of shame, there won’t be any condemnation... I can offer you such a huge amount of content that the most evil critics of someone else’s morality will have to shut up and open their mouths in surprise,” he reassures, an experienced person who knows well how they can defend in such a situation. money situations. Perhaps Knurov is not disingenuous when he says: “I would not have thought for a single minute to offer you a hand, but I am married.” If Larisa accepts his offer, he is ready to become her “most devoted servant”, “the most accurate executor of her desires and even whims, no matter how strange and expensive they may be.” But, in fact, Knurov offers Larisa the path of debauchery, from which Karandyshev's shot saved her.

Another "idol" of modern society, but still young

Vasily Danilych Vozhevatov

Let us turn to anthroponymy, which helps us to see the essence of the hero's character.

The dictionary of V.I. Dahl gives us the following concepts:

(notebook entry)

pozhevaty - vozhevatenky, one who knows how to get along with people, courteous, polite, friendly, entertaining interlocutor.

The attention of students should again be drawn to the remarks, notes that the author made.

Questions. What is Vozhevatov like in dealing with people? Compare it with Knurov. What is the difference between them? What is his life credo? (It is necessary that students themselves find in the text the quote that answers this question.)

Suggested answer.

“I, Mokiy Parmenych, have nothing cherished, I will find a profit, so I will sell everything, anything.” From the conversation between Knurov and Vozhevatov, it turns out that Paratov is failing in the practical, business sphere, is currently in need of money and therefore is selling the Lastochka steamer. “He doesn’t find any benefits,” concludes Vozhevatov, and Knurov adds: “Where is he! This is not a master’s business ... He’s motivated.”

Question. When does the play mention Paratov's name again?

Suggested answer.

Paratov's name is mentioned again when it comes to Larisa Ogudalova, a dowry from a "decent" family, where Paratov had quite definite views. He ensured that Larisa fell in love with him passionately, and he himself “repulsed the suitors, and the trace caught a cold, disappeared, no one knows where,” Vozhevatov said.

Teacher's explanation. The playwright sees only the pose in the “poshness”, the external brilliance of such characters, there is no true emotional life in them, no clarity of feelings. The mask has become second nature to them. At the same time, Paratov easily combines the ability to overspend, and a simple unsightly calculation. The ability to theatricalize, to make any act spectacular, even frank baseness to present as something unusually noble (a conversation with Harita Ignatievna about marriage). For Paratov, at the moment, it is only important to look as spectacular as possible, to keep the mask. Behind a spectacular pose, he has nothing. He is a mirage, a phantom created by Larisa's imagination. Larisa sees in him the “ideal of a man”, before which all other men (and especially Karandyshev) pale. She admires the ostentatious courage of Paratov, his spectacular postures and actions. She enthusiastically tells Karandyshev how Paratov, without turning pale and without flinching, shot from a considerable distance at the coin that Larisa held in her hand, thereby risking the health and even the life of the girl. “There is no heart, that’s why he was so bold,” sums up Karandyshev, who strongly disliked Paratov. The girl in love sees in this act almost heroism.

His appearance brings disorder into an already more or less established life, sharply upsets the fragile balance in Larisa's soul between the desire to come to terms with her fate and the longing for a bright and beautiful life. For him and because of him, all the events in the play take place.

Everywhere Paratov appears with style, with every step and gesture attracts attention (he famously drove along the Volga on the “Swallow”, under the thunder of guns he comes ashore, as he drives up to Larisa’s house - “four pacers in a row and gypsies on goats”, etc. .d.).

Question. Is Paratov sincere in expressing his feelings?

Suggested answer.

Not devoid of charm, he constantly plays a role depending on the situation and environment. Now this is a reckless merchant, now a secular lion, an irresistible conqueror of women's hearts, a tempter and a fatal lover, now a prudent egoist, now a broad nature, a cheerful reveler. Life for him is an endless game, sometimes associated with a certain amount of risk. And he himself is a screenwriter, director, and main performer.

Question. What is the relationship between Paratov and Larisa?

Suggested answer.

Saying goodbye to bachelor life (he is in a difficult financial situation and he has a rich bride - “very rich, I take gold mines as a dowry”), Paratov is going to “spend the last days as much fun as possible”. His mood improved significantly when he learned about the upcoming marriage of Larisa. This news completely frees him from any pangs of conscience and completely unties his hands. From his monologue, some of the circumstances of his relationship to Larisa are clarified. A year ago, he became interested in a girl, he even had serious intentions towards her, which now, a year later, he regards as unforgivable stupidity. “After all, I was about to marry Larisa - if only I could make people laugh! Yes, I would play a fool, ”he shares with Knurov and Vozhevatov. In the scene of the meeting with Larisa, Paratov puts on the mask of a disappointed in women and an offended man. On a gullible girl, he acts with eloquence. Larisa is confused by reproaches, which she did not expect at all. She is put in a position where she needs to justify herself, to prove her innocence. Paratov hears from her a declaration of love and triumphs again. Now you can confess. The apology of the winner looks like a generous forgiveness, which Larisa does not notice, stunned by the arrival of Paratov and the nature of the meeting with him. Without ceasing to play for a minute, Paratov more and more subordinates Larisa to himself: “I can give you up, I have to according to the circumstances; but it would be hard to give in to your love.”

Conclusion. (Which is desirable to write down in notebooks).

His speech and behavior are characterized by a kind of theatricality, the ability to take, depending on the interlocutor and the situation, exactly the tone that will present him in the most advantageous light: with Knurov, Vozhevatov and Larisa's mother, he speaks cynically, directly reporting his intentions to profitably sell himself; with Karandyshev, in the presence of Larisa, he takes on a defiant tone, demonstrating superiority over his rival, etc.

Question. How does Paratov quickly find a common language when communicating with different people?

Suggested answer.

Pretty easy, Paratov finds a common language with people, while quite deftly playing with words. Just in case, he has sayings, proverbs, quotes. He flaunts the fact that he "did with barge haulers", from whom he learned the spoken language. In a polemic with Karandyshev, Paratov calls himself a barge hauler: “I am a shipowner and I will stand up for them; I myself am the same hauler.” However, he was not used to meeting resistance in people. It is no coincidence that Ogudalova anxiously warns Karandyshev: “Be careful with him, otherwise you won’t be happy with life.”

Question. How is Paratov's selfishness expressed?

Suggested answer.

Flirting with Larisa, Paratov does not value her at all. He wants to humiliate the fiancé in her eyes, cruelly teach Karandyshev a lesson for the fact that he “bumps up” in front of him, “like a man, he also decided to cock.” “I have a rule: do not forgive anyone, otherwise they will forget the fear, they will begin to be forgotten,” these are not empty sounds, but one of the qualities of Paratov. He entered into an argument with Karandyshev in order to once again emphasize in the presence of the Ogudalovs how insignificant, low, ridiculous Larisa's groom is in comparison with him, with a brilliant gentleman. No brotherhood can stop Paratov in his scenario of humiliating and insulting the official Karandyshev, who dared to consider himself equal to him. Larisa is persuaded to go on a picnic. This turned out to be possible because Paratov hid from Larisa the fact that he was engaged. With all his speeches and actions, he advertises his “feeling”, inspires her that he loves her. The word, which for Larisa has a direct meaning, for Paratov is a fleeting means necessary to achieve his goals. “Sergei Sergeyevich does not think about anything” (Vozhevatov); “And it must be that the promises were definite and serious” (Knurov). Knurov accurately noted: “But no matter how you dare, you won’t exchange the millionth bride for Larisa.” "Still would! What a calculation!” agrees Vozhevatov.

In the final scenes, Paratov's tone changes noticeably. As soon as everyone went ashore, he moves away from Larisa with words, tells her not about love, but only thanks for the trip - “for the happiness that you brought us”. Sensitive Larisa immediately realized that these were just “phrases”. From a direct answer to the question: “Just tell me: am I your wife or not?” - Paratov leaves and invites Larisa to go home. Other words and phrases are used - about “food”, “for conversations”, about a groom who “will be glad - a radekhonek”. Finally, he is forced to confess: “Do you admit that a person, bound hand and foot with inextricable chains, can get so carried away that he forgets everything in the world ..., forgets his chains too? common sense...I'm engaged."

This news Paratov deliberately presents at the end of the walk. "I saw you, and nothing else existed for me." In the words of Paratov there is both truth and a terrible lie.

Question. Paratov, talking with Robinson, tells him about his life principle. What is this principle?

Suggested answer. A few minutes earlier, Paratov gives Robinson practical advice, which is his life principle: “Apply to the circumstances ... The time of enlightened patrons, the time of patrons has passed, now the triumph of the bourgeoisie ... in the full sense the golden age is coming.” In one row, he lined up the ship "Swallow" (it can then be sold), the actor Robinson (he came in handy for fun), Larisa. In one row there is something that can be used, enjoyed, amused, and then exchanged for more valuable and profitable.

Conclusion, which students need to write down in their notebooks:

Paratov loves only himself and his well-being, not paying attention to how he simultaneously, imperceptibly for himself, cripples the fate of people.

Paratov has accepted the rules of the game, based on sober calculation and boundless selfishness, and does not intend to lose under any circumstances, because. Paratov's own benefits and pleasures are dearest of all.

This conclusion is proposed to be made by the students themselves, so that the teacher can see if the children have tried to understand, whether they have penetrated into those thoughts, into the inner world of the characters that were discussed in this lesson.

The teacher should also suggest that the students themselves make a general conclusion on the topic of the lesson. In my opinion, this conclusion should carry the following thought: in the world , where everything is bought and sold, there is no place for pity. The motif of sympathy and indifference, pity and heartlessness runs through the entire play. Thanks to the leitmotifs, the “undercurrent”, which became an important feature of Chekhov’s dramatic system ( it complements the teacher), in "Dowry" Larisa's drama acquires a deep general meaning. This is not just a story of a deceived girl, but a tragic collision of a pure bright person with a world dominated by inhumanity.

Notebook entry.

In the world , where everything is bought and sold, there is no place for pity. The motif of sympathy and indifference, pity and heartlessness runs through the entire play. This is not just a story of a deceived girl, but a tragic collision of a pure bright person with a world dominated by inhumanity.

HOMEWORK.

Students are invited to make a “quotation description” of the image of Karandyshev, as well as to think, remember how the “little man” is depicted in the literature of the 18th century - early. 19th century (Gogol's "The Overcoat", Pushkin's "Tales of Belkin", etc.).

MATERIALS for the 3rd LESSON.

TOPIC OF THE LESSON: The tragedy of the “little man”. The image of Karandyshev.

The goals and objectives of this lesson: to help students understand, see, discern the tragedy of the “little man” Karandyshev, draw analogies with other heroes of Russian literature who replenished the army of “little people”. To help students, in the words of Dostoevsky, "to find a person in a person."

Ostrovsky's favorite genre was comedy. But in his comedies there are always dramatic situations and dramatic characters. In turn, in Ostrovsky's dramas there are funny episodes and comic characters.

In the center of the play “Dowry” is the tragic fate of the heroine, but there is also a comic character Robinson in it. But not only he is funny, Karandyshev is also funny, although something in him repels, and something causes pity and sympathy.

In Karandyshev there are features already familiar to readers from the works of Pushkin, Gogol, Dostoevsky - he replenished the gallery of characters, behind which the literary characteristic “little man” was established. Karandyshev is poor. He is on one of the lower rungs of the social ladder. Among such masters of life as Paratov, Vozhevatov, like the powerful Knurov, who tells Larisa that “impossible is not enough” for him, Karandyshev is constantly subjected to humiliation, ridicule and insults, which he cannot answer. For Vozhevatov and Paratov, he is the object of malicious ridicule. However, like other characters, Karandyshev is not an unambiguous, not one-line figure.

It cannot be said that he is entirely a victim of that world in which Larisa suffocates and dies. Karandyshev is a part of this world, he is generated by it, he accepts the rules and prejudices established in it. His character is shaped by the atmosphere of post-reform Russian life, which was clearly defined by the 70s of the 19th century. This is an atmosphere of money hype, a wolf struggle for a place under the sun, this is a time of selfishness and cynicism. Karandyshev was shaped by this time, this atmosphere. That's where he got a hypertrophied feeling of envy, painful pride, exorbitant ambitions. Marrying Larisa, whom he loves in his own way, is, after all, for him, first of all, an opportunity to assert himself, to pay off those who looked at him with contempt, from top to bottom, to enjoy his superiority. Karandyshev does not hide his triumph: “Larisa Dmitrievna, for three years I suffered humiliation, for three years I endured ridicule right in the face from your friends; and I, in turn, should laugh at them.” Having become Larisa's fiancé, Karandyshev believes that he has received the right to manage her life, to dictate rules of behavior to her: “You need to quit your old habits,” he says to Larisa, “you can’t tolerate what you still had.” “I see that I am a doll for you,” this is Larisa telling her mother and Karandyshev, “play and quit.” And Karandyshev, having become the owner of this very beautiful “doll”, grows strongly in his own eyes. Out of vanity, he starts a sumptuous dinner, trying to outdo Paratov, who, in his words, “throws dust in the eyes”, he wants to amaze everyone on a grand scale, also throw dust in the eyes. He cannot understand Larisa Karandyshev, he is too busy with himself.

However, Ostrovsky shows that Karandyshev, having experienced a moral shock, is able to see clearly, to realize what he really is, to face the tragic truth. Karandyshev's monologue after Larisa's departure is, finally, "the hero's word about himself." Here Karandyshev speaks not only about himself, but about the inhumanity of the surrounding world. His words sound like a protest against depersonalization, humiliation of a person. They are preparing the final episode of the play, in which Karandyshev tells Larisa extremely important words about the alienation of man in a world where everything is for sale: they look at you like a thing.”

Having begun to see clearly, Karandyshev already has a different attitude towards Larisa, he tells her the words that she was waiting for and which she could not hear from anyone: “I am ready for any sacrifice, ready to endure any humiliation for you ... Tell me, what can I earn your love? These words were said late, her heart was broken, her fate was broken. And Karandyshev's shot for her is getting rid of an ugly, hateful life. And she says words to Karandyshev that she would never have said before: “My dear, what a good deed you have done for me! ..”

Karandyshev's insane act is an expression of true love, the love from which they shoot, because of which they kill. Larisa was looking for such love, and after an explanation with Paratov, who had betrayed her, she stopped believing that such love exists, that it is possible: “... I was looking for love and did not find it ... - she sums up a terrible result for herself, - .. .she is not in the world ... there is nothing to look for.

Dostoevsky believed that his task as an artist was “to find a person in a person”. Ostrovsky, creating the image of Karandyshev, followed this principle, trying to find a person in a person. Ostrovsky wrote “Dowry” in such a way that the viewer considers not Karandyshev, but Paratov and those who are at the same time with him, to be the real culprits in the death of Larisa. The last words of Larisa after the fatal shot: “It's me myself ... No one is to blame, no one ... It's me myself ...”, - most of all refer to Karandyshev, she wants to remove the blame from him.

Ostrovsky's "little man" becomes just a man.

MATERIALS FOR THE 4th LESSON.

Theme of the lesson: The tragic fate of Larisa in the world of “chistogan”.

The aims and objectives of the lesson are to help students understand how a beautiful poetic nature perishes in this cruel world of “chistogan”.

Anthroponymy.

Notebook entry.

Harita Ignatievna Ogudalova

Harita - amiable, lovely (Greek).

The gypsies from the choir were called Charites, and

Every gypsy was usually called Ignati in Moscow”... Larisa's mother is from gypsies...”.

Ogudalova - from ogudat - “to seduce, deceive, inflate, trick ... “(V.I. Dal).

Larisa Dmitrievna Ogudalova

Larisa the Seagull (Greek).

meaningful name. Dreamy and artistic, she does not notice the vulgar sides in people, sees them through the eyes of the heroine of the Russian romance and acts in accordance with it. Larisa's poetic nature flies on the wings of music: she sings beautifully. She plays the piano, the guitar sounds in her hands.

Larisa Ogudalova is not a simple-minded girl from a bourgeois environment, like other heroines of Ostrovsky’s plays (“Late Love” - Lyudmila, “Labor Bread” - Natasha). She embodies the traditions of noble education, and in her character there is a sharp contradiction between the desire for external brilliance, for the ostentatious nobility of life and the deeper, inner properties of her nature - seriousness, truthfulness, a thirst for genuine and sincere relationships. Such a contradiction was then a phenomenon encountered in the life of the best representatives of the privileged strata of society. But the Ogudalov family has become impoverished and occupies an ambiguous position in the provincial “society”. Under these conditions, the contradiction in Larisa's character inevitably leads her to a dramatic conflict.

All this puts an outstanding girl in an extremely difficult position. Around Larisa there is a motley and dubious crowd of admirers and contenders for her hand, among which there are many “all sorts of rabble”. Life in her house is like a “bazaar” or a “gypsy camp”. Larisa must not only endure the falsity surrounding her, cunning, hypocrisy, but also take part in them.

If the inconsistency of Larisa's life was only external, she could find a way out of this situation. Larisa could meet and fall in love with a sincere person and leave the “gypsy camp” with him. But this inconsistency lies at the heart of the girl's character. Larisa herself is sincerely drawn to the brilliance and nobility of life, any manifestation of rusticity and unpretentiousness is insulting to her. This is manifested in her relationship with Paratov.

Larisa loves Paratov as a person who embodies and is able to give her a different life. She was, as it were, “poisoned” by Paratov, with him in her mind once and for all the idea of a completely different, poetic and light world entered, which certainly exists, but is inaccessible to her, although she is intended, according to everyone around her, for him. For Larisa, this is a fantasy world, much more poetic than it really is, the traces of this world in her own life are her favorite poems, romances, dreams, which make her image attractive. When she is about to marry Karandyshev, she feels humiliated, unfairly sentenced to the life that a petty official can give her. Moreover, she cannot see his personal humiliation, his failures in trying to catch up with Paratov, for her the difference between them becomes more and more obvious: “Who are you equaling! Is such blindness possible!” She constantly inspires him that she does not love him, that he is infinitely lower than Paratov, for whom she will go according to his first desire: “Of course, if Sergey Sergeyevich appeared and was free, then one look from him would be enough ...”

In her soul there is a struggle between the desire to come to terms with the inevitable fate of the wife of a poor official and longing for a bright and beautiful life. The feeling of humiliation by her lot and the craving for a different life prompt Larisa to try to decide her own fate. It seems that the path to the romantic world lies through the same romantic, reckless and spectacular act. But this act is reckless, leads to death, because it is committed in pursuit of a ghost that personifies Paratov, for that world that exists only in poetry and romances. Just like Karandyshev, she makes a choice in favor of illusion, not reality. For Ostrovsky, this attempt at once, in one reckless act, to receive love and happiness looks like a refusal, an escape from one's own destiny.

A trip to a men's picnic opens Larisa's eyes to her true position - a prize that men dispute with each other. "I am a thing, not a person." Dying, she thanks her murderer, Karandyshev, for giving her the opportunity to leave the world in which a lofty ideal is trampled and where she feels like an object of sale: “I was looking for love and did not find it. They looked at me and look at me as if they were fun. No one ever tried to look into my soul, I did not see sympathy from anyone, I did not hear a warm, heartfelt word. It's not my fault, I was looking for love and didn't find it. She is not in the world ... there is nothing to look for.

A trip across the Volga is a catastrophe of a lifetime for Larisa. Now she has no dowry, no maiden honor. Now it remains for her to either sell her beauty, or, like Katerina (“Thunderstorm”), die by throwing herself off the Volga cliff. Larisa tries to do this, but she does not have the moral strength to overcome her natural fear of suffering and death. Her monologue at the railing of the embankment shows the difference between her character and that of Katerina.

Katerina, even in a difficult marriage, has not lost her romantic aspirations, which, while nourishing her vague dreams of freedom, at the same time conclude a naive conviction in the immortality of the soul. For her, death is not the destruction of the personality, but the liberation from an unbearable existence. Larissa doesn't. Her character reflects not the end of the era of family authorities, but the beginning of the era of the naked power of the purest. She has kind and sincere feelings, but no strong moral principles, no determination. She is weak, full of hesitation and therefore easily tempted.

In her speech and behavior, the style of a cruel romance is used, which at the same time has a peculiar poetry and borders on vulgarity, falsehood, “beauty”: quotes from Lermontov and Baratynsky are combined with statements like: “Sergei Sergeyich ... this is the ideal of a man”, “You are my Lord". This reflects the property of the very ideal that attracts Larisa, it is poetic in its own way and at the same time empty and false. In her gestures and remarks, a touch of melodrama is combined with genuine penetration and depth of the experienced feeling: “For unfortunate people there is a lot of space in God's world: here is a garden, here is the Volga”. ( This combination makes the role of Larisa extremely advantageous, she attracted such actresses as M. Ermolova, V. Komissarzhevskaya).

Before her death, Larisa discovers her true moral qualities. She dies to the “loud gypsy choir”, dies, reconciled to her bitter fate, complaining about no one, blaming no one. But objectively, this death is a heavy accusation to the whole order of things in which a young, pure, gifted woman has become a toy of frivolous passions and an object of unscrupulous trade.

HOMEWORK:

Prepare reports on the stage history of the play "Dowry". (See further).

MATERIALS FOR THE 5th LESSON.

Lesson topic: The play “Dowry” on stage and in the cinema.

The aims and objectives of this lesson are to introduce students to the material about the stage history of the play “Dowry” and a small creative work related to this topic.

You can offer students some topics in advance for them to prepare a story about the stage history of the play “Dowry” and about its modern reading. For example, I propose several topics: “The connection of the drama “Dowry” with modern Russian prose by Ostrovsky”, “The life and fate of the artist in Ostrovsky’s plays”, “Interpretation of “Dowry” in the cinema: films by A.Ya. Protazanov (1881-1945) “Dowry ” (1937) and E.Ya. Ryazanova (Cruel Romance” (1983).”

We draw the students' attention to the actress, who very correctly understood the meaning of the play and also correctly and interestingly conveyed it to the audience's perception - VF Komissarzhevskaya. She did not play a “provincial lioness of a gypsy type” , collided on the “paths of love with a male predator”, and Larisa “suffering and dying for all women,” as the actress herself said. That is why the romance nature of the play became decisive in revealing the tragic fate of the heroine. In the first productions of “Dowry” at the Maly Theater, excellent artists were employed: N.I. Muzil-Robinzon, Lensky-Paratov, M.P. Sadovsky-Karandyshev, N.M. Medvedeva-Ogudalova, I.V. M.A. Reshimov-Vozhevatov and others. The role of Larisa was performed by G.N. Fedotova and M.N. Ermolova. Of course, the actresses understood the play as a whole in different ways, they interpreted the image of Larisa differently. At the Alexandrinsky Theater, the role of Larisa was played by actress M.G. Savina - and also in an excellent ensemble of actors. As they wrote in "Birzhevye Vedomosti", M.G. Savina "created an unusually poetic and graceful image." At the same time, the lyrical interpretation of the image of the heroine was combined in Savina with an emphasis on the motives of sadness and depression.

Resumed on the St. Petersburg stage in 1896, "Dowry" sounded completely different, mainly due to the talented and amazing performance of the role of Larisa VF Komissarzhevskaya. She emphasized in Larisa "impulsive, incessantly seeking nature", revealed her deep inner tragedy. The writer A.N. Tikhonov (Serebrov) wrote about the performance of V.F. Komissarzhevskaya as Larisa in 1898-1905: !.. “was not only the cry of a tortured woman, but also a protest against a society where such abuse of a person is possible. And the audience was well aware that this protest was not limited to the stage, but applied to all the Paratovs, Karandyshevs and Knurovs who were in the theater and far beyond its walls. The youth went to the play as if it were a political demonstration. Her success in this role was unparalleled.”

Ostrovsky's play "Dowry" has become one of the most popular in the repertoire of Russian drama theaters. She also attracted the attention of filmmakers. So, in 1936, director Ya.A. Protazanov staged a film based on Ostrovsky's play, the main roles in which were played by N.U. Alisova (Larisa), A.P. Ktorov (Paratov), M.M. Klimov (Knurov). In the 80-90s, our modern director E. Ryazanov turned to the same topic. He made a film based on this play - "Cruel Romance", where the main roles were: L. Guzeeva - (Larisa), A. Freindlich (Kharita Ignatievna), N. Mikhalkov (Paratov), Petrenko (Knurov), B. Proskurin (Vozhevatov) and others.

In this lesson, students are invited to compare the images that Ostrovsky created in his play and the images that E. Ryazanov created in his film. If the teacher has the opportunity to show the films of Y. Protazanov and E. Ryazanov, then this can be done after school hours, or they can show excerpts from this film in the classroom.

Materials for this lesson can be found in the book from the School of Classics series. A book for students and teachers. A.N. Ostrovsky”.

You can prepare material for a story about the stage history and about the actress V. Komissarzhevskaya using the books:

1. A.N. Serebrov (Tikhonov). Time and people. M., 1960

2.A.N. Ostrovsky. Full composition of writings. vol.15 (appendix to the "Dowry").

3.V.F.Komissarzhevskaya. Album. M., 1915

Another creative task is possible: to compare the texts of romances (an old Italian romance performed by V.F. Komissarzhevskaya “He told me: be mine ...”; ”-“ And finally, I will say ... ”; a romance to the verses of E. Baratynsky, included in the text of the play by A.N. Ostrovsky “Do not tempt me unnecessarily ...”) and try to explain which of the presented texts best expresses author's thought and explains the main idea of the work. (Texts are attached).

Thus, in this methodological development, I tried in detail to present the material for the first lesson from the cycle of lessons on the study of the play “Dowry”. Materials for the 2nd, 3rd, 4th lessons are offered in a compressed form, outlining only the outline for a conversation on the proposed topics. I tried to highlight only those points that I consider possible and necessary to draw the attention of students. And then each teacher decides for himself how and what it is necessary to pay attention to students when studying A.N. Ostrovsky’s play “The Dowry”. I hope that the material that I have accumulated in the process of working on this topic will help the teacher, who recently encountered the teaching of this work in the course of Russian literature in the 10th grade.

Annex 1

Romance on poems by E. Baratynsky, included in the text of the play by A.N. Ostrovsky: Do not tempt me unnecessarily

The return of his tenderness.
Alien to the disappointed
All the delusions of the old days.

I don't believe in assurances
I don't believe in love anymore
And I don't want to give up again
Once deceiving dreams.

An old Italian romance performed by V.F. Komissarzhevskaya:

He told me: "Be mine,
And I will live, burning with passion.
The beauty of a smile, bliss in the eyes
They promise me the joys of paradise.”
To a poor heart he spoke thus,

He told me: "A bright star
You lit up a dark soul
You gave me hope in my heart
Dreams filled with sweet dreams.
He smiled, then shed tears,
But he did not love, no, he did not love me.
He promised me, poor heart,
Happiness and dreams, passions, delights.
Gently he swore life would please me
Eternal love, eternal bliss.
With a sweet speech he ruined his heart,
But he did not love, no, he did not love me.”

Romance on poems by B. Akhmadulina, sounded in the film by E. Ryazanov "Cruel Romance":

And finally I'll say: "Goodbye,
Don't commit to love. I'm going crazy
Or ascend to a high degree of insanity.
How you loved - you sipped
Death is not the point.
How you loved - you ruined
But he ruined it so clumsily!”

The temple is still doing a small job,
But hands fell, and a flock obliquely
Smells and sounds go away.
“How you loved - you sipped
Death is not the point!
How you loved - you ruined
But he ruined it so clumsily ... "

Among the inhabitants of the city of Bryakhimov, the central place is occupied by Knurov, whose image Ostrovsky turned out to be both lively and modern. Let's remember the Wild from "Thunderstorm". It is very difficult to imagine him with a newspaper in his hands. Knurov reads a newspaper in French. The detail is very telling. This is a businessman, a capitalist, a financier of a very large scale. There are only two or three people in the city whom Knurov honors with his conversation. Therefore, the arrival of Paratov made him so happy: “Still, he will have at least a word to say at dinner with someone.”

Knurov is called an idol; he is an idol, aware of his invincible strength, openly despising almost everyone around him. But Larisa strikes him - obviously, in contrast. He, measuring everything by money, suddenly saw a man for whom money means nothing. With surprise and even admiration, he says that in Larisa "the earthly, this worldly, is not." He really likes Larisa very much. This shows the significance of his nature. This is not a petty and insignificant dirty trick, it has a strong character. It is unlikely that he is cunning when he admits to Larisa that he would be ready to marry her if he were free. However, the word "love" is not in his speeches. He talks about marriage, about money, but not about love.

It is significant that in the decisive conversation with Larisa, he is heartless even in the style of the conversation. It seems that he is talking about some kind of commercial enterprise and is trying to persuade a future partner. Not a word about feelings, only clear business proposals: “Would you like to go with me to Paris, to the exhibition?” He displays a cynical contempt for both public opinion and accepted norms.

A characteristic feature of another businessman, Vozhevatov, is indifference. He is indifferent to both human suffering and human grief. Poor Karandyshev makes him laugh, he mocks defenseless Robinson with great pleasure. As for Vozhevatov's attitude to Larisa, it is difficult to find another word here, except for "betrayal." They have known each other since childhood, almost relatives, but this does not prevent Vozhevatov from corrupting a young girl “little by little”. Responding to Knurov’s remark, he casually throws: “Yes, what am I! I'm not forcibly imposing ... Why should I care about her morality! I'm not her guardian." And in the most difficult moment in the life of Larisa Vozhevatov treacherously refuses her not only help, but also elementary pity. Betrayal surrounds Larisa from all sides. She is betrayed (sold) by her own mother, a childhood friend (Vozhevatov), a loved one (Paratov).

In the list of actors, Paratov is described as "a brilliant gentleman, from the shipowners." Magnificent wording, previously completely unthinkable. A brilliant gentleman is one behavioral model, a ship owner is a completely different one. But in Paratovo, both of these lines are combined, giving its appearance purely individual, unique features, associated, however, with a certain historical era. This is a unique, bright, extraordinary person. It is no coincidence that Larisa idealizes him, for some reason he attracts gypsies, coachmen, tavern servants. It is necessary to think, business not only in its generosity. One feels in him a certain scope, remoteness - but at the same time, a dangerous composure, often bordering on cruelty, a passion for strong sensations.

Paratov very skillfully and thoughtfully plays his role. The playwright, on the other hand, constantly suggests (very subtly and cautiously) that he should by no means be trusted. Paratov's real deeds strikingly contradict his own pompous speeches, for which he is a great master. “I, Larisa Dmitrievna,” he says, “a man with rules, marriage for me is a sacred thing. I can't stand this freethinking." Nevertheless, he is doing everything to destroy the upcoming marriage of Larisa with Karandashev.

Paratov does not miss a chance to instill in others the idea of himself as a person without class prejudices (a dispute with Karandashev about the Russian language), about his contempt for petty calculations. With obvious pleasure, he tells about a collision with a steamship mechanic, who deduced some numbers on a piece of paper, calculated the pressure: “A foreigner, he is a Dutchman, his soul is short; they have arithmetic instead of a soul!” It is curious that the demonstrative disregard for “arithmetic” is declared by the same Paratov, who a little further frankly declares: “I, Moky Parmenych, have nothing cherished; I will find a profit, so I will sell everything, anything, ”comparing this with Knurov, Vozhevatov and the like. Benefit, and not "broad nature" - that, ultimately, determines the essence of Paratov, although he plays his role so talentedly that you begin to understand why Larisa is passionate about him.

“Dowry” is the best psychological drama by A.N. Ostrovsky. The central theme of the work is the theme of "a warm heart that perishes among people who serve money, not beauty." What is happening in the play is connected with the present - the seventies ...

It is no coincidence that A.N. Ostrovsky awarded one of the heroes of the play "Dowry" with such a surname. This word used to be commonly understood. "Marya is a little pockmarked, but humble, pozhevata" - this is how the matchmaker characterizes the bride in Nekrasov's poem ...

New!
All the action of the "Dowry" is concentrated around one character - Larisa - and is purposeful and tense. You can even say that in general, "The Thunderstorm" is more epic, and "Dowry" is more dramatic. This manifests itself in particular...
New!
People say: “An apple does not fall far from an apple tree”, but, apparently, there is an exception to every rule. The mother and daughter of the Ogudalovs are such an exception. And the more insistently the author emphasizes their difference, the brighter the character appears before the reader ...

A.N. Ostrovsky created an amazing gallery of Russian characters. Representatives of the merchant class became the main characters - from "domostroevsky" tyrants to real businessmen. The playwright's portrayals of women were no less vivid and expressive. Some of them looked like the heroines of J.S. Turgenev: they were just as brave and resolute, had warm hearts and never gave up their feelings. Below is an analysis of Ostrovsky's "Dowry", where the main character is a bright personality, different from the people who surrounded her.

History of creation

The analysis of Ostrovsky's "Dowry" should begin with the history of its writing. In the 1870s, Alexander Nikolayevich was an honorary judge in one county. Participation in lawsuits and familiarity with various cases gave him a new opportunity to search for topics for his works.

Researchers of his life and work suggest that the plot for this play was taken from his judicial practice. It was a case that made a lot of noise in the county - the murder of a local resident of his young wife. Ostrovsky began writing the play in 1874, but progress was slow. And only in 1878 the play was completed.

Actors and their brief description

The next point in the analysis of Ostrovsky's "Dowry" is a small description of the characters in the play.

Larisa Ogudalova is the main character. A beautiful and impressionable noblewoman. Despite her sensitive nature, she is a proud girl. Its main disadvantage is poverty. Therefore, her mother tries to find a rich groom for her. Larisa is in love with Paratov, but he leaves her. Then, out of desperation, she decides to marry Karandyshev.

Sergey Paratov is a nobleman who is over 30 years old. An unprincipled, cold and calculating person. Everything is measured in money. He is going to marry a rich girl, but does not tell Larisa about it.

Julius Kapitonych Karandyshev is a petty official who has little money. Vain, his main goal is to win the respect of others and impress them. Jealous of Larisa to Paratov.

Vasily Vozhevatov is a young rich merchant. I've known the main character since childhood. A cunning person without any moral principles.

Moky Parmenych Knurov is an elderly merchant, the richest man in the city. He likes the young Ogudalova, but he is a married man. Therefore, Knurov wants her to become his kept woman. Selfish, he cares only for his own interests.

Harita Ignatievna Ogudalova - Larisa's mother, widow. Cunning, she tries to profitably give her daughter in marriage so that they do not need anything. Therefore, he believes that any means are suitable for this.

Robinson is an actor, mediocrity, a drunkard. Friend of Paratov.

One of the points in the analysis of Ostrovsky's "Dowry" is a brief description of the plot of the play. The action takes place in the Volga city of Bryakhimov. In the first act, the reader learns from the conversation between Knurov and Vozhevatov that Sergei Paratov, a wealthy gentleman who loves to appear spectacularly in society, is returning to the city.

He left Bryakhimov so hastily that he did not say goodbye to Larisa Ogudalova, who was in love with him. She was in despair because of his departure. Knurov and Vozhevatov say that she is beautiful, smart and performs romances incomparably. Only her suitors shun her, because she is a dowry.

Realizing this, her mother constantly keeps the doors of the house open, in the hope that a rich groom will marry Larisa. The girl decides to marry a petty official, Yuri Kapitonych Karandyshev. During the walk, the merchants inform them of Paratov's arrival. Karandyshev invites them to a dinner party in honor of his fiancee. Julius Kapitonych arranges a scandal for the bride because of Paratov.

Meanwhile, Paratov himself, in a conversation with the merchants, says that he was going to marry the daughter of the owner of the gold mines. And Larisa is no longer interested in him, but the news of her marriage makes him think.

Larisa quarrels with her fiancé because she wants to leave with him for the village as soon as possible. Karandyshev, despite the constraint on funds, is going to give a dinner party. Ogudalova is having an explanation with Paratov. He accuses her of cheating and asks if she loves him. The girl agrees.

Paratov decided to humiliate Larisa's fiancé in front of the guests. He gets him drunk at dinner, and then persuades the girl to go on a boat trip with him. After spending the night with her, he tells her that he has a fiancee. The girl realizes that she is disgraced. She agrees to become the kept woman of Knurov, who won her in a dispute with Vozhevatov. But Yuri Karandyshev shot Larisa out of jealousy. The girl thanks him and says that she is not offended by anyone.

The image of Larisa Ogudalova

In the analysis of Ostrovsky's "Dowry" one should also consider the image of the main character. Larisa appeared before the reader as a beautiful, educated noblewoman, but without a dowry. And, finding herself in a society where the main measure is money, she was faced with the fact that no one takes her feelings seriously.

Possessing an ardent soul and a warm heart, she falls in love with the treacherous Paratov. But because of his feelings, he cannot see his true character. Larisa feels lonely - no one even tries to understand her, everyone uses her like a thing. But despite the subtle nature, the girl has a proud disposition. And just like all heroes, she is afraid of poverty. Therefore, she feels even more contempt for her fiancé.

In the analysis of Ostrovsky's "Dowry" it should be noted that Larisa does not have great fortitude. She does not decide to commit suicide or start living the life she wants. She accepts the fact that she is a thing and refuses to fight any further. Therefore, the groom's shot brought her peace, the girl was glad that all her suffering was over, and she found peace.

The image of Yuri Karandyshev

In the analysis of the play "Dowry" by Ostrovsky, one can also consider the image of the heroine's fiancé. Julius Kapitonych is shown to the reader as a small person who is important to earn the recognition of others. For him, a thing has value if rich people have it.

This is a proud man who lives for show and causes only contempt from others because of his pathetic attempts to be like them. Karandyshev, most likely, did not like Larisa: he understood that all men would envy him, because she was the dream of many. And he hoped to get the public recognition he so desired after their wedding. Therefore, Julius Kapitonich could not come to terms with the fact that she left him.

Comparison with Katerina

Comparative analysis of "Thunderstorm" and "Dowry" by Ostrovsky helps to find not only similarities, but also differences between the works. Both heroines are bright personalities, and their chosen ones are weak and weak-willed people. Katerina and Larisa have warm hearts and fall in love with men who match their imaginary ideal.

Both heroines feel lonely in society, and the internal conflict is heating up more and more. And this is where the differences come in. Larisa did not have the inner strength that Katerina had. Kabanova could not come to terms with life in a society where tyranny and despotism reigned. She rushed into the Volga. Larisa, realizing that for everyone she is a thing, cannot decide on such a step. And the girl does not even think about the fight - she just decides to live now like everyone else. Perhaps that is why the viewer immediately liked the heroine Katerina Kabanova.

Stage productions

In the analysis of Ostrovsky's drama "Dowry", it can be noted that, contrary to expectations, the performances failed. The viewer seemed bored with a story about a provincial girl who was deceived by a fan. Critics also did not like the acting: for them it was too melodramatic. And only in 1896 the play was staged again. And even then the audience was able to accept and appreciate it.

An analysis of Ostrovsky's work "Dowry" allows us to show what a serious psychological subtext the play has. How detailed the characters are. And, despite the sentimental scenes, the play belongs to the genre of realism. And her characters have replenished the gallery of Russian characters, masterfully described by A.N. Ostrovsky.

Ostrovsky

Plan

1. Introduction

2.Knurov in life

3.Knurov and Larisa

4.Conclusion

Moky Parmenych Knurov is a collective image of a man of a new era with fabulous capital. This is a representative of that inexorable force that slowly but steadily crushes everything under itself. "The owner of factories, newspapers, ships" feels like a complete master in this life. The only power he recognizes is money.

Knurov leads a secure measured life. Any of his whims can be instantly fulfilled. Moky Parmenych is accustomed to universal reverence. He clearly divides people into two classes: those who have and those who do not have money. From the point of view of the availability of capital, he evaluates the opportunities and benefits of others.

Knurov's social circle is small. In the play, it includes only Vozhevatov, Paratov and the Ogudalov family. He has a business relationship with the former. Mokiy Parmenych perfectly understands how important it is to maintain good relations with business partners. It is unlikely that this communication can be called friendship. In any case, in a provincial town there are still no people closer, and even more equal to him.

Moky Parmenych is kind in his own way, but his disposition towards people again depends on the possible benefits. He can express sincere sympathy for someone else's grief, but will help only if it brings him any benefit. Knurov's high opinion of himself is most clearly manifested in his attitude towards Karandyshev. The capitalist openly despises the petty official who could not achieve a higher position.

Mokiy Parmenych has long noted for himself the beauty of his daughter Harita Ignatievna. The main problem is that the businessman is married. He is not averse to taking Larisa "for maintenance", but the girl has not yet tarnished her reputation. Knurov honestly admits to Vozhevatov that it is already too late for him to openly compete with Larisa's many fans. He prefers to take detours. The concept of love is completely unfamiliar to Knurov. He even praises Vozhevatov for the absence of this feeling, which is useless in commercial affairs.

Love for Mokiy Parmenych is the same commodity, and Larisa is an "expensive diamond" that requires an "expensive setting". Knurov despises Harita Ignatievna in the same way, but maintains good relations with her and gives money in order to take possession of Larisa. To this goal, he goes long and persistently. The upcoming wedding of the girl seems to him a convenient chance. Karandashev will not be able to adequately provide for Larisa. That's when Knurov hopes to use his chance.

All the baseness and heartlessness of Mokiy Parmenych and Vozhevatov is manifested in the scene of Larisa's tossing. Thus, they decide the fate of a living girl, without even asking her opinion. Larisa seems to them a simple, but incredibly beautiful thing, which will definitely have an owner. The "winning" Knurov, casting aside all shame, directly addresses Larisa with a proposal to become his kept woman. He reinforces his words with a significant phrase: "For me, the impossible is not enough."

Moky Parmenych is not just an all-powerful, incredibly rich businessman. Money perverted his thinking. For Knurov, everything around (even people) is an object of sale and purchase. His attitude to Larisa, as to a thing, underlies the tragedy of the entire play.

Knurov, Vozhevatov and Larisa

Knurov and Vozhevatov are typical representatives of the merchant class of the 19th century. These heroes are led by a cold calculation, and the main thing in their life is money.

The attitude towards the people of Knurov, like Vozhevatov, is determined by their financial situation. Therefore, the behavior of Karandyshev causes disapproval among the merchants, and even comes to open bullying.

It is impossible not to mention also the speaking surnames, because these are brief characteristics of the heroes. "Knur" means boar, boar. Knurov even walks exclusively "for exercise" to work up an appetite and eat his chic lunch. He is secretive, laconic, but Gavrilo says about him: “How do you want him to talk, if he has millions? ... And he goes to talk to Moscow, St. Petersburg and abroad, it is more spacious for him there.” Mokiy
Parmenych is also distinguished by purposefulness, seeking Larisa, although his attitude towards her is swine. In his opinion, Larisa is an “expensive diamond” that requires an expensive setting, so Knurov offers the girl the humiliating position of a kept woman.

Vozhevatov, unlike Knurov, was young and could marry Larisa.
But he does not know the feeling of love, he is cold, practical and sarcastic. “Yes, what is my intimacy?” - says Vozhevatov. - “Sometimes I’ll pour an extra glass of champagne from my mother [Larisa’s mother], I’ll learn a song, I’ll drive novels that girls aren’t allowed to read.” And he adds: “I’m not forcibly imposing. Why should I care about her morals; I am not her guardian. Vasily Danilovich is irresponsible towards Larisa, she is like a toy for him. When a girl asks for help
Vozhevatov, he says: “Larisa Dmitrievna, I respect you and would be glad ... I can’t do anything. Trust my word!" By the way, it is Vozhevatov who comes up with the idea to decide the fate of Larisa with the help of a toss.

So, we can say that in this work A.N. Ostrovsky wanted to show what money does with people. Even in the title of the play, you can already guess what it will be about. Money kills love, conscience, makes you look down on those people who do not have them. The coin decides the fate of a person in the literal and figurative sense.

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