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The theme of love in a patriarchal world. Composition on the theme of love in the play poverty is not a vice of Ostrovsky

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Love in the patriarchal world in the play "Poverty is not a vice"

"Poverty is no vice" - a hymn to the Russian merchants - contains all the signs of patriarchal life: the strength of family foundations, children's trust in their parents, the inviolability of the customs that prevail in this merchant environment, the integrity and clarity of the worldview, not overshadowed by any innovations.

In the comedy Poverty is Not a Vice, the ideal love of Mitya and Lyubov Gordeevna, also patriarchal in its essence, collides with Gordey's dark unrestrained tyranny, which, according to Ostrovsky, is only a distortion and vulgarization of the idea of parental authority, a mockery of it. It is no coincidence that it is Mitya who reminds the mother of his beloved the basic principle, the main commandment of the patriarchally understood obligation of parents towards children: “Why are you seizing a girl’s age, giving you into bondage? Is this not a sin? After all, tea, you will have to give God an answer for it. Mitya reproaches not for the fact that the fate of Lyubov Gordeevna was decided without her knowledge and consent, but for the fact that a bad, cruel, terrible person was chosen as her husband. Lyubov Gordeevna does not even think of the possibility of violating her father's will and is ready to submit to her, accepting the upcoming marriage as a feat of obedience, as a sacrifice. It is very characteristic that the daughter does not ask her father to listen to her, to follow her desire, in desperation she prays to him: “Tyatenka! Do not want my misfortune for my whole life!.. Change your mind!.. ”For all this, Lyubov Gordeevna cannot be denied a kind of courage. Having made a decision, she shows firmness, does not want to torment anyone with the spectacle of her suffering. When Pelageya Yegorovna, trying to sympathize with her, praises and pities Mitya, Lyubov Gordeevna decisively stops her: “Well, mother, what is there to think, what is impossible, only torturing yourself.”

Ostrovsky sees in the behavior of Lyubov Gordeevna not slavish obedience, much less fear of the hardships that await the girl in case of violation of her father's will. The heroine is held back by the thought of moral duty, as this duty is understood in her environment; “I must submit to him, such is our share of a girl. So, to know, this should be so, so it has been established from time immemorial. I don’t want to go against my father, so that people don’t talk about me and don’t set an example. Although I may have broken my heart through this, but at least I know that I live according to the law, no one dares to laugh in my eyes.

As required by patriarchal morality, Mitya is respectful to elders. He treats Pelageya Egorovna, who is "in disgrace" with Lyubim, with a cordial disposition. Consequently, Mitya's deference is disinterested and has nothing to do with views of some kind of benefits. Mitya disinterestedly and selflessly loves Gordeya's daughter. His conversation with Pelageya Yegorovna about the upcoming marriage of Lyubov Gordeevna shows that he is in despair, not only because his beloved is lost to him forever, but almost even more because they asked her for an evil, terrible old man. Although in his main ideas about life, in his basic moral convictions, Mitya is a man of the patriarchal world, some features are already visible in him, due to the influence of the new time. Already in the second act, a new shade appears, a motif that connects the love plot of the play with the main conflict - the struggle between the original, patriarchal way of life and the "glamor of fashion." Acting in the plot as a defender of genuine patriarchal culture and the characters associated with it, Lyubim himself is different. Its appearance is determined by the connection with modern Ostrovsky urban culture. He alone has a certain touch of intelligence. “Forgetful” Lyubim is the most sensible hero in the play, he laughs at his brother’s noble claims, understands the dangerous power of money over dark people, appreciates the modest and honest Mitya, sees what the true happiness of his niece is, and knows how to save her from a terrible fate.

I. "Columbus of Zamoskvorechye".

II. Love is a creative, transforming force.

1. The main characters of the play.

2. The ability to love is the main advantage of the heroes of the play.

3. The role of Lyubim Tortsov.

III. The transformative power of love.

Alexander Nikolayevich Ostrovsky was called the "Columbus of Zamoskvorechye", a district of Moscow where people from the merchant class lived. He showed what a tense, dramatic life goes on behind high fences, what Shakespearean passions sometimes seethe in the souls of representatives of the so-called "simple class" - merchants, shopkeepers, petty employees. The patriarchal laws of the world that is fading into the past seem unshakable, but a warm heart lives according to its own laws - the laws of love and kindness.

The heroes of the play "Poverty is not a vice" seem simple and understandable. Lyubov Tortsova loves Mitya, but does not dare to contradict the will of her father, who decides to marry her to Afrikan Korshunov. The very name of the rich groom speaks for itself, evoking the idea of a wild, predatory nature. He is sure that money can buy everything, and cynically talks about his ex-wife, teaching his bride a lesson at the same time: “Love not love, but look more often. You see, they needed money, they had nothing to live on: I gave, did not refuse; and I need to be loved. Well, am I free to demand it or not? I paid money for that." And the life of Lyubov Gordeyevna would have been miserable if the great power of love had not entered the struggle against patriarchal laws.

Mitya is distinguished by his gentle nature, good disposition. “The guy is so simple, soft at heart,” Pelageya Yegorovna says about him. But the despair of the possibility of forever losing his beloved makes him bold, impudent; he wants to take away Lyubov Gordeevna on the eve of the wedding and secretly marry her. True, he asks for blessings for this step from her mother. But it is impossible not to appreciate this impulse.

Lyubov Gordeevna cannot fight for her happiness. Is it fitting for a modest girl to be disobedient, disrespectful to her parents! But love makes her bold too: she confesses her love to Mitya (a flagrant violation of patriarchal traditions!) and decides to ask her father for consent to her marriage with Mitya.

Heart is the key word for Ostrovsky. He appreciates his heroes, first of all, for the ability to love and compassion, for a living soul, for a warm heart. At the beginning of the work, Gordey Tortsov appears to us as a narrow-minded person, climbing out of his skin to show his significance, modernity, even secularity. “No, you say something,” he says to Korshunov, “Is everything all right with me? In another place at the table, a fine fellow in a coat or a girl waits, and I have a waiter in cotton gloves. Oh, if I lived in Moscow, or in St. Petersburg, I would, it seems, imitate all fashion. But it turns out that this desire for "education", plebeian shame for his loved ones did not kill his best qualities in him. Love for his daughter makes him remember the dignity and honor, drive Korshunov away.

Interestingly, the role of reasoner in the play is assigned to Lyubim Tortsov, who, it seems, is not at all suitable for this role. “Oh people, people! We love Tortsov, a drunkard, but better than you!” the hero says. This man is poor, but not pathetic, because he knows what the truth of life is: “And here's another question for you: are you an honest merchant or not? If you are honest - do not hang out with dishonest, do not rub yourself near the soot - you will get dirty yourself ... I am not cleanly dressed, so I have a clean conscience.

The play "Poverty is not a vice" ends with the triumph of virtue, the punishment of vice, and the wedding of the main characters. The fate of Lyubov Tortsova and Mitya would not have happened at all if their love had not been able to resist the inert laws of patriarchal antiquity. The ability to love, a warm heart, Ostrovsky tells us, are able to work miracles.

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Love in the Patriarchal World and Its Influence on the Heroes of Ostrovsky's Play "Poverty Is Not a Vice"

I. "Columbus of Zamoskvorechye".

II. Love is a creative, transforming force.

1. The main characters of the play.

2. The ability to love is the main advantage of the heroes of the play.

3. The role of Lyubim Tortsov.

Alexander Nikolayevich Ostrovsky was called the "Columbus of Zamoskvorechye", a district of Moscow where people from the merchant class lived. He showed what a tense, dramatic life goes on behind high fences, what Shakespearean passions sometimes boil in the souls of representatives of the so-called "simple class" - merchants, shopkeepers, and petty employees. The patriarchal laws of the world fading into the past seem unshakable, but a warm heart lives according to its own laws - the laws of love and kindness.

“The guy is so simple, soft at heart,” Pelageya Yegorovna says about him. But the despair of the possibility of forever losing his beloved makes him bold, impudent; he wants to take away Lyubov Gordeevna on the eve of the wedding and secretly marry her. True, he asks for blessings for this step from her mother. But it is impossible not to appreciate this impulse.

traditions!) and decides to ask her father for consent to her marriage to Mitya.

narrow-minded, climbing out of their skin to show their significance, modernity, even secularity. “No, you say something,” he says to Korshunov, “Is everything all right with me? In another place at the table, a fine fellow in a coat or a girl waits, and I have a waiter in cotton gloves. Oh, if I lived in Moscow, or in St. Petersburg, I would, it seems, imitate all fashion. But it turns out that this desire for "education", plebeian shame for his loved ones did not kill his best qualities in him. Love for his daughter makes him remember the dignity and honor, drive Korshunov away.

“Oh people, people! We love Tortsov, a drunkard, but better than you!” - says the hero. This man is poor, but not pathetic, because he knows what the truth of life is: “And here's another question for you: are you an honest merchant or not? If you are honest - do not hang out with dishonest, do not rub yourself near the soot - you will get dirty yourself ... I am not cleanly dressed, so I have a clean conscience.

Students traditionally get acquainted with the work of Ostrovsky in the 9th grade at literature lessons. Ostrovsky's play "Poverty is not a vice" reflects a picture of the life of the Russian merchant class contemporary to the author. Information about the topic, idea, issues and genre of the work will be useful for preparing for a lesson, test, writing a creative work. In our article you will find a brief as well as a complete analysis of the play according to the plan.

Brief analysis

Year of writing– 1853

History of creation- the play was written to ridicule the fashion for Western trends in the way of life of the merchants, and to emphasize the truly Russian character that is represented in this class. His friendship with the Slavophiles influenced the content of the work. After reading and staging the play, Ostrovsky became recognized and famous, the success exceeded all expectations.

Subject- the influence of money on the relationship of people in society, the choice of a life path, obstacles and circumstances in the fate of a person.

Composition- three acts with a sharp and unexpected denouement in the last act, richness of folklore moments ringing important scenes, parallel juxtaposition of characters.

Genre is a comedy in three acts.

Literary direction- critical realism and romanticism.

History of creation

Initially, the play was to be called “The Proud God Resists”. The idea appeared in July 1853, in August - the author began work on the work, and finished it at the end of the same year.

The roles were distributed among the actors even before the end of its writing. In 1854, on January 25, the play was first staged at the Maly Theater in Moscow. It was a huge success, liked by a wide range of viewers.

The work was written by Ostrovsky under the influence of his Slavophil friends, so after the play was staged, many of the author's friends recognized themselves in it. The truly Russian character of Lyubim Tortsov played a decisive role in the fate of the play. In this hero, critics saw the ideal image of a Russian person. The success of the play, even after the first readings of it in Moscow, surpassed all expectations and even the dreams of the author.

It should be noted that Ostrovsky dedicated the play to his friend, the outstanding theater actor Prov Mikhalovich Sadovsky. It was he who best played the role of Lyubim Tortsov in the play. The Moscow merchants were well acquainted with Ostrovsky, because he had to leave his higher education and enter the service of the court. It was the merchant class that most often turned to the courts, here the future playwright got acquainted with primordially Russian characters and characters worthy of entering literature.

Subject

“Poverty is no vice” reveals topic of the real Russian character, shows that link of Russian society, which has preserved all the customs, traditions and the inner essence of the people's soul. That is why the play is called a hymn to the Russian merchants: life, family life, rituals, habits, traditions, all this was described by the author in the work. Subject reveals the relationship of people based on their level of well-being. The author touches Problems choice of the future, obedience and respect for elders, the theme of love, family, sin.

A red thread runs through the whole story thought that a Russian person is not perfect, he makes mistakes, spends his life on sins and debauchery, but he is able to admit mistakes and take the right path. This is the strength of the Russian people. To understand what this work teaches, you need to focus on the plot. The conclusion is obvious: no newfangled worldviews can get along in the Russian soul if they contradict folk wisdom, heart, common sense. The essence of comedy Ostrovsky is that money is not always omnipotent, the honor and dignity of an intelligent person are above any material wealth.

Composition

Ostrovsky's comedy consists of three acts, this division also has a semantic basis. The climax of the action occurs in the last act, followed by a denouement and a happy ending. The conflict is based on the demands of fashion, the spirit of the times and their clash with Russian reality. In the understanding of Gordey Karpych, education is only the outside (a new frock coat, champagne, furs and carriages).

A feature of the composition of the play can be considered rich in folklore elements (proverbs, songs, jokes), they ring every action, accompany all important moments, emphasizing and shading them in a special way. The technique of the prepared appearance of heroes is widely used: at the beginning they are talked about, then they go on stage.

In the play, the characters are considered in parallel, so their images are easier to perceive - in comparison. Not the last role in creating vivid scenes and the perception of what is happening is played by the author's remarks and scenery. Ostrovsky is recognized as the "father of the Russian theater"; it was he who created the theory of the behavior of actors on the stage, taking into account the peculiarities of the genre. His plays have been staged for more than a century and a half, they are immortal, due to the talent and genius of the author.

Main characters

Genre

In “Poverty is not a vice” the analysis will be incomplete if the genre specificity of the work is not noted. Ostrovsky's comedy is unique for its everyday scenes, the clarity of remarks, the depth of the characters' monologues. Mandatory for the author were the "speaking" names of the characters, their static character and, at the same time, the completeness of the images. The playwright's satire is subtle, not caustic, but right on target: it is not for nothing that many acquaintances stopped communicating with Ostrovsky after the production, recognizing themselves in the characters of the play.