"Dowry." Ostrovsky A. A play about money, about love, about a troubled soul. Analysis "Dowry" Ostrovsky

1. What is the essence of Ostrovsky’s play?
2. Meet the heroine.
3. Moral Character merchants.

4. The tragedy of the heroine.

The essence of A. N. Ostrovsky’s dramatic work “Dowry” is to show the contradictions of the surrounding reality through the fate of the heroes. The writer, penetrating into the life of the classes described, depicts his heroes in action, revealing them character traits. main topic Ostrovsky's works are a drama of personality in society. All lines of the play are devoted to the disclosure of this theme. Speaking about a woman in bourgeois society, the playwright reveals to the reader the true state of affairs.

In a quiet town on the Volga there lives a girl of marriageable age, Larisa Ogudalova. There are many eligible bachelors around, but Larisa is without a dowry. Therefore, despite her spiritual qualities, she is at a disadvantage. These men claim Larisa as just a beautiful thing, talking about her as just another matter. Larisa’s lyrical nature does not understand this at first; she is looking for love. If not mutual, then at least self-love. Therefore, in the absence of other candidates, she agrees to become the wife of Karandyshev, who loves her. With this decision, she crosses out a year of empty suffering for another person - Sergei Paratov, having decided that family responsibilities will help her forget about him. But Paratov reappears in her life. He decided to say goodbye to the free man single life, maybe he barely remembers Ogudalova, but Larisa is sure that Sergei Sergeevich came for her sake.

Larisa's mother, Kharita Ignatyevna, knows what awaits her daughter, and her attitude towards her is no different from the attitude of the merchants - she also wants to sell Larisa off at a profit. She talks to the poor Karandyshev with disdain, with Paratov she behaves a little familiarly, with Knurov she agrees with everything, understands that he is ready to take his daughter as a kept woman and is happy about this, having received a wardrobe for her daughter and three hundred rubles.

Larisa has self-esteem and believes that not having a dowry will not stigmatize her. The conflict of the drama is the contradiction between the girl’s expectations and harsh reality. When Larisa comes face to face with her, she rushes about, trying to maintain her self-esteem and pride. “Everyone loves themselves. When will someone love me? You will bring me to death...,” she says to her fiancé Karandyshev. Larisa cannot change her fate in any way - others decide everything in advance for her.

No matter how sad it is to realize this, but Karandyshev. Even though he is in love with Larisa, he also treats her as a beautiful, soulless thing. This is terrible for Larisa. After all, she considers love to be the main advantage of her fiancé. He is happy that she will become his wife and perceives this event as a profitable deal for himself. Now he has something to boast about in front of these rich people! There is something to hurt them! But he is jealous and also hurt, because Larisa doesn’t even hide the fact that she loves Paratov! Because she believes that she waited for her love, going through suffering.

Karandyshev has one difference from other male heroes - he acts at the behest of his heart. He tells Larisa that he is ready to be humiliated for her sake. How do others behave? What does Paratov feel for Larisa? Does she mean more to him than to others, or does he enjoy his power over the girl in love, as well as his dexterity in deceiving the groom? How honest are those around her towards Larisa?

Judging by their actions, the main “moral” quality in the merchant environment is business acumen. They talk about everything from the point of view of profitability, and feelings have no place where there should be only calculation. The merchants keep their distance from the rest of the population, and they are quite distrustful even of each other. We learn their moral character in their relationship with Larisa. The powerful and calculating Knurov is emphatically friendly with her, saying that he is obliged to take part in her fate. In fact, this means that he will take advantage of the girl’s hopeless situation.

Paratov is ready to do anything for money, and his relationship with Larisa is like gambling, because he believes that in life you have to try everything. Unfortunately, the girl in love does not see his selfishness. The moral character of Sergei Sergeevich Paratov appears for Larisa only when he, having seduced a girl, tells her about his impossibility of marrying her. What did he choose? A more financially advantageous marriage to millions. Everyone learns about this event at the very beginning of the play. But, seeing how Larisa is rushing about, no one tells her about this, including her childhood friend Vasya Vozhevatov. Vozhevatov is a soulless egoist who is not touched by Larisa’s fate. He can't even offer her help in critical situation, because he is bound by an honest merchant's word. He plays Larisa toss with Knurov.

Knurov is a cynical businessman, he can only tell Ogudalova for the sake of a catchphrase that “he never thought for a single minute to offer his hand,” but he is married, so he is ready to give her such allowance that all critics of morality will be forced to remain silent. That is, there are no immoral actions - there is not enough money.

Thus, human relationships, morality, love, friendship are crossed out for the sake of business relationships, for the sake of profit. This is how Larisa herself sums up her life: “I was looking for love and didn’t find it. They looked at me and look at me as if I was funny. No one ever tried to look into my soul, I didn’t see sympathy from anyone, I didn’t hear a warm, heartfelt word. But it’s cold to live like this. 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. I haven’t found love, so I’ll look for gold.” Larisa makes a choice - she is ready to become a beautiful thing for the rich man Knurov.

As usual, the truth comes from the lips of someone whose words are not taken seriously. Robinson tells Paratov: merchants are ignorant. And this is the mildest description that can be given. Karandyshev is the first to open the bride’s eyes to her surroundings; he tells her cruel but truthful words about those whom she considers friends: “They do not look at you as a woman, as a person - a person controls his own destiny; they look at you as if you were a thing.” He believes that he is obliged to protect Larisa and punish her offenders. But a transformation also occurs with him - his love is desecrated by jealousy and revenge. He envies the merchants and also wants to feel like a master.

After everything that happened, Larisa can only become a toy for Knurov or die. Therefore, she thanks Karandyshev for accidentally fulfilling her wish: “My dear, what a good deed you have done for me!” Perhaps she herself would not have decided to take her own life, and having become Mokiy Parmenych’s kept woman, she would have lost herself. She takes the blame for her death, covering for Karandyshev, who saved her from further disappointments and suffering.

The inevitability of the tragic ending was prepared by the fact that Larisa has nothing holding her back in life. Nobody needs her love, the girl is alone in this world. She has lost harmony in her soul and does not see compassion from anyone. Larisa's drama is that she was born into a world in which only money and power are important.

A.N. Ostrovsky created an amazing gallery of Russian characters. The main characters were representatives of the merchant class - from the "Domostroevsky" tyrants to real businessmen. The playwright’s female characters were no less bright and expressive. Some of them resembled the heroines of I.S. Turgenev: they were just as brave and decisive, 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 Nikolaevich was an honorary judge in one district. Participation in trials and familiarity with various cases gave him new opportunity searching for topics for your 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 caused a lot of noise in the county - the murder of his young wife by a local resident. Ostrovsky began writing the play in 1874, but work progressed slowly. And only in 1878 the play was completed.

Characters and their brief descriptions

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

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

Sergei 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.

Yuliy Kapitonich Karandyshev is a minor official who has little money. Vain, his the main objective- gain the respect of others and impress them. Larisa is jealous of Paratov.

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

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

Kharita Ignatievna Ogudalova is Larisa’s mother, a widow. Cunningly, she tries to give her daughter away in marriage so that they don’t need anything. Therefore, he believes that any means are suitable for this.

Robinson is an actor, mediocrity, drunkard. Paratov's friend.

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

He left Bryakhimov so quickly that he did not say goodbye to Larisa Ogudalova, who was in love with him. She was in despair over his departure. Knurov and Vozhevatov say that she is beautiful, smart and performs romances incomparably. Only her suitors avoid her because she is without a dowry.

Realizing this, her mother constantly keeps the doors of the house open, in the hope that a rich groom will woo Larisa. The girl decides to marry a minor official, Yuri Kapitonich Karandyshev. During the walk, the merchants inform them about Paratov's arrival. Karandyshev invites them to a dinner party in honor of his bride. Yuliy Kapitonich creates a scandal with his 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 about her marriage makes him think.

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

Paratov decided to humiliate Larisa’s fiance 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 understands that she is disgraced. She agrees to become Knurov’s kept woman, 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.

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 criterion is money, she was faced with the fact that no one took 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 real character. Larisa feels lonely - no one even tries to understand her, everyone uses her like a thing. But despite her delicate 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 way 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 of mind; the girl was glad that all her suffering was over and she had found peace.

Image of Yuri Karandyshev

In the analysis of the play "Dowry" by Ostrovsky, one can also consider the image of the heroine's groom. Yuliy Kapitonich is shown to the reader as small man for whom it is important to earn the recognition of others. For him, a thing has value if rich people have it.

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

Comparison with Katerina

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

Both heroines feel lonely in society, and internal conflict is heating up more and more. And here the differences appear. Larisa didn't have that inner strength, which 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 she is a thing for everyone, cannot decide to take such a step. And the girl doesn’t even think about fighting - she simply decides to live now like everyone else. Perhaps this 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 production failed. The viewer found the story about a provincial girl who was deceived by a fan boring. Critics also didn't like actor play: She was too melodramatic for them. 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 joined the gallery of Russian characters masterfully described by A.N. Ostrovsky.

Ostrovsky’s psychological drama “Dowry,” as well as the play “The Thunderstorm,” is one of Ostrovsky’s dramatic masterpieces. It is distinguished by the acuteness of social problems, the colorfulness and brightness of the characters, sophisticated psychologism, and the interweaving of the social and individual-personal, which is rare in its expressiveness.

Almost twenty years separate “The Dowry” (1978) from “The Thunderstorm” (1859). Intensive changes in Russian life led to increased capitalization, the “triumph of the bourgeoisie.” The play takes place in the Volga region town of Bryakhimov in the “present days” (that is, in the late 70s of the 19th century). The heroes of the play are Europeanized merchants who, in the words of one of the servants, go “to Moscow, to St. Petersburg and abroad” to talk.

Cross-cutting in the play and largely determining its conflict is the motif of the omnipotence of capital. A significant part of the exposition of the drama “Dowry,” the analysis of which interests us, is occupied by the dialogue between millionaire Knurov and a representative of a wealthy trading company, Vozhevatov. Both merchants, like most of Ostrovsky’s characters, significant surnames: “knur” - hog, boar, “vozhevaty” - polite, courteous. The merchants are discussing sensational news: the consent of the first beauty of the city, the charming and artistic Larisa Ogudalova, to marry the poor official Karandyshev, who is completely insignificant in the eyes of successful merchants. “Well, what is Karandyshev!” - Knurov says contemptuously (house 1, appearance 2).

From the dialogue of the merchants, we learn about Larisa’s relationship with her beloved Paratov, who, according to Vozhevatov, “recaptured all the suitors, and there was no trace of him, he disappeared to God knows where” (D. 1, Rev. 2). Larisa in hopeless situation, she is homeless, and this main reason her personal misfortunes. The interlocutors also evaluate their own chances in the competition for Larisa. The struggle for it, conducted almost according to the laws of the stock exchange game, reveals in each of the rivals the entire immensity of their personal ambitions, the desire to establish themselves in the role of “hero of the day.” Whatever the merchants talk about, even about the most personal, secret things, everywhere the motive of buying and selling comes first.

Each of the characters in the play “Dowry” (Ostrovsky), the analysis of which interests us, in accordance with their ideas, strives to master the “art of life.” Among the hierarchy life values For merchants and nobles, wealth, luxury, and exquisite pleasures come to the fore. Knurov, who has a huge fortune, behaves like a person for whom “the impossible is not enough.” “Paratov lives in style”—this is how merchants evaluate the lifestyle of the “brilliant master.” “She loves to live a cheerful life,” says the young, successful Vasya Vozhevatov, a regular at her house, about the heroine’s mother, Kharita Ignatievna Ogudalova. The poor official Karandyshev, “a proud and envious man,” striving for success and comfort, appears as a parody double of Paratov. Karandyshev cannot assimilate the alien, inorganic style of behavior for him and gets confused. According to the successful expression of A.I. Zhuravleva, he cannot “get into the image.” And only the spiritually refined Larisa seems to exist “above everyday life”, longs for a spiritualized and moral life, dreams of sublimely romantic relationships. Naturally, with such different ideas about life, he and Karandyshev speak different languages.

The question naturally arises: is Karandyshev sincere in his feelings for Larisa? Without a doubt, this petty official with great ambitions loves her in his own way. But this feeling is inseparable from his hysterical ambition, the desire to show off his “capital” to his rivals. M.V. Otradin correctly notes that the relationship between Larisa and Karandyshev “immediately manifests itself as mutual claims.” Karandyshev, as soon as he becomes a groom, begins with accusations, behaves ignoblely, and reminds his bride of life “in the camp.” Larisa answers him with devastating, merciless frankness: “If I hadn’t been looking for silence, solitude, if I hadn’t wanted to run away from people, would I have married you?” (D. 1, Rev. 4). The romantically inclined Larisa does not hide from Karandyshev that her ideal man is Sergei Sergeich Paratov. She perceives Paratov in the aura of high romance associations (M.V. Otradin), sees in him a brave, generous, exceptional person in everything. Having agreed to marry Karandyshev, Larisa betrays her ideas about love and true happiness. However, Larisa’s consent to marry an unloved person allows different interpretations. Having lost what seemed to be newfound happiness (Paratov left and forgot about Larisa), she does not lose hope for a worthy and moral life. And that is why he chooses the path of marriage. “At least marry Karandyshev,” says Vozhevatov, not without annoyance. It is noteworthy that Larisa’s mother, Kharita Ignatievna Ogudalova, is much less picky about the means of achieving well-being in life. She does not rule out “warm participation” in the life of a rich man’s daughter, as evidenced by her conversation with Knurov. “It’s good how this participation will be found,” she agrees with Knurov (d. 2, appearance 2). In the eyes of the eldest Ogudalova, a daughter is a commodity, so Larisa’s marriage or the “patronage” of a sympathetic rich man are worth each other to her, her mother.

The main event in the first act is the return of Paratov to Bryakhimov. His arrival is important not only for influential people of the city. Both the tavern servants and the gypsies are happy to see him. Paratov is everyone's favorite. When he talks about the mechanics from the “Swallow”: “He’s a foreigner, he’s Dutch, his soul is short; they have arithmetic instead of a soul” (D. 1, Rev. 6) - the reader (viewer) has the right to expect that Paratov himself is a truly Russian man with a broad soul. Paratov strives to be perceived this way. But here it is revealed that it is not difficult for him to find with merchants mutual language: “I, Mokiy Parmenych,” he turns to Knurov, “have nothing cherished; If I find a profit, I’ll sell everything, anything” (D. 1, Rev. 6). This very frank self-confession is followed by a message about marrying a girl with a very rich dowry. Ostrovsky shows that in Russian society there is a process of erasing differences between classes. The big gentleman thinks and acts quite like a merchant. The fact that Paratov, with his education and intelligence, the ability to feel the beautiful, serves the same idols as the merchants, dramatically sharpens the conflict and inevitably brings disaster closer.

It is noteworthy that compared to strongmen of the world Therefore, the comic actor Arkady Schastlivtsev (his role is secondary in the plot) appears as a more natural person. His reactions to the world are more direct, but this only aggravates his position as a buffoon, with whom the enlightened Russian tyrants of the newest formation “take their breath away”. Larisa’s fiancé finds himself in a similar buffoonish position, to whom rival men are constantly trying to show his true place. Larisa herself, whom the “medicis” look at as a thing, is also related to Robinson.

During the meeting with Larisa (house 2, appearance 8) Paratov behaves like a director and an actor at the same time. His appeal to Shakespeare's Hamlet can be explained by the desire for play, changing roles, masks. Paratov is an extremely self-centered person, accustomed to excelling in everything and, above all, in love. His male vanity is flattered that Larisa is still in the grip of passionate feelings. Undoubtedly, he belongs to the “predatory” type of heroes (“paraty” - strong, beast of prey). In response to Larisa’s request not to abuse her frankness, Paratov hypocritically declares: “I, Larisa Dmitrievna, am a person with rules, marriage for me is a sacred matter” (D. 2, Rev. 8). The truth of these words is refuted by his entire subsequent behavior, the entire course of events. For him, marriage is a profitable deal; he sells his freedom, his attraction to Larisa, and the possible prospect of happiness with her for a large dowry of his unloved metropolitan bride.

Without exaggeration, we can say that pride is the “Archimedes lever” that moves action. “Everyone loves themselves,” Larisa says bitterly.

Karandyshev, planning a dinner party, cherishes a secret desire to laugh at the rich “fanfarons” and take revenge on them. At dinner, he raises a toast to his fiancée Larisa - and says word of praise to yourself. Karandyshev feels himself at the zenith of greatness, and his guests only see how funny he is. In the struggle of ambition, the strong and successful win. Paratov, mocking the host of the dinner, achieves his goal: in the eyes of Larisa, Karandyshev is humiliated, and therefore destroyed. Larisa is freed from internal obligations to the groom.

Karandyshev also does not think about the fact that for Larisa, marriage with him is a compromise, that she hopes to find solitude and peace in the family. For him, to become related to the noble Ogudalov family, to get a beautiful wife is “to play for promotion.” Therefore, he dreams of a grand, magnificent wedding, which Larisa hates.

At the center of the drama is the fate of a charming and talented homeless woman, around whom there is frank and cynical bargaining. As the action develops, the “torture of feelings” (B. Eikhenbaum’s term) of the heroine is prolonged as much as possible. Paratov, who decided to destroy Karandyshev, does not think about the pain he will cause Larisa.

The dominant motives of the play are formed and supported by the musical romance element. Larisa sings a romance based on Baratynsky’s poems “Don’t tempt me unnecessarily.” This elegy is dominated by disappointment, fatigue of the soul, and inability to seduce love. Romance can be seen as the key to the heroine's drama. Larisa's singing is the voice of a tormented soul. The girl in the play, experiencing a high romantic feeling for Paratov, tried, but could not come to terms with the role of the bride of an unloved man whom her mother kept in the house “just in case.”

In the analyzed play “Dowry” by Ostrovsky, as in romances, there are many internal paradoxes. Larisa's suffering, it would seem, has reached last line. And suddenly she heard in the words of the admiring Paratov what she had been waiting for and wanted to hear, and in her own way she perceived and interpreted his unsteady but passionate confessions. Her soul instantly responds to the loving, excited voice of her beloved. Living for Larisa means loving. Therefore, without hesitation, she agrees to go beyond the Volga with a man in whom she had already lost faith (D. 3, Rev. 12). Paratov’s remark - “She will go,” addressed to Knurov and Vozhevatov, seems to cancel out the entire previous situation (Karandyshev’s matchmaking, Larisa’s consent to marriage). Paratov always feels like the master of the situation.

For Karandyshev, the flight of the guests and the bride is a terrible blow. His monologue: “Yes, it’s funny... I funny man..." (D. 3, Rev. 14) - full of pathetic intonations. And the reader (viewer) - almost for the first time - begins to sympathize with him. Psychological characteristics this character becomes noticeably more complicated, his position is dramatized. Karandyshev is going to take revenge on his offenders, and this rebellion against them: “I will take revenge on each of them, each one, until they kill me” (D. 3, Rev. 14) - is completely natural.

In Ostrovsky’s “Dowry,” a significant place is devoted to the motive of the game, which the author developed in many ways both in the action of the play, and in the characters, and in the relationships of the characters. This and cruel joke with the actor Schastlivtsev, whom Paratov passes off as the foreigner Robinson and promises to send to Paris. But “Paris,” where Schastlivtsev ends up, is a Bryakhimov restaurant. This is also a play on the feelings and egos of the central characters.

This is also one of the forms of conflict embodiment. In the second act, Paratov talks with Larisa's mother. He playfully remarks: “It’s not for us, frivolous gentlemen, to start new turns!” (Revelation 7). In fact, he is far from a gentleman: a noble gloss is his mask, and behind it is the nature and interests of a businessman. Kharita Ignatievna is trying to reveal Paratov’s game, to discover his secret intentions: “I understand: do you want to marry profitably?” Marrying the dowryless Larisa is impossible for Paratov - this is a game not worth the candle: “After all, I almost married Larisa - I wish I could make people laugh! Yes, he was playing a fool” (D. 1, Rev. 7). And the relationship with Larisa itself, which awakens the passion of a player in Paratov, is a cruel, dangerous game, a completely conscious risk: “I will give up all calculations, and no force will snatch you from me; perhaps together with my life” (D. 3, Rev. 12). In the recognition scene, Paratov’s florid speeches are regarded by Larisa as a game of words: “No, no, Sergei Sergeich, you don’t tell me phrases!..” (d. 4, appearance 7). The concept of “game” is realized in the play in a metaphorical sense: “life is a game.” “I have lost more than a fortune, I have lost you; I myself suffer, and I have made you suffer” (D. 3, Rev. 12). Last action begins with a scene card game, and is followed by an episode of Larisa’s toss, where Knurov and Vozhevatov rely on chance.

The “cruel game” of Paratov and Larisa ended with the heroine finally revealing the true Paratov, for whom calculation and benefit are above all. For Larisa, disappointment in her loved one is tantamount to losing the meaning of life. Suffering from Paratov’s betrayal, the dowry woman finds no sympathy in anyone, not even in her childhood friend, Vozhevatov. The last dialogue in the play, between Larisa and Karandyshev, takes place on strong emotional swings. The killer word “thing”, which Karandyshev finds for his ex-fiancee, becomes one of the leitmotifs of this last conversation. “I take you, I am your master,” says Karandyshev (no. 4, appearance 11). But then, shocked by Larisa’s intention to go to Knurov, he softens: “Larisa Dmitrievna! Stop! I forgive you, I forgive everything.” Karandyshev begs to make him happy and confesses his love. And then - in response to Larisa’s categorical refusal and contempt - a new emotional change follows: “So don’t let anyone get you!” Larisa's ex-fiancé, who decided to protect her and avenge her (one of all and one against all), cannot maintain this height and kills his beloved, confirming the view of her as a thing (B. O. Kostelyanets).

Larisa regards Karandyshev's shot as a blessing. She does not have the integrity of Katerina, so Larisa found herself on the verge of compromise and moral failure, although a passionate dream of purity and beauty is alive in her human relations. Death allows her to maintain integrity and height, without losing her dignity. But, as A.I. Zhuravleva emphasizes, “the more gentleness and forgiveness the heroine has, the sharper the viewer’s judgment.”

The meaning of the title of the play “Dowry,” which we analyzed, is focused not only on the social and everyday, but also on the moral psychological conflict. “You can’t call Katerina a dowry. It is rich: behind it is the power of tradition, the power of the people's worldview and folk poetry. Larisa is beautiful, but she is on her own,” N. N. Skatov rightly noted. The heroines of Ostrovsky’s two dramatic masterpieces appear individually unique and are among the most charming female images Russian and world literature.

The famous play “Dowry,” which Ostrovsky wrote over four years from 1874 to 1878, was considered by the author himself to be one of his best and most significant dramatic works. Although shown on theater stage in 1878, it caused a storm of protest and indignation among both spectators and critics; the play received its well-deserved share of popularity only after the death of the famous Russian playwright. A clear demonstration of the main idea that the author wanted to show people that money rules the world, and in modern society they are the main one driving force, which allows their owners to control the destinies of other people who depend on them, was not to the taste of many. Like other innovations in the play, incomprehensible to a wide circle public, all this caused a rather harsh assessment from both readers and critics.

History of creation

In the early seventies of the nineteenth century, Ostrovsky worked as an honorary justice of the peace for the Kineshma district; as part of his service, he participated in various high-profile trials and was well acquainted with the criminal reports of that time, which gave him rich wealth as a writer. literary material for writing works. Life itself gave him subjects for his dramatic plays, and there is an assumption that the prototype storyline in "Dowry" was the tragic death of a young woman whom he killed own husband, Ivan Konovalov, local Kineshma district.

Ostrovsky began the play in late autumn (November 1874), making a note in the margin “Opus No. 40”, stretching out its writing over four long years, due to parallel work on several other works, and finishing it in the autumn of 1878. The play was approved by the censor, preparations began for publication, which ended with its publication in the magazine " Domestic notes"in 1879. This was followed by rehearsals of theater companies in Moscow and St. Petersburg, who wanted to perform the play on the stage, presenting it to the audience and critics. Premieres of "Dowry" both in Maly and in Alexandria theaters were a failure and caused sharp negative judgments from theater critics. And only ten years after Ostrovsky’s death (the second half of the 90s of the 19th century) the play finally achieved well-deserved success, largely thanks to the enormous popularity and fame of the actress Vera Komissarzhevskaya, who played the main role of Larisa Ogudalova.

Analysis of the work

Story line

The action of the work takes place in the Volga town of Bryakhimov, which looks like the town of Kalinov from the play “The Thunderstorm” only after 20 years have passed. The time of such tyrants and tyrants as Kabanikha and Porfiry Dikoy has long passed, “ finest hour"for enterprising, cunning and resourceful businessmen, such as the millionaire Knurov and the representative of a wealthy trading company Vasily Vozhevatov, who are able to buy and sell not only goods and things, but also human destinies. The first act of the play begins with their dialogue, which tells about the fate of the young woman Larisa Ogudalova, deceived by the rich master Paratov (a kind of version of the matured Boris, Dikiy’s nephew). From a conversation between merchants, we learn that the first beauty of the city, whose artistry and charm have no equal, is marrying a poor official, absolutely insignificant and pathetic in their opinion, Karandyshev.

Larisa’s mother, Kharitona Ogudalova, who herself raised three daughters, tried to find a good match for each daughter, and for the youngest, most beautiful and artistic daughter, she prophesies a wonderful future with a rich husband, only everything is spoiled by one simple and well-known fact for everyone: she is a bride from poor family and has no dowry. When the brilliant young master Paratov appears on the horizon among her daughter’s admirers, the mother tries with all her might to marry her daughter to him. However, he, having played with Larisa’s feelings, leaves her for whole year without any explanation (during the dialogue it turns out that he squandered his fortune and is now forced to marry the daughter of the owner of the gold mines in order to save his situation). Desperate Larisa tells her mother that she is ready to marry the first person she meets, who becomes Yuliy Kapitonich Karandyshev.

Before the wedding, Larisa meets Paratov, who has returned after a year's absence, confesses her love to him and runs away with him from her unloved groom on his steamer "Swallow", which the unlucky bankrupt also sells for debts. There Larisa tries to find out from Paratov who she is now to him: his wife, or someone else, then she learns with horror about his future marriage to a rich bride. Heartbroken Larisa is approached with an offer to take her to the Paris exhibition, and in fact become his mistress and kept woman, by millionaire Knurov, who wins this right from Vozhevatov (after consulting, the merchants decide that such a diamond as Larisa should not go to waste, they play her fate by tossing a coin). Karandyshev appears and begins to prove to Larisa that for her fans she is just a thing, a beautiful and exquisite, but absolutely soulless object, with which you can do as its owner wants. Crushed by life's circumstances and the callousness of businessmen who sell and buy so easily human lives, Larisa finds this comparison with the thing very successful, and now in life, having not found love, she agrees to look only for gold, and nothing else. Insulted by Larisa, who called him pathetic and insignificant, Karandyshev, in a fit of jealousy, anger and injured pride, with the words “So don’t let anyone get you!” shoots Larisa with a pistol, she dies saying that she blames no one and forgives everyone everything.

Main characters

main character plays, Larisa Ogudalova, a young woman without a dowry from the city of Bryakhimov, is a slightly older Katerina from the play “The Thunderstorm” previously written by the same author. Their images are united by an ardent and sensitive nature, which ultimately leads them tragic ending. Just like Katerina, Larisa is “suffocating” in the dull and musty town of Bryakhimov, among its inhabitants, who are also bored and dreary here.

Larisa Ogudalova finds herself in a difficult situation life situation, distinguished by some duality and undeniable tragedy: she is the first smart and beautiful woman in the city and cannot marry a worthy man because she is without a dowry. In this situation, two options appear before her: to become the kept woman of a rich and influential married man, or choose as your husband a man of lower social status. Grasping at the last straw, Larisa falls in love with the image of a handsome and brilliant man she created, the bankrupt landowner Sergei Paratov, who, like Boris, Dikiy’s nephew in “The Thunderstorm,” finds himself in real life a completely different person. He breaks the heart of the main character and with his indifference, lies and spinelessness literally “kills” the girl, i.e. becomes the reason for it tragic death. The tragic death becomes a kind of “good deed” for the main character, because for her the current situation became a life tragedy that she could not cope with. That is why in our last minutes, dying Larisa does not blame anyone for anything and does not complain about his fate.

Ostrovsky portrayed his heroine as passionate and passionate nature, who experienced severe mental trauma and betrayal of a loved one, who, nevertheless, did not lose her sublime lightness, did not become embittered and remained the same noble and pure soul as she was throughout her life. Due to the fact that Larisa Ogudalova’s concepts and aspirations were radically different from the value system dominant in the world around her, although she was constantly in the center of public attention (like a beautiful and graceful doll), in her soul she remained lonely and not understood by anyone. Absolutely not understanding people, not seeing lies and falsehood in them, she creates for herself perfect image The man Sergei Paratov becomes falls in love with him and brutally pays for his self-deception with his life.

In his play, the great Russian playwright surprisingly talentedly portrayed not only the image of the main character Larisa Ogudalova, but the people around her: the cynicism and unscrupulousness of the hereditary merchants Knurov and Vozhevatov, who played out the girl’s fate by simple lot, the immorality, deceit and cruelty of her failed fiancé Paratov, greed and depravity her mother, trying to sell her daughter as profitably as possible, the envy, pettiness and narrow-mindedness of a loser with the heightened pride and sense of ownership of the jealous Karandyshev.

Features of the genre and compositional structure

The composition of the play, constructed in a certain way in a strict classical style, contributes to an increase in emotional tension among viewers and readers. The time interval of the play is limited to one day, in the first act the exposition is shown and the plot begins, in the second act the action gradually develops, in the third ( dinner party in the Ogudalovs) - culmination, in the fourth - tragic ending. Thanks to this consistent linearity compositional construction the author reveals the motivation for the characters’ actions, which becomes well understood and explainable for both readers and viewers who realize that people act one way or another not only because of their psychological characteristics, and also due to the influence of the social environment.

Also, the play “Dowry” is characterized by the use of a unique system of images, namely “speaking” names invented for the characters: the name of an exalted nature, Larisa Ogudalova translated from Greek as “seagull”, the name Kharita is of gypsy origin and means “lovely”, and the surname Ogudalova comes from the word “gudat” - to deceive, deceive. The surname Paratov comes from the word “paraty”, which means “predator”, Knurov - from the word “knur” - wild boar, the name of Larisa’s fiance Yulia Karandysheva (the name is in honor of the Roman Gaius Julius Caesar, and the surname is a symbol of something small and insignificant ) the author shows the incompatibility of desires with the capabilities of this hero.

In his play, Ostrovsky wanted to show that in a world where money rules and everyone has a certain social stigma attached to them, no one can feel free and do what they really want. As long as people believe in the power of money, they will forever remain hostage to social cliches: Larisa cannot become the wife of a loved one because she is without a dowry, even rich and influential merchants, just like the bankrupt Paratov, are bound hand and foot by social dogmas and cannot marry at will, to receive love and human warmth just like that, and not for money.

Thanks to enormous power emotional impact, scale, topicality of the issues raised and undeniable artistic value, Ostrovsky’s play “Dowry” occupies place of honor among the classics of world drama. This work will never lose its relevance, each generation of readers, immersed in the world of experiences of the characters in the play, will discover something new and find answers to eternal spiritual and moral questions.

The play “Dowry” is one of the psychological dramas that Ostrovsky turned to in the 1870s. It is somewhat out of the general context of the author’s dramaturgy; along with social issues, it contains psychological issues. After we carry out brief analysis the play "Dowry", the accents that Ostrovsky placed in the work will become more obvious, and the author's idea will also be clear.

Social and psychological problems of the play “Dowry”

A dowry is a girl who does not have a dowry, which makes it difficult for her to get married. This determines the main conflict in the play. The social status of the heroes determines their fate, their outlook on life and, in many ways, their character. Thus, at the beginning of the play, two successful merchants Knurov and Vozhevatov talk about the omnipotence of capital.

We will begin the analysis of the play "Dowry" with this thought. They are used to measuring everything with money. It is noteworthy that in response to Knurov’s remark about how nice it would be to “take a ride” with Larisa to Paris, and then fall in love with her for a short time, Vozhevatov replies: “Every product has a price,” “I... won’t give away too much.” In the hierarchy of life values, the main place is occupied by money, wealth, and luxury. This determines the attitude of people towards each other. Paratov commands universal respect because he wastes money. Larisa's mother, Kharita Ignatyevna, welcomes rich suitors without thinking about her reputation. According to the merchants, in her house there is a “bazaar”, “camp”. Karandyshev envies wealthier people, which exacerbates his painful pride.

In this world, everything is bought and sold. When analyzing the play "Dowry", note this. Paratov says that he is “marrying a million,” without having any feelings for the bride. In the finale, Larisa, having learned that Knurov and Vozhevatov are playing a coin toss over who will get it, exclaims bitterly: “They are right, I am a thing, not a person.”

But psychological conflict is no less important. It is determined by the contradiction between the world of capital, its values ​​and the desire for sincerity of feelings and purity of human relations. Larisa’s tragedy is that she “was looking for love and did not find it.” Knurov notes that Larisa is “simple” in the sense that she does not know how to be hypocritical or cunning, luring suitors. She believes in Paratov’s feelings, realizing only in the end that he deceived her. He does not immediately realize how petty and insignificant Karandyshev is. Contradictions between internal aspirations and reality lead to a dramatic outcome.

Analysis of the play “Dowry” - system of images

The system of images in the drama seems to form two poles. On one there are rich merchants, wealthy people, respected in the city. On the other is Larisa Ogudalova. The merchants, unlike other Ostrovsky dramas, are educated and travel to Europe. However, their life priorities– it’s still about money and pride. Such are Knurov, Vozhevatov, Paratov, Karandyshev, despite the difference in social status. Everyone believes that Paratov is a “brilliant gentleman”, a man of a broad soul. In fact, for him “there is nothing cherished”; marriage for money is more important than Larisa, who truly loves him. Karandyshev, speaking about his feelings for the bride, only thinks about how everyone will envy him now. Even the mother of the main character, Kharita Ignatievna, sells her daughters, trying to get them married. But as can be seen from the analysis of the play "Dowry", this does not bring them happiness.

The main character of the play is Larisa Ogudalova. Her name comes from the Greek "seagull". Larisa is a romantic, talented, subtle person. She plays beautifully, she is noble and beautiful. But because of poverty, they look at her only as a momentary entertainment.

Larisa is taller, bolder, better than those around her. With all the external attention to herself, Larisa is lonely. Her spiritual qualities, intelligence, and talent turn out to be of no use to anyone: they only go to her house to have fun and spend time. Love for Paratov also does not find a response. He seduces her, knowing that he would not exchange a million-dollar bride for a dowry. Karandyshev puts his wounded pride above all else, and his marriage to Larisa is a reason for him to assert himself. Understanding her loneliness, hopelessness in the world of the omnipotence of capital and calculation lead Larisa to think about “how it’s good to die,” to forgive everyone and die. That’s why she calls Karandyshev’s shot a “good deed.”

In this article you read a brief analysis of the play "Dowry" by Ostrovsky. Visit our literary blog, where you will find many articles on similar topics. Also read