Proverbs and sayings from Ostrovsky's work. The most famous plays by A.N. Ostrovsky. “our people – we’ll be numbered!”

GBPOU "Bryansk Construction College" named after Professor N.E. Zhukovsky"

PROVERBS AND SAYINGS IN THE PLAYS OF A.N. OSTROVSKY

"THE OWN PEOPLE - WE'LL BE COMBINED!"

AND "THE DOWER"

We are now trying to portray all our ideals and types... down to the smallest everyday

details, and most importantly, we consider the first

a condition for artistry in the depiction of a given

such as the correct rendering of his image of expression, i.e.

language and even speech pattern.

A.N. Ostrovsky

According to linguists, there are 307 proverbs and sayings in the texts of his plays. The author included some of them in the title of his plays:

Our people - we will be numbered. Comedy, 1849.

Don't sit in your own sleigh. Comedy, 1852, publ. 1853.

Poverty is not a vice. Comedy, 1853, publ. 1854.

Don't live the way you want. Folk Drama, 1854, publ. 1855.

There's a hangover at someone else's feast. Comedy, 1855, publ. 1856.

Did not get along! Pictures of Moscow life, 1857, publ. 1858.

There are toys for the cat and tears for the mouse, 1858, publ. 1858.

An old friend is better than two new ones, 1859, publ. 1860.

Your own dogs are biting, don’t bother someone else’s! 1861, publ. 1861.

Whatever you go for, you will find (The Marriage of Balzaminov) 1861, publ. 1861.

Sin and misfortune do not live on anyone. Drama, 1863.

Simplicity is enough for every wise man. Comedy, 1868.

Every day is not Sunday. Scenes from Moscow life, 1871.

There was not a penny, but suddenly it was altyn. Comedy, 1871, publ. 1872.

Truth is good, but happiness is better. Comedy, 1876, publ. 1877.

Guilty without guilt. Comedy, 1883, publ. 1884.

Not of this world. Family Scenes, 1884, publ. 1885.

It shines, but does not warm, 1880, publ. 1881.

“Our people – we’ll be numbered!”

The motif of counting, or rather shortchanging, runs through the entire play, which is reflected in the speech of the characters through the use of proverbs and sayings. In this work, the author uses, according to our calculations, 32 folk proverbs and sayings.

Samson Silych Bolshov

“He’ll go around the world in one shirt”

“These people cross themselves with one hand, and climb into someone else’s bosom with the other”

“You chase after more, and the last will be taken away”

“And they strive to please God at someone else’s expense”

“My brainchild: I want to eat it with porridge, I want to churn butter”

“The goose is not a friend to the pig”

“Know, cricket, your nest”

“Women and drunks have cheap tears”

Podkhalyuzin Lazar Elizarych

- ability to deceive: “Our people, let us be numbered!”;

- the ability to adapt: ​​“In good times to speak, in bad times to remain silent” and “Everything changes - there will be torment”;

- the desire to humiliate those who are weaker: “Thunder does not thunder from a cloud, but from a dunghill”;

- inflated conceit: “At least the grass won’t grow after me.”

"Dowry"

We were able to find only 6 such units in this work.

Vozhevatov uses them twice: “Every product has a price” and “It’s a sin and you’ll shoot with a stick.”

Paratov uses them twice: “There is no image for taste and color” and “One loves watermelon, and the other loves pork cartilage.”

1 time - Knurov: “An expensive diamond requires an expensive setting.”

1 time - Karandyshev: “All that glitters is not gold.”

“Our people – we’ll be numbered!”

“We’ve done something weird in our time, now it’s time for us”

“What an ace, but he flew into the pipe”

“Youth is not a bottomless pot, and even that, they say, is emptied”

“If you send a small child, we won’t fool you”

"Dowry"

"There is no equality in love"

“In love you sometimes have to cry” “You can’t live in the world without cunning”

"Not all villains are criminals"

A.N. Ostrovsky has a deep understanding of Russian life and a great ability to quickly and vividly depict its most significant aspects.

N.A. Dobrolyubov

Literature

1. A.N. Ostrovsky Selected plays. – M.: 1982.

2. Dal V.I. Proverbs and sayings of the Russian people. - M.: 1957.

3. Belokurova S.P. Dictionary of literary terms. – St. Petersburg: 2006.

Inability to be a hypocrite. Love. Zamoskvorechye. Controversy surrounding the play. Katerina's classes. The idea of ​​the drama "The Thunderstorm". The main theme of "Thunderstorms". Speech characteristics. Meaning of the title. How Katerina was raised. The results of the heroes' actions. Moscow State University. Columbus Zamoskvorechye. Curly. Maly Academic Art Theater. The behavior is hypocritical. Human feelings. The meaning of the title of the play "The Thunderstorm".

“Ostrovsky’s play “Dowry”” - Poetic lines. A sad song about a homeless woman. Does Paratova need Larisa? The mystery of Ostrovsky's play. Analysis of the play. What kind of person is Paratov? Gypsy song. What is Karandyshev like? Love for Larisa. Romance. Larisa's fiance. Problematic issues. Skills for expressing your thoughts. What does the gypsy song add to the play and film? Ostrovsky. Cruel romance. Acquiring text analysis skills. Shot by Karandyshev.

“Ostrovsky’s play “The Thunderstorm”” - Prove the validity of N. Dobrolyubov’s words. Could Katerina find happiness in her family? The playwright recreated unusually bright, lively and recognizable characters in life. The history of the creation of the drama "The Thunderstorm". Katerina's struggle for happiness. "Thunderstorm" in Russian criticism. Give examples from the text. Varvara. Literary characters. Dikoy Savel Prokofich is a typical representative of the “dark kingdom”. Why did Katerina decide to publicly repent of her sin?

“Heroes of “The Snow Maiden”” - The beauty of nature. Fantastic characters. Image of Lelya. Love. Winter's Tale. Shepherd's horn. Spring fairy tale. Musical instruments. Respect for the cultural traditions of the people. The elements of Russian folk rituals. Contents of songs. Ancient Russian rite. Birds dancing. Morning of love. Music. The author's ideals. Heroes. What heroes are just fabulous. The finale of the opera. A.N. Ostrovsky. Snow Maiden. Songs. Folklore.

“The Play “The Dowry”” - All the hero’s actions are motivated by the desire to maintain such an impression. A seasoned leader, for example. It’s like being on an unprecedentedly high-speed ship, like being on a luxurious villa. Become a rich kept woman?.. Former merchants are turning into millionaire entrepreneurs. Katerina. Paratov's image. The image of Paratov Yu. Olesha admired the names of Ostrovsky's heroes. Larisa. It is said about Paratov: “A brilliant gentleman.” Or maybe this is the right solution: Knurov’s frank proposal...

“Ostrovsky “Dowry”” - Analysis of the drama “Dowry”. Discussion of the image of L.I. Ogudalova. What do we learn about Paratov. Characters. Paratov Sergey Sergeevich. The symbolic meaning of names and surnames. At first glance, the first two phenomena are exposure. Creative ideas of A.N. Ostrovsky. A.N. Ostrovsky Drama "Dowry". Karandyshev. Usually the names of Ostrovsky's plays are sayings, proverbs. The purpose of the lesson.

Almost fifty plays were written by Ostrovsky. Some of them are more, others less known. Some are constantly performed on stage, filmed in films and on television, others are almost never staged. But in the minds of the public and the theater there lives a certain stereotype in relation to what is called “Ostrovsky’s play.” Ostrovsky? Well, this is a Zamoskvoretsky comedy or a domestic drama with the obligatory samovar on the table and geraniums on the windows, with leisurely action, a common morality, matchmakers in colorful scarves, bearded tyrant merchants.

Upon closer and more thoughtful acquaintance, Ostrovsky threatens to lead us into a dead end. We impose a template, and the author breaks out from under it and often turns out to be unlike himself, remaining, however, himself... Shakespeare’s tragedy of the passions on Russian soil (“Sin and misfortune live on no one”), and next to it is light, sparkling with all shades humor, virtuoso, just without music, Moscow vaudeville (trilogy about Balzaminov). Shchedrin-style satire with a political background (“Simplicity is enough for every wise man”) and then a psychological melodrama (“Guilty without guilt”).

The playwright invariably proceeded more from life, its impressions and suggestions, than from the frozen and sanctified tradition of the genre form. Therefore, even within the comedy genre of dramatic art alone, we will find in him so many plays that do not fit into any theoretical canon, bordering between drama and comedy, comedy and farce. And if the play, according to the author’s concepts, did not reach the high concept of “comedy” as something complete in thought and plot, Ostrovsky resorted to more than modest genre designations: “Pictures of Moscow life” or “Scenes from the life of the outback” . But in essence, all of this is comedy. Ostrovsky's simplicity sometimes confused critics: it seemed to border on primitiveness. N. K. Mikhailovsky, summing up his path as a playwright, once said that all his work is endless variations of just two qualities in characters: “cleft palate” and “fox tail”. Indeed, much of Ostrovsky’s plays rests on predatory violence and deception. Much, but not all.

By using proverbs as the titles of his plays, Ostrovsky confused people who were accustomed to perceiving art by its sign, a clear author’s self-characterization, and who did not go deeper. Like the denunciation of the “wolf” and “fox” nature of a bad person, Ostrovsky’s hopeful morality seemed well-known and complacent. “Poverty is not a vice”, “Don’t sit in your own sleigh” - the titles promised a monosyllabic, textbook thought-teaching, not rich in content. But the life depicted in the plays struck with authentic surprise, and the “colored” language made the characters alive to the point of illusion.

Art theorists have long noticed that the range of basic themes and motifs in relation to the entire repertoire of world drama is very limited: sometimes they even said that only forty-two starting points make up the arsenal of world art - all the rest are variations. The essence of artistic originality, apparently, is in the personality of the author and in the way the faces and positions are colored by the time in which he creates. In fact, love, jealousy, envy, generosity, betrayal, the desire to get rich or make a career, relations between fathers and children, men and women, class inequality, etc. - all these collisions, which are not new in themselves, are presented in Ostrovsky in their infinitely varied and often bizarre combinations.

Theater historian E. G. Kholodov calculated that in Ostrovsky’s forty-seven original plays there were 728 characters - a whole crowd. If for a moment you imagine her coming to the Ostrovsky monument at the Maly Theater, she would fill almost the entire Theater Square. But can it be said that at least one face in this huge motley crowd simply repeats another, merges with another? No, everyone is tightly attached to his time, environment and environment, has a special character and temperament, distinguishing him by intonation and style of speech. In other words, everyone individual.

Apparently, just as a set of twenty-three pairs of chromosomes creates a unique human personality at birth every time, so the combination of a few initial dramatic or comedic situations under the pen of an artist like Ostrovsky is capable of conveying a vibrant variety of situations and characters.

The characters in Ostrovsky's comedies are historically accurate and ethnographically vivid. But we read and watch his plays not just to find out how people of a bygone era once lived, loved, and deceived each other, what costumes they wore, what sayings they used, and what now-forgotten habits they paid tribute to. If we were possessed only by a coldish cognitive interest, the audience would be satisfied with the effect of a “wax museum” from the theater with all the naturalness of hairstyles, clothes and utensils. In fact, you can learn about what a merchant, clerk, guard, pupil, tax farmer, noble whip or provincial actor was - what their typical appearance, interests and activities were - by stopping in front of the museum window. The classical play, and Ostrovsky’s theater in particular, gives us incomparably more - recognition of characters, passions, claims and interests that still resonate today and have an undeniable relationship with ourselves, people of a different era and environment.

This phenomenon of the “eternity” of Ostrovsky’s theater is partly shed light by one statement of the great scientist of our time, Academician V. I. Vernadsky:

“Yesterday my thought was transported to the distant past - sometimes some consciousness of the unity and immobility, so to speak, of the historical process passes before me unusually brightly and strongly. In this sense, comedy always gives me a lot, that is, this, together with the fairy tale, is the only form that gives you an idea of ​​the spiritual life of humanity under the most diverse historical conditions, in different climates and places over the last 2000-2500 years.”

As is clear from the context of the letter, these thoughts were inspired by Vernadsky directly by re-reading Ostrovsky’s works. And how remarkable it is that, in elucidating the origins of the “eternity” or, at least, the longevity of his plays, Vernadsky names, next to comedy, the fairy tale, a genre of nameless folk art. As is known, Ostrovsky’s dramaturgy is closely related to folklore in its other form, to the proverb. In his plays, according to some estimates, there are 305, according to others - 307 proverbs and sayings.

Many of his dramas and comedies are called proverbs. The speech of Ostrovsky’s heroes, in the old expression of B. Almazov, “is just boiling” with apt folk words.

The famous literary critic Academician A.I. Beletsky once wrote a tiny, but brilliant in form and very meaningful sketch, a kind of critical “poem in prose” dedicated to Ostrovsky. It was called "The Wisdom of the Proverb." In his discussion of the playwright’s work, Beletsky started from an idea beautifully formulated in one of Baratynsky’s poems:

We diligently observe the light.

We watch people diligently

And we hope to achieve miracles.

What is the fruit of science over many years?

What will the keen eyes finally spy?

What the confused mind will finally understand

At the height of all experiences and thoughts?

What? The exact meaning of the popular saying.

These lines reveal an amazing paradox that is directly related to Ostrovsky. The wisdom of the proverb, which seemed something archaic, hopelessly backward and unnecessary, returns to man after the most complex trials of sophisticated consciousness, “at the height of all experiences and thoughts,” as an undoubted and unshakable value. The same can be said about Ostrovsky's dramaturgy. It was more than once declared obsolete, outdated in its simple morality, but in the provisions and characters of his plays important spiritual experience, popular common sense and enormous artistic vigilance were accumulated, which returned the attention of new generations to it.

Ostrovsky is alien to philosophical abstraction; he never “thinks.” But, possessing artistic clairvoyance, he teaches his viewers to understand people - to see desires, intentions, passions, benefits, high and low impulses behind the words and distinguish their connection with circumstances, the environment and the social world.

The playwright's path to the hearts of his viewers and readers is always direct and sincere. We despise his “tyrants” and laugh at the “wise men” and heroes of the “budget”, merchants who are bored “with big capital”. We feel hurt and touched when, clutching a torn hat to his chest, Lyubov Tortsov denounces the untruth, Neschastlivtsev’s bass solemnly thunders in defense of trampled justice, Katerina desperately dreams of happiness...

Much continues to sound in these plays with living joy and pain, echoing in our soul.

Ostrovsky had a rare sense of stage truth, intuition for positions and words, which - with talented performance - flew from the stage to the audience like a spark. But his dramaturgy was also smart, although snobbish critics sometimes reproached the playwright for the weak “intellectuality” of his creations. Is this worth refuting? Philosopher John Locke said: “There is nothing in the intellect that is not in the senses.”

Ostrovsky’s heroes do not solve sophisticated head mysteries, but the author’s world is so rich in a heartfelt, mature understanding of characters and passions that, rereading an old and seemingly familiar play by a classic, the reader, as well as the viewer, are captured by a joyful feeling of surprise, novelty and involvement. The main means of this miracle of mutual understanding with people of new generations remains Ostrovsky’s language - living, semi-precious, woven before our eyes into a bright carpet.

"Ostrovsky Theater" - 1. "Columbus of Zamoskvorechye." Biographical information. 2. A.N. Ostrovsky - creator of the Russian national theater. 3.Portrait of A.N. Ostrovsky. 4.Childhood and youth. 5.The first plays by A.N. Ostrovsky. 6. The last years of A.N.’s life Ostrovsky. Lesson-presentation in 10th grade on literature. TOPIC: A.N. Ostrovsky is the creator of Russian theater.

“Ostrovsky’s Dowry” - Born March 31, 1823. in the family of an official. Love Social. Topics: Ostrovsky Alexander Nikolaevich (1823-1886). Conflicts. A remarkable play of the late period of A. N. Ostrovsky’s work is the drama “Dowry”. A. Ostrovsky died on June 14, 1886 in the Shchelykovo estate. Social problems: The position of women in Russian society Rich and poor.

"The Ostrovsky Snow Maiden Lesson" - At least four productions of the play took place in 1900. Opera "The Snow Maiden". The kingdom of the Berendeys and Tsar Berendey in the play. “The Snow Maiden” and the Russian literary fairy tale. The second is the own structure of the Berendey kingdom. Ostrovsky attributes the action of the play to “prehistoric time.” Fairy tale as a genre of literature.

“Ostrovsky Creativity” - Other arts have schools, academies, high patronage, patrons of the arts... The main method is realism. From a letter from I.A. Goncharov to A.N. Ostrovsky. Russian dramatic art has only me. I am everything: the academy, the philanthropist, and the defense. Uses symbols: thunderstorm, lightning rod. A.N. Ostrovsky is the creator of the Russian national theater.

“The Life of Ostrovsky” - The artist admires a stately Russian beauty, bursting with health. The newspaper "Moscow City List" published scenes from the comedy "The Insolvent Debtor." Merchants observed traditions and moral values. N.V. Gogol. The painting “The Merchant's Wife” is beautiful with its picturesque palette. The segment was an exceptional success.

“Biography of Ostrovsky” - Library in the house-museum of A.N. Ostrovsky. One of Ostrovsky's recreational activities was carpentry. Zamoskvorechye. The building of the Maly Theater in Moscow. 1859 Zamoskvorechye (early 19th century). Alexandrinsky Theater in St. Petersburg. Ostrovsky with the staff of the Sovremennik magazine. Grave of A.N. Ostrovsky. House on Zhitnaya Street, where A.N. spent his childhood. Ostrovsky.

There are a total of 22 presentations in the topic

Name:
Nomination: School, Research and scientific work of teachers, 11th grade, Alexander Nikolaevich Ostrovsky

Catchphrases in the early plays of A.N. Ostrovsky

Alexander Nikolaevich Ostrovsky biography.
Early plays by A.N. Ostrovsky was determined by the techniques of his narrative style and his authorial uniqueness. “Poverty is not a vice” (1853), “Don’t get into your own sleigh” (1852), “Don’t live as you want” (1854) marked the early work of the playwright. The very name of these works reflects the author’s originality, which lies in the writer’s obvious use of catchphrases and expressions. Let's look at each drama separately.

“Don’t get in your own sleigh.” The very name of the play indicates the author's appeal to proverbs, sayings, aphorisms and catchphrases. In the text of the play, the author also refers to this type of lexeme. There are 25 winged words in the play: in act 1 – 11, in the second – 4, in the third – 10.

Among all the characters, Stepan’s speech is the most expressive. Communicating with other heroes, he allows in his speech popular words and expressions, proverbs and sayings, vernacular - all this enriches his speech and makes it more colorful and expressive. Within the framework of his dialogues and monologues we find examples of these lexemes..

The play is unique not only in the originality of its plot and themes, but also in its lexical basis. She was highly appreciated by many critics and writers - contemporaries of A.N. Ostrovsky.

The speech of the heroes of the play “Poverty is not a vice” is no less expressive. It is a work in the genre of comedy, consisting of three acts. Written by A.N. Ostrovsky in 1853 and published as a separate edition in early 1854.

The title of the play is telling. It is expressed by a Russian proverb. It is wrong to perceive a person's poverty as a flaw in his character.

During the analysis of the play for the presence of catch words in it, 42 lexical units of this type were identified: in act 1 - 24, in the second - 9 and in the third - 9.

One of the last plays of the early period of A.N. Ostrovsky critics (N.A. Dobrolyubov, A.I. Revyakin and others) consider the drama “Don’t live the way you want.” In this play, compared to the previous ones, catch words and expressions are represented the least, but this does not give reason to assert the linguistic and phraseological poverty of the work.

In the play, 15 cases of the use of popular words and expressions were identified.

It is obvious that within the framework of this play A.N. Ostrovsky resorts to the use of catchwords in order to give expression to their feelings, emotions and thoughts.

Based on a comparative analysis of the early plays of A.N. Ostrovsky revealed the fact that the author intentionally used catchphrases and expressions for the purpose of accurately expressing the thoughts and feelings of the characters, giving their speech a more emotional coloring.

Name:
Nomination: School, Ostrovsky plays The Thunderstorm, Ostrovsky Poverty is not a vice, We will count our own people, Dowry, 11th grade

Position: teacher of Russian language and literature
Place of work: GAPOU PO PKAS
Location: Russia, Penza