Literary and historical notes of a young technician. You are here: Zhuravleva A.I., Makeev M.S. About "The Dowry" Who wrote the dowry

"Dowry" - drama by A.N. Ostrovsky, the fortieth ("jubilee") play written by the great Russian playwright. Amazing, even exceptional stage destiny This play of the 19th century continues to attract the attention of theater historians and literary scholars to this day. Theatrical performances and film adaptations of "Dowry", which have long become classics, still enjoy the love of the domestic audience.

Nina Alisova as Larisa

How could it happen that out of all the huge literary heritage the great Russian playwright A.N. Ostrovsky, only this play, unaccepted and misunderstood by the author's contemporaries, crossed all time limits and gained real immortality?

Let's try to figure it out.

Throughout the 19th and 20th centuries, the attitude of viewers and critics to the work of A.N. Ostrovsky has undergone many changes. Democratic criticism of the late 1850s and early 1860s tried to see in the playwright's works a kind of social protest against the inertia and stagnation of the surrounding reality. Some contemporaries (in particular, the writer and critic P. Boborykin) generally denied Ostrovsky the right to be a playwright, noting the unstaged, even epic nature of his most successful plays.

The most acute controversy was caused by Ostrovsky's drama "Thunderstorm". According to most literary critics, A.N. Ostrovsky gained universal fame as a playwright solely through the efforts of N. Dobrolyubov. Detailed critical analyzes by Dobrolyubov of Ostrovsky's plays on the pages of Nekrasov's Sovremennik became textbooks already in the 19th century. It was Dobrolyubov who invented both the "dark kingdom", and the "ray of light", and a host of other clichés that are still actively exploited in school essays. However, next to Dobrolyubovskaya, another line almost immediately took shape in the interpretation of A.N. Ostrovsky. This is the line of A. Grigoriev, a personal friend of the playwright, who considered the world of his works not at all a “dark kingdom”, but the kingdom of “poetry of folk life” (the articles of M. M. Dostoevsky and M. I. Pisarev gravitate towards it). For Dobrolyubov and Grigoriev, The Thunderstorm was included in different aesthetic contexts (depending on the worldview of the critics, their understanding of the historical patterns and driving forces of Russian life). On one occasion it was read as harsh social drama, in another - as a high poetic tragedy.

The play "Dowry" was much less fortunate. If in the late 1850s - early 1860s Dobrolyubov, Grigoriev, M. Pisarev and other leading critics broke spears in disputes: is Katerina from Thunderstorm "a ray of light in dark kingdom”, then in 1878, when The Dowry appeared, the play was practically not noticed.

Despite the fact that A.N. Ostrovsky considered his fortieth play to be the best dramatic work; its productions in Moscow and St. Petersburg disappointed not only critics, but also longtime admirers of the playwright's work. The “Dowry” was labeled as a very ordinary, boring play with a banal plot and forgotten about for many years.

But really talented works, as a rule, outlive their authors and find a response in the hearts of future generations. The play "Dowry" was provided by A.N. Ostrovsky immortality for centuries. The playwright accurately foresaw this immortality, taking the plot of a cruel urban romance as the basis of the play. The eternal, enduring theme of the relationship between the ideal and the material principles (love and poverty), forever "caught in the net" of the Russian audience. In our opinion, this is precisely what explains the phenomenon of the “Dowry” that has outlived all its critics and persecutors. For almost a century and a half, the play has not left the scenes of the country's leading theaters, and its cinematic versions - Protazanov's "Dowry" (1936) and Khudyakov (1974), E. Ryazanov's "Cruel Romance" (1982) - have remained and remain favorite films for several generations of both Soviet and post-Soviet people.

The history of the creation of the play

A. N. Ostrovsky, being very dependent on the theater, an exclusively theatrical playwright, usually wrote his things in a relatively short time. For 30 years (from 1853 to 1883) his new plays were staged every season on the stages of the main Moscow and St. Petersburg theaters. For his creative life, A.N. Ostrovsky managed to compose fifty-four plays (of which only seven were in collaboration with other playwrights). However, the author deliberately removed his fortieth play "Dowry" from the usual theatrical conveyor, pondered and created it for several years.

As evidenced by Ostrovsky's note on the first page of the autograph, the drama was conceived on November 4, 1874 in Moscow, and completed only in the autumn of 1878.

In parallel with his work on The Bride, the playwright managed to create several very famous plays, which were immediately accepted for production by the Maly Theater: Wolves and Sheep (1875), Rich Brides (1876), Truth is Good, but Happiness is Better (1877). ), "The Last Victim" (1878). All of them have been a great success.

But, as the correspondence of A.N. Ostrovsky, for four years the author literally lived his "Dowry". He constantly returned to this particular play, pondering the storylines, characters and monologues of the main characters; not wanting to miss the slightest detail, he finished his fortieth item in the most thorough manner.

On October 1, 1876, informing his friend, the actor of the Alexandrinsky Theater F. A. Burdin about his work on the comedy “Truth is good, but happiness is better,” Ostrovsky wrote: “All my attention and all my strength are directed to the next big play, which was conceived more than a year ago and on which I have been continuously working. I am thinking of finishing it this year and will try to finish it in the most thorough way, because it will be my fortieth original work.

On a draft autograph of "Dowry", stored in the Department of Manuscripts of the State Library of the USSR. V. I. Lenin, Ostrovsky marked: "Opus 40". A secondary mention of the work on "The Bride" is found in a letter from the playwright to Burdin dated February 3, 1878 from Moscow: “... I am now busy with a large original play; I want to finish it in the winter for the next season, in order to be freer in the summer.

In September 1878, the playwright also wrote to one of his acquaintances: “I am working on my play with all my might; it doesn't look bad."

Hopes, it would seem, were justified. Shortly after the completion of the work, on November 3, 1878, the playwright reported from Moscow: “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”

At the same time, Ostrovsky was negotiating the production of The Dowry in Moscow and St. Petersburg. On October 28, 1878, The Dowry was already approved for staging by the Theater and Literary Committee.

Failure in Moscow

The premiere of "Dowry" took place on the stage of the Maly Theater in Moscow on November 10, 1878. It was held under the sign of the benefit performance of the actor N.I.Muzil, who played Robinson. The second time the play was given as a benefit performance to M.P. Sadovsky (Karandyshev). Ostrovsky repeatedly testified to the great success of the performance in Moscow (see his letter to F.A. Burdin dated December 27, 1878, as well as “Note on the draft “Rules on Prizes ... for Dramatic Works” of 1884).

However, according to most reviewers, the play "Dowry" suffered a complete, undeniable and even final failure.

The staging of Ostrovsky's new work was completed in just ten days. Now it's hard to even believe it. However, for that time it was a completely ordinary phenomenon. It is clear that in such a short time, neither the actors nor the director could even really comprehend the work that was to be presented to the public from the stage.

Glykeria Fedotova

The first performer of the role of Larisa Ogudalova on the Moscow stage was the actress Glikeria Nikolaevna Fedotova. G. Fedotova was a bright actress, who was equally successful in both dramatic and comedic roles. However, the role of Larisa performed by Fedotova was recognized as extremely unsuccessful. Here are some of the critics' remarks: "Definitively deprived of truth and originality"; “the gap between the melodramatic tone taken by the actress and “the rest of the everyday environment” made the face of the actress “false and banal”, etc.

In subsequent productions of "Dowry" at the Maly Theater, Larisa was played by M.N. Yermolov. The role of Karandyshev was played by M.P. Sadovsky, who had the role of "everyday simpleton" and "comedian" in the theater. He also failed to capture one of the play's most psychologically complex images.

A day after the Moscow premiere, on November 12, Russkiye Vedomosti published a review by P. Boborykin, Ostrovsky's longtime and constant opponent. According to the reviewer, the benefit performance of the artist N. Musil (he played Robinson) "gathered all of Moscow, who loves the Russian stage." Everyone expected a good play, but did not wait. “The playwright has exhausted the entire audience, even the most naive spectators,” for the audience “clearly outgrew the spectacles” that Ostrovsky offers it. The reviewer was especially indignant at the uncomplicated plot of The Dowry, for there is no interest in the story of how “some provincial girl fell in love with a scoundrel, agreed to marry an antipathetic vulgar man and, rejected another time by the object of her passion, puts her breasts under the groom’s gun ". The heroine also got it: “... this girl with her suffering could attract our attention, if she were a colorful, large, socially significant person. Alas ... there is nothing of this in her, Larisa speaks banalities, her story about why she considers Paratov, “a libertine and impudent”, to be a “hero”, is simply ridiculous with her mental and moral “baseness”.

Maria Ermolova

In Larisa, Boborykin saw a complete repetition of the heroines from Mad Money and other plays by Ostrovsky, and in Paratov - another scoundrel from a whole series of dissolute vulgarities in the playwright's previous plays (including Vadim Dulchin in The Last Victim). Karandyshev was named the most successful way, but criticism was very embarrassing for his inconsistency and duality. Theater actors of the 19th century were not yet able to play it. Even a very good actor would hardly have been able to "disguise" Karandyshev's duality at the end of the third and fourth acts.

It is very significant that an experienced writer, author of novels and plays, P. Boborykin was unable to comprehend the plot of the play, nor to understand the complexity of the characters and the relationships connecting them. He simplified everything to the extreme, coarsened it, did not grasp the main thing either in the problems of the play or in its artistic embodiment, he did not even come close to the core of the idea.

The rest of the Moscow criticism either echoed Boborykin, or was completely silent.

Unfortunately, in 1878, when neither N. Dobrolyubov nor the most faithful admirer of A.N. Ostrovsky Apollon Grigoriev, there was no one to appreciate the “Dowry” at its true worth. The playwright outlived all his talented critics, giving the right to distant descendants to evaluate their fortieth, "jubilee" work.

Premiere in St. Petersburg

In St. Petersburg, "Dowry" evoked more sympathetic responses. The premiere took place on the stage of the Alexandrinsky Theater on November 22, 1878, at a benefit performance by F.A. Burdin, with the participation of Prime Minister M. G. Savina, who played the role of Larisa. The performance was also attended by: Polonsky (Karandyshev), Burdin (Knurov), Sazonov (Vozhevatov), Nilsky (Paratov), Chitau (Ogudalova), Ardi (Robinson), Vasiliev 1st (Gavrilo), Gorbunov (Ivan), Konstantinov (Ilya), Natarova 1st (Evfrosinya Potapovna).

The actors of the Alexandrinsky Theater, among whom Ostrovsky had many friends, reacted very coolly to new play. Burdin initially objected to Knurov's role. She seemed to him episodic and unimportant for a benefit performance ("accessory role"). N.F. Sazonov refused to play Karandyshev, demanding significant reductions in the text from the author.

Theatrical criticism noted the excellent play of M.G. Savina, but the actress herself did not like the play, just as she did not like her own work in it. On tour in the provinces, where Savina took her favorite roles, she played "Dowry" only three times and left forever. She played Larisa "too perfect", "too incomprehensible" from the point of view of common sense, theater critics and a few reviewers.

The St. Petersburg newspapers Novoye Vremya and Golos twice returned to their evaluation of The Dowry. The play made a “strong impression” on the reviewer of Novoye Vremya, but even he did not see anything new in the plot: neither the type of the main character, nor the other figures are new; the play lacks stage movement, action, etc. The reviewers of The Voice, on the one hand, praised Ostrovsky as a writer of everyday life, emphasizing the precise characteristics and complex characters of her characters. But at the same time, they could not forgive the playwright for too rough realism, the overt cynicism of his heroes (Paratov, Knurov with Vozhevatov, even Larisa). It turned out that critics appreciated The Dowry for its realistically revealed “shameless and cold heartlessness”, which became the main sign of modern progress, but immediately accused the author of underestimating the positive aspects of this notorious progress and impenetrable pessimism.

The inconsistency of critical assessments, in our opinion, is caused by the innovative nature of the play itself, its stage, compositional, psychological complexity, which was far ahead of the canons of its time. Unfortunately, theater critics contemporary to the author, directors and actors who are not used to going beyond their stage roles, were unable to understand Ostrovsky's innovation. On the contrary, in the 1870s, the playwright was more and more often accused of ideological backwardness, hackneyedness, stereotypedness, and the exhaustion of his dramatic poetics. The public insistently demanded the appearance on the stage of other characters, free from pessimism and remnants of the "dark kingdom", that is, heroes who live in the present, responding to social and political problems modernity, hardworking heroes, innovators, fighters.

But the author of The Thunderstorm, The Forest, The Dowry differed sharply from the playwrights who wrote on the topic of the day and indulged the momentary interests of the viewer. He called for the comprehension of deep, hard-to-reach truths and therefore believed not only in the spectator of today, but also of tomorrow, in the spectator of the future. That is why the deeply thought-out, largely ahead of its time, Ostrovsky's play in the 70s of the 19th century did not suit either theatrical criticism or the general public. Despite the full ensemble of actors, in the season of 1878-79 the play was put into the repertoire of the Alexandrinsky Theater extremely rarely, and then they completely forgot about it. In St. Petersburg, "Dowry" left the stage already in 1882 and did not appear on it for 15 years. In Moscow, the play lasted longer - until 1891. The "Dowry" was resumed on both metropolitan stages in the 1896-1897 season. But it was already a new life for a well-forgotten play.

The second life of the "Dowry"

Return of the "Dowry" by A.N. Ostrovsky on the stage of metropolitan and provincial theaters is associated with the name of the great Russian actress Vera Fedorovna Komissarzhevskaya. It was Komissarzhevskaya who truly discovered the role of Larisa, and the already largely changed era herself breathed new life in this character.

Vera Komissarzhevskaya

At the turn of the 19th-20th centuries, the theater, like the whole society, experienced a breakdown in worldviews, a reassessment of values, and could not stand aside from new trends in literature and art. On the wave of modernist quests of the late 1890s, simple plays by A.N. Ostrovsky from the life of the provincial merchants looked like something archaic and indigestible.

18 years have passed since the writing of The Dowry. And in 1896, ten years after the death of A.N. Ostrovsky, Alexandrinsky Theater decided to re-stage a once failed play.

It is known that V.F. Komissarzhevskaya herself insistently demanded that the directorate of the Alexandrinka appoint her to the role of Larisa Ogudalova. At the same time, the actress even resorted to blackmail: either you give me the role of Larisa in The Dowry, or I leave the theater. The directors still did not set themselves the task of giving Ostrovsky's old play a new reading, but they did not want to lose the talented actress. However, no one, except Komissarzhevskaya herself, counted on success ...

September 17, 1896 the theater was full. The venerable audience came to see the obstinate Komissarzhevskaya in the famous play. The first two acts, the audience was perplexed. They are accustomed to Savin's Larisa, a pretty philistine who leads a reckless life in her mother's house. And suddenly Larisa - Komissarzhevskaya: fragile, shy, dim, speaks quietly, at first it seemed - even uninteresting. During the intermissions, the audience was disappointedly talking among themselves about the failure of the performance, but some spectators already appeared, mainly from the gallery, who began to understand that they were facing an actress who embodied the image of a “wounded”, deeply suffering woman, that this had never happened on the stage of the Russian theater . In the third act, the coughing, whispering, rustling of programs stopped. Komissarzhevskaya became the sole ruler of the public. And when the last chord of the guitar broke, the audience was afraid to move.

Criticism was expressed very favorably about the game of Komissarzhevskaya. In her Larisa there were no typical gypsy features and the imprint of the old province, although other performers of the role (Fedotova, Yermolova, Savina) considered these features to be the main ones.

One of the critics, Yuri Belyaev, noted that with her performance, Komissarzhevskaya “raises the prestige” of Larisa, a girl who has fallen to the position of “a precious trinket on which lots are cast.” The critic admired the actress, but believed that she created an image that was strikingly different from the heroine Ostrovsky. He believed that Vera Fedorovna showed Larisa some kind of "white seagull", and not at all a girl with seething gypsy blood. Another critic, Fyodor Stepun, appreciated in Komissarzhevskaya's game that from her very first phrase (“I just looked at the Volga, how good it is on the other side”), she raises inner world Larissa to a great spiritual height.

Another critic, A. Kugel, considered the game of Vera Feodorovna charming, but wrong. In his opinion, Larisa came out too sad and elegiac. Perhaps it is true that Komissarzhevskaya's performance was too "over-the-top".

Komissarzhevskaya, perhaps contrary to all the performers who preceded her, as well as theater directors and critics, understood what the main drama of Ostrovsky's play was. The author called "Dowry" a drama not only because of the tragic denouement. Almost all of her characters are complex, ambiguous people, in many respects ambivalent.

Larisa, of course, is not a "beam of light in the dark kingdom", but she is not a carefree fool who was deceived by a visiting villain, and then accidentally shot by a local madman. Larisa is a thinking person, deeply feeling, perfectly understanding all the absurdity of her situation (“I am a doll for you. You play with me, break it and leave it”; “Why do you constantly reproach me with this camp? Did I myself like such a life?” etc.). d.). She needs love like a beautiful flower needs water and sunlight. Larisa is torn between the world of her beautiful dreams and hopes and the world of cruel reality, into which she is drawn by her own mother and proud, predatory admirers. In search of a way out, the girl rushes to everyone who promises to love her, even to Karandyshev, but "everyone only loves himself." And the best way out for her is death.

That is how, tragically doomed, hysterically, hopelessly, Larisa sounded in the interpretation of Komissarzhevskaya. This was the new birth of the play. "Dowry" occupied the imagination of theatrical Petersburg for many days. It was impossible to get a ticket for the performance. Komissarzhevskaya brought to the theater that part of the Russian intelligentsia, which for many years considered the theater only a place of vulgar entertainment.

In the 1930s, "Dowry" was one of Ostrovsky's plays, which enjoyed the greatest love of the Soviet audience. On the stage of the Soviet theater, the social pathos of this wonderful drama was most acutely expressed. It was staged in many drama theaters in Moscow, Leningrad and on the periphery. Of the Moscow productions of The Dowry, the productions of Drama theater(former Korsha) with V. N. Popova in the role of Larisa (1932) and the Central Theater of Transport (1946). In 1948, The Dowry was resumed on the stage of the Maly Theatre.

Screen adaptations

However, for the mass audience, the play by A.N. Ostrovsky's "Dowry" became familiar only thanks to the successful film versions of Y. Protazanov (1936) and E. Ryazanov (1984), rightfully considered classics of Russian cinema.

Unlike most other dramatic works of XIX century, "Dowry" was filmed four times in our country.

The first attempt belongs to director Kai Ganzen. In 1912, he made a non-sound film of the same name, starring Vera Pashennaya and Nikolai Vasiliev.

In 1936, the “Dowry” by Y. Protazanov appeared (starring N. Alisova and A. Ktorov). Protazanov did not change the plot, but Vladimir Schweitzer worked significantly on the script - the same one who worked on the scripts for Soviet fairy tale films Vasilisa the Beautiful, The Little Humpbacked Horse, Kashchei the Immortal, etc.

Protazanov and Schweitzer literally "anatomized" Ostrovsky's play, but did not blindly follow the text. The possibilities of film production were far greater than the possibilities of theatrical performance and in general the possibility of dramatic action. Therefore, a lot of new episodes appeared in the film (the wedding of Larisa's sister, the adventures of Robinson, beautiful location shooting, etc.).

The cast was impeccable: A. Ktorov (Paratov), B. Tenin (Vozhevatov), M. Klimov (Knurov), O. Pyzhova (Larisa's mother), V. Balikhin (Karandyshev). For the role of Larisa, Protazanov invited a very young student, a freshman at VGIK, Nina Alisova. Field shooting took place in Kineshma, Kaluga, Kostroma and Plyos.

"Dowry" by Protazanov immediately became a landmark film for the entire Soviet pre-war cinema. The film immediately, as they say, "went to the people." For many years, the Soviet audience was sure that the famous episodes with a beaver coat thrown into the mud, a race on steamboats and Robinson's outrages were Ostrovsky's original text. A. Guerich's song "No, he did not love" was sung by all the girls of the 1930s and 40s, sincerely considering it an old gypsy romance, which was performed by Larisa Ogudalova in the play.

The adaptation of Protazanov and Schweitzer turned out to be so successful that for almost fifty years it suited the Soviet audience.

The teleplay "Dowry" by K. Khudyakov (1974), despite the excellent constellation of actors (T. Doronina, A. Dzhigarkhanyan, V. Gaft), only disappointed with its "theatricality" and "intimacy". After Protazanov's film, which was based on the interpretation of the image of Larisa Komissarzhevskaya, T. Doronina's return to Larisa of the "pre-Commissionar" period looked original, but looked without interest.

Therefore, when in 1984 E. Ryazanov's film "Cruel Romance" was released, it became practically a revelation for viewers who did not see or fundamentally did not watch the Protazanov film, which was somewhat "outdated" by that time.

So much has been written and said about the remarkable film by E. Ryazanov that it makes no sense to repeat all the critical reviews in this essay.

However, today many do not even remember that when it appeared, "Cruel Romance" caused a lot of controversy and criticism, especially among older people - fans of "Dowry" of 1936. The director and screenwriter of the film E. Ryazanov himself admitted in his numerous interviews more than once: when he wrote the script for "Cruel Romance", his motto was the maximum departure from the text of Ostrovsky's play in order to deprive the film of "intimacy", to make it interesting for modern viewer. But then, in the process of filming, the director called out: “back to Ostrovsky!”. And that's what made the movie so good. All (with rare exceptions) replicas of the characters in the play "Dowry" are heard in "Cruel Romance", all the characters are presented vividly and vividly, the action of the film is fully consistent with the author's concept of A.N. Ostrovsky.

Especially a lot of criticism of the film "Cruel Romance" was for the original interpretation, even the development of the image of Paratov (N. Mikhalkov). The older generation could not forgive Ryazanov for the overly democratic Mikhalkov, who by temperament is more reminiscent of a Mexican macho, and not a Russian gentleman. One of my elderly relatives, who was brought up on the Protazanov version, after watching Ryazanov's film, was indignant for a long time at the episode where Paratov, getting off the white horse, with my own hands moves the dirty carriage: “He is a gentleman, not a bindyuzhnik!” Of course, the episode with a fur coat in Protazanov's film looked much more impressive, but it was already used 50 years ago, and the repetition of this gesture by the actor Mikhalkov would look more like a parody. It was obvious to all viewers of the 1980s that Mikhalkov was not Ktorov, and Ktorov was not Mikhalkov. Types such as the protazanovskiy Paratov died out in the first half of the century.

That is why, in our opinion, Ryazanov in his film very successfully removed from Paratov both the mask of an inveterate scoundrel and a socially colored white-handed gentleman, a slave of class prejudices. Having psychologically developed the image of the central character of the play, the director brought him at the same time closer to the realities of Russian life in the 70s of the XIX century, and made interesting people century XX. In fact, Paratov is not an insidious seducer and far from a prudent businessman. A ruined nobleman, a former shipowner, he himself fell victim to his difficult time, the time of the Knurovs and Vozhevatovs. Ostrovsky by no means puts an equal sign between Paratov and Briakhimov's moneybag merchants. For him, money is not a goal, but a means of subsistence, meaningless and aimless, because this person cannot have any specific goal. Paratov is the same thing, the same senseless trinket as Larisa. The only difference is that all his suffering and throwing at the moment of "selling" himself for money remain outside the scope of the stage action and are not visible to the viewer. We see an unfortunate man who has already resigned himself to his fate, who finally throws dust in his eyes, but also dies, crushed, broken. Larisa dies, remaining herself - loving and free.

The theme of "Dowry" became especially close to the Russian audience at the turn of the 20th-21st centuries, in the era of a total revision of former values, a breakdown in human relations, and thoughtless worship of the "golden calf". How many of these Laris - beautiful, smart, talented girls with a university education - went to the kept women of the modern Knurovs or Vozhevatovs, no statistics will tell. Perhaps some of them still believe that they did the right thing, seizing on material well-being, trampling on everything that they once considered the main thing in their lives. God is their judge.

But one thing is clear: the phenomenon of "Dowry" as an eternal plot for all time does not let us go today. Thirty years after the release of The Cruel Romance, the film is still watched in one breath, and modern youth have an idea about the work of the great Russian playwright A.N. Ostrovsky exclusively from this film. And this is not the worst option.

In 2011, director A. Puustusmaa based on the drama of Ostrovsky filmed another "Dowry". The plot of the film in general terms repeats the plot of the play, but the action has been moved to the present day.

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Alexander Ostrovsky's play "Dowry", created by the author in 1874 - 1878, is a vivid narrative concerning the problem of the "little man". Its characters are mainly people for whom earthly wealth is above all else, and only Ogudalova's daughter Larisa tries to oppose generally accepted norms of behavior and thinks differently. After getting acquainted with the main characters and describing the summary, you can better understand what the author wanted to say in his work.

The main characters of the play

Larisa- the main thing actor, a girl from a poor family who wants to get married. Betrayed by the wealthy master Paratov, she agrees to marry Karandyshev, a jealous and stupid man, although she does not love him at all. This eventually leads to tragedy.

Harita Ignatievna Ogudalova- a widow, mother of Larisa, a domineering woman, whom the girl used to obey from childhood.

Julius Kapitonovich Karandyshev- Larisa's fiancé, a selfish, jealous and vengeful person. To defend his innocence, he grabs a weapon. Makes a very bad impression.

Sergei Sergeevich Paratov- a rich gentleman, a former lover of Larisa. He preferred a bride with a large fortune to her.

Vasily Danilych Vozhevatov- Larisa's childhood friend, a rich young man.

Moky Parmenych Knurov- an elderly man, in whose hands - a huge fortune. Gives advice to Larisa's mother about her daughter's marriage to Karandyshev.

Act one: Karandyshev - Larisa's fiancé

Big city Bryakhimov, on the Volga. On one side of the entrance to the coffee shop there is a boulevard, on the other - trees, in the depths - a low iron grate, behind which a view of the Volga opens.

The first phenomenon
On the site in front of the coffee shop, Gavrilo, the bartender, and Ivan, the servant, are having a dialogue. They talk about life, about the peculiar behavior of the rich, in particular Mokiy Parmenych Knurov, an aged man with a huge fortune, and Vasily Danilovich Vozhevatov, a young man, a representative of a wealthy trading company.

The second phenomenon
Vozhevatov and Knurov enter the coffee shop and talk to each other; Gavrilo and Ivan sometimes join the conversation. First, they are talking about buying a steamer, then, going to drink champagne and tea, they talk about these drinks and gradually move on to the topic of the marriage of Larisa Dmitrievna, daughter of Harita Ignatievna Ogudalova. Everyone present in the coffee shop believes that the groom - Julius Kapitonych Karandyshev - is absolutely not a couple for a girl.

Of course, there were those who wooed her before, but none of them could resist. For example, the girl was very discouraged when, last year, Sergey Sergeevich Piratov “traveled for two months, beat off all the suitors, and his trace caught a cold, disappeared, no one knows where.”

And Karandyshev, according to Vozhevatov and Knurov, behaves strangely.

The third phenomenon
Ogudalova Harita Ignatievna and her daughter Larisa appear among those present. The girl's mother agrees to have a cup of tea. Karandyshev invites Vasily Danilovich and Mokiy Parmenych to dinner, but the latter agrees only when he finds out that the proposal actually comes from Ogudalova, and dinner is arranged for Larisa.

Suddenly, Ivan says that a ship called the Swallow is coming, but neither Knurov nor Vozhevatov want to go down to the pier. Ogudalova, approaching Knurov, informs him that, firstly, the wedding requires many expenses, and secondly, her Larisa has a birthday tomorrow, and she does not know what to give. Moky Parmenych understands the hint and promises to drop by. Finally, Harita Ignatievna, Knurov and Vozhevatov leave the stage.

The fourth phenomenon
Larisa admires the view of the Volga and suddenly turns to Karandyshev with a request to leave for the village. However, jealousy surged up in the groom, and he asks the question: what did she talk about with Vozhevatov, and even called him simply by his first name - Vasya. Karandyshev is not interested in Larisa's excuses that she has known Vasily Danilych since childhood, that they had nothing bad. But Julius Kapitonovich declares that old habits must be abandoned. And he reproaches the bride with the past, saying that they had a "gypsy camp" in their house. The girl objects that this did not happen of her own free will, it was so necessary for her mother. She struggles to love her fiancé, and openly admits this to him, wanting support. Karandyshev suddenly realizes that he offended his beloved girl and says in embarrassment: “... I said this ...” Larisa asks him to be careful in words, because she is very impressionable and vulnerable. The girl is afraid to condemn even Sergei Sergeyevich, although everything shows that this man did not do well to her in the past - and she is trying to stop the questions that Karandyshev asks about this. But the groom is not appeased. Then Larisa openly admits: Sergey Sergeevich is better than him. And he cites as an example the story of how once he and a Caucasian officer fired pistols - first the officer shot at a glass, which Sergei Sergeevich held on his head. And knocked him out, but turned pale. “I will shoot the girl who is dearest to me - and I will not turn pale,” Paratov said. And knocked out the coin put into Larisa's hand.

Karandyshev reluctantly agrees to recognize some of the merits of Sergei Sergeevich, because, in addition to everything, Larisa said that he helped the poor, but continues to be jealous of the bride. However, she honestly says that she does not love and will never love Yuli Kapitonych, and she continues to have feelings only for Sergei Sergeyevich. A shot is heard from a cannon in honor of Paratov. Nervous, Larisa is going home.

Fifth phenomenon
Ivan and Gavrilo rejoice at the arrival of the master - Sergei Sergeevich. Gentlemen - Paratov with Robinson, his friend, Vozhevatov and Knurov - enter the coffee shop. Ivan tries in every possible way to please Sergei Sergeyevich.

The sixth phenomenon
For his helpfulness, the servant receives a ruble from Paratov. Sergey Sergeevich reports that he sold the barges, then introduces his friend, actor Arkady Schastlivtsev, to Knurov and Vozhevatov, whom he calls Robinson, and not without reason. It turns out that he was generously picked up on the island, where he found himself with his friend, a merchant's son: they were dropped off for indecent behavior. Now the artist is in full submission to Paratov.

The seventh phenomenon
Robinson is unhappy that Vozhevatov addresses him as "you", but when he learns that he is rich, he resigns himself and says: "That's my taste." And then he offers friendship to Vasily Danilych.

Sergei Sergeevich invites friends to dinner, but both Vozhevatov and Knurov are forced to refuse, because they were invited to the house of Larisa, who is getting married. Upon learning this news, Paratov loses heart, but pretends to be sincerely happy for his former lover. As for the dinner, the interlocutors are sure that Sergei Sergeevich will be invited to it.

Act two: the attitude of others to the girl's marriage

The first phenomenon

The action takes place in Ogudalova's house. Larisa's mother is in a well-furnished room with furniture and a piano on which lies a guitar. She holds a box in her hands and calls her daughter to show a gift from Vasya. Larisa changes clothes, so she says: "I'll look later." Suddenly, Knurov enters the room.

The second phenomenon
Ogudalova is very pleased with the unexpected visit of Knurov, does not know where to put him. They begin to talk, and the main topic of conversation is Larisa's marriage. Moky Parmenych is convinced that Larisa's mother is fundamentally wrong in passing off her daughter as a poor man. Larisa, according to Knurov, was created for brilliance, and Karandyshev is not able to provide a decent existence. He advises in this case to lean on the strong shoulder of a rich man.

Then Mokiy Parmenych asks Ogudalova a question about the box she is holding in her hands.

“I wanted to give my daughter a present,” Larisa’s mother answers. Knurov advises to provide the girl, first of all, with a good wardrobe and promises to pay for all purchases. After that, he leaves.

The third phenomenon
Larisa appears, who does not seem to share her mother's enthusiasm for Vasily's gift. Ogudalova offers to thank both Vozhevatov and Knurov, although Larisa has no idea what Moky Parmenych wants to do for her. The main desire of Larisa, about which she tells her mother, is to escape from the city to the village, walk through the forest, picking berries and mushrooms before the summer has passed ... “Is he up to the village?” - Ogudalova objects, knowing the character of Karandyshev.

The fourth phenomenon
Ilya the Gypsy enters. Larisa asks him to fix the guitar. Ilya regrets that they have many basses in the gypsy choir, but only one tenor, Anton, but he is now ill. Suddenly they report that the master has arrived, and the delighted gypsy hastily leaves.

Fifth, sixth event
Larisa is tired of being humiliated, and she tells her mother about it. When Karandyshev comes in, Ogudalova tells him that Larisa really wants to leave the city. However, the groom is absolutely not clear where she is in a hurry and why. Julius Kapitonovich assures that they will definitely live in the village, but only after they become husband and wife.

Larisa, who wants the wedding to be modest and hears objections from both her mother and Karandyshev, laments, saying that everyone plays with her like with a doll.

Julius Kapitonovich condemns the morals of the townspeople. It is incomprehensible to him that all people rejoice at the arrival of the master - Sergei Sergeyevich. Frightened Larisa, having learned that this is none other than Paratov, and now he is approaching their house, again begins to persuade Yuli Kapitonovich to leave for the village. She wants to disappear, hide from her ex-fiance.

The seventh phenomenon
Paratov enters the house and gives Ogudalova a pen. They hug and kiss. Harita Ignatievna pretends to be incredibly happy about the visit of Sergei Sergeyevich. The master says that he intends to marry profitably, but does not want to say who his chosen one is. Then he wants to see Larisa Dmitrievna. Ogudalova is calling her daughter.

The eighth phenomenon
Larisa and Sergei Sergeevich are left alone. A dialogue takes place between them, in which Larisa reproaches Paratov that she had been waiting for him before, but was already tired. Sergei Sergeevich, in turn, also makes claims to the girl, saying that she has lost a lot in his eyes. The main character objects that she is not getting married of her own free will. Paratov guesses that Larisa still loves him, but this is how the circumstances developed. In addition, the girl claims that Karandyshev has sincere feelings for her.

The ninth phenomenon
Ogudalova introduces Karandyshev and Paratov. Both of them seem to speak politely to each other, but poorly concealed jealousy comes through in the speech. The atmosphere is gradually heating up. Ogudalova is trying to reconcile the gentlemen, each of whom has a dislike for the other. Following the rules of etiquette, Karandyshev, on the advice of Kharita Ignatievna, invites Paratov to dinner. He says in a cold tone that he agrees.

The tenth phenomenon
Vozhevatov suddenly enters the room, asking permission from Larisa and Ogudalova to let Robinson in. Vasily commands Arkady strongly, and this immediately catches the eye. Karandyshev invites his friend Vasily to dinner.

The eleventh phenomenon
Vozhevatov asks Paratov if he liked Larisa's fiancé and receives a negative answer: "who can like him." Sergei Sergeevich comes up with a plan to make fun of Karandyshev.

Act three: Larisa runs away with Paratov, a former lover

The first phenomenon
The action takes place in Karandyshev's room, furnished without taste. Carpet on one wall, weapons on the other. Another character appears - Aunt Karandysheva, Evrosinya Potapovna, a domineering and greedy woman. Ivan asks her for lemons for tea, she shows displeasure and gives cranberry juice instead.

The second phenomenon
During lunch at Karandyshev's, Larisa burns with shame. But Julius Kapitonovich does not seem to notice anything, in addition, they try to solder him on purpose in order to laugh. The girl is painfully experiencing such a shame.

The third phenomenon
Evdokia Potapovna comes in, asking if dinner is over. She reproaches that in vain they transfer purchased expensive products. Larisa keenly feels the suffocating atmosphere of what is happening around and wants to run again. Efrosinya Potapovna leaves to count the silver.

The fourth phenomenon
Knurov is going to go to the club to eat, because after the so-called lunch at Karandyshev's he was left hungry. This is the first time this has happened, he said. Those present conclude that Julius Kapitonovich is a fool. But Paratov reveals the plan: Karandyshev was specially drunk to see what would come of it. But Robinson, who was also well treated to wine, seems to be all over the place.

Fifth phenomenon
Robinson becomes ill after such a violent libation. He says that he was poisoned by some strange wine. Paratov promises to cure him.

The sixth phenomenon
Robinson examines Karandyshev's room and asks about the weapons hanging on the wall. It appears to be Turkish. Julius Kapitonovich takes a pistol off the wall, but Paratov says that he still won't fire, even if he uses it now. Karandyshev objects. Then it comes to high-quality and low-quality cigars.

The seventh phenomenon
Ogudalova reproaches Karandyshev for being drunk, but he does not consider himself drunk at all. Paratov offers Yuliya Kapitonych a drink with him for brotherhood. He agrees and tells Ivan to bring cognac. Robinson perks up when he hears that the owner of the house has a drink that he knows how to handle.

The eighth phenomenon
Robinson declares that they finished off Karandyshev by drinking: he started, and Sergey Sergeevich will finish.

The ninth phenomenon
Ilya the gypsy who appeared offers to go with them, everyone is ready and waiting on the boulevard. Paratov, Knurov and Vozhevatov agree, but they do not want to take Robinson for a walk. Vozhevatov comes up with a way to get rid of an obsessive fellow traveler.

The tenth phenomenon
Vozhevatov, in order to get rid of Robinson, pretends that he is going to Paris and takes Arkady with him, only on the way he offers to go to his house so that he can rest before the road. The cunning plan succeeds.

The eleventh phenomenon
Larissa appears. She was unwell - this is how she explains the reason why she was not with the guests. Paratov tells the girl that he and Karandyshev drank brotherhood. Sergei Sergeevich calls Ilya into their society, explaining that he is his friend. Larisa is asked to sing something, but at first she refuses, and then agrees - resisting Karandyshev, who is trying to forbid his future, as he believes, wife. Together with Ilya and Robinson, who joined in the second verse, they sing "Don't Tempt Me". Paratov and Vozhevatov are delighted with Larisa's voice.

Karandyshev now asks for champagne, but Efrosinya Potapovna flatly refuses to serve the drink. Finally, everyone disperses. Larisa stays with Sergei Sergeevich.

The twelfth phenomenon
Paratov reproaches himself for having lost such a treasure as Larisa in the past. He invites the girl to go with him to the Volga to ride boats - and receives consent.

The thirteenth phenomenon
Everyone is happy that Larisa will be in their company. Praises are sung in her address, Karandyshev declares that he is proud of his bride. Finally, they are going to go. The girl says goodbye to her mother.

The fourteenth phenomenon
Karandyshev is very upset by the flight of the bride. He did not suspect that Larisa would leave for the Volga without warning and demanded that Ogudalova report where her daughter was. Receiving no answer, in a fit of fierce anger, Yuliy Kapitonych grabs a pistol and runs away. Harita Ignatievna tells Ivan to stop him.

Act four: Karandyshev shoots the bride

The first phenomenon
Robinson invites Ivan to play with him, however, he has no money. The servant does not agree to such conditions. Arkady learns that Karandyshev was very indignant when the guests left with Larisa and chased them with a pistol. He wonders if the eccentric Julius Kapitonich wanted to kill him.

The second phenomenon
Karandyshev, who appeared, demands from Robinson an answer to the question where are all the “comrades”. Arkady invites him to wait for everyone at the pier. Enraged, Julius Kapitonovich leaves.

The third and fourth phenomenon
Gavrilo and Ivan are talking among themselves, assuming that everyone has already arrived. Ilya comes in with the gypsies. Gavrilo offers them tea.

Fifth phenomenon
Knurov and Vozhevatov argue that Larisa has an unenviable position. The poor girl again believed the man who had already deceived her once. And he is engaged to a very rich bride, and they are unlikely to succeed.

The sixth phenomenon
Robinson and Vozhevatov are talking among themselves. It turns out that when Vasily offered Arkady a trip to Paris, it was not about the capital of France, but a tavern on the square. Knurov comes up, who wants to tell Vasily Danilych something. He offers Vozhevatov to save Larisa from the arbitrariness of Karandyshev and take her to Paris (the real one).

The seventh phenomenon
Paratov asks Robinson if he is going to Paris soon. Arkady replies that he no longer trusts the merchants, but he would go on such a journey with him. Larisa asks Paratov whether he has serious intentions about getting married, but Sergey Sergeevich suggests that she first go home. The girl is very afraid and prefers not to appear in her native land at all, saying that Karandyshev is finished as a groom. The only one she wants to marry is Sergey Sergeevich. However, Paratov again betrays her, saying that he uttered the careless phrase “I am yours” just in a fit of surging feelings.

The eighth phenomenon
Robinson informs Paratov that Karandyshev was walking near the coffee shop with a gun, but Sergey Sergeevich strictly orders him to harness the carriage and take Larisa Dmitrievna home. Vozhevatov also betrays the desperate girl, who tearfully asks her childhood friend to take pity on her, to teach her what to do in such a situation. Knurov invites her to go to Paris, but upset Larisa is silent.

The ninth phenomenon
Larisa's head is spinning. She thinks about throwing herself into the Volga, but then leaves these thoughts because she is afraid. However, the girl betrayed by all wants to die - even from the fact that she gets sick.

The tenth phenomenon
Karandyshev is looking for Larisa. He wants, firstly, to take revenge on her offenders, and secondly, if necessary, to punish the bride for running away. "Here she is!" Robinson exclaims when he sees the girl. Julius Kapitonovich orders to leave them alone.

The eleventh phenomenon
Larisa frankly admits that Karandyshev is disgusting to her. But he wants at all costs to avenge the insult inflicted on the girl, noticing that rich gentlemen are playing with her, as if with a thing. “If I am a thing, then it is very expensive,” the girl says and asks to call Knurov. Larisa begs Yuli Kapitonovich to leave, but he does not want to back down for anything, he even agrees to immediately leave the city with her. However, the girl is adamant! In no case does she want to belong to Yuli Kapitonych. The desperate "groom" with the words "so don't get you to anyone" shoots Larisa with a pistol.

The twelfth phenomenon
Larissa is dying. A gypsy choir sings offstage. The girl, it seems, is even glad of such an outcome. She says she loves and forgives everyone. Her voice is gradually weakening.

Plays "Dowry" summary will be useful to those readers who want to superficially familiarize themselves with the work. In this article, you can find the main retelling of events in all four acts. The material will help to make a general impression of the work of the author Nikolai Ostrovsky and understand main idea.

The beginning of the story

The summary of "Dowry" begins with the fact that a Volga town called Bryakhimov is shown. On the higher bank there is a coffee shop, where Gavrilo and his servant are trying to prepare an establishment. Two merchants named Moky Knurov and Vasily Vozhevatov walk in this area every day and love to stop by for a glass of champagne. They call it their special tea, and Gavrilo has to pour it from a special dish. So they hide their habit from people. Soon they come and start discussing all the news. Vasily announces the purchase of the ship "Lastochka" from Sergei Paratov. The next topic was the marriage of the third daughter of the widow Harita Ogudalova named Larisa. Merchants believe that she will suffer the same bad fate.

Sisters misfortune

Summary“Dowry” in the first act continues with the fact that the daughters of the widow Kharita Ogudalova are haunted by unhappiness in marriage. The eldest girl married a Caucasian prince - a very jealous man. For this reason, he stabbed her to death before they reached their future place of residence. The middle sister was carried away by a foreigner, under the guise of which a cheater was hiding. Only Larisa Dmitrievna remained in the family, but young men do not want to take her because of the lack of a dowry. The heroine sings beautifully, plays the guitar and this attracts attention. The widow Harita is beautiful herself and wants to arrange her personal life anew. Only here, first of all, you need to arrange for your daughter, and the option with Sergei Paratov failed. A wealthy shipowner managed to make Larisa fall in love with him, but it did not come to the wedding. He said that he did not see any benefit for himself in such a marriage. The girl suffered from unrequited love, though later there were other contenders. The mother had her say, and the daughter married the first one who called. Julius Karandyshev turned out to be such a man.

Conversation in a coffee shop

The brief summary of "Dowry" at the end of the first act returns the reader to the coffee house, where the Ogudalovs and Yuly Karandyshev come. The poor official invites all those present to his place for dinner in honor of his future wife. The merchants decided not to agree, but Harita's mother explained that it was only in honor of Larisa's birthday. A conversation between the newlyweds begins, in which Julius reproaches the girl for her way of life. The reason was the familiar treatment of the merchant Vasily Vozhevatov. At this moment, cannons sound on the pier, and Larisa recalls the shipowner Paratov, who is customarily greeted with such a signal. She realizes that she loves him even now. It turns out that the shots sounded in honor of this rich man. Later, Sergei enters a coffee shop and introduces everyone to his new friend Arkady Schastlivtsev. He picked him up on a deserted island, where the captain of the ship landed the guy because of drunkenness. Paratov also notifies everyone that he is marrying a rich girl, and gold mines go to him as a dowry. For this reason, he sold his best ship, the Lastochka, and other ships.

The start of the celebration

In the summary of Ostrovsky's "Dowry" in the second act, events begin on the day Larisa is born. Vozhevatov gives an expensive brooch, and his mother immediately sells it for seven hundred rubles. Knurov starts a conversation with Kharita that the wedding of the youngest daughter is wrong. She should not marry a poor official, because her appearance and talents should be valued much higher. The merchant claims that Larisa will run away anyway, and Harita will need a powerful friend to improve the situation. As such, Knurov offers himself. Because of his interest, the married hero offers to pay for all the necessary items for the wedding. Soon Larisa herself appears with a guitar, sings romances and shares her dreams of life in the countryside with her mother. Ogudalov's widow immediately calms down her daughter by the fact that Zabolotye is far from the best place and she may not like it there. Larisa calls her comrade Ilya from the window, who tunes the guitar at the request of the heroine. He reports that an important man has come to them.

Birthday

In the summary of the “Dowry”, the story continues at Larisa's birthday party by actions. Her fiancé appears, and she asks him to leave as soon as possible for the village. He refuses to hold a wedding in his homeland. He will not allow rumors to spread that Yuli Karandyshev is not a couple for her. This dinner is the first step towards the wedding, and at it he announces a toast to Larisa. At the same time, the man mentions that the girl was extremely responsive to his person, unlike other people. Soon Paratov himself appears, who promised to call on Harita Ogudalova. He calls her "aunty", talks about a successful engagement and reproaches Larisa for forgetting about him so quickly. The former shipowner, in a conversation with the main character, finds out that she still has feelings for him. After that, the man deliberately quarrels with Karandyshev and promises to punish the poor official for his insolence. Other guests arrive, and Yuli, under pressure, invites Paratov. The master agrees, but only because of the opportunity to take revenge on Larisa's fiancé.

Groom's lunch

The summary in the play "Dowry" in the third act begins with an insult to the guests. At dinner, cheap wine was supplied in expensive bottles, cigarettes with inferior grades of tobacco, and a minimum of food. High-ranking merchants also did not like the fact that Karandyshev had already managed to get drunk. Paratov is comforted by such a circumstance of affairs, and therefore says that he sent his friend Arkady to Larisa's fiancé. That is why he is in this condition. After that, all the guests and the gypsies decide that they should go for a walk along the Volga. Vozhevatov became generous and promised to pay the rowers. He also lied to Arkady about the future Paris on the trip and the need to rest before the difficult journey. All the people who arrived for dinner, including Paratov, agree that you need to take Larisa with you for complete fun. It remains only to persuade the girl and finally get Karandyshev drunk. This idea was successfully implemented.

Continuation of the story

In the brief summary of Ostrovsky's "Dowry", the story continues by actions from lunch at Karandyshev's house. Harita Ogudalova starts a quarrel with him because of his condition. The poor official retorts this by saying that in his house it can be anything. After that, the widow comes to Paratov so that he does not continue to mock Larisa's future fiance. Sergei agrees to drink with him for the sake of reconciliation, but only cognac. Karandyshev finally gets drunk, and the former shipowner goes to Larisa Dmitrievna. He asks to sing something, but the girl is too dejected by the behavior of Julius. The groom intervenes in a state of intoxication with a ban on singing for the future wife. This offends Larisa, who immediately begins to perform a romance. Gypsy Ilya happily picks up the song and completes the performance with a second voice. When the heroine finishes singing, all the guests praise her talent. After that, they leave, and Larisa remains alone with Sergei Paratov.

Conversation of people in love

If you start reading the summary of Ostrovsky's "Dowry", then in the third act you can find out about Sergei Paratov's confession to Larisa. He says that the girl's singing made him regret about refusing to marry. The barin mentioned that he barely managed to restrain himself from leaving his arranged marriage and returning to this beauty. The man calls the heroine with other guests for a walk along the Volga. Larisa could not make up her mind for a long time, and then she remembered Karandyshev's vengeful toast. She was able to cast aside doubts and agree. The guests return, and Paratov says a toast to the groom Julius, who is so lucky with his bride. All the guests seize the moment when the groom went for a bottle of wine and run away through the back gate. Larisa told mother Harita that she should either rejoice or look for a girl after that day in the Volga. Karandyshev returns and understands the act of the guests. The man is not going to forgive this huge insult, and therefore he takes a gun and leaves the house.

Beginning of the fourth act

In the summary of the "Dowry" by chapters, Yuli Karandyshev, in the last act, goes to a coffee shop. Assistant Ivan sees him with a gun. Meanwhile, the future groom asks Paratov's friend Arkady about where the guests have disappeared. He is offended because of the behavior of Vozhevatov and talks about their walk along the Volga. The gypsies soon return to the coffee shop, and with them the merchants Vozhevatov and Knurov. On the way, rich men say that Larisa Dmitrievna again believed the cunning Paratov. This gentleman would never exchange his rich bride for her. They talk about the abandoned Julia and about who will take the girl to support the two of them. The merchants want to go with a beautiful lady to an exhibition in Paris.

The end of the work

The summary of Ostrovsky's play "The Dowry" at the end of the work will tell about the situation between Larisa and Paratov. Sergei tells her to go home, and she demands an answer about who she is to him. The master stuns the heroine by the fact that he is already engaged to another girl. He blames everything on the momentary passion that made him distracted. Larisa drives him away, and she herself wants to commit suicide, although she cannot decide. Knurov appears and invites her to become a kept woman with this married merchant. He played "toss" with Vozhevatov on it and won. Karandyshev returns and begs Larisa to return to him, because he will be able to forgive everything. The girl replies that she already feels like a simple thing. She calls Knurov, but Julius shoots her. The main character perceives death as salvation. The gypsies begin to sing different melodies, Larisa tells the people who came running that she shot herself on her own.

Female a girl who is married, without demanding a dowry, for her beauty and dignity. A dowry is called, jokingly, a poor groom or a deceived dowry. A bride without a dowry, poor, who has nothing. Unattached exchange, in which not ... ... Dahl's Explanatory Dictionary

Bride, Slavenka Dictionary of Russian synonyms. dowry n., number of synonyms: 3 dowry (1) ... Synonym dictionary

DOWNHOUSE, dowry, wives. In the bourgeois noble society a girl without a dowry, or a girl who will be willingly married for her virtues without a dowry. Explanatory Dictionary of Ushakov. D.N. Ushakov. 1935 1940 ... Explanatory Dictionary of Ushakov

DOWNHOUSE, s, wives. In the old days: a poor girl with no dowry. Explanatory dictionary of Ozhegov. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 ... Explanatory dictionary of Ozhegov

- "Dowry", USSR, Rot Front, 1936, b/w, 85 min. Drama. By play of the same name A. N. Ostrovsky. The film entered the fund of Soviet film classics thanks to the social interpretation of the drama, vivid imagery in the depiction of the mores of the Russian merchant class and ... ... Cinema Encyclopedia

- (foreign) beautiful girl(who will be taken as a wife and without a dowry) The dowry is a deceiver, that is, that is. Wed Well, Avdotya Vlasyevna, I said: your grandson is growing up without a dowry; look what a beauty! Dal. New paintings of Russian ... Michelson's Big Explanatory Phraseological Dictionary

Without a dowry (foreigner), a beautiful girl (who will be taken as a wife and without a dowry). A dowryless deceiver, what is, is. Wed Well, Avdotya Vlasyevna, I said: you have a grandson without a dowry; look what a beauty! Far... ... Michelson's Big Explanatory Phraseological Dictionary (original spelling)

The girl is the bride, the parents of the swarm do not have the opportunity to give her a dowry. (Source: Dictionary of Sexual Terms) … Sexological Encyclopedia

G. A girl bride without a dowry. Explanatory Dictionary of Efremova. T. F. Efremova. 2000... Modern explanatory dictionary of the Russian language Efremova

Dowry, dowryless, dowryless, dowryless, dowryless, dowryless, dowryless, dowryless, dowryless, dowryless, dowryless, dowryless, dowryless (Source: “Full accentuated paradigm according to ... Forms of words

Books

Dowry, Ostrovsky Alexander Nikolaevich. An eternal story about deceived love, unfulfilled hopes, rightly named in the movie " cruel romance", - such is the play by A. N. Ostrovsky" Dowry ". Written in the 19th century, it is not at all ...
Dowry, Ostrovsky Alexander Nikolaevich. The book presents the drama of Alexander Ostrovsky "Dowry". For middle school age...

Alexander Nikolayevich Ostrovsky is a brilliant Russian playwright. His famous play The Dowry was written in 1878. The author worked long and hard on the work for four years. "Dowry" caused a lot of questions and controversy among critics and viewers, who were the very first to see the production of the play on stage.

As is often the case, people's recognition of "Dowry" came only a few years after the death of the author himself. The first staged performances in St. Petersburg and Moscow theaters, unfortunately, were very disastrous, critics gave poor ratings and wrote conflicting reviews. However, the play quickly and easily passed the censorship and was immediately published in the journal Otechestvennye Zapiski in 1879.
It is believed that Ostrovsky wrote the drama based on real events that he had to observe in his life as a justice of the peace in Kineshma district.

The idea of this work was conceived by the author in the autumn of 1874, but the work on it went on for a long time and painstakingly. During the time it was written, the author released several more works, and The Dowry finished only in January 1879. The play, which was not accepted and recognized in its time, has now become a classic and has gained real respect and immortality.

The essence of the work

To begin with, it is worth deciding who such a dowry is? So in the old days they called poor girls and those who did not have a dowry, which was supposed to enter the capital of her future family. A woman did not work in those days, therefore, a man took her as a dependent, and, apart from the money received from his parents, he had nothing to hope for, his wife could not help him in financial matters, and her children were automatically left without inheritance from one of the parties. As a rule, such girls diligently tried to win the attention of suitors with their beauty, pedigree and inner virtues.

Alexander Nikolayevich Ostrovsky in his play describes the real inner state of an ordinary dowry woman who stubbornly seeks true, sincere love on earth, but realizes that it does not exist. No one dared to look into her soul and show sincere interest in her, so the girl becomes an ordinary thing for a rich man, she simply has no other choice and even a chance to get a decent attitude. Another option to arrange your life is to marry the miserable, selfish and unpretentious Karandyshev, a petty clerk who, again, marries Larisa for the sake of self-affirmation. But she rejects this option. The author demonstrates all the contradictions of life that surround us, using the example of the fate of the heroes. The essence of the play "Dowry" is to show the reader how mercilessly and vilely people change true love and friendship for an ordinary deal, from which you can only draw your own benefit.

main characters

The characters in the play are:
Larisa Ogudalova is a young beautiful girl who does not have a dowry. She feels extremely humiliated in this world because of her difficult position in society. Unfortunately, few people were interested in such girls during the life of the writer. The heroine loves to dream very much, so she falls in love with a rich nobleman and hopes for happiness next to him. With Karandyshev, the girl feels like a thing, her personality becomes insignificant, she directly tells him that she cannot love him the way she loves another. She is gifted with musical and choreographic talents. Her disposition is meek and calm, but deep down she is a passionate nature, desiring mutual love. A hidden strength of will manifested itself in her character when she ran from her engagement to the risk of being disgraced and misunderstood by her surroundings. But for the sake of a sincere feeling, she is ready to sacrifice her life, shouting a farewell ultimatum to her mother: either she will become Paratov's wife, or one should look for her in the Volga. As you can see, a desperate woman is not devoid of excitement, she puts both honor and herself at stake. we analyzed in the essay.
Harita Ignatievna - Mrs. Ogudalova, mother of Larisa Ogudalova, a poor noblewoman, a widow who was particularly dexterous in household affairs, but could not give her three daughters a dowry, since her fortune was not great. She herself barely makes ends meet, but manages to roll dinners and evenings to find a match for her last marriageable lady.
Yuri Karandyshev - a poor official, the fiance of Larisa Ogudalova, was distinguished by excessive narcissism and obsession. A selfish eccentric who was often jealous and looked stupid. Larisa was a toy for him, which he could boast to others. He feels on himself all the contempt of the Ogudalovs' entourage, but, nevertheless, does not give up the idea of proving to them that he is an equal to everyone. His ostentatious arrogance, attempts to please and win honor irritate society and the heroine herself, in comparison with the dignity and strength of Paratov, this small man hopelessly loses. He finally sinks in the eyes of the bride when he gets drunk at the engagement dinner party. Then she realizes that it is better to go to the Volga than to marry him.
Sergei Paratov is a respected nobleman, a wealthy man who often threw money away for his own pleasure. He lived, caroused and looked after women beautifully, so after a gradual ruin he managed to capture the heart of a rich heiress. It is obvious that he is the same soulless egoist as Karandyshev, he simply lives on wide leg and knows how to impress. The soul of the company and joker, above all, loves to have fun and throw dust in the eyes, and therefore chooses a marriage of convenience, and not sincere feelings.
Vasily Vozhevatov is a friend of Larisa Ogudalova, a very rich, but immoral and vile person. The hero has never been in love and does not know what it is. He was witty and cunning. Vasily is not going to marry the girl, although he claims to take her for maintenance. He loses her in a draw, but consoles himself that he saved, which makes him an immoral and empty person. He is a merchant, a native of serfs, who achieved everything himself. For him, the most important thing is not to lose the achieved position, so he refuses to help the young woman, not wanting to violate the merchant's word given to Knurov.
Mokiy Knurov is a rich man of advanced age. He shows sympathy for Larisa, although he is married. A very specific and thorough person, instead of everything, he immediately promises the girl whom he wants to make his kept woman, material benefits, stipulating: "For me, the impossible is not enough."
Arkady Schastlivtsev (Robinson) is an acquaintance of Paratov, a failed actor who often liked to drink, but did not know how to control his condition.
Gavrilo is a barman, runs a coffee shop on the boulevard.
Ivan is a servant in a coffee shop.

Main theme

Drama human soul in an immoral society - this is the main essence of the main tragic theme in Ostrovsky's play "Dowry", which the author widely reveals through the heroine Larisa Ogudalova. She did not receive a dowry from her mother, so she will have to suffer in this inhuman world. Grooms who are fighting for a girl do not take her seriously, she becomes for them either an object for boasting, or just a toy and a thing.

The theme of disappointment in the world is also present in the work. the main character a terrible end awaits: devastation, despair, dishonor and death. The girl believed in a better and new life, believed in love and kindness, but everything that surrounded her could prove to her that there was simply no love, no hint of enlightenment. All storylines in the work affect social topics. Larisa lives in a world where everything can be bought for money, even love.

Issues

Of course, a tragedy cannot do without ambiguous and complex questions. The problems in the play by Alexander Nikolayevich Ostrovsky are quite extensive and multifaceted.

The main thing in the work are the problems of morality: Larisa commits dishonorable act in the eyes of society, but the backstory fully justifies it. A real immoral act is to deceive Karandyshev and marry without love. It's not better to be kept by merchants. Therefore, Larisa and thank the jealous groom for her death.
The author raises the problems of duty and honor, the purchase of the human soul. Morality in society is ostentatious, it is enough for him to simply maintain the appearance of decency, but the dishonest bargaining of his elected members remains without condemnation and without attention.
We also see in the work the problem of finding the meaning of life. The girl despaired and lost her meaning in everything, Vozhevatov and Knurov use her as a bright toy, which is not even scary to bet. Paratov reports that he will soon marry another girl because of material wealth, he betrays her and changes love for comfort. Larisa cannot understand and endure the complete absence of a soul and the indifference of those who surround her all her life. All the men who were next to her disappointed the heroine, she did not feel the respect and attitude that she deserved. For her, the meaning of life was love, and when she was gone, like respect, Larisa preferred death.

What is the meaning of the play?

Ostrovsky wrote a very emotional drama that will not disappoint with its ideological and thematic content even an experienced and fastidious reader. main idea Ostrovsky's drama "Dowry" consists in condemning the too high value of wealth and money in society. Material goods in life play the most important role, a person who does not have them can only be a toy in the hands of a rich man who does not have the right to sincere feelings. Poor people become the subject of sale to heartless barbarians who languished over their fortune. Around Larisa Ogudalova, everything is saturated with gross cynicism and cunning, which destroy her pure, bright soul. These qualities determined the price of a woman's life, reselling it among themselves as a faceless and soulless thing. And this price is low.

Using the image of the heroine as an example, the writer shows how the heart of a dowry suffers, who is only to blame for not having a fortune behind her. So dishonest and unfair is fate in relation to the poor, but very bright and intelligent people. The girl loses faith in humanity, in her ideals, experiencing numerous betrayals and humiliations. What is the reason for the tragedy of the dowry? She could not come to terms with the collapse of her dream, with the destruction of her beliefs, and decided to get reality to position her the way she needed, as it should have happened in natural conditions. The heroine knows from the very beginning that she is taking a mortal risk, this is evidenced by her farewell remark to her mother. She set conditions for the whole world: either her dream comes true, or she passes away without stooping to marriage and cohabitation of convenience. Even if Karandyshev had not killed her, she would have fulfilled her own warning and drowned herself in the Volga. Thus, the young woman became a victim of her illusions, her pride and intransigence with the vulgarity of the environment.

Before us is a classic clash of romantic dreams and harsh, vulgar reality. In this battle, the latter always wins, but the author does not lose hope that at least some people will come to their senses and stop creating and maintaining unfair conditions for social relations. He emphasizes true virtue and true values, which must be learned to distinguish from the vain squabbles of empty and petty scoundrels. The heroine's rebellion inspires courage to fight for her beliefs to the end.

genre

Drama, as a genre, presents the reader with the fate of the hero in a contradictory and cruel world, an acute conflict between the human soul and the society in which he lives. The purpose of the psychological drama is to show the dramatic position of the individual in a hostile environment. As a rule, the characters of the drama are expected by a tragic fate, spiritual suffering, internal contradictions. In a work of this type, you can find many vivid emotions and experiences that are inherent in many of us.

So, Ostrovsky's play vividly describes the internal state of Larisa Ogudalova, who rebels against the inhuman order in society, sacrifices herself in order not to sacrifice her principles. The heroine hardly accepts the circumstances that overtake her, she endures with horror all the trials prepared for her by fate. This is Larisa's personal tragedy, which she cannot survive. The psychological drama ends with her death, which is typical of a work in this genre.

Life and customs of the province

Ostrovsky's play highlights the life and customs of the Russian provinces, nobles and merchants. All of them are very similar, and, at the same time, differ from each other. The heroes behave quite liberated and are not at all afraid to show their true colors to others, it does not matter to them that sometimes they look rather stupid. They are not afraid not because of courage or openness of character. They simply do not realize that they look ignorant, stingy, suspicious or worthless.

Men do not bypass open communication with women; for them, adultery is not considered shameful. For them, this is an element of status: a mistress becomes a reflection of wealth. One of the heroes of the work, Mr. Knurov, offered Larisa to become his kept woman, although he himself had been married for a long time, he did not care what the heroine felt, only his own benefit and lust were in the first place.

A girl in the province of that time, as we have already found out, must have a good condition in order to successfully marry and live well. In such a world it is very difficult to find true love and respect, in a world where everything is saturated with the power of money and the bad habits of greedy people, an honest and intelligent woman simply could not find a proper place for herself. Larisa was literally ruined by the cruel and dishonest customs of her contemporaries.