Russian nostalgia of the playwright Ostrovsky. "The portrayal of the merchant class in the plays of A

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All characters of the play, both main and secondary (matchmaker Ustinya Naumovna, housekeeper Fominichna and others) are depicted satirically. Ostrovsky at the beginning of his work immediately declared himself as a satirist writer, a successor to the tradition of D. I. Fonvizin, A. S. Griboyedov, N. V. Gogol. And the subsequent creations of the playwright only strengthened and expanded his fame.

K. N. Rybakov (Bolshov) and M. P. Sadovsky (Podkhalyuzin) staged by the Maly Theater in 1892. The merchant's daughter of marriageable age, Olimpiada (Lipochka) Samsonovna Bolshova, sits alone at the window with a book and, arguing, "what a pleasant occupation these dances are," she begins to waltz: she has not danced for a year and a half and is afraid, if anything, "to be embarrassed." Dancing badly. Mother enters, Agrafena Kondratyevna. Mother and daughter fight. The daughter demands to find her a groom. Matchmaker Ustinya Naumovna arrives. Lipochka wants a fiancé "of the nobility," his father a rich man, his mother a merchant, "so that he baptizes his forehead in the old fashioned way." They tease him. Bolshov seriously needs a lawyer: he is thinking about declaring himself an insolvent debtor. The women leave and the landlord and the lawyer delve into this topic. The lawyer advises to transfer all the property to the clerk Lazar Elizarych Podkhalyuzin. He also enters, telling how he teaches the salesmen in the shop to cheat the buyers "naturally." Bolshov is reading a newspaper. In Moscow - a chain of bankruptcies, mostly "malicious", intentional; and each, each refusal to pay debts naturally entails the following. Then the merchant decides. The main question is: is it possible to trust the one to whom you rewrite your property, hidden from the inventory for debts? Lazar is in love with Lipochka and is already making new plans, including marrying her. And, treating the lawyer, he asks how much Bolshov promised him for "all these mechanics", and he himself promises not a thousand, but two. The matchmaker comes, he promises her the same amount and a sable fur coat in addition, if she repels the intended "noble" groom. The house is preparing for the wedding. Samson Silych is also solemn in his own way, but Ustinya Naumovna appears with bad news: supposedly the groom is being capricious. The housekeeper Fominishna, Rispolozhensky, Lazar join the company, and Bolshov solemnly announces Lazar as a groom. Trouble. Lipochka makes a fuss. Lazar followed the hostess and, remaining face to face with the enraged Lipochka, informs her that the house and shops are now his, and "your aunt is yours: bankrupt, sir!" Lipochka, after a pause, agrees, on the condition: “We will live on our own, and they will live on their own. We will start everything according to fashion, and they will do what they want. The family celebration begins. Bolshov announces: “To you, Lazar, a house and shops will go instead of a dowry, but we’ll count it out of cash ... Just feed us and the old woman, and pay ten kopecks to creditors. “Is it worth it, darling, to talk about it?” . We’ll settle our people!” At the end of the comedy, Bolshov ends up in prison, and Podkhalyuzin remains with all his wealth.

Bibliography

1. Collection. sochin. in 10 vols. , ed. N. N. Dolgova, 1919--1924

2. Maksimov S., A. N. Ostrovsky (According to my recollections), "Russian Thought", 1897 3. Nelidov F., Ostrovsky in the circle "Young Muscovite", "Russian Thought", 1901 4. Kropachev N., A N. Ostrovsky in the service of the imperial theaters, M., 1901 5. Morozov P., A. N. Ostrovsky in his correspondence (1850-1855), Vestnik Evropy, 1916 6. Belchikov N., A. N Ostrovsky (Archival materials), "Art", 1923, 7. Pigulevsky A., A. N. Ostrovsky as a literary figure, Vilna, 1889

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"Own people - let's settle" (original titles "Insolvent debtor", "Bankrupt" and "Bankrupt, or Our people - let's settle") - a comedy in 4 acts by Alexander Ostrovsky in 1849. The first public reading of the play took place on December 3, 1849 - in the house of MP Pogodin, where Nikolai Gogol was among those present. After being published in the Moskvityanin magazine in 1850, the play was a huge success with readers. Famous Russian writers also reacted to the publication. Goncharov pointed to the "author's knowledge of the Russian language and the heart of a Russian person" and "the skillful introduction of a dramatic element into comedy." Tolstoy wrote: "All comedy is a miracle ... Ostrovsky is not jokingly a brilliant dramatic writer." However, the play received a negative review from the censor Mikhail Alexandrovich Gedeonov, and its production was banned at the direction of Nicholas I with the words "... it was printed in vain, it is forbidden to play it ...". The author was placed under police supervision, removed in 1855. The play was officially allowed to be staged in an abridged form in December 1860. The performance was held at the Aleksanrinsky Theater in St. Petersburg on January 16, 1961. For the first time in its original version, the play was staged on April 30, 1881 at the private theater of Anna Alekseevna Brenco "Near the monument to Pushkin" in Moscow. The plays of Alexander Nikolaevich Ostrovsky are often called the “window” into the merchant world of creations, there were merchants of all guilds, shopkeepers, clerks, petty officials ... Ostrovsky was even called “Columbus of Zamoskvorechye”, because he, like Columbus, opened the whole world to the Russian reader - the world of Moscow Zamoskvorechye, “ countries" of the Moscow merchants. The playwright did not invent many plots for his comedies, but took them directly from life. The experience of serving in Moscow courts was useful to him, where property disputes, cases of false bankruptcies, conflicts over inheritance were considered. Ostrovsky, it seems, simply transferred all this to the pages of his plays. One of these comedies, taken from the very thick of merchant life, was the comedy "Bankrupt", which the playwright wrote at the very end of the 40s of the 19th century. It was published in the magazine "Moskvityanin" in 1850 with the title "Our people - let's settle!" and brought the young author well-deserved fame. The plot of the comedy is based on a case of fraud, which was very common in the last century among the merchants: a wealthy merchant, Samson Silych Bolshov, borrowed a fairly large amount of money from other merchants, not wanting to return it, declared bankruptcy. And he transferred all his property to the name of the “faithful person” - the clerk Lazar Podkhalyuzin, for whom, for his greater confidence and peace of mind, he marries his daughter Lipochka, Olimpiada Samsonovna. The insolvent debtor Bolshov is imprisoned (debt hole), but Samson Silych is sure that his daughter and son-in-law will pay a small amount of money for him from the property received and he will be released. However, events do not develop at all as Bolshov would like: Lipochka and Podkhalyuzin did not pay a penny, and poor Bolshov is forced to go to prison. It would seem that there is nothing interesting and entertaining in this story: one swindler deceived another swindler. But the comedy is interesting not for its complex plot, but for the truth of life, which, it seems to me, forms the basis of all Ostrovsky's works. With what accuracy and realism all the characters of the comedy are drawn! Take, for example, Bolshov. This is a rude, ignorant person, a real tyrant. He was used to commanding and managing everything. Samson Silych orders his daughter to marry Podkhalyuzin, completely disregarding her desires: “Important matter! Do not dance to me on her pipe in my old age. For whom I command, for that I will go. My brainchild: I want to eat with porridge, I want to butter butter ... ”Bolshov himself started from the bottom,“ he traded with bare heads ”; in his childhood he was generously rewarded with “pokes” and “slaps”, but now he has saved up money, became a merchant and is already scolding and urging everyone. Of course, the harsh "school of life" raised him in his own way: he became rude, resourceful, even became a swindler. At the end of the play, he also evokes some sympathy, because he was cruelly betrayed by his own daughter and deceived by "his" man - Podkhalyuzin, whom he trusted so much! Podkhalyuzin is an even bigger swindler than Bolshov. He managed not only to deceive the owner, but also to win the favor of Lipochka, who at first did not want to marry him. This is, as it were, a “new” Bolshov, even more cynical and arrogant, more in line with the mores of the new time - the time of gain. But there is another character in the play who is inextricably linked with the previous ones. This is the boy Tishka. For the time being, he still serves "on errands", but little by little, by a pretty penny, he begins to collect his capital, and over time, obviously, he will become the "new" Podkhalyuzin.

Particularly interesting in comedy, it seems to me, is the image of Lipochka. She dreams of a groom "from the noble" and does not want to marry some "merchant"; give her a groom “not snub-nosed, without fail, so that he would be a brunette; well, of course, so that he was dressed in a magazine way ... ”She does not look like merchants of the past; she wants to add the nobility to her father's money. How reminiscent of Molière's comedy The Tradesman in the Nobility! however, the cunning Podkhalyuzin easily convinced her that with her father's money and with his resourcefulness they could live even better than the "noble". Lipochka, like Podkhalyuzin, does not arouse the slightest sympathy in us.

All characters of the play, both main and secondary (matchmaker Ustinya Naumovna, housekeeper Fominichna and others) are depicted satirically. Ostrovsky at the beginning of his work immediately declared himself as a satirist writer, a successor to the tradition of D. I. Fonvizin, A. S. Griboyedov, N. V. Gogol. And the subsequent creations of the playwright only strengthened and expanded his fame.

See Festival of Pedagogical Ideas “Open Lesson” about integration in the lessons of humanitarian and aesthetic cycles on the example of the topics “The Image of St. Sergius of Radonezh in Literature and Fine Arts” and “The Legend of the Tower of Babel in Russian Literature and Architecture”. Collections of abstracts 2003-2004 and 2004-2005 academic years.

The material “The world of merchants in the work of A.N. Ostrovsky and in the painting by P.A. Fedotov" can be used in the 10th grade in the lessons of studying the biography of the playwright and the plays "Our people - we will settle", "Thunderstorm" and others.

Illustrative material - reproductions of paintings by P. Fedotov "Major's Matchmaking", "Choiceous Bride" and others. “The world of Ostrovsky is not our world,” the literary researcher Yu.I. Aikhenwald, - and to a certain extent, we, people of a different culture, visit him as strangers ... ”Yes, it is difficult for us, and even more so for our students, to understand the world in which Ostrovsky’s heroes live, their psychology, the motives that drive their actions. Sometime in his early youth, the writer felt that it was his duty to open a new, albeit familiar space to the public: “Until now, only the position and name of this country was known; as for its inhabitants, that is, their way of life, language, manners, customs, degree of education - all this was covered with the darkness of obscurity.

This country, according to official reports, lies directly opposite the Kremlin, on the other side of the Moskva River, which is probably why it is called Zamoskvorechye.

These words are not just a joke. Ostrovsky really introduced the educated public into an unknown world. Over the years, he wrote a great many plays about Moscow merchant life. His less adventurous life fed his imagination, and he created more and more new stories.

Today's children need to rediscover this world. We want to know what the inhabitants of this mysterious country looked like? Let's walk through the halls of the Tretyakov Gallery, peer into the paintings of Perov, Pryanishnikov, Fedotov. We want to hear the voices of these people, their dialect, intonations - let's open the compositions of Ostrovsky. Zamoskvorechye was a special world of merchants and petty officials, who lived according to their own separate laws. Here, church rituals were strictly observed (mixing superstitions with them), ancient customs reigned here, the native Russian speech sounded, they even dressed here differently than in the city center.

The quiet course of life, the old way of life, the customs of the Moscow merchants, who often settled in Zamoskvorechye - all these impressions shaped the personality of the young Ostrovsky. In 1850, the Moskvityanin magazine published the comedy Bankrut (We'll Settle Our Own People), which was banned from being staged. Nicholas I himself drew attention to the play. He considered that the comedy was printed in vain, and instructed the Minister of Public Education to carry out the necessary educational work with the author. Comedy hit the stage only after more than ten years, and in the initial version, without censorship intervention, in 1881. V.F. Odoevsky, in one of his letters, assessed the hitherto unknown author and the work itself as follows: “... I consider three tragedies in Russia: “Undergrowth”, “Woe from Wit”, “Inspector General”. On Bankrut, I put number four.

The young author, then still an official of the Commercial Court, took the plot of the comedy from his official practice. In court, he often had to meet with various fraudulent tricks of merchants. In this environment, it was the most ordinary thing to declare oneself an insolvent debtor, to refuse to return debts to trusted creditors. So does the head of the family, Samson Silych Bolshov. And his daughter Lipochka, for nothing that she is a merchant's daughter, dreams of marrying a noble, that is, a military man: “I will not marry a merchant, I will not marry for anything. Is that why I was brought up like that: I studied in French, and on the piano, and to dance!” Students are interested in joining the discussion: was marriage possible between representatives of different classes - nobles and merchants? Was he equal? Why did such marriages still take place?

At the same time, an unprecedented number of visitors gathered at the academic art exhibition of 1849. Everyone was in a hurry to see the "Major's Matchmaking", a painting by the hitherto unknown author Pavel Fedotov. Next to the then fashionable Venuses and Apollos, this small everyday scene, depicting a marriage of convenience, breathed modernity and novelty. It seemed to the artist that it was not enough that the audience would see in the picture, and he read the race poems he composed, in which the plot of the picture was revealed:

honest gentlemen,
Please come here!
Welcome,
We won't ask for money.
Look at the gift
Just clean your glasses...
Here is the merchant's house,
Just enough in it
It just doesn't make any sense:
One smells like a village
Another tavern.
Here, however, one sense
That everything is not borrowed,
How do you sometimes
Honest gentlemen!
Here, take a look:
As a merchant owner
bride's father,
Doesn't fit with a frock coat...
Here, take a look:
Like our bride
Foolishly will not find a place ...
As in another room
The hawk threatens the dove,
Like a major, fat, brave,
holey pocket,
Twists his mustache:
“I, they say, will get to the money!”

The artist wrote about himself: “My father was a warrior of Catherine's times; He rarely talked about campaigns, but he saw a lot in his lifetime ... He was married twice: the first - to a captured Turkish woman, the second - to my mother. Our family lived in a small house (in Moscow). We lived very poorly, but as long as my father could serve, we did not experience any special needs. My father had immeasurable honesty, but, like many honest old men, she was dressed in harsh, cruel, angular forms ... Every day I saw dozens of people of the most diverse, picturesque and, above all, close to me. Our numerous relatives ... consisted of simple people, unsettled by secular life, our servants were part of the family, chatted in front of me and appeared wide open; the neighbors were all familiar people…”. So, being already a mature person, Pavel Andreevich Fedotov recalled the atmosphere of his early childhood. He talked about childhood often and willingly, visibly agitated, portrayed his family in faces, reproduced their voices. Eyewitnesses recalled what a brilliant performance it was. The future artist is a multi-talented person: he not only draws, but also composes music, writes poetry. All these hobbies, however, did not prevent Fedotov from brilliantly graduating from the Moscow Cadet Corps (he was assigned there by family tradition) and then regularly serving in the Life Guards of the Finnish Regiment in St. Petersburg. The young officer did not leave art classes there either, he attended drawing classes at the Academy of Arts.

Let's go back to the 1848 exhibition. Painting “Major's Matchmaking”. Before us is a live, like a peeped scene. Examine it carefully and try to tell what is depicted here, what story formed the basis of the plot of the picture, try to reveal its content.

Pupils talk, draw their conclusions, generalizations.

The author introduces the viewer into the atmosphere of merchant life. Take a look at the situation, and you will feel like you are in a merchant's house, where everything speaks of the stability of life, the way of life of its inhabitants: a painted ceiling, a rich chandelier, an embroidered tablecloth on a served table; on the walls are symmetrically hung portraits of generals, a clergyman, a merchant.

What happens here at the moment captured by the artist? It is easy to see that everyone in the house is excited: the matchmaker has brought the groom. Here he is standing at the door, straightening his mustache. The embarrassed bride tries to run away, being held back by her angry mother. And the owner of the house - a bearded merchant - hastily buttons his frock coat. All the characters are on the move, so we can anticipate future events. In a minute, the groom will appear in the room, the bride will stop being coy, the mother will not be angry, everyone will sit down at the table, and the conversation will begin.

In a skilfully constructed mise-en-scene, not only the external outline of events is easily read, but also their socio-psychological meaning: the major is clearly going to get rich by marrying a merchant's daughter. For a merchant, it is very tempting to intermarry with a nobleman, giving his daughter in marriage to a “noble”. A typical marriage deal.

The more we peer into the picture, the more clearly we notice that the arrival of the major was not unexpected, as it might seem at first glance. The house was carefully prepared for the groom's visit. This is evidenced not only by the table laid for dinner, but also by the expensive outfits of women, the abundance of household members busy preparing for the reception.

In the architectonic construction of the "Courtship of a Major" Fedotov creatively used the principles of the classic "balance law", which contributes to the impression of compactness, harmonic coherence of the image. So, the chandelier, which is a kind of “plumb line” in the picture, divides the composition into two halves along the vertical axis, fastening the figures of mother and daughter in the center of the picture. The remaining members of the family, along with the servants and the matchmaker, upon closer examination, turn out to be located symmetrically to the central vertical axis of the back wall of the interior, passing exactly in the center of the portrait of the ancestor, the founder of the merchant family, whose important posture contrasts with the fussiness of the members of the merchant family, enhancing the critical perception of the matchmaking scene.

Fedotov's color plays an active role in creating an artistic image. With color and light, the artist highlights the main characters, places semantic accents. Fedotov's skill in conveying the materiality of objects is perfect. See how the transparency of the bride’s light muslin attire, the heaviness of the merchant’s satin dress with sparkling light reflections on it and golden reflections from the shiny floor, the brilliance of gilded frames on the walls and the fragility of crystal glasses on the table are conveyed. From looking at the characters in the picture, you experience the same pleasure as from reading the monologues and dialogues of Ostrovsky's characters. For example, Lipochka (“Our people - we will settle”), in response to the question of the matchmaker Ustinya Naumovna, how many dresses she has, lists: “But count: a wedding blond one on a satin cover and three velvet ones - that will be four; two gas and crepe, embroidered with gold - this is seven; three satin and three grosgrains are thirteen; grodenaplev and grodafrikovyh seven - this is twenty; three marceline, two muslindel, two chineroyal - is that a lot? - three yes four seven, yes twenty - twenty seven; crepe prachel four is thirty-one. Well, there are also up to twenty pieces of muslin, bouffant muslin and chintz; Yes, there is a blouse and hoods - either nine, or ten. Yes, I recently sewed it from Persian fabric.”

The student makes a report about the outfits of a Moscow merchant's wife, illustrating it with reproductions of paintings by B. Kustodiev and photographs of dresses from the collection of the State Historical Museum. Many merchants and petty-bourgeois women depicted in the portraits are holding handkerchiefs made of thin transparent linen, tulle, silk, muslin or lace. This detail, which gave naturalness to the gesture, was truly a work of seamstress art. Handkerchiefs were languidly fanned like fans. In the painting by P.A. Fedotov, the bride threw a coquettish handkerchief on the floor, which gives the whole scene some additional completeness and grace.

Before realizing the idea of ​​​​the work, Fedotov nurtured every image, every detail for a long time. According to him, his main work was not in the workshop, but "on the streets and in other people's houses." Where only he had not been to find nature! How difficult it was sometimes for him to get people to agree to pose for him! Under various pretexts, he entered unfamiliar houses, looked out, looked out for types and suitable objects.

“... There may be such lucky ones to whom imagination immediately gives the right type,” said Fedotov. - I do not belong to their number, and perhaps I am too conscientious to pass off the game of fantasy as possible. When I needed a type of merchant for my “Major”, I often walked around the Gostiny and Apraksin Dvor, looking closely at the faces of the merchants, listening to their conversation and studying their tricks ... Finally, one day, at Anichkov Bridge, I met the realization of my ideal, and not one lucky man, to whom the most pleasant rendezvous was appointed on Nevsky, could not be more delighted with his beauty, as I was delighted with my red beard and thick belly ... I took my find home, then I found an opportunity to get to know him ... I studied his character ... I brought it into my picture. For a whole year I studied one person, and what did others cost me!

Fedotov's painting "Major's Matchmaking" has not lost its charm to this day. It is dear to us as evidence of the talent and skill of a remarkable artist of the 19th century, as the first manifestation of critical realism in Russian painting. After this picture, Fedotov was recognized by the public. Much has been written about him. In 1848, the Academy of Arts awarded Fedotov the title of academician. When Fedotov arrived in Moscow in 1850 to see his relatives and help them arrange family affairs, the artist's joy knew no bounds: the exhibition of paintings he organized was a huge success here too.

The last years of the artist's life were very difficult. he suffered from the imperfection of life, from loneliness, poverty, but out of pride he did not like to talk about it. Many plans remained unfulfilled, started paintings - unfinished. A person could not endure constant mental stress and overwork. In 1852, Pavel Andreevich Fedotov died in a private psychiatric hospital. Not a single line about the death of the artist was printed in any of the St. Petersburg newspapers. He died at the age of 37.

“Fedotov died,” wrote V.V. Stasov, - having brought into the world barely a small grain of the wealth with which his nature was gifted. But this grain was pure gold and then bore great fruits ... Fedotov for the first time touched deeply and strongly on that very terrible “dark kingdom”, which a few years later, with all the power of talent, Ostrovsky brought to the stage.

List of used literature

1. Kuznetsova E.V. Conversations about Russian art of the 1111th - early 19th centuries: a guide for the teacher. - M .: Publishing house "Enlightenment", 1972.
2. Legend of Happiness. Prose and poetry of Russian artists. - M .: Moskovsky worker, 1987.
3. Morov A.G. Three centuries of the Russian stage. Book 1. From the origins to the Great October. - M .: Publishing house "Enlightenment", 1978.
4. Ostrovsky A.N. Dramaturgy. - M .: LLC Publishing house "Olimp", 2002.
5. Arkhangelsky A. A. N. Ostrovsky. The artistic world of the writer.// Literature, 2001, No. 33.
6. Karakash T. “You overtook me ...” / / Art at school, 1999, No. 3.
7. Gerasimova E. Country of A.N. Ostrovsky // Young artist, 1996, No. 1.
8. Aleshina T. Outfits of a Moscow merchant's wife.// Young artist, 1995, No. 7.
9. Stasov V.V. Selected works, vol. 2. - M .: Art, 1952.

The first period of A. N. Ostrovsky’s literary activity includes plays, the content of which is taken from the life of the merchant class and petty bureaucracy (“Our people - we will count”, “Poverty is not a vice”, “Hangover in someone else’s feast”, “Profitable place”, “Thunderstorm " and etc.). Both of these estates have developed over the centuries, and the features of the old way of life have been preserved more intact than the "cultural" part of Russian society (the highest nobility and the highest bureaucracy). These features already in the 18th century seemed so peculiar that they were ridiculed both in satirical magazines and in comedies; especially got the “orders” - these small fry of the bureaucratic world, who spawned “sneak”, were “littlemen”, took bribes, robbed the treasury.

Alexander Nikolaevich Ostrovsky. Educational video. Part 2

The main features of the merchant's life - the patriarchal, domostroevsky structure of life, the isolation and rudeness of this life, the humiliation of a woman and the tyranny of the householder - all this, more or less, was vividly depicted more than once in Russian everyday comedy before Ostrovsky, but no one had this life illuminated so widely and deeply, no one before Ostrovsky looked so seriously into the foundations of this system of life of the “dark kingdom”. Gogol, who knew the bureaucratic world well (“Dead Souls”, “Inspector General”), merchant life was barely outlined in the most general terms in his “Marriage”, where he also brought out the old Testament merchants in the person of Arina Panteleevna, the young merchant Starikov and Agafya’s father Tikhonovna, with his imperious hand, "as large as a bucket" - and a new one, which is already reaching out to the nobility - in the person of Agafya Tikhonovna.

With love, Ostrovsky outlined many of the bright sides of the “old Testament” merchant class, noted the patriarchal simplicity and cordiality that binds everyone, both relatives and employees, into one family, and noted the closeness of these merchant houses to the people, the worldview in these houses is still purely folk, entertainment is also on the "people's become". But Ostrovsky did not close his eyes to the dark sides of this life, paying special attention to the despotism that flowed from the patriarchal warehouse of the then merchant life. When this despotism was not softened by reason and cordiality, it turned into wild and bizarre "tyranny". This very term was put into circulation by Ostrovsky, who in the comedy: “In a strange feast, a hangover”, through the mouth of one character, gives the following definition of this trait:

Tyrant - this is called, if, behold, a person does not listen to anyone; you give him at least a stake on his head, and he is all his own. He stamps his foot, says: "Who am I?" - here everyone at home is at his feet, otherwise it’s a disaster!

Feeling his strength not only physical, but also spiritual over impersonal, humiliated domestic, spoiled by the consciousness of his strength, "tyrant", often a person, in himself, not evil, mocks everyone, demands to guess what his "leg wants". “Nastasya,” one of these tyrants says to his wife, “who dares to offend me?” “No one, Father Kit Kitich, dares to offend you. You will offend everyone."

Such “tyranny”, a phenomenon as characteristic as “Oblomovism”, has grown up with us for centuries and is best preserved in the rude environment of the merchants, who, more than the nobility, retained their originality ... To a lesser extent and in a more relaxed form, such despotism preserved in other estates: S. Aksakov, in his “ Family Chronicle", gave several samples of this type; Goncharov brought him to the "grandmother" (" cliff”), Pushkin - in Troekurov and the old man Grinev (“

slide 2

Type: Lesson of new knowledge Equipment: Illustrations for staging plays at the Maly Theater for screening Ostrovsky's works (experience shows that it is recommended to get acquainted with films before discussing plays in class in order to more emotionally perceive the work).

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education of a spiritually developed personality, the formation of a humanistic worldview, national identity, love and respect for the values ​​of national culture; development of ideas about the specifics of literature in a number of other arts, to master the features of the dramatic art of basic historical and literary information and theoretical and literary concepts; formation of a general idea of ​​the historical and literary process; improving the skills of analyzing and interpreting a literary work as an artistic whole in its historical and literary conditionality using the theoretical and literary knowledge of searching, systematizing and using the necessary information, including on the Internet.

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The objectives of the lesson are to determine the originality of the work of A. N. Ostrovsky, expressed in the reflection of the problems of the era. Show innovation and tradition in his plays, the originality of his style. The lesson should highlight several key points that can be presented in the form of small messages from students.

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“We have our own Russian, national theatre. It, in fairness, should be called: "The Ostrovsky Theater" "I.A. Goncharov

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"Columbus Zamoskvorechye"

Alexander Nikolayevich Ostrovsky was born on April 12, 1823 in Moscow (Malaya Ordynka, 9). His father, Nikolai Fedorovich Ostrovsky, was a prosperous official, later a titular adviser, his mother, Lyubov Ivanovna, the daughter of a sexton and a marshmallow.

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"Columbus of Zamoskvorechye" - this honorary title belongs to the playwright by right. Ostrovsky was born and lived most of his life in Zamoskvorechye, the old merchant and bureaucratic-petty-bourgeois district of Moscow.

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About the inhabitants of this picturesque corner, Ostrovsky wrote in the article “Zamoskvorechie on holidays”: “We never dress in fashion. It is even considered indecent." Here, on holidays, they slept until eleven, went to church, baked pies, had dinner "tightly tight", went to bed early.

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The ideal of beauty

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Bright flowers on the wallpaper, as well as the flowers with which the chest is painted, are associated with the blooming age of a healthy beautiful woman. All the heroines of Kustodiev in this series look like sisters - they are young, healthy, "financially sufficient." The face of the "beauty" hides a strange expression, which is generally characteristic of the Kustodiev heroines of this series (or, if you like, the "cycle"). It is serene and at the same time crafty; the heroine looks at the viewer, not at all embarrassed by her nakedness, as if realizing that the main jewel here is she. A soft pink duvet (and clean lace pillowcases) is a sign of the merchant world, who loves coziness, comfort and warmth. Thus, in the social sense, the heroine of the canvas is attributed without difficulty.

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The forms of the body of the "beauty" are characterized by roundness - in the heroine of the canvas, unlike many other characters of the then painting, there is nothing sharp, broken, screaming. Moreover, this, so to speak, is a flexible roundness - pay attention to the arm unnaturally bent at the elbow. In general, the somewhat clumsy pose of the "beauty" "rhymes" with chaste purity. Lovingly drawn out tiny feet - in combination with a full body and a certain "thickness" - give rise to a feeling of fragility of the heroine, which even more "idealizes" her image, which is characterized by a strange grace and unique charm. The entire interior - and, above all, a huge forged and brightly painted chest - is a kind of "frame" for the heroine, testifying to the prosperity, stability and regularity of her existence.

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“Own people - let's count” (1849)

Ostrovsky is considered the creator of unforgettable images of the “dark kingdom” (article by N. Dobrolyubov “The Dark Kingdom”).

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The play "Own people - let's settle!" (original name - "Bankrupt") exposes trade fraud, rudeness, ignorance, "wild customs" of the merchant class. Sleepy, sour life, with its eccentricities, rudeness and prejudices, surrounded Ostrovsky from the very time he began to remember himself.

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The world of the "pre-Petrine" Russian man, which existed next to the modernity of the "iron" XIX century, before Ostrovsky remained strange and exotic, the subject of amazed and mocking scrutiny.

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V. F. Odoevsky wrote: “I consider three tragedies in Russia: “Undergrowth”, “Woe from Wit”, “Inspector General”. On "Bankrut" I put the number four. The comedy fell under a censorship ban: it was stated that “this play is an insult to the Russian merchant class”, a tacit surveillance was established for the “writer Ostrovsky”, removed only in 1855, already under Tsar Alexander II.

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Several Volga cities argued for a long time about which of them the events depicted in Ostrovsky's famous drama "Thunderstorm" are connected with.

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"Cruel morals, sir, in our city, cruel!" Kuligin complains. In merchant houses, behind high fences, behind heavy locks, invisible tears are shed, dark deeds are going on.

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Do you know the heroes of the drama "Thunderstorm"? Which of them…

... dreamed of inventing a perpetual motion machine, getting a million for it and providing jobs for poor people? ... asserted that there are people with dog heads, that "they began to harness the fiery serpent ... for the sake of speed"? ... at the mention of the fact that he had to pay someone a debt, he became furious and cursed? ... sings a song about how the wife prayed to her husband so that he would not ruin her until the evening, but let the little kids sleep? ... claimed that Lithuania fell on us from the sky? ... had an education, as he studied at a commercial academy, but unquestioningly obeyed a petty tyrant? ... promises to send Kuligin to the mayor for Derzhavin's poems: "I decay in the dust with my body, I command thunder with my mind"? ... brought her son to absolute lack of will, her daughter to run away from home, her daughter-in-law to suicide? ... said that he would take, and drink away his last mind, and then let mother be with him, with the fool, and suffer? ... regretted that she was not a bird, but “would have run away, raised her hands and flew”?

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In Ostrovsky's plays, the names of the characters are significant and speaking. For example, in "Thunderstorm": "fighting with the women" Wild, domestic dictator Martha (Greek - "mistress, mistress") Kabanova, weak-willed Tikhon, dashing on girls and on the tongue Kudryash. The meaning of the name Katerina is “pure”, Varvara is “rough”, Thekla is “God, glory”

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Dramatic genre, which is based on a comic conflict, which consists in a discrepancy between the external manifestation and the essence of the depicted. A dramatic genre that is built on a tragic conflict between the hero and circumstances, or on an equally insoluble conflict of inner motives in the hero's soul. One of the literary genres, involving the creation of an artistic world for stage embodiment in a performance. The subject of the image is the events and actions of people, forming a dramatic plot.

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“Ostrovsky in Larisa draws the image of a girl who has no likeness, incomparable. The aspirations and desires of the people around her are aimed precisely at likening her to other women, imposing on her a way of life that is alien to her desires, but that corresponds to the real laws of the world around her. (V. Kostelyants)

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Think about what meaning is embedded in the names of the heroes of "Dowry", if according to the dictionary V.I.Dalaknur - "boar, wild boar, boar"; paraty (adjective) - "strong, predatory beast"; pencil - "shorty, undersized." The meaning of the names: Julius - the name of the Roman emperor, commander Julius Caesar; Larisa - Greek "seagull"; Harita - gypsy "charm".

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A. N. Ostrovsky is able to "look into the very depths of a person's soul." ON THE. Dobrolyubov

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Shchelykovo