Ostrovsky A. Groza, The image of the “cruel world” in dramaturgy A

The play "Dowry" was written in the 60-70s. This was the heyday of Ostrovsky's creative powers. Never before have the possibilities of a playwright’s talent been revealed so multifacetedly.

At this hour, Ostrovsky mainly turns to modernity. The main theme of his plays is the denunciation of the bourgeoisie, which was formed in that era, or more precisely, the depiction of the moral side of representatives of this class.

Among the plays on similar themes, "Dowry" is undoubtedly one of the best, because it is in it that the moral side of life is shown most clearly and prominently.

The main idea of ​​"Dowry" is the assertion that in bourgeois-capitalist society a heartless purist rules, turning a poor person dependent on him into an object of purchase and sale, into a thing, and a possessed person into one obsessed with an insatiable thirst for profit and enrichment. To be a self-aware person and not have the opportunity to manifest it - such is the tragic situation in which a person deprived of material security found himself in these conditions. Here “idols” like the millionaire Knurov triumph, with their cynicism and wolfish grip, and honest and crystal clear natures like Larisa Ogudalova perish, entering into an unequal struggle.

Beneath the veneer of Europeanized commercialism hid a disgusting rapacity. For the Knurovs, Vozhzhevatovs and Paratovs there are no restraining moral rules. And what do they need them for, when they can buy and sell absolutely everything. And moreover, there is no question that such concepts as conscience, honor, and dignity are not for sale. In this cruel world, they have their price, you just need to be aware of how much to offer. These people are guided by these principles. For them, selfish calculation and the laws of the market always come first. But the worst thing is that they don’t consider themselves wrong.

“What a pity, it’s me,” Paratov says to Knurov, “I don’t know. I, Mokiy Parmenych, have nothing treasured; I’ll find a profit, so I’ll sell everything, anything,”

Paratov's words can serve as a leitmotif for the entire play. Indeed, for such people there is nothing cherished. Paratov himself remains true to his base credo and sells himself to a rich bride. Moreover, he manages to deceive the unfortunate girl twice.

The infection of the bourgeois way of thinking has spread to the younger generation. Vozhevatov declares that he does not notice in himself “what is called love,” and finds in this the full support of Knurov: “You will be a good merchant.”

Against this background, official Karandyshev’s attempts to behave like financial sharks look pathetic. He puffs himself up with all his might, not realizing that he is putting not only himself, but also his fiancée in a stupid position, not realizing that these people are simply mocking him, laughing in his face. His mind is overshadowed by the desire to get closer to this circle at any cost, to join this caste. But the pass to this society is money, which Karandyshev does not have. Everything in this world is measured by money. And even if you are a notorious scoundrel, an impenetrable idiot, just a pitiful person, the society of the Knurovs and Vozhevatovs will write off any shortcoming for you.

In this terrible world, pure, bright, sublime people have practically no choice. Larisa's path is either marriage and life with an unloved person, vegetating in the wilderness of the village, or a luxurious but demure existence as a kept woman. And Larisa, as a morally pure nature, chooses the first, although she understands that this is not an option for her either. Life with Karandyshev would sooner or later kill her, if not physically, then at least morally, which is no less scary. But the life of a kept woman does not attract her, because... she keeps it high moral principles. Perhaps she would have chosen this path if Paratov had offered her this beloved one. But, alas, he did not accept her love. A false concept of nobility forces him to confess to her that he is engaged, and thereby he signs her death warrant. For, as I already noted, no matter what path Larisa chose, its outcome would be death.

The cruelty of this world finds its final expression in the cynical auctions organized by Knurov and Vozhevatov. When Larisa finds herself in a hopeless situation, knowing that she has nowhere to go, they simply play her a toss. This moment eloquently shows all the heartlessness, all the selfishness of predatory people, for whom money is the main part of this life.

Therefore, Larisa’s death becomes a salvation for her, and she completely sincerely thanks Karandyshev. She loves life too much to commit suicide, but she still finds it unbearable to continue existing. But what kind of monstrous world is this, where for pure, bright people death is salvation?

Ostrovsky showed the drama of a sublime soul, a “warm heart” in the cruel world of businessmen. And it must be said that the situation shown is no less relevant today. There is no need to neglect this.

A. N. Ostrovsky's play "The Thunderstorm" was written in 1859 as a result of a trip to Russia in 1855, organized by the Naval Ministry. The trip along the Volga provided Ostrovsky with enormous material. Having come into contact with real life cities remote from Moscow, he saw that in them merchant and bourgeois families formed the basis of Russian life. Thus, using the example of the non-existent “collective” city of Kalinov, Ostrovsky was able to vividly show the stagnant life of Russia, thereby revealing the need for change. According to I. A. Goncharov, the play “The Thunderstorm” paints “a broad picture of national life and morals.”
The system of images in A. N. Ostrovsky’s drama “The Thunderstorm” is complex, but at the same time it is harmonious and orderly. It is built by the author on the principle of pairing: using the technique of antithesis, the playwright compares directly opposite or contrasting characters. A. N. Ostrovsky divides everyone characters into two main groups: oppressors and the oppressed (both economically and spiritually), despots and their victims.
The first are urban tyrants. Ostrovsky used an old word (tyrants), but with a new social connotation - for him these are people striving for unlimited power over others. The world of tyrants is presented in the play in many ways.
In the image of the Wild, the playwright portrays to us one of the types of tyranny. Dikoy is the richest merchant of the city, one of its “pillars” and “fathers”, greedy, selfish, arrogant and ignorant, a shameless acquirer. Meeting only submission everywhere, Dikoy was not used to restraining himself either internally or externally. The image of this character allows the author to reveal the everyday cruelty of Kalinov’s world. So, when talking with Kuligin, he authoritatively declares: “... you are a worm. If I want, I’ll have mercy, if I want, I’ll crush.” This is a rude oppressor, unbridled, a “scolder,” a “warrior,” as Shapkin called him, both in the family, and among people dependent on him, and on the street. “...Like he broke the chain...” - this is how Kudryash characterizes him. However, such “open” tyranny is not welcomed by the Kalinovites; even Kabanikha is outraged by his tactlessness, and to his rudeness she replies: “...you find me cheaper.”
The second type of tyrant is personified by Marfa Ignatievna Kabanova. Kabanikha’s behavior is the norm for Kalinov, “blaalepie” accompanies Kabanikha - a person who does not violate the mores of patriarchal life, but follows them and protects them. Marfa Ignatievna is a rich merchant's wife, hiding her cruel, power-despotic essence under the guise of external piety. Kabanikha does not tolerate the slightest contradiction. Her power is unquestionable, absolute. She “eats” and “sharpenes like rusty iron” her loved ones. “She lavishes the poor, but completely overwhelms her family,” says Kuligin, hinting at her hypocrisy. Kabanikha cares not so much about order itself as about the appearance of order: she clings to rituals and traditions like a straw. Marfa Ignatievna Kabanova is a truly terrible image, personifying the darkest sides of the “cruel world.”
In contrast to tyranny, the second part of the city of Kalinov is shown - these are forced, victims " dark kingdom“, this is a mass of uneducated people who do not read books, who learn news from wanderers. Creating negative images of urban inhabitants, the playwright turned to the means of satirical denunciation. The author speaks with irony about city residents who do not know their own history (talking about Lithuania, which “... fell from the sky”). The inhabitants of the city of Kalinov are not able to see beauty. Thus, to Kuligin’s words about the “extraordinary view” of the distances beyond the river, Kudryash replies: “That’s great!”; Kuligin also addresses the townspeople with a bitter reproach: “The Northern Lights will light up, you should admire and marvel... but you are horrified and inventing whether this means war or pestilence.” Character traits Kalinovtsev - inertia, fear, consent to the role of the victim, which Kuligin says: “Out of everything, you have created a scare for yourself. Eh, people? It is quite natural that such people cannot resist tyrant power.
The “cruel world” amazes people like Tikhon, and there could not have been another son in Kabanikha’s family - from childhood he was brought to his knees and crushed by the “dark kingdom”. Kalinov is a city where all relationships are based solely on fear. So, Tikhon, leaving for the fair, exclaims with relief: “... for two weeks there will be no thunderstorm over me,” this means that for two weeks he will be able to drink and walk without ever thinking about home - this shows a double morality of the Kalinovites. Tikhon has come to terms with his situation and does not consider it necessary to change anything in the state of things: “What kind of unfortunate person was I born into the world!”
Another option for existence in this world is Varvara. She is not afraid of her mother, however, she does not enter into conflicts with her. Varvara adapted to the “cruel world”, learned all its unwritten laws and rules and learned to bypass them: “But in my opinion, do whatever you want, as long as it’s safe and covered.” Lies, pretense, deception are the main things that rule the “dark kingdom,” according to Varvara, “the whole house rests on deception.”
Kuligin, an educated man who writes poetry in the spirit of Derzhavin and Lomonosov, who is head and shoulders above all Kalinovites, cannot do anything to destroy evil; he partly accepts the philosophy of the “cruel world,” hopelessly declaring: “It’s better to endure.”
And in this atmosphere of general fear and cruelty, rudeness and mercilessness, a person appears who does not accept the existing morality. It is very important that the main character is Katerina of the same time, brought up in a patriarchal spirit. From her monologue about girlhood we learn that before her marriage she was not forced to do anything, she worked more and more “on golden velvet” and took care of flowers. When Varvara says that everything is the same with them, Katerina replies that with them “everything seems to be from under captivity.” Katerina differs from Kalinov’s “cruel world” primarily in her morality and willpower. Her soul is constantly drawn to beauty, her dreams are full of fabulous visions. It seems that she fell in love with Boris not the real one, but the one created by her imagination. Katerina could well adapt to the morality of the city and continue to deceive her husband, but “she doesn’t know how to deceive, she can’t hide anything,” honesty does not allow Katerina to continue pretending in front of her husband. As a deeply religious person, Katerina had to have enormous courage to overcome the fear of “being judged” for the sin of suicide. Katerina is not a fighter against the everyday life of the “cruel world,” but her death really challenges the entire “dark kingdom.”
IN final scene Kabanikha suffers a complete collapse. At first, she is triumphant, anticipating the opportunity to say about what “the will leads to.” However, suddenly Tikhon publicly accuses her of Katerina’s death. Of course, his protest will be suppressed (“we’ll talk about this at home”), but it is important that this remark was made: if such timid people raise their voices, then the situation is really changing and cannot continue like this for long, because if a person has woken up, then it cannot be stopped.
However, the author’s opinion is not equated with Tikhon’s voice; the playwright takes a broader view: it is not Kabanikha who is to blame for Katerina’s death, but the entire “cruel world.” But his days are numbered, and Kabanikha feels this, considering herself almost the last guardian of the “correct world order.” The expectation that chaos will follow with her death lends a tragic quality to her figure. Katerina instinctively feels the exhaustion and doom of traditional relationships and forms of life, Kuligin and Tikhon protest. Family, so
“magnificent” crumbles, a person acquires his independence.
The picture of the “cruel world” drawn by the playwright does not leave a hopeless impression; the pathos of this play is of a purifying nature: the evil of Kalinov’s world will be crushed - this is the moral meaning of A. N. Ostrovsky’s play “The Thunderstorm”.

Ostrovsky A. N.

An essay on a work on the topic: The image of the “cruel world” in the dramaturgy of A. N. Ostrovsky (based on one of the plays “The Thunderstorm” or “Dowry”)

Already at the beginning creative path A. N. Ostrovsky turns to the depiction of the “dark” sides in the life of Russian society. In the world, which critics have dubbed the “dark kingdom,” despotism and ignorance, tyranny and greed, hostility to the free expression of personality and bigotry reign. Ostrovsky creates the image of such a “cruel world” in the play “The Thunderstorm,” which became the pinnacle of the playwright’s mature work. The action unfolding in the drama takes place in county town Kalinov, which was a collective image of the Volga cities in which the Russian way of life was preserved. The inhabitants of Kalinov live a sleepy and boring life, matching the languid, stuffy summer day with which the play begins.
The personification of the oppressive power of the “dark kingdom” becomes one of the most significant and influential persons in the city -. Kabanikha is a powerful and cruel woman, who considers herself to have the right to dispose and command everyone in the house, since she is the eldest. And everyone around readily obeys her. She assigns herself the role of guardian and defender of the old, centuries-old order, and therefore laments: “This is how the old times come to be... What will happen, how the elders will die, how the light will stand, I don’t know.” Any changes, according to Kabanikha, bring with them only damage and disorder. She is sure that proper family order should be based on the fear of the younger ones before the elders. “He won’t be afraid of you, and even less so of me. What kind of order will there be in the house?” - she tells her son Tikhon about his relationship with his wife. Therefore, Kabanikha demands from everyone the strict fulfillment of the ritual and rite, while not at all caring about the essence of human relations. We see that her adherence to antiquity and religious commandments is very superficial. Kabanikha extracts from the Bible and Domostroy only those formulas that can justify her despotism. At the same time, she doesn’t want to hear about forgiveness and mercy. One cannot help but recall the words of Kabanikha when she demands her daughter-in-law to “bury her alive in the ground so that she will be executed!”
Dikoy, along with Kabanikha, representing the “masters of life,” differs from her in many ways. He is a real tyrant, which cannot be said about Kabanikha. After all, tyranny is not the order of the patriarchal world, but the rampant self-will of a powerful person, who also in his own way violates the established order of life. Therefore, Kabanikha herself condemns the Wild One and treats with contempt his violence and complaints about his family, seeing this as a manifestation of the Wild One’s weakness. The characters of the “masters of life” are revealed not only in their speech and actions, but also in the reviews of other characters about them. About Kabanikha, Kuligin will say: “Prudence, sir! He gives money to the poor, but completely eats up his family.” Speaking about Dikiy, Kudryash notes: “How not to scold! He can’t breathe without it.” Diky is considered by those around him to be a “warrior” who has no one to calm him down.
And yet it should be noted that both those around him and the author himself treat the unbridled scolder Dikiy more tolerantly than Kabanikha. Diky is actually a wild, dark person, but he suffers in his own way, telling everyone without hiding about his savagery. There is a sense of mental unrest in his abuse. Let us remember Dikiy’s story about how he offended the “little man”, and then bowed at his feet. Nothing like this can happen to Kabanikha. Her heart never wavered with doubt or pity. The main thing for her is that everything is according to the rules. She will never complain to strangers about the mess in her home. And therefore, for her, Katerina’s public recognition is terrible blow, which will soon be joined by her son’s open, public rebellion, not to mention the escape from the house of her daughter Varvara. However, all of the above in no way justifies the willfulness of the Wild One, for whom people are no more than a worm. “If I want, I’ll have mercy, if I want, I’ll crush,” he declares. Money in his hands gives him the right to swagger over the poor and financially dependent on him.
Analyzing the images of the “masters of life,” the critic Dobrolyubov shows that at first glance in “The Thunderstorm,” “everything seems to be the same, everything is fine; Dikoy scolds whoever he wants... Kabanikha keeps... her children in fear, considers herself infallible...” But this is only at first glance. Feeling doomed and fearing an unknown future, the “masters of life” only care about ensuring that faith in their strength continues. That is why Dikoy is always dissatisfied and irritable, and Kabanikha is constantly suspicious and picky.
“The absence of any law, all logic - this is the law and logic of this life...” - Dobrolyubov will say. And one cannot but agree with this because what can be said about life where the living envy the dead. Such a life did not give freedom to all captive Russia. It is no coincidence that the play ends with Tikhon’s remark: “Good for you, Katya! Why did I stay in the world and suffer?” However, the supports of the “cruel world” became shaky, and therefore, showing the residents of Kalinov’s premonition of an impending catastrophe, Ostrovsky spoke about the general condition Russian life that time.
http://vsekratko.ru/ostrovskiy/groza105

Already at the beginning of his creative career, A.N. Ostrovsky turns to depicting the “dark” sides in the life of Russian society. In the world, which critics have dubbed the “dark kingdom,” despotism and ignorance, tyranny and greed, hostility to the free expression of personality and bigotry reign. Ostrovsky creates the image of such a “cruel world” in the play “The Thunderstorm,” which became the pinnacle of the playwright’s mature work. The action unfolding in the drama takes place in the district town of Kalinov, which is a collective image of the Volga cities in which the Russian way of life has been preserved. The inhabitants of Kalinov live a sleepy and boring life, matching the languid, stuffy summer day with which the play begins.
The personification of the oppressive power of the “dark kingdom” becomes one of the most significant and influential persons in the city - Dikaya and Kabanikha. Kabanikha is a powerful and cruel woman, who considers herself to have the right to dispose and command everyone in the house, since she is the eldest. And everyone around readily obeys her. She assigns herself the role of guardian and defender of the old, centuries-old order, and therefore laments: “This is how the old times come to be... What will happen, how the elders will die, how the light will stand, I don’t know.” Any changes, according to Kabanikha, bring with them only damage and disorder. She is sure that proper family order should be based on the fear of the younger ones before the elders. “He won’t be afraid of you, and even less so of me. What kind of order will there be in the house?” - she tells her son Tikhon about his relationship with his wife. Therefore, Kabanikha demands from everyone the strict fulfillment of the ritual and rite, while not at all caring about the essence of human relations. We see that her adherence to antiquity and religious commandments is very superficial. Kabanikha extracts from the Bible and Domostroy only those formulas that can justify her despotism. At the same time, she doesn’t want to hear about forgiveness and mercy. One cannot help but recall the words of Kabanikha when she demands her daughter-in-law to “bury her alive in the ground so that she will be executed!”
Dikoy, along with Kabanikha, representing the “masters of life,” differs from her in many ways. He is a real tyrant, which cannot be said about Kabanikha. After all, tyranny is not the order of the patriarchal world, but the rampant self-will of a powerful person, who also in his own way violates the established order of life. Therefore, Kabanikha herself condemns the Wild One and treats with contempt his violence and complaints about his family, seeing this as a manifestation of the Wild One’s weakness. The characters of the “masters of life” are revealed not only in their speech and actions, but also in the reviews of other characters about them. About Kabanikha, Kuligin will say: “Prudence, sir! He gives money to the poor, but completely eats up his family.” Speaking about Dikiy, Kudryash notes: “How not to scold! He can’t breathe without it.” Diky is considered by those around him to be a “warrior” who has no one to calm him down.
And yet it should be noted that both those around him and the author himself treat the unbridled scolder Dikiy more tolerantly than Kabanikha. Diky is actually a wild, dark person, but he suffers in his own way, telling everyone without hiding about his savagery. There is a sense of mental unrest in his abuse. Let us remember Dikiy’s story about how he offended the “little man”, and then bowed at his feet. Nothing like this can happen to Kabanikha. Her heart never wavered with doubt or pity. The main thing for her is that everything is according to the rules. She will never complain to strangers about the mess in her home. And therefore, for her, Katerina’s public recognition is a terrible blow, which will soon be joined by her son’s open rebellion in public, not to mention the escape of her daughter Varvara from home. However, all of the above in no way justifies the willfulness of the Wild One, for whom people are no more than a worm. “If I want, I’ll have mercy, if I want, I’ll crush,” he declares. Money in his hands gives him the right to swagger over the poor and financially dependent on him.
Analyzing the images of the “masters of life,” the critic Dobrolyubov shows that at first glance in “The Thunderstorm,” “everything seems to be the same, everything is fine; Dikoy scolds whoever he wants... Kabanikha keeps... her children in fear, considers herself infallible...” But this is only at first glance. Feeling doomed and fearing an unknown future, the “masters of life” only care about ensuring that faith in their strength continues. That is why Dikoy is always dissatisfied and irritable, and Kabanikha is constantly suspicious and picky.
“The absence of any law, all logic - this is the law and logic of this life...” - Dobrolyubov will say. And one cannot but agree with this because what can be said about life where the living envy the dead. Such a life did not give freedom to all captive Russia. It is no coincidence that the play ends with Tikhon’s remark: “Good for you, Katya! Why did I stay in the world and suffer?” However, the supports of the “cruel world” became shaky, and therefore, showing the residents of Kalinov’s premonition of an impending catastrophe, Ostrovsky spoke about the general state of Russian life at that time.

The drama “Dowry” became one of the pinnacles of Ostrovsky’s dramaturgy. In terms of the degree of drama and depth of psychologism, in terms of the nature of the conflict, it is compared to “The Thunderstorm”. Such a comparison makes it possible to experience new facets of the author’s talent, his artistic evolution. The psychologism of “The Dowry” is the psychologism of the great master. Each character is revealed with utmost authenticity and credibility. This play was written by a playwright who wisely rejected anyone’s schemes and dogmas, who believed in the correctness of his understanding of life, in the validity of his ideological and artistic principles.
The play consists of a number of large and significant scenes, which are arranged in accordance with the logic of positions and situations. Once again Ostrovsky puts the fate of a woman at the center of the play, showing life from the most emotional side. The author contrasts cold, soulless calculation and selfishness with the sincerity and gullibility of a “warm heart.” Larisa Ogudalova, like Katerina in the play “The Thunderstorm,” is surrounded by “ dark kingdom" Its representatives are Paratov, Knurov, Vozhevatov, Karandyshev. They entangle the heroine in a tight ring, contrasting their hypocritical ideas about life with the pure aspirations of the “white seagull,” as the name Larisa is translated from Greek.
The first representatives of the “dark kingdom” to appear on the stage are Knurov and Vozhevatov. Including Knurov and other characters in the orbit of our attention, Ostrovsky uses the technique of preliminary characteristics, common in drama. They are, of course, subjective and express not so much the point of view of the playwright as of the character expressing them. Thus, Gavrila characterizes Knurov through his comparison with Vozhevatov. The only difference between them is that Vozhevatov “is engaged in cowardice; still understands little of himself; and when it comes to years, it will be the same idol.”
In the list of characters we read that “Mokiy Parmenych Knurov, one of the big businessmen of recent times, old man, with a huge fortune.” Now about his name. According to Dahl's dictionary, “knur” is a hog, boar, boar, male pig. It turns out what kind of a human being this Knurov is. This is a civilized “idol”, a millionaire who despises all low-income people, is withdrawn, taciturn, and disdainful of people not in his circle, for example, the poor official Karandyshev. Explaining his rare visits to the Ogudalovs, he says: “It’s awkward; They have a lot of all sorts of rabble; then they meet, bow, and start talking. For example, Karandyshev - what a meeting for me!”
Knurov’s name and patronymic are both unusual, chosen to suit a certain intonation sound and symbolic meaning. And the name, Vasily Danilovich, is everyday and widespread. “Vozhevatyy,” according to Dahl, means a courteous and friendly person, an entertaining conversationalist. But is he really like this, this courteous and friendly merchant? As the play progresses, we see that Vozhevatov is a cold and sensible person. He does not know the need for what “they call love.” The feeling that Stendhal called “madness that gives man the greatest pleasure” is completely unfamiliar to him, and he does not regret it at all. By the way, Knurov uses the word “love” the only time in the play when he suspects Vozhevatov of the ability to experience it. Apparently, these heroes have the same view of love.
Knurov is married, Vozhevatov is not attracted to the thought of marriage, Larisa is unattainable for them. They are forced to admit: “The grapes are good, but green.” But it soon turns out that they both would like to “take a ride to the exhibition” in Paris with Larisa. Knurov speaks with envy about Vozhevatov’s youth, about his youthful ardor and ability to make impulses, however, Vozhevatov resolutely rejects this idea of ​​himself: “Every product has a price... Even though I’m young, I won’t go overboard, I won’t give away too much.” Here the theme of buying and selling a person as a commodity appears in the play. This theme receives its logical development in the fourth act, in one of the most cruel scenes of the play, when Knurov and Vozhevatov draw lots for who should go to Paris with Larisa. This happiness goes to Knurov. No one doubts Larisa’s consent. Knurov has the opportunity to offer Larisa content - so enormous that it will silence the most evil critics of other people's morality. The culprit for Larisa’s situation is Paratov.
This character is characterized as follows: “Sergei Sergeich Paratov, a brilliant gentleman, one of the shipowners, over 30 years old.” Isn’t it true that everything here is harmonious and even elegant? The surname, however, not only sounds beautiful, but also means something else. In the language of hunters, paraty is a strong, fast animal. Before us is a gentleman from the ship owners, carrying within himself something animalistic, and perhaps even predatory.
What different people they are - Paratov and Vozhevatov! One - a nobleman and master - is captivating, charming, a daredevil. For him, according to his words, “there is nothing cherished.” The other, a young merchant, is cautious and incapable of any impulses. However, despite all the differences, something in common is found in them. After all, Paratov ends his phrase that “there is nothing treasured,” with the words: “If I find a profit, I’ll sell everything, whatever.” Paratov begins his sentence as a man of a broad soul, like a lord, like a fellow, and ends like a Vozhevat, like a businessman. Thus, Paratov in the play is a dramatic figure. Good and evil are still fighting in his soul. And Ostrovsky shows the reader how the spirit of business completely takes possession of the hero. By abandoning Larisa, Paratov becomes inseparable from Knurov and Vozhevatov. In the finale, Paratov and Vozhevatov are kindred spirits: each of them thinks about profit. And each of them needs a jester. They need a jester without a name, without a patronymic, impersonal and humiliated.
Yuliy Kapitonich Karandyshev, “a young man, a poor official,” is ideal for this role. Here the name of the Roman emperor is deliberately combined with a very everyday, prosaic patronymic. What about the last name? Dahl’s “pencil” is short, undersized. The surname clearly contains something derogatory. Yuliy Kapitonich puts himself in the position of a jester against his will. He humiliates himself, intending to exalt himself. Karandyshev is painfully touchy and at the same time does not feel the insults inflicted on him. During the course of the action, this image, due to its dullness, does not attract much attention. Only at the end of the third act, from under the buffoon mask put on Karandyshev by Paratov and Vozhevatov, a human face appears. In the finale, Karandyshev becomes Larisa's killer.
Karandyshev's theme of pride, the theme of a wounded and painful feeling of one's inferiority is picked up and developed, oddly enough, by Paratov. They are completely different social status, by education and intelligence. But in the course of a complex struggle with each other, something unexpected comes to light. The winner of women's hearts and the petty, unprepossessing official - both want to appear before people not as they are, but as they would like to appear. A slight hint here reveals one of the most important situations in the play. It connects the master and his jester together: a person who claims to be significant, with an impersonality designed to amuse her.
The development of the gallery of images of the cruel world in the play “Dowry” is given by the author not indirectly, but through main character Larisa Ogudalova. All four men sought to turn Larisa into a thing. Into your thing. Karandyshev also wanted this, despite all the seeming comicality of this hero. But he was and remained the only one of all four who did not want and could not allow Larisa to become someone else’s thing. This is the logical development of this image.
In the fourth act, Paratov also reveals himself to the reader from an unexpected side. Larisa has to face the truth and understand that he, too, is just an item already bought by a rich bride.
Ostrovsky's characters, given in a deeply realistic conditioning, appear before us as if alive, captivating us with both a huge degree of typification and unique individuality.
The omnipotence of money, with which you can do any business, and not only in the field of commerce and industry, but also in other areas of life, became one of the main themes in the post-reform era (especially in the 70s) fiction. And “Dowry” is imbued with protest against this omnipotence. But still, the motive of buying and selling, the powerlessness of poverty and the omnipotence of the money bag is transformed here and merges with others. The main thing for Ostrovsky was to show not so much the social background of the current situation, but its moral and spiritual aspect. Thus, the author turned to the created situation in order to see it not as an everyday one, but as a socio-psychological one, associated with life contradictions generated by the new, post-reform era. This is how Ostrovsky figuratively interprets a type of relationship that is very characteristic of bourgeois society, which forces a person to be either an executioner or a victim.

Essay on literature on the topic: Images of a cruel world in the dramaturgy of A. N. Ostrovsky (using the example of the play “Dowry”)

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1. Main conflict The play “Dowryless” is determined by its very name. The tragedy of Larisa Dmitrievna Ogudalova is precisely that she is homeless. Beauty, intelligence, charm, human dignity mean nothing in this world if you don't have money. Reading the list of characters, we Read More ......
2. In 1859, Alexander Nikolaevich Ostrovsky created one of his most powerful works - the drama “The Thunderstorm”, in which he shows how the typically Russian merchant house of the Kabanovs is the personification of the “cruel world”. In the house, widely known in the Volga city of Kalinov, such a Read More ......
3. “Dowry” (1878) is considered the best psychological drama by A. N. Ostrovsky. In this play, the playwright addresses the life of the new, bourgeois Russia. Ostrovsky focuses on the life of people of many classes: nobles, merchants, officials. In the post-reform years, dramatic changes occur in society: Read More ......
4. They have arithmetic instead of soul. A. N. Ostrovsky The play “Dowry” is Ostrovsky’s fortieth original work, on which the experienced playwright worked for an unusually long time - four years. For the first time, he brought new heroes to the stage in his play - industrialists, shipowners, businessmen of the new Read More ......
5. Yuliy Kapitonich Karandyshev and Sergei Sergeich Paratov, in fact, are representatives of different classes. Karandyshev is a poor official who cannot boast of either a tight wallet or a brilliant pedigree. Paratov is a gentleman, one of the shipowners. He is a rich man who lives for profit. In other words, Read More......
6. The drama “Dowry” by A. N. Ostrovsky, written in 1879, reflected phenomena characteristic of that time: a sharp jump in the development of trade and industry, a change in the former “dark kingdom” towards civilization, the decline of the nobility and its role in society. But Ostrovsky is primarily interested in Read More......
7. The action of the play “Dowry” unfolds against the backdrop of the Volga expanses. The landscape emphasizes the beauty and poetry of Larisa Dmitrievna Ogudalova’s character (the name Larisa means “seagull” in Greek). From the conversation between Knurov and Vozhevatov we learn that Larisa is an intelligent girl, subtly and deeply Read More ......
8. A narrow circle of provincial nobles and businessmen. (The city of Bryakhimov, which absorbed the features of many cities located on the Volga. The image of the bourgeois environment is heartless, vulgar, selfish. The social theme is in the title of the play. Money destroys all romantic illusions.) Paratov. (Behind the noble appearance there is a calculating Read More ......