Essay “Two Fates, Two Tragedies (Lady Macbeth of Mtsensk District” and “The Thunderstorm”). Female images (based on the plays “Ours, people - let’s be numbered!”, “Thunderstorm”, “Dowry”)

Two dramas by A. N. Ostrovsky are devoted to the same problem - the position of women in Russian society. Before us are the fates of three young women: Katerina, Varvara, Larisa. Three images, three destinies.
Katerina is different in character from everyone else characters drama “The Thunderstorm”. Honest, sincere and principled, she is not capable of deception and falsehood, of resourcefulness and opportunism. Therefore in cruel world where wild and wild boars reign, her life turns out to be unbearable, impossible and ends so tragically. Katerina's protest

Against Kabanikha is a struggle of the bright, pure, human against the darkness of lies and cruelty of the “dark kingdom”. It is not for nothing that Ostrovsky, who paid great attention to names and surnames, gave the heroine of “The Thunderstorm” the name Ekaterina, which translated from Greek means “eternally pure.” Katerina is a poetic person. Unlike the rude people around her, she feels the beauty of nature and loves it. It is the beauty of nature that is natural and sincere. “I used to get up early in the morning; In the summer, I’ll go to the spring, wash myself, bring some water with me, and that’s it, I’ll water all the flowers in the house. I had many, many flowers,” she says about her childhood. Her soul is constantly drawn to beauty. The dreams were filled with miracles and fabulous visions. She often dreamed that she was flying like a bird. She talks about her desire to fly several times. With this, Ostrovsky emphasizes the romantic sublimity of Katerina’s soul. Married early, she tries to get along with her mother-in-law and love her husband, but in the Kabanovs’ house no one needs sincere feelings. The tenderness that fills her soul finds no application. Deep melancholy sounds in her words about children: “If only there were someone’s children!” Eco woe! I don’t have any children: I would still sit with them and amuse them. I really like talking to children – they are angels.” What a loving wife and mother she would have been under different conditions!
Katerina’s sincere faith differs from Kabanikha’s religiosity. For Kabanikha, religion is a dark force that suppresses the will of a person, and for Katerina, faith is poetic world fairy tale images and supreme justice. “... I loved going to church to death! Exactly, it happened that I would enter heaven, and I didn’t see anyone, and I didn’t remember the time, and I didn’t hear when the service was over,” she recalls.
Bondage is Katerina’s main enemy. The external conditions of her life in Kalinov seem to be no different from the environment of her childhood. The same motives, the same rituals, that is, the same activities, but “everything here seems to be from under captivity,” says Katerina. Bondage is incompatible with the freedom-loving soul of the heroine. “And captivity is bitter, oh, so bitter,” she says in the scene with the key, and these words, these thoughts push her to the decision to see Boris. In Katerina’s behavior, as Dobrolyubov said, a “decisive, integral Russian character” was revealed, which “will withstand itself, despite any obstacles, and when there is not enough strength, it will die, but will not change itself.”
Varvara is the complete opposite of Katerina. She is not superstitious, is not afraid of thunderstorms, and does not consider strict adherence to established customs obligatory. Due to her position, she cannot openly oppose her mother and therefore is cunning and deceives her. She hopes that marriage will give her the opportunity to leave this house, to escape from the “dark kingdom.” To Katerina’s words that she doesn’t know how to hide anything, Varvara replies: “Well, but you can’t live without it!” Remember where you live! Our whole house rests on this. And I was not a liar, but I learned when it became necessary.” Varvara despises her brother’s spinelessness and is indignant at her mother’s heartlessness, but she cannot understand Katerina. She is only interested and concerned about the external side of life. She resigned herself and adapted to the laws of the old world around her.
Larisa, unlike Katerina, grew up and was raised in conditions where the weak are humiliated, where the strongest survive. Her character does not have the integrity that Katerina has. Therefore, Larisa does not strive, and cannot, realize her dreams and desires. Her name means “Seagull” in Greek. This bird is associated with something white, light, and piercingly screaming. And this image fully matches Larisa.
Katerina and Larisa have different upbringings, different characters, different ages, but they are united by the desire to love and be loved, to find understanding, in a word, to become happy. And each one goes towards this goal, overcoming the obstacles created by the foundations of society.
Katerina cannot connect with her loved one and finds a way out in death.
Larisa's situation is more complicated. She became disillusioned with her loved one and stopped believing in the existence of love and happiness. Realizing that she is surrounded by lies and deception, Larisa sees two ways out of this situation: either the search for material values, or death. And given the circumstances, she chooses the first. But the author does not want to see her as an ordinary dependent woman, and she leaves this life.

You are currently reading: Women's images in the plays by A. N. Ostrovsky “The Thunderstorm” and “Dowry”

Compare the works of A. N. Ostrovsky “Dowry” and “The Thunderstorm”. What do they have in common?

1. Introduction.

After reading A. N. Ostrovsky’s plays “The Thunderstorm” and “Dowry,” I decided to compare them with each other as the only dramatic works this author, which were written in different times, however, having many similarities. The comparison of these plays is also prompted by the fact that in both of them a drama of an extraordinary female nature unfolds before us, leading to a tragic denouement. Finally, it is also important that in both plays the image of the Volga city in which the action takes place plays an important role.

2. Similarities and differences.

2.1. Both plays in question belong to the genre of drama, although the exact genre of "The Thunderstorm" remains a controversial issue in Russian literature. This play combines the features of both tragedy and drama (i.e., “everyday tragedy”). The tragic genre is characterized by an insoluble conflict between the personal aspirations of the hero and the laws of life, which is inherent in both plays.

2.2. In terms of the time it was written, “The Thunderstorm” is the main work of Ostrovsky’s pre-reform drama, while “Dowry” absorbs many motifs from the playwright’s post-reform work. The difference in the eras depicted in these plays led to complete dissimilarity art world; "The Dowry" is a drama of the bourgeois era - a new time, when ties with a thousand-year-old folk tradition are severed, a time that freed a person not only from the foundations of morality, but also from shame, honor, conscience - and this decisively influences its problematics. The culture of the people in “The Thunderstorm” is inspired moral values Orthodoxy. Residents of the city of Kalinov still live according to “Domostroy”; life is still largely patriarchal.

2.3. Born in Zamoskvorechye, Ostrovsky knows well the life and customs of the merchants and explores the various characters of this circle in his work. His plays are densely populated by merchants and clerks, their children and wives. The playwright is interested in any little detail, from the description of the costume and furnishings of the house to the individuality of speech of each character. Ostrovsky was completely original in his portrayal of heroes.

Two dramas by A.N. devoted to the same problem - the position of women in Russian society. Of course, these women are extraordinary individuals. I want to focus on female heroines.

2.4.1. First of all, this is Katerina from the play “The Thunderstorm”. She is religious and romantic at the same time. Her soul strives for happiness, longing for freedom. Katerina is a merchant's daughter, married without love to Tikhon, she finds herself in an atmosphere of cruelty. In this environment, family responsibilities are performed not from the heart, but “from under bondage,” and Katerina is associated for the rest of her life with her stupid and narrow-minded husband, with her angry and grumpy mother-in-law.

But her romantic impulses find a way out, Katerina passionately falls in love with a young man, Boris, who stands out for his decent manners and some education. In the heroine, two principles struggle: sincere feeling, love and consciousness of duty. married woman. This internal struggle evokes in Katerina a desire for personal freedom. Having cheated on her husband, Katerina herself repents to him, but, exhausted by the homely atmosphere, she prefers death to returning to her family. Honest, sincere and principled, she is not capable of deception and falsehood, of resourcefulness and opportunism.

She talks about her desire to fly several times. With this, Ostrovsky emphasizes the romantic sublimity of Katerina’s soul. She would like to become a bird, flying wherever she wants: “Why don’t people fly!.. Why don’t people fly like birds? You know, sometimes I feel like I'm a bird. When you stand on a mountain, you feel the urge to fly. That’s how I would run up, raise my arms and fly,” she says to Varvara, Tikhon’s sister, “how playful I was!” And yours has completely withered...” Harsh reality returns the heroine to the world of the Kabanovs and the Wild. Here you need to lie, quietly do what you want, outwardly observing the rules of decency. Varvara, who grew up in the house, perfectly mastered this science. Varvara is the complete opposite of Katerina. She is not superstitious, is not afraid of thunderstorms, and does not consider strict adherence to established customs obligatory. Katerina is disgusted by this behavior.

Therefore, in a merciless world where Wild and Boars reign, her life turns out to be unbearable, impossible and ends so tragically. Katerina’s protest against Kabanikha is a struggle of the bright, pure, human against the darkness of lies and cruelty of the “dark kingdom”. Katerina has a very unique character: she is God-fearing and rebellious at the same time. For her, this is not suicide, but liberation from the hardships of life and hopelessness.

2.4.2. The situation is different in the drama “Dowry”. The main character Larisa is not a simple girl from a bourgeois environment, she is an educated, cultured, thinking girl. She received a noble upbringing and, unlike Katerina, grew up in conditions where the weak are humiliated and where the strongest survive. Her character does not have the integrity that Katerina has. Therefore, Larisa does not strive, and cannot, realize her dreams and desires. She is oppressed by poverty and low status. Larisa does not accept the world in which she lives. She wants to get out of it at any cost.

For Larisa's mother, a widow with three daughters, the ostentatious grace and nobility of family life is not a normal state, but a decoration for arranging profitable marriages for her daughters. For her, flattery and cunning are the main principles of communication with rich people visiting the house. Larisa – youngest daughter, the last one left in the house, and the mother needs to sell it off, without even claiming great luck. All this puts the extraordinary girl in a difficult situation. Around Larisa is a motley and dubious crowd of admirers and contenders for her hand, among whom there are quite a few “rabble of all sorts.” Life in her house is like a “bazaar” or a “gypsy camp.” The heroine is forced not only to endure the falsehood, cunning, and hypocrisy that surrounds her, but also to take part in them.

Larisa becomes a victim of the noble splendor and irresistibility of Sergei Sergeevich Paratov. She sees in him the “ideal of a man,” a man whom one cannot disobey and whom one cannot but trust. Larisa does not see the insignificance and pettiness of his nature. Having lost hope of happiness with Sergei Sergeevich, Larisa is ready to marry anyone who will take her away from a house that looks like a fair. She doesn’t like Karandyshev, doesn’t even respect him, but she hopes for him. But there is no nobility in this world. Larisa soon realized this. “I am a thing,” she tells Karandyshev. Realizing this, Larisa wants to sell herself at a higher price. The heroine is overcome by internal contradictions. She is ashamed of her thoughts, wants a clean and honest life, but does not see the way there. She wants to die and doesn’t have the strength, so Larisa takes Karandyshev’s shot as a blessing, liberation from the oppression of unsolvable problems. The death of the heroine is a worthy departure from life.

2.5. A. Ostrovsky's plays are full of various symbolism. First of all, these are symbols associated with the natural world: forest, thunderstorm, river, bird, flight. The names of the characters also play a very important role in the plays, most often names of ancient origin: ancient Greek and Roman.

2.5.1. Female names in Ostrovsky's plays are very bizarre, but the name main character almost always extremely accurately characterizes her role in the plot and fate. Larisa means “seagull” in Greek, Katerina means “pure”. Larisa is a victim of Paratov’s trade pirate deals: he sells “birds” - “Swallow” (steamboat) and then Larisa - a seagull. Katerina is a victim of her purity, her religiosity, she could not bear the splitting of her soul, because she loved not her husband, and cruelly punished herself for it. It is interesting that Kharita and Martha (in “The Dowry” and in “The Thunderstorm”) are both Ignatievna, that is, “ignorant” or, in scientific terms, “ignoring”. They stand as if on the sidelines from the tragedy of Larisa and Katerina, although both of them are certainly to blame (not directly, but indirectly) for the death of their daughter and daughter-in-law.

2.5.2. Paratov is both a parade and a pirate. Also, of course, the comparison of Paratov with a “paraty” beast, that is, powerful, predatory, strong and merciless, suggests itself. His predatory behavior in the play is best characterized by this surname.

There is no need to comment on the names of Dikoy and Kabanov. And Tikhon is Kabanov, no matter how “quiet” he is. So Katerina rushes about in this dark forest among animal-like creatures. She chose Boris almost unconsciously, the only difference between him and Tikhon was his name (Boris is “fighter” in Bulgarian).

Wild, headstrong characters, except for the Wild One, are represented in the play by Varvara (she is a pagan, a “barbarian,” not a Christian and behaves accordingly).

Kuligin, in addition to the well-known associations with Kulibinsh, also evokes the impression of something small, defenseless: in this terrible swamp he is a sandpiper - a bird and nothing more. He praises Kalinov like a sandpiper praises his swamp.

Larisa in “Dowry” is not surrounded by “animals”. Mokiy is “blasphemous”, Vasily is “king”, Julius is, of course, Julius Caesar, and also Kapitonich, that is, living with his head (kaput - head), and perhaps striving to be in charge.

And finally, Kharita - the mother of three daughters - is associated with the Kharites, the goddesses of youth and beauty, of which there were three, but she also destroys them (remember the terrible fate of the other two sisters - one married a sharper, the other was stabbed to death by her Caucasian husband).

3.1. “The Thunderstorm” and “Dowry” are Ostrovsky’s best plays, which showed the reader and viewer the hitherto unknown world of the merchants with its passions and pain, sorrows and joys. This world stepped onto the stage of the Russian theater, showing the depth and diversity of natures, unbridled and rich in passions, petty and cruel, kind and noble, but weak, unable to stand up for themselves.

The female characters created by the playwright took their rightful place in classical Russian literature.

3.2. Katerina and Larisa have different upbringings, different characters, different ages, but they are united by the desire to love and be loved, to find understanding, in a word, to become happy. And each one goes towards this goal, overcoming the obstacles created by the foundations of society. For Katerina, money still does not matter; she is ready to follow Boris on foot, if only he agrees to take her with him. Larisa is poisoned by the shine of gold, she does not want to vegetate with a pitiful and poor husband.

Katerina cannot connect with her loved one and finds a way out in death.

Larisa's situation is more complicated. She became disillusioned with her loved one and stopped believing in the existence of love and happiness. Realizing that she is surrounded by lies and deception, Larisa sees two ways out of this situation: either the search for material values, or death. And given the circumstances, she chooses the first. But the author does not want to see her as an ordinary dependent woman, and she leaves this life.

3.3. The characters of the main characters are very similar. These are natures who live by the mind of the heart, dream of happiness and love, and idealize the world. But the play “Dowry” was created in a different socio-political environment than “The Thunderstorm”. The playwright's hopes for the correction of society and the human race raise sincere doubts, which is why the endings of these plays differ significantly. If after the death of Katerina the world of the “dark kingdom” realizes its guilt, and Tikhon challenges his mother, blaming her for the death of his wife, then the murder of Larisa Ogudalova does not cause a similar resonance. The author deliberately emphasizes the indifference of others; the scene of the heroine's death is voiced by the singing of a gypsy choir.

3.4. Revealing the meaning of names and surnames in Ostrovsky's plays helps to comprehend both the plot and the main images. Although surnames and names cannot be called “speaking” in this case, since this is a feature of the plays of classicism, they are speaking in the broad - symbolic - sense of the word.

Alexander Nikolaevich Ostrovsky is a Russian playwright, whose work became the most important stage in the development of the Russian national theater. During his life he wrote many worthy works, but the dramas “The Thunderstorm” and “Dowry” became the most widely known. Both plays are devoted to the problem of the position of women in society, which is played out on the two most significant female images of the works: Larisa Ogudalova and Katerina Kabanova.

Katerina is a sincere, open and bright person, which makes her stand out sharply from the background of the society in which she is forced to live.

She was brought up on love, mutual understanding and respect for her neighbor, which she cannot achieve from her current family in relation to herself. Katerina cannot get along in the situation in which she found herself after her marriage, and in the end her hostility towards her own married life results in a protest against the patriarchal way of life.

By nature, Larisa Ogudalova is a proud, rather reserved, but unusually friendly girl. Larisa is unhappy in love, in which she is similar to Katerina Kabanova; she also cannot find support and participation in her family, which leads to the brewing of the heroine’s internal conflict. Her mother, Kharita Ignatievna, cares only about her daughter’s future well-being, trying to find a richer groom, but despite all her efforts, Larisa, unexpectedly for herself, agrees to marry a poor official. She is ashamed of her future husband and humiliated by his attempts to compare with Paratov, for whom she still has tender feelings. In Larisa’s soul there is a terrible struggle between the desire to come to terms with the fate of the wife of a minor official and the dream of a beautiful and bright life.

Despite the similarity of the situations in which both girls find themselves, their protest and reaction to what is happening is expressed differently. Larisa is indifferent and only sometimes does she make individual remarks that betray her dislike for bourgeois life. Throughout the play we see little of any emotion that Larissa shows. Katerina, on the other hand, reacts most vividly to the situation around her; she is frank with the reader from the very beginning. Perhaps that is why she comes out more decisively with her protest than Ogudalova the younger. She repents of what she has done and, no longer able to continue such a life, throws herself into the water, which Larisa herself, although she dreams of death, does not dare to do.

Thus, internal conflict, brewing in both heroines, which later turns into a protest against society, has a different basis. In the case of Katerina, this is a protest of the victim of tyranny against the tyrants themselves; Larisa opposes the “trade” of human feelings and consumer attitudes towards personality. Both girls, who so passionately strived for freedom, ultimately achieve it, but at what cost?

Katerina differs in character from all the characters in the drama "The Thunderstorm". Honest, sincere and principled, she is not capable of deception and falsehood, of resourcefulness and opportunism. Therefore, in a cruel world where wild and wild boars reign, her life turns out to be unbearable, impossible and ends so tragically. Katerina's protest against Kabanikha is a struggle of the bright, pure, human against the darkness of lies and cruelty of the “dark kingdom”. No wonder Ostrovsky, who paid great attention to names and surnames, gave the heroine of “The Thunderstorm” the name Ekaterina, which translated from Greek means “eternally pure.” Katerina is a poetic person. Unlike the rude people around her, she feels the beauty of nature and loves it. It is the beauty of nature that is natural and sincere. “I used to get up early in the morning; in the summer, I’d go to the spring, wash myself, bring some water with me and that’s it, water all the flowers in the house. I had many, many flowers,” she says about her childhood. Her soul is constantly drawn to beauty. The dreams were filled with miracles and fabulous visions. She often dreamed that she was flying like a bird. She talks about her desire to fly several times. With this, Ostrovsky emphasizes the romantic sublimity of Katerina’s soul. Married early, she tries to get along with her mother-in-law and love her husband, but in the Kabanovs’ house no one needs sincere feelings. The tenderness that fills her soul finds no application. Deep melancholy sounds in her words about children: “If only there were someone’s children! Oh woe! I don’t have children: I would still sit with them and amuse them. I really love talking to children - they are angels.” What a loving wife and mother she would have been under different conditions!

Katerina’s sincere faith differs from Kabanikha’s religiosity. For Kabanikha, religion is a dark force that suppresses the will of man, and for Katerina, faith is the poetic world of fairy-tale images and supreme justice. “... I loved going to church to death! Surely, it used to be that I would enter heaven, and I didn’t see anyone, and I didn’t remember the time, and I didn’t hear when the service was over,” she recalls.

Bondage is Katerina's main enemy. The external conditions of her life in Kalinov seem to be no different from the environment of her childhood. The same motives, the same rituals, that is, the same activities, but “everything here seems to be from under captivity,” says Katerina. Bondage is incompatible with the freedom-loving soul of the heroine. “And captivity is bitter, oh, so bitter,” she says in the scene with the key, and these words, these thoughts push her to the decision to see Boris. In Katerina’s behavior, as Dobrolyubov said, a “decisive, integral Russian character” was revealed, which “will withstand itself, despite any obstacles, and when there is not enough strength, it will die, but will not change itself.”

Varvara is the complete opposite of Katerina. She is not superstitious, is not afraid of thunderstorms, and does not consider strict adherence to established customs obligatory. Due to her position, she cannot openly oppose her mother and therefore is cunning and deceives her. She hopes that marriage will give her the opportunity to leave this house, to escape from the “dark kingdom.” To Katerina’s words that she | doesn’t know how to hide anything, Varvara replies: “Well, you can’t live without it! Remember where you live! Our whole | house rests on that. And I wasn’t a liar, but I learned when it became necessary." Varvara despises her brother’s spinelessness and is indignant at her mother’s heartlessness, but she cannot understand Katerina. She is only interested and concerned about the external side of life. She resigned herself and adapted to the laws of the old world around her.

Larisa, unlike Katerina, grew up and was raised in conditions where the weak are humiliated, where the strongest survive. Her character does not have the integrity that Katerina has. Therefore, Larisa does not strive, and cannot, realize her dreams and desires. Her name means "Seagull" in Greek. This bird is associated with something white, light, and piercingly screaming. And this image fully matches Larisa.

Katerina and Larisa have different upbringings, different characters, different ages, but they are united by the desire to love and be loved, to find understanding, in a word, to become happy. And each one goes towards this goal, overcoming the obstacles created by the foundations of society.

Katerina cannot connect with her loved one and finds a way out in death.

Why don't people fly like birds?
A. Ostrovsky
Alexander Nikolaevich Ostrovsky is a playwright who created not just a series of wonderful plays, but the repertoire of the Russian theater for many years. Ostrovsky discovered the unknown world of merchants and clerks, judicial officials and traders. A motley, full of drama life was revealed to the readers and viewers of Alexander Nikolaevich.
He explores the strong, the untamed, original characters, “not burdened with education,” but truthful and realistic.
Ostrovsky's plays created a beautiful

Russian gallery national characters: from the selfish Lipochka Bolynova from the play “Our People - Let’s Be Numbered!”, the gentle and defenseless Katerina from “The Thunderstorm” to the impetuous and reckless Larisa Ogudalova from “The Dowry”. In my opinion, Ostrovsky’s best plays are “The Thunderstorm” and “Dowry.” Let's take a closer look at the characters of the heroines of these plays.
Katerina Kabanova is a contradictory and peculiar nature. She is God-fearing and rebellious at the same time.
Remembering her childhood in her home, Katerina understands that her hope for happiness was not justified. She perceives life in her husband's family as bondage. Hypocrisy, hypocrisy and deceit reign in this house. Varvara, who grew up in this environment, adapted perfectly to its conditions. She teaches Katerina to lie and be self-willed, while maintaining a mask of piety. Katerina outwardly accepts the family’s lifestyle, but in her heart she protests. Having fallen in love with Boris, she does not hide it from others. “If I was not afraid of sin, will I be afraid of human judgment?” she says to her beloved. Katerina perceives the outbreak of a thunderstorm as a warning about God's punishment. But as long as the heroine loves and is loved, she is not afraid of anything. Both Tikhon and Boris, each in their own way, love and pity Katerina, but they are weak-willed and dependent on Kabanikha and Dikiy, therefore they cannot protect or give happiness to Katerina. Realizing this, the heroine decides to die. “I’m really exhausted! I don’t need anything, nothing is nice to me! But death does not come." A true Christian, Katerina perceives suicide not as a sin, but as liberation from torment and suffering.
“It will be easier for me. And I don’t even want to think about life. Live again. No, no, don't..."
Larisa Ogudalova has a completely different character. She is quite a cultured, educated girl. Larisa is alien to the world around her. She strives to escape from this environment, where greed and the spirit of acquisitiveness reign. Having fallen in love with Sergei Sergeevich Paratov, Larisa does not see the cynical and cruel nature behind the shiny shell. She loves her ideal, not real hero. Life is more complicated than we think. Larisa has to give up her ideals. She is ready to marry anyone who will take her away from a house that looks like a “gypsy camp” or a fair where everything is bought and sold. “A thing... yes, a thing... I am a thing, not a person...” says Larisa. And now she wants to sell herself at a higher price. “Every thing has its own price... I am too, too expensive for you,” she answers Karandyshev. Larisa was looking for love, but everyone looks at her as fun. I wanted to leave the “gypsy camp”, but I couldn’t. She is not capable of suicide, so the heroine perceives Karandyshev’s shot as deliverance from moral decline, from the hardships of life. Dying, the heroine forgives everyone: “I don’t want to interfere with anyone! Live, live, everyone!.. I don’t complain about anyone, I don’t take offense at anyone... you are all good people... I love you all... I love you all.”
Such forgiveness from a weak person is worse than any punishment, and it was impossible to end the play more effectively.
Ostrovsky once again proved that he is a true master who knows the laws of drama very well.

ACT ONE A public garden on the high bank of the Volga, a rural view beyond the Volga. There are two benches and several bushes on the stage. SCENE ONE Kuligin is sitting on a bench...
Ostrovsky's play "Dowry" was written in 1874 - 1878. The play premiered in the fall of 1878. The play is a striking example of psychological realism in Russian literature....
A. N. Ostrovsky Dowry The action takes place in a large fictional city on the Volga - Bryakhimov. An open area near a coffee shop on Privolzhsky Boulevard. Knurov (“one of the big businessmen...
The action takes place in a large fictional city on the Volga - Bryakhimov. An open area near a coffee shop on Privolzhsky Boulevard. Knurov and Vozhevatov, having ordered champagne from a tea set,...
A wonderful play late period creativity of A. N. Ostrovsky is the drama “Dowry”. Conceived in 1874, it was completed in 1878 and in the same year...
Alexander Nikolaevich Ostrovsky began writing during his student years. His literary views were formed under the influence of Belinsky and Gogol: a young man from the very beginning of his literary career...
“I was looking for love and did not find it” (A. N. Ostrovsky). Love She is like a bird, free and unpredictable. She floats high in the clear, cloudless sky. It's like...
Love is like a bird, free and unpredictable. She floats high in the clear, cloudless sky. It’s as if you feel her presence above you, reaching out to her...
Alexander Nikolaevich Ostrovsky was the creator of the repertoire of the Russian national theater. His plays: “Our own people - we will be numbered”, “Simplicity is enough for every wise man”, “Forest”, “Profitable place”, “Thunderstorm”, “Dowry” - not...
The main heroines of two, probably the most popular plays by A. N. Ostrovsky, differ significantly in social status, but are very similar in their tragic destinies. Katerina in "The Thunderstorm" -...
Action 1 Public garden on the banks of the Volga. Phenomenon 1 Kuligin is sitting on a bench, Kudryash and Shapkin are walking. Kuligin admires the Volga. They hear the Wild in the distance...
The entire action of "The Dowry" is concentrated around one character - Larisa - and is focused and intense. One might even say that, overall, “The Thunderstorm” is more epic...

Main conflict