Proverbs and sayings. The most famous plays by A.N. Ostrovsky

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Sidorova Svetlana Vasilievna MBOU "Elasovskaya secondary school"

Questions for a quiz on the work of A. N. Ostrovsky

What were the names of Ostrovsky's parents, who were they by origin?
At what faculty of Moscow University did Ostrovsky study

From 1840 to 1843?

What helped Ostrovsky to study the life of the Russian merchants well?
What theater did Ostrovsky attend while studying at Moscow University?
What is the first literary work of Ostrovsky?
Name the first comedy play by Ostrovsky. Who, after reading this first comedy by Ostrovsky, wrote: “It is in vain that it is printed, it is forbidden to play it”?
Name the first play by Ostrovsky, which was played on the theater stage. When and in what theater did this play premiere?
What plays by Ostrovsky are titled as proverbs?
What is the name of the famous critical article by N. A. Dobrolyubov, dedicated to Ostrovsky's drama "Thunderstorm"?
Based on what Ostrovsky's play was the feature film "Cruel Romance" directed by Eldar Ryazanov?
Which theater in Moscow today is called "Ostrovsky's House"?
Who is the author of the monument to Ostrovsky in Moscow near the Maly Theater?
Where is the grave of A.N. Ostrovsky?
Recognize Ostrovsky's play by its ending

“Good for you, Katya! And why am I left to live in the world and suffer! (falls on the body of his wife).
“-No, no, why! .. Let them have fun, whoever has fun ... I don’t want to disturb anyone! Live, live everyone! You need to live, but I need to ... die ... I don’t complain about anyone, I don’t take offense at anyone ... you are all good people ... I love you all ”(Sends a kiss).

Loud gypsy choir.

Do you know Ostrovsky's play "Thunderstorm"

What is the name of the merchant Wild?
What is the surname, name, patronymic of Kabanikhi?
What is the name of Kabanikhi's son?
To whom do these words belong?

“After all, out of love, parents are strict with you, out of love they scold you, everyone thinks to teach good. Well, now I don't like it. And the children will go to people to praise that the mother is grumbling, that the mother does not give a pass, she shrinks from the light. And, God forbid, you can’t please the daughter-in-law with some word, well, the conversation started that the mother-in-law was completely stuck.

Answers

Father - Nikolai Fedorovich Ostrovsky, graduated from the Theological Academy - a man of sharp mind, educated, successfully engaged in private practice, he was a lawyer, conducted the affairs of merchants. In 1839, with the rank of collegiate assessor, Nikolai Fedorovich became a hereditary nobleman.

Mother Lyubov Ivanovna Ostrovskaya, nee Savkina, was born in Moscow, her father was a sexton of the Sretensky forty church of St. Nicholas near the Pokrovsky bridge.

2 At the Faculty of Law

3 Work in the Moscow Conscience Court as a clerk, then in a commercial court.

Moscow Maly Theater
The story "The Tale of How the Quarter Warden Started to Dance, or Only One Step From the Great to the Funny" (December 15, 1843)
The play "Our people - we will settle", the lines belong to Emperor Nicholas 1
The play "Do not get into your sleigh" January 14, 1853 at the Moscow Bolshoi Theater
"Own people - let's count" 1849

“Do not get into your sleigh 1852

"Poverty is not a vice" 1853

"An old friend is better than two new ones" 1860

“Their dogs are biting. Don't pester a stranger" 1861

"Not all cat carnival" 1871

"There was not a penny and suddenly Altyn" 1871

“Truth is good, but happiness is better” 1876

Guilty Without Guilt 1883

"A Ray of Light in a Dark Realm"
Based on the play "Dowry"

Maly Theater
Sculptor N.A. Andreev
In Shchelykovo, where the memorial museum of A.N. Ostrovsky
a) Thunderstorm

B) "Dowry"

a) Savel Prokofievich

b) Marfa Ignatievna Kabanova

c) Tikhon Ivanovich Kabanov

d) Merchants Kabanova (Kabanikha)

Inability to be hypocritical. Love. Zamoskvorechye. controversy around the play. Katerina's lessons. The idea of the drama "Thunderstorm". The main theme is Thunderstorms. Speech characteristic. The meaning of the title. How was Katerina raised? The results of the actions of the heroes. Moscow State University. Columbus Zamoskvorechye. Curly. Small Academic Art Theatre. The behavior is hypocritical. Human feelings. The meaning of the title of the play "Thunderstorm".

"Ostrovsky's play" Dowry "" - Poetic lines. A sad song about a dowry. Does Larisa Paratova need it? The mystery of Ostrovsky's play. Analysis of the play. What kind of person is Paratov. Gypsy song. What is Karandyshev. Love for Larisa. Romance. Bridegroom of Larisa. Problem questions. Expression skills. What gives the gypsy song to the play and the film. Ostrovsky. Cruel romance. Acquisition of text analysis skills. Karandyshev shot.

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

"Heroes of the Snow Maiden" - Beauty of nature. Fantastic characters. Lely's image. Love. Winter fairy tale. Shepherd's horn. Spring fairy tale. Musical instruments. Respect for the cultural traditions of the people. Elements of Russian folk rituals. The content of the songs. Ancient Russian rite. Dancing birds. Morning of love. Music. author's ideals. Heroes. What heroes are just fabulous. Opera finale. A.N. Ostrovsky. Snow Maiden. Songs. folklore.

"The play" Dowry "" - All the actions of the hero are motivated by the desire to maintain such an impression. Mother leader, for example. Like a steamship of unprecedented speed, like a luxurious villa. To become a rich kept woman?.. Former merchants are turning into millionaire entrepreneurs. Katerina. The image of Paratov. The image of Paratov Y. Olesha admired the names of Ostrovsky's heroes. Larisa. It is said about Paratov: "Brilliant gentleman." Or maybe here's the right decision: Knurov's frank proposal ....

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

Introduction

Much has already been said about the work of A.N. Ostrovsky, but one always wants to look deeper, to reveal what no one has yet noticed or studied.

For works of a realistic direction, endowing objects or phenomena with a symbolic meaning is characteristic. A. S. Griboyedov was the first to use this technique in the comedy Woe from Wit, and this became another principle of realism. A. N. Ostrovsky continues the tradition of A. S. Griboyedov and endows the heroes with the meaning of natural phenomena, the words of other characters, and the landscape.

Relevance. Researchers of Russian literature pay great attention to the search for those methods and techniques of analysis that would reveal the artistic searches of writers, especially playwrights.

The dramas of Alexander Nikolaevich Ostrovsky are the personification of everyday life, the moral problems of the Russian people. The "image - symbol" system occupies an important place in recreating a certain picture of the world with its own ideas and internal conflicts. In connection with the ambiguity of the Russian word, the difference in its interpretations in the context, the topic touched upon in this work is quite relevant. In addition, the topic is relevant for a number of reasons: it can be interpreted as patriotic or national, since symbolism, from a historical point of view, has accompanied Russian culture not only since paganism (symbols, personification were present in everything around), but even much earlier, in the times of rock paintings, which speaks of the unity of all peoples at the initial stage of development.

Based on all of the above, the purpose of this course work is defined as follows: analysis of the symbolism of the figurative system in the plays of A.N. Ostrovsky "Dowry" and "Snow Maiden".

A number of tasks follow from the goal:

Find, name and characterize the main types of symbols on the example of the already studied works of A.N. Ostrovsky.

Find and analyze the symbols in the works ""Dowry" and "Snow Maiden".

The object of the course work is the plays by A.N. Ostrovsky "Dowry" and "Snow Maiden".

The subject of the course work is symbolism in the plays "Dowry" and "Snow Maiden" by A.N. Ostrovsky.

The work consists of: an introduction, two chapters, each of which is divided into two subsections, a conclusion and a list of references.

Practical significance. The analysis carried out will be useful in the work of teachers when conducting lessons, lectures, seminars or additional elective courses on Russian literature. Also, the work will arouse interest among researchers of the works of A.N. Ostrovsky and all who are interested in drama in general.

Research work on the work of A.N. Ostrovsky

Critics of the playwright's works

Well-known critics of that time spoke rather flatteringly about the works of Ostrovsky, about his talent, for example, from the words of M.I. in order to approach a work that nevertheless stands out brightly and far from the series of our dozen dramas. The tempest of the soul reveals the inner anxiety that comes from some extraneous considerations; mental subtleties show premeditation, and both reveal the annoyance that comes from the fact that although the berry is not of our field, everyone likes it.

The content refers to the merchant environment, remote areas (remote). But even in this environment, which was crushed by petty arrogance and various moral deformities, a human feeling breaks through, that real one, without which life is impossible. In the works of Ostrovsky there is a constant struggle of individual freedom with stagnant customs, brutality of concepts and their results. No matter how this struggle ends, and no matter how it begins, it exists, which means that there is a possibility of drama, and the rest is in the author's head.

Obedience to the older generation is clearly expressed in the works of Ostrovsky. (In "Dowry" Larisa Dmitrievna's obedience to her mother - the mother gives her daughter in marriage to the one whom the mother herself chose, the daughter humbly goes down the aisle; in "The Snow Maiden" - the obedience of the main character to her father and named parents.

On the other hand: the despotism of the older generation "according to an unspoken law." (In "Dowry": the mother takes all power into her hands, is cunning towards Mr. Knurov and other frequent guests, if only to get benefits with the help of "daughter's happiness", but she does it in such a way that she does not lose her by no means low position in society, according to all customs, laws; in "The Snow Maiden" the father keeps the Snow Maiden among the eagle owls, birds, and other animals, and also makes her warden - Leshy. Forbids her not only to see people and communicate with them, but even listen to Lel's songs:

... "Snow Maiden, run away from Lel's songs, be afraid of his speeches and songs ..."

Her named parents: Bobyl with Bobylikh, in their own way, “in parental way”, force her to lure rich suitors into the house so that they can live in abundance:

... "Reluctant,

Not by heart, but mani you mani,

And he will cling and will not lag behind, he will

walk around"

... "Father's honeycomb and mash

Solder. Is it long, is it short

Behaves with you, and we make a profit.

You will miss one, take a closer look,

Shake up the kitty, beckon another,

Beckon!"

Ostrovsky's question of love and family life is interesting. Feelings in married life can be shown only according to the old customs, according to the law.

In The Snow Maiden, her father forbids falling in love with anyone, as this will doom her to death, she must remain cold to people. Her parents (named), whom she chose in the human world, require her to have a rich fiancé so that they can live well. As soon as a groom appears, fitting the measurements of her parents, she behaves humbly, hiding her eyes, obeying her parents. The ideal bride should behave like this (according to Mizgir):

... “To the lover, modesty is dearest of all

And a timid glance at the girl;

She is a friend herself, left with a sweetheart, looking for

As if where to protect yourself with a look.

Shameful eyes are drooping,

Eyelashes covered; only furtively

Flicker through them tenderly pleading eyes.

One hand jealously holds a friend,

The other pushes him away…”

In "Dowry" the heroine must marry a man below her class. Julius Kapitonych Karandyshev benefits from marriage - a poor official becomes on a par with the nobles, receives a beautiful and submissive wife, as well as the respect of those people who did not notice him before. She must dutifully obey her husband, understanding the hopelessness of the situation and obeying the instructions of her mother. In addition to relations in the family and attitudes to everyday life, the life position, the critic also touches other aspects of the drama.

For example: In "The Snow Maiden" the girl does not yet know the real reality, she lives in a fairy-tale world, the world of snow and frost, the world of chanterelles and owls. Reality suddenly invades her life and, having got into the world of people - the real world, she has a desire to love, not knowing this feeling, she seeks to know it. It is interesting that one of the motivations for the desire to love becomes Lel's love for her friend, the guy's indifference to her, because he needs not children's love. Already at this moment, she acquires human qualities, matures morally: she begins to cry not because of fur coats, not because of songs, but because she experiences heartache, a feeling of despair, loneliness.

In "Dowry" the girl spends her life as a gypsy camp. Beautiful, young, enthusiastic, she plays the guitar, sings songs that grab the soul, dances. Due to the age and financial situation of her family, she returns home and, according to tradition, becomes a marriageable girl. It is quite difficult for her, because now she needs to live according to the laws of housing construction. In addition to changing her lifestyle, the situation is aggravated by her falling in love not with her future husband, but with a young careerist. Not the last role in the girl’s life is played by the mother, she selects for her daughter the optimal groom for this situation, although he is lower in class and not very rich, but he will help their family get out of an awkward situation and at least somehow help (for a while) save their financial situation.

In the works, the main characters are fighting with themselves. In their minds and souls, duty and desire (what they really want), reason and passion oppose. As a result, the destruction of oneself physically and morally occurs. After all, in fact, in the works of Ostrovsky a certain crime is committed, which, according to the laws of morality, should be punished. Snow Maiden, Larisa Dmitrievna, these girls commit a crime of their own free will. The Snow Maiden herself asks her mother, Spring, to give her love, to instill this feeling in her heart.

Larisa Dmitrievna herself chooses love, not duty, running away from her future husband. Both girls commit a crime against society, not getting along in it and not submitting to the foundations of their time. They voluntarily punish themselves with death. After all, nothing can be more important for a person than humanity, and family rites, housebuilding and other low, morally ugly concepts and their personifications chain humanity into strong chains, leading a person to spiritual devastation, madness, violence against himself, death. Values such as: love, will, purity, piety because of the rite begin to appear and appear before us in their full "beauty", but in the opposite light.

Secondary faces help to recreate the necessary picture, for a complete understanding of the reader about the situation, about the heroes, about the life of that time, mores and customs, life in general. Most people are prominent representatives of society. All character traits are pronounced, behavior and habits are unique, each character is individual.

Ostrovsky keenly felt and saw the truth. Truth is the basis of facts for a writer. A person at any time will respectfully look at noble deeds, since these actions are the basis of the moral nature, truth, kindness, everything that makes up humanity. Therefore, interest in the works of Ostrovsky has not yet disappeared, this is a classic of life.

IA Galakhov, speaking of Ostrovsky's works as dramas, describes the high moral beauty of these works. From whichever side you look: from the side of the characters of the characters or the description of the area, or look at how and with the help of what originality is presented, everywhere you can see the individual, in its own way large-scale work of the writer, his powers of observation.

The versatility of the work is impressive. In "The Snow Maiden", in addition to the main plot, a picture of the life of the Russian people, their traditions, the foundations of their way of life, are clearly visible, pagan motives are also traced, for example: sacrifice, worship of the forces of nature.

The language in the works of Alexander Nikolayevich is remarkable. People speak "real language", that is, the speech of each of the characters is taken from reality, but framed artistically correctly.

Yu.V. Lebedev writes about the nationality of the "Russian tragedy". The critic writes about A.N. Ostrovsky, as about "Columbus of Zamoskvorechye", who opened to people an unknown country, life. The personification of Ostrovsky's Russian drama is an all-Russian content.

Alexander Nikolayevich, describing the history of a family of merchants, suggests not a single case, not a specific history, but a certain image of Russian statehood with excesses in relation to a person and his personality as a whole. The writer does not separate the merchant from the peasant environment, showing the whole people, and not a certain class. Since the peasants are the strength of the nation. Also, in the works, bourgeois relations and changes occurring with people under the influence of time are clearly visible, it is clear how the people, trying to save the moral foundations, seek to find new forms of culture and life.

Ostrovsky's people live in a certain protracted moment of life upheaval, moral and everyday revolution, all conflicts most acutely make themselves felt. Adherents of the old order are trying to hold on to the reins of government, but now, here, a weak thread will begin to break, a crisis era is coming.

Each of the characters goes to the extreme. If the character denies any aspects of life, then he asserts the opposite sides too strongly.

Departing from the general, let's move on to the specific. Speaking about the nationality of the tragedy, it is necessary to say about the compatibility in it of the outgoing (or prevailing in some cases) paganism and the beginning of the birth of the ideas of Christian culture. Here are a few examples: In "The Snow Maiden" the predominance of pagan faith, faith in the God of the sun - Yarila, is clearly expressed. In "Thunderstorm" there is a transition from paganism to Christian motifs.

Lebedev speaks of Ostrovsky's works as the highest degree of classical Russian prose, denouncing his talent in his critical articles.

Valery Mildon, a researcher of Russian drama, wrote the book Philosophy of Russian Drama: The World of Ostrovsky. It is dedicated to this particular writer, since Alexander Nikolaevich most voluminously and concretely showed the position of a person in domestic life, regardless of his nationality. Therefore, his work is a national treasure. Ostrovsky's work allows a person to set himself the necessary spiritual tasks, and since these tasks and the paths to them are not fully open and resolved to this day, the writer's work is still relevant.

Mildon writes about the meanings that can be seen in the fates of the heroes and the means by which the fates are revealed to the reader.

Every writer, poet, artist and all their works is the expression of a certain era, but if these works are understood only within a certain time, then interest in them disappears after this time. And to this day we remember and are always heard of the names of those writers who wrote for the whole people not for some small part of it, respectively: if his works are for the whole people, then they are actually for the whole world, international.

Mildon studies the philosophy of drama, which means the study of the meaning of being, the consideration of the purpose of a person in this world, the study of the world of ideas, the ideas that drama carries in itself.

If you look externally, without delving into the drama, it becomes clearly visible that the construction of the work is the same, but the writer is presented from different angles, variably. The Russian family is described: groom, bride, love, wedding, fidelity, infidelity, separation…. This is explained by the fact that life itself was monotonous, everyday worries - that's what worried the largest mass of people.

“This people is baptized with one hand, and climbs into someone else's bosom with the other” (“Our people - we will count”).

And he asks the question: Is the merchant's environment meant by the writer, or should "the people" be understood in a broader sense? And a lot of other questions from the philosophy of works.

Valery Mildon analyzes the Russian family, family relations, each character's view of life, draws a certain line of fate. The family in the works of Alexander Nikolayevich is held together not with the help of love, but with the help of fear. Mutual love is absent, but there is unquestioning obedience. No one takes into account “I”, there are “we”, “they” (“we” are parents (often named), “they” are society, people around).

Mildon's observation about the composition of the family is interesting: the family is either one-member (most often there is no father, and fatherlessness, common at that time, has a number of consequences), or the main characters are orphans. Orphans are understood (in addition to the direct meaning): pupils (s), nieces (s).

The question is also raised, referring to the essay of 1874 by V.S. Solovyov: “The Heart and Its Significance in Spiritual Life”, the question of “the empty heart”. According to V.S. Solovyov - if a person's heart is empty, he takes this condition for a disease and naturally tries to recover. Complaining about being unwell, they are afraid and tormented, all this is due to the fact that a person does not want to lose humanity. But there are other people, they do not understand this fear, they do not consider it a disease. Such creatures are only superficially similar to humans.

Ostrovsky’s main characters are clear representatives of a person with a heart. Looking from a psychological point of view at the death of the playwright’s heroines, it must be said that a lack of will led them to the abyss, to death, they began to succumb to other heroes, to society, thus losing their individuality, losing myself. A person who has the will is able to recognize that everything that happened to him happens only by the will of the person himself. He who has the will as a necessary quality will not look for the guilty, whether it be the forces of nature or other people, he will look for the problem in himself.

Mildon, as well as any researcher of Ostrovsky's dramas, is concerned about the reasons for presenting a female image in the role of the protagonist. Touching upon this issue, the author writes in the words of F. Dostoevsky: “Sincerity, perseverance, seriousness and honor, the search for truth and sacrifice are more and more noticeable in our woman; and always in a Russian woman all this was higher than in men.

The philosophy of Valery Mildon touches on other issues, but we will focus on the above.

Almost fifty plays were written by Ostrovsky. Some of them are more, others are less known. Some are constantly on stage, filmed in films and on television, others are almost never staged. But in the minds of the public and the theater there lives a certain stereotype in relation to what is called "Ostrovsky's play." Ostrovsky? Well, this is a comedy from outside Moscow or an everyday drama with an indispensable samovar on the table and geraniums on the windows, with unhurried action, common morals, matchmakers in colorful scarves, bearded tyrant merchants.

Upon a closer and more thoughtful acquaintance, Ostrovsky threatens to confuse us. We impose a template, and the author breaks out from under it and often turns out to be unlike himself, remaining, however, himself ... Shakespeare's tragedy of passions on Russian soil ("Sin and trouble does not live on anyone"), and next to it is light, sparkling with all shades humor, virtuoso, just without music, Moscow vaudeville (trilogy about Balzaminov). A satire of the Shchedrin type with a political lining ("There is enough simplicity for every wise man") and then a psychological melodrama ("Guilty Without Guilt").

The playwright invariably proceeded to a greater extent from life, its impressions and suggestions, than from a genre form frozen and consecrated by tradition. Therefore, even within the limits of the comedic kind of dramatic art alone, we will find in it so many plays that do not fit into any theoretical canon, borderline between drama and comedy, comedy and farce. And if the play, according to the author’s concepts, did not grow to a high idea of “comedy”, as something complete in thought and plot, Ostrovsky resorted to more than modest genre designations: “Pictures of Moscow life” or “Scenes from the life of a backwoods” . But at its core, it's all a comedy. The simplicity of Ostrovsky happened to confuse criticism: it seemed to border on primitiveness. N. K. Mikhailovsky, summing up his path as a playwright, once said that all his work is endless variations of only two qualities in characters: “wolf mouth” and “fox tail”. Indeed, much of Ostrovsky's plays depend on predatory violence and deceit. Many, but not all.

Putting proverbs in the titles of his plays, Ostrovsky confuses people who are accustomed to perceiving art by a signboard, a distinct author's self-characterization and not going deep. Like the denunciation of the "wolf" and "fox" nature of a bad person, Ostrovsky's encouraging morality seemed well-tried and complacent. “Poverty is not a vice”, “Do not sit in your sleigh” - the names promised a monosyllabic, textbook, not rich in content thought-lecture. But the life depicted in the plays struck with authentic surprise, and the “colored” language made the characters alive to the point of illusion.

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

Theater historian E. G. Kholodov calculated that in Ostrovsky's forty-seven original plays there are 728 actors - a whole crowd. If for a moment imagine her coming to the monument to Ostrovsky at the Maly Theater, she would fill almost the entire Theater Square with her. But is it possible to say that at least one face in this huge motley crowd simply repeats another, merges with another? No, everyone is tightly attached to his time, environment and environment, has a special character and habits, which distinguishes his intonation and way of speech. In other words, each individual.

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

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

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

“Yesterday my thought was transported into the distant past—sometimes a kind of consciousness of unity and immobility, if I may put it that way, of the historical process passes before me unusually brightly and powerfully. In this sense, comedy always gives me a lot, i.e., together with a fairy tale, it is the only form that gives you an idea of the spiritual life of mankind under the most diverse historical conditions, in various climates and places over the past 2000-2500 years.

As is clear from the context of the letter, these thoughts were inspired by Vernadsky's direct re-reading of Ostrovsky's writings. And it is remarkable that, while clarifying the origins of the "eternity" or, at least, the longevity of his plays, Vernadsky names fairy tale, a genre of unnamed folk art, next to comedy. With folklore in its other form, with the proverb, as you know, the dramaturgy of Ostrovsky is closely related. In his plays, according to some estimates, 305, according to others - 307 proverbs and sayings.

Many of his dramas and comedies are named proverbs. The speech of the heroes of Ostrovsky, according to the old expression of B. Almazov, “is in full swing” with well-aimed folk catchphrases.

The well-known literary critic academician A. I. Beletsky once wrote a tiny, but brilliant in form and very informative study, a kind of critical “poem in prose” dedicated to Ostrovsky. It was called "The Wisdom of the Proverb". In his discussion of the work of the playwright, Beletsky proceeded from an idea beautifully formulated in one poem by Baratynsky:

We are diligently observing the light.

Diligently we observe people

And we hope to comprehend miracles.

What is the fruit of science for many years?

What, finally, will the eyes of the vigilant see?

That the confused mind will finally understand

At the height of all experiences and thoughts?

What? The exact meaning of the folk saying.

In these lines, an amazing paradox is revealed, which is directly related to Ostrovsky. The wisdom of the proverb, which seemed to be something archaic, hopelessly backward and unnecessary, returns to a person after the most complex temptations of a sophisticated consciousness, “at the height of all experiments and thoughts”, as an undoubted and unshakable value. The same can be said about the dramaturgy of Ostrovsky. It was repeatedly declared obsolete, obsolete in its simple morality, but in the provisions and characters of his plays, important spiritual experience, popular common sense and great artistic vigilance turned out to be accumulated, returning the attention of new generations to it.

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

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

Much continues to sound in these plays with live joy and pain, echoing in our souls.

Ostrovsky had a rare flair for stage truth, an intuition for positions and words that, with talented performance, flew like a spark from the stage to the audience. But his dramaturgy was also clever, although snobbish critics sometimes reproached the playwright for the weak "intellectuality" of his creations. Is it worth refuting? Philosopher John Locke said: "There is nothing in the intellect that is not in the feeling."

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

This text is an introductory piece.

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

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

"OUR PEOPLE - LET'S MATCH!"

AND "DOWNESS"

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

details, and most importantly, we consider the first

condition of artistry in the image of this

type, the correct transmission of its image of expression, i.e.

language and even speech patterns.

A.N. Ostrovsky

According to linguists, there are 307 proverbs and sayings in the texts of his plays. Some of them the author took out in the title of his plays:

Our people - let's count. Comedy, 1849.

Do not sit in your sleigh. Comedy, 1852, publ. 1853.

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

Don't live the way you want. People's drama, 1854, publ. 1855.

Hangover in someone else's feast. Comedy, 1855, publ. 1856.

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

Toys for a cat, tears for a mouse, 1858, publ. 1858.

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

Own dogs squabble, don't pester someone else's! 1861, publ. 1861.

What you follow, you will find (Balzaminov's Marriage) 1861, publ. 1861.

Sin and trouble does not live on anyone. Drama, 1863.

Enough simplicity for every sage. Comedy, 1868.

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

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

The truth is good, but happiness is better. Comedy, 1876, publ. 1877.

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

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

Shines, but does not warm, 1880, publ. 1881.

"Own people - let's count!"

The motif of counting runs through the whole play, more precisely, shorthanding, which is also reflected in the speech of the characters through the use of proverbs and sayings. In this work, the author uses, according to our calculations, 32 folk proverbs and sayings.

Samson Silych Bolshov

"Let him in one shirt around the world"

"This people is baptized with one hand, and climbs into someone else's bosom with the other"

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

"And they strive to please God at someone else's expense"

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

"The goose is not a pig's comrade"

"Know, cricket, your hearth"

“Women and drunks have cheap tears”

Podkhalyuzin Lazar Elizarych

- the ability to deceive: "Our people - let's settle!";

- the ability to adapt: “In a good hour to say, in a bad hour to remain silent” and “Everything will grind - there will be flour”;

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

- inflated conceit: "After me, at least the grass does not grow."

"Dowry"

We managed to find only 6 such units in this work.

Vozhevatov uses them 2 times: “There is a price for every product” and “You can shoot at sin and from a stick.”

Paratov uses them 2 times: “There is no image for the taste and color” and “One loves watermelon, and the other loves pork cartilage.”

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

1 time - Karandyshev: "Not all that glitters is gold."

"Own people - let's count!"

"We have felt in our lifetime, now it's time for us"

"What an ace, but flew out the pipe"

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

“Send a small child - we won’t cheat in an onion”

"Dowry"

"There is no equality in love"

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

"Not all villains are criminals"

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

N.A. Dobrolyubov

Literature

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

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

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