Male images in the drama are a dowry. Ostrovsky, "Dowry": analysis and characterization of the characters

The main character of the play, the daughter of Harita Ignatievna. This is a beautiful and smart girl with great personal qualities. She is modest, well-read, open, honest, not flattering, has a whole range of talents, is capable of deep feelings. However, in the society that surrounds her, her sincerity and virtues are considered almost a vice. One of the newly minted young businessmen, Vozhevatov, notes that dowry girls like her should not be so straightforward.

One of the main characters of the play, a young and poor official, Larisa Dmitrievna's fiancé. This is a modest young man with a claim to more. Its main features are a painful self-esteem and vulnerable pride. Going to marry Larisa, he considers himself a benefactor, saving a dowry. In fact, he wants to possess the "thing" in order to rub the nose of her previous admirers.

One of the main characters of the play, a brilliant shipowner of about 30 years old, Larisa's lover. This is a real reveler, a bold playboy, a prominent and handsome man, a womanizer and heartthrob, who, in fact, is a rich dowry hunter. Larisa Dmitrievna is madly in love with him - a young and beautiful dowry, whom he turned her head to only amuse his pride.

One of the characters in the drama, an elderly and wealthy man, a big businessman with an enviable fortune. This is a true representative of the "clean public" of the city of Bryakhimov, as the barman Gavrilo notes. At the beginning of the play, it becomes clear that he has certain habits. For example, he likes to take care of his health, taking long walks along the boulevard to work up an appetite.

One of the characters in the play, a young man, a representative of a wealthy trading company, likes to dress in European style, a typical example of the merchant nobility of the 19th century. This hero relies only on cold calculation and money is an end in itself for him. He treats people depending on their material well-being and social status.

A cunning and agile widow, mother of Larisa Dmitrievna. Thanks to her dexterity, their house is always full of guests, in particular suitors. The author insistently emphasizes the difference between the daughter and the mother. If Harita Ignatievna dresses elegantly, but not for her years, then Larisa is always dressed with taste, but modestly. She knows how to flatter and fawn, accept gifts and material benefits from the rich, while Larisa is far from this.

Gavrilo

A minor character, the owner of a coffee shop on the boulevard, where the important events of the play take place.

Harita Ignatievna Ogudalova, middle-aged widow; dressed elegantly, but boldly and beyond her years.

Larisa Dmitrievna, her daughter, a maiden; dressed richly but modestly.

Moky Parmevych Knurov, one of the big businessmen of recent times, an elderly man with a huge fortune.

Vasily Danilych Vozhevatov, a very young man, one of the representatives of a wealthy trading firm; European in costume.

Julius Kapitonych Karandyshev, a young man, a poor official.

Sergei Sergeevich Paratov, a brilliant gentleman, from the shipowners, over 30 years old.

Robinson.

Gavrilo, club bartender and owner of a coffee shop on the boulevard.

Ivan, a servant in a coffee shop.

The action takes place at the present time, in the big city of Bryakhimov on the Volga. City boulevard on the high bank of the Volga, with a platform in front of the coffee shop; to the right of the actors is the entrance to the coffee shop, to the left are the trees; in the depths there is a low cast-iron grate, behind it is a view of the Volga, a large expanse of forests, villages, etc.; there are tables and chairs on the landing: one table on the right side, near the coffee shop, the other on the left.

The first phenomenon

Gavrilo stands at the door of the coffee shop, Ivan arranges the furniture on the site.

Ivan. There are no people on the boulevard.

Gavrilo. It's always like this on holidays. We live in the old way: from late mass everything to pie and cabbage soup, and then, after bread and salt, seven hours of rest.

Ivan. Already seven! Three or four hours. This is a good establishment.

Gavrilo. But around Vespers they wake up, drink tea until the third melancholy ...

Ivan. Until longing! What is there to grieve about?

Gavrilo. Sit tighter at the samovar, swallow boiling water for two hours, that's how you'll know. After the sixth sweat, she, the first melancholy, rises ... They will part with tea and crawl out onto the boulevard to breathe and roam. Now the pure public is walking: there is Mokiy Parmenych Knurov prone himself.

Ivan. Every morning he measures the boulevard back and forth, exactly as promised. And why is he bothering himself so much?

Gavrilo. For exercise.

Ivan. What is exercise for?

Gavrilo. For appetite. And he needs an appetite for dinner. What dinners does he have! Can you eat such a dinner without exercise?

Ivan. Why is he silent?

Gavrilo. "Silence"! You are a freak. How do you want him to talk, if he has millions! Who should he talk to? There are two or three people in the city, he talks to them, but no one else; Well, he is silent. He does not live here for long from this himself; Yes, and would not live if it were not for work. And he goes to talk to Moscow, St. Petersburg and abroad, where he has more space.

Ivan. But Vasily Danilych is coming from under the mountain. Here is also a rich man, but talkative.

Gavrilo. Vassily Danilych is still young; engages in cowardice; still little understands himself; and in summer it will enter, the same idol will be.

Left exits Knurov and, not paying attention to the bows of Gavrila and Ivan, he sits down at the table, takes a French newspaper out of his pocket and reads it. Right enters Vozhevatov.

The second phenomenon

Knurov, Vozhevatov, Gavrilo, Ivan.

Vozhevatov (respectfully bowing). Moky Parmenych, I have the honor to bow!

Knurov. BUT! Vasily Danilych! (Gives a hand.) Where?

Vozhevatov. From the pier. (Sits down.)

Gavrilo comes closer.

Knurov. Have you met anyone?

Vozhevatov. Met, but not met. Yesterday I received a telegram from Sergei Sergeich Paratov. I buy a boat from him.

Gavrilo. Isn't it "Swallow", Vasily Danilych?

Vozhevatov. Yes, "Swallow". And what?

Gavrilo. Runs briskly, a strong steamer.

Vozhevatov. Yes, Sergei Sergeyevich deceived me, he did not come.

Gavrilo. You were waiting for them with the "Airplane", and they, maybe, will come on their own, on the "Swallow".

Ivan. Vasily Danilych, yes, there is a steamer running from above.

Vozhevatov. Few of them run along the Volga.

Ivan. This is Sergey Sergeyevich coming.

Vozhevatov. You think?

Ivan. Yes, it seems that they, sir ... The casings on the "Swallow" are painfully noticeable.

Vozhevatov. You will dismantle the casings for seven miles!

Ivan. For ten, you can sort it out, sir ... Yes, and it’s going well, now you can see that with the owner.

Vozhevatov. How far?

Ivan. Out of the island. And so it lays, and so it lays.

Gavrilo. Are you saying lining?

Ivan. Lines. Passion! Shibche "Airplane" runs, and measures.

Gavrilo. They go with.

Vozhevatov (to Ivan). So you tell me how they will pester.

Ivan. Listen, sir ... Tea, they will shoot out of the cannon.

Gavrilo. Without fail.

Vozhevatov. From what gun?

Gavrilo. They have their own barges at anchor in the middle of the Volga.

Vozhevatov. I know.

Gavrilo. So there is a cannon on the barge. When they meet or see off Sergei Sergeyitch, they always fire like that. (Glancing aside behind the coffee shop.) There, and the carriage is coming after them, sir, cabbie, Chirkov, sir! Apparently, they let Chirkov know that they would come. The owner himself, Chirkov, on the goats. - It's behind them.

Vozhevatov. How do you know what's behind them?

Gavrilo. Four pacers in a row, have mercy, follow them. For whom will Chirkov collect such a quadruple! After all, it's horrible to watch ... like lions ... all four on snaffles! And a harness, a harness! - Behind them.

Ivan. And the gypsy with Chirkov is sitting on the goats, in the front Cossack, tied with a belt so that, just look, it will break.

Gavrilo. It's behind them. There is no one else to ride such a four. They With.

Knurov. Paratov lives in style.

Vozhevatov. Nothing else, but enough chic.

Knurov. Do you buy a steamship cheaply?

Vozhevatov. Cheap, Moky Parmenych.

Knurov. Yes, sure; but what for the calculation to buy. Why is he selling?

Vozhevatov. To know, does not find benefits.

Knurov. Of course, where is he! This is not a bar business. Here you will find a benefit, especially if you buy something cheap.

Vozhevatov. By the way, we have a lot of cargo at the bottom.

Knurov. Did you need money? He's motivated.

Vozhevatov. His business. Our money is ready.

Knurov. Yes, you can do things with money, you can. (With a smile.) Well, Vasily Danilych, who has a lot of money.

Vozhevatov. Is it bad business! You yourself, Moky Parmenych, know this better than anyone.

Knurov. I know, Vasily Danilych, I know.

Vozhevatov. Shall we have a cold drink, Moky Parmenych?

Knurov. What are you, in the morning! I haven't had breakfast yet.

Vozhevatov. Nothing, sir. One Englishman - he is the director at the factory - told me that it is good to drink champagne on an empty stomach from a cold. And I caught a little cold yesterday.

Knurov. How? Such warmth is worth it.

Vozhevatov. Yes, all the same, and he caught a cold: it was very cold.

Knurov. No, that's good; people will look, they will say: it is neither light nor dawn - they drink champagne.

Vozhevatov. And so that people do not say anything bad, so we will drink tea.

Knurov. Well, tea is another matter.

Vozhevatov (Gavrila). Gavrilo, give us a cup of mine, do you understand?... mine!

A. N. Ostrovsky described quite accurately the picture of indifference and heartlessness of those times. Today we will consider the characteristics of the heroes. “Dowry” is a work that has entered the annals of world literature. So let's get started.

Karandyshev

Julius Kapitonych in the play is a poor official who cannot boast of either a full wallet or self-respect. The main feature of the hero is pride, which, in principle, led to a tragic end. What are the characteristics of heroes? "Dowry" by Ostrovsky A.N. is a work that is slightly simplified by the fact that the outstanding playwright endowed his characters with speaking names. Consider this technique of the author on the example of the same Karandyshev.

Although he has the name of a great man (Julius Caesar), the surname originates from the word "karatysh". The author shows us the discrepancy between his desires and real possibilities. Larisa is for him a way of self-affirmation, so he cherishes his pride. The Ogudalov family considers him a backup option, the only possible way out of the situation, although not very successful, Julius Kapitonych is greatly offended. His "lover" is a way to defeat a stronger opponent, Paratov.

What is the characterization of the characters? "Dowry" is a work that does not require much effort to understand, as the author accurately and in detail describes his characters, their feelings and true being. The tragic end is another moment by which A. N. Ostrovsky makes fun of Karandyshev's nature. Since Julius Kapitonich cannot defeat his rival, he kills the subject of their dispute. The figure of this man is very pathetic and funny.

Paratov

This character continues our characterization of heroes. “Dowry” is a work that cannot do without an analysis of the image of the main rival Yuliy Kapitonych. We have already spoken above about the distinguishing feature of A. N. Ostrovsky and about speaking names. So, the surname of Sergei Sergeyich originates from the word "paraty", which means "predator".
Note that his behavior in the play can also be characterized: "He has no heart, that's why he was so bold." This is a quote characterizing the hero as a heartless and cruel character. He is young and ambitious, a very prudent and greedy person: “And now, gentlemen, I have other things to do and other calculations. I marry a very rich girl, I take gold mines as a dowry.

Larisa

Who else can continue the characterization of heroes? "Dowry" is a work that cannot ignore the main character, who has become the subject of a dispute between two heartless and greedy people. She evokes a feeling of compassion, as she is really passionate about Sergei Sergeyich, who betrayed her for profit. Larisa Ogudalova is a dowry, a girl from a poor family, but she is an incredibly subtle and sensual nature.

When Paratov rejected her, she has the last hope - to marry Karandyshev, since she considers him a man with a good soul and heart, incomprehensible to anyone, but incredibly kind. When Larisa realized that she was a toy in the wrong hands, she tried to kill herself, but she did not have the strength to do it. Only Karandyshev's shot helps her get rid of torment.

"Dowry": characteristics of the heroes. Table

Let's try to systematize the analysis of the main characters of the drama using a table.

	Characteristic
	A nobleman, 30 years old, a respected person, a lover of luxury, incredibly prudent, heartless, all his actions are connected with profit.
Karandyshev	A young, poor official, proud and envious. Always reproaches Larisa for the "gypsy camp" in her house. The rival of Sergei Sergeyich, trying to imitate him in everything, even speaking about educated and respected people with Paratov, puts them side by side.
	A young girl of marriageable age from a poor family, a dowry. He is going to marry Karandyshev because of the hopelessness of the situation, so as not to live with his mother. A talented, beautiful and educated girl, but a doll in the hands of men.

This is how we presented the characteristics of the main characters. In order to draw your own conclusions, we advise you to read this work.

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dowry summary, dowry read
drama

Alexander Nikolaevich Ostrovsky

Original language: Date of writing: Date of first publication: Text of the work in Wikisource

"Dowry"- a play by Alexander Nikolayevich Ostrovsky. Work on it continued for four years - from 1874 to 1878. The premiere performances of The Dowry took place in the autumn of 1878 and provoked protests from the audience and theater critics. Success came to the work after the death of the author.

• 1 History of creation
• 2 Characters
• 3 Plot
  • 3.1 Act one
  • 3.2 Act two
  • 3.3 Act three
  • 3.4 Action four
• 4 Stage fate. Reviews
• 5 Artistic features
  • 5.1 Main characters
  • 5.2 Image of the city
  • 5.3 Names and surnames of characters
• 6 Screen adaptations
• 7 Notes
• 8 Literature

History of creation

In the 1870s, Alexander Ostrovsky served as an honorary magistrate in the Kineshma district. Participation in the processes and familiarity with the criminal chronicle gave him the opportunity to find new topics for his works. Researchers suggest that the plot of The Bride was suggested to the playwright by life itself: one of the high-profile cases that stirred up the entire county was the murder of his young wife by a local resident Ivan Konovalov.

Starting a new work in November 1874, the playwright made a note: "Opus 40". Work, contrary to expectations, went slowly; In parallel with The Dowry, Ostrovsky wrote and published several more works. Finally, in the fall of 1878, the play was completed. those days the playwright told one of the familiar actors:

I have already read my play in Moscow five times, among the listeners there were people who were hostile to me, and everyone unanimously recognized The Dowry as the best of all my works.

Further events also indicated that the new play was doomed to success: it easily passed the censorship, the Otechestvennye Zapiski magazine began preparing the work for publication, the troupes of the Maly and then the Alexandrinsky Theater began rehearsals. However, the premiere performances in Moscow and St. Petersburg ended in failure; reviews from critics abounded with scathing assessments. Only ten years after the death of the author, in the second half of the 1890s, the recognition of the audience came to the "Dowry"; it was associated primarily with the name of the actress Vera Komissarzhevskaya.

Characters

In the guise of Kineshma, the features of the city of Bryakhimov are guessed

• Harita Ignatievna Ogudalova is a middle-aged widow, mother of Larisa Dmitrievna.
• Larisa Dmitrievna Ogudalova is a young girl surrounded by admirers, but without a dowry.
• Moky Parmenych Knurov is a big businessman, an elderly man with a huge fortune.
• Vasily Danilych Vozhevatov - a young man who has known Larisa since childhood; one of the representatives of a wealthy trading company.
• Julius Kapitonych Karandyshev is a poor official.
• Sergey Sergeevich Paratov - a brilliant gentleman, from the shipowners, over 30 years old.
• Robinson - provincial actor Arkady Schastlivtsev.
• Gavrilo is a club barman and owner of a coffee house on the boulevard.
• Ivan is a servant in a coffee shop.
• Ilya is a musician of the gypsy choir.
• Efrosinya Potapovna - Karandyshev's aunt.

Plot

Act one

The action takes place on the site in front of a coffee shop located on the banks of the Volga. Local merchants Knurov and Vozhevatov are talking here. During the conversation, it turns out that the shipowner Paratov is returning to the city. A year ago, Sergei Sergeevich hastily left Bryakhimov; the departure was so swift that the master did not have time to say goodbye to Larisa Dmitrievna Ogudalova. She, being a “sensitive” girl, even rushed to catch up with her beloved; it was returned from the second station.

According to Vozhevatov, who has known Larisa since childhood, her main problem is the lack of a dowry. Harita Ignatieva, the girl's mother, in an effort to find a suitable groom for her daughter, keeps the house open. However, after Paratov's departure, the contenders for the role of Larisa's husband came across unenviable: an old man with gout, an eternally drunk manager of some prince, and a fraudulent cashier who was arrested right in the Ogudalovs' house. After the scandal, Larisa Dmitrievna announced to her mother that she would marry the first person she met. It turned out to be a poor official Karandyshev. Listening to the story of a colleague, Knurov notices that this woman was created for luxury; she, like an expensive diamond, needs an “expensive setting”.

Soon, the mother and daughter of the Ogudalovs appear on the site, accompanied by Karandyshev. The fiance of Larisa Dmitrievna invites visitors to the coffee shop to his dinner party. Harita Ignatievna, seeing Knurov's contemptuous bewilderment, explains that "it's the same as we have dinner for Larisa." After the departure of the merchants, Julius Kapitonovich arranges a scene of jealousy for the bride; to his question, why is Paratov still good, the girl replies that she sees in Sergey Sergeevich the ideal of a man.

When a cannon shot is heard on the shore, announcing the arrival of the master, Karandyshev takes Larisa out of the coffee shop. However, the establishment is not empty for long: in a few minutes, the owner Gavrilo meets all the same merchants and Sergei Sergeevich, who arrived in Bryakhimov together with the actor Arkady Schastlivtsev, nicknamed Robinson. The name of the book hero, as Paratov explains, the actor received due to the fact that he was found on a deserted island. The conversation of old acquaintances is built around the sale of the steamer "Swallow" by Paratov - from now on, Vozhevatov will become its owner. In addition, Sergei Sergeevich reports that he is going to marry the daughter of an important gentleman, and takes gold mines as a dowry. The news of the upcoming marriage of Larisa Ogudalova makes him think. Paratov admits that he feels a little guilty towards the girl, but now "old scores are over."

Action two

The events unfolding in the second act take place in the Ogudalovs' house. While Larisa is changing clothes, Knurov appears in the room. Harita Ignatievna greets the merchant like a dear guest. Moky Parmyonych makes it clear that Karandyshev is not the best match for such a brilliant young lady as Larisa Dmitrievna; in her situation, the patronage of a rich and influential person is much more useful. Along the way, Knurov recalls that the bride's wedding attire should be exquisite, and therefore the entire wardrobe should be ordered at the most expensive store; he bears all expenses.

After the merchant leaves, Larisa informs her mother that she intends to leave immediately after the wedding with her husband for Zabolotye, a distant county where Julius Kapitonych will run for justice of the peace. However, Karandyshev, appearing in the room, does not share the wishes of the bride: he is annoyed by Larisa's haste. in the heat of the moment, the groom delivers a long speech about how all Briakhimov has gone mad; cabbies, sex workers in taverns, gypsies - everyone rejoices at the arrival of the master, who, having squandered in revelry, is forced to sell "the last steamer".

Next comes Paratov's turn to pay a visit to the Ogudalovs. First, Sergei Sergeevich communicates sincerely with Harita Ignatievna. Later, left alone with Larisa, he wonders how long a woman is able to live apart from her loved one. The girl is tormented by this conversation; when asked if she loves Paratov, as before, Larisa answers yes.

Paratov's acquaintance with Karandyshev begins with a conflict: saying the saying that "one loves watermelon, and the other loves pork cartilage," Sergei Sergeevich explains that he learned Russian from barge haulers. These words arouse the indignation of Julius Kapitonovich, who believes that barge haulers are rude, ignorant people. The flaring quarrel is stopped by Harita Ignatievna: she orders to bring champagne. Peace has been restored, but later, in a conversation with merchants, Paratov admits that he will find an opportunity to “make fun” of the groom.

Act Three

In the house of Karandyshev - a dinner party. Yulia Kapitonovich's aunt, Efrosinya Potapovna, complains to the servant Ivan that this event takes too much effort, and the costs are too high. It's good that we managed to save on wine: the seller sold the batch at six hryvnias per bottle, re-gluing the labels.

Larisa, seeing that the guests did not touch the offered dishes and drinks, is ashamed of the groom. The situation is aggravated by the fact that Robinson, who is instructed to drink the owner to complete insensitivity, suffers loudly due to the fact that instead of the declared Burgundy he has to use some kind of "kinder-balm".

Paratov, demonstrating affection for Karandyshev, agrees to have a drink with an opponent for brotherhood. When Sergei Sergeevich asks Larisa to sing, Julius Kapitonovich tries to protest. answer Larisa takes the guitar and performs the romance "Do not tempt me without need." Her singing makes a strong impression on those present. Paratov confesses to the girl that he is tormented by the fact that he has lost such a treasure. Immediately he invites the young lady to go beyond the Volga. While Karandyshev proclaims a toast in honor of his bride and looks for new wine, Larisa says goodbye to her mother.

Returning with champagne, Julius Kapitonovich finds that the house is empty. The desperate monologue of the deceived groom is dedicated to the drama of a funny man who, when angry, is capable of revenge. Grabbing a pistol from the table, Karandyshev rushes in search of the bride and her friends.

act four

Alexander Lensky - the first performer of the role of Paratov on the Moscow stage

Returning from a night walk along the Volga, Knurov and Vozhevatov discuss the fate of Larisa. Both understand that Paratov will not exchange a rich bride for a dowry. To remove the question of possible rivalry, Vozhevatov proposes to decide everything with the help of lots. A thrown coin indicates that Knurov will take Larisa to an exhibition in Paris.

Meanwhile, Larisa, rising from the pier uphill, is having a difficult conversation with Paratov. She is interested in one thing: is she now a wife to Sergei Sergeyevich or not? The news that the beloved is engaged becomes a shock for the girl.

She is sitting at a table near the coffee shop when Knurov appears. He invites Larisa Dmitrievna to the French capital, guaranteeing, in case of consent, the highest content and the fulfillment of any whims. Next comes Karandyshev. He tries to open the bride's eyes to her friends, explaining that they see in her only a thing. The found word seems to Larisa successful. Having informed her ex-fiance that he is too small and insignificant for her, the young lady passionately declares that, having not found love, she will look for gold.

Karandyshev, listening to Larisa, takes out a pistol. The shot is accompanied by the words: “So don’t get it to anyone!”. To Paratov and the merchants who ran out of the coffee shop, Larisa informs in a fading voice that she does not complain about anything and is not offended by anyone.

stage destiny. Reviews

The premiere at the Maly Theater, where the role of Larisa Ogudalova was played by Glikeria Fedotova, and Paratov was Alexander Lensky, took place on November 10, 1878. The excitement around the new play was unprecedented; in the hall, as reviewers later reported, "the whole of Moscow gathered, loving the Russian stage," including the writer Fyodor Dostoevsky. Expectations, however, did not come true: according to the observer of the newspaper Russkiye Vedomosti, "the playwright tired the entire audience, even the most naive spectators." It was the most deafening failure in Ostrovsky's creative biography.

The first production on the stage of the Alexandrinsky Theater, where Maria Savina played the main role, evoked fewer derogatory responses. So, the St. Petersburg newspaper Novoe Vremya admitted that the performance based on The Dowry made a “strong impression” on the audience. However, there was no need to talk about success: a critic of the same publication, a certain K., complained that Ostrovsky spent a lot of effort on creating a little interesting story about a “stupid seduced girl”:

Those who waited for a new word, new types from a venerable playwright are cruelly mistaken; instead of them, we got updated old motives, got a lot of dialogue instead of action. Vera Komissarzhevskaya as Larisa Ogudalova

Critics did not spare the actors who participated in the "Dowry". The capital's newspaper "Birzhevye Vedomosti" (1878, No. 325) noted that Glikeria Fedotova "did not understand the role at all and played badly." The journalist and writer Pyotr Boborykin, who published a note in Russkiye Vedomosti (1879, March 23), remembered only “drawing and falsity from the first step to the last word” in the work of the actress. Actor Lensky, according to Boborykin, when creating the image, made too much emphasis on white gloves, which his hero Paratov put on "unnecessarily every minute." Mikhail Sadovsky, who played the role of Karandyshev on the Moscow stage, presented, in the words of a Novoye Vremya observer, "a poorly conceived type of official-groom."

In September 1896, the Alexandrinsky Theater undertook to revive the play, which had long been removed from the repertoire. The role of Larisa Ogudalova, played by Vera Komissarzhevskaya, initially caused the familiar irritation of reviewers: they wrote that the actress "played unevenly, in the last act she hit melodrama." However, the audience understood and accepted the new stage version of "Dowry", in which the heroine was not between her boyfriends, but above them; the play gradually began to return to the theaters of the country.

Productions

• 1932 - Drama Theater "Comedy" (former Korsh Theatre). Fast. Vasily Sakhnovsky and Elizaveta Telesheva. Larisa - Vera Popova, Karandyshev - Anatoly Ktorov, Paratov - Nikolai Sosnin, Ogudalova - Nadezhda Borskaya, Knurov - Semyon Mezhinsky, Vozhevatov - Mikhail Bolduman, Robinson - Boris Petker, Evfrosinya Potapovna - Maria Blumenthal-Tamarina.
• 1935 - Bolshoi Drama Theatre. Fast. Sergei Morshchikhin, art. Alexander Samokhvalov, comp. Michael Chulaki.
• 1936 - Yaroslavl theater. Fast. Arkady Nadezhdov, art. Nikolai Medovshchikov. Larisa - Chudinova.
• 1937 - People's Theater (Sofia). Fast. Nikolai Massalitinov, art. Milenkov and Georgiev. Larisa - Petrana Gerganova, Karandyshev - Konstantin Kisimov, Paratov - Vladimir Trandafilov.
• 1939 - Theater. M. Azizbekova (Baku). Fast. Sharifova, art. Efimenko. Larisa - Kadri, Paratov - Afganly, Knurov - Aliyev.
• 1940 - Theater of the Revolution. Fast. Yuri Zavadsky, art. Vladimir Dmitriev. Larisa - Maria Babanova, Karandyshev - Sergey Martinson, Paratov - Mikhail Astangov, Knurov - Osip Abdulov, Ogudalova - Anna Bogdanova.
• 1944 - Saratov Drama Theater. Karl Marx. Fast. Andrey Efremov, art. Konstantin Kisimov; Larisa - Valentina Soboleva, Karandyshev - Ivan Slonov, Paratov - Muratov, Knurov - Karganov, Robinson - Petrov.
• 1944 - Theater. K. A. Marjanishvili (Tbilisi). Fast. Tabliashvili, art. Sumbatashvili. Larisa - Veriko Andzhaparidze, Karandyshev - Georgy Gotsireli, Paratov - Kabakhidze, Ogudalova - Cecilia Takaishvili, Knurov - Shalva Gambashidze.
• 1944 - Theater. Khamza (Tashkent). Larisa - Ishanturaeva, Paratov - A. Khodzhaev.
• 1946 - Theater. G. Sundukyan (Yerevan). Fast. Gurgen Janibekyan, art. Lokshin, Larisa - Rozanna Vartanyan, Paratov - David Malyan, Ogudalova - Olga Gulazyan, Robinson - Avet Avetisyan.
• 1948 - Maly Theatre. Fast. Konstantin Zubov, dir. Lev Prozorovsky and Boris Nikolsky, art. Vladimir Kozlinsky, music. design by S. M. Boguchevsky. Larisa - Constance Roek, Karandyshev - Alexander Afanasyev, Paratov - Boris Telegin, Ogudalova - Sofia Fadeeva, Knurov - Vladimir Vladislavsky, Robinson - Nikolai Svetlovidov, Evfrosinya Potapovna - Varvara Ryzhova.
• 1948 - Bolshoi Drama Theatre. Fast. Ilya Shlepyanov, art. Vladimir Dmitriev. Larisa - Nina Olkhina, Karandyshev - Vitaly Politseymako, Paratov - Bruno Freindlich, Vozhevatov - Pavel Pankov, Ogudalova - Anna Nikritina, Knurov - Alexander Larikov, Robinson - Vasily Sofronov. Guitar part - Sergey Sorokin.
• 1948 - Latvian Drama Theater (Riga). Fast. Faith Balun. Larisa - Velta Line, Knurov - Alfred Amtmanis-Brieditis.
• 1948 - Theater. A. Lakhuti (Stalinabad).
• 1950 - Lithuanian Drama Theater (Vilnius).
• 1951 - Kyrgyz Drama Theater (Frunze). Larisa - Kydykeeva, Karandyshev - Sargaldaev, Knurov - Ryskulov.
• 1952 - Bolshoi Drama Theatre. Resumption of the production by Ilya Shlepyanov. The revival is directed by Isai Zonne. Restoration artist Illarion Belitsky.
• 1953 - Bashkir Drama Theater (Ufa). Dir. Brill, thin. Kalimullin. Larisa - Bikbulatova.
• 1953 - Theater. K. S. Stanislavsky. Dir. Mikhail Yanshin, art. Boris Volkov. Larisa - Lilia Gritsenko, Karandyshev - Sergey Markushev, Paratov - Boris Belousov, Robinson - Boris Lifanov.
• 1953 - Theater "Povshekhny" (Warsaw).
• 1954 - People's Theater (Plovdiv).
• 1973 - Odessa Drama Theatre. Fast. Matthew Osherovsky. Larisa - Svetlana Pelikhovskaya.
• 1983 - Tatar State Academic Theater named after G. Kamal (Kazan). Dir. Marcel Salimzhanov, art. Rashit Gazeev, music. Fuat Abubakirov. Larisa - Alsu Gainullina, Ogudalova - Halima Iskanderova, Karandyshev - Rinat Tazetdinov, Paratov - Nail Dunaev, Knurov - Shaukat Biktemirov, Vozhevatov - Ildus Akhmetzyanov, Robinson - Ravil Sharafeev.
• 1997(?) - Voronezh Drama Theatre. Fast. Anatoly Ivanov, art. Larisa and Mikhail Kurchenko.
• 2002 - Baltic House. Staged by Anatoly Praudin, artist Alexander Mokhov.
• 2008 - Workshop of P. Fomenko. Staged by Pyotr Fomenko, artist Vladimir Maksimov.
• 2012 - Theater on Vasilyevsky (St. Petersburg). Staging by Denis Khusniyarov, artist Nikolai Slobodyanik, choreography by Yegor Druzhinin.
• 2012 - Maly Theater
• 2014 - Moscow Academic Theatre. V. Mayakovsky. Staged by Lev Ehrenburg, production designer Valery Polunovsky.

Artistic Features

Literary critic Boris Kostelyanets, studying the history of "Dowry", came to the conclusion that the negative reaction of Ostrovsky's contemporaries was associated both with the "innovative nature of the play itself" and with those difficult relationships that developed between the playwright and the audience. Literary critic Alexander Skabichevsky wrote in the mid-1870s that Ostrovsky is one of the authors whose works the theater community has always studied with particular scrupulousness. "Dowry" became for Ostrovsky a "play-search"; she "as if anticipated the poetics of Chekhov's drama." The same reproaches about the lack of dynamics will later be heard from critics by the author of The Seagull and Leo Tolstoy, who brought the play The Living Corpse to the public.

main characters

Larisa, which is included in the gallery of notable female images of literature of the second half of the 19th century, strives for independent actions; she feels like a person capable of making decisions. However, the impulses of the young heroine collide with the cynical morality of society, which perceives her as an expensive, exquisite thing.

The girl is surrounded by four admirers, each of whom is trying to get her attention. At the same time, according to researcher Vladimir Lakshin, it is by no means love that drives Larisa's boyfriends. So, Vozhevatov is not greatly distressed when the lot in the form of a thrown coin points to Knurov. He, in turn, is ready to wait until Paratov comes into play in order to “take revenge and take the broken heroine to Paris” later. Karandyshev also perceives Larisa as a thing; however, unlike rivals, he does not want to see his beloved as someone else's thing. The simplest explanation of all the troubles of the heroine, associated with the lack of a dowry, is broken by the theme of loneliness, which young Ogudalova carries within herself; her inner orphanhood is so great that the girl looks "incompatible with the world."

Critics perceived Larisa as a kind of "continuation" of Katerina from Ostrovsky's play "Thunderstorm" (they are united by ardor and recklessness of feelings, which led to a tragic ending); at the same time, features of other heroines of Russian literature were found in her - we are talking about some Turgenev girls, as well as Nastasya Filippovna from The Idiot and Anna Karenina from the novel of the same name:

The heroines of Dostoevsky, Tolstoy and Ostrovsky are brought together by their unexpected, illogical, reckless actions dictated by emotions: love, hatred, contempt, remorse. Mikhail Sadovsky - the first performer of the role of Karandyshev in Moscow

Karandyshev, like Larisa, is poor. Against the background of the "masters of life" - Knurov, Vozhevatov and Paratov - he looks like a "little man" who can be humiliated and insulted with impunity. At the same time, unlike the heroine, Julius Kapitonovich is not a victim, but part of a cruel world. Wanting to connect his life with Larisa, he hopes to pay off former offenders, to demonstrate to them his moral superiority. Even before the wedding, he tries to dictate to the bride how to behave in society; her reciprocal protest is incomprehensible to Karandyshev, he cannot delve into the reasons for their disagreement, because he is "too busy with himself."

Drawing a parallel between Karandyshev and the "humiliated" heroes of Dostoevsky, the researchers emphasize that Yuli Kapitonovich is infinitely far from Makar Devushkin from the novel "Poor People" and Marmeladov from the novel "Crime and Punishment". His "literary brothers" are the hero of the story "Notes from the Underground" and Golyadkin from "The Double".

Karandyshev's shot is a complex action in its motives and in its results. One can see here just a criminal act of the owner and egoist, obsessed with one thought: not for me, but for no one. But you can see in the shot and the answer to Larisa's secret thoughts - in a difficult way they penetrate the mind of Karandyshev, the only one of the four men who did not want to transfer her into anyone's hands.

The image of the city

Maria Savina - the first performer of the role of Larisa on the St. Petersburg stage

If the fate of Larisa largely repeats the story of Katerina, transferred from the middle of the 19th century to the 1870s, then Bryakhimov is the development of the image of the city of Kalinov from the same Thunderstorm. Over the two decades separating one play by Ostrovsky from another, the main types of townspeople have changed: if previously the tyrant-tyrant merchant Dikoy dominated in the outback, now he has been replaced by the “dealer of a new formation” dressed in a European costume Knurov. The Kabanikha, who poisons all life around her, also became a character of the outgoing era - she gave way to Harita Ignatievna Ogudalova, who “trades her daughters”. Passing before the realities of life, the nephew of Wild Boris, according to the trends of the times, turned into a brilliant gentleman Paratov.

At the same time, the pace of urban life has not changed. Life in Bryakhimov is subject to the usual rituals - every day there is mass, vespers and long tea parties near samovars. Then, according to the barman Gavrila, the city covers the feeling of "first melancholy", which is removed by long walks - so, Knurov "every morning the boulevard measures back and forth, just as promised."

All the heroes of the play are connected by a "common interest": they are unbearable in this city. Even Knurov's silence is evidence of the "conflict situation" in which he entered with the hated Briakhimov. And Vozhevatov? He is also in "conflict with Brakhimov's boredom." Larisa is oppressed not only by the situation in her house, but "the whole atmosphere of Bryakhimov."

Names and surnames of characters

Boris Kostelyanets is convinced that Ostrovsky put a special meaning into the names and surnames of his heroes. So, Knurov, according to the author's remarks, is "a man with a huge fortune." The character's surname enhances the feeling of power coming from the "big deal": "knur" (according to Dahl) is a boar, a boar. Paratov, whom the playwright characterizes as a “brilliant gentleman”, also did not accidentally find his surname on the pages of the play: “paraty” was called a particularly swift, unstoppable breed of dog.

Harita Ignatievna, who knows how, if necessary, to deceive and seduce, bears the surname “Ogudalova”, which is based on the verb “gut”, meaning “to braid”, “to fool”.

Screen adaptations

• The first film adaptation of "Dowry" took place in 1912 - the film was directed by Kai Ganzen, the role of Larisa Ogudalova was played by Vera Pashennaya. Among the most famous film versions of the work is the film by Yakov Protazanov, which was released in 1936.

Larisa in the film is not endowed with the features of a tragic doom.<…>In accordance with Ostrovsky's plan, Larisa is presented by the director of the film as cheerful, up to the last minute reaching for life with all the forces of her sensitive nature. In order to show this particular Larisa, the authors of the film reveal her life long, a whole year before the events with which the play begins and which last only twenty-four hours.

• The film adaptation of Eldar Ryazanov's "Cruel Romance", carried out in 1984, caused conflicting reviews from critics. In an effort to protect the director, Nina Alisova, who played the role of Larisa in the Protazanov film, recalled from the pages of Literaturnaya Gazeta that "Ostrovsky's plays are limitless, and every artist has the right to stage it in his own way."

Notes

1. 1 2 Alexander Ostrovsky. Plays. - M.: Olma-Press Education, 2003. - S. 30-31. - 830 p. - ISBN 5-94849-338-5.
2. 1 2 3 4 5 6 7 8 9 10 11 12 13 Kostelyanets, 2007
3. 1 2 3 4 Eldar Ryazanov. Unreported results. - M.: Vagrius, 2002. - S. 447.
4. 1 2 Dramaturgy, 2000, p. 215
5. // Russian Vedomosti. - 1878. - No. 12 November.
6. 1 2 Eldar Ryazanov. Unreported results. - M.: Vagrius, 2002. - S. 446.
7. 1 2 3 Vladimir Lakshin. theatrical echo. - M.: Time, 2013. - 512 p. - ISBN 978-5-9691-0871-4.
8. Lotman L. M. Ostrovsky and. - M.: Nauka, 1991. - T. 7. - S. 71.
9. Dramaturgy, 2000, p. 228
10. 1 2 Dramaturgy, 2000, p. 229
11. Derzhavin K. N. Ostrovsky. - M., L.: Publishing house of the Academy of Sciences of the USSR, 1956. - T. 8. - S. 469.
12. Isakova I. N. Proper names in A. N. Ostrovsky's plays "Thunderstorm" and "Dowry". Linguistic and cultural thesaurus "Humanitarian Russia". Retrieved April 30, 2015.
13. Dowry. Encyclopedia of national cinema. Retrieved April 30, 2015.
14. Eldar Ryazanov. Unreported results. - M.: Vagrius, 2002. - S. 451.

Literature

• Kostelyanets B.O. Drama and Action: Lectures on Theory. - M.: Coincidence, 2007. - 502 p. - (Theatrum Mundi). - ISBN 978-5-903060-15-3.
• Ostrovsky A. N. Dramaturgy. - M.: Astrel, 2000. - ISBN 5-271-00300-6.

Plays by Alexander Ostrovsky

Family picture Our people - let's count Morning of a young man Unexpected case Poor bride Do not sit in your sleigh Poverty is not a vice Do not live as you want someone else's feast hangover Profitable place Festive sleep before dinner Did not agree on characters! Pupil Thunderstorm An old friend is better than two new ones Their dogs squabble, don’t pester someone else’s Marriage Balzaminova Kozma Zakharyich Minin-Sukhoruk Hard days Sin and trouble on whom no one lives Voevoda Jokers In a crowded place Abyss Dmitry Pretender and Vasily Shuisky Tushino Vasilisa Melentyeva Every wise man is quite simple Hot heart Mad money Forest Not everything is a carnival for a cat There was not a penny, but suddenly Altyn Comedian of the 17th century Snow Maiden Late love Labor bread Wolves and sheep Rich brides Truth is good, but happiness is better Belugin's marriage The last victim Good master The heart is not a stone Slaves Shines, but does not warm Guilty without guilt Talents and admirers Handsome man Out of this world

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

The main characters of the play

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

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

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

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

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

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

Act one: Karandyshev - Larisa's fiancé

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The first phenomenon

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Act four: Karandyshev shoots the bride

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

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

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

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

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

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

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

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

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

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

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