Katerina Bersenyeva Russian proverbs and sayings. Every day I stretched out My hands to a disobedient people who walked in evil ways, according to their own thoughts.
“What you go for is what you will find (The Marriage of Balzaminov) Pictures of Moscow life.” The play has a triple title: part 1 - proverb, part 2 - plot clarification, part 3 - genre clarification.
The meaning of the proverb “Whatever you go for, you will find” - if you strive for good, you will find good, and if you strive for bad, you will get bad.
Similar proverbs:
- If you follow someone who is unkind, you will end up in trouble. If you go for something bad, you will eat something bad. Don't look for trouble - trouble will find you.
- If you follow a bee, you will reach honey; if you follow a beetle, you will reach manure.
- Whatever you go for, you will find. Whoever goes for something will find it.
- Who agrees will go skinny, he won’t find good
- If you go for bad, you will not find good.
The play proves the meaning of the proverb. Balzaminov did not care about the spiritual qualities of his bride; for him, the main criterion was her well-being. This is an unkind, calculating, selfish desire. So he found a rich, but nasty (unkind) wife.
The title is repeated twice throughout the play. The author puts these words into Balzaminova’s mouth at the beginning:
Balzaminova. They say: what you go for, you will find! Apparently, this is not always the case. So Misha walks and walks, but still finds nothing. Another would have quit a long time ago, but mine still won’t let up. But to tell the truth, Misha argues very fairly: “After all, he says, there is no loss for me by going, but the profit can be big; therefore, I must go. Walking in vain, he says, is boring, and poverty is even more boring.” . What's true is true. There is no point in arguing with him. - 1 picture, 1 phenomenon.
And at the end Krasavina says them:
Krasavina. And then there’s another proverb. How long have you been looking for brides?
Balzaminov. For a long time.
Krasavina. And the proverb says: “What you go for is what you will find.”
This is a kind of loop of the composition. This also serves as a symbol that nothing in society, in the world, has changed because Balzaminov married Belotelova. We understand that today is their holiday, and from tomorrow everything will go as usual.
The author needed an explanation of the plot in the title, since this play is the final part of the trilogy about Balzaminov. In previous plays, the author told us about Balzaminov’s failures in finding a bride. In order to intrigue the reader who is already familiar with this hero, Ostrovsky introduces this hint into the title of the end of the protagonist’s throwings.
The third part of the title sets the atmosphere of the work, the space in which the characters will exist. We already perceive this play as a sketch, an outline, a light sketch. This part also tells us that the play is part of a cycle of works by Alexander Nikolaevich, united under the title “pictures of Moscow life.”
- History of creation.
The play “What You Go For, You Will Find” closes the trilogy about Balzaminov. Also in this trilogy there are plays: “A festive nap before lunch”, “Your own dogs are biting, don’t pester someone else’s!”
Written in 1861. The play was first published in the same year in the September issue of Fyodor Dostoevsky's magazine Vremya. Sending his new work to Dostoevsky in St. Petersburg for publication, the playwright wrote: “Dear sir, Fyodor Mikhailovich. I am sending you the play that I promised for your magazine. Ill health interfered with my work, and I finished it later than I would have liked. When you read this thing, tell me in a few lines your opinion about it, which I value very much. You judge fine works on the basis of taste: in my opinion, this is the only standard in art. You will greatly oblige me if you express your opinion completely sincerely and unceremoniously.” (Vol. XIV, pp. 89–90).
Dostoevsky replied on August 24, 1861: “I had the pleasure of receiving your incomparable “Balzaminov” yesterday... What can I tell you about your “scenes”? You demand my opinion, completely sincere and unceremonious. I can answer only one thing: lovely. The corner of Moscow that you looked at was conveyed so typically that it was as if you were sitting and talking with Belotelova. In general, this Belotelova, the girl, the matchmaker, the mother and, finally, the hero himself, is so vivid and truly, such a whole picture, that now, it seems, it will never fade in my mind... of all your matchmakers, Krasavina should take first place. I saw her a thousand times, I knew her, she came to our house when I lived in Moscow when I was ten years old; I remember her." (“F. M. Dostoevsky, Letters”, GIZ, 1928, p. 306).
Dostoevsky organized a reading of the play and also reported in a letter about the impressions of the listeners that were interesting for the author: “... Some of the listeners and female listeners of your comedy have already introduced Belotelova into a household name. They are already pointing to Belotelova and looking for the Pezhenov girls in their memory” (ibid.).
This play can be attributed to the mature period of Ostrovsky's work. Since by the time this comedy was written, Alexander Nikolaevich was already a very famous and respected writer.
The theatrical fate of “Balzaminov’s Marriage” was unsuccessful. Ostrovsky asked the head of the repertoire department of the St. Petersburg imperial theaters P. S. Fedorov to accept his new play “as favorably as all the previous ones” (vol. XIV, p. 89). But the true attitude towards the playwright on the part of this official-administrator, as well as the theater authorities in general, which was previously far from favorable, was now revealed openly - the Literary and Theater Committee, which consisted mostly of Ostrovsky’s ill-wishers, having examined the play, decided: “It is not approved by presentation."
Deeply outraged, but deprived of the opportunity to publicly appeal the conclusion of the Literary and Theater Committee, Ostrovsky comes to the conclusion that his further honest writing for the stage is impossible.
The progressive press came to the writer’s defense; the incident received publicity.
Under pressure from public opinion, the Literary and Theater Committee revised its resolution on “The Marriage of Balzaminov” and on November 17, 1862, by a majority vote (six to four), allowed the play to be presented, with the proviso that the author, whose name had become famous, would be responsible for his work himself , the committee “does not recognize the great literary and stage merit in Ostrovsky’s play” and makes an exception for it due to the poverty of the repertoire of the Alexandria Theater
On January 1, 1863, the St. Petersburg Alexandria Theater first showed the play “What You Go For, That You Will Find” with the following distribution of roles: Balzaminov - Pav. V. Vasiliev, Balzaminova - Yu. N. Linskaya, Krasavina - Voronova, Chebakov - P. S. Stepanov, Belotelova - E. N. Vasilyeva 2nd, Raisa - A. P. Natarova, Matryona - Ramazanova.
The premiere took place at the Moscow Maly Theater on January 14, 1863. The roles were performed by: Balzaminov - A. A. Rasskazov, Balzaminova - N. V. Rykalova, Krasavina - S. P. Akimova, Chebakov - V. A. Dmitrevsky, Belotelova - A. I. Kolpakova, Anfisa - V. V. Borozdina , Raisa - A. I. Kolosova, Matryona - Kh. I. Talanova.
A. A. Rasskazov and P. V. Vasilyev, performers of the role of Balzaminov, were singled out by A. N. Ostrovsky as highly talented artists. D. V. Averkiev recalled that “Pavel Vasiliev in this role was sheer perfection” (“Diary of a Writer,” 1886, p. 252). Of the actors of later times, the best interpreter of Balzaminov’s image was V.N. Davydov.
In 1964, a film adaptation of the play was staged at the Mosfilm film studio - the film "The Marriage of Balzaminov": director K. Voinov, starring: Georgy Vitsin, Lyudmila Shagalova, Ekaterina Savinova, Lidia Smirnova, Nonna Mordyukova, Rolan Bykov, Zhanna Prokhorenko, Nadezhda Rumyantseva and etc.
- Artistic issues and idea of the play.
The image of the Balzamins is a farcical and comedic interpretation of the “little man” theme. Pictures of Moscow merchant life. Balzaminov’s seemingly humorous adventures were shown with such sympathy for the “Little Man” that the insignificant and empty hero involuntarily began to evoke sympathy.
We are all looking better life, we strive for happiness. But do we have the right idea of happiness? Ostrovsky, using the example of Balzaminov, shows us an idea of happiness and an ideal life, distorted by the standards of society. The heroes call the rich bride their happiness. But the author makes us think - does money bring happiness?
In this play the author raises the topic little man. Poor, stupid Bolzaminov has to survive in Moscow society. And the only way to be recognized is to be rich, so he is looking for a wealthy bride. The main character develops an incorrect value system due to lack of education. Instead of studying and working, he just walks around. The image of “offended by God” emerges.
Ostrovsky also touches on the theme of survival in society - everyone survives as best they can: Balzaminova is trying to marry her son, Krasavina is trying to woo Belotelova, Chebakov wants to steal a rich bride, the Pezhenovs dream of running away from home.
Ostrovsky feels sorry for Balzaminov, because he is naive like a child, simple in his judgments and does not find common language with the world in which he has to exist.
“...Balzaminov is not just a household type, but a character; despite his apparent emptiness and insignificance, we all at times are Balzaminov, just like Khlestakov...” (Averkiev).
But at the same time, Ostrovsky does not condemn Balzaminov for his arrogance, selfishness and stubbornness.
Balzaminova. You won't do anything in life!
Balzaminov. Why, mummy?
Balzaminova. Because you don’t know how to take on anything. Everything turns out differently for you than for other people.
I believe that in our time this topic is relevant, since money and connections play a big role in our society. Most people in our time live by the principles of Ostrovsky’s heroes.
- Conflict.
The main conflict in “Marriage” is social – between the characters and society.
External conflict - the conflict between Balzaminov and Krasavina; internal – discrepancy between the hero’s demands and his social status. It is expressed in the discrepancy between reality and how he imagines himself. I went for money - and I found it, but I thought that I went for happiness.
The internal conflict is insoluble, since society will not change its principles, and Balzaminov himself does not want to change his, but is trying to adapt to social standards. A external conflict is resolved at the moment when, by chance, Balzaminov finds himself under the full influence of the matchmaker. The conflict is interpersonal, since all the characters participate in it. The conflict is social, since one of the reasons for this conflict is Balzaminov’s social position. The conflict is substantial - between the hero and society.
The cause of the conflict is Balzaminov’s inaction. He only dreams of happiness, but does nothing for it, just walks around and waits for a happy occasion.
“... is there a more vivid image of the vulgarity of human selfishness, which does not find a correct assessment of its merits?...” (Averkiev 1886)
- Plot and plot.
Picture 1.
1. It won’t work (it won’t work)
3. bride
4. matchmaking
6. shoemaker
7. intrigue
8. the other side of the coin
9. preparations
Picture 2.
- Boredom
- Yearning
- Came
- Letter
- Declaration of love
- Fence
- Collusion
- Confession
Picture 3.
- Analysis
- Dreams
- Ingratiates himself
- Date agreement
- Fees
- Fortune teller
- Fooled
- Happiness
The exposition introduces us to the space and characterizes the characters a little. It ends in scene 1, scene 4, when the author introduces us to almost all the characters and states their relationships.
We learn that the hero has a small mind, that he wants to marry a rich woman and in this he sees the happiness of his whole life. But his search for the perfect bride has not yet been successful. He walks around the house of some Pezhenovs, but this walk does not bear fruit.
The Balzaminovs live poorly, but they have a cook. A matchmaker, whom they apparently hired, visits them. She says that she has found a rich and stupid bride - the kind Balzaminov needs.
Here the author uses such an expositional device as cross-characterization - the characters characterize each other: Balzaminov (about Balzaminov) “Another would have quit, but mine won’t let up”; Matryona (about Balzaminov) “He has little sense of himself, there’s nothing to be flattered by!” Well, I haven’t come out in rank yet”; Balzaminova (about Krasavina) “There are people in the world who have no shame.”
Ostrovsky also uses self-characteristics of the characters: Krasavina - “Nothing, mother; hard words break no bones. We are no strangers to abuse: this is our title”; Balzaminov - “To you I may be stupid, but to others I’m not at all”; Balzaminova - “We are poor, small people.”
The plot begins in scene 1, scene 4 (Balzaminov “I don’t even want to talk to you. That’s what!”)
Two warring camps appear: Balzaminov with his mother and cook; Beauty and the brides.
The climax is in scene 2, scene 7.
Beginning - Balzaminov. “How long will it take to scare me? I'm a timid person. I’ll give you everything you want, just don’t scare me.”
He sleeps on himself, dreams on himself.
Those who serve as wind are paid with smoke.
My sin has reached me (i.e. I am punished).
If you follow someone who is unkind, you will end up in trouble.
If you follow something bad, it will be bad (or: you will find something bad).
For bad deeds, your head will fly off.
The gallows is a thief's constant friend.
The thief is rewarded according to his merits.
Vanka Cain was rewarded according to his merits (with two pillars and a crossbar).
I don't hit you, you hit yourself. It is not the willow that beats - an old sin.
Stepped on the teeth - a rake in the forehead.
It's called a disaster (or: sin) (or: asking for it).
I asked for it and started dancing.
There is no mercy for him who has not shown mercy.
No one did it (or: the devil didn’t do it), he got caught himself.
It wasn’t the buffoon (or: not the devil) who poked (or: pushed, dug), he himself got caught.
Don't get stuck in the loop and you won't get your head stuck.
The devil was on the leaky bridge?
A man fell from the stove - no one pushed him.
No one pulled the noose, he got into it himself.
I'm confused that Mizgir is in the nets.
No matter how much a thief steals, he cannot escape the gallows.
WILL - BONDAGE
He sulked, but didn’t puff out. I'm exhausted.
You can’t, you won’t be able to handle it; but if you strain yourself, you won’t be able to help.
What will you do with him: you won’t take his hat off (from ancient custom disgrace by taking off your hat).
You can't take his hat off. Bribes from him are smooth.
The camel lay down, so we arrived (a camel lies down under a burden when it can no longer get up).
No matter how I wash, whiter than snow you will not.
The kuksa is all fist (kuksa is fingerless).
A blind man does not look for a beggar.
Where can I get something that is not there?
What is not there is nowhere to get it. What is not allowed is not allowed.
You can't put another head on it. If you take off your head, you won't be able to put it back on.
Don’t let the shovel lie flat so it can be more capacious.
You can't hang an egg on a match. You can't drive over the Volga's spoon.
How wide your back is, so much of the belt will fit.
How much God has given growth in stature.
Naked sheep are not sheared. There is nothing to pinch when naked.
There is no trial. Where there is none, it is clean even without us.
Viburnum cannot be like raspberries. A bald man should not be curly.
They don’t take what they don’t give into their hands.
The woman should not be a voit (boss; southern and western).
Wish according to your strength, reach for what you have.
What they couldn’t do, they didn’t wear.
What they didn’t buy, they didn’t sew on.
I live as people live, not as people want.
What it is, people are not like it.
Cut (cut down) a tree on your own. Don't cut down a tree that doesn't suit you.
Don't stir the decks if you don't have the strength. To everyone according to their ability and strength.
And God gave the cow a great slime, but did not order her to speak.
He sang (the song) well, but couldn’t stand it.
He subtly tightened (the song), it wouldn’t have stopped.
You started singing the song, so carry it to the end (finish it, even crack it).
I couldn't move it thickly (thickly, low).
If you don’t know how to sing, don’t meddle in the lead singers (don’t meddle, don’t poke around).
If you don't know the song, don't drag it out.
He who can contain, let him contain.
Don’t take a load beyond your capacity, but lay it down, grunt and carry it.
If you lift it too hard, you'll strain your stomach.
It’s painful to walk subtly, if you please, madam, your stockings will freeze (lackey witticism).
There is something to sit on, but nothing. No horse, no cart, but wants to sit down.
I picked up the tug, don’t say it’s not strong.
If you knew how to dissolve, you also know how to knead.
He sits in a row and says: I can’t (I don’t know, I don’t know how).
You sit in a row (with the bosses), don’t say: I can’t.
Sitting in a row - not saying: I can’t.
If you sit in a row, don’t play the pipe.
White light given free rein. There is freedom for the free, heaven for the saved.
You want it as you want; If you don’t want to, it’s your choice again.
To the free will, to the one who walks the path.
God's will. The will of God, and the judgment of kings.
You cannot overcome God's will (you cannot overcome it).
You can’t take anything from God by force (you can take anything).
You can't get into heaven, you can't go into earth.
You can't argue with God (you can't argue).
No matter how you interpret it, God is greater than everyone.
The turnover has been removed, and the will has been given.
And you see, don’t tear it out. The eye sees, but the tooth is numb.
And I would be glad to take it, but I won’t have the strength.
You can’t look at the sun with all your eyes.
Don't look at the sun - you'll go blind (your eyes will flash).
You take one look at it and leave immediately.
The eye is sharp, but the tooth is rare. The thresholds are high for my feet.
And I would take it with my hand, but the treasure is not given.
You can't drink beer if you're pouting; You won't be rich by looking at people.
If you pout on beer, you won't drink, and looking at people won't make you grow.
These nuts are too tough for me.
Tight nuts for Tereshka. You can't crack this nut.
And not tight, but elastic. Not tight, but not for our teeth.
The sparrow is knee-deep, the crane is ankle-deep.
I would be glad to go to heaven, but sins are not allowed.
The eye sees, but the tooth is numb. The eye sees, but the hand does not bend.
The mind is sweet to eat, but the tongue is short.
I would be glad to try, but I don’t have the strength (not enough).
I would be happy with my heart, but my soul won’t accept it.
I would be glad to at least be on Lent, but they don’t allow me to become a meat eater.
You see it’s cute, but you walk by.
I would live well, but not enough money.
And I would have been glad to cross, but I didn’t find the ford.
The eyes are sharp, and the lips are goiter (goiter, there is), and the arms are short.
I would be glad to cry, but there are no tears; I’m not happy about laughter either, that’s how my mouth behaves.
I would be glad to cry, but laughter overcomes me.
I would have bought lard, but there was no money.
I would buy towns, but bellies are short.
I would buy a village, but there is no money.
The dog would buy a liver, but there is nothing to buy it with.
Good will with intelligence and money.
I would do a one-row with a king, but the bellies are short.
And I would be glad to wear kings (that is, dress up), but their bellies are short.
She would still be dancing, but she couldn’t walk.
I would go to the ax for firewood, but tea, it won’t even make it to the corner.
You can't put a whip in a shaft. You won't get far with a whip.
If you follow someone who is unkind, you will end up in trouble.
Proverbs of the Russian people. - M.: Fiction. V. I. Dal. 1989.
See what it means: “If you follow someone who is unkind, you will find trouble.” in other dictionaries:
You will follow evil, you will come across bad (or: misfortune). See GOOD AND BAD...
If you crumble it, go ahead and drink it! Chop it yourself, drink it yourself! Whatever you bake, that's what you'll eat. As it is baked, so it will be eaten. I baked the pie myself, eat it yourself! What you bite is what you eat. What goes around comes around. What you reap is what you grind. What… … IN AND. Dahl. Proverbs of the Russian people
Where, to stand or start walking, to go on foot or by water, to leave for something, with a known purpose. Go home, and God be with you! go. I'll go and have a look. You should have gone and hanged yourself. The women went mushroom hunting. The river went east and turned. Forest, arable land downhill... ... Dictionary Dahl
Get away from evil and do good. Where the Lord sows wheat, there the devil sows tares. We praise God and sin. Live in such a way that there is neither sin from God nor shame from people. It’s bad between the bad and the good. Hell stands on the unmerciful. Good will not die, but evil will disappear. Kind... ... IN AND. Dahl. Proverbs of the Russian people
to wander, to wander, to come upon, or to come upon. The meaning of this ch. The types and collateral vary greatly. To come across, to come across someone, what: to find, to come across, to come across by chance, to meet; I came across an anthill in the forest, a nest;... ... Dahl's Explanatory Dictionary
The century will stretch, everyone (everyone) will get it. It doesn't come day after day. Day after day does not happen, hour after hour does not fall. Anything can happen in the world (and it also happens that nothing happens). Mountain does not meet mountain, but man does not meet man (or: but a pot with... ... IN AND. Dahl. Proverbs of the Russian people
