Analysis of poverty is not a vice in chapters. Formulating lesson goals and objectives

Poverty is not a vice - Ostrovsky's play, which we met in class at school. The writer wrote it in 1853, and a year later the play was published as a separate book. The play, like the book, was a success. Today we became acquainted with this work. Now let’s take a look at Ostrovsky’s work: Poverty is not a vice, having examined the problems that the writer raises.

Analysis of the play Poverty is not a vice

In the play Ostrovsky raises various problems, including the confrontation between the environment and the individual. Very often a person is treated depending on his wealth. The richer he is, the more he is respected, but spiritual and moral qualities are not taken into account.

Studying Ostrovsky and his Poverty is not a vice, and analyzing his work in 9th grade, we see the influence of money on people's destinies. The author showed us exactly how money can influence a person when a person begins to obey it and depend on it. Money comes to the fore, but caring for loved ones becomes secondary. But Ostrovsky could not allow money to win over human feelings and proved to readers that even riches can be powerless. Proof of this was the love of the noblewoman Lyuba Gordeeva, whom her father wanted to marry a Moscow rich man, to the clerk Mitya. After going through trials, the loving hearts were finally reunited. And here not last role played by Tortsov's brother Gordey Lyubim. It was he who spoke about the approaching plans of the manufacturer Korshunov, for whom Gordey wanted to give his daughter, despite the fact that she loved someone else. Africanus ruined Lyubim, and now has his sights set on Gordey. As a result, Korshunov demands an apology, and Gordey, to spite the manufacturer, gives Lyuba in marriage to Mitya. Gordey softened and was grateful to his brother for guiding him to his senses and not allowing him to make a mistake.

So two hearts were reunited, love triumphed over wealth.

Making our brief analysis, we see that vices are punished, and goodness triumphs. The wedding of the heroes becomes proof that poverty cannot be a vice, but callousness and thirst for profit are the real shortcomings.

Lesson topic: A.N. Ostrovsky. Pages of life and creativity. The play "Poverty is not a vice."

Purpose of the lesson: acquaintance with the biography of A.N. Ostrovsky, the content of the play “Poverty is not a vice” (review), repetition literary concepts(drama, replica, stage direction).

educational: give an idea about A.N. Ostrovsky as a person and playwright, to reveal his role in the development of Russian national theater; get acquainted with the features of the plot of the play “Poverty is not a vice” (review);

developing: develop (or form) educational, cognitive and information competencies; to form general cultural competence;

During the classes.

You alone completed the building, the foundation of which

Fonvizin and Griboyedov laid the cornerstones.

But only after you, we Russians can proudly say:

“We have our own, Russian national theater.

It should rightly be called the “Ostrovsky Theater”.

I. A. Goncharov

Preparation for perception. Teacher's word.

Today we will once again visit the theater, whose name is the Ostrovsky Theater.

Formation of new knowledge. Appeal to the epigraph.

Today the topic of our lesson will be the life and work of the great Russian playwright - Alexander Nikolaevich Ostrovsky (1823 - 1886).

Let's turn to the epigraph: how do you understand the words of A.N. Goncharova? What aspect of the writer’s gift is his contemporary talking about? (slide 2)

(about Ostrovsky being the creator of the Russian national theater) (slide 3)

Guys, what do you think we can set for ourselves for today’s lesson?

(goals are formulated: acquaintance with the life and work of playwright A. Ostrovsky, his role in the creation of the Russian national theater, acquaintance with the content of his play “Poverty is not a vice”).

Teacher's word.

Take a closer look at the portrait of Ostrovsky by the artist V. Perov (1871).

How do you see this writer? What did you pay attention to? Special attention artist? (slide 4)

(The artist clearly did not ceremonial portrait: there are few light colors here, an ordinary pose, a tired face, a serious look - in front of us is a worker, even the hands lying heavily on the knees speak about this. Ostrovsky is a hard worker, he wrote continuously. Perhaps there are no Russian playwrights who could compete with him in the number of lifetime productions of his plays. There were about one and a half thousand of them in the capital’s theaters alone!)

How did A.N.’s life turn out? Ostrovsky?

Implementation of homework.

Discussion of an article about A.N. Ostrovsky, answers to the questions placed at the end of the article.

Formation of new knowledge. Preparation for reading A. Ostrovsky’s play “Poverty is not a vice.”

Teacher's word.Updating knowledge.

Remember, guys, what “drama” is? (slide 5)

What works of drama have we studied? What is the main feature of dramatic works?

(drama is a type of literature. Dramatic works are written for performance on stage. main feature- the characteristics of the characters are formed on the basis of speech - the characters’ remarks, their actions on stage. Studied plays - N.V. Gogol “The Inspector General”, D.I. Fonvizin “Nedorosl”, A.S. Griboyedov "Woe from Wit").

Teacher's word. The play "Poverty is not a vice."

By the end of 1853, “Poverty is No Vice” was completed. On December 2, Ostrovsky, after the first public readings of the comedy in literary circles in Moscow, wrote to M. P. Pogodin: “The success of my last comedy exceeded not only my expectations, but even my dreams” (slide 6)

Not a single one of A. N. Ostrovsky’s plays caused such heated and principled debate after its publication as “Poverty is not a vice.” Representatives of democratic criticism entered into a heated debate about it with the Slavophiles, who saw it in this comedy, and above all in the image of Lyubim Tortsov, artistic embodiment their social ideals(slide 7)

On the stage of the Moscow Maly Theater during the second half of the 19th century, “Poverty is not a Vice” was staged more often than other plays by Ostrovsky. Participating in the performances of this comedy were best forces“Ostrovsky’s House” (including O. O. Sadovskaya - Pelageya Egorovna, M. N. Ermolova - Lyubov Gordeevna, etc.; one of its best performers, the artist, toured in the role of Lyubim Tortsov Alexandrinsky Theater Pav. Vasiliev).

“Poverty is not a vice” enjoyed constant popularity on the stages of provincial theaters. This play occupied one of the very first places in the repertoire from year to year (slide 8)

Exchange opinions about what you read.

The critic N. Dobrolyubov called Ostrovsky’s works “plays of life.” How do you understand this expression?

Name the characters in the play.

To what class do they belong?

(world of merchants).

Show with the example of the text that Ostrovsky is really interested, first of all, in the life of Russian society, the Russian person.

Review conversation on the content of the play.

What is the name of that part of the work that introduces us to the place and time of action, introduces the main characters and their relationships, but where there is still no plot, no conflict has been identified? (slide 9)

(exposition)

Why does Ostrovsky create such a detailed exhibition?

(introduce us into the world of the Tortsov family, show the relationships of the heroes, their characters).

(Gordey Karpych’s decision to marry his daughter Lyuba to African Korshunov).

What is the outcome? How can we explain its randomness?

(quarrel between Gordey Karpych and Korshunov. Intervention of Lyubim Karpych).

(main characters: merchant Tortsov and his family, Mitya; secondary characters - Guslin, Razlyulyaev, etc.)

Why, in your opinion, does the playwright introduce Guslin, Anna, the boy, Razlyulyaev and other characters into the play that are not connected with the development of the action, with the conflict that determines the plot of the play?

(it’s better to show Russian merchant life, its connection with people’s life more clearly) (slide 10)

Lesson summary.

What is the contribution of A.N. Ostrovsky into Russian literature?

(the playwright was not just the “Columbus of Zamoskvorechye”, but also the creator of the Russian national theater. His plays have not left the theater stages to this day.)

Homework.

Characteristics of the heroes (Gordey Tortsov, Lyubim Tortsov, Lyubov Gordeevna, Mitya) by groups.

Lesson topic: The patriarchal world and the threat of its collapse. Love in a patriarchal world and its influence on the characters of the play.

Purpose of the lesson: analysis of a dramatic work.

educational: to give an idea of ​​the patriarchal world of the play “Poverty is not a vice”, love conflict in the play;

developing: to help improve the skills of analyzing dramatic works;

educational: to promote a sense of beauty through interest in dramatic art.

Lesson type: learning new material.

During the classes.

Org moment.

Preparation for perception. Teacher's word. (Slide)

At the last lesson I met the writer A.N. Ostrovsky, whose work we will study in detail in 10th grade.

What associations may arise for you now when you hear the name Ostrovsky?

(Writer, playwright, theater, Columbus of Zamoskvorechye).

Theater... performance... spectators... For us, guys, these are not empty words. Why?

(1) there is probably no person who has never been to the theater; 2) our class attended several performances this year academic year, We watched…).

Why is Ostrovsky called “Columbus of Zamoskvorechye”? (slide)

(Merchants lived across the Moscow River; Ostrovsky first spoke about them in his works).

Artists will help us enter the world of merchants and present it more clearly.

Implementation of an individual task.

Presentation “The world of merchants in the paintings of Russian painters” (slide)

How do artists show the world of the merchants? (How did you see this world - the world of merchants?)

(He is funny and tragic at the same time).

Formation of new knowledge.

The topic of today's lesson is “The patriarchal world in the play “Poverty is not a vice” (slide)

Formulating the goals and objectives of the lesson.

Guys, what issues do you think we should focus on today?

(goals are formulated: familiarization with the concept of “ patriarchal world"What are the relationships between representatives of this world, their moral values).

How do you understand the meaning of the word “patriarchal”?

You are right, all of these issues will be covered in class because they are at the heart of the conflict in the play. Nothing is complete without conflict dramatic work.

Formation of new knowledge.

Teacher's word.Updating knowledge.

How do you understand the meaning of the word “conflict”? (slide)

(Conflict(from lat. conflictus - collision) - confrontation, clash, embodied in the plot. It is necessary to distinguish between life and artistic conflicts. Especially important role plays conflict in the drama).

Which characters in the play do you think personify its conflict?

(Gordey Tortsov, Lyubim Tortsov, Mitya, Lyubov Gordeevna).

To better imagine the conflict of the play, let's look at one of the episodes.

Staging a fragment.

Yes, Ostrovsky is a master!

He very vividly introduces us to his heroes, whose character is imprinted in their very names and surnames.

Conversation on the content of the play. Presentation (slide)

Gordey Tortsov.

How do you understand the words “pride”, “pride”. It is the same?

How do you see Gordey Tortsov?

Why is Gordey Tortsov a “villain” and under whose influence is he?

(Before us is a family of the old type, the head of which is a rich merchant, a tyrant, striving to make his will a law for those around him and understanding life only from this point of view. At the beginning of the work Gordey Torts ov seems to us a narrow-minded person, bending over backwards to show his significance, modernity, even secularity. “No, tell me this,” he says to Korshunov, “is everything okay with me? In another place, a fine guy in a suit or a girl is serving at the table, but I have a waiter in thread gloves. Oh, if I lived in Moscow or in St. Petersburg, I would, it seems, imitate every fashion.”)

Why does Ostrovsky give him the opportunity to improve?

(“And what happened to him? Still, he had some sense, but last year he went away, and he adopted it from someone... he adopted all these things. Now all our Russian is not nice to him; he gets along one thing - I want to live in the modern way, to be involved in fashion. He must have been drunk, and he became confused. I really think it’s the enemy that’s confusing him! " - this is the “diagnosis” Pelageya Egorovna gives her husband. But it turns out that this is the desire for “education”, plebeian shame for his loved ones did not kill him best qualities. Love for his daughter makes him remember dignity and honor and drive Korshunov away. Insulted by Korshunov’s impudence, the father agrees to his daughter’s marriage to Mitya, saying to his brother: “Well, brother, thank you for pointing me to my mind, otherwise I was completely crazy. I don’t know how such a rotten fantasy came into my head. Well, children, say thank you to Uncle Lyubim Karpych and live happily.")

We love Tortsov.

- How does this character make you feel?

(Lyubim was once rich, like his brother, but, not satisfied with the life of a rich merchant and not finding a way out of it, he indulges in drunkenness. His rich brother and Korshunov helped him “free himself” from his fortune, and now Lyubim, in tattered coat, wanders around the taverns, making a fool of himself for a glass of vodka. Without a penny of money, dressed in rags, shivering from cold and hunger, he comes to the premises of the young clerk, Mitya, asking permission to spend the night - terrible in his fall and yet retaining his Lyubim Tortsov denounces Korshunov, reminding him, among other things, how he helped him, Lyubim, to ruin, how he robbed the poor, how he tortured his first wife... and shows his brother what crime he was going to commit, giving his daughter to such a scoundrel. They kick me out of the room, but he, kneeling in front of his brother, asks: "Brother, give Lyubasha for Mitya - he will give me a corner. I'm already tired and hungry. My summers are over, it's hard for me to clown around in the cold just because of a piece of food." bread; at least in old age, but live honestly.” The requests of the uncle are joined by the requests of the mother and daughter. It is Lyubim Karpych who is not afraid to speak the truth face to face strong of the world this. His “drunken antics” provoke a scandal between Gordey Karpych and Korshunov. And it is surprising that during this scandal the veil of pride falls from his eyes).

This is one side of the conflict, but there is also another... Who do you think should be discussed?

Lyubov Gordeevna and Mitya.

- What unites these heroes? How are they different?

(Mitya He is distinguished by his gentle character and good disposition. Mitya is an extremely modest, fearful, but honest guy, and his mother would really like to marry her daughter to him: “The guy is so simple, with a soft heart,” Pelageya Egorovna says about him. But despair at the possibility of losing his beloved forever makes him bold and daring; he wants to take Lyubov Gordeevna away on the eve of the wedding and secretly marry her. True, he asks her mother for blessings on this step. But it is impossible not to appreciate this impulse.

Lyubov Gordeevna- the daughter of the merchant Gordey Tortsov, who is in love with one of her father’s clerks, Mitya, and, in turn, is loved by him, but cannot fight for her happiness. Lyubov Gordeevna firmly fulfills her father's will and refuses Mitya's offer. Obedience and humility are one of its main features and are also the main values ​​of Russian Orthodox civilization. Is it fitting for a modest girl to disobey and disrespect her parents! But love also makes her bold: she confesses her love to Mitya (a blatant violation of patriarchal traditions!) and decides to ask her father for consent to her marriage with Mitya).

So it is in Ostrovsky’s play: behind the funny there is something terrible, gentle humor is combined with deep inner drama.

Does the comedy end with a happy or sad ending and why? (Slide)

(The play “Poverty is not a vice” ends with the triumph of virtue, the punishment of vice, and the wedding of the main characters. The fates of Lyubov Tortsova and Mitya would not have turned out this way if their love had not been able to withstand the inert laws of patriarchal antiquity. The ability to love, a warm heart, Ostrovsky tells us , are capable of performing miracles).

Lesson summary.??? Reflection???

Evaluate yourself in class.

-Working in groups, you communicated. How did this affect the outcome of our lesson?

The dramatic collision of a thousand-year-old national rooted culture with the refraction of the new European culture in the consciousness of the traditionalist merchant environment lies at the heart of the comedy “Poverty is not a vice” (1854). It is this conflict that forms the grain of the plot of the play, as if drawing into itself all other plot motives, including love line, and the relationship of the Tortsov brothers. The ancient Russian everyday culture here acts as a national culture. She is the yesterday of Ostrovsky’s contemporary merchants, who often were peasants a generation or two ago. This life is bright, picturesque and highest degree poetic, according to Ostrovsky, and the playwright strives in every possible way to artistically prove this. Cheerful, sincere old songs, Christmas games and rituals, Koltsov’s poetic creativity associated with folklore, which serves as a model for the songs composed by Mitya about love for Lyubov Gordeevna - all this in Ostrovsky’s comedy is not a means to enliven and decorate the performance. This is an artistic image national culture, opposing the absurd, distorted image in the minds of dark tyrants and predators of the Western everyday culture borrowed from Russia. But this is precisely the culture and way of life that is patriarchal. The most important and most attractive feature of such relationships is a sense of human community, strong mutual love and connection between all household members - both family members and employees. All the characters in the comedy, except Gordey and Korshunov, act as support and support for this ancient culture.

And yet, the play clearly shows that this patriarchal idyll is something out of date, and for all its charm, somewhat museum-like. This is manifested in the most important artistic motif for the play. holiday. For all participants in the patriarchal idyll, such relationships are not everyday life, but a holiday, i.e. a joyful retreat from the usual way of life, from the everyday flow of life. The hostess says: “Christmas time - I want to amuse my daughter”; Mitya, letting Lyubim spend the night, explains this opportunity by saying that “holidays mean the office is empty.”

All the characters seem to be entering into a kind of game, participating in some kind of joyful performance, the fragile charm of which is immediately broken by the invasion of modern reality - the abuse and rude grumbling of the owner, Gordey Tortsov. As soon as he appears, the songs fall silent, equality and fun disappear (see D. I, Rev. 7; D. II, Rev. 7).

The interaction between the holiday and everyday life expresses in Ostrovsky’s play the relationship between ideal, from the writer’s point of view, forms of patriarchal life with the same patriarchy that exists in the modern playwright’s merchant life. Here patriarchal relationships are distorted by the influence of money and the obsession of fashion.

The motif of money, which, according to Lyubim, is “harmful for fools,” is traditional for Ostrovsky’s plays. This motive is extremely active and significant in the comedy “Poverty is not a vice.” It is realized with the greatest consistency in the love plot, but is also connected with Lyubim’s line. “Fashion obsession” is a kind of leitmotif of Gordey’s image.

Gordey was compared to Jourdain, the hero of Moliere’s comedy “The Bourgeois in the Nobility.” The main reason for all the troubles of Gordey’s household, whose destinies he controls autocratically, is his desire to make them forget that “we once had a man,” and his intention to “live in the present way, engage in fashion.” The hero’s name is a clear hint that he was overcome by pride, and the wife also mentions her husband’s pride. His entire house lives in the old days, is firmly connected with the traditional way of life, and values ​​not only Russian dress, but also national customs (Yuletide games, mummers, folk songs). Gordey demands from his wife: “If you want to host an evening at your place, call the musicians so that it will be in full form”; guests, in his opinion, should be treated not to the usual liqueurs and Madeira, but to champagne, etc.

Gordey’s behavior is explained by the fact that he is being tempted by the “civilized” modern manufacturer Afrikan Savich Korshunov.

In the system of images of the play, Gordey, even by name, is contrasted with the image of his impoverished brother Lyubim Tortsov. He acts as the main obstacle to the union of a couple in love, his daughter Lyubov Gordeevna and the poor clerk Mitya, whose fate will ultimately be arranged by Lyubim.

The main reason why Gordey opposes his daughter’s happiness is the desire to marry her to Korshunov, to move to Moscow, where he would “imitate every fashion.”<...>how much would be enough<...>capital." In his consciousness, clouded by the temptations of “civilization,” there is a strong conviction that his daughter should be happy with Korshunov, since in Moscow she will “live like a lord and ride in carriages”; Having adopted the comically distorted external signs of “civilized”, “lordly” life, Gordey, however, retained intact patriarchal ideas about the legality of his absolute power over all household members - from his wife to clerks, about the full and sole right of the father to decide the fate of his daughter. However, according to Ostrovsky and the opinion of other characters in the play, Gordey has lost this right: after all, parents are responsible for their children before God, and a father should not, out of whim, self-interest or caprice, condemn his daughter to marry an evil old man who tortured his first wife, as some characters say about Korshunov. Gordey also violates another immutable commandment of the patriarchal world when he offends brother Lyubim, who is bankrupt and repents of his spree, who came to ask him for work and shelter. The head of the clan and merchant business must support his less fortunate relatives, especially since it is impossible to offend his own brother.

By showing the “Russian Jourdain” in all the ugliness of his absurd, dangerous for others, but at the same time comic behavior, Ostrovsky does not close the path to insight for him either. With the help of his brother Lyubim, he understands that he almost killed his daughter, and even publicly admits this: “Well, brother, thank you for pointing me to my mind, otherwise I was completely crazy. I don’t know how such a rotten fantasy came into my head.”

In the comedy “Poverty is not a Vice,” the ideal love of Mitya and Lyubov Gordeevna, also patriarchal in its essence, collides with the dark, unbridled tyranny of Gordey, which, according to Ostrovsky, is only a distortion and vulgarization of the idea of ​​parental authority, a mockery of it. It is no coincidence that it is Mitya who reminds his beloved mother of the basic principle, the basic commandment of the patriarchally understood duty of parents in relation to children: “Why are you seizing a girl’s age, giving her into bondage? Isn't this a sin? After all, tea, you will have to give God an answer for it.” Mitya reproaches not for the fact that Lyubov Gordeevna’s fate was decided without her knowledge or consent, but for the fact that they chose a bad, cruel, scary person. Lyubov Gordeevna does not even think of the possibility of violating her father’s will and is ready to submit to it, accepting the upcoming marriage as a feat of obedience, as a sacrifice. It is very characteristic that the daughter does not ask her father to listen to her, to follow her wishes, in despair she prays to him: “Daddy! Don’t want my misfortune for the rest of my life!.. Change your mind!..” With all this, Lyubov Gordeevna cannot be denied a kind of courage. Having made a decision, she shows firmness and does not want to torment anyone with the spectacle of her suffering. When Pelageya Egorovna, trying to sympathize with her, praises and pities Mitya, Lyubov Gordeevna decisively stops her: “Well, mummy, what can you think about, what you can’t do, just torment yourself.”

Ostrovsky sees in Lyubov Gordeevna’s behavior not slavish obedience, much less fear of the hardships that await the girl if her father’s will is violated. The heroine is held back by the thought of moral duty, as this duty is understood in her environment; “I must submit to him, such is our lot as a girl. So, you know, this is how it should be, this is how it has been established since ancient times. I don’t want to go against my father, so that people won’t talk about me or make an example of me. Even though I may have torn my heart through this, at least I know that I live according to the law, no one dares to laugh in my face.” Lyubov Gordeevna is a strong and integral person. her love for Mitya is sincere, ardent and tinged with some kind of adult, maternal pity for a poor and dependent person. “Oh, Annushka, how I love him, if only you knew!<...>He’s a good guy... It’s painful, he’s after my heart, so quiet and lonely.”

The love of Mitya and Lyubov Gordeevna is poeticized by Ostrovsky, it seems to him a complete expression true love, as it is understood among the people. It is no coincidence that the relationships of lovers are always accompanied as a leitmotif by folk lyrical songs. Lyubov Gordeevna is especially closely connected and correlated with the folklore element. In accordance with her personality, the heroine’s speech is laconic and restrained, but everything is strictly maintained in a purely folk, peasant style. If in Mitya’s speech pattern one can see a clerk, the phrases and expressions of “Gostinodvorsky gallantry” penetrate into it, then Lyubov Gordeevna’s speech is completely devoid of such a touch.

Lyubov Gordeevna herself does not sing, there are no quotes from songs in her speech, she is even a little dry and lacks bright poetic imagery. But on the other hand, the whole fate of Lyubov Gordeevna in Ostrovsky’s play is, as it were, “sung” by the other characters. All the turns of her relationship with Mitya, with the groom, with her parents are commented on by love lyrical songs and songs of the wedding ceremony. Therefore, it will not be an exaggeration to say that Lyubov Gordeevna is a song heroine and highly poetic. She is closest to the people among all the heroes of the comedy. Mitya stands, as it were, on the next step; his appearance, like that of Lyubov Gordeevna, is dominated by folk principles that are deeply sympathetic to Ostrovsky. The playwright emphasizes Mitya’s kindness, which is so clearly expressed in his sympathy for Lyubim, in his desire to help him as much as possible. Mitya is a wonderful, selfless son. To Gordey’s reproaches that he dresses poorly, Mitya replies: “It’s better that I endure it, but at least Mama doesn’t need anything.”

As patriarchal morality requires, Mitya is respectful of his elders. He treats Pelageya Yegorovna with cordial affection, who is “in disgrace” with Lyubim. Consequently, Mitya’s respect is disinterested and in no way connected with views on any benefits; it does not in any way resemble, for example, Podkhalyuzin’s respect for those with weight and power, which contrasts so much with his shameless rudeness towards those who either depend on him or do not may already be useful to him. It is characteristic that all the oppressed household members sympathize with Mitya, believe in his kindness and sincerity good attitude. Pelageya Egorovna, regretting that her daughter is betrothed and must part with Mitya, speaks of the unfulfilled hope of the young people to beg Gordey Karpych’s consent to their marriage: “It would be nice! I would admire it in my old age. The guy is so simple, with a soft heart, and he would love me, an old woman.” In the last act, Lyubim, persuading his brother to bless his daughter for marriage with Mitya, asks: “Have pity on Lyubim Tortsov too!<...>Brother, give Lyubushka for Mitya - he will give me a corner.<...>They will give me a job; I will have my own

a pot of cabbage soup.”

Mitya patiently endures the reproaches and abuse of Gordey Karpych. At the same time, there is no trace of servility or flattery in his attitude towards the owner. He is only polite, nothing more.

Mitya unselfishly and selflessly loves Gordey's daughter. His conversation with Pelageya Egorovna about the upcoming marriage of Lyubov Gordeevna shows that he is in despair not only because his beloved is lost to him forever, but perhaps even more because they have married her to an evil, scary old man. Although in his main ideas about life, in his basic moral beliefs, Mitya is a man of the patriarchal world, some features due to the influence of new times are already visible in him. We have already paid attention more than once to Mitya’s speech, which testifies to his belonging to a certain social stratum - a special clerk’s language that combines folk basis with signs of “education”, some urban gloss, “good taste”, refracted in the consciousness of an uncultured merchant environment. The speech seems to hint at his profession and connects him with Gordey Tortsov. Mitya is brought closer to Lyubim Tortsov by another trait, conditioned by the influence of modern times, for Ostrovsky an unconditionally positive trait - this is a sincere, disinterested craving for education in the true meaning of the word, a craving for poetry, for books. It is vitally plausible that Koltsov’s poems introduce Mitya to this culture. The conversation about Koltsov in the first act seems to be episodic, but nevertheless it is very significant: Koltsov’s poetry penetrates the environment of merchant youth. It seems to the heroes that Koltsov “exactly describes” their feelings. However, it is clear to us that he not only “describes them exactly,” but also shapes their feelings and educates them: it is not for nothing that immediately after this conversation Mitya reports that he composed a song. This is a song about his own love for Lyubov Gordeevna, a love that was so sublimely understood by Mitya and his friends precisely under the influence of Koltso poetry. The main obstacle on the path of lovers in the comedy turns out to be the will of the father of the bride. It would seem that this motive is completely traditional: the basis of the drama of lovers is social and property inequality. Initially, the action develops precisely in this direction. This is how Mitya himself understands the state of things. In the poems composed for Lyubov Gordeevna, he writes: “The guy ruins his heart in vain, / Because the guy loves an uneven girl.” Yasha Guslin perceives this love of his friend as a misfortune, as something absolutely unrealizable: “Better, Mitya, get it out of your head. This thing will never happen, and it will never happen.<...>Anna Ivanovna is my equal: she has nothing, I have nothing, and even then the uncle does not order me to get married. And you have nothing to think about.” The motivation for the impossibility of marriage, as we see, is purely monetary.

But already in the second act a new shade appears, a motive that connects the love plot of the play with the main conflict - the struggle between the original, patriarchal way of life and the “obsession of fashion.” Gordey reports the decision to marry his daughter to Korshunov and gives the reasons for the decision: the matter, it turns out, is not about the groom’s wealth, but about Gordey’s desire to have his own man in the capital, where he intends to live and “imitate every fashion.” Inflamed with a passion to “imitate every fashion” and make him forget that his “daddy was a man,” Gordey seems to lose his “track in life”, begins to feel extremely insecure, is always afraid of making a mistake and, like any person in such a position, , quickly becomes internally dependent, turning into a convenient object for all kinds of influences. Despite his noisy but chaotic activity, Gordey Karpych is a passive figure, a toy in the hands of other people. The struggle for Gordey constitutes the plot of the main conflict of the play, expressed through the clash between Korshunov and Lyubim Tortsov. The story of a couple in love and the behavior of Gordey in this story turn out to be the reason for the clash between the two main antagonists of the play, with Korshunov appearing here as a selfishly interested person, as a rival of the hero-lover, and Lyubim Tortsov as a selfless defender of justice.

The image of Korshunov was written by Ostrovsky in an extremely interesting way, in a very special way. The decisive factor is how it is presented to the actors. Pelageya Egorovna considers Korshunov the main culprit in the “degeneration” of Gordey Karpych. And this understanding is, as it were, realized in the way the hero is depicted. Korshunov is an evil genius, a demon of Gordey, and if we use words closer to the vocabulary of the depicted environment, an enemy, an unclean one, a murin who confuses Gordey. “I really think it’s his enemy who’s confusing him!” - Gordey’s wife complains. The special meaning of the word “enemy”, characteristic of the ancient Russian language, is characteristic: the enemy is the devil, the tempter.

Here Ostrovsky revives the ancient euphemistic meaning and plays on two meanings: Korshunov is the enemy of the bright beginning, the enemy of all the positive heroes of the play and simply the enemy of the Tortsov family: the marriage of Lyubov Gordeevna with Korshunov clearly does not bode well, not only for her - for anyone from the family . And these heroes (with the exception of one, Lyubim) Korshunov is perceived as unclean. Alien and partly incomprehensible, but clearly hostile to the old way of life, the beginning is given as enigmatic, mysterious. The very name of African Savich Korshunov is as if not a name, but a nickname given by some wanderer expecting troubles from White Arapia.

Lyubim dispels the aura of this terrible mystery. In his fate, it turns out, Korshunov also played the role of a “tempter.” But in this story, Korshunov is deprived of all mystery, Lyubim soberly assesses him as a swindler, deliberately ruining the merchant's son who received an inheritance and went on a spree - Lyubim himself in his youth. In fact, the “tempter” Korshunov in Lyubim’s story simply turns into a thief.

Lyubim's victory over Korshunov turns out to be a turning point in the fate of all the heroes of the comedy. And in In the construction of the play, the key character of the role of Lyubim Tortsov was clearly expressed: he saves everyone with his will, including the dark, headless brother Gordey.

In the remark, Lyubim’s position in the system characters defined specifically in relation to Gordey - “rich merchant”. About Lyubim it is said: “... his brother, who wasted money.” The contrasting correlation of the characters is also emphasized by the semantics of the names. According to its plot, Lyubim’s story (he himself talks about it in a monologue) is a somewhat rethought parable about prodigal son. This plot tells of woeful adventures young man, who escaped from the tutelage of the patriarchal family and dreamed of living according to his own will, was therefore very popular in Russia because he expressed a conflict that had been relevant for a long time. In the fate of Lyubim, this conflict, however, undergoes characteristic changes. Instead of a conciliatory ending to the Gospel parable, there is something exactly the opposite. At first it develops traditionally: the prodigal son goes on a spree, the play involves entertainment in taverns (“... shpilen zi polka!” - Lyubim quotes himself) and visits to theaters. For the merry merchant, this is still on the same level. There is also a traditional motive of friends who left the young man after his ruin in revelry, in which they also participated at his expense. The ending of this modern parable is completely different, opposite to the Gospel story and its ancient Russian variations, where the father with open arms welcomes his repentant son, who has reached the extreme limits of poverty and shame, living according to his own will, and dreams of returning to the paradise of the patriarchal family. Gordey (who replaces the father here) is ashamed of his brother and does not want to have anything to do with him.

Even more important difference from the parable - the very essence of the image of Lyubim. In the Gospel parable, the circle of searches is closed, the hero returns to his original state, the experience gained in his wanderings did not enrich him in any way, but only confirmed the value of patriarchal existence. Lyubim still views his wanderings as “science,” bitter but enriching (“...we fools need science”). The fundamental difference between Lyubim, expressed in his role in the plot, is obvious: in Ostrovsky’s play Lyubim is the only truly “new” person. He not only retained the most important features of folk morality (kindness, dignity, the desire to help others and love for people), but was also enriched with a sense of his personality, individuality, a property unknown to the patriarchal consciousness. Lyubim belongs to the type of heroes who can be called authorial and spectator representatives on stage, heroes who are entrusted with expressing the truth. We love, along with Neschastlivtsev, perhaps the most direct heir of Chatsky on the Russian stage (not in texture, of course, but in his artistic function and, to some extent, in his position in relation to the rest of the characters). And the change in the figurative texture and speech intonation of the hero proclaiming the truth is one of the signs of the times: in the literature of the mid-century, a whole series of such “non-heroic” heroes appear, expressing undoubted truths (cf. Marmeladova in Dostoevsky’s “Crime and Punishment”, many of Nekrasov’s characters) .

Acting in the plot as a defender of genuine patriarchal culture and the characters associated with it, We ourselves love another. Its appearance is determined by its connection with Ostrovsky’s contemporary urban culture. He alone has a certain touch of intelligence. Thus, he often uses foreign words and expressions, casually, ironically, but always appropriately. His speech and behavior reflected theatrical culture era (quotes from popular repertoire). He combines elements of urban vernacular with an abundance of proverbs, sayings, and folk wit; in some places his monologues resemble heavenly scenes (see D. III, Rev. 10). However, all these are precisely elements of his speech appearance, important inclusions in speech, the basis of which is the living, but completely correct and free language of a Muscovite of the mid-19th century. This is especially noticeable in comparison with the young hero Mitya, who is just reaching out to culture: Lyubim’s speech flows freely and naturally - Mitya is constrained, selecting words, interfering with simple and sincere speech with turns of clerkly politeness.

“Zabuldyga” Lyubim is the most sensible hero in the play, he laughs at his brother’s noble pretensions, understands the dangerous power of money over shady people, appreciates the modest and honest Mitya, sees what the true happiness of his niece consists of, and knows how to save her from a terrible fate. The entire finale with the happy ending of the play was conceived, planned and played to perfection by Lyubim. His plan is based on an accurate understanding of the nature of both Korshunov and brother Gordey.

Thus, the character who reveals the truth, exposes the villain, admonishes his brother who has lost his “rut in life” and happily unites lovers is Lyubim Tortsov. So active, one might say, a vital role a positive hero in the development of events is a rare occurrence in Ostrovsky.

This hero made a great impression on his contemporaries with his artistic novelty. Evaluations ranged from extreme rejection (“Poverty is not a vice, and drunkenness is not a virtue” - a joke attributed to the great actor M.S. Shchepkin and repeated many times by critics) to enthusiastic lines by Al. Grigoriev, dedicated to Lyubim Tortsov in prose (articles) and even in poetry.

Lyubim Tortsov soon became the most popular “touring” role of Russian actors, entered into cultural memory, and his name began to be used in a common sense (“wrong,” “disgraceful,” a hero who preaches the truth and successfully defends the weak).

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This is the name of one of A. Ostrovsky’s works, and many do not even realize that this is a Russian proverb.

What is its significance?

If you look at Wikipedia, this is the description given to the word “vice” in relation to a person.

Vice is an ethical term denoting rootedness in sin and improper behavior. Moral, spiritual deficiency, negative moral quality of a person.

Reflections.

But can poverty influence the internal, spiritual development personalities?
Is wealth the most valuable quality in the characteristics of a person?
You can be rich on the outside but poor on the inside.

Poverty is not a litmus test, which determines the dignity of a person. After all, it can be the result of a simple coincidence, the action of external factors, the development of society, etc. And if a person has a head, he will be able to step over this line.

Apparently, this is what Ostrovsky had in mind when he gave this name to his play.
Plot. which lies in the fact that the poor situation of the young man almost upset his happiness - marrying his beloved girl. But this turned out to be not the main thing in their relationship. And yet, the main thing turned out to be human qualities.

Conclusion.

And although in dictionaries there is a continuation of the proverb that sounds like this: “Poverty is not a vice, but twice as bad,” I believe that Poverty is still twice as bad.
This is how Dostoevsky continued the saying, and in this lies deep meaning: when a person does not strive for anything, brings himself to poverty, then she corrupts him, this is a big vice - loss of moral character. Poverty humiliates a person and pushes him to commit unsightly, immoral acts.