The owner of a small house, Felitsata Antonovna Shablova, and the daughter of a lawyer, Lyudmila, discuss the disappearance of Nikolenka. Felitsata Antonovna is very sorry that her son has been gone for the second day. Dormedont, her youngest, informs his mother that he saw his brother in the billiard room. Then he confesses to her that he fell in love with Lyudmila, but she seems to like Nikolai.
A little later, Felitsata Shablova receives a note from his eldest son, where he writes that he has played too much. He asks his mother, so as not to completely embarrass himself, to send him a certain amount of money to recoup.
Felitsata Antonovna is extremely indignant, and Lyudmila, on the contrary, believes that money should be given and without regret parted with the only bill.
When Nikolai returned, he, as if nothing had happened, began to smile at his mother. Angry Felitsata Shablova began to reproach her son, explaining to him that the money is not small. She advised Nikolenka to take up her mind and suppress her gambling passion. The son just shrugged his shoulders cheerfully.
Later, Lyudmila confessed to Nikolai that it was she who paid a large amount. The surprised young man thanked the girl.
The next day, the young lady Lebedkina came to Shablova's house and immediately took Nikolai for a walk. After the walk, when the happy girl went home, kissing Nicholas goodbye, worried Lyudmila began to pry her lover, to whom and how much he owed. Feeling care and warmth in the girl's voice, Nikolai said that all that remained was to kill the one to whom he owed or to get a letter for which Lebedkina was ready to pay. The only catch was that the letter is with Lyudmila's father, and only a girl can get it. Lyudmila threw up her hands in horror and after a while gave Nikolai the document.
Lyudmila smiled happily: now her lover will be able to pay off debts.
The story teaches that if a person is a player, then this is for a long time.
Picture or drawing Late love
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Ostrovsky laid the foundations for the national repertoire of the Russian theater. In comedies and socio-psychological dramas, Ostrovsky brought out a gallery of types - from the possessive, cruel merchants, officials, landowners, possessed by a passion for "making money" to numerous servants, hangers-on, pious wanderers ("Our people - we will be numbered!" vice ", 1853;" Profitable Place ", 1856;" Thunderstorm ", 1859;" Warm Heart ", 1868;" Mad Money ", 1869;" Wolves and Sheep ", 1875), showed the tragedy of gifted, sensitive women (" Dowry ", 1878), the fate of people from the acting environment (" Forest ", 1870;" Talents and admirers ", 1881;" Guilty without guilt ", 1883), vaudeville adventures of a modest official (trilogy about Balzaminov, 1857-61). A play in verse - the poetic "spring fairy tale" "Snow Maiden" (1873; the same name by N. A. Rimsky-Korsakov), historical chronicles. In the work of Ostrovsky, Russian life is captured in a variety of types and destinies, everyday and psychological shades, in a change in social conditions, in adherence to the national way of life, in contrasts and identity national character; reflected the moral of the people.
Other books on similar topics:
| Author | Book | Description | Year | Price | Book type |
|---|---|---|---|---|---|
| Igor Mikhailov | Late love | This book is about love. About love for a woman, poetry, nature. The verses of the first cycle and the poem "Late Love" are interconnected: the verses complement the poem, the poem deepens the verses. The relationship they are about ... - @ Lenizdat, @ (format: 70x108 / 32, 124 pages) @ @ @ | 1966 | 50 | paper book |
| Lyusya Tsvetkova | Late love | The collection of stories LATE LOVE tells about people who find themselves in borderline life situations. Life or death, betrayal or the height of moral choice, faith in your talent or ... - @ Aleteia, @ (format: 60x88 / 16, 142 pages) @ @ @ | 2014 | 518 | paper book |
| Arthur Moreau | Late love | The poems of one of the oldest Mordovian poets, Arthur Moreau, are widely popular in Mordovia. Many of his poems are set to music and become folk songs... The author paints beauty ... - @ Soviet Russia, @ (format: 60x90 / 32, 96 pages) @ @ @ | 1973 | 50 | paper book |
| Late love | Alexander Nikolaevich Ostrovsky is to this day the most popular Russian playwright. He is filmed, plays are staged based on his plays. It seems that Ostrovsky's plays only just appeared in the world ... - @ Book on Demand, @ (format: 60x90 / 32, 96 pages) @ - @ @ | 2011 | 2243 | paper book | |
| Daniil Mordovtsev | Late love | - @ Library collection, @ (format: 70x108 / 32, 124 pages) @ @ e-book @ | 1889 | eBook | |
| Alexander Nikolaevich Ostrovsky | Late love | Alexander Nikolaevich Ostrovsky is still the most popular Russian playwright. He is filmed, plays are staged based on his plays. It seems that Ostrovsky's plays only just appeared in the world ... - @ Book on Demand, @ (format: 76x100 / 32, 288 pages) @ @ @ | 2011 | 2523 | paper book |
| Alexander Levin | Late love | 43-year-old engineer - designer Vadim Krotov did not recognize his wife, after leaving for another city her only daughter, she was looking for any reason for a scandal with her husband. The psychoanalyst advised Vadim ... - @ TeleAlliance Media Group, @ (format: 76x100 / 32, 288 pages) @ The series “Understand. Forgive " | 2019 | 49 | audiobook |
| Alexander Ostrovsky | A. N. Ostrovsky is still the most popular Russian playwright. He is filmed, plays are staged based on his plays. Now, based on Ostrovsky's plays, the series "Money and ..." is being filmed - @ ABC, ABC-Atticus, @ (format: 70x108 / 32, 124 pages) @ @ @ | 2013 | 93 | paper book | |
| Alexander Ostrovsky | Late love. The last victim | A. N. Ostrovsky is still the most popular Russian playwright. He is filmed, plays are staged based on his plays. Now, based on Ostrovsky's plays, the series "Money and ..." is being filmed - @ ABC, ABC-Atticus, @ (format: 76x100 / 32, 288 pages) @ Classic ABC (pocket-book) @ @ | 2011 | 100 | paper book |
| Alexander Ostrovsky | Late Love (play) | "Late Love" is a play by Alexander Ostrovsky (1823 - 1886), written in 1873. At one time, Margaritov was one of the most famous Moscow lawyers, he led big cases. But the clerk stole from him ... - @ IDDK, @ @ from the archive of the State Television and Radio Fund @ audiobook @ can be downloaded | 2014 | 124 | audiobook |
| Alexander Nikolaevich Ostrovsky | "An elderly girl" Lyudmila falls in love with the son of the hostess of the house of the idle reveler Nikolai. To save him, she is ready to sacrifice everything - even to steal the most important document entrusted to her father ... - @ Book on Demand, @ (format: 60x90 / 32, 96 pages) @ - @ @ | 2011 | 2243 | paper book | |
| Alexander Ostrovsky | Late Love: Scenes from Backwater Life | "The middle-aged girl" Lyudmila falls in love with the son of the mistress of the house of the idle reveler Nikolai. For the sake of his salvation she is ready to sacrifice everything - even to steal the most important document entrusted to her father ... - @ ARDIS, @ (format: 70x108 / 32, 124 pages) @ @ audiobook @ can be downloaded | 2006 | 189 | audiobook |
| A. N. Ostrovsky | Late love. Scenes from the life of the backwater (audiobook MP 3) | "The middle-aged girl" Lyudmila falls in love with the son of the mistress of the house of the idle reveler Nikolai. For the sake of his salvation, she is ready to sacrifice everything - even to steal the most important document entrusted to her father ... - @ ARDIS Studio, @ (format: 70x108 / 32, 124 pages) @ Literary readings @ audiobook @ | 2007 | 225 | audiobook |
| Ivan Alekseev | Late Love (compilation) | The stories “We are (experience of the manifesto)” and “Late love” are about love in the broadest Russian sense, when expectation, faith, hope and feeling for a dear friend give rise to love for all people and the world ... - @ Written with a pen, @ (format : 60x88 / 16, 142 pages) @ @ e-book @ | 2014 | 33.99 | eBook |
| Alexander Nikolaevich Ostrovsky | Late love. Scenes from the life of the backwater | `A middle-aged girl` Lyudmila falls in love with the son of the mistress of the house of an idle reveler Nikolai. To save him, she is ready to sacrifice everything - even to steal the most important document entrusted to her father ... - @ Book on Demand, @ (format: 76x100 / 32, 288 pages) @ @ @ | 2011 | 2523 | paper book |
See also other dictionaries:
- "LATE LOVE", USSR, SCREEN (OSTANKINO), 1983, color, 165 min. TV movie, melodrama. Based on the play of the same name by A.N. Ostrovsky. Cast: Innokenty Smoktunovsky (see Smoktunovsky Innokenty Mikhailovich), Anna Kamenkova (see Anna KAMENKOVA) ... Encyclopedia of Cinema
Noun, f., Uptr. naib. often Morphology: (no) what? love, what? love, (see) what? love what? love, about what? about love 1. Love is the best kind feeling that you have for people dear to you: for your children, loved ones ... ... Dmitriev's Explanatory Dictionary
love - boundless (Corinthian, Lermontov, Sliver. Kupernik); selfless (Nadson, Munshtein, Samborsky); immortal (Andreev); immortally young (Balmont); chatty (Pushkin); all-pervading (Polonsky); all-creating (Polonsky); enthusiastic ... ... Dictionary of epithets
The universal of culture of the subject series, fixing in its content a deep individually selective intimate feeling, vectorially directed at its subject and objectifying in a self-sufficient striving for it. L. is also called the subject ... ... History of Philosophy: Encyclopedia - Wikipedia has articles about other people with this surname, see Olkhovsky. Vyacheslav Olkhovsky Date of birth May 1, 1961 (1961 05 01) (51 years old) Place of birth Grozny ... Wikipedia
Alexander Nikolaevich Ostrovsky.
Late love
ACTION ONE
FACE:
Felitsata Antonovna Shablova, the mistress of a small wooden house.
Gerasim Porfirich Margaritov, retired lawyer, fine looking old man.
Ludmila, his daughter, a middle-aged girl. All her movements are modest and slow, dressed very cleanly, but without pretensions.
Dormedont, shablova's youngest son, Margaritov's clerk.
Onufriy Potapych Dorodnov, middle-aged merchant.
A poor, darkened room in Shablova's house. On the right side (from the audience) there are two narrow single-floor doors: the one nearest to Lyudmila's room, and the next to Shablova's room; between the doors a tiled mirror of a Dutch stove with a firebox. In the back wall, to the right corner, is the door to Margaritov's room; on the left there is a opened door to the dark hallway, in which one can see the beginning of the stairs leading to the mezzanine, where the sons of Shablova are accommodated. Between the doors is an antique chest of drawers with a glass cupboard. On the left side there are two small windows, in the wall between them there is an old mirror, on the sides of which there are two dull pictures in paper frames; under the mirror is a large plain wood table. Prefabricated furniture: chairs of various types and sizes; on the right side, closer to the proscenium, is an old Voltaire armchair. Autumn twilight, the room is dark.
THE FIRST APPEARANCE
Lyudmila leaves her room, listens and goes to the window.
Then Shablova leaves her room.
Shablova (without seeing Lyudmila). As if someone knocked the gate. No, it seemed. I really put my ears on my guard. What a weather! In a light coat now ... oh-oh! Is my dear son walking somewhere? Oh, children, children - mother's grief! Here is Vaska, what a walking cat, and he came home.
Ludmila... Have you come? ... Have you come?
Shablova... Ah, Lyudmila Gerasimovna! I don't even see you, I'm standing here and fantasizing among myself ...
Ludmila... You say you came?
Shablova... Who are you waiting for?
Ludmila... I? I am nobody. I just heard you said "came."
Shablova... This is where I express my thoughts; your head will boil, you know ... The weather, they say, is such that even my Vaska came home. He sat down on a couch and hums so and so, even chokes; I really want to tell him that, they say, I'm at home, don't worry. Well, of course, he warmed up, ate, and left again. Man's business, you can't keep it at home. Yes, here's a beast, and he understands that he needs to go home - to find out how, they say, there; and my son Nikolenka disappears the other day.
Ludmila... How to know what business he has?
Shablova... Who would know if not for me! He has no business whatsoever;
Ludmila... He is a lawyer.
Shablova... Yes, what kind of abbess! There was a time, but it has passed.
Ludmila... He's busy with some lady's business.
Shablova... Well, mother, lady! Lady to lady strife. Wait, I'll tell you everything. He studied well with me; he graduated from the course at the university; and, as a sin, start these new courts! He signed up as an abvocate, - let's go, and let's go, and let's go, shovel money with a shovel. From the very fact that he entered the money merchant circle. You yourself know, to live with wolves, howl like a wolf, and he began this very merchant life, that day in a tavern, and night in a club or wherever. By itself: pleasure; he is a hot man. Well, what do they want? They have thick pockets. And he lurked and laughed, but things were going between hands, and laziness, too; and here abvokatov divorced innumerable. No matter how much he got confused there, he lived all the money; I lost my acquaintance and again returned to my former poor situation: to my mother, it means, from sterlet fish soup to empty cabbage soup. He got into the habit of tapping into taverns - he had nothing to do with good things, so he began to wander around the bad ones. Seeing him in such decline, I began to find something to do with him. I want to take him to my lady friend, but he is shy.
Ludmila... He must be timid in character.
Shablova... Enough, mother, what a character!
Ludmila... Why, there are people of a timid nature.
Shablova... Yes, complete, what a character! Does a poor person have a character? What kind of character have you found?
Ludmila... What then?
Shablova... The poor man has a character! Wonderful, really! The dress is not good, that's all. If a person has no clothes, that's a timid character; what would he have a pleasant conversation with, but he must look around at himself, whether there is a flaw somewhere. Just take it from us women: why does a good lady have a cheeky conversation in a company? Because everything is in order on it: one is fitted to the other, one is neither shorter nor longer, the color is matched to the color, the pattern is fitted to the pattern. Here her soul grows. And our brother in high company is in trouble; it seems better to fall through the ground! It hangs there, here it is short, in another place in a bag, everywhere there are sinuses. They look at you like a devil. Therefore, it is not the madam who sews for us, but we ourselves are self-taught; not in magazines, but as it was necessary, on a damn wedge. It was not a Frenchman who sewed for his son either, but Vershkokhvatov from behind the Dragomilovskaya outpost. So he has been thinking over his tailcoat for a year, walking, walking around the cloth, cutting, cutting it; he will cut on one side and then on the other - well, and will cut out a sack, not a tailcoat. But before that, too, as money was, Nikolai frankly; well, and it is wild to him in such and such an outrage. I finally prevailed upon him, and I myself am not happy; he is a proud man, he did not want to be worse than others, therefore she has dandies from morning till night, and ordered a good dress for an expensive German on credit.
Ludmila... Is she young?
Shablova... At the time of the woman. That's the trouble. If only the old woman were to pay the money.
Ludmila... And what is she?
Shablova... The woman is light, spoiled, hopes for her beauty. Young people are always around her - they are used to being pleased by everyone. The other will even consider himself to be of service for his happiness.
Ludmila... So he fusses for her for nothing?
Shablova... It cannot be said that it is completely free. Yes, he probably would, but I already got a hundred and a half cared for her. So all the money that I took from her for him, I gave everything to the tailor, here's the profit for you! In addition, judge for yourself, every time you go to her, he takes a cabby from the stock exchange, keeps there half a day. It's worth something! And what does it beat from? Divi ... All the wind is in my head.
Ludmila... Maybe he likes her?
Shablova... Why, it's a shame for a poor man to look after a rich woman, and even spend money himself. Well, where should he reach: there are such colonels and guardsmen that you can't find words. You look at him, and only say: oh, my God! Tea, they laugh at ours, and she, look, too. Therefore, judge for yourself: a certain colonel will roll up to the porch on a pair with a tie, bryak in the front spur or saber, glance in passing, over his shoulder, in the mirror, shake his head and straight into her living room. Well, but she is a woman, a weak creature, a meager vessel, she will throw her eyes at him, well, as if boiled and will be made. Where is it?
Alexander Nikolaevich Ostrovsky is the greatest Russian playwright.
On April 12, 1823, in a new style, a writer and playwright was born in the family of a private lawyer, whose work revolutionized Russian theater - Alexander Nikolaevich Ostrovsky.
Father dreamed of seeing his son as a lawyer, but Ostrovsky did not finish his studies at the law faculty of Moscow University and worked for eight years in the offices of various courts. Childhood impressions and life experience gained in judicial institutions provided him with invaluable material for creativity.
Already in 1850, the author published the first play "Our People - Numbered!" (another name - "Bankrupt"), which immediately made him famous. But at the same time, it was not understood by everyone, and the author was placed under police supervision.
In the 50s, Ostrovsky's financial situation was quite difficult, not all the public treated him positively, but the playwright continued to write as before. Working for the journal Moskvityanin, the author publishes the plays Don't Get In Your Sleigh, Don't Live As You Want, and the most striking comedy, Poverty is Not a Vice, idealizing Russian life. During this period, he utopianly shows the possibility of resolving the conflict of generations, but at the same time he displays the characters of the heroes in an absolutely realistic and juicy manner.
Since 1856, Alexander Nikolayevich has been drawing closer to the St. Petersburg edition of Sovremennik, sharing their views on art. Significant changes are taking place in the writer's work, which is especially noticeable in the plays "Profitable Place" and "The Thunderstorm". The poeticization of folk life is replaced by a dramatic depiction of reality.
In subsequent years, Ostrovsky still writes a lot, but the tone of his works changes from gloomy to more satirical. Vaudeville plays "Your dogs are squabbling, don't bother a stranger", "What you go for, you'll find" were written. Interest in historical themes arises in the dramatic chronicles "Dmitry the Pretender and Vasily Shuisky", the play in verse "Voivode or Dream on the Volga" and others.
Businessmen and careerists become new "heroes" in the post-reform works. Whether it is Glumov from the play "Enough for Every Wise Man," Vasilkov ("Mad Money") or Berkutov ("Wolves and Sheep") - all of them put a career and money as the main goal of life. These "heroes" will remain with Ostrovsky until the end of his writing career. But the playwright continues to be engaged in the creation of folk comedies with a positive ending. During this creative period, the plays "Not everything for the cat is Shrovetide", "Truth is good, but happiness is better" and some others were created.
In addition to the satirical comedy "The Forest" and the dramatic fairy tale "The Snow Maiden", at a later stage, Ostrovsky also wrote serious psychological dramas. In the center of most of them is the image of a woman who loves but does not find happiness. The heroines of the comedy "Talents and Admirers" and the melodrama "Guilty Without Guilt" are actresses who find a way out of life's troubles in serving the theater. The whole plot is built around the heroines and in the plays "Shines, but does not warm" and "The heart is not a stone". The most impressive work of the "female" cycle, without a doubt, can be called the drama "The Dowry". The film based on her is striking in its tragedy, despite the seemingly uncomplicated plot.
Working with actors, Alexander Nikolaevich saw their difficult financial situation, dependence on officials and at the same time, the pursuit of cheap popularity and lack of understanding of the author's goals. This drove him to despair, but he continued to fight for a "new theater", tried to convince the authorities of the need for urgent changes.
The playwright created about 50 plays ("Profitable Place", 1856; "Thunderstorm", 1859; "Mad Money", 1869; "Forest", 1870; "Snow Maiden", 1873; ", 1878, and many others). A whole era in the development of Russian theater is associated with the name of Ostrovsky. He penned translations from Cervantes, Shakespeare, Terence, Goldoni. Ostrovsky's work covers a huge period in the development of Russia in the 19th century. - from the era of serfdom 40-ies. before the development of capitalism in the 80s.
His drama played a decisive role in establishing a distinctive and vibrant repertoire on the Russian stage, and contributed to the formation of a national stage school. In 1865 Ostrovsky founded an artistic circle in Moscow and became one of its leaders. In 1870, on his initiative, the Society of Russian Dramatic Writers was created, of which he was the permanent chairman from 1874 until the end of his life.
In 1881-1884. Ostrovsky took part in the work of the commission for the revision of the legal provisions on the Imperial Theaters. On January 1, 1886, he was appointed head of the repertoire section of Moscow theaters. But by this time the playwright's health had already greatly deteriorated, and on June 14, 1886, Ostrovsky died at the Shchelykovo estate in Kossush, Troma province.
Screen adaptation of the play "Late Love"
Year of issue: 1983
Genre: melodrama
Duration: 02:25:00
Director: Leonid Pcheolkin
Cast: Innokenty Smoktunovsky, Anna Kamenkova, Rodion Nakhapetov, Elena Proklova, Evgeniya Khanaeva, Valery Shalnykh, Vyacheslav Nevinny, Valery Khlevinsky, Alexander Yushin, Alexander Mylnikov, Valentina Kravchenko, Galina Dobrovolskaya, Vitaly Komissarov, Alexander Yakulov, Evgeny Knyazev
Description: Once the name of the solicitor Gerasim Porfirich Margaritov was widely known in Moscow, since he did business with diligence and great honesty. But once the bribed assistant stole from the solicitor and sold the debtor an important monetary document for 20 thousand - and Margaritov lost his good name, all the acquired property and, together with his young daughter Lyudmila, was forced to move from his own house in the center to the outskirts. The wife, who was already ill, died, and the years of a difficult and poor life went on. Lyudmila grew up, however, she still lives with her father, having no dowry to marry. They rent a room in the house of a poor widow, Felitsata Antonovna Shablova. She has two adult sons, Nikolai and Dormedont, both of whom went on the legal side. The younger, Dormedont, who is in love with Lyudmila and dreamed of marrying her someday, helps Margaritov in the management of petty matters, which the solicitor now hardly earns for himself and his daughter. And the eldest, Nikolai, in the past - a successful lawyer, became a mot, a gambler and a reveler, made debts, and in a couple of days they would take him to a tsugunder, put him in a debt hole ...
Lyudmila falls in love with the son of the mistress of the house - an idle reveler Nikolai. For the sake of his salvation, she is ready to sacrifice everything - even to steal the most important document entrusted to her father ...
UDC 82: 09 O-77
T.V. Chaikin
PIECE A.N. ISLAND "LATE LOVE": SPECIFICITY OF THE GENRE
When interpreting Ostrovsky's plays, it is necessary to take into account their genre designations. In "scenes from the life of the boondocks" "Late Love" shows a separate episode from the life of the characters, which reflected the life, customs, value systems of the inhabitants of the Moscow suburbs. Four scenes, following one after the other, are connected with each other by plot, events are extremely concentrated in time and space.
Key words: genre, scenes, critical assessments, key episodes, everyday atmosphere, spiritual environment, love affair, remark, dialogues, monologues, chronotope.
A.L. Stein rightly emphasized that
A.N. Ostrovsky was a great master of the Russian genre, and his art is everyday, genre. Following the title for each of his plays, the author gave a genre subtitle, clearly indicating the features of the dramatic action, as well as the space of the image. Scenes were one of the most widespread genres in Ostrovsky's drama. Already in 1850, the scenes “Morning young man". In 1858 - "scenes from village life" "Parent", then "scenes from Moscow life" "Hard days" (1863), "Abyss" (1866), "Not everything for the cat is Shrovetide" (1871).
In 1873, in Otechestvennye zapiski, Ostrovsky published "scenes from the life of the boondocks" "Late Love", in 1874 - "Labor Bread" with the same genre subtitle. In these plays, the playwright reflected the contradictions of life in the 70s of the 19th century. “Gone, disappeared that Moscow, captured in" Bankrupt "and" Poor Bride ", and when he wanted to remember her in some of his new play, to look into its former corners preserved by a miracle, he had, as if apologizing, to celebrate every time: "Scenes from the life of the boondocks" ^ ...\u003e Another style of life, her whole appearance, "noted
B. Ya. Lakshin.
Ostrovsky's new approach to recreating life has evoked controversial and sometimes hostile judgments in criticism. So, the position of the reviewer of the newspaper "Citizen" was irreconcilable, who developed his own stereotypes in the perception of Ostrovsky. He is clearly trying to satirically convey the content of the play, to characterize its heroes. The critic's reflections are sometimes filled with sarcasm: he calls Lyudmila, the main character of the play, "a thief with cynicism."
and a "nihilist"; sons of Shablova - Cain and Abel, emphasizing the honesty and kindness of one and the dissipation of the other. The critic explains the weakness of the play by the fact that Late Love, in his opinion, was originally conceived by the playwright as a parody of any comedy. In conclusion, the reviewer of "Citizen" bluntly declares: "Is it really all that we have seen now, was Ostrovsky's play? But where is his talent, where are his rich types, where is there at least a trace of some kind of struggle, where is at least something similar to Ostrovsky? " ... What kind of struggle did the reviewer want to see? Obviously, the one noted by the playwright NA Dobrolyubov: the clash of "two parties - senior and junior, rich and poor, headstrong and unrequited."
Did not see the originality of Ostrovsky's new play, the reviewer of "Odessa Bulletin" S.G. Her-tse-Vinigradsky, V.P. Burenin, critic of St. Petersburg Gazette, and V.G. Avseenko, who categorically pointed out the connection between the playwright and the traditions of Gogol in an effort to portray a "base, rough environment."
An exception in the general chorus of voices was a note in the St. Petersburg Gazette of November 30, 1873, the author of which pointed out a number of advantages of Ostrovsky's new play. Especially, according to the reviewer, the first two acts of the play are good, since "the action is lively, all the faces are skillfully outlined, and, as always with Mr. Ostrovsky, the conversation is replete with successful, well-aimed, typical expressions." The critic of St. Petersburg Vedomosti considers the strength of Late Love to be the originality of the characters, pointing out that the best characters in the play are "the old woman Shablova, her simpleton and Lebyadkin's son, especially the latter." Word-sensitive reviewer
© T.V. Chaikin, 2009
notices the uniqueness of the characters' speech, in which "the most cynical things" are expressed, albeit naively, but, at the same time, cleverly and uniquely. So, he believes that "the most successful strokes include the words of the old woman Shablova:" What kind of character does a poor person have? Can a poor person have character? .. His dress is bad - that's why he is shy. And that is his character! " ".
The author of the review does not at all seek to compare the scenes "Late Love" with the "capital plays" of the playwright, realizing that this work belongs to a new stage in Ostrovsky's work, when there is not only a rethinking of some of the author's dramatic principles and approaches to depicting the way of life, pictures of everyday life, characters , but cardinal changes are also outlined in life itself, and, as a consequence of this, the space of action is also changing. Following the "pictures" and "scenes of Moscow life", "scenes from the life of the boondocks" appear. Moreover, in the draft autograph there was a clarification, which the playwright later rejected ("scenes from the life of the Moscow backwater") [OR IRLI, f. 218, op. 1, unit. xp. 30, l. 4], thereby strengthening the typical character of the characters and the dramatic situation.
The critical thought of the times of the playwright was not yet ready to admit that Ostrovsky in the 1870s began to write no worse, but otherwise, "mastering new facts of the drama of life and new forms of its embodiment." There were also insignificant attempts to interpret "Late Love" based on the peculiarities of its genre. Only later, when the "scenes from the life of the backwater" of "Labor Bread" appear, the reviewer of "Moskovskiye Vedomosti" Outsider will be one of the first to pay attention to genre designations: "What does this mean? what is a scene, a painting in dramatic art? The same as a sketch, a sketch, a painting studio. Designating his last plays in this way, Mr. Ostrovsky kind of warns the viewer or reader not to expect a finished, well thought-out and completed work from him, but to treat it with the undemanding attitude with which one looks at a sketch, at experience. "
In 1876, while working on the play "Truth is good, but happiness is better", conceived as "scenes", Ostrovsky himself, in a letter to F.A. Burdina noted: “... this is not a comedy, but scenes from Moscow
what kind of life, and I do not give them great importance. " By the way, E.G. Kholodov also believed that, calling the plays "scenes" (or close to them "pictures"), "the playwright not only avoided the exact genre definition (comedy, drama), but also, as it were, agreed with the public (and with criticism) that this time he offers not a full-fledged play, but only “scenes” that do not pretend to special integrity and plot harmony ”. Still, it would be wrong to believe that the scenes are insignificant, unfinished plays: they more often reflect Ostrovsky's creative freedom, the author's skill, not burdened by strict adherence to the laws of comedy and tragedy. Repeatedly creating scenes throughout its creative path, the playwright significantly enriched the ideas about this genre, introduced new ideas into the genre thinking of his time. If Ostrovsky's early scenes "Morning of a Young Man", which showed a typical morning of a Russian "bourgeois in the nobility", soon resemble a plotless everyday sketch, then later works, indicated by scenes, are plays with a developed plot structure, with a well-defined intrigue; the author's detailed approach to the depiction of everyday life paintings, the accuracy of his everyday observations remain unchanged. Before starting the action, Ostrovsky in scenes always outlines the environment, the everyday atmosphere, within which the plot begins to develop.
The play "Late Love" opens with a detailed and voluminous remark, which recreates in detail the way of life of the characters: "Poor, darkened room in Shablova's house. On the right side (from the audience) there are two narrow one-legged doors: the one nearest to Lyudmila's room, and the next one to Shablova's room; between the doors a tiled mirror of a Dutch stove with a firebox. In the back wall, to the right corner, is the door to Margaritov's room; on the left there is a opened door to the dark hallway, in which one can see the beginning of the staircase leading to the mezzanine, where the sons of Shablova are accommodated. Between the doors is an antique chest of drawers with a glass cupboard. On the left side there are two small windows, in the wall between them there is an old mirror, on the sides of which there are two dull pictures in paper frames; under the mirror is a large plain wood table. Prefabricated furniture: chairs of various types and sizes; on the right side, closer to the proscenium,
swarm half-wounded Voltaire chair. Autumn twilight, the room is dark. " The scene of the action remains unchanged throughout the course of the play - the playwright concentrated the events to the utmost in time and space.
The scenes are characterized by the author's interest in an individual personality, therefore, plays of this genre are often based on several episodes from the life of the protagonist, story-related and which are, undoubtedly, important for the hero, determining his future fate. In the center of the play "Late Love" is the love story of an elderly girl Lyudmila, modest and virtuous. Already in the first appearance of the first act, she appears on the stage waiting for her beloved Nikolai with the words: "Have you come? .. Have you come?" ... The interlocutor of the heroine, Fe-litsata Antonovna Shablova, Nikolai's mother and “the mistress of a small wooden house,” tells Lyudmila in detail about her son: “He studied well with me, he finished the course at the university; and, as a sin, start these new courts! He signed up as an abvocate, - let's go, and go, and go, rake the money with a shovel. From the very fact that he entered the money merchant circle. You yourself know, to live with wolves, howl like a wolf, and he began this very merchant life, that day in a tavern, and night in a club or wherever. By itself: pleasure; he is a hot man. Well, what do they want? They have thick pockets. And he lurked and laughed, but things were going between hands, and laziness, too; and here abvokatov divorced innumerable. No matter how much he got confused there, he lived all the money; I lost my acquaintance and again returned to my former poor position: to my mother, it means, from erasing fish soup to empty cabbage soup. He got into the habit of tapping into taverns - he had nothing to do with good things, so he began to wander around the bad ones ”. Her father, Gerasim Porfir-ich Margaritov, “a lawyer from retired officials, an old man of fine appearance,” will tell about the fate of Lyudmila herself: “Saint, I tell you. She is meek, sits, works, is silent; all around need; After all, she sat in her best years in silence, bending over, and not a single complaint. After all, she wants to live, she must live, and never a word about herself. It will work out an extra ruble, you see, a present for my father, a surprise. After all, there is no such thing ... Where are they? " ...
It is noteworthy that, despite the love conflict clearly expressed at the beginning of the play, Ostrovsky is in no hurry to dynamically develop
intrigue. The first phenomenon sets the general tone of the entire play: it is only the conversations of the characters, revealing their everyday chores, mental reflections. However, already in these voluminous dialogues, unhurried conversations, some dynamics in the development of a love intrigue is noticeable: in them the author of "Late Love" concludes not only information about the main characters, but also shows the relationship of the characters, involving new ones in the plot of the play. actorsposing new problems.
It is characteristic that some researchers considered Ostrovsky's late drama to be the embodiment of the structural logic of the European comedy-intrigue, the drama of which is expressed precisely in the entanglement of complex circumstances within the framework of a multidimensional love conflict. However, the plot twists and turns of Late Love (financial scam, the relationship between Nikolai and Lebyadkina, etc.), the abundance of various circumstances that are not directly related to the development of the main love line, constitute only the outer outline of the dramatic action, which is rather dictated genre characteristics scenes. Ostrovsky's skill lies in the fact that in individual scenes he depicts in detail and multifaceted the everyday, spiritual environment in which the main characters live, but the main line associated with the relationship between Lyudmila and Nikolai remains the only and most significant. The playwright himself wrote to his friend and artist F.A. Burdin about the careful work on the play, about the meticulous development of a love intrigue: "You cannot say that I wrote this comedy hastily, I thought about the script and stage effects for a whole month and very carefully finished the scenes of Nikolai and Lyudmila."
If the first action represents Lyudmila's expectation of meeting her lover, then the second action is the meeting itself, where the heroine confesses her feelings, tells Nikolai about her life, about her past: “I lived my youth without love, with only one need to love, I behave modestly, I do not impose myself on anyone; I, perhaps, with a pain of heart gave up even the dream of being loved.<...> Is it fair to wake my senses again? Your only hint of love again raised in my soul both dreams and hopes, awakened both the thirst for love and the readiness of self-sacrifice ... After all, this is late, perhaps, the last love; you know what she can do ... and you
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make fun of her. " Such recollections, the return of heroes in conversations to the past, explanations-confessions of a narrative-epic character, undoubtedly slow down the pace of action, expanding its boundaries.
It was important for the author to show the specifics of the characters' way of life in the next (second) act of the play. The main means of image here are no longer the author's remarks, but monologues-self-statements, monologues of an evaluative type, dialogues that are not only informative, but also contain elements of reasoning and analysis. So, already in the first appearance, Margaritov, leaving on his official business, warns his daughter: “Here, Lyudmilochka, the side is hungry, the people live from day to day, what they snatch is fed up. A drowning man, they say, grasps at a straw; well, and the starving man for lying badly. Here everything will be stolen and everything will be sold, and clever people use it.<.> When you see that a rich man, well-dressed, will come or will come here, so know that he has not come for a good deed - he is looking for a venal honor or conscience. " Lyudmila also believes that rich people “do not go to the boondocks for good”. Learning about the upcoming visit to her house by Lebyadkina, a rich widow, Shablova is surprised: “Make up more! In our chicken coop, but such a lady will go. "
Ostrovsky begins the third act with vivid everyday signs, where the first remark by Shablova - “the samovar is all boiled away” - gives a special flavor. The author no less vividly continues to develop a love conflict, during which the heroes find themselves in a difficult situation. The position of Nikolai, irrevocably entangled in the financial scam of Lebyadkina and the merchant Dorodnov, is hopeless, no less dramatic is the position of Lyudmila, who gives the last money to her lover and betrays her own father as a result, giving Nikolai a loan letter from Lebyadkina to save him. However, Ostrovsky did not seek to develop the action towards tragedy.
Actor Burdin, in a letter to Ostrovsky, clearly noted that the playwright "set the course of the play at the end of act 3 so that the viewer foresees the outcome in advance." For Ostrovsky's scenes, this peculiarity in the development of intrigue was typical. The finale of Pupils (1859) is not unexpected, where patriarchal
the rows, skillfully sketched by the author, initially lead to the debunking of the heroine's hopes; there is no unexpected denouement in Labor Bread (1874), where a girl living an independent working life has the right to choose her own groom, and so on. The denouement in the fourth act of Late Love is a logical outcome in the relationship between Lyudmila and Nikolai. Ostrovsky showed that "the readiness for self-sacrifice is capable of changing the person in whose name it is committed." And Nikolai promises to give up his idle life and start working.
It is especially significant that in Late Love, the denouement of the love affair by no means coincides with the real ending of the action. In a letter to Burdin dated October 29, 1873, Ostrovsky noted: “You still find a mistake in the fact that after the end of the play there is a conversation about cards; yes, have mercy, for God's sake, this is an ordinary, age-old classic technique, you will find it in the Spaniards and Shakespeare. " This technique is a characteristic feature of Ostrovsky's drama, allowing for such transitions from pathos to comic. In addition, the conversations of the characters after the resolution of the intrigue continues to recreate the lives of the characters in a continuous flow, and due to the lack of final remarks, they give some understatement to the action. It is known that Ostrovsky himself considered such incompleteness of the action of the play to be an important genre feature of the scenes: “It may be objected that we have few completely completed artistic dramatic works. And where are many of them? We will only point to the emerging trend in everyday life in the drama, which is expressed in essays, paintings and scenes from folk life, a fresh trend, completely devoid of routine and stilt and extremely efficient. "
Thus, "scenes from the life of the backwoods" "Late Love" - \u200b\u200ba separate stage in life the main character plays, dramatic and, at the same time, the most important in her fate. The play consists of four key episodes, story-related and consistently revealing the story of the heroine's late love. Slowly developing love linerejecting a complicated plot, depriving the action of unexpected turns and denouements, constantly resorting to precise and detailed everyday sketches, Ostrovsky forms the aesthetics of scenes - an independent and specific dramatic genre.
1. Ostrovsky A.N. Full collection cit .: In 12 volumes -M., 1973-1980.
2. A. N. Ostrovsky and F.A. Burdin. Unpublished letters. - M .; Pg., 1923.
3. Babicheva Yu.V. Ostrovsky on the eve of the "new drama" // A.N. Ostrovsky, A.P. Chekhov and the literary process of the 19-20 centuries. - M., 2003.
4. Dobrolyubov N.A. Literary criticism: In 2 volumes. T. 2. - L., 1984.
5. Zhuravleva A.I. Ostrovsky is a comedian. - M., 1981.
6. Critical literature about the works of A.N. Ostrovsky / Comp. N. Denisyuk Vol. 3, 4. - M., 1906.
7. Lakshin V.Ya. Alexander Nikolaevich Ostrovsky. - M., 2004.
8. Milovzorova M.A. On the peculiarities of the intrigue of the late comedies of A.N. Ostrovsky // Shchelykovskie readings 2002 .: Sat. articles. - Kostroma, 2003.
10. Farkova E.Yu. Virtue and vice in the play by A.N. Ostrovsky "Late Love" // Spiritual and moral foundations of Russian literature: collection of articles. scientific. articles in 2 hours. Part 1. - Kostroma, 2007.
11. Holodov E.G. Ostrovsky A.N. in 1873-1877 // Ostrovsky A.N. Full collection cit .: In 12 t. T. 4. - M., 1975.
12. Chernetz L.V. The plot and plot in the plays of A.N. Ostrovsky // Shchelykov Readings 2007: Sat. articles. - Kostroma, 2007.
13. Stein A. L. Master of Russian Drama: Studies of Ostrovsky's Works. - M., 1973.
UDC 82.512.145.09 Sh 17
Z.M. Shaidullina
EMOTIONAL-EXPRESSIVE PHRASES IN THE DISCLOSURE OF THE CREATIVE WORLD OF NURA AKHMADIEVA
This article reveals the originality of the creative world of the famous Tatar poet Nura Akhmadiev through a number of key concepts.
The artistic world of the poet:
a) the psychological state of the lyric hero;
c) emotionally expressive phrases.
The expressive coloring of words in lyric works differs from the expression of the same words in non-descriptive speech. In the conditions of the lyrical context, vocabulary receives additional semantic shades that enrich its expressive color and help to reveal through the psychological state of the lyric hero inner world poet.
The poetry of Nura Akhmadiev in Tatar literary criticism has been little studied. This article examines only one side of the author's poetic skill. That is, the features of expressing emotionally - expressive phrases in his artistic world.
Emotional meanings in literary work are divided into types. Each of them is considered separately and plays an important role in revealing the author's artistic world. One of these is the emotional meaning, which is given in just one sentence, despite this it reveals the poet's emotions in full. This emotional meaning is also the semantic component of the micro theme. In pro-
in the works of Nura Akhmadiev, emotional phrases are widely used, allowing, with the help of heroes - characters, to more fully show art world the author. These emotional phrases are distinguished by their brightness and rich, deep meaning. For example, one of the excerpts from the poem "Ketu Kitkende". Ketunets ktulere, Ketu kichen kaytyr ele, Tik ... homer ugulere.
(Ketu kitkende)
The herd goes to the pasture, But the herd will return in the evening, Only ... life goes on.
(our translation)
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© Z.M. Shaidullina, 2009