The play "Guilty Without Guilt" was created during the heyday of his talent and extraordinary creative upsurge. Above the play by A.N. Ostrovsky began working in the summer in 1883, then made a trip to the Caucasus, where he stayed for over a month. Returning from this trip on November 3, he resumed work on the play. The play was completed on December 7, 1883. In the note “Regarding the Rules for Prizes for Dramatic Works”, which dates back to 1884, the playwright wrote about the play “Guilty Without Guilt”: “This is almost my fiftieth original work and is very dear to me in many ways: for finishing it spent a lot of work and energy; it was written after a trip to the Caucasus, under the impression of the enthusiastic reception that the Tiflis public gave me.I wanted to show the Russian public that the author she honored did not rest on her laurels, that he still wants to work and give her artistic delights that she loves and for which she honors. Then this work was created unusually successfully: I suddenly came up with artistic considerations available only to young forces, which I did not dare to count on in my years. A. N. Ostrovsky. About the theater. Notes, speeches, letters, publishing house "Art", 1941, p. 138).

“Guilty Without Guilt” was created as a realistic socio-psychological drama. The main direction in the work is the expansion of social circumstances and the deepening of psychological characteristics, first of all - the central positive heroine Otradina-Kruchinina.

The work is imbued with the theme of the heroine's suffering about her son, whom she considered dead.

Are there problems?

The play "Guilty Without Guilt" is a classic example of melodrama. The structure of the play combines features of comedy, realistic everyday and psychological drama. But, despite this, the play has the main features of melodrama: first, the plot in which the whole action unfolds around the “suffering” heroine; motives - an unhappy mother, the death of a child and the betrayal of a loved one. Secondly, it is typical for melodrama: a change of names (in act 1 the heroine is called Lyubov Ivanovna Otradina, in act 2 her name is Elena Ivanovna Kruchinina). Of course, the surnames, which is characteristic of Ostrovsky, say: joy is joy and sorrow is sadness. Third, a happy ending.

Characters in the play:

• · Lyubov Ivanovna Otradina, a girl of noble birth / Elena Ivanovna Kruchinina, a famous provincial actress;
• · Taisa Ilyinishna Shelavina, girl, comrade Otradina;
• · Grigory Lvovich Murov, a young man from the provincial officials;
• · Annushka, maid of Otradina;
• · Arina Galchikha, bourgeois woman;
• · Nil Stratonich Dudukin, a rich gentleman;
• · Nina Pavlovna Korinkina, actress;
• · Grigory Neznamov;
• · Shmaga - artists of the provincial theater;
• · Ivan, a servant at the hotel;
• · Milovzorov Petya, the first lover;
• · Guests and servants.

Ostrovsky's focus is on the character of a strong and strong-willed woman, capable of spiritually resurrecting after the hard blows of fate. All these years (after 1 act, 17 years have passed) she lived with constant internal pain. But she was able to withstand, despite all the misfortunes, and realize herself in creativity. In the play, Elena Kruchinina says: “ I know that there is a lot of nobility in people, a lot of love, dedication". And the heroine herself belongs to such wonderful, noble people, she is a wonderful artist, an intelligent, significant, sincere woman. She became a famous talented actress, but it cost her dearly. " Laurels later, and first, sorrow and tears", - she soberly replies to the enthusiasm of the patron Dudukin. Unlike other actors and actresses, Kruchinina approached her profession responsibly. All the pain she once experienced in her youth, she embodied on the stage. The actress has become a favorite of the public. Of course, envious people also appeared in her. But in spite of everything, she remains a good person who does not wish anyone any harm. She forgives everyone and helps everyone.

There is also an opposite character in the play, its antipode is her former beloved man and the father of her son Grisha. His surname is Murov. He lives according to the laws of a society where the power of money rules. The hero deceives and betrays everyone. Murov is portrayed as a person who has no idea about duty, about spiritual values, guided only by selfish interests. He did not know how to appreciate in general a woman her youth, beauty, heart. Kruchinina will never be able to forgive him, he did too much harm to her.

But, in the end, everything ends well: the unhappy mother finds a son, supposedly long dead. She recognizes him in the actor Neznamov by the medallion.

Grigory Neznamov, like Kruchinina, is the main character. He is a "podzabnik", as they call him, a man without a passport, who does not know the name of his parents, rejected by people and life. The spiritual world of the hero is disharmonious: by nature, humanity, subtlety of feelings, humanity are laid in it, and life makes you be rude, impudent, irritable.

The surnames in the play, which is typical for Ostrovsky, say: joy is joy and sorrow is sadness. Seeing the name Neznamov, you immediately understand that we are talking about a person who does not know his past. Dudkin is a minor hero, about whom little has been said, but having seen his last name, one can characterize this character as a chatty person whose word cannot be trusted. The surname Shmaga has a very interesting history. Shmaga is a nickname not invented by Ostrovsky, but taken from a document of 1705, which told about a certain Vasily Telenkov, nicknamed Drunk Shmaga. This person sought to be insulted in order to recover a reward from the offender. Ostrovsky used this historical name, because he knew the custom of giving insignificant theater workers nicknames, which often completely supplanted the real surname.

The action takes place in the second half of the 19th century, in a provincial town, in a poor apartment on the outskirts. We pass 17 years between the first and second acts. The second action takes place in a hotel. The third action takes place in Korinkina's theatrical dressing room. The last action takes place in the garden of Dudukin's estate.

The play "Guilty Without Guilt" is the penultimate largest work of the author.

The premiere of the play was shown at the Maly Theater in 1884. The play was originally intended by Ostrovsky for the Moscow Maly Theater, the role of Neznamov was written specifically for Konstantin Rybakov, and the role of Korinkina was for Nadezhda Nikulina.

Guilty Without Guilt is one of the most repertoire plays of the Russian theater.

Guilty Without Guilt is Ostrovsky's last major work to be included in the golden fund of world drama.

Ostrovsky play drama

Transcript

1 FROM THE CREATIVE HISTORY OF THE PIECE “GUILTY WITHOUT GUILT” Article by NS Grodskaya The play “Guilty Without Guilt” was created by Ostrovsky during the heyday of his talent and extraordinary creative enthusiasm, after a trip to the Caucasus, “under the impression of the enthusiastic reception that was given (to him) Tiflis public ”(XII, 233). This undoubtedly affected the nature of the work on this work, in the process of which, according to the author himself, “artistic considerations, accessible only to young forces, suddenly occurred to him” (XII, 233). Throughout his literary career, the playwright remained faithful to the creative principles he developed. The process of thinking over and nurturing a new play, as always, was long for him: “... until the whole play is poured out, as it formed in my head, until then I can not say that anything has been written ... ", Admits Ostrovsky *. And this stage in the work was difficult: Ostrovsky did not always manage to immediately find the right solution. Careful thinking over the work in detail and in general "in the head" led to the fact that the period of direct writing turned out to be extremely compressed in time. Thus, the playwright worked on Guilty Without Guilt in the summer of 1883; but the final design of the concept on paper took just one month: from November 5 to December 7, 1883. Having considered the idea, Ostrovsky sketched out a "script", made a list of characters, developed individual scenes, dialogues, wrote down some remarks on paper, all this appeared then material for coherent text. But even then there was no strict sequence in the work: "... having sketched the scenes, you start a conversation, you don't finish the phrase, you don't finish the scenes, you sketch another, you translate from place to place ..." "Vivid evidence of this. We have the following handwritten materials: Prologue (11 pages); beginning of action II, 1 2 yavl. (l. 11 v. 13); the first three phenomena of action II (for 6 liters); scenario II, III, IV of actions and the content of the scenes of these acts (16 pages); inserts into the text of the script (5 pages) 3. White's autograph is the final text that almost completely coincides with the published one (Otechestvennye zapiski, 1884, I) 4. The study of draft manuscripts shows that all the variety of social and psychological problems (exposing the cruel laws of the "dark kingdom" of capital, where the guilty suffer without guilt; deep feelings of a deceived mother who lost her son; humiliation and suffering of illegitimate children; the role of art in the life of society and the position of actors), as well as the main storyline and structure of the work as a whole developed in Ostrovsky immediately and did not undergo fundamental changes. In what direction was the work on the play going? “Guilty Without Guilt” was created as a realistic socio-psychological drama. The main direction in the work is the expansion of social circumstances and the deepening of psychological characteristics, primarily of the central positive heroine Otradina-Kruchinina.

2 512 INQUIRIES AND MESSAGES In the draft edition of Prologue, a poor, educated, by nature gifted girl Lyuba Otradina was a dressmaker, worked day and night, sheathed rich customers (like Shelavina) who paid her dearly, and dreamed of “making money and getting married ". The play opened with a conversation between Lyuba and Annushka about the "incomparable" wedding dress they sewed for Shelavina, who became an enviable bride after receiving an unexpected inheritance: "... who will not be flattered by her capital, whatever it may be" (p. 2). The topic of the conversation was the dowry, "giving the girl a real opportunity to get married. Lyuba Otradina cherished the same dream. To Annushka's question:" ... why don't you do any other noble business! And this skill (ie sewing) is for you a little low "Lyuba replies:" There is nothing low in this. Any job is good. What else can I do? Going to governess, to a teacher, is it more profitable? But when you find a job, you won't soon be pleased with the local parents. Here the merchant side, they spare money for learning, but they love to dress up. But I will make money and get married. " living modestly by lessons 4<в стороне купеческой, где образование не в ходу». Заработок ее так мал, что она с помощью Аннушки мастерит теперь для себя дешевенькое платье. И из учительницыпросветительницы Отрадина становится знаменитой актрисой-просветительницей. Так осуществляется органическая преемственность двух этапов в жизни героини, что позволяет Островскому углубить общую просветительскую идею пьесы. В Кручининой нашла яркое выражение просветительская концепция личности у Островского: его положительный герой, несущий свет людям, всегда демократичен, народен, национален. От учителя Иванова («В чужом пиру похмелье»), через стихийно протестующую Катерину, свободолюбивую, гордую Парашу, поэтическую, чистую Ларису и романтика-актера Несчастливцева к созданию героини «Без вины виноватых», вобравшей в себя весь комплекс «положительно-прекрасных» человеческих черт. Дальнейшая правка роли ведется в плане последовательного выявления лучших качеств Отрадиной-Кручининой, этой «женщины необыкновенной и актрисы необыкновенной»: ее демократичности, гуманизма, впечатлительности, чувства человеческого достоинства, профессиональной актерской гордости, понимания, общественного назначения театра., _ По убеждению Островского, знамя истинного искусства может нести, лишь актер, обладающий не только природным талантом в сочетании с высокими нравственными качествами, но и широким образованием, серьезной жизненной школой. Только тогда он будет заражать своей игрой зрителей, благотворно воздействовать на их умы и сердца. Только тогда актеры смогут перевоплощаться, т. е. «жить на сцене жизнью того лица, которое они изображают». С этой точки зрения Островский отрицательно оценивал, например, исполнение роли актрисой петербургского театра Струйской: «...она была какая-то не живая, ничего не знала, ничего не видала в жизни и потому не могла ни понять, ни изобразить никакого типа, никакого характера и играла постоянно.себя. А сама она была личность далеко не интересная:.холодная, ограниченная, необразованная, она не могла внести на сцену ума и чувства» (XII, 211). Воплощая в героине «Без вины виноватых» свой идеал актрисы, драматург рисует «е личностью незаурядной, наделенной умом, талантом, темпераментом. Кручинина со сцены несет правду жизни, искренность человеческих чувств, пробуждая людей и напоминая о забытом ими идеальном мире. Силу ее таланту дает глубина жизненных переживаний самой актрисы, для которой «едва ли какое-нибудь драматическое переживание будет новостью». Островский строит действие на напряженном внутреннем драматизме: переживания матери, потерявшей сына, это не прошлое героини, а ее настоящее. Драматург ставит артистку Кручинину в такие жизненные обстоятельства, когда в ее памяти живо воскресают картины молодости Любы Отрадиной: она попадает в тот город, где совершились события семнадцатилетней давности. Так новая страница

3 INVESTIGATIONS AND MESSAGES 513 biographies Kruchinina connects the past and the present of her life. Its subsequent action is therefore psychologically motivated and vitally justified. The initial entry in the draft script is already characteristic: “About the play On maternal feelings. Tells a story about his son ”(l. 1). In this recording, as it were, the two fates of the Otradina-Kruchinina actress and the woman-mother are merged together, which determines the development of her character. Act II of the script only mentions the talented performance of the role of a "visiting celebrity" ("I am all delighted. What a game!") And the theme of the heroine's maternal suffering is especially carefully developed: "You grieved for your son for a long time. I didn’t have to bury him ... I sometimes dreamed that he didn’t die ... I conjure up his image in my memory, I talk to him. It still seems to me that I will see him, that he is about to enter. If he really entered, you will not recognize him ... No, it seems to me that I do ”(l. 1). And after that, the playwright again writes: “... The last meeting. Wasp. I saw him the other day ... here he is ... here he is ”(fol. 1v.). In the process of work, Ostrovsky again returns to the original recordings and already fully implements them when writing a coherent text of the first three phenomena of act II (fol. 1 6): in the scene between Kruchinina and Dudukin (phenomenon 3), the story of a deceived love, a lost child, is now revealed in detail. despair of the mother, that is, the "grief and tears" experienced in her youth by Lyuba Otradina, which later brought "laurels" to the artist Kruchinina, with tremendous fidelity in conveying the feelings of her mother. The playwright introduces here the facts of the biography of his heroine, which were absent in the draft scenario: a trip to the Crimea, many wanderings, life abroad, that is, expands her life experience, so necessary for the manifestation of true talent on stage; and, finally, informs about the inheritance received by Lyubov Ivanovna, which gave her independence as an actress. The scene ended again with the recollection of the last date with the father of the child, who had abandoned her, about the son, whose appearance constantly came to life in the sensitive imagination of the woman. In this version, the scene was included in the final text. The internal dynamics of the image of Kruchinina consisted in a complex interweaving of feelings: the deep melancholy of the mother and somewhere in the recesses of the soul of the still preserved hope for a meeting with her son. The intense spiritual life determined the actions of Kruchinina, her attitude towards people. This psychological impulse motivated the state and behavior of Elena Ivanovna in the first scenes with Neznamov (yavl. 4 5). These scenes, elaborated in great detail in the script, underwent further editing during the final finishing. The author's corrections are characterized by the desire to show the effectiveness of the heroine's inherent goodness and her ineradicable faith in man, in selfless female love, capable of morally reviving the human soul. The playwright first reinforces Kruchinina's response "And I will never quit" by introducing the words "no matter how insulted me" (p. 3), but in the final edition rejects them and gives a motivation that reveals the essence of Kruchinina's nature, "because I feel the need to do good ". Her conversation with Neznamov that “there is a lot of nobility in people,” selflessness, is supplemented by an insert: Neznamov. Where are such rare specimens located? Kruchinin. Everywhere, one has only to search; they are not rare, there are many of them. Yes, that's not far to walk ... Particular psychological stress is achieved in the scenes with Murov. They contain the gamut of Kruchinina's feelings: offended dignity of a woman, mother, contempt for the direct culprit of her suffering, intransigence to what he has done, pride in the actress's high mission, consciousness of independence and independence of her actions; and as a leitmotif of longing for and demanding the truth about their son. Thus, a number of additions are introduced into the draft dialogue between Kruchinina and Murov (file III, yavl. 7): at Murov's request to conclude peace and dictate her terms to him, Kruchinina exclaimed with dignity: “How bitter it is to hear all this. You [do not know how] do not value [s] in a woman neither youth, nor beauty, nor [heart] the fresh feeling of that<7 Литературное наследство, т. 88, кн. 1

4 514 SEARCHING AND COMMUNICATIONS of boundless love, for which she [has long been ready] is capable, and are ready to humiliate herself before fame, before a woman who has already sewed, whose feelings have cooled in her heart and hardened ... ”(p. 10 of the script). As we see from this insert, in the draft script, Elena Ivanovna's answer to Murov did not immediately acquire artistic completeness .. Initially, it was of an abstract, generalized character: Murov did not know how to appreciate in general a woman her youth, beauty, and heart. In a revised form, Kruchinina's answer takes the form of a categorical "you do not appreciate" and in it the reproach to Murov intensifies, who does not appreciate the "fresh feeling" of "boundless" female love, but this version does not remove the generalized abstraction of the answer. In the final version, in the words of Kruchinina, there is a direct accusation of the spiritual emptiness of Murov, who lives according to the laws of a society where the power of money reigns, forcing him to abandon the sincere love of a simple girl and humiliate himself in front of a celebrity: “You do not give any price to a fresh, young feeling, a simple loving girls and are ready to humiliate themselves in front of a woman who has lived, whose soul has already grown cold, just because she is famous! " This painstaking work on only one replica of the heroine reveals the high "dramatic trickery of Ostrovsky the psychologist, who rightly asserted that he" not only has not a single character or position, but there is not a single phrase that does not strictly follow from the idea "( XV, 154) Deepening the conflict (the socio-psychological discord between the characters) and revealing the proud independence of his heroine, Ostrovsky inserts into the text her remark “There is no Lyuba, this is Elena Ivanovna Kruchinina in front of you” (fol. 10), as a response to Murov, who reproaches her in the absence of a “spark of the old feeling.” The entire dialogue is built according to the principle of a circular composition, with the addition added to its beginning: “M u rov. You want to get rid of me as soon as possible, stop the conversation and show me the door. Kruchinina. When you have finished asking. Murov. I have finished. Kruchinina. Well, now I’ll ask you: "Where is my son?" And the scene closes with a repetition of the same leitmotif of the conversation (new insert): "To all your questions, I will also answer you with a question: where is my son; and until I see him, we will not have another conversation. I will wait, I am patient. Until I see him." goodbye, goodbye! " (fol. 10v.) This is the final of Act 7, Act III in the draft manuscript. Accordingly, Murov's answer “Goodbye. (Goes aa Kruchinina). I am patient in hope I never lose (leaves). " It is significant that Kruchinina ends her meeting with Murov not with the address “Farewell!”, But with the words “I have to go to the stage,” which underscores her dedication to her acting business, which is the pathos of her life. This final scene corresponds to the final of the previous, sixth phenomenon, in which the playwright, when revised, made the remark “Kruchinina sits down at the table, takes out the role and reads ... Murov enters” (l. 5 (9) of the script). This emphasizes the abyss that separates two once close people, and the heroine's hard work, and her inherent consciousness of professional duty. How hardworking Lyuba Otradina was in her teaching career, she remains the same hard worker in the theater, being already a famous actress. So, in the process of processing "a rare talent and a good woman" Otradin-Kruchinina "turns" all facets of his rich nature. The scene of Kruchinina and Murov is played at great dramatic intensity in the next IV act (episode 4). The psychological incentives for both opposite sides remain the same: learn the truth about your child from Kruchinina and find him, hide this truth from Murov and by any means get rid of the living evidence of the sins of his youth in the person of Kruchinina. Each replica "of the dialogue is expressively effective, revealing the characters of the heroes as two social

5 INVESTIGATIONS AND MESSAGES 515 Yao-psychological antagonists representing the poles in social conflict, which in Ostrovsky's later drama is always personified. The structure of the dialogue reveals, on the one hand, exactingness and directness, the independence of the working actress Kruchinina, and on the other hand, false evasion, cynicism of the “important master”, “one of the main tycoons in the province” Murov. For this purpose, replicas of the dialogue are inserted into the dialogue, where Murov, trying to sow hopelessness in the soul of Elena Ivanovna, deceives her, shamelessly misinterpreting the name of the merchant of their educator Grisha: “Kruchiyaina. What have you learned from him? Murov. That this merchant Prostokvashin ... You seem to have said: Ivanov? Murov. I was wrong just now, and then I remembered. So that's what ... "And then again the insert:" Murov .... you just have to ask who the widow of the kupyaikha Nepropekina married. Kruchinin. You just said that the name of this merchant is Prostokvashin, and now Nepropekin. Murov. How, really? However, I dare not argue; I very often mix up surnames ”(fol. 12 of the script). Undoubtedly, such an addition introduces a comic element to the dramatically intense dialogue, but the persistent confusion of the name reveals Murov's “deliberate intent and lies. Murov is portrayed as a person who has no idea about duty, about spiritual values, guided only by selfish interests. In contrast to him, Kruchinina is portrayed as a person of high civic responsibilities. Firmly opposing Murov, who is afraid of a scandal before the elections and offers to make peace "on the most favorable terms" or, at least, to leave the city, Kruchinina says with dignity: "I do not want either one or the other ... And I can’t leave. I am obliged to play two more performances ”(fol. 12v.). In the final text, this remark acquires greater expressiveness: the words “yes I can’t leave” are removed from it, introducing a concessive-justifying intonation into the speech; and the phrase is added: “I will play them, and I will leave when I please,” which vividly individualizes the image. To the direct threat of Murov, "Do not quarrel with me! .. I am a strong man, I have a large party" Kruchinina replies: "I know that you are capable of anything bad, but I am not very afraid of you."<л. 12 об.). Существенны исправления этого первоначального варианта: опускаются слова «дурное», «не очень» и в построении предложения делается инверсия: Елена Ивановна начинает свой ответ словами: «Я не боюсь вас. Я знаю, что вы способны на все» в них решительность, и смелость, ;и резкое обличение. Выдвижение в «Без вины виноватых» на первый план нравственно-этических проблем обусловило главный принцип раскрытия действующих лиц моральнопсихологический аспект. Углубленный, тонкий психологический анализ давал возможность показать сложное внутреннее течение мыслей и чувств героев. Но Островский не ограничивался этим, а всегда вскрывал те конфликтные обстоятельства, которые приводили героя к душевным переживаниям. Источником конфликтных ситуаций выступают у Островского законы социальной среды. Так, психика героя предстает в его пьесах строго социально-обусловленной, а поступки имеют реальную социально-психологическую мотивировку. В выражении внутренних душевных движений драматург очень сдержан. Его герои не произносят длинных психологическинапряженных монологов. Характерной для авторских исправлений является тенденция спрятать переживания героя глубоко внутрь. При этом каждое слово приобретает особую экспрессивно-эмоциональную весомость и значимость. Многоговорящим -также становится «язык» жестов и мимики; большую роль выполняет интонационеая окрашенность речи. В этом легко убедиться, проследив, например, правку драматургом одной из сюткетно-ответственных сцен свидания Кручининой с Галчихой (д. II, явл. 6). Повышенно напряженный драматизм, как выражение крайнего волнения, смятенного состояния героини, создается разнообразными средствами: обильными эмоциональными повторами в репликах, их вопросительно-восклицательной интонацией; разбивкой одной реплики на несколько в диалогической форме; указанием на 17*

6 516 EXPLORATIONS AND MESSAGES external movements of the character, replacing low-expressive, neutral words with ideologically significant ones, etc. Here is the nature of the processing: Text of Kruchinin.< > initial: Where is my baby? Kruchinin. Where is my son, where is my son? H and l h and x a. Yes, yes, son - exactly ... what is his name ... I had a lot of guys, a lot. I'm an old midwife. Remember General Bystrov ... she accepted all the children, and then the merchants are the richest at the Zdvizhenie, and so, too, she herself, nothing without me ... mezzanine ... Kruchinin. No, my son Seryozha. H and l h and x a. Seryozha? Yes, yes, I remember. Kruchinin. He also fell ill then. H and l h and x a. Recovered, mother, God gave me recovered. Kruchinin. Well, what then? Kruchinin. You say, mom ... [looking, looking, asking]. H and l h and x a. Yes, he will pull out his little hands and say: mom, mom. Kruchinin. Oh my goodness! Well, further! Corrected text: Kruchinina. Where did you bury my Grisha, my child, my child? Kruchinin. Let's go to the grave, let's go! H and l h and x a. Where, mother, which one? Kruchinin. I had a son, a son. G and l chi kha. Yes, yes, son, exactly ... what was his name? I had a lot of guys, a lot. Remember General Bystrov? She accepted all the children. Kruchinin. Yes, it’s not that, you’re not saying that. Galchikha. And then the merchants were the richest at Zdvizhenya, so she herself is nothing without me. I also used it. Kruchinin. No, my son, my son! Galchikha. Yes, that's what I'm talking about, and your son ... Or else a widow, a house across the river, so huge and a mezzanine ... and in this mezzanine ... Kruchinina. Not that, my son, Grisha ... Galchikha. Grisha? Yes, yes, I remember. Kruchinina (putting Galchikha on a chair). He also fell ill then; suddenly fell ill with a terrible disease. Wheezed, well, remember? And he died. Galchikha. Recovered, mother! God gave, recovered! Kruchinin. What are you saying, Arkhipovna! Have pity on me! H and l h and x a. Recovered, recovered! Kruchinin. And then, what then? Kruchinina (sobbing). You say mom? Galchikha. Yes. He will pull out his hands and say: "Mom, Mom!" Kruchinin. Oh my goodness! Oh my goodness! Mother Mother! Well, further, further? How deeply the tension of all the emotional forces of the suffering mother is revealed by the impatient questions interrupting Galchikha's story, the forcing of the repeated words “my son, my son”, “fell ill, fell ill”, “and then, then,” “my God, my God,” “mother , mom "," further, further ". The dramatic tension of the scene as a whole is enhanced by the fact that its structure is based on the compositional method of gradation, which is characteristic in general for Ostrovsky's drama. The gradual increase in internal drama ends with a moral blow: it turns out that Kruchinina's son did not die, of which they brutally tried to assure her. This moment of extreme shock did not immediately acquire an adequate artistic and expressive form. In the draft script, Kruchinina's final remark was: “My Sasha, Sasha! I was eager to see him, I was assured that he was dead; and he pulled his hands and called: mom, mom! What a frustration! " (l. 5). The amorphousness and pallor in the expression of the heroine's experiences are obvious here. In the final version of Kruchinin, his extremely laconic monologue begins and ends with a socially and psychologically effective framing phrase

7 WANTED II MESSAGE 517 “What villainy! What villainy! ", Replacing the unimpressive" What a frustration! " Repeated three times, it sounds like a bitter accusation of the then order, trampling on the rights of mother and woman. Then, inside this framing phrase, each word paints in relief the pain of the human soul: “I miss my son, I am killed; I am assured that he is dead; I shed tears, run far away, looking for a corner of the world where I could forget my grief; and he beckons me with his little hands and calls out: "Mom, mom!". The impression of inner drama is facilitated by the concentration in one sentence of expressive verbs, which depict the moral torments of the heroine both in the past and in the present. And, finally, the state of mind of Kruchinina finds an external manifestation; replica "you say: mom?" she utters "sobbing", the final monologue is accompanied by remarks that also indicate the natural movement of a person in a given life situation: "sits at the table," "sobbing, lowers his head on the table." The scene under consideration can serve as a high example of the implementation of the main principle of Ostrovsky's late drama, the synthesis of internal and external drama in the artistic structure of the play. In "Guilty Without Guilt" it is consistently carried out. The development of the action here is determined not only by the growth of emotional experiences of the main characters, but also by the intense development of "intrigue" into which almost all the characters are drawn. Ostrovsky, affirming the principles of "natural and expressive play" in the theater, demanded from the artists the harmony of the internal and external image of the image, which is given by their professional skill: “amateurs and artists in general, who entered the stage without technical training, do not have obedient material at their disposal< ") они обманывают зрителей и сами обманываются, полагая, что изображают какое-нибудь лицо. Представление о данном лице так и остается в их голове только представлением, не (проникая) во внешность (артиста), не преображая ее ясно в определенный, цельный образ: игра неученых артистов не есть лицедейство это только более или менее приличное чтение роли, сопровождаемое тщетными, нескладными усилиями согласовать свою фигуру с словами роли» 6. Защитник сценического реализма, Островский в работе над своими пьесами всегда стремился помочь артисту при исполнении «согласовать свою фигуру с словами роли». Поэтому, справедливо считая автора «Грозы» и «Бесприданницы» «драматургом-слуховйком» в отличие от Гоголя, в то же время нельзя недооценивать искусства Островского в создании «зрительных» впечатлений. В пьесах, особенно позднего периода, большую идейно-эстетическую функцию начинают выполнять ремарки и паузы, являясь одним из важных средств психологического анализа. Примером редкого сценического мастерства может служить правка драматургом самого высокого по эмоциональному напряжению и острому драматизму финала пьесы «Без вины виноватые» (д.iv, явл. 10). Из данной сцены исключаются слова, замедляющие действие и не вносящие каких-либо новых штрихов во внутренний облик персонажей: например, слова Кручининой и Незнамова, следовавшие после ее реплики «сделайте одолжение» «я познакомилась с вами очень недавно, но уж я убедилась, что вы человек сердечный, что у вас много чувства, мне интересно слышать, что вы нам скажете, и я надеюсь, что всем будет очень приятно послушать вас. Незнамов. Конечно, приятно, непременно приятно, иначе я не стал бы и говорить» (л. 8(15)). Слова Кручининой о чувствах Незнамова оказывались здесь повторением ее же, более ранней, характеристики; а ответ Незнамова нейтральный по отношению к действию нарушал верность побудительных мотивов его поведения в данной ситуации: тост это порыв его наболевшей души, а не стремление доставить «приятное» обществу. В момент наивысшего напряжения Островский чаще всего отказывается от словесного выражения чувств действующих лиц, создавая впечатление недосказанности,

8 518 SEARCHING AND MESSAGES of the "undercurrent" of their inner life; at the same time, the author's comments carry a great psychological load. So, following Neznamov's toast to mothers abandoning their children, the playwright comments on Kruchinina's reaction with a remark. In the next monologue of Neznamov, he transfers to the end of his words “after all, these souvenirs<т. е. медальон) жгут грудь»; тогда становится предельно жизненноправдивым, а не сценически эффектным, непосредственный порыв матери, бросающейся к сыну, и ее обморок, как следствие перенапряжения душевных сил (л. 8(15) 8 (15) об.). Сравним варианты этого отрывка: Черновая рукопись: Окончательный текст: Кручинина (встает к, едва дер- Кручинина бросается к Незнамову и досжась на ногах, подходит к Незнамову) тает с его груди медальон. Где он, где он? Покажите! Ах, скорей, Кручинина. Он, он! (Шатается и скорей! (достает сама медальон). Ах! падает, без чувств на диван, все окружают Саша! Я здесь, я откликнулась! О сча- её). стие, сын мой! Я его нашла, я его Д у д у к и н. Ах, боже мой, она уминашла (падает без чувств на диван), рает! Доктора, доктора! Вы ее сын. Вы Д у д у к и н. Какой случай! Вы ее сын! убили ее! Сколько лет она плакала о вас... Незнамо в. Я ее сын? Д У Д У к и н. Да. Сколько лет она искала вас... Насколько выразительнее стало авторское указание на поведение героини она не «встает и подходит» к Незнамову со словами «Где он, где он? Покажите! Ах, скорей, скорей!», а именно безмолвно «бросается»: в одном движении порыв, нетерпение, окрыляющая надежда! И разрешением переполнивших сложных чувств в эти минуты становится не пространное словесное их выражение, как в черновом варианте: «Ах, Саша, я здесь, я откликнулась! О счастие, сын мой! Я его нашла, я его нашла!», а только одно краткое восклицание «Он, он!» Психологически более мотивированным также является выражение безмерной радости обретенного счастья после того, как потрясенная мать очнулась от обморока, на что потребовалось определенное время (а в черновом сценариуме вслед за ремаркой «падает без чувств на диван» Кручинина сразу произносила «Что со мной! Ах, боже мой!»). И это сценическое время драматург искусно заполняет, вводя ранее отсутствовавшие реплики, которые раскрывают реакцию каждого участника событий на происшедшее. Эмоционально усиливается реплика Дудукина «вы ее сын» введением в нее фраз: «Ах, боже мой, она умирает! Доктора! Доктора!» «Вы убили ее!» Слова Дудукина перебиваются полным радостного удивления вопросом Незнамова «Я ее сын?»; первоначальный ответ Дудукина «Да, сколько лет она плакала о вас» видоизменяется: «Да, сколько лет она искала вас!», ибо в натуре Кручининой не пассивный уход в свои переживания, а активное желание найти потерянного сына. Вновь вводится и реплика Горинкиной «Тише, тише, она приходит в себя». И только после незнамовских слов «Да, я ребенок (падает па колени, для окончательного текста уточняется «.перед Кручининой») «Матушка! Мама, мама!» драматург дает ремарку: Кручинина (приходя в се"я), но еще будто в забытье, говорит: «Да, он тянул свои ручонки...» Переработке подверглась и реплика Кручининой, выражающая полноту ее радости. В черновой рукописи было: «Да вот он...какое счастье, господа. Какая будущность для меня! Теперь я знаю, для кого мне жить на свете» (гладит по голове). Господа не обижайте его, он хороший человек: и вот теперь он нашел свою мать и будет еще лучше» (л. 16). Данная редакция дает основание предполагать, что счастливая Кручинина, обретя сына, может распроститься со своей артистической деятельностью, в ином свете теперь рисуется ей будущность: теперь она будет жить для сына. Это в известной мере нарушало цельность образа героини. Логика развития характера не позволяла думать, что Кручинина замкнется в узких рамках личного счастья. Островский отказался от включения данных слов в

9 EXPLORATIONS AND MESSAGES 519 "The final text, thus emphasizing that the future life of an artist and an" extraordinary "woman will also be full of active goodness, will be given to her son and people, to the noble goals of their enlightenment by powerful means of art. The playwright in the new edition is more vivid and more vividly expresses the rapture of joy, Kruchinina's optimistic faith in the possibility of happiness "on earth": "Yes, it is he ... Grisha, my Grisha! What happiness! How good it is to live on earth (pats Neznamova on the head). Gentlemen, do not offend him." ... and so on. Consistent with the inner state of an enlightened, happy person, the playwright, when finishing, gives an author's indication and how Neznamov asks his mother about his father "quietly" is a very subtle psychological remark showing a natural, deeply hidden until now, Neznamov's tact The playwright was not satisfied with the rough wording of Kruchinina's answer. m with a socio-psychological touch; and he expands the original text “Father (looks around) Father ... your father is not worth looking for” with a colorful insert: “But I wish he looked at us. If only I could look; and we will not share our happiness with him. Why do you need a father? You will be a good actor, we have a fortune ... And the surname ... you will take my surname; you can wear it with pride, it is in no way worse than any other. " How much is hidden in these closing words of Kruchinina's transparent-subtle hint-reproach. her father, Grisha Murov, who is present here; how much proud consciousness of his moral superiority in front of him, how much fervent faith in his social vocation and how much firm confidence in the fate of his son is already a "good man" - and in the future an even better (under the beneficial influence of his mother) man and actor! ... the great master in the finale "Guilty Without Guilt", as in focus, Ostrovsky's aesthetic and ethical program is concentrated: the idea of ​​the all-conquering power of "purity of moral feeling", an optimistic belief in the transformative purifying function of art, morally reviving a person. Ostrovsky did not change the method of stage and dramatic realism in portraying Neznamov's character. Neznamov's spiritual world is disharmonious: by nature, humanity, subtlety of feelings, humanity are laid in it; and life makes you be rude, impudent, irritable. His mental wound of the "intake" bleeds all the time, and the consciousness of offended human dignity is expressed in sincere bitterness. The search for the most expressive means for depicting such a complex socio-psychological picture is what distinguishes the playwright's work on the role of the protagonist. Already in the first exposition information, the psychological lines of the hero's character are outlined. In the draft script we read: “[Yes, yes, what a nasty story]. Korinkin about the unpleasant character of Neznamov. His tongue is sharp and angry. It is simply impossible ”(fol. 1) this is in the scene of Dudukin and Korinkina. And further: “I heard that they want to expel him. Tell me what the story is. Tells ”(ibid.) Dudukin's scene with Kruchinina. And at the same time, the draft manuscript notes: "No, he is not lying, perhaps all this is true, what he says, but why, who asks him?" (l. 1). Ostrovsky is trying to determine as truthfully as possible the state and mood of Neznamov. In the script, he writes: "You are very angry, angry, you need to calm down" (l. 2). Putting then this characteristic in the mouth of Kruchinina, he changes its meaning: “You are annoyed, upset; Come and calm down. " Not anger is a typical trait of a young man, but irritability. This idea is also emphasized by Korinkina; In her story about Neznamov, a summary is inserted "so young, still quite a boy, and so irritable" (file II, manifest. 2), Socially determining the character, Ostrovsky supplements Dudukin's conversation with Korinkina with an explanation of this phenomenon: “They annoyed him, so he became irritable. Is life sweet to him, ask? "

10 520 INQUIRIES AND REPORTS ABOUT Neznamov in the play are scattered many messages that are given by various characters and the hero himself, and this becomes one of the methods of creating an image; the significance of the hero's monologue also increases. The playwright monitors the authenticity, the verisimilitude of both the hero's self-statements and his indirect characteristics. Therefore, the facts of the biography of Neznamov about his unsightly childhood without a father and mother, without "legal, kind" and information about how he got into the troupe, previously reported to Elena Ivanovna Shmaga (file II, yavl. 4 p. 2 v.), then passed on to Dudukin (file II, yavl. 3). In the draft script, the playwright writes in the course of work: "Nil Stratonich tells the story of Neznamov in the 2nd act" (fol. 9), and implements this record when creating the text of the first three phenomena of the second act (fol. 1-6). Thus, the exposition of the hero's image prepares his first appearance in the scene with Kruchinina in Act II. Neznamov appears in the play as a character who has not yet formed, with unstable views: his life experience is not yet great, but the young hero is smart and often reasonably discusses the morals of the provincial theater. Combining both “bad” and “good”, Neznamov, according to the playwright's definition, cannot be, due to his youth, “neither a hardened impudent man with a raised head, nor a gloomy person who has lost faith in life and people” (XVI,). Drawing the image of Neznamov, the author removed from the characterization everything that contradicted such an understanding of his essence. In the remark of Grigory Korinkina "how can I take revenge on a woman" the word "revenge" is changed to "pay back" (fol. 7v.); in the finale it is inserted: "gentlemen, I will not take revenge on you" (for an evil intrigue against him and Kruchinina fol. 8). Not included in the final text are Korinkina's words about Neznamov “playing some kind of prophet” (fol. 7v.). Discord sounded in a conversation with Kruchinina (d. II, yavl. 4) the young man's "philosophical" reasoning about the "human race": creation and is called in zoology "boto cargens" (l. 2v.). A similar kind of thought, clothed in some generalized philosophical form, was expressed by Neznamov and Milovzorov (file III, manifest. 5): “And this is our youth and bravery, these mockery of humanity ... do we despise? We do not know and have never seen honest, strictly truthful and whole people; we live in a circle of small and trashy people and judge all of humanity by them ”(l. eight). Painting Neznamov as an intelligent person who understands that “it is too early for him to be a judge of other people's vices” (XVI, 148), Ostrovsky refused to include these passages. In a revised form, Neznamov's monologue is not generalized, but specific: it is about Kruchinina, and not about humanity, not about people in general, “in which we dare not talk, but must be silent, lower our heads in shame and catch how manna from heaven their [simple] honest [and] clever speech. " The editing also determined the direct connection of this scene with the storyline. For the same purpose, Neznamov's judgments about female morals are excluded: “Old sins. Who doesn't have them! Probably some kind of hobby. She was young, inexperienced. Only women without a heart are not carried away ”(l-8). It was not a 20-year-old boy who could reason like this, but a man with considerable life experience and observations. Unnatural in the mouth of Neznamov was his kind of vital and final pessimistic statement: “I strive straight for hard labor. There I belong, there I am equal with everyone, there [no! no kind, no rank is needed? There everyone is deprived of all rights, the crime has made everyone equal ”(fol. 2v.). In the draft manuscript, there is a certain tendency to present the young hero as a man of posture: he is "playing the prophet"; Shmaga ironically remarks about Neznamov: “He has a soul: he sometimes reads such monologues that you just think how to take your legs away” (l. 6); Neznamov himself says: “What else can you expect from us? We have sustained our role ”(fol. 3v.), Or:“ What kind of figure am I going to “pretend to be” (fol. 2v.); the verb “to represent” is here replaced by the verb “to represent”, which removes the shade of “play”.

11 V. F. KOMISSAR / NEVSKAYA IN THE ROLE OF LARISA ("THE BIRTHDAY" Alexandria Theater, 1896 Photo Central Theater Museum, Moscow

12 522 EXPLORATIONS AND COMMUNICATIONS Due to his youth and the good qualities inherent in his nature, the hero of “Guilty Without Guilt” is more sincere and spontaneous than theatrical in life. Therefore, these characteristics were left unused for the final edition. The playwright changes Neznamov's ironic tone in relation to Shmage. In the remark “but I really love Shmaga, that's why I make him speak for me” (fol. 1 v.), There is a clear discrepancy between the motive cause and its effect, which gives irony to the phrase * which is corrected like this: “but I leave it to Schmage to speak, because that he is more eloquent. " It is all the more untypical for Neznamov, having very little life and professional experience, to come up with generalized conclusions about art and actors. For example, the following conclusions are removed from his speech: “Yes, art is ours ... It is lofty for sure; on the other hand, there is nowhere so much deception as in our art. The higher the actor or actress, the less you need to believe them. They will make you wonder at their kindness, their angelic heart, they will make you cry, and then they themselves will laugh at you ”(l. 11). Such a view of Neznamov contradicted real-life conditions, typical circumstances inherent in him / lick: he did not "come across" high "art before meeting Kruchinina and knew only mediocre provincial actresses whom he did not respect. By eliminating this remark, the playwright retained the social, everyday and psychological fidelity of the character portrayed. Due to life circumstances, Neznamov developed an attitude towards his profession as a craft, which is emphasized by the playwright by inserting into the hero's address to Kruchinina: “You may want to consider your game as art, we cannot forbid you that. We are frankly, we consider our profession a craft, and a craft of a rather low grade. " ", Gnawing" for a piece of bread ", selling" aa ruble to each other ".." But the inclinations of nature "with talent and soul" demanded spiritual food; In Neznamov, a burning need for human participation, for communication with spiritually rich and morally pure people, was latently ripening. In the "draft manuscript, the cry of his heart was the words" Suppose that I am an insignificant person, but I am looking for truth, I am looking for honesty, in one word I am looking for such a person as<им]>it should be; and not such as we see, I want to admire, revere, well, bow at his feet ... ”(l. 6 (11)). In his quest for the ideal, the hero in the environment did not meet with support, which made him even more yearning for the ideal: “Soul! What is the use of it, Grisha Neznamov said in the draft edition, if there is no sense or sense, if there is no one to take me out on the road, there is no one to show me what to do with, where to spend my soul. Light, I ask, light ”(l. 6 (11)). But the excess of youthful energy found a way out in rudeness and tavern scandals. Ostrovsky did not include both of the above excerpts in the final text, but the feelings expressed in them constituted the "undercurrent" of the hero's inner life. The author of Neznamov's monologues translates a lot into subtext, and the key to understanding the subtext is his words “and suddenly I meet sympathy, affection ... from a woman whose fame thunders, with whom everyone considers it a happiness to at least talk! Will you believe, will you believe, yesterday for the first time in my life I saw my mother's caress! " (d. III, -avl. 5). The image of the hero is given in evolution, and corrections in the manuscript show that the playwright persistently sought the most convincing expression of the process of moral elevation taking place in Neznamov's soul under the influence of a noble pure daatura. Kruchinina (house II, yavl. 4). Ostrovsky comments on this scene in detail in one of his letters, pointing out how he’s holding on! A young man comes to a visiting celebrity "half-drunk, with a daring look", although "his insolence is shaken by some embarrassment." Having met a pure nature, which he had never seen before, Neznamov "was dumbfounded", "lost", "he

13 SEARCHING AND COMMUNICATION 523 seeks and cannot find the tone ”(XVI, 148). The author emphasizes the incipient enlightenment of the hero. He removes everything that Neznamov painted as rude, doubting the possibility of disinterested good, active love. Thus, an unceremoniously tactless neznam statement: “You are famous, [for you] all kinds of authorities are at your service; you are received with courtesies, you are not denied anything, so you got into the habit ”(l. 3) and remained unfulfilled during the finishing of the manuscript. His words “but you cannot correct everyone, the other cannot correct, and, perhaps, does not want to” (fol. 3v.) Are replaced by a phrase; "Not everyone can be corrected ... not everyone will allow him to be corrected." Neznamov's sharp answer to Kruchinina did not pass from the draft manuscript to the white-paper manuscript: “I already said that there are, what else do you need” (fol. 2v.). The state of a young man, according to the playwright's testimony, should be manifested "both in gestures and in tone" (XVI, 148). Instead of a sharply thrown remark in the draft script, in the final version there is a brief agreement “Yes, there are” with the subtle psychological external movement “looking down,” translating newly arisen feelings into subtext. The main work of Ostrovsky on the image of Neznamov, like Kruchinina, consisted in their deep psychologization. The mental process receives a subtle subtextual expression in the finale of the first meeting between mother and son (the scene has undergone significant editing). Let's follow the course of the playwright's work. Draft edition: Final text: Kruchinina. Goodbye. Kruchin and on. Goodbye. Neznamov (after a pause). Allow me Neznamov (after a pause). Let me kiss your hand! kiss your hand! Kruchinin. Oh, what are you! Yes, unless Kruchinina. Oh, if you please, I dare to refuse! You said so, volta! with such a feeling. Neznamov. Why, I’m the Neznamov water intake. That is, you hold out to me- (kisses his hand). do not give it as alms. No, if you feel disgust for me, please tell me straight. Kruchinina .. Well, so here I am for you. No, no; I will kiss you very much like a mother. pleased. Neznamov. What a nonentity I am. Neznamov. After all, in essence, I (Leaves). rubbish, and even a water intake (Neznamov takes Kruchinina's hand). Kruchinina (turning away, quietly). Don't say that word, I can't hear it. (Neznamov kisses her hand. She presses his head to her chest and kisses him hard). Neznamov. What are you, what are you! For what? Kruchinin. Sorry! Neznamov. You still ask for an apology! Oh, God bless you! (Exits). The peculiarity of Ostrovsky's creative work is that the most ideologically and artistically significant (for characterizing images or plot development) motives, as a rule, are repeated and varied in draft manuscripts. So, we come across separate entries: “Yesterday I saw my mother's caress for the first time, I saw a man for the first time”, or: “Gentlemen, I have found my son and I am happy, but his father is not worth looking for him” (l. 8v.). There is also an initial version of a short summary of the ending of the scene by Neznamov and Kruchinina: “But what woman would refuse this? After all, a man only kisses a hand loosely from his mistress and his mother. (Kissing). Why, I’m a suction cup. I'm a water intake, so ... (presses his head to himself, kisses his forehead and eyes) "(fol. 1v.). Already in the draft manuscript, when writing an expanded dialogue of Neznamov in Kruchinina, this entry was significantly transformed: the thought that sounds psychologically false in the lips of a young man about how a man kisses completely disappears

14 524 EXPLORATIONS AND MESSAGES the hand of the mother and mistress: the remark is eliminated (presses his head and kisses his forehead and eyes) and instead of it the words of Kruchinina are introduced: "Well, then [here you] I will kiss you like a mother." Ostrovsky makes it clear about the inner work of Neznamov's mind and heart during his conversation with "pure nature" and about the outlined shift in his soul with a pause-note accompanying his request to kiss Kruchin's hand. During the final finishing of the scene, Ostrovsky did not include the words of Kruchinina “Oh, what are you, but do I dare to refuse! You said so, sir, with such a feeling ": the verb" I dare "and the particle" s "were discordant with the essence of her character and the style of her speech; in addition, the feelings that possess Neznamov should reach the viewer not through Kruchinina's statement of this, but in the tone of the hero's own speech, which the playwright wanted. In the new edition, in response to the request and question of Neznamov, Kruchinina exclaimed with all the spontaneity of a kind heart: “Ah * if you please!”, “No, no; I am very glad". Preserving the vital veracity of the image, the playwright enhances the display of Neznamov's internal contradictions by introducing the remark “That is, you will give it to me<руку> like alms. No, if you feel disgust for me, please tell me straight, "which correlates with his recently said:" It hurts even more when they pity me. " The lofty words of Neznamov: “What an insignificance I am!”, Which ended the scene in the script, are replaced by naturally simple, bitter ones: “After all, in essence, I’m rubbish, and even a puff”, revealing the eternal pain of his soul. And how much sincere feeling, surprise and gratitude of a person who suddenly understood all the beauty and nobility of a woman, in short, emotionally rich exclamations: “What are you, what are you! For what? "," You still ask for an apology! Oh, God bless you! " this ends a tense meeting of two suffering heroes. Restrained, psychologically well-developed remarks also help in conveying complex movements of the soul: “Neznamov takes Kruchinina's hand”; Kruchinina “turning away, quietly” asks the young man not to say the word “podzabornik”, which is terrible for her; Neznamov “kisses her hand. She presses his head to her chest and kisses him hard. In the final version, the scene wins with its psychological depth and naturalness. It is interesting to note that in the draft manuscript in the scene of Neznamov with Korinkina (d. III, javl. 4), outwardly similar in the situation with the scene of Skruchinina, the reaction to the unexpected hugs and kiss of the young artist of the young hero were the words “And if sincerely, thank you”, and as a manifestation of gratitude “takes her hand and“ kisses ”(fol. 7v.) Ostrovsky removes the remark and gives one restrained remark from Neznamov:“ Well, if from the heart, it’s another matter, ”because the hero knows Korinkina’s falsity, and he is under the impression of the nobility of a woman with whom “everyone thinks it’s happiness to at least talk” and who allowed him to kiss her hand and this feeling is sacred for Neznamov! He does not want to defile him by kissing the hand of a woman he does not respect. even when his faith in Kruchinina's sincerity was shaken. ”It is noteworthy that in another scene with Korinkina (d. IV, yavl. 8) the playwright refused to include in the final version of the request of Neznamov“ This is for this merci! kiss the handle "(kisses) (l. 7 (13) rev.). The means of expressing Neznamov's inner state are both self-expression and indirect characteristics, but the main role is played by monologue speech, which best reveals precisely the confusion of his soul. All further amendments are subordinated to the clarification of the drama that is growing in the hero's soul, the maturing in him of the inner need to express to the end the pain and bitterness of a "simple, trusting", but ostensibly "deceived" heart. The dynamics of the events taking place is determined by the parallel developing inner drama of the heroes and the sharpening plot intrigue, interpenetrating in the artistic fabric of the work. It is Neznamov who is the object of an acute dramatic struggle that constitutes the end-to-end action of the play.

15 INVESTIGATIONS AND MESSAGES 525 The influence of the meeting with Kruchinina turned out to be so beneficial for Neznamov that he gave up his usual pastime in the “Meeting of Merry Friends” and “hit” philosophy. Shmaga colorfully describes his mood to Milovzorov, Dudukin and Korinkina (file III, yavl. 3). In the draft manuscript, the playwright limited himself to this description by stating a fact. Developing the action by increasing internal and external drama, Ostrovsky, when reworking, makes an insert in the text: “Duduk and n. Neznamov and for philosophy!., Strange. Korinkin. What, he was jinxed, or what? Sh m a-g a. Jinxed. Korinkin. Who is it? Shmaga. A visiting celebrity. Korinkin. You're lying. Go away! Shmaga. No, that's true. K o-r and n to and n and. Milovzorov, this should be taken into account. Milovzorov. We will accept ”(l. 7). So, Kruchinina and Neznamov are pulled together into one knot of intrigue. The conspiracy against Kruchinina, of which Neznamov becomes a blind instrument, gets its realization and development in the next scene of the hero with Milovzorov (d. III, yavl. 5), revealing the secret of the "visiting celebrity" her old "sins". This strengthens Neznamov's feelings, complicates the development of the plot and pushes the action forward, being one of the important links in the preparation of the hero's climactic monologue-toast to mothers who abandon their children (file IV, yavl. 9). Neznamov's dialogue with Milovzorov takes the form of a heated argument. The dialogue is built on the basis of a clash of two different characters, opposite views of Kruchishshu: Milovzorov, who is trying to discredit her, since there is nothing sacred for him (even the feelings of the mother), and Neznamov, who seeks to defend the honor of the woman whom he reveres. The dynamics and tension in the scene is achieved by the persistently impatient questions of Neznamov, who is seeking the truth from his interlocutor, and the impossibility for him to believe this truth. The playwright supplements the text with a number of remarks: Neznamov (strictly). What is "woman"? Make the deal! and in his reply "No, speak, speak!" the words “you will not understand, that’s what I’m afraid of” are inserted (fol. 8 8vol.). The appearance of Kruchinina remains unclouded for Neznamov until the fatal thought thrown by Milovzorov “Did you melt, did you loose your lips? Actress, good actress ”, which was absent in the original edition (p. 9). These burning words hurt Neznamov's heart, violating the harmonious appearance of an ideal woman and an actress in it, and present the hero with a dilemma: "how real great artists behave in ordinary life", which becomes a psychological leitmotif in the further development of character. It is not by chance that in the process of work Ostrovsky writes in the manuscript: "Actress Actress, so play on stage" (fol. 8v.). Emotional repetitions of the meaningful word "actress", followed by long pauses, permeate Neznamov's final remarks: "Actress ... yes ... but I still don't believe you ..."; and in Neznamov's monologue: “(thinks over). Actress! Actress! So play on stage. They pay money for good pretense ... Actress! (thinks about it). Where is Shmaga? " For the construction of a monologue speech, Ostrovsky is often characterized by its circular composition. So it was in Kruchinina's speech. In this case, the hero's monologue also opens and closes with homogeneous remarks “pondering” and the fatal word “actress”. Strengthening the hero's spiritual struggle (faith and doubts about the purity and sincerity of the human heart), the author corrects the draft monologue, deepening the contrast between the actress's behavior on stage and in reality. So, initially it was: “But if she begins to play over simple, trusting hearts, then it is necessary to execute for this. We do not need deception, give us the truth ”(fol. 8v.). After the revision, it became: “And to play in life over simple, trusting hearts, which do not need a game, who ask for the truth ... for this we need to execute ... we do not need deception! Give us the truth, the pure truth! "

16 526 SEARCHING FOR THE MESSAGE The monologue acquires vivid expressiveness not only due to the intensification of emotional repetitions (truth, pure truth) introduced by the clarification “play in life”, but also due to the change in the general tone of speech by its intermittent, increased expressiveness. Neznamova relentlessly pursues the idea of ​​respect or deserves contempt for a woman who awakened the best human feelings in him? At the same time, the understanding of the intrigue against Kruchinina, in which he was involuntarily involved, also contributes to the growth of internal drama. On the disclosure of this state of the hero, the final appearance of Act III is created. Steadily moving the action forward, sharpening its flow, the author makes an insert: “Why, they are laughing! This is terrible, it is unbearable! After all, at least on my part there was a sincere, deep feeling. And why did I tell you! ”, And then revises the subsequent passage of the dialogue. The playwright excludes Shmaga's appeal to Neznamov “you have become somewhat suspicious” (fol. 10), since not suspicion characterizes the hero's inner drama; refuses Shmaga's remark “they are starting an evening, this is their business; and we'll come and have a drink as much as we should, that's our business. So we will each disperse in his own way ”: these words reduced the intensity of the action, which was approaching the denouement. The entire arsenal of artistic and visual means, found by Ostrovsky in the process of reworking the dialogue, creates the impression of the inevitability of a mental outburst in the hero and a turning point in the course of events: here are the psychologically effective movements of Neznamov "clutching his head" (he says the words "Oh, but I myself don't know , respect or contempt ... "); this is a figurative story introduced, as a parallel to the mood of the hero, about a man “the poorest” who suddenly found a pile of gold that turned out to be rubbish; this and the addition of Neznamov's question "Why, there is a difference between good and evil"; finally, his despairing exclamation: “O barbarians! What are they doing with my heart! But someone will answer me for my suffering: either they, or she! " (see l. 10 of the script and l. 4 "inserts" to the script). As usual, Ostrovsky III act finished with heightened tension, emotionally and effectively. The culminating psychological outburst and the turning point in events, multifacetedly motivated in the course of work as a playwright, occur during Neznamov's toast. Already in the draft manuscript, the toast monologue has ideological and artistic clarity and therefore does not undergo substantial editing, except for some stylistic additions that aggravate the acuteness of the hero's speech; for example! “And it would be better if you died [they thought to themselves] [and they are right !. And indeed, to die for this creature, [while they have not yet tasted all the bitterness of their stay on earth) is the best that one can wish for ... ”(l.8 (15) rev.). In the final version, the text of this passage reads: "This is what is true, it is true: to die is the best thing you can wish for this new guest in the world." The phrases: "why leave him a permanent memory of his shame", "It will be easier for me to endure my despair" are supplemented by the words "his misfortunes" and "my suffering." In the final scene, which unties the knot of contradictions, the playwright is especially attentive to achieving the correspondence of "tone and gestures": how life-like intonation is indicated in the speech of the hero, who wants to propose his toast "loudly" in it and challenge, and despair, and excitement! Or: in a monologue before the words “There are mothers who are more sensitive”, Neznamov “bows his head and thinks for a moment”. Subordinating the entire artistic system "guilty without guilt" to the genre of realistic socio-psychological drama, Ostrovsky freed the play from melodrama: mathematical effects both in the course of the action and in the speech of the characters. So, the initial edition of the final 3 of the Prologue phenomenon is repeatedly corrected: “Otradina (takes money and throws it on the table). Get out! Shameless, vile! ", Then" Go away,

17 INVESTIGATIONS AND MESSAGES 527 I tell you, do not torment me! ”; in the final text, the offended Lyuba Otradina utters only one word to Murov: "Go away!" (fol. 10v.) but with what varied feelings it is saturated: despair, contempt, and acute grief! The tendency towards melodramatism was especially observed in the Neznamov line; an internal struggle more than once led him to decide whether to live or not to live. This found a vivid expression in the composition of Act III. And according to the script, and in the content of the scenes, it ended with a melodramatic monologue of the hero, which constituted the ninth phenomenon: “A loop for a carnation”: “What is he! This is a pretty good solution to a lot of questions. How has it not occurred to me until now? And that is why it did not come to me that I had nothing to compare my bitter life with, everything is complete, day after day all the same grief, so I was attracted to him and got along with him. And now a light ray suddenly flashed and wants to go out; my life seems even darker to me, even more bleak! Intake! Whoever started life under the fence is not humiliating to die [should] under the fence. Why do they caress me, why do they invite me to their society? And I myself am drawn there. I feel like I'm flying like a butterfly on fire. Let it be what will be "(see l. 5 of the script and l. 4" Inserts "). This phenomenon was completely discarded by Ostrovsky. Removing the melodramatic touch from Neznamov's speech, the author of the replica “And look into my soul, that's where hell is” (fol. 10 rev.) Replaces the life-natural words “And I, brother, it’s bad!”, And in his phrase "It depends ... my life, my life ..." (fol. 8v.) Omits the last words, leaving the phrase intonationally incomplete. Corrections of this kind are numerous in the manuscript. Ostrovsky also gets rid of the melodramatic gestures of the hero, for example, in the final monologue (Act IV) he removes the remark “hitting his chest” (fol. 15v.). The image of Neznamov, included in the general artistic system of the play, very clearly demonstrates Ostrovsky's creative principles, his ideological and aesthetic position. Revealing the peculiarity of the artistic method of the author of The Thunderstorm, Yuzhin-Sumbatov wrote: “... he asserts with all his<...>creations that without a romantic beginning there can be no dramatic work. In each of his dramas and even comedies, if it does not break through, then somewhere some impulse will be hammered, some gentle tremor of humanity will appear in its deep and true meaning and very often under brightly comic features. ”8.“ Gentle, the trembling of humanity ", drowned out in Neznamov by the cruel morals of the social environment, pulls him out of the pool into which life has thrown, and wins a victory in the soul of the hero, signifying the moral elevation of man under the influence of humanism of high art and the greatness of the morally pure personality of his servant. The enlightenment, democracy and optimism of Ostrovsky are clearly marked in this. The "trembling of humanity" in the play also appears "under brightly comic lines" in the image of Shmaga. In the social conflict, Shmag is in the camp of “guilty without guilt,” and his line sharpens the social content of the play with particular force. On the fate of the poor gnome actor, the pernicious influence on art and the human personality of a society ruled by capital is especially clearly traced. The draft manuscript focuses on the social origin of Shmaga, on the facts of his biography. In the script, we find a record indicating that Shmaga is "not a very important socialist", "he is one of the commoners", "the son of a retired clerk, expelled from the district school for bad behavior", "served in the Orphan's court as a copyist and dismissed for negligence, was sued for implication in the case of the theft of a note and left in suspicion ”(p. 3). With some changes, this characteristic was included in the final text.<н. II, явл. 2): из нее убраны такие детали, как «не очень важная особа», «он из разночинцев»; судился Шмага не по делу «о краже записки», а «по прикосновенности по делу о краже камлотовой шинели». Так намечается разночинно-демократическая струя в облике героя.

18 528 EXPLORATIONS AND MESSAGES Shmaga appears already in the initial edition as a mature person who has determined for himself his “thread” in life, which inevitably leads him to the “Meeting of Merry Friends” .. In the draft manuscript, revealing the socio-psychological essence of the hero, the playwright notes: "Shmaga is a disgusting actor, but a very good person" (fol. 1v.). But Ostrovsky refuses such a "frontal" reception of characteristics. In the process of work, the acuteness of negative qualities is smoothed out, for the author seeks to explain them by the social and typical circumstances of the life of a provincial actor. For example, complementing the appearance of Shmaga with such a stroke “he will sell his best friend and benefactor for a penny,” the playwright immediately emphasizes: “but after all ... you know, even the most<1 слово нрвбр.у артисты не лишены этих, так сказать, слабостей. Зато он имеет много достоинств» (л. 1 об., 4). Усилия Островского и направлены на то, чтобы «высветить» человеческие «достоинства» Шмаги, спрятанные на дне его души; в черновом тексте делаются вставки: «он не зябнет в летнем пальто в трескучие морозы» (л. 1 об.), он «искренен» и весел (л. 7) в отличие от фальшивости и скуки коришшных и миловзоровых. Шмага принадлежит к «партии» незнамовых. Но если чувство оскорбленного достоинства человека, терпящего унижения в мире муровых, у Незнамова находит открытое выражение пусть не в «негодующем протесте», а в «искренней горечи», и получает драматическую форму, то у Шмаги попранная человеческая гордость глубоко запрятана внутри цод шутовской оболочкой «комика в жизни»: «он, может быть, и сердится в душе, но ничем своего гнева не обнаруживает», говорит о своем друге Незнамов (л. 1 об.). Образом Шмаги автор пытается пронизать драматическую ткань пьесы элементами «крупного» комизма. Рисуя героя человеком оригинального ума саркастического склада, Островский выдерживает иронико-сатйрический тон его речи. В этом плане ведутся по преимуществу исправления данного характера. Очень показательно, например, дополнение-диалог Шмаги с Незнамовым (д. III, явл. 8): полный драматизма символический рассказ Незнамова о бедном человеке, который нашел груду золота, оказавшегося мусором, Шмага перебивает остро комическими репликами: «Превосходней ничего быть не может!»; на вопрос Незнамова «Что тогда?» Шмага иронически отвечает: «Да если человек жаден, и золото очень мило ему показалось, так после такого превращения уж он непременно зацепит петельку за гвоздик, да и начнет вправлять туда свою шею» (л. 4 «Вставок»). Такой иронический стиль речи Шмаги служит и средством раскрытия внутренней сущности героя (в данном случае совершенно очевидно, что Шмага не жаден). Островский рисует Шмагу как загубленный в своих" потенциальных возможностях самобытный талант. Социально-бытовые условия заставляют героя нравственно опускаться и заливать свою тоску вином в трактире. Эта жизненная ситуация обыгрывается как типичная на протяжении всего действия, пронизывая комический характер элементами трагизма. Так, драматург сценически оживляет диалог вставкой: «Шмага... Гриша, брось философию-то, пойдем! Что нам природа: леса, горы, луна! Ведь мы не дикие, мы люди цивилизованные. Незнамов. Действительно, брат, скучно! Ну, пойдем, цивилизованный человек. Пойдем в буфет! Пойдем туда, куда влечет меня мой жалкий жребий» (д. IV, явл. 2). Углубляя общественный конфликт, Островский усиливал обличительный пафос пьесы и переработкой образов в «партии богатых», в первую очередь Мурова. В его облике выявляется эгоизм, бездушие; поведение Мурова социально и психологически мотивируется его боязнью за грехи молодости, скандала «перед выборами» и стремлением избавиться от незаконного, сына. Но характер Мурова дан в развитии: в его жизни разграничиваются два периода. Муров в молодости способен на искреннее продолжительное увлечение, им может владеть сознание своей вины, сочувствие к брошенной им Любе Отрадиной. Островский в «Прологе» особенно подробно освещает побудительные мотивы разрыва Мурова с Отрадиной. Он дополняет первоначальный текст сообщением Мурова о мучительной для него абсолютной зависимости от маменьки: он, «совершеннолетний», не смеет «ступить ни шагу без ее позволения», не вправе «ничем распорядиться, каждый рубль должен просить у нее»; маменька отказала сыну

19 AP LENSKY IN THE ROLE OF SHALYGIN (VOEVOD) Maly Theater, 1886. Photo Central Theater Museum. Moscow

20 530 INQUIRIES AND COMMUNICATIONS in the request “to separate part of the estate or house”, to give “a decent allowance for three or four thousand,” demanding to marry “of her choice”. And Murov comes to the sad conclusion: "What can I do; ... my upbringing is to blame for everything, I am a timid, driven man" (p. 4 of the Prologue). But Grigory Lvovich is a man of his social environment. And the playwright, with the words of Annushka, emphasizes the laws prevailing in this environment, which Murov cannot fail to obey: “Another could have taken, for example, Grigory Lvovich, yes ... Otradina. What "yes? And n n ear. Yes, there is no dowry ... "(fol. 2v." Prologue "). Ostrovsky expands the social background of the play by introducing the remarks of the observant Annushka: “What a people today! They only wait for money, but they do not want to know, to understand that if you have no dowry ... ”(l. 2); “What are they learning for! They can live with [their] capital and with all their complete ignorance ”(fol. 2v.). And quite prophetically in relation to Murov, the words of a simple maid sound: "Yes, at first they are very enticing, and then they are often even [rather] very deceptive" (fol. 2 v.). These inserts not only depict the life and customs of the bourgeois-noble world portrayed by the author, but also outline the direction in the evolution of Murov's character. It is noteworthy that in Galchikha's story about the fate of little Grisha (house II, yavl. 6), whom she gave to strangers for upbringing, Ostrovsky introduced words revealing the reaction of the child's father to her news: “And well, he says, and without hassle. He also gave me a green one ”(fol. 4v.). This fact organically connects Murov in his youth with Murov of the mature period. At the moment of the main action, Murov is "one of the largest landowners" with well-formed views, typical of his class: what is his cynical statement by Kruchinina worth "Does the local fees seduce you? So I will pay you, I will pay the entrepreneur too ”(fol. 12v.). He is now not tormented by the consciousness of guilt before the mother, separated from her son; to the question of Kruchinina "Why did you deceive me?" Mr. Grigory Lvovich coldly remarks: "One deed always entails another." Interestingly, in a draft version, Murov classified his behavior as "misconduct"; but there was self-condemnation in him; the playwright, in order to avoid violating the logic of character, replaces the definition of "offense" with "deed" (l..5 (9) rev.). Any mention of the past is removed from Murov's speech: his remark has undergone revision: "What better could you want for a boy in such a position as our son was." The specific "our son" is replaced by the general "for a child without a name." And for the purpose of deceiving the seeking mother, it is said: “I could completely calm down; his fate is enviable ”Sl. 5 (9) rev.). But secretly Murov, who knows that his son is alive, admits the possibility of meeting him. This idea is prompted by the fate of Neznamov. In the draft manuscript, Grigory Lvovich's interest in the young actor was clearly revealed. In the scene with Dudukin, Murov persistently inquired: "who is he, where is he from?" Struck by the coincidence of age, the hiding father exclaimed: "It can't be!" "Lies!" th again questions "where is he from?" "And the origin?" and thought: "Do you know, in us there is a family resemblance to one of my acquaintances ... and a striking resemblance" (fol. 12v.). With such reasoning, Moore "seemed to betray himself. In one of the versions of the Scene of Rum" it was written: "Scene of Murov with Neznamov" (fol. 5 of the "Inserts") and it was written: - "He asks Neznamov, then tells Kruchinina that their son died "(fol. 8v.). Ostrovsky did not realize this plan: the meeting between father and son was never written. Murov's openly expressed interest in the young man is translated in the new edition and the subtext is also translated. The dialogue takes on a kind of" Chekhovian "form: the hero veils his secret thoughts.Murov begins from afar: instead of the direct "Who is he, where is he from?" given "Has the ability?" instead of the agitated "Lies!" averting suspicion "he, I believe, is under thirty"; instead of a confession of "striking resemblance."

Have a good ride hali? ask "l son, listening" to the same "nskoy" los because of two "ri. ... Yes, "masno" va entered "the car. Vro" nskiy recalled "

1 ALEXANDER ANDREEV THE FOUNDATION OF YOUR SUCCESS OR How to use your emotions to achieve incredible success in life. "He who controls his emotions, controls his life" SPECIAL ISSUE

Technological map of the lesson Subject area Literature Class 10 Lesson topic Philosophical lyrics by A.S. Pushkin Lesson objectives Educational aspect: knowledge and understanding of the terms "lyrics", "elegy"; knowledge and

Conversation with the autumn ... The golden autumn whispered, Rustling with fallen leaves: But I know your thoughts About eternal and earthly life About those years that flew by, What was difficult along the way, What did you strive for, what they had And what

ANALYSIS OF THE EPISODE "Sonya and Raskolnikov Read the Gospel" from the novel by F.M. Dostoevsky's "Crime and Punishment" (part 4, chapter IV) Introduction. 1. What is the theme of the novel? (Briefly say what the novel is about, without retelling

Allegory is an allegory, when another concept is hidden under a specific image of an object, a person, a phenomenon. Alliteration is the repetition of homogeneous consonants, which gives the literary text a special

When You're Sad Bradley's Diary Trevor Grieve MOSCOW 2006 Introduction Everyone has bad days. It seems a little strange that for many of us tears are evidence of sincere feelings. But

Pavlova Natalya Nikiforovna Literature lesson in the 9th grade based on the novel by Alexander Pushkin "Eugene Onegin" Topic: Two meetings and two letters from Onegin and Tatiana. “Tatyana is not like that: this is a solid type, standing firmly on

Class hour. We are all different, but we have more in common. Author: Alekseeva Irina Viktorovna, teacher of history and social studies This class hour is built in the form of a dialogue. At the beginning of the school hour, the guys sit down

School of the Reader: Formation of a Culture of Interpretation Valery Igorevich Tyupa Sergey Petrovich Lavlinsky School of the Reader School of Drama. Module 2. Part 4. Sergey Petrovich Lavlinsky School of Drama. Why read

Politeness is the sum of actions that determine the inner culture of a person. Meanwhile, no one, apparently, will raise objections to the assertion that the very concept of "culture" follows from moral

Synopsis of direct educational activities on cognitive development in the preparatory group "Teaching and hard work" Tsurkan Svetlana Sergeevna, educator MBDOU 14 Educational tasks:

A person all his life brings personal speech to perfection, mastering the riches of the language, and any age limit brings something new to his speech formation. Thanks to the native language, the child enters our

A special child in modern literature (based on the novel "Blue Rain" by R. Elf) Concept: A special child is an organic part of modern society.

Municipal budgetary preschool educational institution "Kindergarten" Skazka "Dolinsk, Sakhalin Region" The role of books in the formation of spiritual moral education of preschoolers "Completed by: educator

How the wolf got its bottom, "wait, but whose fox" went "to ay" l 1 for a chicken ". She "went" there "because" she has a lot. In ay "le lisa" stole "la * sa" my big "yu ku" ritsu and quickly

Materials for an essay in the direction "Year of Literature in Russia" This direction is like a lifesaver: if you do not know Russian classical literature, write in this direction. That is, you can at least

Hello! My name is Ekaterina Terekhova. Today I have chosen a rather difficult topic for coverage, which worries every second woman. This topic is also not easy because we are not taught relationships, building

Free video cycle "Child and Me" [Video 3] Parenting without punishment Notebook to help a parent * 1 * Ideal for parents of children 0-18 years old. 1. Do you punish your child at least sometimes? If yes,

MEMORING THE LOSS OF SOMETHING VERY SIGNIFICANT Developed by Marge Heegaard Translated by Tatyana Panyusheva For children to fill in Name Age You have experienced a very difficult time. And the fact that your thoughts and feelings are confused

MINISTRY OF CULTURE AND SPORT OF THE REPUBLIC OF UZBEKISTAN MINISTRY OF HIGHER AND SECONDARY SPECIALIZED EDUCATION OF THE REPUBLIC OF UZBEKISTAN TASHKENT STATE HIGHER SCHOOL

Alexander Nikolaevich Ostrovsky

"Guilty without guilt"

The action takes place in the second half of the 19th century, in a provincial town, in a poor apartment on the outskirts. Lyubov Ivanovna Otradina, "a girl of noble birth," who lives by her own labor, sews and talks with the maid. From the conversation it turns out that the beloved of the heroine, the father of her child, Murov, will not appoint a wedding day in any way. The women are discussing the return to the city of Otradina's friend Shelavina, who in a dubious way received a huge inheritance from a rich old man and is preparing for the wedding. Murov comes, says that he does not dare to tell the mother, on whom it completely depends, about the intention to marry a homeless woman, informs about the need to leave for maternal affairs, shows indifference to his son, who is already three years old and he lives with the bourgeois girl Galchikha, who is taking children into foster care ... During the conversation, Shelavina arrives. Murov, to the surprise of Otradina, hides from her in the bedroom. Shelavina talks about the wedding, about the dress and shows her friend a photograph of the groom. Otradina recognizes Murov. After the departure of her friend, she angrily kicks him out. At this time Galchikha runs in with the news that her son Grisha is dying. “Well, now you are completely free,” Otradina says to Murov and runs away. “I'm going for you,” Murov answers.

The second action takes place in a hotel seventeen years later. The rich master Dudukin, the patron saint of actors, is waiting for the return of the famous actress Elena Ivanovna Kruchinina, who is touring in the city. The premiere of the local theater Korinkin appears. She reports on the scandal staged by the young actor Neznamov to the local rich man Mukhoboev. According to the actress, Neznamov has "a sharp and evil tongue and the most bad character." Korinkina leaves, Kruchinina returns, tells Dudukin that she asked the governor to forgive Neznamov and not drive him out of the city. To her questions about the young man, Dudukin replies that Grigory Neznamov was illegitimate, was taken into foster care and taken to Siberia, received some education, but after the death of his adoptive father and the second marriage of the widow, his widows began to offend and persecute him in the house. He escaped, was returned through the stage, with difficulty straightened out some kind of residence permit, stuck to the troupe and now all the time fears that he would not be sent back through the stage. Kruchinina tells her story, says that when she saw her dying child, she lost consciousness, she herself fell ill with diphtheria, and when she recovered, she was told that her son had died. Sick, she was taken in by a rich distant relative, with whom she lived until her death as a companion, traveled with her, and then inherited a certain fortune and decided to become an actress. Because she did not see her son in the coffin, it still seems to her that he is alive, she thinks about him, dreams of meeting him. Dudukin persuades her to take care of herself, give up fantasies and leaves.

Suddenly, Neznamov and Shmaga appear in the room, waiting for Kruchinina in the buffet. On behalf of Neznamov, Shmaga reproaches Kruchinina for her intercession, which she was not asked for. Kruchinina apologizes. Neznamov talks about his grievances, about the reproaches with which his troupe comrades will pester him. His reasoning reveals anger, disbelief in any good motives of people, since he “walked through the stage as a child without any guilt,” only because of the lack of papers. Upset Kruchinina ardently says that he has seen little in life, good people, according to her, there are many in the world, especially women. She will not stop helping people, although this does not always end in good. Neznamov is amazed and moved, and Shmaga demands that Kruchinina pay their bill at the buffet and lend them. The embarrassed Neznamov kicks him out and apologizes to Kruchinina, who gives him money to buy a coat for Shmaga. Saying goodbye, he kisses her hand, and she kisses his head. A "crazy beggar" appears, in which Kruchinina recognizes Galchikha. She asks her to show her son's grave, but the old woman says that the boy recovered, recovering, everything called "mom, mom", and then she gave it to a childless couple for money, Murov approved it and added money to her from himself. More Galchikha can not remember anything. Kruchinina, sobbing, exclaims: "What villainy!"

The third action takes place in Korinkina's theatrical dressing room. She complains to her first lover Milovzorov that Kruchinina's play has captured not only the audience, but also the troupe, and you have "your own actress, you must support her." She conveys Dudukin's story about the life of Kruchinina, cynically interpreting her fate as the story of a woman of free disposition. She offers Milovzorov to set Neznamov on Kruchinina, to get him drunk and "debunk" Kruchinina in his eyes. He agrees. She advises Dudukin, who visited her, to arrange an evening in honor of Kruchinina today. Shmaga appears, assuring that Neznamov "has lost the thread in life", refuses tavern pleasures and admires Kruchinina. After Dudukin and Shmaga leave, Neznamov appears. Korinkina begins to flirt with him and persuades him to go with her to Dudukin's in the evening. Neznamov and Milovzorov are left alone and talk about Kruchinina, Milovzorov agrees to recognize her acting talent, but gradually retells the version of her life composed by Korinkina. Neznamov comes to despair, but nevertheless hesitates a little if this is true, decides to check everything in the evening and leaves.

Kruchinina, who has arrived, Korinkina leaves in her dressing room, the best in the theater, and leaves. Murov appears, expresses his admiration for Kruchinina's game and asks if she is Otradina. Confirming his guess, she refuses to talk about herself and demands to say where her son is. Murov, hoping that she did not know about his recovery, is forced to report that he was adopted by a wealthy merchant. In his story, he mentions that he put a gold medallion on the baby, once given to him by Otradina. After that, he says that his family life was unhappy, but, having become a widow, he inherited the huge fortune of his wife, and when he saw Kruchinina, he realized what treasure he had lost, and now he asks her to become Mrs. Murova. To all this Kruchinina replies: “Where is my son? Until I see him, there will be no other conversation between us. "

Neznamov and Shmaga appear again, talking about the gossip told by Milovzorov, which Neznamov either believes or doubts. He suspects intrigue here, but Shmaga gradually strengthens him in distrust of Kruchinina. Extremely agitated, Neznamov goes with Shmaga to the "Meeting of Happy Friends" inn.

The last action takes place in the garden of Dudukin's estate. Korinkina calls the actors for a snack and slowly instructs Milovzorov to properly "warm up" Neznamov. Kruchinina tells Dudukin about Galchikha's confession and complains that she cannot find any traces of her son. Dudukin tries to calm her down and considers the search to be hopeless. Murov appears, Dudukin leaves to seat the guests at the cards, and Murov reports that he made inquiries and found out that their son and his adoptive father were ill and died (while he constantly confuses the name of the adoptive parent). Kruchinina does not believe. Then Murov demands that she leave and with her searches do not cast a shadow on his reputation in the city, where he has all things to do and therefore he cannot leave him himself. Otherwise, he threatens her with trouble. Kruchinina replies that she is not afraid of him and will continue to search.

Dudukin invites everyone to dinner. Kruchinina wants to return to the hotel, then she is asked to at least drink champagne on the road. Korinkina tells Neznamov and Shmage not to talk about children at the table with Kruchinina. Neznamov sees this as confirmation of the stories about Kruchinina and promises to make a toast "to adults." After a solemn speech in honor of Kruchinina and her response speech, in which she shares success with the entire troupe, Neznamov suddenly makes a toast “to mothers who abandon their children,” and in a pathetic monologue describes the misfortune of children in need, and most importantly, ridicule. At the same time, he mentions that some do even worse, giving an abandoned child some kind of golden trinket, which constantly reminds him of the mother who abandoned him. A startled Kruchinina rushes to him and takes out her medallion from his chest, shouting "he, he!" she loses consciousness. Shocked, Neznamov promises not to take revenge on anyone for the evil intrigue, because he is now a "child" and asks Kruchinina, who has come to, where his father is. Looking at the frightened Murov, Kruchinina says to her son: "Your father is not worth looking for him," promises that Neznamov will study and, having obvious talent, will become a good actor, and his mother's surname is no worse than any other.

Lyubov Ivanovna Otradina, a girl of noble birth, lives in a small apartment on the outskirts of the provincial town. She sews and lives by her labor, talking with the maid. The father of the child nMurov will not appoint a wedding day in any way, being afraid to admit to the mother that he will marry a homeless woman.

One day Murov comes and says that he is leaving on urgent business. He shows ordinary indifference to his child, who is three years old. Murov lives with the bourgeois girl Galchikha, who works as a governess and takes children into foster care.

Suddenly Shelavina arrives, Otradina's friend, who in a dubious way received a rich inheritance, and is now preparing for the wedding. Shelavina happily chatters about the wedding and, boasting, shows a photograph of the groom. Otradina, with horror, recognizes Murov and drives him out. Galchikha comes running with the news that her son Grisha is dying.

Seventeen years have passed. At the hotel, the rich master and patron of actors, Dudkin, is looking forward to the return of actress Elena Ivanovna Kruchinina, who is touring the city. Then the premiere of the theater appears and reports that a scandal has been arranged by the young actor Neznamov to the local rich man Mukhoboev. Kruchinina asks the governor to forgive Neznamov and not expel him from the city. Dudkin says that the illegitimate Grigory was taken to Siberia for education, received some kind of education, and with difficulty received some kind of residence permit, bailing the troupe. Kruchinina tells her story of how she lost consciousness when she saw her dying child. When she recovered, they said that the child had died. She was taken to her by a rich relative, where she lived as a companion, and, having received an inheritance, decided to become an actress.

Neznamov and Shmaga appear, waiting for Kruchinina. Neznamov speaks of his grievances, where one can see his anger and disbelief in some kind of good motives of people. She gives him some money. A beggar appears, in which Kruchinina recognizes Galchikha. She asks her to tell what happened to her son and where he is, the old woman explains that she gave him to a childless couple for money, and Murov approved and added money.

In the theatrical dressing room, Korinkina complains to Milovzdorov that the rumor about Kruchinina is circulating among the troupe and tells the story of Dudkin, but in a cynical manner and offers to arrange an evening in honor of Kruchinina. Neznamov and Milovzorov talk about Kruchinina, but Neznamov doubts the veracity of the story, deciding to check everything himself. Murov appears, delighted with her performance. She demands to say where her son is. Murov says that he was adopted by a wealthy merchant and mentions a gold medallion worn on a finger, which Otradina presented. Neznamov suspects an intrigue here.

In the garden on Dudkin's estate, Kruchinina tells Dudkin about Galchikha's confession. Murov forces Kruchinina to leave the city so that his searches do not cast a shadow on his reputation. Neznamov makes a toast to mothers who abandon their children, and they are forced to endure suffering, but some present their child with a trinket that constantly reminds of the mother who abandoned him. Kruchinina rushes to Neznamov, losing consciousness. Glancing at the frightened Murov, she tells her son that your father is not worth looking for him. Promises him that he will become a good actor, and his mother's surname is no worse than any other.

Guilty Without Guilt is a play by A. N. (1881-1883), a classic example of melodrama.

"Guilty without guilt" summary

"Guilty Without Guilt" main characters

• Lyubov Ivanovna Otradina, a girl of noble birth / Elena Ivanovna Kruchinina, a famous provincial actress.
• Taisa Ilyinishna Shelavina, girl, Otradina's friend.
• Grigory Lvovich Murov, a young man from the provincial officials.
• Annushka, maid of Otradina.
• Arina Galchikha, tradeswoman.
• Neil Stratonich Dudukin, a rich gentleman.
• Nina Pavlovna Korinkina, actress.
• Grigory Neznamov,
• Shmaga are artists of the provincial theater.
• Ivan, a servant at the hotel.
• Milovzorov Petya, the first lover.

The action takes place in the second half of the 19th century, in a provincial town, in a poor apartment on the outskirts. Lyubov Ivanovna Otradina, "a girl of noble birth." She makes a living by sewing and talking to the maid. The child's father, Murov, will not appoint a wedding day in any way, being afraid to admit to his mother that he will marry a homeless woman.

One day Murov comes and says that he is leaving on urgent business. He shows ordinary indifference to his child, who is three years old. Murov lives with the bourgeois girl Galchikha, who works as a governess and takes children into foster care.

Suddenly Shelavina arrives, Otradina's friend, who in a dubious way received a rich inheritance, and is now preparing for the wedding. Shelavina happily chatters about the wedding and, boasting, shows a photograph of the groom. Otradina, with horror, recognizes Murov and drives him out. Galchikha comes running with the news that her son Grisha is dying.

Seventeen years have passed. At the hotel, the rich master and patron of actors, Dudkin, is looking forward to the return of actress Elena Ivanovna Kruchinina, who is touring the city. Then the premiere of the theater appears and reports that a scandal has been arranged by the young actor Neznamov to the local rich man Mukhoboev. Kruchinina asks the governor to forgive Neznamov and not expel him from the city. Dudkin says that the illegitimate Grigory was taken to Siberia for education, received some kind of education, and with difficulty received some kind of residence permit, bailing the troupe. Kruchinina tells her story of how she lost consciousness when she saw her dying child. When she recovered, they said that the child had died. She was taken to her by a rich relative, where she lived as a companion, and, having received an inheritance, decided to become an actress.

Neznamov and Shmaga appear, waiting for Kruchinina. Neznamov speaks of his grievances, where one can see his anger and disbelief in some kind of good motives of people. She gives him some money. A beggar appears, in which Kruchinina recognizes Galchikha. She asks her to tell what happened to her son and where he is, the old woman explains that she gave him to a childless couple for money, and Murov approved and added money.

In the theatrical dressing room, Korinkina complains to Milovzdorov that the rumor about Kruchinina is circulating among the troupe and tells the story of Dudkin, but in a cynical manner and offers to arrange an evening in honor of Kruchinina. Neznamov and Milovzorov talk about Kruchinina, but Neznamov doubts the veracity of the story, deciding to check everything himself. Murov appears, delighted with her performance. She demands to say where her son is. Murov says that he was adopted by a wealthy merchant and mentions a gold medallion worn on a finger, which Otradina presented. Neznamov suspects an intrigue here.

In the garden on Dudkin's estate, Kruchinina tells Dudkin about Galchikha's confession. Murov forces Kruchinina to leave the city so that his searches do not cast a shadow on his reputation. Neznamov makes a toast to mothers who abandon their children, and they are forced to endure suffering, but some present their child with a trinket that constantly reminds of the mother who abandoned him. Kruchinina rushes to Neznamov, losing consciousness. Glancing at the frightened Murov, she tells her son that your father is not worth looking for him. Promises him that he will become a good actor, and his mother's surname is no worse than any other.

The action takes place in the second half of the 19th century, in a provincial town, in a poor apartment on the outskirts. Lyubov Ivanovna Otradina, "a girl of noble birth," who lives by her own labor, sews and talks with the maid. From the conversation it turns out that the beloved of the heroine, the father of her child, Murov, will not appoint a wedding day in any way. The women are discussing the return to the city of Otradina's friend Shelavina, who in a dubious way received a huge inheritance from a rich old man and is preparing for the wedding. Murov arrives, says that he does not dare to tell the mother, on whom it completely depends, about the intention to marry a homeless woman, informs about the need to leave for maternal affairs, shows indifference to his son, who is already three years old and he lives with the bourgeois girl Galchikha, who is taking children for upbringing ... During the conversation, Shelavina arrives. Murov, to the surprise of Otradina, hides from her in the bedroom. Shelavina talks about the wedding, about the dress and shows her friend a photograph of the groom. Otradina recognizes Murov. After the departure of her friend, she angrily kicks him out. At this time Galchikha runs in with the news that her son Grisha is dying. “Well, now you are completely free,” Otradina says to Murov and runs away. “I'm going for you,” Murov answers.

The second action takes place in a hotel seventeen years later. The rich master Dudukin, the patron saint of actors, is waiting for the return of the famous actress Elena Ivanovna Kruchinina, who is on tour in the city. The premiere of the local theater Korinkin appears. She reports on the scandal staged by the young actor Neznamov to the local rich man Mukhoboev. According to the actress, Neznamov has "a sharp and evil tongue and the most bad character." Korinkina leaves, Kruchinina returns, tells Dudukin that she asked the governor to forgive Neznamov and not drive him out of the city. To her questions about the young man, Dudukin replies that Grigory Neznamov was illegitimate, was taken into foster care and taken to Siberia, received some education, but after the death of his adoptive father and the second marriage of the widow, his widows began to offend and persecute him in the house. He ran away, was returned through the stage, with difficulty straightened out some kind of residence permit, joined the troupe and now all the time fears that he would not be sent back through the stage. Kruchinina tells her story, says that when she saw her dying child, she lost consciousness, she herself fell ill with diphtheria, and when she recovered, she was told that her son had died. Sick, she was taken to her by a rich distant relative, with whom she lived until her death as a companion, traveled with her, and then inherited a certain fortune and decided to become an actress. Because she did not see her son in the coffin, it still seems to her that he is alive, she thinks about him, dreams of meeting him. Dudukin persuades her to take care of herself, give up fantasies and leaves.

Suddenly, Neznamov and Shmaga appear in the room, waiting for Kruchinina in the buffet. On behalf of Neznamov, Shmaga reproaches Kruchinina for her intercession, which was not asked of her. Kruchinina apologizes. Neznamov talks about his grievances, about the reproaches with which his comrades in the troupe will pester him. His reasoning reveals anger, disbelief in any good motives of people, since he “walked through the stage as a child without any guilt,” only because of the lack of papers. Upset Kruchinina ardently says that he has seen little in life, good people, according to her, there are many in the world, especially women. She will not stop helping people, although this does not always end in good. Neznamov is amazed and moved, and Shmaga demands that Kruchinina pay their bill at the buffet and lend them. The embarrassed Neznamov kicks him out and apologizes to Kruchinina, who gives him money to buy a coat for Shmaga. Saying goodbye, he kisses her hand, and she kisses his head. A "crazy beggar" appears, in which Kruchinina recognizes Galchikha. She asks her to show her son's grave, but the old woman says that the boy recovered, recovering, everything called "mom, mom", and then she gave it to a childless couple for money, but Murov approved it and added money from himself. More Galchikha can not remember anything. Kruchinina, sobbing, exclaims: "What villainy!"

The third action takes place in Korinkina's theatrical dressing room. She complains to her first lover Milovzorov that Kruchinina's play has captured not only the audience, but also the troupe, and you have "your own actress, you must support her." She conveys Dudukin's story about Kruchinina's life, cynically interpreting her fate as the story of a woman of free disposition. She offers Milovzorov to set Neznamov on Kruchinina, to get him drunk and "debunk" Kruchinina in his eyes. He agrees. She advises Dudukin, who visited her, to arrange an evening in honor of Kruchinina today. Shmaga appears, assuring that Neznamov "has lost the thread in life", refuses tavern pleasures and admires Kruchinina. After Dudukin and Shmaga leave, Neznamov appears. Korinkina begins to flirt with him and persuades him to go with her to Dudukin's in the evening. Neznamov and Milovzorov are left alone and talk about Kruchinina, Milovzorov agrees to recognize her acting talent, but gradually retells the version of her life composed by Korinkina. Neznamov comes to despair, but nevertheless hesitates a little if this is true, decides to check everything in the evening and leaves.

Kruchinina, who has arrived, Korinkina leaves in her dressing room, the best in the theater, and leaves. Murov appears, expresses his admiration for Kruchinina's game and asks if she is Otradina. Confirming his guess, she refuses to talk about herself and demands to say where her son is. Murov, hoping that she did not know about his recovery, is forced to report that he was adopted by a wealthy merchant. In his story, he mentions that he put a gold medallion on the baby, once given to him by Otradina. After that, he says that his family life was unhappy, but, being a widow, he inherited his wife's enormous fortune, and when he saw Kruchinina, he realized what treasure he had lost, and now he asks her to become Mrs. Murova. To all this Kruchinina replies: “Where is my son? Until I see him, there will be no other conversation between us. "

Neznamov and Shmaga appear again, talking about the gossip told by Milovzorov, which Neznamov either believes or doubts. He suspects intrigue here, but Shmaga gradually strengthens him in distrust of Kruchinina. Extremely agitated, Neznamov leaves with Shmaga to the "Meeting of Merry Friends" inn.

The last action takes place in the garden of Dudukin's estate. Korinkina calls the actors for a snack and slowly instructs Milovzorov to properly "warm up" Neznamov. Kruchinina tells Dudukin about Galchikha's confession and complains that she cannot find any traces of her son. Dudukin tries to calm her down and considers the search to be hopeless. Murov appears, Dudukin leaves to seat the guests at the cards, and Murov reports that he made inquiries and found out that their son and his adoptive father were ill and died (while he constantly confuses the name of the adoptive parent). Kruchinina does not believe. Then Murov demands that she leave and with her searches do not cast a shadow on his reputation in the city, where he has all things to do and therefore he cannot leave him himself. Otherwise, he threatens her with trouble. Kruchinina replies that she is not afraid of him and will continue to search.

Dudukin invites everyone to dinner. Kruchinina wants to return to the hotel, then she is asked to at least drink champagne on the road. Korinkina tells Neznamov and Shmage not to talk about children at the table with Kruchinina. Neznamov sees this as confirmation of the stories about Kruchinina and promises to make a toast "to adults." After a solemn speech in honor of Kruchinina and her response speech, in which she shares success with the whole troupe, Neznamov suddenly makes a toast “to mothers who abandon their children,” and in a pathetic monologue describes the misfortune of children in need, and most importantly, ridicule. At the same time, he mentions that some do even worse, giving the abandoned child some kind of golden trinket, which constantly reminds him of the mother who abandoned him. Startled Kruchinina rushes to him and takes out her medallion from his chest, shouting "he, he!" she loses consciousness. Shocked, Neznamov promises not to avenge anyone for the evil intrigue, because he is now a "child" and asks Kruchinina, who has come to, where his father is. Looking at the frightened Murov, Kruchinina tells her son: “Your father is not worth looking for him,” promises that Neznamov will study and, having obvious talent, will become a good actor, and his mother's name is no worse than any other.

A summary of Ostrovsky's comedy "Guilty Without Guilt"

Other essays on the topic:

1. List of works abbreviated by this author Our people - numbered. Comedy (1850) Profitable place. Comedy (1857) Thunderstorm. Drama (1859) On ...
2. The comedy takes place in Moscow, in the early years of the reign of Alexander II. An old important official Aristarkh Vladimirovich Vyshnevsky, going into a big ...
3. In the estate of Raisa Pavlovna Gurmyzhskaya, "a very rich landowner", Bulanov, "a young man who did not finish his studies at the gymnasium," harasses the pupil Aksyusha. Aksyusha ...
4. Act I The county town. Christmastide. Day. A small clerk's room in the house of the merchant Tortsov. Mitya walks around the room; Yegorushka sits on ...
5. A large fictional city on the Volga - Bryakhimov. An open area near a coffee shop on Privolzhsky Boulevard. Knurov (“one of the major businessmen of recent times, ...
6. First half of the 19th century The fictional Volga town of Kalinov. Public garden on the high bank of the Volga. Local self-taught mechanic Kuligin talks with young ...
7. In plays devoted to the old theme of the "dark kingdom", Ostrovsky finds new turns of action and a new flavor. Indeed, over the past years, "dark ...
8. The action takes place in a large fictional city on the Volga - Bryakhimov. An open area near a coffee shop on Privolzhsky Boulevard. Knurov (“from large ...
9. The good-natured and empty Telyatev, a variation of Stiva Oblonsky, a piece of "graceful nobility", will never disappear thanks to his eleven Moscow aunts. This ...
10. A new life for comedy began in 1926. It happens like this: an old play lies, lies on the shelf, like an undiscovered treasure. People are walking by ...