Images of women in the plays of A.N. Ostrovsky

Gaipova Nafisa Ulugbekovna Graduate student, Peoples' Friendship University of Russia 119618, Russia, Moscow, Miklukho-Maklaya str., 7 nulugbekovna@mail.ru

The heroes of A.N. Ostrovsky's plays have been studied a lot by researchers. However, numerous works of scientists devoted to the characters of A.N. Ostrovsky's dramaturgy are limited to male images. The typification of male characters in the plays of A.N. Ostrovsky is based on the works of N.A. Dobrolyubov, A.A. Grigoriev, L.V. Chernets, A.A. Revyakin, S.A. Martyanova, N. A. Medvedeva, Yu.V. Vysotskaya and is determined by the types of "tyrant", "business man", "victim", "handsome-man", "philistine", "mischievous hero", "manipulator-man", "predatory" and "humble".  

The dramaturgy of A.N. Ostrovsky opens the world of a certain social group of the XIX century. During his creative activity, the playwright has written more than 40 plays, which reflect the most significant stages of the life of the people and socio-historical changes. The comedies describe the real reflection of the life of the people, the meaning of the existence of the heroes and the "spirit of the times" ^{[1, p. 221]}. Naturally, the remarkable types of Russian women created by A.N. Ostrovsky undergo some kind of evolutionary transformation. The plays showed the life of the Russian merchant class, the development of bourgeois society, the negative and positive features of capitalism ^{[2, p. 6]}. Female images, as a reflection of a historical problem, determine the historical and cultural classification of female types ^{[3, p. 85]}. As a result of economic transformations, the system of social structure underwent changes. The change in society had a great impact on women's destiny, new types of women appeared ^{[4, p. 28]}. Researchers N. Zhuravkina, A.I. Zhuravleva, N.L. Ermolaeva, I.A. Ovchinina, V.F. Sokolova and N.V. Kharseeva limited themselves to hypotheses about female emancipation and about merchant society in the works of A.N. Ostrovsky. Considering the main direction of Russian dramaturgy in the middle of the nineteenth century, A.N. Ostrovsky faced the tasks of finding a new hero, truthful depiction of social reality, as well as exposing the vices of society.  The examination of the gallery of female images in the plays of A.N. Ostrovsky, through the prism of the playwright's aspirations in creating a realistic Russian drama theater, helps to understand the motives of the characters and the intent of artistic texts. This work uses a complementary approach to the analysis of female images in plays through consideration of ideological, moral, philosophical and economic factors. In the analyzed topical plays, the main theme is devoted to family paintings, which reflect the relationship between family members and family and personal values, monetary relations in society. Showing the exposure of acute problems of the time and the destruction of ideals, A.N. Ostrovsky focuses on the fate of Russian women who are ready for self-sacrifice and striving for freedom.

Self-sacrifice for the sake of a loved one is an exceptional feature of many Ostrovsky heroines.  A.N. Ostrovsky shows the altruistic behavior of a woman through a deep psychological analysis of images against the background of family relationships.

In the comedy "Late Love" Lyudmila Gerasimovna admits that "I don't know how to live for myself, the only happiness is when you live for others" ^{[5, p. 16]}. In the comedy "Handsome Man" Zoya Vasilyevna agrees to her husband's immoral proposal despite the fact that such actions were beyond her strength: "Zoya (almost without feelings). I'm so-glas-na! (Faints) ^{[6, p. 336]}.  Lyudmila Gerasimovna "Late Love" and Lyubov Ivanovna "Guilty without guilt" are ready to sacrifice their last money for a loved one.

In most cases, the internal conflict of the heroines and external factors preventing a Russian woman from finding family happiness and love are depicted. Indeed, the human soul occupies the most important place, A.N. Ostrovsky focuses on the analysis of the inner world of the characters ^{[7, p. 82]}. Many images embody the ideal of sincere love Yulia Tugina "The Last victim", Annushka "In a brisk place", Katerina Kabanova "Thunderstorm", Larisa Dmitrievna "Penniless". These female images are not characterized by intrigue and lies ^{[8, p. 59]}.  

When considering the images, it seems that in the plays A.N. Ostrovsky portrays Russian women as types of hypersensitive nature. The psychological portrait of the personality of the heroines is characterized by a constant anxious state of mind and a premonition of trouble. In the play "Thunderstorm" Katerina Kabanova is a type of deeply religious and determined woman, the fear of a "thunderstorm" is the atonement of sin, death is liberation from family tyranny and the path to spiritual purity. According to the critic K. Kostelyants, Larisa Dmitrievna is the image of a girl who has no likeness to herself, incomparable ^{[9, p. 56]}. In fact, Larisa Dmitrievna is devoid of firm will and determination, A.N. Ostrovsky draws a type of puppet in the eyes of her own mother and the people around her.  The playwright exaggerated the indecision and obedience of Larisa Dmitrievna's personality, the image of the heroine was deprived of the ability to recognize her fear and inner feelings. The angel of death for Ksenia Vasilyevna appears in the image of a specific character Ardalion Martynych Murugov. She believes that Ardalion Martynych is taking her "soul".  If you pay attention to the names, then A.N. Ostrovsky chose anthroponyms corresponding to the character of each image. According to N. S.Tugarin, there is a certain connection of names with their figurative decision" affecting the predestination of the fate of female images ^{[10, p. 203]}. Katerina is bright and clean, Larisa is a seagull, Ksenia is a stranger, a guest ^{[11, p. 145]}. Lyudmila and Lyubov – a merciful and humane attitude towards people. In fact, in comedies, A.N. Ostrovsky idealizes personal qualities in the female image: "nobility", "sincerity", "honesty", "high morality", "devotion" and "altruism". Katerina Kabanova, Larisa Dmitrievna and Ksenia Vasilyevna are types of women, strangers in a cruel society, rays illuminating the world, victims dying as a result of intrigues, capable of self–sacrifice for the sake of sincere love. The main heroines of these plays experience tragic love and die. Unlike Larisa Dmitrievna, the reason for the tragic death of Ksenia Vasilyevna was financial independence from her husband and family. Unfortunately, the image of Ksenia Vasilyevna is a type of victim who is unable to resist the treachery and infidelity of close people ^{[12, p. 512]}. If these images are united by the type of victim of a kind of hypersensitivity and excessive altruism, namely, these qualities are praised in the image of the moralist hero in the plays "Poverty is not a vice", "Handsome Man", "Not of this World", where female characters act as an ideologue.

In the play "Poverty is not a vice" by A.N. Ostrovsky, a person with a strong persistent inner will was depicted. Lyubov Gordeevna positions herself as a morally responsible person before society. A.L. Stein proceeds from the belief that in the play "The Handsome Man" an ideal female type was created on the example of Zoya Vasilyevna. A.N. Ostrovsky idealizes devotion, loyalty and sacrifice of female nature ^{[13, p. 382]}.

Lakshin V.Ya. is reduced to the following provisions that the moral purity of Xenia Vasilyevna is exceeded from the moral values of her husband and the playwright created an ideal image calling for the true feelings of the human soul ^{[14, p. 489]}. It can be noted that in creating a wonderful type of loving woman, A.N. Ostrovsky described the unyielding moral convictions of Ksenia Vasilyevna and Zoya Vasilyevna, as well as the mercy and purity of the Russian soul. The female characters of A.N. Ostrovsky are so multifaceted and diverse that the heroines of the early plays are limited to home education, while the type of educated woman appears in later works.

According to N.L. Ermolaeva, in the play "Slaves", the only educated woman was shown in the image of the main one ^{[15, p. 16]}. However, in the image of Eulalia Andrevna's mother, the playwright mentions that the mother was "the headmistress of a women's educational institution." This is the first female image of a mother who had a profession and education. In the image of a mother, A.N. Ostrovsky shows a woman who was able to combine work and family, as well as the changes taking place at that time, that is, the main trends in the transformation of the social status and behavior of women.  Ultimately, the mother plays a big role in the formation of the daughter's personality, if we take into account the fact that the mother was engaged in education and replaced the governess, then to some extent she has a huge influence on the fate of Eulalia Andrevna. As a result, the daughter repeats the fate of her mother and receives an education "a silly little institute!", which allows her to work as a "governess and rural teacher."

In the play "Guilty without Guilt" Lyubov Ivanovna and Taisa Ilyinishna complement the type of educated woman, since they studied together.  Lyubov Ivanovna has little income for the lessons she has conducted, later enters the stage, becomes a famous provincial actress. The profession allows Lyubov Ivanovna financial independence. In the play "Don't get into your Sleigh," Arina Fedotovna mentions that she received some kind of education and upbringing in Moscow, but based on her behavior, it can be concluded that Arina Fedotovna combines a woman protesting against the family and social order of that time.

In the later plays, A.N. Ostrovsky carefully works on female images, revealing them as a versatile personality. Ermolaeva N.L. comes to the conclusion that Eulalia Andrevna "is an innocent slave of those sentimental and romantic ideals that her mother instilled in her, a slave of her enthusiastic and exalted feelings for a clever business man, a slave ^{[15, p. 107]}. However, Eulalia Andrevna is an image of a protesting person, rather than a romantic one.  Protest consists in a battle for love, in the manifestation of perseverance, determination and will of the individual. In this sense, the most revealing is the dialogue with her husband. A.N. Ostrovsky reveals the psychology of personality characteristic of realistic heroes. Against the background of a socio-psychological play, the heroine shows resistance against the role of a doll, that the character is aware of her feminine nature, psychological and physiological needs. Unfortunately, such a riot in a number of the playwright's works led to death, but A.N. Ostrovsky complements the play "Slaves" with a new type of hero. The test of love for another man and the union by marriage with a rich husband is explained by the hopelessness and sinfulness of human nature.

The battle of Eulalia Andrevna in the role of a fighter is depicted in resisting thoughts of death for mental betrayal, the playwright strengthens such character traits as responsibility for actions and mistakes, courage, the desire for a free life and the denial of a material condition.

A.N. Ostrovsky noted that "... this is a holy, spiritual celebration, ... an invaluable rarity that all women are looking for, ... this is the incomparable joy of the victory of good and honest life over evil and debauchery" ^{[16, p. 440]}. The storyline of the plays under consideration develops during the love trials of a woman to an immoral man, as a result of the relationship, the beautiful half is subjected to self-deception, deep disappointment and tragic death.  In general, the image of the hero-ideologue in the context of purity of moral appearance, selflessness and selflessness passes from man to woman.

Conclusion

The ideal of a woman, despite the changes taking place in society, is to observe the Christian faith. Moral beliefs and personal values of female images were elevated by A.N. Ostrovsky. The works reflect the socio-historical situation, which directly influenced the female fate, her social status and family relationship. A.N. Ostrovsky touched upon the socio-psychological problem of the actors, carefully worked on each artistic female image and revealed what personality traits of the female hero affect her behavior and thinking. The surrounding people had a psychological and moral impact on the personality of the female image.

In conclusion, it should be noted that there are some differences in the perception of female characters, as they depict a complex life phenomenon, the psychological depth of each image, the richness of emotional experiences. As a result of the analysis of the characters, the types of female images were identified: "victim", "educated" and "protester", "moralist", "ideologue" and "fighter". In the plays, the main motive of the heroines is the desire for a happy family life and mutual love.  In the early plays, the tragic death and flight of a woman were ways to save the human soul, and in later plays, female characters gain freedom, but do not know how to take advantage of this opportunity.