The cruel romance of a womanless woman, or Why women prefer immoral men
The brilliant artist A. N. Ostrovsky saw changes in Russian life that were not noticeable to the majority. Katerina in "The Thunderstorm" was killed by the dying old anal, the dowry Larisa Ogudalova - a nascent skin grasp that contradicts the Russian mentality. At a deep psychological level, people of a certain type experienced painful inconsistencies between their mental structure and the surrounding reality.
I am going mad or ascending to a high degree of madness.
B. Akhmadulina.
In the plays of A. N. Ostrovsky, with all the diversity and incredible believability of the characters, Russia is always the main character. Merchant, sleepy, home-building Russia ("Our people are numbered", "Thunderstorm") and post-reform Russia, where completely different characters rule the show - careerists, businessmen, crooks ("Mad Money", "Dowry"). The second half of the nineteenth century was marked in Russia by the abolition of serfdom, the Russian-Turkish war ended in victory, this is the time of the first tangible successes of industrial growth, the capitalist foundations of the economy are strengthening, infrastructure, transport is developing, entrepreneurship is growing sharply, higher women's (Bestuzhev's) courses have been opened in St. Petersburg.
By the time of the events described in "Bespidanitsa" large industrial enterprises had appeared and began to operate successfully in Russia. Retired officer and nobleman N. I. Putilov buys a steel plant near St. Petersburg, merchant A. F. Bakhrushin launches a tannery in Moscow. The whole country begins to connect into a single economic space, the role of delivery of goods by transport is growing, Russia participates in the world exhibition in Paris, the economy of the Russian Empire merges with world production, in 1873 the country was first affected by the world industrial crisis.
In the year of the publication of A. N. Ostrovsky's play "The Dowry" (1878), Vera Zasulich, shocked by the public flogging of the populist Bogolyubov, shoots three times in the chest of the St. Petersburg mayor Trepov and … receives an acquittal from the jury. This is how the era of trade, law and the limitation of hostility is making itself felt on the Russian landscape. In terms of system-vector psychology, we call this period the skin phase of the development of society, which replaced the patriarchal historical (anal) era.
And pretend and lie! (Kharita Ignatievna daughters)
The mental structure of people underwent no less changes than the economy and production. New values invaded the age-old foundations, new people sought to occupy a leading position in society. The woman, who for the first time received the opportunity to realize her properties, also changed, if not on a par with a man, then already not at the level of patriarchal housing construction, which was superbly described by AN Ostrovsky earlier in The Thunderstorm. There is still a long way ahead, but the beginning was laid back in 1878, when A. F.
The brilliant artist A. N. Ostrovsky saw changes in Russian life that were not noticeable to the majority. That is why the play "Dowry" was not accepted immediately, but only when the obvious for the writer became such for everyone. Katerina in "The Thunderstorm" was killed by the dying old anal, the dowry Larisa Ogudalova - a nascent skin grasp that contradicts the Russian mentality. At a deep psychological level, people of a certain type experienced painful inconsistencies between their mental structure and the surrounding reality.
We are going through similar processes now. 70 years of socialism, which canceled the development of the country along the capitalist path, were, among other things, a consequence of the rejection of capitalist skin orders in the urethral-muscular mentality of the people of Russia. With perestroika, everything returned to normal. It was necessary to continue the interrupted capitalism, but the mentality remained the same, and the rejection of the skin only intensified by the experience of socialist "leveling".
It is not surprising that the heroes of Ostrovsky's plays are alive and well next to us. The guardians of the benefits of the Knurovs and Vozhevatovs are gaining momentum, the unlucky Karandyshevs try to despise the golden calf, jumping out of their pants in order to seem rich, the Ignatievna's charites are still trying to attach their daughters with benefit. The Paratovs go to great lengths to maintain leadership. The image of Larisa is also unchanged, beautiful and desired by all men, but intended by nature for only one, whom it is extremely rare to meet.
This play by N. A. Ostrovsky has been repeatedly addressed by filmmakers. Back in 1912, "The Dowry" was filmed by the Russian director Kai Ganzen, in 1936 Yakov Protazanov shot the film of the same name with Nina Alisova and Anatoly Ktorov. But the most striking visual imprint of the immortal creation of the brilliant Russian playwright remains, in my opinion, Eldar Ryazanov's film "Cruel Romance" (1984).
Without deviating, if possible, from the text of the original, Ryazanov was able to create in several juicy strokes an imprint of the life of Russian society on the threshold of the new twentieth century. The selection of actors, as always, is impeccable, their acting is mesmerizing, the film can be reviewed anew and each time new facets of meaning can be found in it. System-vector psychology allows you to look at a story told more than a hundred years ago from the depths of the psychic unconscious and once again make sure of the unmistakable interpretation of the characters by the director of the film.
Sergei Sergeich … this is the ideal of a man. Do you understand what an ideal is? (Larisa)
The first appearance of Paratov (N. Mikhalkov) in the film: "a brilliant gentleman and mot" on a white horse, contrary to all prohibitions, enters the pier and throws a bouquet to the unfortunate bride, who is being married off to a dubious Georgian prince. According to the play, the groom will stab her, not taking her to the Caucasus. Ryazanov gives her life, though not too happy.
From the very first shots of the film, we see: Paratov demonstratively violates the prohibitions, he really wants to seem the master of circumstances, the leader of a noisy gang, no matter who - barge haulers, sailors, merchants, if only the main one. Paratov, like a knife in butter, fits into any company, he immediately takes over and forces himself to obey, some from under the stick, and some with reverence and love. Paratov is adored in the city. Not sparing his white clothes, Paratov embraces with the smoky sailors on his still steamer, the high-speed "Swallow".
Sergei Sergeevich is generous, strong, he seems generous, the gypsy camp enthusiastically meets him at the pier. Everyone knows that since Paratov has arrived, there will be a mountain feast, everyone will beted with the generous hand of the master. People are drawn to bestowal, and while Sergei Sergeyevich is able to give, he is provided with a crowd of enthusiastic and obsequious admirers: "Such a gentleman, we can't wait: we've been waiting for a year - that's what a gentleman!"
Paratov does not want to be second. If there is another steamer ahead, you need to overtake it and do not care that the car can not stand it: “Kuzmich, add! I'll give all the guys a gold piece! The passion of Paratov is transferred to the captain, a calm and balanced person, the whole team falls under the charm of Sergei Sergeyevich, he is sincerely loved and will not be let down. He promised to pay handsomely!
Paratov demonstratively loves his people. Paratov's anger at Karandyshev (A. Myagkov) is terrible when he allowed himself a contemptuous comment on barge haulers. He demands that Yuliy Kapitonich immediately apologize, because having offended the barge haulers, Karandyshev dared to offend Paratov: “I am the ship owner and I stand up for them; I myself am the same barge haule. Only the intercession of Kharita Ignatievna saves Karandyshev from a quick reprisal. However, demoralized by Paratov's anger, Yuliy Kapitonich himself is ready to back down. It is clear that no Paratov is a barge haule and never was. Barge haulers work for him, he is a freak and a carousel at the expense of slave labor who have no other source of food for people.
After all, he is some kind of tricky (Vozhevatov about Paratov)
But not everyone shares the enthusiasm of the common people. Local merchants Mokiy Parmenych Knurov (A. Petrenko), an elderly man with a huge fortune, and Vasily Danilovich Vozhevatov (V. Proskurin), a young man, but already rich, treat Paratova with distrust, "after all, he is some kind of tricky." Where for Knurov "the impossible is not enough," for Paratov the impossible, it seems, simply does not exist. This annoys the merchants. Is this the way to treat money, is it to do business? In Ryazanov's film, Vozhevatov half-jokingly quotes V. Kapnist:
Take it, there is no big science here, Take what you can take
Why are our hands hung on, How not to take, take, take."
Is there a more comprehensive description of the skin archetype? Take, save, follow the rules as the exact opposite of urethral return, which sees no limits. Not only Vozhevatov and Knurov live according to this scheme. Kharita Ignatievna Ogudalova (A. Freindlikh), Larisa's mother, does not lag behind them. In an effort to literally sell her daughter at a higher price, Kharita Ignatievna (“aunty” by the apt definition of Paratova, that is, not a lot) charges a fee for visiting her house, where her youngest daughter, who has not yet been married for good, shines (L. Guzeeva).
Paratov seeks to go beyond the limits of skin pettiness, he tries to resemble the urethral leader and in some places he succeeds so well that he misleads Larisa, she sincerely considers Paratov to be the ideal of a man, because the ideal for her is the urethral leader of the pack. What can I say, the skin vector perfectly adapts to any task. But not endlessly.
Dexterous woman (Knurov about Harita)
Kharita Ignatievna does not hesitate to lure out money even for the jewelry already presented to Larisa, she also begs for "a dowry", which hardly anyone will ask. That is what they live on. Guests in the Ogudalovs' house are not transferred. Kharita Ignatievna secretly assigns her rank to everyone, depending on the thickness of his wallet. The merchants Vozhevatov and Knurov are especially valuable; they vote with the ruble more than others for the charm of the incomparable Larissa.
They also accept simpler people, including the most dubious rogues like the fugitive cashier, who was arrested right during a binge in the Ogudalovs' house. Harita miscalculated in a big way, it happens. But he wins on little things. Having deceived Knurov for 700 rubles, the skin that has fallen into the archetype does not feel remorse, small baptized on the icon "forgive me, sinner" and immediately hides the money in the drawer of the chest. “I turn out like a thief at a fair,” says the elder Ogudalova.
Larisa's mother does not welcome Karandyshev. So so, postal officer. He boasts that he does not take bribes, but, according to Kharita, this is only because no one gives them, the place is not profitable. Otherwise I would take it. And Harita is right. Karandyshev is a vivid representative of the anal foolish truth-lover. Neither this nor that. He does not have the ability to make money, the desire to live in a big way, keeping up with the merchants, is nevertheless present, plus cosmic selfishness and snobbery, with which he tries to fence himself off from his obvious uselessness to everyone.
Do not offend! Can you offend me? (Karandyshev)
“We, educated people,” says Yuliy Kapitonich about himself, the broad outlook of an educated person, nevertheless, is far from demonstrating, on the contrary, petty, picky and touchy. Karandyshev is not able to love anyone but himself, he needs Larissa to be noticeable in society. He is all insulted and wants revenge for ridicule in his address. "Only fierce anger and a thirst for revenge are choking me," admits Karandyshev.
Even in the most poignant monologue about a funny man and a broken heart, you don't really sympathize with Karandyshev. His selfish urges are all too visible even in what he calls love. The hysterical "love me" is all that Julius Kapitonich is capable of.
Larisa Ogudalova is not waiting for such a person. The hero of her dreams can be only one person - brilliant, generous, strong, making everything and everyone revolve around him by his mere appearance. System-vector psychology defines such a person as the urethral leader of the pack. The most powerful altruism is inherent in the nature of the urethral vector - the only measure aimed not at receiving, but at giving initially, in contrast to other vectors, which only in the development and realization of their properties should come to give in the flock.
Among the heroes of A. N. Ostrovsky's drama, there are no such characters, but there is one who seeks to correspond to these characteristics to the extent of his properties and temperament. This is Paratov. Larisa Ogudalova falls in love with him, mistaking the mimicry of the skin for the urethral leader. It's really easy to make a mistake, the skin is adaptive and can deftly pretend to be anyone, for the time being, of course. Ambitious leatherworkers in the Russian landscape have always loved and love to demonstrate the external signs of the urethra - the scope in spending, wide gestures, patronage, even the gait and smile are trying to copy. Behind all this masquerade is the banal desire to advance, take the place of the leader, pretending to be him. No matter how the skinner enters the role, no matter how hard he tries to play the urethral, this is impossible due to the contrast of these vectors,therefore, in the case of severe stress, the skin simulator quickly leaves the game and becomes itself real. This is exactly what is happening with the "magnificent" Sergei Sergeevich Paratov.
How can you not listen to him? How can you be insecure about him? (Larisa about Paratov)
It seems that Sergei Sergeyevich doesn't need much for himself … "There is no merchant in me," Paratov boasts, in fact, there is plenty of merchant in him, he "haggles" with his beloved woman, does not blink an eye. Without a penny of money, but in expensive clothes, a mot, a spender, a braggart and a show-off, Paratov carries with him everywhere the actor Robinson (G. Burkov), picked up by him on the island, where he was dropped off from another steamer for indecent behavior. A jester in the presence of a king is one of the attributes of power. The excellent actor G. Burkov remarkably shows the pettiness, venality and insignificance of his hero, and, consequently, the discrepancy between Paratov's ambitions and the declared status. If the retinue makes the king, then Robinson can only "make" the dubious king Paratov.
Paratov seems brave and strong. He puts the glass on his head so that the visiting officer (A. Pankratov-Chyorny) will demonstrate his accuracy in pistol shooting. After the shot, Paratov calmly brushes off the glass fragments, and then knocks the watch out of Larisa's hands with one shot (in the play - a coin). Sergei Sergeevich does not need to lift and move the carriage so that Larisa can pass without getting her feet wet in a puddle. Karandyshev tries to repeat this, but, alas, he lacks strength, he is funny again. Karandyshev does not succeed in "letting on himself", the properties of the anal vector do not give.
Paratov amazes Larisa with her fearlessness, and she reaches out to him with all her heart: "I am not afraid of anything next to you." This is a special love, when there is simply no fear for oneself, it remained at the other end of the visual vector, the only measure in the psychic, where only earthly love is possible. In the words of a romance to the poems of Marina Tsvetaeva, which the gypsy Valentina Ponomareva “sings excellently” for Larisa Guzeeva in the film, “I still don’t know whether she won or won”.
There are no victories or defeats in true love, there is only giving oneself to another without a trace. In such love there is no place for jealousy or betrayal, both of which are committed out of selfish fear for themselves. Larisa Ogudalova is capable of such love, her visual vector, under the influence of love for Paratova, goes out of fear into love for the only, as it seems to her, person destined for her by nature. She regrets the rest, including Karandyshev, whom, partly out of pity, she marries. “It's gone to be jealous, I can't stand it,” Larissa tells him. She sees in Paratov not his essence, but the image created by her visual imagination. Visual women often create ideal images and endow them with real men, who have nothing to do with these images. In this case, a tragic outcome is very likely.
In relation to Paratov, Larisa “ascends to a high degree of insanity,” that is, out of fear for herself and her life, from rationalizations of the mind about what is possible and what is not, from all sorts of limitations ascends to boundless love-giving, complementary to the urethral altruism. It is such a ligament in the psychic that makes the pair of the urethral man and the skin-visual woman unique among others. Although both he and she are desired by everyone and can make up the happiness of carriers of various vectors, the absolute coincidence of souls occurs precisely at the level of the fusion of the urethra and vision into an unshakable, eternal and endless chord directed to the future. And here we come to the tragic ending, when all the masks will be thrown off, and the imaginary king will appear naked in only one of his original skin, which cannot be peeled off.
I'm engaged. Here are the golden chains with which I am bound for life (Paratov)
The urethral vector is characterized by mercy - a quality derived from the only natural power of the leader of the pack. Pardon where he is free to kill. This is the power of the urethra, which does not require evidence of cruelty. Paratov shows us "mercy in a scanty form" of the empty rogue Robinson, he is not capable of anything more. When, in response to Paratov's confession of the inevitability of her marriage, Larisa exclaims: “Godless!”, In the meanings she speaks precisely of the lack of mercy, stating the impossibility for Paratov to correspond to the declared image.
Having squandered his fortune, Sergei Sergeevich agrees to a bonded marriage with gold mines, for his meanness he does not see any moral restrictions. The loss of state for Paratov means the loss of the attributes of power that he needs in his role as a "urethral leader." To maintain the status of the richest and most generous buffoon, Paratov does not regret anything. Even Larissa. “I lost more than a fortune,” Paratov tries to justify himself. It is clear, a beggar, he will no longer be able to lead the group of merchants who are ruling the ball in the new capitalist life. Being the master of the masters of life is most important for Paratov, it is his skin ambitions and the key to his success as the skin leader of the group. He cannot, does not know how to make money, in this sense, and "there is no mercenary" in Paratov, in his own words. This means that there is no way to rise in the skin hierarchy in any other way, except for a profitable marriage. He doesn’t know how to earn money, but he wants to go out, ambitions are very high, do not correspond to his abilities, he has to get it at the expense of his wife’s dowry. And, in all likelihood, he will pass out sooner or later, if they give him, of course.
How much do you value your volushka? - Half a million-s (Kharita and Paratov)
The urethral leader is able to lead any flock, becoming the most-most in it. Sagging under the circumstances, Paratov reveals his true self, sells his "volyushka" for gold. But was there a volyushka, since it was so easily sold for money? Not. There were attempts to meet the stated ambitions. It really is more than a loss of fortune. This is the loss of oneself, humiliation, incompatible with the status of the urethral leader, but quite tolerable, not fatal in the skin. Well, I could not seem like a urethral leader, not a big deal, but now with the gold mines and you can start the show again.
Larisa dies physically, but retains her soul. For this she thanks her murderer Karandyshev: "My dear, what a boon you have done for me!" For Larisa, life without love, in the inanimate state of a beautiful doll for pleasures for money is unthinkable. Paratov remains to live, but a living corpse, a pug on a gold chain of a capricious lady. “I am engaged” sounds in the mouth of Paratov as “I am doomed”. Beautiful words for Larisa again. In fact, for Paratov, Larisa is already in the past, and the leatherman has a short memory. She will grieve, sing with the gypsies, and for a new life in luxury and feigned fraternization with the people.
The states described in Ostrovsky's play at the level of a couple, a group of people are equally characteristic of society as a whole. The urethral mentality of Russia, having entered into interaction with the skin values of the consumer society, resulted in a disappointing picture of total corruption, theft and nepotism at all levels. An archetypal skin thief with a urethral mental superstructure - a thief without boundaries and without logic. He steals, not knowing saturation, grabs everything that is bad and good. This is a monster, irrational in its desire to become even more thieving, despite all laws and restrictions, even contrary to the laws of nature, which restricts receiving.
Skin thieves striving for the status of the urethral leader, "outrageous" in thieves 'jargon, for whom the "thieves' law" is not written. "After us, even a deluge" is the motto of archetypal skin. Examples of such behavior from bottom to top can be seen constantly, only the amount of loot is growing. Skin, not having development in return, wants to live anyway in an urethral way, at the head of a gang with wonderful friends, revelry and gypsies, and receives, out of its true lack - archetypal tradesmen "from the Cherkizon" in elite apartments and a court for embezzlement on a large scale defense of the state.
Any law is perceived by the Russian mentality as an obstacle that must be bypassed at all costs, that is, it is not perceived at all, the urethra does not notice skin restrictions. The desire of the urethral vector to live without restrictions can only be satisfied through spiritual growth. This is a matter of the future, provided that efforts are made to spiritual development on the part of everyone - here and now. Otherwise, our urethral mentality, the only natural measure of unlimited return, can turn into its opposite - unlimited consumption, which is impossible in nature, which means it is doomed to be left without a future.
