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The character of the main character of the play Thunderstorm. Characteristics of the heroes of the play Thunderstorm

1. speech characteristic(individual speech characterizing the hero):

Katerina - poetic speech, similar to a spell, cry or song, filled with folk elements;

Kuligin - the speech of an educated person with "scientific" words and poetic phrases;

Wild - speech is replete with rude words and curses;

Kabanikha - speech is hypocritical, "pressing";

Feklusha - speech shows that she was in many places.

The role of the first replica, which immediately reveals the character of the hero.

Kuligin. Miracles, truly it must be said: miracles!

Curly. And what?

Wild. Buckwheat, you came here to beat! Parasite! Get lost!

Boris. Holiday; what to do at home!

Feklush. Blah-alepie, honey, blah-alepie! Beauty is wondrous.

Kabanova. If you want to listen to your mother, then when you get there, do as I ordered you.

Tikhon. But how can I, mother, disobey you!

Barbara. Do not respect you, how!

Katerina. For me, mama, it's all the same own mother that you, and Tikhon loves you too.

3. Using the technique of contrast and comparison:

Feklusha's monologue - Kuligin's monologue;

Life in the city of Kalinov - the Volga landscape;

Katerina - Barbara;

Tikhon - Boris.

The main conflict of the play is revealed in the title, the system of characters, which can be divided into two groups - "masters of life" and "victims", in the position of Katerina, who is not included in any of these groups, in the speech of the characters and even in the reception of contrast, determining the opposition of the heroes.

The city of Kalinov is a typical Russian city second half of XIX V. Most likely, A.N. Ostrovsky saw something similar during his travels along the Volga. Life in the city is a reflection of the situation when the old does not want to give up its positions and seeks to retain power by suppressing the will of others. Money gives the "masters of life" the right to dictate their will to the "victims". In a truthful display of such a life - the position of the author, calling to change it.

A.N. Ostrovsky "Thunderstorm". The image of Katerina is the embodiment best qualities female nature. The conflict of a romantic personality with a way of life devoid of folk moral foundations. The motives of temptations, the motive of willfulness and freedom in the drama

Katerina
In childhood	In the Kabanov family
"Just like a bird in the wild"; “mother did not look for a soul”; "I was not forced to work." Katerina's occupations: she looked after flowers, went to church, listened to wanderers and praying women, embroidered on velvet with gold, walked in the garden	“I have withered completely”; “Yes, everything here seems to be from under captivity.” The atmosphere at home is fear. “You will not be afraid, and even more so me. What kind of order will this be in the house?
Katerina's features: love of freedom (the image of a bird); independence; self-esteem; dreaminess and poetry (a story about visiting a church, about dreams); religiosity; decisiveness (a story about an act with a boat)	The principles of the house of Kabanovs: complete submission; renunciation of one's will; humiliation by reproaches and suspicions; lack of spiritual principles; religious hypocrisy
Conclusion. For Katerina, the main thing is to live according to your soul.	Conclusion. For Kabanikh, the main thing is to subdue, not to let them live in their own way

The world in which the heroine lives. Grew up in a simple merchant family where love and respect for each other reigned. In religion I found the highest truth. Her world is filled with poetry and beauty. They are in washing with spring water, in the stories and songs of wanderers, in prayers, in gold embroidery on velvet.

The character of the heroine. Nature is strong, passionate, freedom-loving. “I was six years old ..! They offended me with something at home ... I ran out to the Volga, got into a boat, and pushed it away from the shore. The next morning they already found it, ten miles away! “Oh, Varya, you don’t know my character!” she admits. “And if it gets too cold for me here, they won’t hold me back by any force.”

What is the tragedy of the heroine. Katerina is bright, sincere, but where she has to live (in the house of the Kabanovs), these qualities are simply not needed by anyone. And she does not want to live by the laws " dark kingdom and does not know how to adapt to them, because this would mean changing their moral principles.

Love in the life of the heroine. She did not marry for love, but she tried very hard to be a good wife to Tikhon. The need for love lives in her - she is looking for selfless, sacrificial love. Tikhon loves her in his own way, but is afraid of this love. In everything obeying his mother, he cannot protect his wife. The outbreak of passion for Boris deprived the heroine of her will - a new Katerina was born, ready to die for her love. A marriage consecrated in the church is sacred to her, and she is well aware of the consequences of her sinful love. Boris is the only one who understands Katerina, but is unable to help her, he even advises her to submit to fate. Katerina: “If I am not afraid of sin for you, will I be afraid of human judgment?” For the sake of love, she is ready to do anything, even transgress those concepts of sin and virtue that are sacred to her.

The death of Katerina is a protest, a riot, a call to action, since after her death Varvara ran away from home, Tikhon blamed his mother for the death of his wife, Kuligin reproached him for mercilessness.

Katerina is different inner strength and love of freedom, since in childhood she did not experience pressure from her parents, she grew up according to her nature; therefore, she did not break under the pressure of the "dark kingdom", she was able to defend her self-esteem. The city of Kalinov will not be able to live in the old way after the death of Katerina, because her death awakened the first words of protest among its inhabitants.

Critics about the drama "Thunderstorm"

The Thunderstorm was the occasion for a stormy controversy that unfolded between two revolutionary-democratic journals: Sovremennik and Russian word". But critics were most interested in revolutionary situation in Russia, its possible prospects, not literary questions.

N. A. Dobrolyubov "A Ray of Light in the Dark Kingdom"

The play leaves the most gratifying impression, which is caused by the end, in which a terrible challenge is given to the "dark kingdom", self-fooling power.

In Katerina, we see a protest against Kabanovsky morality, she is "a ray of light in a dark kingdom." If a woman - the most disenfranchised being - protests, this is significant.

Katerina can be compared with a spring (the more oppression, the greater the "recoil" when the spring gets rid of the oppression).

"Thunderstorm" - the most decisive work A. N. Ostrovsky.

D. I. Pisarev "Motives of Russian drama"

Katerina is a “crazy dreamer” (she rushes from one extreme to another every minute, today she repents of what she did yesterday, and does not know what she will do tomorrow. She confuses her life and someone else’s at every step, and, finally, confusing everything that was at her fingertips, she cuts the tightened knot with the most stupid means - suicide).

Evaluates Katerina's "spontaneous protest" as stupid nonsense, she best case"Swamp light", and "a ray of light" calls Yevgeny Bazarov. The critic does not believe in the revolutionary possibility of the peasantry (Katerina is ignorant and superstitious), but believes in the natural sciences as a revolutionary force capable of enlightening the people.

A. A. Grigoriev "After Ostrovsky's Thunderstorm"

I saw poetry in the play folk life":" It is created as if not an artist, but the whole world created.

Lesson 31 The system of images, methods of revealing the characters of the characters. The nature of the conflict. The meaning of the name.

Goals:

determine the meaning of the title, the originality of the system of images; answer questions about how the characters of the characters are revealed and what is the peculiarity of the conflict of the play.

During the classes.

Group 1. The meaning of the play's title is "Thunderstorm". Students' reports about independent observations of the text under the guidance of a teacher.

Define the word "storm"?

What is the significance in the play?

(A thunderstorm for Katerina is God's punishment; Tikhon calls his mother's scolding a thunderstorm; Kuligin sees "grace" in a thunderstorm)

The compositional role of a thunderstorm? (links the whole play together: in act 1 a thunderstorm is approaching, in act 4 it portends death, breaks out in the climactic scene of Katerina's confession)

Group 2 The system of characters in the play. Messages about independent observations on the text.

- Let's call the actors "Thunderstorms" ( poster reading ). What do their names and surnames mean?

- Surnames in Ostrovsky's plays "speak" not only about the character of the hero, but actually give information about him. Ostrovsky's careful attitude to the names of the characters is one of the reasons for their realism. Here, such a rare quality as the reader's intuition is manifested.

Studying the list of characters, it should be noted the distribution of heroes by age (young - old), family ties (Dika and Kabanova are indicated, and most of the other heroes are related to them), education (only Kuligin, a self-taught mechanic and Boris ). Then, in working with the text, the knowledge of students deepens, and the system of characters becomes different. The teacher, together with the class, makes a table, which is written in notebooks.

"Masters of Life"

"Victims"

wild . You are a worm. If I want - I'll have mercy, if I want - I'll crush.

Boar . I have long seen that you want the will. This is where the will leads.

Curly. Well, that means I'm not afraid of him, but let him be afraid of me.

Feklusha . And the merchants are all pious people, adorned with many virtues.

Kuligin. It's better to be patient.

Barbara. And I was not a liar, but I learned it ... And in my opinion, do what you want, if only it was sewn and covered.

Tikhon. Yes, mother, I don’t want to live by my own will. Where can I live with my will!

Boris. Food not of my own free will: my uncle sends it.

Issues for discussion

What place does Katerina occupy in this system of images?

Why were Kudryash and Feklusha among the "masters of life"?

How to understand such a definition - "mirror" images?

Group 3 . Features of the disclosure of the characters of the heroes.Students' reports about their observations on the text.

Speech characteristic (individual speech characterizing the hero):

Katerina is a poetic speech, reminiscent of a spell, lamentation or song, filled with folk elements.

Kuligin is the speech of an educated person with "scientific" words and poetic phrases.

Wild - speech is replete with rude words and curses.

Boar - hypocritical, "pressing" speech.

Feklusha - speech shows that she was in many places.

The role of the first replica, which immediately reveals the character of the hero:

Kuligin . Miracles, truly it must be said: miracles!

Curly. And what?

Wild. Buckwheat you, eh, come to beat the court! Parasite! Get lost!

Boris. Holiday; what to do at home!

Feklush. Blah-alepie, honey, blah-alepie! Beauty is wondrous.

Kabanova. If you want to listen to your mother, then when you get there, do as I ordered you.

Tikhon . But how can I, mother, disobey you!

Barbara. Do not respect you, how!

Katerina. For me, mother, it’s all the same that your own mother, that you, and Tikhon loves you too.

Using the technique of contrast and comparison:

Feklusha's monologue - Kuligin's monologue;

life in the city of Kalinov - the Volga landscape;

Katerina - Barbara;

Tikhon - Boris.

Lesson summary . The main conflict of the play is revealed in the title, the system of characters, which can be divided into two groups - "masters of life" and "victims", in the peculiar position of Katerina, who is not included in any of these groups, in the speech of the characters corresponding to their position, and even in the technique of contrast, which determines the opposition of the characters.

Homework:

Answer problematic issue: Can we blame Kabanikha for her attitude towards her daughter-in-law, if, in the end, the mother-in-law turned out to be right in her fears, because Katerina cheated on her husband.
Follow the development of the action of the play how the conflict develops, what role does the thunderstorm play in this?

The history of the creation of the play The work has a general meaning, it is no coincidence that Ostrovsky named his fictional one, but real city non-existent name Kalinov. In addition, the play is based on impressions from a trip along the Volga as part of an ethnographic expedition to study the life of the inhabitants of the Volga region. Katerina, remembering her childhood, talks about sewing on gold velvet. The writer could see this craft in the city of Torzhok, Tver province. The work has a general meaning, it is no coincidence that Ostrovsky called his fictional, but surprisingly real city with the non-existent name of Kalinov. In addition, the play is based on impressions from a trip along the Volga as part of an ethnographic expedition to study the life of the inhabitants of the Volga region. Katerina, remembering her childhood, talks about sewing on gold velvet. The writer could see this craft in the city of Torzhok, Tver province.

The meaning of the title of the play "Thunderstorm" A thunderstorm in nature (act 4) is a physical phenomenon, external, independent of the characters. A thunderstorm in nature (act 4) is a physical phenomenon, external, independent of the heroes. A thunderstorm in Katerina's soul from the gradual confusion caused by love for Boris, to the pangs of conscience from betrayal of her husband and to the feeling of sin before people, which pushed her to repentance. A thunderstorm in Katerina's soul from the gradual confusion caused by love for Boris, to the pangs of conscience from betrayal of her husband and to the feeling of sin before people, which pushed her to repentance. A thunderstorm in society is a feeling by people who stand up for the immutability of the world, something incomprehensible. Awakening in the world of unfreedom of free feelings. This process is also shown gradually. At first, only touches: there is no proper respect in the voice, does not observe decency, then disobedience. A thunderstorm in society is a feeling by people who stand up for the immutability of the world, something incomprehensible. Awakening in the world of unfreedom of free feelings. This process is also shown gradually. At first, only touches: there is no proper respect in the voice, does not observe decency, then disobedience. Thunderstorm in nature is external cause, which provoked both a thunderstorm in Katerina's soul (it was she who pushed the heroine to confession), and a thunderstorm in a society that was dumbfounded because someone went against it. A thunderstorm in nature is an external cause that provoked both a thunderstorm in Katerina's soul (it was she who pushed the heroine to confession), and a thunderstorm in society, which was dumbfounded because someone went against it.

The position of women in Russia in the 1st half of the 19th century. The position of women in Russia in the 1st half of the 19th century. In the first half of the 19th century, the position of women in Russia was dependent in many respects. Before marriage, she lived under the unquestioned authority of her parents, and after the wedding, her husband became her master. The main sphere of activity of a woman, especially among the lower classes, was the family. According to the rules accepted in society and enshrined in Domostroy, she could only count on a domestic role - the role of a daughter, wife and mother. The spiritual needs of most women, as in pre-Petrine Rus', satisfied folk holidays and church services. In the first half of the 19th century, the position of women in Russia was dependent in many respects. Before marriage, she lived under the unquestioned authority of her parents, and after the wedding, her husband became her master. The main sphere of activity of a woman, especially among the lower classes, was the family. According to the rules accepted in society and enshrined in Domostroy, she could only count on a domestic role - the role of a daughter, wife and mother. The spiritual needs of the majority of women, as in pre-Petrine Rus', were satisfied by folk holidays and church services. "Domostroy" - a monument of Russian writing of the 16th century, representing "Domostroy" - a monument of Russian writing of the 16th century, which is a set of rules for family life. a set of family rules.

The era of change The play "Thunderstorm" was created in the pre-reform years. It was an era of political, economic and cultural change. The transformations affected all strata of society, including the environment of the merchants and the bourgeoisie. Collapsed the old way of life, gone to the past patriarchal relations- people had to adapt to the new conditions of existence. The play "Thunderstorm" was created in the pre-reform years. It was an era of political, economic and cultural change. The transformations affected all strata of society, including the environment of the merchants and the bourgeoisie. The old way of life was collapsing, patriarchal relations were becoming a thing of the past - people had to adapt to the new conditions of existence. In the literature of the mid-19th century, changes are also taking place. Particularly popular at this time were the works, the main characters of which were representatives of the lower classes. They interested writers primarily as social types. In the literature of the mid-19th century, changes are also taking place. Particularly popular at this time were the works, the main characters of which were representatives of the lower classes. They interested writers primarily as social types.

The system of characters in the play Speaking surnames Speaking surnames The age of the heroes The age of the heroes "Masters of life" "Masters of life" "Victims" "Victims" What place does Katerina occupy in this system of images? What place does Katerina occupy in this system of images?

The system of characters in the play "Victims" Varvara: "And I was not a liar, but I learned." “But in my opinion, do whatever you want, as long as it’s sewn and covered.” Tikhon: “Yes, mother, I don’t want to live by my own will. Where can I live with my will! Kuligin: "It's better to endure."

Features of the disclosure of the characters of the heroes Katerina poetic speech, reminiscent of a spell, crying or a song, filled with folk elements. Katerina is a poetic speech, reminiscent of a spell, a cry or a song, filled with folk elements. Kuligin speech of an educated person with "scientific" words and poetic phrases. Kuligin speech of an educated person with "scientific" words and poetic phrases. Wild speech is replete with rude words and curses. Wild speech is replete with rude words and curses.

The role of the first replica, which immediately reveals the character of the hero: Kuligin: “Miracles, truly it must be said: miracles!” Kuligin: "Miracles, truly it must be said: miracles!" Curly: "What?" Curly: "What?" Dikoy: “You’ve come to beat the ships! Parasite! Get lost!” Dikoy: “You’ve come to beat the ships! Parasite! Get lost!” Boris: “Holiday; what to do at home! Boris: “Holiday; what to do at home! Feklusha: “Bla-alepie, dear, blah-alepie! Amazing beauty." Feklusha: “Bla-alepie, dear, blah-alepie! Amazing beauty." Kabanova: "If you want to listen to your mother, then when you get there, do as I ordered you." Kabanova: "If you want to listen to your mother, then when you get there, do as I ordered you." Tikhon: “Yes, how can I, mother, disobey you!” Tikhon: “Yes, how can I, mother, disobey you!” Barbara: "You won't respect you, how can you!" Barbara: "You won't respect you, how can you!" Katerina: “For me, mother, it’s all the same that your own mother, that you, and Tikhon loves you too.” Katerina: “For me, mother, it’s all the same that your own mother, that you, and Tikhon loves you too.”

Using the technique of contrast and comparison: Feklusha's monologue Kuligin's monologue, Feklusha's monologue Kuligin's monologue, life in the city of Kalinovo Volga landscape, life in the city of Kalinovo Volga landscape, Katerina Varvara, Katerina Varvara, Tikhon Boris Tikhon Boris

Homework Monologues Kuligin - action 1, yavl. 3; act 3, yavl. 3 Kuligin's monologues - act 1, yavl. 3; act 3, yavl. 3 Feklusha's monologues - act 1, yavl. 2; act 3, yavl. 1 Feklusha's monologues - act 1, yavl. 2; act 3, yavl. 1 Residents act 3, yavl. 1; act 2, yavl. 1; act 4, yavl. 4; act 4, yavl. 1. Residents action 3, yavl. 1; act 2, yavl. 1; act 4, yavl. 4; act 4, yavl. 1. How is it different from the inhabitants of the city of Kuligin? How is it different from the inhabitants of the city of Kuligin? Wild and Boar. Wild and Boar.

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BORIS AND TIKHON
Boris Dikoy and Tikhon Kabanov are the two characters most closely associated with the main character, Katerina: Tikhon is her husband, and Boris becomes her lover. They can be called antipodes, which stand out sharply against the background of each other. And, in my opinion, preferences in their comparison should be given to Boris, as a character who is a more active, interesting and pleasant reader, while Tikhon causes some compassion - brought up by a strict mother, he, in fact, cannot make his own decisions and defend his own opinion. In order to substantiate my point of view, below I will consider each character separately and try to analyze their characters and actions.

To begin with, consider Boris Grigorievich Diky. Boris came to the city of Kalinov not out of his own whim, but out of necessity. His grandmother, Anfisa Mikhailovna, disliked his father after he married a noble woman, and after her death left her entire inheritance to her second son, Savel Prokofievich Diky. And Boris would not have cared about this inheritance if his parents had not died of cholera, leaving him and his sister orphans. Savel Prokofievich Dikoi was supposed to pay part of the inheritance of Anfisa Mikhailovna to Boris and his sister, but on the condition that they would be respectful to him. Therefore, throughout the play, Boris tries in every possible way to serve his uncle, not paying attention to all the reproaches, discontent and abuse, and then he leaves for Siberia to serve. From this we can conclude that Boris not only thinks about his future, but also takes care of his sister, who is in an even less advantageous position than he is. This is expressed in his words, which he once said to Kuligin: “If I were alone, it would be nothing! I would have left everything and left.

Boris spent all his childhood in Moscow, where he received a good education and manners. It also adds positive features to his image. He is modest and, perhaps, even somewhat timid - if Katerina had not responded to his feelings, if not for the complicity of Varvara and Curly, he would never have crossed the boundaries of what is permitted. His actions are driven by love, perhaps the first, a feeling that even the most reasonable and reasonable people are unable to resist. Some timidity, but sincerity, his gentle words to Katerina make Boris a touching and romantic character, full of charm that cannot leave girlish hearts indifferent.

As a person from the metropolitan society, from secular Moscow, Boris has a hard time in Kalinov. He does not understand local customs, it seems to him that he is a stranger in this provincial city. Boris does not fit into the local society. The hero himself says the following words on this occasion: “... it’s hard for me here, without a habit! Everyone looks at me wildly, as if I’m superfluous here, as if I’m disturbing them. I don’t know the local customs. I understand that this is all our , Russian, native, but still I can’t get used to it in any way. Boris is overwhelmed by heavy thoughts about his further fate. Youth, the desire to live, desperately rebel against the prospect of staying in Kalinovo: "And I, apparently, will ruin my youth in this slum. I walk completely dead ...".

So, we can say that Boris in Ostrovsky's play "Thunderstorm" is a romantic, positive character, and his rash actions can be justified by falling in love, which makes young blood boil and do completely reckless things, forgetting how they look in the eyes of society.

Tikhon Ivanovich Kabanov, on the other hand, can be considered as a more passive character, unable to make his own decisions. He is strongly influenced by his imperious mother, Marfa Ignatievna Kabanova, he is under her thumb. Tikhon strives for the will, however, it seems to me that he himself does not know what exactly he wants from it. So, breaking free, the hero acts as follows: "... and as soon as I left, I went on a spree. I'm very glad that I broke free. And I drank all the way, and in Moscow I drank everything, so a bunch, what the heck! whole year take a walk. I never once remembered the house. "In his desire to escape" from captivity, "Tikhon closes his eyes to other people's feelings, including the feelings and experiences of his own wife, Katerina: "..and with a kind of bondage from what beauty-wife you want, you will run away! You think about it: whatever it is, but I'm still a man; live like this all your life, as you see, you will also run away from your wife. Yes, how do I know tapericha that there will be no thunderstorm over me for two weeks, there are no shackles on my legs, so is it up to my wife?". I believe that this is Tikhon's main mistake - he did not listen to Katerina, did not take her with himself, and did not even take a terrible oath from her, as she herself asked in anticipation of trouble.In the events that occurred further there is a share of his guilt.

Returning to the fact that Tikhon is not able to make his own decisions, we can give the following example. After Katerina confesses her sin, he cannot decide what to do - listen to his mother again, who calls her daughter-in-law cunning and tells everyone not to believe her, or show indulgence to his beloved wife. Katerina herself speaks about it this way: "Now he is affectionate, then he is angry, but he drinks everything." Also, in my opinion, an attempt to get away from problems with the help of alcohol also indicates Tikhon's weakness.

We can say that Tikhon Kabanov is a weak character, like a person who evokes sympathy. It is difficult to say whether he really loved his wife, Katerina, but it is safe to assume that with his character he was better suited to another life partner, more like his mother. Brought up in strictness, not having his own opinion, Tikhon needs outside control, guidance and support.

So, on the one hand, we have Boris Grigorievich Diky, a romantic, young, self-confident hero. On the other hand - Tikhon Ivanovich Kabanov, a weak-willed, soft-bodied, unhappy character. Both characters, of course, are pronounced - Ostrovsky in his play managed to convey the full depth of these images, make you worry about each of them. But if we compare them with each other, Boris attracts more attention, he arouses sympathy and interest in the reader, while Kabanov wants to be sorry.

However, each reader himself chooses which of these characters to give his preference. After all, as folk wisdom says, there are no comrades for the taste and color.

BARBARA
Varvara Kabanova - daughter of Kabanikhi, sister of Tikhon. We can say that life in the house of Kabanikhi morally crippled the girl. She also does not want to live according to the patriarchal laws that her mother preaches. But despite a strong character, V. does not dare to openly protest against them. Its principle is “Do whatever you want, as long as it’s sewn and covered.”
This heroine easily adapts to the laws of the "dark kingdom", easily deceives everyone around her. It became a habit for her. V. claims that it is impossible to live otherwise: their whole house is based on deceit. “And I was not a liar, but I learned when it became necessary.”
V. was cunning as long as it was possible. When they began to lock her up, she ran away from home, inflicting a crushing blow on Kabanikha.
KULIGIN

Kuligin is a character who partially performs the functions of an exponent of the author's point of view and therefore is sometimes referred to as a hero-reasoner, which, however, seems to be incorrect, since in general this hero is certainly distant from the author, quite detached is depicted, as an unusual person, even somewhat outlandish. The list of actors says about him: “a tradesman, a self-taught watchmaker, looking for a perpetuum mobile”. The name of the hero transparently hints at a real person - I. P. Kulibin (1755-1818), whose biography was published in the journal of the historian M. P. Pogodin "Moskvityanin", where Ostrovsky collaborated.
Like Katerina, K. is a poetic and dreamy nature (thus, it is he who admires the beauty of the Trans-Volga landscape, complains that the Kalinovs are indifferent to him). He appears, singing "Among the flat valley ...", a folk song of literary origin (to the words of A. F. Merzlyakov). This immediately emphasizes the difference between K. and other characters associated with folklore culture, he is also a bookish man, although of rather archaic bookishness: he tells Boris that he writes poetry “in the old way ... I read Lomonosov, Derzhavin after all ... The wise man was Lomonosov, the tester of nature ... ". Even the characterization of Lomonosov testifies to the erudition of K. precisely in old books: not a “scientist”, but a “sage”, “tester of nature”. “You are an antique, a chemist,” Kudryash tells him. "Self-taught mechanic," corrects K. K.'s technical ideas are also an obvious anachronism. The sundial, which he dreams of installing on Kalinovsky Boulevard, came from antiquity. Lightning rod - a technical discovery of the XVIII century. If K. writes in the spirit of the classics of the 18th century, then his oral stories sustained in even earlier stylistic traditions and reminiscent of old moralizing stories and apocrypha (“and they will begin, sir, the court and the case, and there will be no end to the torment. splashing their hands with joy ”- the picture of judicial red tape, vividly described by K., recalls stories about the torment of sinners and the joy of demons). All these features of the hero, of course, are given by the author in order to show his deep connection with the world of Kalinov: he certainly differs from the Kalinovites, we can say that he is a “new” person, but only his novelty has developed here, inside this world , which gives birth not only to its passionate and poetic dreamers, like Katerina, but also to its “rationalist” dreamers, its own special, home-grown scientists and humanists. The main business of K.'s life is the dream of inventing the Perpetu Mobile and getting a million from the British for it. He intends to spend this million on Kalinov's society - "the work must be given to the bourgeoisie." Listening to this story, Boris, who received a modern education at the Commercial Academy, remarks: “It's a pity to disappoint him! What a good man! Dreaming for himself - and happy. However, he is hardly right. K. is really a good person: kind, disinterested, delicate and meek. But he is hardly happy: his dream constantly forces him to beg for money for his inventions, conceived for the benefit of society, and it never occurs to society that there can be any benefit from them, for them K. is a harmless eccentric, something something like an urban holy fool. And the main of the possible "philanthropists" - Dikoy, completely lashes out at the inventor with abuse, once again confirming both the general opinion and Kabanikhe's own admission that he is not able to part with the money. Kuligin's passion for creativity remains unquenched; he pities his countrymen, seeing in their vices the result of ignorance and poverty, but he cannot help them in anything. So, the advice that he gives (to forgive Katerina, but in such a way that he never remembers her sin) is obviously impracticable in the Kabanovs' house, and K. hardly understands this. The advice is good, humane, because it comes from humane considerations, but does not take into account the real participants in the drama, their characters and beliefs. With all your hard work, creative beginning his personality K. - a contemplative nature, devoid of any pressure. Probably, this is the only reason the Kalinovites put up with him, despite the fact that he differs from them in everything. It seems that for the same reason it was possible to entrust him with the author's assessment of Katerina's act. "Here's your Katherine. Do with her what you want! Her body is here, take it; and the soul is no longer yours: it is now before the Judge, who is more merciful than you!”
KATERINA
But the most extensive subject for discussion is Katerina - "a Russian strong character", for whom truth and a deep sense of duty are above all else. First, let's turn to the childhood years of the main character, which we learn about from her monologues. As we can see, in this carefree time, Katerina was primarily surrounded by beauty and harmony, she “lived like a bird in the wild” among, maternal love and fragrant nature. The young girl went to wash herself in the spring, listened to the stories of wanderers, then sat down to some work, and so the whole day passed. She did not yet know the bitter life in "imprisonment", but everything is ahead of her, ahead of her life in " dark kingdom". From the words of Katerina, we learn about her childhood and adolescence. The girl did not receive a good education. She lived with her mother in the countryside. Katerina's childhood was joyful, cloudless. Her mother "did not have a soul" in her, did not force her to work on the housework. Katya lived freely: she got up early, washed herself with spring water, crawled flowers, went to church with her mother, then sat down to do some work and listened to wanderers and praying women, who were many in their house. Katerina had magical dreams in which she flew under the clouds. And how much it contrasts with such a quiet, happy life the act of a six-year-old girl, when Katya, offended by something, ran away from her house in the evening to the Volga, got into a boat and pushed off from the shore! We see that Katerina grew up as a happy, romantic, but limited girl. She was very pious and passionately loving. She loved everything and everyone around her: nature, the sun, the church, her house with wanderers, the poor she helped. But the most important thing about Katya is that she lived in her dreams, apart from the rest of the world. Of everything that existed, she chose only that which did not contradict her nature, the rest she did not want to notice and did not notice. Therefore, the girl saw angels in the sky, and for her the church was not an oppressive and oppressive force, but a place where everything is bright, where you can dream. We can say that Katerina was naive and kind, brought up in a completely religious spirit. But if she met on her way what. contradicted her ideals, then turned into a rebellious and stubborn nature and defended herself from that outsider, a stranger that boldly disturbed her soul. It was the same with the boat. After marriage, Katya's life changed a lot. From a free, joyful, sublime world, in which she felt her merging with nature, the girl fell into a life full of deceit, cruelty and omission. It’s not even that Katerina married Tikhon against her will: she didn’t love anyone at all and she didn’t care who she married. The fact is that the girl was robbed of her former life, which she created for herself. Katerina no longer feels such delight from attending church, she cannot do her usual business. Sad, disturbing thoughts do not allow her to calmly admire nature. Katya can only endure, while she is patient, and dream, but she can no longer live with her thoughts, because the cruel reality brings her back to earth, where there is humiliation and suffering. Katerina is trying to find her happiness in love for Tikhon: “I will love my husband. Tisha, my dear, I won’t exchange you for anyone.” But the sincere manifestations of this love are suppressed by Kabanikha: "Why are you hanging around your neck, shameless? You don’t say goodbye to your lover." Katerina has a strong sense of outward humility and duty, which is why she forces herself to love her unloved husband. Tikhon himself, because of the tyranny of his mother, cannot truly love his wife, although he probably wants to. And when he, leaving for a while, leaves Katya to work up plenty, the girl (already a woman) becomes completely alone. Why did Katerina fall in love with Boris? After all, he did not exhibit his masculine qualities, like Paratov, he did not even talk to her. Perhaps the reason was that she lacked something pure in the stuffy atmosphere of the Kabanikh's house. And love for Boris was this pure, did not allow Katerina to completely wither away, somehow supported her. She went on a date with Boris because she felt like a person with pride, elementary rights. It was a rebellion against resignation to fate, against lawlessness. Katerina knew that she was committing a sin, but she also knew that it was still impossible to live on. She sacrificed the purity of her conscience to freedom and Boris. In my opinion, taking this step, Katya already felt the approaching end and probably thought: "Now or never." She wanted to be filled with love, knowing that there would be no other chance. On the first date, Katerina told Boris: "You ruined me." Boris is the reason for the discrediting of her soul, and for Katya this is tantamount to death. Sin hangs on her heart like a heavy stone. Katerina is terribly afraid of the approaching thunderstorm, considering it a punishment for what she has done. Katerina has been afraid of thunderstorms ever since she started thinking about Boris. For her pure soul even the thought of loving a stranger is a sin. Katya cannot live on with her sin, and she considers repentance to be the only way to at least partially get rid of it. She confesses everything to her husband and Kabanikh. Such an act in our time seems very strange, naive. “I don’t know how to deceive; I can’t hide anything” - such is Katerina. Tikhon forgave his wife, but did she forgive herself? Being very religious. Katya is afraid of God, and her God lives in her, God is her conscience. The girl is tormented by two questions: how will she return home and look into the eyes of her husband, whom she cheated on, and how will she live with a stain on her conscience. Katerina sees death as the only way out of this situation: “No, it’s all the same for me to go home or to the grave It’s better to live in the grave again? Dobrolyubov defined Katerina's character as "resolute, whole, Russian." Determined because she dared to last step, to death for the sake of saving himself from shame and remorse. Whole, because in Katya's character everything is harmonious, one, nothing contradicts each other, because Katya is one with nature, with God. Russian, because no matter how Russian a person is, he is capable of loving like that, capable of sacrificing so, so seemingly humbly enduring all hardships, while remaining himself, free, not a slave. Although Katerina's life has changed, she has not lost her poetic nature: she is still fascinated by nature, she sees bliss in harmony with it. She wants to fly high, high, touch the blue of the sky and from there, from a height, send a big hello to everyone. The poetic nature of the heroine requires a different life than the one she has. Katerina yearns for "freedom", but not for the freedom of her flesh, but for the freedom of her soul. Therefore, she is building a different world, in which there is no lie, lack of rights, injustice, cruelty. In this world, unlike reality, everything is perfect: angels live here, “innocent voices sing, it smells of cypress, and the mountains and trees, as if not the same as usual, but as they are written on the images.” But despite this, she still has to return to real world full of egoists and tyrants. And among them she tries to find a kindred spirit. Katerina in the crowd of "empty" faces is looking for someone who could understand her, look into her soul and accept her for who she is, and not for who they want to make her. The heroine is looking for and can't find anyone. Her eyes are "cut" by the darkness and wretchedness of this "kingdom", her mind has to come to terms, but her heart believes and waits for the only one who will help her survive and fight for the truth in this world of lies and deceit. Katerina meets Boris, and her clouded heart says that this is the one she has been looking for for so long. But is it? No, Boris is far from ideal, he cannot give Katerina what she asks for, namely: understanding and protection. She cannot feel with Boris "as if behind a stone wall." And the justice of this is confirmed by Boris' vile act, full of cowardice and indecision: he leaves Katerina alone, throws her "to be eaten by wolves." These "wolves" are terrible, but they cannot frighten the "Russian soul" of Katerina. And her soul is truly Russian. And Katerina unites with the people not only communication, but also communion with Christianity. Katerina believes in God so much that she prays every evening in her little room. She likes to go to church, look at the icons, listen to the ringing of the bell. She, like Russian people, loves freedom. And it is precisely this love of freedom that does not allow her to come to terms with the current situation. Our heroine is not used to lying, and therefore she talks about her love for Boris to her husband. But instead of understanding, Katerina meets only a direct reproach. Now nothing holds her in this world: Boris turned out to be not the way Katerina “painted” him for herself, and life in the house of Kabanikh became even more unbearable. The poor, innocent "bird imprisoned in a cage" could not withstand captivity - Katerina committed suicide. The girl still managed to “fly up”, she stepped from the high bank into the Volga, “spread her wings” and boldly went to the bottom. By her act, Katerina resists the "dark kingdom". But Dobrolyubov calls her a "beam" in him, not only because she tragic death revealed the full horror of the "dark kingdom" and showed the inevitability of death for those who cannot come to terms with oppression, but also because the death of Katerina will not pass and cannot pass without a trace for "cruel morals". After all, anger is already being born at these tyrants. Kuligin - and he reproached Kabanikha for the lack of mercy, even the uncomplaining executor of his mother's wishes, Tikhon, publicly dared to throw an accusation in her face for the death of Katerina. Already, an ominous thunderstorm is brewing over this entire “kingdom”, capable of destroying it “to smithereens”. And this bright ray, which awakened, even for a moment, the consciousness of destitute, unrequited people who are materially dependent on the rich, convincingly showed that there must come an end to the unbridled robbery and complacency of the Savages and the oppressive lust for power and hypocrisy of the Boar. The significance of the image of Katerina is also important today. Yes, maybe many consider Katerina an immoral, shameless traitor, but is she really to blame for this?! Most likely, Tikhon is to blame, who did not pay due attention and affection to his wife, but only followed the advice of his "mother". Katerina is only to blame for marrying such a weak-willed person. Her life was destroyed, but she tried to “build” a new one from the remains. Katerina boldly walked forward until she realized that there was nowhere else to go. But even then she took a brave step, the last step over the abyss leading to another world, perhaps a better one, and perhaps a worse one. And this courage, the thirst for truth and freedom make you bow before Katerina. Yes, she is probably not so perfect, she has her flaws, but courage makes the heroine a role model worthy of praise

Short description

Boris Dikoy and Tikhon Kabanov are the two characters most closely associated with the main character, Katerina: Tikhon is her husband, and Boris becomes her lover. They can be called antipodes, which stand out sharply against the background of each other. And, in my opinion, preferences in their comparison should be given to Boris, as a character who is a more active, interesting and pleasant reader, while Tikhon causes some compassion - brought up by a strict mother, he, in fact, cannot make his own decisions and defend his own opinion. In order to substantiate my point of view, below I will consider each character separately and try to analyze their characters and actions.

Sections: Literature

Lesson Objectives:

Tutorials: students deal with theoretical concepts (hero, character, characteristic, speech, author, author's assessment), define and explain literary concepts, master such the most important concepts and skills, such as speech characteristics of characters, clarification author's position trying to see features speech characteristics heroes of Ostrovsky's drama "Thunderstorm" and find out how the speech of the characters helps to understand their character
Developing: from observations on the features of Ostrovsky's style, they make initial conclusions and generalizations regarding individual components of style, master the theoretical and literary concept of style in a specific analysis artistic text, in the process of working on the text of the play, they learn thoughtful reading, a sensitive attitude to the word, an aesthetic perception of the images and events of a dramatic work.
Educational: learn to understand people, draw conclusions and generalizations, based on the speech of the interlocutor, build their own statements

Equipment: computer, screen, flash presentation, handout.

During the classes

1. Introductory speech of the teacher.

Hero Image artwork consists of many factors - this is character, and appearance, and profession, and hobbies, and the circle of acquaintances, and attitude towards oneself and others. One of the main ones is the speech of the character, which fully reveals and inner world, and lifestyle. The image of the adventurer Ostap Bender is inseparable from his aphoristic speech, replete with witticisms. The lexicon of Ellochka the cannibal has long become a textbook. The paradoxical nature of Lord Henry's statements in The Picture of Dorian Gray is a reflection of his mind, eccentricity, education and cynicism. From contemporary writers Boris Akunin can be attributed to the masters of speech characteristics. The first chapter of the novel "F.M.", written from the point of view of a criminal, contrasts sharply with that refined literary style, to which the reader of the Fandorin cycle is accustomed:

The talentedly created speech characteristic of the hero is an adornment of the artistic text and an important touch to the portrait of the character. The skillful use of speech characteristics is one of the tools of a professional writer. And there is nothing more boring than heroes different ages, different kinds of occupations and temperaments, who speak the same language.

You will not find this in Ostrovsky. And today in the lesson we will observe the speech characteristics of his characters.

Slide 1-4. (Write down the topic of the lesson)

What is needed to understand this topic? slide 5

2. Question: What is the peculiarity of the literary basis of the drama? What are the reasons for these features?

? slide 6

Ideological and thematic content;
composition;
characters;
character language and etc.

In this case, it is necessary to take into account the features of dramaturgy:

lack of descriptive speech of the author;
greater severity of manifestation conflict situations;
the speech of the characters as the only source for the characterization and analysis of characters' images

3. Information of the teacher.

Slide 7

What role does speech characterization play in a work of art?

Slide 8

4. Let's see how the characters of the drama appear on the stage?

Slide 9

The first remarks of the characters What can you say about the characters?

Conclusion: Five lines - five characters.

slide 10

5. The heroes of the drama are conditionally divided into two camps. Is it possible to determine from their statements who is from which camp.

slide 11

Conclusion: Ostrovsky in the drama "Thunderstorm" very clearly shows the whole global difference between positive and

negative characters of his work. All the most important traits of characters, their reactions to developing events are clearly visible. slide 12

6. Analysis of the speech of the character on the example of the Wild.

Slide 13-14

Features of speech

What do we know about the hero?

“I told you once, I told you twice”; "Don't you dare meet me"; you will get everything! Is there enough space for you? Wherever you go, here you are. Pah you damned! Why are you standing like a pillar! Are you being told or not?"

Wild frankly shows that he does not respect his nephew at all.

Wild - " significant person» in the city, merchant. Here's how Shapkin says about him: For no reason will a person be cut off.

Recall what Dikoy says: “I was talking about a fast, about a great one, and then it’s not easy and slip a little man, he came for money, he carried firewood ... I sinned: I scolded, so scolded ... I almost nailed it.”

He says to Boris: “Fail you! I don't want to talk to the Jesuit with you." Dikoy uses in his speech "with the Jesuit" instead of "with the Jesuit". So he also accompanies his speech with spitting, which finally shows his lack of culture.

In general, throughout the drama, we see him sprinkle his speech with abuse. “What are you doing here! What the hell is a merman here! ”,

Wild is rude and straightforward in his aggressiveness, he does things that sometimes cause bewilderment and surprise among others. He is able to offend and beat a peasant without giving him money, and then, in front of everyone, stand in front of him in the dirt, asking for forgiveness. He is a brawler, and in his rampage he is able to throw thunder and lightning at his household, hiding from him in fear.

It seems to him that if he recognizes over himself the laws of common sense common to all people, then his importance will suffer greatly from this, although Dikoy is aware that he is absurd. In a conversation with Kuligin, he refuses to give money for "thunder taps", while calling him a "robber", "a fake little man."

For others you fair man, and I think that you are a robber ... What a

fake man...

The whole conversation with Dikoy emphasizes her importance, independence from anyone, and even more so from Kuligin.

Report, or something, I'll give you! I don't give an account to anyone even more important than you.

Although Kuligin says that “the expense is empty,” Dikoy still stands his ground, denying even the possibility of fulfilling the request.

He went to Kabanikha and told her about his unrighteous deeds.

Somehow I was talking about a great post, and then a peasant was not easy to slip in: he came for money, he carried firewood ... He sinned: he scolded ...

Wild differs from other characters in the drama with his uncontrollable nature, but when he calms down, he is ready to admit that he is wrong.

Truly I tell you, I bowed at the peasant's feet.

Dikoy and Kabanikha are very similar. Only one can admit that he is wrong, referring to his good "heart", and the other is sure that she is always right.

The mass of the merchants completely denies progress. New states can be built in the world, new lands can be opened, the face of the planet can change, and in the city of Kalinov on the banks of the Volga, time will flow slowly and measuredly, as if it never happened. All the news reaches them very late, and even then it is very distorted. In unknown countries, people walk around with “dog heads”. The merchants have achieved a lot: they are rich, they have privileges, dependent peasants. Because of this, they do not want to go to new era for fear of being left out. Therefore, they wanted to push it back at least a few years. At the same time, realizing that progress is still inevitable, it is always present in human society.

Wild as if nothing had happened just like that can offend a person. He does not put in anything not only those around him, but even his relatives and friends. His household live in constant fear of his wrath. Wild in every possible way mocks his nephew.

He puts himself above everyone around him. And no one offers him the slightest resistance. He scolds everyone over whom he feels his power, but if someone scolds him himself, he will not be able to answer, then hold on, all at home! On them, the Wild will take all his anger.

We are struck by their heartlessness in relation to people dependent on them, their unwillingness to part with money in settlements with workers. All relationships between people, in their opinion, are built on wealth.

We can say that Dikoy is completely illiterate, which shows him as an extremely rude and ill-mannered person.

The boar is richer than the Wild Boar, and therefore she is the only person in the city, in dealing with which Wild should be polite. “Well, don’t open your throat very much! Find me cheaper! And I love you!"

Another feature that unites them is religiosity. But they perceive God, not as someone who forgives, but as someone who can punish them.

On the one hand, it seems that the Wild is rougher, stronger and, therefore, scarier. But, looking closer, we see that Wild is only capable of screaming and rampaging. She managed to subdue everyone, keeps everything under control, she even tries to manage people's relationships, which leads Katerina to death. The boar is cunning and smart, unlike the Wild Boar, and this makes her more scary.

It is important not only what the hero is talking about and how it characterizes him, but also the very manner of expressing his thoughts, the dictionary, the construction of the phrase.

After all, the word is a live reaction to the interlocutor’s thought, a live reaction to what is happening on the stage, an expression of his thoughts and emotional experiences.

slide 15

7. Group work. Speech characteristics of Kuligin, Varvara, Kudryash and Boris.

8. Summing up.

slide 16

"Ostrovsky's work - filigree polished gems of the Russian word". Through the language of its characters, Russian speech shines through with its most essential features: lexical richness, richness, figurativeness, accuracy, flexibility. The speech of Ostrovsky's characters is a manifestation of their inherent appearance, worldview, social and domestic ties and influences. That's why characters of the same social category differ not in actions, but especially in language, manner of speaking.