Lesson summary thunderstorm history of creating a system of images. The history of creation, the system of images, the methods of characterizing the characters in the play A

He opened the "locks" of two rich merchant houses in the city of Kalinov - the houses of Kabanova and Savel Dikgo.

Boar. Domineering and cruel, the old woman Kabanova is a living personification of the rules of false, sanctimonious "piety": she knows them well, she herself fulfilled them and steadily demands their implementation from others. These rules are as follows: the younger in the family must submit to the elder; they are not entitled to his opinion, their wishes, mine world - they must be "impersonal", they must be mannequins. Then they should be “afraid”, live in fear.” If there is no fear in life, then, in her opinion, the world will cease to stand. When Kabanova convinces her son, Tikhon, to act on his wife with "fear", he says that he does not want Katerina to be "afraid" of him at all - it is enough for him if she "loves" him. “Why be afraid? - she exclaims, - Why be afraid? Yes, you're crazy, right? You will not be afraid - me and even more so! What is the order in the house will be? After all, you, tea, live with her in law? Ali, do you think the law means nothing? Finally, the third rule is not to introduce anything "new" into life, to stand for the old in everything - in views on life, in human relations, customs and rituals. She laments that "the old man is being brought out." “What will happen when the old people die? How the light will stand, I don’t know!” she says with complete sincerity.

A. N. Ostrovsky. Storm. Play

These are the views of Kabanova, and her cruel nature is reflected in the way they are implemented. She crushes everyone with her lust for power; she does not know pity and condescension for anyone. She not only “observes” the fulfillment of her rules, she invades with them into someone else’s soul, finds fault with people, “grinds” them for no reason, for no reason ... And all this is done with the full consciousness of her “right”, with the consciousness of "necessity" and with constant concerns about external deanery ...

The despotism and tyranny of Kabanikha is much worse than that shown by Gordey Tortsov in the play " Poverty is not a vice", or Wild. They do not have any support outside themselves, and therefore it is still possible, although rarely, skillfully playing on their psychology, to force them to become ordinary people for a while, as We love Tortsov with his brother. But there is no force that would bring down Kabanova: in addition to her despotic nature, she will always find support and support for herself in those foundations of life that she considers an inviolable shrine.

Savel Wild. Another “tyrant” of this drama is not like that - the merchant Savyol Diky. This is the brother of Gordey Tortsov: - rude, always drunk, who considers himself entitled to scold everyone because he is rich, Wild is despotic not “on principle”, like Kabanov, but out of a whim, a whim. There are no reasonable grounds for his actions - this is unbridled, devoid of any logical grounds, arbitrariness. Wild, according to the apt definition of the Kalinovites, is a “warrior”: in his own words, he has, “there is always a war going on at home.” "You are a worm! If I want - I will have mercy, if I want - I will crush! - here, the basis of his relationship with those people who are weaker, or poorer than him. A characteristic echo of antiquity was expressed by one feature of him - having scolded the peasant during his shit - he "in the yard, in the mud bowed to him, - in front of everyone ... bowed!"... This "nationwide repentance" expressed in him a glimpse of respect for some higher moral order of things established by antiquity.

Tikhon Kabanov. In the Kabanova family, the younger generation is represented by her son Tikhon, daughter-in-law Katerina and daughter Varvara. The influence of the old woman Kabanova was reflected in different ways on all these three faces.

Tikhon is a completely weak-willed, weak creature, impersonal by his mother .. He, an adult man, obeys her like a boy, and, afraid of disobeying her, is ready to humiliate and insult his beloved wife. His striving for freedom is expressed in pitiful, cowardly drunkenness on the side and the same cowardly hatred of his own home ...

Barbara Kabanova. Barbara is a more courageous nature than her brother. But even she can not afford an open struggle with her mother, face klitsu. And she wins her freedom by deceit and cunning. By "deanery", by hypocrisy, she covers up her wild life. Oddly enough, girls in the city of Kalinovo looked through their fingers at such a life: “when to take a walk, if not in girls!” - says Kabanova herself. "Sin is not a problem, rumor is not good!" - said in the circle of Famusov. The same point of view is here: publicity, according to Kabanova, is the worst thing.

Varvara also tried to arrange for Katerina the same "deceitful happiness" that she herself enjoyed with a clear conscience. And this led to a terrible tragedy.

Feklush. Feklusha, a pilgrimage pilgrim, represents in The Thunderstorm the complete opposite of the inquisitive mechanic Kuligin. Silly and cunning, an ignorant old woman, she pronounces an accusation against the entire new cultural life, glimpses of which disturb the "dark kingdom" with their newness. The whole world, with its vanity, seems to her to be the "kingdom of the flesh", the "kingdom of the Antichrist". Whoever serves "the world" serves the devil and destroys the soul. From this point of view, she converges with Kabanikha and with many other inhabitants of Kalinov and the entire “dark kingdom” depicted by Ostrovsky.

In Moscow, life is teeming, they are fussing, in a hurry, as if they are looking for something, says Feklusha, and contrasts this “vanity” with the peace and silence of Kalinov, who was sinking into sleep at sunset. Feklusha explains the reasons for the “city fuss” in the old fashioned way: the devil invisibly scattered the “seeds of the tares” into human hearts, and people moved away from God and serve him. Any novelty frightens Feklusha into her like-minded people - she considers the steam locomotive a “fire-breathing snake”, and the old woman Kabanova agrees with her ... And at this time, here, in Kalinovo, Kuligin dreams of perpetuum mobile ... What an inconsistent conflict of interests and worldviews !

Boris. Boris Grigorievich, Dikoi's nephew, is an educated young man who listens to Kuligin's enthusiastic speeches with a slight, polite smile, because he does not believe in perpetuum mobile. But, despite his education, culturally, he is lower than Kuligin, who is armed with both faith and strength. Boris does not apply his education to anything, and he has no strength to fight life! He, without a struggle with his conscience, captivates Katerina and, without a struggle with people, leaves her to the mercy of her fate. He is a weak person, and Katerina was carried away by him simply because "in the wilderness, even Thomas is a nobleman." Some gloss of culture, cleanliness and decency in manners, that's what made Katerina idealize Boris. Yes, and it was unbearable for her to live, if there were no Boris, she would idealize another.

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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 future 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! So much so that I can take a walk for a whole year. I never once thought about 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 sort of bondage, you will run away from whatever beautiful wife you want! Just think about it: Whatever it is, but I'm still a man; to live like this all your life, as you see, that's how you will run away from your wife. Yes, as I know now that there will be no thunderstorm over me for two weeks, there are no these shackles on my legs, so up to my wife?". I believe that this is Tikhon's main mistake - he did not listen to Katerina, did not take her with him, and did not even take a terrible oath from her, as she herself asked in anticipation of trouble. In the events that followed, 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 his 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 are sustained in even earlier stylistic traditions and resemble old moralizing stories and apocrypha (“and they will begin, sir, the court and the case, and there will be no end to the torment. They are suing, suing here, yes, they will go to the province, and there they are already waiting for them, but 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 does not even occur to society that there could be any benefit from them, for them K. - a harmless eccentric, something like a city 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. For all his industriousness, the creative beginning of his personality, K. is 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 the "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 strongly the act of a six-year-old girl contrasts with such a quiet, happy life when Katya, offended by something, ran away from home to the Volga in the evening, got into a boat and pushed off 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." Decisive, because she decided to take the last step, to die in order to save herself 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 the real world, full of selfish and petty 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 her tragic death revealed all the horror of the “dark kingdom” and showed the inevitability of death for those who cannot come to terms with oppression, but also because Katerina’s death will not pass and will not can 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.

Lesson topic: Drama "Thunderstorm". The system of images, methods of revealing the characters of the characters.

Goals:

1. To introduce the system of images of the drama "Thunderstorm" by A.N. Ostrovsky.

2. To develop the skill of analyzing the characteristics of dramatic characters using the example of the inhabitants of the city of Kalinov: first of all, those on whom the spiritual atmosphere in the city depends.

3. Education of patriotism on the example of Ostrovsky's drama "Thunderstorm"; arouse interest in the work of Ostrovsky

Equipment: a multimedia projector, a computer, a presentation for a lesson on the topic, a video report about the cities located on the Volga River.

During the classes.

1. Org. the beginning of the lesson.

2. Checking homework

3. Communication of the topic and objectives of the lesson

4. Work on the topic of the lesson

Work with the text of Ostrovsky's play "Thunderstorm".

The system of characters in the play.

"Dark Realm"

Kabanova Marfa Ignatievna

Wild Savel Prokofich

wanderer Feklusha

tradesman Shapkin

maid Glasha

Victims of the "dark kingdom"

Katerina

Studying the list of characters, one should note the speaking surnames, the distribution of heroes by age (young - old), family ties (Dikoy and Kabanova are indicated, and most of the other heroes are related to them), education (only Kuligin - mechanic - self-taught and Boris). The teacher, together with the students, makes a table, which is written in notebooks.

"Masters of Life"
wild. You are a worm. If I want, I will have mercy, if I want, I will 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 take in this system of images?

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

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

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 - poetic speech, reminiscent of 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.

 The boar is a 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.

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.

Let's characterize the city of Kalinov, find out how people live here, answer the question: "Is Dobrolyubov right when he calls this city a "dark kingdom"?

« The action takes place in the city of Kalinov, located on the banks of the Volga. In the center of the city is the Market Square, near the old church. Everything seems to be peaceful and calm, but the owners of the city are distinguished by rudeness and cruelty.

We enter the city of Kalinov from the side of the public garden. Let's stop for a minute, look at the Volga, on the banks of which there is a garden. Beautiful! Eye-catching! So Kuligin also says: "The view is extraordinary! Beauty! The soul rejoices!" People probably live here peaceful, calm, measured and kind. Is it so? How is the city of Kalinov shown?

Tasks for the analysis of two Kuligin monologues (d. 1, yavl. 3; d. 3, yavl. 3)

1. Highlight the words that especially vividly characterize life in the city.

"Cruel morals"; "rudeness and naked poverty"; "by honest labor you will never earn more than your daily bread"; "trying to enslave the poor"; "to make even more money on gratuitous labors"; "I won't pay a penny"; "trade is undermined out of envy"; "enmity" and others are the principles of life in the city.

2. Highlight the words that especially vividly characterize life in the family.

"Boulevard was made, but not walked"; "the gates are locked and the dogs are let down"; "so that people don't see how they eat their own home, and tyrannize their family"; "tears flow behind these locks, invisible and inaudible"; "behind these locks is the debauchery of the dark and drunkenness," etc. - these are the principles of life in the family.

Conclusion. If it's so bad in Kalinovo, then why is it that a wonderful view, the Volga, is depicted in the first place? Why is the same beautiful nature shown in the scene of the meeting between Katerina and Boris? It turns out that the city of Kalinov is controversial. On the one hand, this is a wonderful place, on the other hand, life in this city is terrible. Beauty is preserved only in the fact that it does not depend on the owners of the city, they cannot subdue the beautiful nature. It is seen only by poetic people capable of sincere feelings. The relations of people are ugly, their life is "behind locks and gates."

Issues for discussion

How can one evaluate the monologues of Feklusha (case 1, scene 2; case 3, scene 1)? How does the city appear in her perception? Bla-alepie, wondrous beauty, promised land, paradise and silence.

What are the people who live here? The inhabitants are ignorant and uneducated, they believe the stories of Feklusha, which show her darkness and illiteracy: the story of the fiery serpent; about someone with a black face; about time, which is getting shorter (case 3, appearance 1); about other countries (d. 2, yavl. 1). Kalinovtsy believe that Lithuania has fallen from the sky (case 4, scene 1.), they are afraid of thunderstorms (case 4, scene 4).

How is it different from the inhabitants of the city of Kuligin? An educated man, a self-taught mechanic, his surname resembles the surname of the Russian inventor Kulibin. The hero subtly feels the beauty of nature and aesthetically stands above other characters: he sings songs, quotes Lomonosov. Kuligin stands up for the improvement of the city, tries to persuade Dikoy to give money for a sundial, for a lightning rod, tries to influence the inhabitants, educate them, explaining the thunderstorm as a natural phenomenon. Thus, Kuligin personifies the best part of the city's inhabitants, but he is alone in his aspirations, which is why he is considered an eccentric. The image of the hero embodies the eternal motive of grief from the mind.

Who prepares their appearance? Curly introduces Wild, Feklush - Boar.

wild

Who is he according to his material and social position?

What is his desire for profit? How does he get money?

What actions and judgments of the Wild indicate his rudeness, ignorance, superstition?

How did Wild behave in a collision with a hussar and after it?

Show how his character is revealed in Diky's speech?

What techniques does Ostrovsky use to create the image of the Wild?

Boar

Who is she according to her social and financial position?

What, in her opinion, should family relationships be based on?

What is her hypocrisy and hypocrisy?

What actions and statements of Kabanikh testify to cruelty and heartlessness?

What is common and what are the differences in the characters of Wild and Boar?

What are the features of Kabanikh's speech?

How do Tikhon, Varvara and Katerina relate to the teachings of the Kabanikh?

How are the characters of Diky and Kabanikha revealed in their speech characteristics?

	Boar
"scold"; "Like I got off the chain"	"everything under the guise of piety"; "a hypocrite, she clothes the poor, but she eats the household completely"; "scolds"; "sharpen like iron rust"
"parasite"; "damn"; "fail you"; "foolish man"; "go away"; "what am I to you - even or something"; "with a snout something and climbs to talk"; "robber"; "asp"; "fool" etc.	She herself: "I see that you want the will"; "you will not be afraid, and even more so of me"; "you want to live by your own will"; "fool"; "order your wife"; "must do what the mother says"; "where the will leads" etc.
Conclusion. Wild - scold, rude, tyrant; feels his power over people	Conclusion. The boar is a hypocrite, does not tolerate will and disobedience, acts with fear

General conclusion. The boar is scarier than the Wild Boar, since her behavior is hypocritical. Wild is a scolder, a tyrant, but all his actions are open. The boar, under the guise of religion and concern for others, suppresses the will. She is most afraid that someone will live in their own way, by their own will.

N. Dobrolyubov spoke about the inhabitants of the city of Kalinov as follows:

"Nothing holy, nothing pure, nothing right in this dark

world: the tyranny that dominates him, wild, insane,

wrong, drove out of him all consciousness of honor and right ... ".

"Samodurs of Russian life".

What does the word "selfish" mean? (wild, powerful man, tough at heart)

What is your idea of ​​Wild?

What is the cause of the unbridled arbitrariness of the Wild?

How does he treat those around him?

Is he confident in the limitlessness of power?

Describe the speech, manner of speaking, communicating Wild. Give examples.

Let's conclude:

Wild Savel Prokofich -“a piercing man”, “swearing”, “tyrant”, which means a wild, tough-hearted, domineering person. The purpose of his life is enrichment. Rudeness, ignorance, abuse, swearing are habitual for the Wild. Passion for cursing becomes even stronger when he is asked for money.

Kabanova Marfa Ignatievna - a typical representative of the "dark kingdom".

1. What is your idea of ​​this character?

2. How does she feel about her family? What is her attitude to the "new orders"?

3. What are the similarities and differences between the characters of the Wild and Boar?

4. Describe the speech, manner of speaking, communicating Kabanova. Give examples.

Let's conclude:

Kabanova Marfa Ignatievna - the embodiment of despotism, covered with hypocrisy. How correctly Kuligin described her: “The hypocrite ... She clothes the poor, but she completely ate at home!” For her, there is no love, maternal feelings for her children. Boar is the exact nickname given to her by people. She is the "guardian" and defender of the customs and orders of the "dark kingdom".

The results of the actions of these heroes:

 talented Kuligin is considered an eccentric and says: "There is nothing to do, we must submit!";

 kind, but weak-willed Tikhon drinks and dreams of escaping from the house: "and with some kind of bondage, you can run away from any beautiful wife you want"; he is completely subordinate to his mother;

 Barbara adapted to this world and began to deceive: "And I was not a liar before, but I learned when it became necessary";

 the educated Boris is forced to adapt to the tyranny of the Wild in order to receive an inheritance.

So breaks the dark realm of good people, forcing them to endure and be silent.

Young heroes of the play. Give them a description.

Tikhon - kind, sincerely loves Katerina. Exhausted by the reproaches and orders of his mother, he thinks about how to escape from the house. He is a weak-willed, submissive person.

Boris - soft, kind, really understands Katerina, but is unable to help her. He is not able to fight for his happiness, he chooses the path of humility.

Barbara - understands the senselessness of the protest, for her a lie is a defense against the laws of the "dark kingdom". She ran away from home, but did not submit.

Curly - desperate, boastful, capable of sincere feelings, not afraid of his master. He fights in every way for his happiness.

Summary of the lesson.

The city of Kalinov is a typical Russian city of the second half of the 19th century. 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.

Homework

Write out a description of Katerina (external appearance, character, behavior, what she was like in childhood, how she changed in the Kabanovs' house). Determine the main stages in the development of Katerina's internal conflict. Prepare an expressive recitation by heart of Katerina's monologues (action 2 phenomenon 10 and action 5 phenomenon 4).

Dobrolyubov	Pisarev
The character of Katerina is ...	Dobrolyubov assumed the identity of Katerina...
Decisive, solid Russian ...	Not a single bright phenomenon ...
This is character par excellence...	What a harsh virtue...
Katherine does everything...	Dobrolyubov found ... the attractive sides of Katerina, ...
In Katerina we see a protest ...	Education and life could not give ...
Such a liberation is bitter; but what do you do when...	Katerina cuts the protracted knots ...
We are happy to see deliverance...	Who does not know how to do anything to alleviate their own and others' suffering...

write down other statements you like that characterize Katerina (required)

determine your attitude to these theses, pick up an argument (required).

Events in the drama of A. N. Ostrovsky "Thunderstorm" unfold on the Volga coast, in the fictional city of Kalinov. The work gives a list of characters and their brief characteristics, but they are still not enough to better understand the world of each character and reveal the conflict of the play as a whole. There are not so many main characters in Ostrovsky's Thunderstorm.

Katerina, a girl, the main character of the play. She is quite young, she was married off early. Katya was brought up exactly according to the traditions of house building: the main qualities of a wife were respect and obedience to her husband. At first, Katya tried to love Tikhon, but she could not feel anything but pity for him. At the same time, the girl tried to support her husband, help him and not reproach him. Katerina can be called the most modest, but at the same time the most powerful character in Thunderstorm. Indeed, outwardly, the strength of Katya's character is not manifested. At first glance, this girl is weak and silent, it seems that she is easily broken. But that's not the case at all. Katerina is the only one in the family who resists Kabanikh's attacks. It opposes, and does not ignore them, like Barbara. The conflict is more of an internal nature. After all, Kabanikha is afraid that Katya can influence her son, after which Tikhon will no longer obey the will of his mother.

Katya wants to fly, often compares herself to a bird. She literally suffocates in the "dark kingdom" of Kalinov. Having fallen in love with a visiting young man, Katya created for herself an ideal image of love and possible liberation. Unfortunately, her ideas had little to do with reality. The girl's life ended tragically.

Ostrovsky in "Thunderstorm" makes not only Katerina the main character. The image of Katya is opposed to the image of Marfa Ignatievna. A woman who keeps the whole family in fear and tension does not command respect. The boar is strong and despotic. Most likely, she took over the “reins of government” after the death of her husband. Although it is more likely that in marriage, Kabanikha was not distinguished by humility. Most of all, Katya, her daughter-in-law, got it from her. It is Kabanikha who is indirectly responsible for the death of Katerina.

Varvara is the daughter of Kabanikhi. Despite the fact that she has learned resourcefulness and lies over the years, the reader still sympathizes with her. Barbara is a good girl. Surprisingly, deceit and cunning do not make her like the rest of the city. She does as she pleases and lives as she pleases. Barbara is not afraid of her mother's wrath, because she is not an authority for her.

Tikhon Kabanov fully lives up to his name. He is quiet, weak, inconspicuous. Tikhon cannot protect his wife from his mother, since he himself is under the strong influence of Kabanikh. His rebellion ends up being the most significant. After all, it is the words, and not Varvara's escape, that make readers think about the whole tragedy of the situation.

The author characterizes Kuligin as a self-taught mechanic. This character is a kind of guide. In the first act, he seems to be taking us around Kalinov, talking about his customs, about the families that live here, about the social situation. Kuligin seems to know everything about everyone. His estimates of others are very accurate. Kuligin himself is a kind person who is used to living by established rules. He constantly dreams of the common good, of a perpetual mobile, of a lightning rod, of honest work. Unfortunately, his dreams were not destined to come true.

Diky has a clerk, Curly. This character is interesting because he is not afraid of the merchant and can tell him what he thinks about him. At the same time, Curly, just like Wild, tries to find a benefit in everything. He can be described as a simple person.

Boris comes to Kalinov on business: he urgently needs to improve relations with Diky, because only in this case will he be able to receive the money legally bequeathed to him. However, neither Boris nor Dikoy even want to see each other. Initially, Boris seems to readers like Katya, honest and fair. In the last scenes, this is refuted: Boris is not able to take a serious step, take responsibility, he simply runs away, leaving Katya alone.

One of the heroes of the "Thunderstorm" is a wanderer and a servant. Feklusha and Glasha are shown as typical inhabitants of the city of Kalinov. Their darkness and ignorance is truly amazing. Their judgments are absurd, and their outlook is very narrow. Women judge morality and morality by some perverted, distorted concepts. “Moscow is now a place of amusement and games, but there is an Indo roar in the streets, a groan stands. Why, mother Marfa Ignatievna, they began to harness the fiery serpent: everything, you see, for the sake of speed ”- this is how Feklusha speaks of progress and reforms, and the woman calls the car a “fire serpent”. Such people are alien to the concept of progress and culture, because it is convenient for them to live in a fictional limited world of calm and regularity.

This article gives a brief description of the heroes of the play "Thunderstorm", for a deeper understanding, we recommend that you read the thematic articles about each character of the "Thunderstorm" on our website.

Artwork test

It was not for nothing that Ostrovsky gave the name to his work “Thunderstorm”, because before people were afraid of the elements, they associated it with the punishment of heaven. Thunder and lightning inspired superstitious fear and primitive horror. The writer told in his play about the inhabitants of a provincial town, who are conditionally divided into two groups: the "dark kingdom" - rich merchants who exploit the poor, and "victims" - those who tolerate the arbitrariness of tyrants. The characteristics of the heroes will tell in more detail about the life of people. The storm reveals the true feelings of the characters in the play.

Characteristics of the Wild

Savel Prokofich Wild is a typical petty tyrant. This is a rich merchant who has no right. He tortured his relatives, because of his insults, households scatter through attics and closets. The merchant is rude to the servants, it is impossible to please him, he will definitely find something to cling to. You can’t beg for a salary from the Wild, because he is very greedy. Savel Prokofich, an ignorant man, a supporter of the patriarchal system, does not want to know the modern world. The stupidity of the merchant is evidenced by his conversation with Kuligin, from which it becomes clear that Wild does not know, a thunderstorm. The characterization of the heroes of the "dark kingdom", unfortunately, does not end there.

Description of Kabanikhi

Marfa Ignatievna Kabanova is the embodiment of the patriarchal way of life. A rich merchant's wife, a widow, she constantly insists on observing all the traditions of her ancestors and herself strictly follows them. The boar brought everyone to despair - this is precisely what the characterization of the heroes shows. "Thunderstorm" is a play that reveals the mores of a patriarchal society. A woman gives alms to the poor, goes to church, but does not give life to her children and daughter-in-law. The heroine wanted to maintain her former way of life, so she kept her family at bay, taught her son, daughter, daughter-in-law.

Characteristics of Katerina

In a patriarchal world, humanity, faith in goodness can be preserved - this is also shown by the characteristics of the heroes. "Thunderstorm" is a play in which there is a confrontation between the new and the old world, only the characters of the work defend their point of view in different ways. Katerina happily recalls her childhood, because she grew up in love and understanding. She belongs to the patriarchal world and up to a certain point everything suited her, even the fact that her parents themselves decided her fate and gave her in marriage. But Katerina does not like the role of the humiliated daughter-in-law, she does not understand how one can constantly live in fear and captivity.

The main character of the play is gradually changing, a strong personality awakens in her, able to make her choice, which manifests itself in love for Boris. Katerina was killed by her entourage, the lack of hope pushed her to suicide, because she could not live in the Kabanikhi home prison.

The attitude of the children of Kabanikh to the patriarchal world

Barbara is one who does not want to live according to the laws of the patriarchal world, but she is not going to openly oppose the will of her mother. She was crippled by the house of Kabanikha, because it was here that the girl learned to lie, cheat, do whatever she wanted, but carefully hide the traces of her misdeeds. To show the ability of some persons to adapt to different conditions, Ostrovsky wrote his play. A thunderstorm (the characterization of the heroes shows what kind of blow Varvara inflicted on her mother by escaping from the house) brought everyone to clean water, during bad weather the inhabitants of the town showed their real faces.

Tikhon is a weak person, the embodiment of the completion of the patriarchal way of life. He loves his wife, but cannot find the strength to protect her from her mother's tyranny. It was Kabanikha who pushed him to drunkenness, destroyed him with her moralizing. Tikhon does not support the old order, but he sees no reason to go against his mother, passing her words on deaf ears. Only after the death of his wife does the hero decide to rebel against Kabanikh, accusing her of the death of Katerina. To understand the worldview of each character and his attitude to the patriarchal world allows characterization of the characters. "Thunderstorm" is a play with a tragic end, but faith in a better future.

Ministry of Education and Science of the Russian Federation

State educational institution

higher professional education

"Ryazan State University named after. S.A. Yesenin"

Faculty of Russian Philology and National Culture

Department of Literature

The system of images in the play by A.N. Ostrovsky "Thunderstorm"

course abstract

History of Russian literature in the first half of the 19th century

Davydova Daria Olegovna

Scientific adviser:

Candidate of Philology, Assoc. departments of literature

A. V. Safronov

Introduction

1. The history of creation and the plot of the drama "Thunderstorm"

2. Image system

2.1 Images of the masters of life

2.2 Reconciled under the rule of tyrants

2.3 Heroes protesting against the dark kingdom

2.4 The image of Katerina

2.5 secondary images. The image of a thunderstorm

Conclusion

Bibliography

Introduction

A. N. Ostrovsky is very modern as a truly talented artist. He never left the complex and painful issues of society. Ostrovsky is a very sensitive writer who loves his land, his people, his history. His plays attract with amazing moral purity, genuine humanity.

One of the masterpieces of Ostrovsky and all Russian dramaturgy is considered to be the play "Thunderstorm". After all, the author himself evaluates it as a creative success. In The Thunderstorm, according to Goncharov, "the picture of national life and customs subsided with unparalleled artistic completeness and fidelity", in this capacity, the play was a passionate challenge to despotism and ignorance that reigned in pre-reform Russia.

Very clearly and expressively depicts the Ostrovsky corner of the “dark kingdom”, where before our eyes the confrontation between darkness and ignorance on the one hand, and beauty and harmony on the other is gaining strength. The masters of life here are tyrants. They oppress people, tyrannize in their families and suppress every manifestation of a living and healthy human thought. Already at the first acquaintance with the characters of the drama, the inevitability of the conflict between the two opposing sides becomes obvious. Because among the adherents of the old order, and among the representatives of the new generation, both truly strong and weak characters are striking.

Based on this, the purpose of my work will be a detailed study of the characters of the main characters of the drama by A.N. Ostrovsky "Thunderstorm".

1. History of creation and plot of the drama "Thunderstorm"

Drama A.N. Ostrovsky's "Thunderstorm" for the first time saw the light not in print, but on stage: on November 16, 1859, the premiere took place at the Maly Theater, and on December 2 - at the Alexandrinsky Theater. The drama was printed in the first issue of the Library for Reading magazine of the following year, 1860, and in March of the same year it came out as a separate edition.

The Thunderstorm was written quickly: begun in July and completed on October 9, 1859. And it took shape, matured in the mind and imagination of the artist, apparently, for many years ...

What kind of sacrament is the creation of an artistic image? When you think about The Thunderstorm, you remember a lot of things that could have been the impetus for writing a drama. Firstly, the writer's journey along the Volga, which opened up to him a new, unheard-of world of Russian life. The play says that the action takes place in the city of Kalinov on the banks of the Volga. The conditional town of Kalinov absorbed the real signs of provincial life and customs of those cities that were well known to Ostrovsky from his Volga journey - Tver, and Torzhok, and Kostroma, and Kineshma.

But a writer can be struck by some detail, a meeting, even a story he hears, just a word or an objection, and this sinks into his imagination, secretly matures and grows there. He could see on the banks of the Volga and talk with some local tradesman, who is known as an eccentric in the town, because he likes to “scatter the conversation”, speculate about the local customs, etc., and in his creative imagination future faces and characters could gradually emerge heroes of the "Thunderstorm", which we have to study.

In the most general formulation, the thematic core of The Thunderstorm can be defined as a clash between new trends and old traditions, between the aspirations of oppressed people for the free manifestation of their spiritual needs. Inclinations, interests, and the social and family-household orders that dominated pre-reform Russia.

Characterizing the representatives of old traditions and new trends, Ostrovsky deeply and fully reveals the essence of life relations and the whole way of pre-reform reality. In the words of Goncharov, in The Thunderstorm "a broad picture of national life and customs subsided."

2. System of images

To create a tragedy means to elevate the clash depicted in the play to the level of a struggle of large social forces. The character of the tragedy should be a large personality, free in their actions and deeds.

The character in the tragedy embodies a great social principle, the principle of the whole world. That is why tragedy eschews concrete forms of everyday life, it raises its heroes to the personification of great historical forces.

The heroes of "Thunderstorm", unlike the heroes of old tragedies, are merchants and philistines. From this arise many features, the originality of Ostrovsky's play.

In addition to the participants in the family drama that happened in the Kabanovs' house, there are also characters in the play who are in no way connected with it, acting outside the family sphere. These are the townsfolk walking in the public garden, and Shapkin, and Feklusha, and in a certain sense even Kuligin and Dikoy.

It can be imagined that the system of images of the drama "Thunderstorm" is built on the opposition of the masters of life, tyrants, Kabanikhi and Dikiy, and Katerina Kabanova as a figure of protest against the world of violence, as a prototype of the trends of a new life.

Images of the masters of life - Wild and Boar: bearers of the ideas of the old way of life (Domostroy), cruelty, tyranny and hypocrisy in relation to other characters, a sense of the death of the old way.

Images of resigned under the rule of tyrants - Tikhon and Boris (twin images): lack of will, weakness of character, love for Katerina, which does not give strength to the heroes, the heroine is stronger than those who love her and whom she loves, the difference between Boris and Tikhon is in external education, difference in the expression of protest: Katerina's death leads to Tikhon's protest; Boris, on the other hand, limply submits to circumstances, practically abandons the woman he loves in a situation that is tragic for her.

Images of heroes protesting against the "dark kingdom" of tyrants:

Varvara and Kudryash: external humility, lies, opposition to force by force - Kudryash, escape from the power of tyrants when mutual existence becomes impossible)

Kuligin - opposes the power of enlightenment to tyranny, understands the essence of the "dark kingdom" with reason, tries to influence it by the power of persuasion, practically expresses the author's point of view, but as a character is inactive

The image of Katerina - as the most resolute protest against the power of petty tyrants, "a protest brought to an end": the difference between the character, upbringing, behavior of Katerina from the character, upbringing, behavior of other characters

Secondary images emphasizing the essence of the "dark kingdom": Feklusha, the lady, the townspeople who witnessed the recognition of Katerina. Image of the Storm

1 Images of the masters of life

Wild Savel Prokofich is a wealthy merchant, one of the most respected people in the city of Kalinov.

Wild is a typical tyrant. He feels his power over people and complete impunity, and therefore creates what he wants. “There are no elders above you, so you are swaggering,” Kabanikha explains the behavior of Diky.

Every morning his wife begs those around her with tears: “Fathers, don’t make me angry! Doves, don't get angry! But Wild is hard not to get angry. He himself does not know in what mood he can come in the next minute.

This "cruel scolder" and "piercing man" is not shy in expressions. His speech is filled with words like "parasite", "Jesuit", "asp"

The play, as you know, begins with a conversation about Dick, who "as if off the chain", cannot live without swearing. But right away, from the words of Curly, it becomes clear that Dikoy is not so terrible: there are few guys “on my become, otherwise we would have been mischievous, we would have taught him ... Four of us that way, five of us in an alley somewhere would have talked with him face to face , so he would become silk. And about our science, I wouldn’t utter a word to anyone, if only I would walk and look around. ” Curly says confidently: “I’m not afraid of him, but let him be afraid of me”; "No, I won't be a slave to him."

Dikoi wants to cut off any attempt to demand an account from him the first time. 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. Hence, eternal discontent and irritability develop in him. He himself explains his situation when he talks about how hard it is for him to give out money. “What will you tell me to do when my heart is like that! After all, I already know what I need to give, but I can’t do everything with good. You are my friend, and I must give it back to you, but if you come and ask me, I will scold you. I will give, I will give, but I will scold. Therefore, just give me a hint about money, my whole interior will be kindled; it kindles the whole interior, and that’s all; well, and in those days I will not scold a person for anything. Even in the mind of the Wild himself, some reflection awakens: he realizes how absurd he is, and shifts the blame on the fact that "his heart is like that!"

The wild only wants more, as many rights as possible for themselves; when it is necessary to recognize them for others, he considers this an encroachment on his personal dignity, and becomes angry, and tries in every possible way to delay the matter and prevent it. Even when he knows that he must certainly give in, and he will give in later, but still he will try to play a dirty trick first. “I will give - I will give, but I will scold!” And it must be assumed that the more significant the issuance of money and the more urgent the need for it, the more strongly Dikoy swears ... It is clear that no reasonable convictions will stop him until an external force that is tangible to him is connected with them: he scolds Kuligin; and when the hussar once scolded him on the transport, he did not dare to contact the hussar, but again he took out his insult at home: for two weeks they hid from him in attics and closets ...

Such relations show that the position of Dikiy and all the petty tyrants like him is far from being as calm and firm as it once was, in the days of patriarchal mores.

Kabanikha (Marfa Ignatievna Kabanova) - "a rich merchant's wife, widow", Katerina's mother-in-law, mother of Tikhon and Varvara.

The Kabanov family follows the traditional order of life. The head of the family is a representative of the older generation. The boar lives "as is customary", as fathers and children lived in the old days. Patriarchal life is typical of its immobility. Through the mouth of Kabanikhi, the whole centuries-old domostroy way of life speaks.

Kabanova has a firm conviction that she is obliged, this is her duty - to instruct the young for their own good. This is in the Domostroy style, it has been like this for centuries, this is how fathers and grandfathers lived. She says to her son and daughter-in-law: “After all, out of love, parents are strict - sometimes they come to you, out of love they scold you - then everyone thinks to teach good. Well, I don't like it now." “I know, I know that my words are not to your liking, but what can you do - then, I am not a stranger to you, my heart hurts about you. I have long seen that you want the will. Well, wait, live and be free when I'm gone. Then do what you want, there will be no elders over you. Maybe you will remember me too.

Kabanova will be very seriously upset by the future of the old order, with which she has outlived a century. She foresees their end, tries to maintain their significance, but already feels that there is no former reverence for them, that they are no longer willingly preserved, only involuntarily, and that at the first opportunity they will be abandoned. She herself had somehow lost some of her knightly fervor; no longer with the same energy she takes care of observing the old customs, in many cases she has already waved her hand, drooped before the impossibility of stopping the stream, and only looks with despair as it gradually floods the motley flower beds of her whimsical superstitions. Kabanova is consoled only by the fact that somehow, with her help, the old order will stand until her death; and there - let it be anything - she will no longer see.

Seeing her son on the road, she notices that everything is not being done as it should be for her: her son does not bow at her feet - it is necessary to demand this from him, but he himself did not guess; and he does not “order” his wife how to live without him, and he does not know how to order, and at parting does not require her to bow to the ground; and the daughter-in-law, after seeing off her husband, does not howl and does not lie on the porch to show her love. If possible, Kabanova tries to restore order, but she already feels that it is impossible to conduct business completely in the old way. But seeing off her son inspires her with such sad reflections: “Youth is what it means! It's funny to look - then even at them! If it weren't for her, she would have laughed to her heart's content: they don't know anything, there's no order. Forgiveness - they don’t know how. It’s good that those who have elders in the house, they keep the house, while they are alive. And after all, too, stupid, they want to do their own thing; but when they go free, they get confused in obedience and laughter to good people. Of course, who will regret it, but most of all they laugh. Yes, it’s impossible not to laugh: they will invite guests, they don’t know how to seat, and even, look, they will forget one of their relatives. Laughter, and more! So - that's the old - then it is displayed. I don’t want to go into another house and go up. And if you go up, then you will spit, but get out more quickly. What will happen, how the old people will die, how the light will stand, I don’t know. Well, at least it’s good that I don’t see anything.”

The kabanikha needs that precisely those orders that she recognizes as good are always inviolably preserved.

2 Humbled under the rule of petty tyrants

Boris stands apart from other characters in the tragedy. Ostrovsky separates him from them even in the remarks characterizing the heroes: "A young man, decently educated" - and another remark: "All the faces, except Boris, are dressed in Russian."

Boris Grigorievich is Diky's nephew. He is one of the weakest characters in the play. Boris himself says about himself: “I walk around completely dead ... Driven, hammered ...”

Boris is a kind, well-educated person. It stands out sharply against the background of the merchant environment. But he is weak by nature. Boris is forced to humiliate himself in front of his uncle in order to hope for the inheritance that he will leave him. Although the hero himself knows that this will never happen, he nevertheless fawns before the tyrant, enduring his antics. Boris is unable to protect himself or his beloved Katerina. In misfortune, he only rushes about and cries: “Oh, if only these people knew how it feels for me to say goodbye to you! My God! God grant that someday it will be as sweet for them as it is now for me ... You villains! Fiends! Oh, if only there was strength! But Boris does not have this strength, so he is not able to alleviate the suffering of Katerina and support her choice, taking her with him.

There are also, as it were, two people in Tikhon. This is especially clear during his last conversation with Kuligin, when he talks about what is happening in their family.

“What has my wife done against me! It can’t be worse ... ”- this is Tikhon. But this is the voice of my mother. And then he continues with the same mother's words: “Killing her for this is not enough. Here mother says, she must be buried alive in the ground so that she will be executed! He beat me a little, and even then my mother ordered. It's a pity for me to look at her, you understand this, Kuligin. Mommy eats her up, and she, like some kind of shadow, walks unanswered. Only cries and melts like wax. So I'm killing myself looking at her. A man with a heart, Tikhon understands Boris's suffering and sympathizes with him. But at the last moment he catches himself and obeys what his inexorable mother tells him.

Tikhon - Russian character. It attracts kindness and sincerity. But he is weak and crushed by family despotism, crippled and broken by it. This unsteadiness of his character manifests itself all the time, right up to the death of Katerina. Under the influence of her death, an outbreak of humanity erupts in Tikhon. He rejects the vulgar and cruel maxims imposed by his mother, and even raises his voice against her.

3 Heroes who protest against the dark kingdom

Barbara is the exact opposite of Tikhon. It has both will and courage. But Varvara is the daughter of Kabanikha, the 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 her strong character, Varvara does not dare to openly protest against them. Its principle is “Do whatever you want, as long as it’s sewn and covered.”

In Barbara, she has a craving for will. Her flight from the power of family despotism indicates that she does not want to live under oppression. She has a sense of justice, she sees the cruelty of her mother and the insignificance of her brother.

This heroine easily adapts to the laws of the "dark kingdom", easily deceives everyone around her. It became a habit for her. Varvara 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.”

Much taller and more morally insightful than Barbara is Vanya Kudryash. In him, stronger than in any of the heroes of The Thunderstorm, except, of course, Katerina, the national principle triumphs. This is a song nature, gifted and talented, daring and reckless in appearance, but kind and sensitive in depth. But Kudryash also gets used to Kalin's mores, his nature is free, but sometimes self-willed. Curly opposes the world of "fathers" with his prowess, mischief, but not with moral strength.

"Thunderstorm" is not only imbued with the spirit of criticism. One of its main themes is the giftedness of a Russian person, the wealth of talents and opportunities contained in his personality.

A vivid embodiment of this is Kuligin (the surname, as you know, hints at the closeness of this character to the famous self-taught mechanic Kulibin).

Kuligin is a talented nugget who dreams of inventing a perpetuum mobile to give work to the poor and alleviate their plight. "And then there are hands, but there is nothing to work."

“A mechanic, a self-taught mechanic,” as Kuligin calls himself, wants to make a sundial in the city park, for this he needs ten rubles and he asks Diky for them. Here Kuligin is faced with the stubborn stupidity of Dikoy, who simply does not want to part with his money. Dobrolyubov wrote in his article “The Dark Kingdom” that “it is easy to “stop” a tyrant by the power of a judicious, enlightened mind.” "An enlightened person does not back down, trying to inspire Diky with the right ideas about the benefits of a sundial and the saving power of lightning rods." But everything is useless. One can only be surprised at the patience, respectfulness and perseverance with which Kuligin tries to get through to the Wild

People are drawn to Kuligin. Tikhon Kabanov tells him with complete confidence about his experiences, about how hard it is for him to live in his mother's house. Kuligin clearly understands all the problems of Tikhon, gives him advice to forgive his wife and live with his own mind. “She would be a good wife to you, sir; look - better than anyone "

In the "dark kingdom" Kuligin appears as a good person, he reads poetry, sings, his judgments are always accurate and detailed. He is a kind dreamer, striving to make people's lives better, to expand their knowledge about the world around them. It often seems that the wise and prudent thoughts that Kuligin expresses are an assessment of the events of the play by the author himself.

It is Kuligin who reproaches the people who killed Katerina. "Here's your Katherine. Do with her what you want! Her body is here, take it; and the soul is now not yours: it is now before a judge who is more merciful than you!”

4 The image of Katerina

First of all, we are struck by the extraordinary originality of Katerina's character. Katerina does not at all belong to violent characters, never satisfied, loving to destroy at all costs. On the contrary, this character is predominantly loving, ideal. She tries to harmonize any external dissonance with the harmony of her soul, she covers any shortcoming from the fullness of her inner forces.

Katerina's own judgment on herself is unbearable. Her internal, moral foundations are shaken. It's not just a "family scam". A moral catastrophe has occurred, the eternal moral institutions in the eyes of Katerina have been violated, and from this, as from original sin, the universe can tremble and everything will be distorted and perverted in it. It is on such a universal scale that Katerina perceives a thunderstorm. In the philistine view, her suffering is not a tragedy at all: there are few cases when a wife meets another in the absence of her husband, he returns and does not even know about the rival, etc. But Katerina would not have been Katerina, who received literary immortality, if everything had ended like this for her, and, as in a farce or a joke, everything would have been “sewn-covered”. Just as a human court is not terrible for Katerina, so no deal with her conscience is possible for her.

The tragedy of Katerina is not so much in “broken love”, in a “hateful” life with an unloved husband, with an imperious mother-in-law, but in that inner hopelessness, when the impossibility of finding oneself in the “new morality” is revealed and the future turns out to be closed.

In Katerina's personality, we see an already mature, from the depths of the whole organism, the demand for the right and spaciousness of life that arises. Here it is no longer imagination, not hearsay, not an artificially excited impulse that appears to us, but the vital necessity of nature.

About her character, Katerina tells Varya one more trait from her childhood memories: “I was born so hot! I was still six years old, no more - so I did it! They offended me with something at home, but it was in the evening, it was already dark, - I ran out to the Volga, got into the boat and pushed it away from the shore. The next morning they already found it, about ten miles away ... ”This childish ardor was preserved in Katerina. An adult, put in the need to endure insults, finds the strength to endure them for a long time, without vain complaints, semi-resistance and all sorts of noisy antics. She endures until some interest speaks in her, without the satisfaction of which she cannot remain calm.

Katerina solves all the difficulties of her situation with surprising ease. Here is her conversation with Varvara: “Varvara: You are somehow tricky, God bless you! But in my opinion: do what you want, if only it was sewn and covered. Katerina. I don't want that. Yes, and what a good thing! I’d rather endure it while I endure it ... Eh, Varya, you don’t know my character! Of course, God forbid this happens! And if it gets too cold for me here, they won't hold me back by any force. I'll throw myself out the window, I'll throw myself into the Volga. I don’t want to live here, so I won’t, even if you cut me!” Here is the true strength of character, which in any case can be relied upon! This is the height to which our people's life reaches in its development. Ostrovsky felt that not abstract beliefs, but life facts govern a person, that not a way of thinking, not principles, but nature is needed for the formation and manifestation of a strong character, and he knew how to create such a person that serves as a representative of a great national idea. Her actions are in harmony with her nature, they are natural, necessary for her, she cannot refuse them, even if this had the most disastrous consequences.

Katerina, at the first suggestion of Varvara about her meeting with Boris, cries out: “No, no, don’t! What are you, God forbid: if I see him at least once, I will run away from home, I will not go home for anything in the world! it is the passion that speaks in her; and it is already clear that she did not restrain herself, and her passion is higher than all her prejudices and fears. In this passion lies her whole life; all the strength of her nature. She is attracted to Boris not only by the fact that she likes him, that he, both in appearance and in speech, is not like the others around her; he is attracted by the need for love, which has not found a response in the husband, and the offended feeling of the wife and woman, and the mortal anguish of her monotonous life, and the desire for freedom, space, hot, unrestricted freedom.

Katerina is not afraid of anything, except for depriving her of the opportunity to see her chosen one, to talk with him, to enjoy these summer nights with him, these new feelings for her. The husband arrived, and life became unrealistic. It was necessary to hide, to be cunning; she did not want to and did not know how; it was necessary to return again to her callous, dreary life - this seemed to her bitterer than before. Such a situation was unbearable for Katerina: days and nights she kept thinking, suffering, and the end was one that she could not endure - in front of all the people crowding in the gallery of a strange church, she repented of everything to her husband.

She decided to die, but she is terrified by the thought that this is a sin, and she seems to be trying to prove to us and to herself that she can be forgiven, since it is already very difficult for her. She would like to enjoy life and love; but she knows that this is a crime, and therefore she says in her own justification: “Well, it doesn’t matter, I’ve ruined my soul!” There is no malice, no contempt in it, nothing that usually flaunts disappointed heroes who arbitrarily leave the world. But she can't live any longer, she can't, and that's all; from the fullness of her heart she says: “I am already exhausted ... How long will I suffer? Why should I live now - well, why? ... To live again? .. No, no, don't ... it's not good. And the people are disgusting to me, and the house is disgusting to me, and the walls are disgusting! I won't go there!..."

It is usually customary to say that Katerin is one of the most perfect incarnations of the character of a Russian woman. The appearance of Katerina is depicted with everyday colors, fanned by the everyday color of old Russian life. She is an extraordinary woman in the depth and strength of her spiritual life. “What an angelic smile on her face, but it seems to glow from her face,” Boris says about her.

By nature, Katerina is far from religious humility. She was brought up by the Volga expanse. She has a strong character, a passionate temperament, she has no internal independence and a craving for will, a spontaneous sense of justice.

5 Secondary images. The image of a thunderstorm

Minor characters of wanderers and praying women also help create the right background for the play. With their fantastic tales, they emphasize the ignorance and denseness of the inhabitants of the "dark kingdom".

Feklusha's stories about the lands where people with dog heads live are perceived by them as indisputable facts about the universe. The wanderer Feklusha can be called the "ideologist" of the "dark kingdom". With her stories about the lands where people with dog heads live, about the thunderstorm, which are perceived as irrefutable information about the world, she helps "tyrants" to keep people in constant fear. Kalinov, for her, is the land blessed by God.

And one more character - a half-mad lady, who at the very beginning of the play predicts the death of Katerina. She becomes the personification of those ideas about sin that live in the soul of the religious Katerina, brought up in a patriarchal family. True, in the finale of the play, Katerina manages to overcome her fear, for she understands that all her life to lie and humble herself is a greater sin than suicide.

The title of the play does not mean the name of the heroine of the tragedy, but a violent manifestation of nature, its phenomenon. And this cannot be considered a coincidence. Nature is an important character in the play.

Here are the words with which it opens: "A public garden on the high bank of the Volga, beyond the Volga, a rural view." This is a remark indicating the place of action. But she immediately introduces the motif of nature, necessary for the development of the concept of tragedy. In the remark - the beauty of the Volga landscape, the expanse of the Volga.

Not all the characters in the play notice the beauty of nature. It is inaccessible to the vulgar and self-serving inhabitants of the city of Kalinov - merchants and petty bourgeois.

It's not just the contrast between the beautiful nature and the unfair and cruel life of people. Nature enters into their lives. She illuminates it, becomes its participant.

A real thunderstorm becomes a symbolic embodiment of a thunderstorm thundering in Katerina's soul, a harbinger of punishment that threatens her for her crime. Thunderstorm is a terrible turmoil of her soul.

Kuligin perceives a thunderstorm differently. For him, a thunderstorm is a powerful expression of the beauty and power of nature, a thunderstorm is grace that overshadows people.

But the meaning of the title of the play can be interpreted even more widely and somewhat differently.

Thunderstorm is the element of Katerina's love for Boris, it is the strength and truth of her stormy repentance. It is like a cleansing thunderstorm that swept over the city, which was mired and stagnant in vices. The city needs such a storm.

The thunderstorm that thundered over the city of Kalinov is a refreshing thunderstorm and foreshadowing punishment, saying that there are forces in Russian life that can revive and renew it.

Conclusion

The Thunderstorm is, without a doubt, Ostrovsky's most decisive work; the mutual relations of tyranny and voicelessness are brought in it to the most tragic consequences.

But the power of talent led the author further. In the same dramatic frame lay down a broad picture of national life and customs with unparalleled artistic fullness and fidelity. Every face in the drama is a typical character, snatched straight from the environment of folk life, drenched in the bright color of poetry and artistic decoration, starting with the rich widow Kabanova, who embodies blind despotism, bequeathed by legends, an ugly understanding of duty and the absence of any humanity, - to the bigot Feklusha . The author gave a whole, diverse world of living personalities existing on every corner. [I.A. Goncharov]

Bibliography

image of Ostrovsky thunderstorm

Dobrolyubov, N.A. Ray of light in the dark kingdom [Text] / N.A. Dobrolyubov // Russian tragedy: A.N. Ostrovsky's play "Thunderstorm" in Russian criticism and literary criticism. - SPb.: ABC classics, 2002. - S. 208-278

Lobanov, M.P. Alexander Ostrovsky [Text] / M.P. Lobanov. - M.: Young Guard, 1989. - 400 p.

Ostrovsky, A.N. Thunderstorm: a drama in five acts [Text] / A.N. Ostrovsky. - M.: Children's literature, 1981. - 64 p.

Revyakin, A.I. Theme and idea of ​​"Thunderstorm" [Text] / A.I. Revyakin // Russian tragedy: A.N. Ostrovsky's play "Thunderstorm" in Russian criticism and literary criticism. - SPb.: ABC classics, 2002. - S. 35-40

Stein, A.A. Three masterpieces of A. Ostrovsky [Text] / A. A. Stein. - M.: Soviet writer, 1967. - 180 p.

Appendix 5

Quotes characterizing the characters

Savel Prokofich Wild

1) Curly. This? This Wild nephew scolds.

Kuligin. Found a place!

Curly. He has a place everywhere. Afraid of what, he of whom! He got Boris Grigoryevich as a sacrifice, so he rides on it.

Shapkin. Look for such and such a scolding, like our Savel Prokofich, to look for more! Will cut off a person for nothing.

Curly. A poignant man!

2) Shapkin. There is no one to take him down, so he is fighting!

3) Curly. ... and this one, as if off the chain!

4) Curly. How not to scold! He can't breathe without it.

Action one, event two:

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

Boris. Holiday; what to do at home!

Wild. Find the job you want. Once I told you, twice I said to you: "Don't you dare meet me"; you get it all! 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 al no?

1) Boris. No, that's not enough, Kuligin! He first breaks down on us, scolds us in every possible way, as his heart desires, but all the same ends up giving us nothing or just a little. Moreover, he will begin to tell that he gave out of mercy, that this should not have been.

2) Boris. The fact of the matter, Kuligin, is that it is absolutely impossible. Even their own people cannot please him; but where am I!

Curly. Who will please him, if his whole life is based on cursing? And most of all because of the money; not a single calculation without scolding is complete. Another is glad to give up his own, if only he calms down. And the trouble is, how someone will annoy him in the morning! He picks on everyone all day long.

3) Shapkin. One word: warrior.

Marfa Ignatievna Kabanova

1) Shapkin. Good, too, and Kabanikha.

Curly. Well, yes, at least that one, at least, everything under the guise of piety, but this one, as if off the chain!

1) Kuligin. Hypnotize, sir! She clothes the poor, but eats the household completely.

Act one, scene seven:

1) Barbara. Speak! I'm worse than you!

Tikhon Kabanov

Act one, scene six:

1) Barbara. So it's her fault! Her mother attacks her, and so do you. And you say you love your wife. I'm bored looking at you.

Ivan Kudryash

Action one, appearance one:

1) Curly. I wanted to, but I didn’t give it away, so it’s all one thing. He will not give up (Wild) me, he smells with his nose that I will not sell my head cheaply. He's scary to you, but I know how to talk to him.

2) Curly. What's here: oh! I am considered a brute; why is he holding me? Steel to be, he needs me. Well, that means I'm not afraid of him, but let him be afraid of me.

3) Curly. ... Yes, I don’t let it go either: he is the word, and I am ten; spit, and go. No, I will not be a slave to him.

4) Curly. ... It hurts dashing for girls!

Katerina

1) Katerina. And never leaves.

Barbara. Why?

Katerina. I was born so hot! I was still six years old, no more, so I did it! They offended me with something at home, but it was in the evening, it was already dark, I ran out to the Volga, got into the boat, and pushed it away from the shore. The next morning they already found it, ten miles away!

2) Katerina. I don't know how to deceive; I can't hide anything.

Action one, event three:

1) Kuligin. How, sir! After all, the British give a million; I would use all the money for society, for support. Work must be given to the bourgeoisie. And then there are hands, but there is nothing to work.

Action one, event three:

Boris. Eh, Kuligin, it is painfully difficult for me here without a habit! Everyone looks at me somehow wildly, as if I were superfluous here, as if I were disturbing them. I don't know the customs. I understand that all this is our Russian, native, but still I can’t get used to it in any way.

1) F e k l u sh a. Blah-alepie, honey, blah-alepie! Beauty is wondrous! What can I say! Live in the promised land! And the merchants are all pious people, adorned with many virtues! Generosity and alms by many! I'm so happy, so, mother, happy, neck-deep! For our failure to leave them even more bounty will be multiplied, and especially the house of the Kabanovs.

2) Feklusha. No, honey. I, due to my weakness, did not go far; and hear - heard a lot. They say that there are such countries, dear girl, where there are no Orthodox tsars, and the Saltans rule the earth. In one land, the Turkish Saltan Mahnut sits on the throne, and in the other, the Persian Saltan Mahnut; and they do justice, dear girl, over all people, and whatever they judge, everything is wrong. And they, my dear, cannot judge a single case righteously, such is the limit set for them. We have a righteous law, and they, my dear, are unrighteous; that according to our law it turns out that way, but according to theirs everything is the other way around. And all their judges, in their countries, are also all unrighteous; so to them, dear girl, and in requests they write: “Judge me, unjust judge!” And then there is the land where all the people with dog heads.

Farewell for now!

Glasha. Goodbye!

Feklusha leaves.

City manners:

Action one, event three:

1) Kuligin. And you'll never get used to it, sir.

Boris. From what?

Kuligin. Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and bare poverty. And we, sir, will never get out of this bark! Because honest labor will never earn us more daily bread. And whoever has money, sir, he tries to enslave the poor, so that he can make even more money from his free labors. Do you know what your uncle, Savel Prokofich, answered the mayor? The peasants came to the mayor to complain that he would not read any of them by the way. The gorodnii began to say to him: “Listen, he says, Savel Prokofich, you count the peasants well! Every day they come to me with a complaint!” Your uncle patted the mayor on the shoulder, and said: “Is it worth it, your honor, to talk about such trifles with you! A lot of people stay with me every year; you understand: I’ll underpay them for some penny per person, and I make thousands of this, so it’s good for me! That's how, sir! And among themselves, sir, how they live! They undermine each other's trade, and not so much out of self-interest, but out of envy. They quarrel with each other; they lure drunken clerks into their tall mansions, such, sir, clerks, that there is no human appearance on him, his human appearance is lost. And those to them, for a small blessing, on stamp sheets malicious slander scribble on their neighbors. And they will begin, sir, the court and the case, and there will be no end to the torment. They sue, they sue here, but they will go to the province, and there they are already expected and splash their hands with joy. Soon the fairy tale is told, but the deed is not soon done; lead them, lead them, drag them, drag them; and they are also happy with this dragging, that's all they need. “I, he says, will spend money, and it will become a penny for him.” I wanted to describe all this in verses ...

2) F e k l u sh a. Bla-alepie, honey blah-alepie! Beauty is wondrous! What can I say! Live in the promised land! AND merchants all a pious people, adorned with many virtues! Generosity and alms by many! I'm so happy, so, mother, happy, neck-deep! For our failure to leave them even more bounty will be multiplied, and especially the house of the Kabanovs.

Action two, appearance one:

3) Feklusha. No, honey. I, due to my weakness, did not go far; and hear - heard a lot. They say that there are such countries, dear girl, where there are no Orthodox tsars, and the Saltans rule the earth. In one land, the Turkish Saltan Mahnut sits on the throne, and in the other, the Persian Saltan Mahnut; and they do justice, dear girl, over all people, and whatever they judge, everything is wrong. And they, my dear, cannot judge a single case righteously, such is the limit set for them. We have a righteous law, and they, my dear, are unrighteous; that according to our law it turns out that way, but according to theirs everything is the other way around. And all their judges, in their countries, are also all unrighteous; so to them, dear girl, and in requests they write: “Judge me, unjust judge!” And then there is the land where all the people with dog heads.

Glasha. Why is it so, with dogs?

Feklush. For infidelity. I'll go, dear girl, wander around the merchants: will there be something for poverty. Farewell for now!

Glasha. Goodbye!

Feklusha leaves.

Here are some other lands! There are no miracles in the world! And we're sitting here, we don't know anything. It's also good that there are good people; no, no, yes, and you will hear what is happening in the world; otherwise they would die like fools.

Relationships in the family:

Act one, event five:

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

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

Kabanova. There is not much respect for elders these days.

Barbara (to herself). Do not respect you, how!

Kabanov. I, it seems, mother, not a step out of your will.

Kabanova. I would have believed you, my friend, if I had not seen with my own eyes and heard with my own ears, what is now the reverence for parents from children! If only they remembered how many diseases mothers endure from children.

Kabanov. I mama...

Kabanova. If a parent that when and insulting, in your pride, says so, I think it could be transferred! What do you think?

Kabanov. But when did I, mother, not endure from you?

Kabanova. Mother is old, stupid; well, and you, smart young people, should not exact from us, fools.

Kabanov (sighing to the side). Oh you, Lord! (Mothers.) Do we dare, mother, to think!

Kabanova. After all, out of love, parents are strict with you, out of love they scold you, everyone thinks to teach good. Well, now I don't like it. And the children will go to people to praise that the mother is grumbling, that the mother does not give a pass, she shrinks from the light. And, God forbid, one cannot please the daughter-in-law with some word, well, and the conversation began that the mother-in-law completely ate.

Kabanov. Something, mother, who is talking about you?

Kabanova. I didn’t hear, my friend, I didn’t hear, I don’t want to lie. If only I had heard, I would not have spoken to you, my dear, then. (Sighs.) Oh, a grave sin! That's a long time to sin something! A conversation close to the heart will go on, well, and you will sin, get angry. No, my friend, say what you want about me. You won’t order anyone to speak: they won’t dare to face it, they will stand behind your back.

Kabanov. Let your tongue dry....

Kabanova. Complete, complete, don't worry! Sin! I'll
I have long seen that your wife is dearer to you than your mother. Since
married, I don’t see your former love from you.

Kabanov. What do you see, mother?

K a b a n o v a. Yes, everything, my friend! What a mother cannot see with her eyes, she has a prophetic heart, she can feel with her heart. Al wife takes you away from me, I don’t know.

Action two, phenomenon two:

2) Katerina. I don't know how to deceive; I can't hide anything.

V a r v a r a. Well, but without this it is impossible; remember where you live! Our whole house is based on that. And I was not a liar, but I learned when it became necessary. I walked yesterday, so I saw him, talked to him.

Act one, scene nine:

1) Barbara (looking around). That this brother is not coming, out, no way, the storm is coming.

KATERINA (with horror). Storm! Let's run home! Hurry!

Barbara. What are you, crazy, or something, gone! How can you show yourself home without a brother?

Katerina. No, home, home! God bless him!

Barbara. What are you really afraid of: the storm is still far away.

Katerina. And if it's far away, then perhaps we'll wait a little; but it would be better to go. Let's go better!

Barbara. Why, if anything happens, you can’t hide at home.

Katerina. Yes, all the same, everything is better, everything is calmer; At home, I go to images and pray to God!

Barbara. I didn't know you were so afraid of thunderstorms. I'm not afraid here.

Katerina. How, girl, do not be afraid! Everyone should be afraid. It’s not so terrible that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts. I'm not afraid to die, but when I think that all of a sudden I will appear before God the way I am here with you, after this conversation, that's what's scary. What's on my mind! What a sin! scary to say!

The action of the play "Thunderstorm" takes place in the fictional town of Kalinov, which is a collective image of all the provincial towns of that time.
There are not so many main characters in the play "Thunderstorm", each must be said separately.

Katerina is a young woman married without love, "in a strange direction", God-fearing and pious. In the parental home, Katerina grew up in love and care, prayed and enjoyed life. Marriage for her turned out to be a difficult test, which her meek soul opposes. But, despite outward timidity and humility, passions boil in Katerina's soul when she falls in love with a strange man.

Tikhon - Katerina's husband, a kind and gentle person, loves his wife, pities her, but, like all households, obeys his mother. He does not dare to go against the will of the "mother" throughout the play, as well as openly tell his wife about his love, since the mother forbids this, so as not to spoil his wife.

Kabanikha - the widow of the landowner Kabanov, mother of Tikhon, mother-in-law of Katerina. A despotic woman, in whose power the whole house is, no one dares to take a step without her knowledge, fearing a curse. According to one of the heroes of the play, Kudryash, Kabanikh - “a hypocrite, gives to the poor, but eats homemade food.” It is she who tells Tikhon and Katerina how to build their family life in the best traditions of Domostroy.

Varvara is Tikhon's sister, an unmarried girl. Unlike her brother, she obeys her mother only for the sake of appearances, while she herself secretly runs on dates at night, inciting Katerina to do so. Its principle is that you can sin if no one sees, otherwise you will spend your whole life next to your mother.

The landowner Dikoy is an episodic character, but personifying the image of a “tyrant”, i.e. those in power who are sure that money gives the right to do whatever your heart desires.

Boris, Diky's nephew, who arrived in the hope of receiving his share of the inheritance, falls in love with Katerina, but cowardly runs away, leaving the woman he seduced.

In addition, Kudryash, Wild's clerk, is participating. Kuligin is a self-taught inventor, constantly trying to introduce something new into the life of a sleepy town, but is forced to ask Wild for money for inventions. The same, in turn, being a representative of the "fathers", is sure of the futility of Kuligin's undertakings.

All the names and surnames in the play are "speaking", they tell about the character of their "masters" better than any actions.

She herself vividly shows the confrontation between the "old" and "young". The former actively resist all sorts of innovations, complaining that young people have forgotten the orders of their ancestors and do not want to live "as expected." The latter, in turn, are trying to free themselves from the yoke of parental orders, they understand that life is moving forward, changing.

But not everyone decides to go against the parental will, someone - because of the fear of losing their inheritance. Someone - accustomed to obey their parents in everything.

Against the backdrop of flourishing tyranny and precepts of Domostroy, the forbidden love of Katerina and Boris blossoms. Young people are drawn to each other, but Katerina is married, and Boris depends on his uncle for everything.

The heavy atmosphere of the city of Kalinov, the pressure of the evil mother-in-law, the thunderstorm that has begun, force Katerina, tormented by remorse because of her betrayal of her husband, to confess everything in public. The boar rejoices - she turned out to be right in advising Tikhon to keep his wife "strict". Tikhon is afraid of his mother, but her advice to beat his wife so that she knows is unthinkable for him.

The explanation of Boris and Katerina further aggravates the situation of the unfortunate woman. Now she has to live away from her beloved, with her husband, who knows about her betrayal, with his mother, who will now definitely exhaust her daughter-in-law. Katerina's piety leads her to think that there is no more reason to live, the woman throws herself off a cliff into the river.

Only after losing the woman he loves does Tikhon realize how much she meant to him. Now he will have to live all his life with the understanding that his callousness and obedience to his tyrant mother led to such an ending. The last words of the play are the words of Tikhon, pronounced over the body of his dead wife: “Good for you, Katya! And why in the world did I stay to live and suffer!

The history of creation, the system of images, methods of characterizing the characters in the play by A. N. Ostrovsky "Thunderstorm" "The most decisive work of Ostrovsky"

The story of the creation of the play 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 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 due respect in the voice, does not observe decency, then - disobedience. 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 meaning of the name of the play "Thunderstorm" Conclusion. The meaning of the title: a thunderstorm in nature - refreshes, a thunderstorm in the soul - cleanses, a thunderstorm in society - illuminates (kills).

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 the majority of women, as in pre-Petrine Rus', were satisfied by folk holidays and church services. "Domostroy" is a monument of Russian writing of the 16th century, which is a set of rules for family life.

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. 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.

The system of characters in the play Speaking last names The age of the characters "Masters of Life" "Victims" What place does Katerina occupy in this system of images?

The system of characters in the play by Wild: “You are a worm. If I want - I will have mercy, if I want - I will crush. Kabanikha: "I have long seen that you want freedom." "That's where the will leads." Curly: "Well, that means I'm not afraid of him, but let him be afraid of me."

The system of characters in the play 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 is a poetic speech resembling a spell, crying or a 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.

Lesson topic: Drama "Thunderstorm". The system of images, methods of revealing the characters of the characters.

Goals:

1. To introduce the system of images of the drama "Thunderstorm" by A.N. Ostrovsky.

3. Education of patriotism on the example of Ostrovsky's drama "Thunderstorm"; arouse interest in the work of Ostrovsky

Equipment:

During the classes.

1. Org. the beginning of the lesson.

2. Checking homework

3. Communication of the topic and objectives of the lesson

4. Work on the topic of the lesson

Work with the text of Ostrovsky's play "Thunderstorm".

The system of characters in the play.

"Dark Realm"

Kabanova Marfa Ignatievna

Wild Savel Prokofich

wanderer Feklusha

tradesman Shapkin

maid Glasha

Victims of the "dark kingdom"

Katerina

Studying the list of characters, one should note the speaking surnames, the distribution of heroes by age (young - old), family ties (Dikoy and Kabanova are indicated, and most of the other heroes are related to them), education (only Kuligin - mechanic - self-taught and Boris). The teacher, together with the students, makes a table, which is written in notebooks.

"Masters of Life"
wild. You are a worm. If I want, I will have mercy, if I want, I will 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 take in this system of images?

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

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

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 - poetic speech, reminiscent of 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.

 The boar is a 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.

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.

Let's characterize the city of Kalinov, find out how people live here, answer the question: "Is Dobrolyubov right when he calls this city a "dark kingdom"?

«

We enter the city of Kalinov from the side of the public garden. Let's stop for a minute, look at the Volga, on the banks of which there is a garden. Beautiful! Eye-catching! So Kuligin also says: "The view is extraordinary! Beauty! The soul rejoices!" People probably live here peaceful, calm, measured and kind. Is it so? How is the city of Kalinov shown?

Tasks for the analysis of two Kuligin monologues (d. 1, yavl. 3; d. 3, yavl. 3)

1. Highlight the words that especially vividly characterize life in the city.

"Cruel morals"; "rudeness and naked poverty"; "by honest labor you will never earn more than your daily bread"; "trying to enslave the poor"; "to make even more money on gratuitous labors"; "I won't pay a penny"; "trade is undermined out of envy"; "enmity" and others are the principles of life in the city.

2. Highlight the words that especially vividly characterize life in the family.

"Boulevard was made, but not walked"; "the gates are locked and the dogs are let down"; "so that people don't see how they eat their own home, and tyrannize their family"; "tears flow behind these locks, invisible and inaudible"; "behind these locks is the debauchery of the dark and drunkenness," etc. - these are the principles of life in the family.

Conclusion. If it's so bad in Kalinovo, then why is it that a wonderful view, the Volga, is depicted in the first place? Why is the same beautiful nature shown in the scene of the meeting between Katerina and Boris? It turns out that the city of Kalinov is controversial. On the one hand, this is a wonderful place, on the other hand, life in this city is terrible. Beauty is preserved only in the fact that it does not depend on the owners of the city, they cannot subdue the beautiful nature. It is seen only by poetic people capable of sincere feelings. The relations of people are ugly, their life is "behind locks and gates."

Issues for discussion

How can one evaluate the monologues of Feklusha (case 1, scene 2; case 3, scene 1)? How does the city appear in her perception? Bla-alepie, wondrous beauty, promised land, paradise and silence.

What are the people who live here? The inhabitants are ignorant and uneducated, they believe the stories of Feklusha, which show her darkness and illiteracy: the story of the fiery serpent; about someone with a black face; about time, which is getting shorter (case 3, appearance 1); about other countries (d. 2, yavl. 1). Kalinovtsy believe that Lithuania has fallen from the sky (case 4, scene 1.), they are afraid of thunderstorms (case 4, scene 4).

How is it different from the inhabitants of the city of Kuligin? An educated man, a self-taught mechanic, his surname resembles the surname of the Russian inventor Kulibin. The hero subtly feels the beauty of nature and aesthetically stands above other characters: he sings songs, quotes Lomonosov. Kuligin stands up for the improvement of the city, tries to persuade Dikoy to give money for a sundial, for a lightning rod, tries to influence the inhabitants, educate them, explaining the thunderstorm as a natural phenomenon. Thus, Kuligin personifies the best part of the city's inhabitants, but he is alone in his aspirations, which is why he is considered an eccentric. The image of the hero embodies the eternal motive of grief from the mind.

Who prepares their appearance? Curly introduces Wild, Feklush - Boar.

wild

Who is he according to his material and social position?

What is his desire for profit? How does he get money?

What actions and judgments of the Wild indicate his rudeness, ignorance, superstition?

How did Wild behave in a collision with a hussar and after it?

Show how his character is revealed in Diky's speech?

What techniques does Ostrovsky use to create the image of the Wild?

Boar

Who is she according to her social and financial position?

What, in her opinion, should family relationships be based on?

What is her hypocrisy and hypocrisy?

What actions and statements of Kabanikh testify to cruelty and heartlessness?

What is common and what are the differences in the characters of Wild and Boar?

What are the features of Kabanikh's speech?

How do Tikhon, Varvara and Katerina relate to the teachings of the Kabanikh?

How are the characters of Diky and Kabanikha revealed in their speech characteristics?

	Boar
"scold"; "Like I got off the chain"	"everything under the guise of piety"; "a hypocrite, she clothes the poor, but she eats the household completely"; "scolds"; "sharpen like iron rust"
"parasite"; "damn"; "fail you"; "foolish man"; "go away"; "what am I to you - even or something"; "with a snout something and climbs to talk"; "robber"; "asp"; "fool" etc.	She herself: "I see that you want the will"; "you will not be afraid, and even more so of me"; "you want to live by your own will"; "fool"; "order your wife"; "must do what the mother says"; "where the will leads" etc.
Conclusion. Wild - scold, rude, tyrant; feels his power over people	Conclusion. The boar is a hypocrite, does not tolerate will and disobedience, acts with fear

General conclusion. The boar is scarier than the Wild Boar, since her behavior is hypocritical. Wild is a scolder, a tyrant, but all his actions are open. The boar, under the guise of religion and concern for others, suppresses the will. She is most afraid that someone will live in their own way, by their own will.

N. Dobrolyubov spoke about the inhabitants of the city of Kalinov as follows:

"Samodurs of Russian life".

What does the word "selfish" mean? (wild, powerful man, tough at heart)

Let's conclude:

Wild Savel Prokofich -

Kabanova Marfa Ignatievna -

Let's conclude:

Kabanova Marfa Ignatievna - the embodiment of despotism, covered with hypocrisy. How correctly Kuligin described her: “The hypocrite ... She clothes the poor, but she completely ate at home!” For her, there is no love, maternal feelings for her children. Boar is the exact nickname given to her by people. She is the "guardian" and defender of the customs and orders of the "dark kingdom".

The results of the actions of these heroes:

 talented Kuligin is considered an eccentric and says: "There is nothing to do, we must submit!";

 kind, but weak-willed Tikhon drinks and dreams of escaping from the house: "and with some kind of bondage, you can run away from any beautiful wife you want"; he is completely subordinate to his mother;

 Barbara adapted to this world and began to deceive: "And I was not a liar before, but I learned when it became necessary";

 the educated Boris is forced to adapt to the tyranny of the Wild in order to receive an inheritance.

So breaks the dark realm of good people, forcing them to endure and be silent.

Tikhon -

Boris -

Barbara -

Curly -

Summary of the lesson.

The city of Kalinov is a typical Russian city of the second half of the 19th century. 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.

Homework

Write out a description of Katerina (external appearance, character, behavior, what she was like in childhood, how she changed in the Kabanovs' house). Determine the main stages in the development of Katerina's internal conflict. Prepare an expressive recitation by heart of Katerina's monologues (action 2 phenomenon 10 and action 5 phenomenon 4).

Dobrolyubov	Pisarev
The character of Katerina is ...	Dobrolyubov assumed the identity of Katerina...
Decisive, solid Russian ...	Not a single bright phenomenon ...
This is character par excellence...	What a harsh virtue...
Katherine does everything...	Dobrolyubov found ... the attractive sides of Katerina, ...
In Katerina we see a protest ...	Education and life could not give ...
Such a liberation is bitter; but what do you do when...	Katerina cuts the protracted knots ...
We are happy to see deliverance...	Who does not know how to do anything to alleviate their own and others' suffering...

write down other statements you like that characterize Katerina (required)

determine your attitude to these theses, pick up an argument (required).

Subject. Drama Storm. The history of creation, the system of images, methods of revealing the characters of the characters.

Goals: 1. Present material about the creation of Ostrovsky's drama "Thunderstorm" in the form of a video report.

2. To develop the skill of analyzing the characteristics of dramatic characters using the example of the inhabitants of the city of Kalinov: first of all, those on whom the spiritual atmosphere in the city depends.

3. Education of patriotism on the example of the history of the creation of Ostrovsky's drama "Thunderstorm"; arouse interest in the work of Ostrovsky

Equipment: a multimedia projector, a computer, a presentation for a lesson on the topic, a video report about the cities located on the Volga River.

Lesson plan.

Organizing time.

Checking homework. Survey:

Why did the formula "Columbus of Zamoskvorechye" "grown" to Ostrovsky?

How did Ostrovsky imagine Zamoskvorechye himself?

What is dramaturgy?

What theater did Ostrovsky collaborate with, and how did Goncharov call this theater in a letter to Ostrovsky?

What is Ostrovsky's contribution to the theatre?

III. Work on the topic of the lesson. Lesson topic announcement:Drama Thunderstorm. The history of creation, the system of images, methods of revealing the characters of the characters.

1. Video report on the history of the creation of Ostrovsky's play "Thunderstorm".

1. "Prototype" of the city of Kalinov

In the summer of 1855, the Naval Ministry of Russia equipped an ethnographic expedition to study the life and culture of the Volga cities. A.N. Ostrovsky took part in the expedition. Impressions from the trip were reflected in many works of the playwright. According to researchers, the "prototype" of the city of Kalinov in the play "Thunderstorm" could be Kostroma, Torzhok or Kineshma. It is connected with Kostroma by a picturesque area, with Kineshma by the scene of the Last Judgment, captured on the porch of one of the churches, with Torzhok by local customs. It would be more correct to say that Kalinov is a generalized image of the provincial cities of Russia.

2. Work with theoretical material.

Class conversation:

Name the genre features of the drama.

Drama:

2) a literary genus belonging simultaneously to theater and literature.

Drama Feature:

1) conflict,

2) dividing the plot into stage episodes,

3) a continuous chain of characters' statements,

4) the absence of a narrative beginning.

Identify the conflict in the play.

A.N. Ostrovsky showed how “a protest against age-old traditions is ripening

and how the Old Testament way of life begins to crumble under the pressure of the demands of life.

The conflict between the "dark kingdom" and the new

a person who lives according to the laws of conscience.

3. Work with the text of Ostrovsky's play "Thunderstorm".

Consider the system of artistic images:

"Dark Realm"

Kabanova Marfa Ignatievna

Wild Savel Prokofich

wanderer Feklusha

tradesman Shapkin

maid Glasha

Victims of the "dark kingdom"

Katerina

- let's turn to the meanings of names, since the heroes of the play have "speaking names".

Catherine- colloquial Katerina, translated from Greek: pure, noble.

Barbara - translated from Greek: foreigner, foreigner.

Martha - from Aramaic: mistress

Boris - abbreviation of the name Borislav, from Bulgarian:

struggle, from Slavic: words.

Sovel - from Savely, from Hebrew: requested

Tikhon - from Greek: successful, calm.

Teacher's word: The action takes place in the city of Kalinov, located on the banks of the Volga. In the center of the city is the Market Square, near the old church. Everything seems to be peaceful and calm, but the owners of the city are distinguished by rudeness and cruelty.

Conversation with the class on the following questions:

Tell us about the inhabitants of Kalinov.

What are the rules in the city? (Substantiate your answer with text).

N. Dobrolyubov spoke about the inhabitants of the city of Kalinov as follows:

"Nothing holy, nothing pure, nothing right in this dark

world: the tyranny that dominates him, wild, insane,

wrong, drove out of him all consciousness of honor and right ... ".

Do you agree with the critic's opinion?

"Samodurs of Russian life".

Class conversation:

What does the word "selfish" mean?

What is your idea of ​​Wild?

What is the cause of the unbridled arbitrariness of the Wild?

How does he treat those around him?

Is he confident in the limitlessness of power?

Describe the speech, manner of speaking, communicating Wild. Give examples.

Let's conclude:

Wild Savel Prokofich -“a piercing man”, “swearing”, “tyrant”, which means a wild, tough-hearted, domineering person. The purpose of his life is enrichment. Rudeness, ignorance, abuse, swearing are habitual for the Wild. Passion for cursing becomes even stronger when he is asked for money.

Kabanova Marfa Ignatievna - a typical representative of the "dark kingdom".

1. What is your idea of ​​this character?

2. How does she feel about her family? What is her attitude to the "new orders"?

3. What are the similarities and differences between the characters of the Wild and Boar?

4. Describe the speech, manner of speaking, communicating Kabanova. Give examples.

Let's conclude:

Kabanova Marfa Ignatievna - the embodiment of despotism, covered with hypocrisy. How correctly Kuligin described her: “The hypocrite ... She clothes the poor, but she completely ate at home!” For her, there is no love, maternal feelings for her children. Boar is the exact nickname given to her by people. She is the "guardian" and defender of the customs and orders of the "dark kingdom".

Young heroes of the play. Give them a description.

Tikhon - kind, sincerely loves Katerina. Exhausted by the reproaches and orders of his mother, he thinks about how to escape from the house. He is a weak-willed, submissive person.

Boris - soft, kind, really understands Katerina, but is unable to help her. He is not able to fight for his happiness, he chooses the path of humility.

Barbara - understands the senselessness of the protest, for her a lie is a defense against the laws of the "dark kingdom". She ran away from home, but did not submit.

Curly - desperate, boastful, capable of sincere feelings, not afraid of his master. He fights in every way for his happiness.

Katerina's struggle for happiness.

How is Katerina different from other characters in the drama "Thunderstorm"?

2. Tell the story of her life. Give examples from the text.

3. What is the tragedy of her position?

4. What ways is she looking for in the struggle for happiness?

Comment on the illustration for the work.

Why is Katerina left alone with her grief? Why didn't Boris take her with him?

Why didn't she return to her husband?

Are Boris and Tikhon worthy of her love?

Did Katerina have any other choice but death?

Work with text.

Why did Katerina decide to publicly repent of her sin?

2. What role does the thunderstorm scene play in the play?

3. Read aloud Katerina's monologue in the scene of repentance. What role does it play in revealing the ideological content of the work?

Try to interpret the meaning of the title of the drama "Thunderstorm".

Storm - it is an elemental force of nature, terrible and not fully understood.

Storm - this is a thunderous state of society, a thunderstorm in the souls of people.

Storm - it is a threat to the outgoing, but still strong world of boar and wild.

Storm - this is a Christian belief: the wrath of God, punishing for sins.

Storm - it is the maturing new forces in the struggle against the old remnants of the past.

Prove that the development of action inevitably leads to a tragic end?

Could Katerina find happiness in the family? Under what conditions?

What is the heroine struggling with: with a sense of duty or with the "dark kingdom"?

Read aloud Katerina's last words. Who is to blame for her death?

N.A. Dobrolyubov:“Katerina is a ray of light in a dark kingdom.

At the tragic end ... a terrible challenge to self-foolish power is given. morality, a protest brought to the end ... ”(N.A. Dobrolyubov“ A Ray of Light in a Dark Kingdom ”).

D.I. Pisarev:“Upbringing and life could not give Katerina either a strong character or a developed mind ... She cuts the tightened knots with suicide, which is completely unexpected for herself.”

(D.I. Pisarev "Motives of Russian drama").

What is your opinion and why?

Lesson Summary:

Evaluation of student responses.

Today in the lesson we learned not only about the customs of the Kalinovites, but also examined the representatives of the "dark" and "light" kingdoms

At the end of the lesson, answer the question for yourself: “Which side of self-education should I pay more attention to?”.

Homework:

Complete the abstract of the article by N Dobrolyubov “A ray of light in the dark kingdom” according to the plan:

"Dark Kingdom" in "Thunderstorm"

Katerina - "a ray of light in the" dark kingdom "

Expression of popular aspirations

Ostrovsky's most decisive work.

The Thunderstorm by A. N. Ostrovsky made a strong and deep impression on his contemporaries. Many critics were inspired by this work. However, in our time it has not ceased to be interesting and topical. Raised to the category of classical drama, it still arouses interest.

The arbitrariness of the "older" generation lasts for many years, but some event must occur that could break the patriarchal tyranny. Such an event is the protest and death of Katerina, which awakened other representatives of the younger generation.

Let us consider in more detail the characteristics of the main acting heroes.

Characters	Characteristic	Examples from the text
"Older generation.
Kabanikha (Kabanova Marfa Ignatievna)	A wealthy merchant's widow, imbued with old beliefs. “Everything is under the guise of piety,” according to Kudryash. Forces to honor the rites, blindly follow the old customs in everything. Domestic tyrant, head of the family. At the same time, he understands that the patriarchal way of life is collapsing, the covenants are not respected - and therefore he imposes his authority in the family even more rigidly. "Prude", according to Kuligin. He believes that before people it is necessary to portray decency at all costs. Her despotism is the main reason for the collapse of the family.	Action 1, phenomenon 5; Action 2, phenomenon 3, 5; Action 2, phenomenon 6; Action 2, event 7.
Dikoy Savel Prokofievich	Merchant, tyrant. Used to intimidate everyone, to take it impudently. Swearing is what brings him true pleasure, there is no greater joy for him than the humiliation of people. Trampling human dignity, he experiences incomparable pleasure. If this “swearer” encounters someone whom he does not dare to scold, then he breaks down at home. Rudeness is an integral part of his nature: "he can't breathe, so as not to scold someone." Swearing is also a kind of protection for him, as soon as it comes to money. Stingy, unfair, as evidenced by his behavior towards his nephew and niece.	Action 1, phenomenon 1 - Kuligin's conversation with Kudryash; Action 1, phenomenon 2 - Diky's conversation with Boris; Action 1, phenomenon 3 - words about him by Kudryash and Boris; Act 3, event 2; Act 3, event 2.
Younger generation.
Katerina	Tikhon's wife does not contradict her husband, treats him affectionately. Initially, traditional humility and obedience to her husband and elders in the family are alive in her, but a keen sense of injustice allows her to take a step towards “sin”. She says about herself that she is "unchanging in character both in front of people and without them." In girls, Katerina lived freely, her mother spoiled her. He sincerely believes in God, therefore he is very worried because of sinful love out of wedlock for Boris. Dreamy, but her attitude is tragic: she anticipates her death. "Hot", fearless since childhood, she challenges Domostroy mores with both her love and her death. Passionate, having fallen in love, gives her heart without a trace. Lives more with emotions than with reason. He cannot live in sin, hiding and hiding, like Barbara. That is why she confesses to her husband in connection with Boris. She shows courage, which not everyone is capable of, defeating herself and rushing into the pool.	Action 1, phenomenon 6; Action 1, phenomenon 5; Action 1, phenomenon 7; Action 2, phenomenon 3, 8; Action 4, phenomenon 5; Action 2, phenomenon 2; Act 3, scene 2, appearance 3; Action 4, phenomenon 6; Action 5, phenomenon 4, 6.
Tikhon Ivanovich Kabanov.	Son of Kabanikha, husband of Katerina. Quiet, timid, submissive in everything to his mother. Because of this, he is often unfair to his wife. I am glad to get out from under the heel of my mother for a while, to get rid of the constantly consuming fear, for which I go to the city to get drunk. In his own way, he loves Katerina, but in no way can he resist his mother. As a weak nature, devoid of any will, he envies Katerina's determination, remaining "to live and suffer", but at the same time he shows a kind of protest, blaming his mother for Katerina's death.	Action 1, phenomenon 6; Action 2, phenomenon 4; Action 2, phenomenon 2, 3; Action 5, phenomenon 1; Action 5, phenomenon 7.
Boris Grigorievich.	Nephew of Diky, Katerina's lover. An educated young man, an orphan. For the sake of the inheritance left by his grandmother to him and his sister, he involuntarily endures the scolding of Wild. "A good man", according to Kuligin, he is not capable of decisive action.	Action 1, phenomenon 2; Action 5, phenomenon 1, 3.
Barbara.	Sister Tikhon. The character is more lively than that of his brother. But, just like him, he does not openly protest against arbitrariness. Prefers to condemn the mother quietly. Practical, down to earth, not in the clouds. He secretly meets with Kudryash and sees nothing wrong in bringing Boris and Katerina together: “do whatever you want, if only it was sewn and covered.” But she also does not tolerate arbitrariness over herself and runs away with her beloved from home, despite all outward humility.	Action 1, phenomenon 5; Action 2, phenomenon 2; Action 5, phenomenon 1.
Curly Vanya.	Clerk Wild, has a reputation for being rude, in his own words. For the sake of Varvara, he is ready for anything, but he believes that male women should sit at home.	Action 1, phenomenon 1; Act 3, scene 2, appearance 2.
Other heroes.
Kuligin.	A tradesman, a self-taught mechanic, is looking for a perpetuum mobile. Selfish, sincere. It preaches common sense, enlightenment, reason. Diversely developed. As an artist, he enjoys the natural beauty of nature, looking at the Volga. He writes poetry in his own words. Stands up for progress for the benefit of society.	Action 1, phenomenon 4; Action 1, phenomenon 1; Action 3, phenomenon 3; Action 1, phenomenon 3; Action 4, phenomenon 2, 4.
Feklusha	A wanderer who adapts to the concepts of Kabanikh and seeks to frighten those around her with a description of an unrighteous lifestyle outside the city, suggesting that they can live happily and in virtue only in Kalinov's "promised land". A gossip and a gossip.	Action 1, phenomenon 3; Action 3, event 1.

• Katerina Varvara Character Sincere, sociable, kind, honest, pious, but superstitious. Gentle, soft, at the same time, decisive. Rude, cheerful, but taciturn: "... I don't like to talk a lot." Determined, can fight back. Temperament Passionate, freedom-loving, bold, impetuous and unpredictable. She says about herself “I was born so hot!”. Freedom-loving, smart, prudent, bold and rebellious, she is not afraid of either parental or heavenly punishment. Upbringing, […]
• In The Thunderstorm, Ostrovsky shows the life of a Russian merchant family and the position of a woman in it. The character of Katerina was formed in a simple merchant family, where love reigned and her daughter was given complete freedom. She acquired and retained all the beautiful features of the Russian character. This is a pure, open soul that does not know how to lie. “I don’t know how to deceive; I can’t hide anything,” she says to Varvara. In religion Katerina found the highest truth and beauty. Her desire for the beautiful, the good, was expressed in prayers. Coming out […]
• In "Thunderstorm" Ostrovsky, operating with a small number of characters, managed to uncover several problems at once. Firstly, it is, of course, a social conflict, a clash of "fathers" and "children", their points of view (and if we resort to generalization, then two historical epochs). Kabanova and Dikoy belong to the older generation, actively expressing their opinion, and Katerina, Tikhon, Varvara, Kudryash and Boris belong to the younger one. Kabanova is sure that order in the house, control over everything that happens in it, is the key to a good life. Correct […]
• "The Thunderstorm" was published in 1859 (on the eve of the revolutionary situation in Russia, in the "pre-storm" era). Its historicism lies in the conflict itself, the irreconcilable contradictions reflected in the play. She responds to the spirit of the times. "Thunderstorm" is an idyll of the "dark kingdom". Tyranny and silence are brought in it to the limit. In the play, a real heroine from the people's environment appears, and it is the description of her character that is given the main attention, and the little world of the city of Kalinov and the conflict itself are described more generally. "Their life […]
• The play by Alexander Nikolayevich Ostrovsky "Thunderstorm" is historical for us, as it shows the life of the bourgeoisie. "Thunderstorm" was written in 1859. It is the only work of the cycle "Nights on the Volga" conceived, but not realized by the writer. The main theme of the work is a description of the conflict that arose between two generations. The Kabanihi family is typical. The merchants cling to their old ways, not wanting to understand the younger generation. And because the young do not want to follow the traditions, they are suppressed. I'm sure, […]
• Let's start with Catherine. In the play "Thunderstorm" this lady is the main character. What is the problem with this work? The issue is the main question that the author asks in his creation. So the question here is who will win? The dark kingdom, which is represented by the bureaucrats of the county town, or the bright beginning, which is represented by our heroine. Katerina is pure in soul, she has a tender, sensitive, loving heart. The heroine herself is deeply hostile to this dark swamp, but is not fully aware of it. Katerina was born […]
• A conflict is a clash of two or more parties that do not coincide in their views, attitudes. There are several conflicts in Ostrovsky's play "Thunderstorm", but how to decide which one is the main one? In the era of sociologism in literary criticism, it was believed that social conflict was the most important thing in a play. Of course, if we see in the image of Katerina a reflection of the spontaneous protest of the masses against the shackling conditions of the “dark kingdom” and perceive the death of Katerina as the result of her collision with the tyrant mother-in-law, […]
• Dramatic events of the play by A.N. Ostrovsky's "Thunderstorm" are deployed in the city of Kalinov. This town is located on the picturesque bank of the Volga, from the high steepness of which the vast Russian expanses and boundless distances open up to the eye. “The view is extraordinary! Beauty! The soul rejoices, ”the local self-taught mechanic Kuligin admires. Pictures of endless distances, echoed in a lyrical song. In the midst of a flat valley”, which he sings, are of great importance for conveying a sense of the immense possibilities of Russian […]
• Katerina is the main character in Ostrovsky's drama "Thunderstorm", Tikhon's wife, daughter-in-law of Kabanikhi. The main idea of ​​the work is the conflict of this girl with the "dark kingdom", the kingdom of tyrants, despots and ignoramuses. You can find out why this conflict arose and why the end of the drama is so tragic by understanding Katerina's ideas about life. The author showed the origins of the character of the heroine. From the words of Katerina, we learn about her childhood and adolescence. Here is an ideal version of patriarchal relations and the patriarchal world in general: “I lived, not about […]
• In general, the history of the creation and the idea of ​​the play “Thunderstorm” are very interesting. For some time there was an assumption that this work was based on real events that took place in the Russian city of Kostroma in 1859. “In the early morning of November 10, 1859, the Kostroma bourgeois Alexandra Pavlovna Klykova disappeared from the house and either threw herself into the Volga, or was strangled and thrown there. The investigation revealed a dull drama that played out in an unsociable family living with narrowly trading interests: […]
• In the drama "Thunderstorm" Ostrovsky created a very psychologically complex image - the image of Katerina Kabanova. This young woman disposes the viewer with her huge, pure soul, childlike sincerity and kindness. But she lives in the musty atmosphere of the "dark kingdom" of merchant morals. Ostrovsky managed to create a bright and poetic image of a Russian woman from the people. The main storyline of the play is a tragic conflict between the living, feeling soul of Katerina and the dead way of life of the “dark kingdom”. Honest and […]
• Alexander Nikolayevich Ostrovsky was endowed with a great talent as a playwright. He is deservedly considered the founder of the Russian national theater. His plays, varied in subject matter, glorified Russian literature. Creativity Ostrovsky had a democratic character. He created plays in which hatred for the autocratic-feudal regime was manifested. The writer called for the protection of the oppressed and humiliated citizens of Russia, longed for social change. The great merit of Ostrovsky is that he opened the enlightened […]
• The critical history of "Thunderstorm" begins even before its appearance. To argue about "a ray of light in the dark realm", it was necessary to open the "Dark Realm". An article under this title appeared in the July and September issues of Sovremennik in 1859. It was signed by the usual pseudonym of N. A. Dobrolyubova - N. - bov. The reason for this work was extremely significant. In 1859, Ostrovsky summed up the intermediate result of his literary activity: his two-volume collected works appeared. "We consider it the most […]
• Whole, honest, sincere, she is not capable of lies and falsehood, therefore, in a cruel world where wild and wild boars reign, her life is so tragic. Katerina's protest against the despotism of Kabanikha is the struggle of the bright, pure, human against the darkness, lies and cruelty of the "dark kingdom". No wonder Ostrovsky, who paid great attention to the selection of names and surnames of the characters, gave such a name to the heroine of "Thunderstorm": in Greek, "Catherine" means "eternally pure." Katerina is a poetic nature. IN […]
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• How I wash the floors In order to wash the floors cleanly, and not pour water and smear the dirt, I do this: I take a bucket from the closet, which my mother uses for this, as well as a mop. I pour hot water into the basin, add a tablespoon of salt to it (to exterminate microbes). I rinse the mop in the basin and wring it out well. I clean the floors in every room, starting from the far wall towards the door. I look into all corners, under beds and tables, where most of the crumbs, dust and other evil spirits accumulate. Domyv every […]
• At the ball After the ball Feelings of the hero He is "very strongly" in love; admired by the girl, life, ball, beauty and elegance of the surrounding world (including interiors); notices all the details on a wave of joy and love, ready to be touched and shed tears from any trifle. Without wine - drunk - with love. He admires Varya, hopes, trembles, is happy to be chosen by her. It is light, does not feel its own body, "floats". Delight and gratitude (for a feather from a fan), "cheerful and contented", happy, "blessed", kind, "an unearthly being." WITH […]
• I have never had my own dog. We live in the city, the apartment is small, the budget is limited and we are too lazy to change our habits, adapting to the dog's "walking" mode ... As a child, I dreamed of a dog. She asked to buy a puppy or take at least from the street, anyone. She was ready to take care, give love and time. Parents all promised: "Here you grow up ...", "Here you go to the fifth grade ...". Passed the 5th and 6th, then I grew up and realized that no one would ever let a dog into the house. Agreed on cats. Since then […]
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It was not for nothing that Ostrovsky gave the name to his work “Thunderstorm”, because before people were afraid of the elements, they associated it with the punishment of heaven. Thunder and lightning inspired superstitious fear and primitive horror. The writer told in his play about the inhabitants of a provincial town, who are conditionally divided into two groups: the "dark kingdom" - rich merchants who exploit the poor, and "victims" - those who tolerate the arbitrariness of tyrants. The characteristics of the heroes will tell in more detail about the life of people. The storm reveals the true feelings of the characters in the play.

Characteristics of the Wild

Savel Prokofich Wild is a typical petty tyrant. This is a rich merchant who has no right. He tortured his relatives, because of his insults, households scatter through attics and closets. The merchant is rude to the servants, it is impossible to please him, he will definitely find something to cling to. You can’t beg for a salary from the Wild, because he is very greedy. Savel Prokofich, an ignorant man, a supporter of the patriarchal system, does not want to know the modern world. The stupidity of the merchant is evidenced by his conversation with Kuligin, from which it becomes clear that Wild does not know, a thunderstorm. The characterization of the heroes of the "dark kingdom", unfortunately, does not end there.

Description of Kabanikhi

Marfa Ignatievna Kabanova is the embodiment of the patriarchal way of life. A rich merchant's wife, a widow, she constantly insists on observing all the traditions of her ancestors and herself strictly follows them. The boar brought everyone to despair - this is precisely what the characterization of the heroes shows. "Thunderstorm" is a play that reveals the mores of a patriarchal society. A woman gives alms to the poor, goes to church, but does not give life to her children and daughter-in-law. The heroine wanted to maintain her former way of life, so she kept her family at bay, taught her son, daughter, daughter-in-law.

Characteristics of Katerina

In a patriarchal world, humanity, faith in goodness can be preserved - this is also shown by the characteristics of the heroes. "Thunderstorm" is a play in which there is a confrontation between the new and the old world, only the characters of the work defend their point of view in different ways. Katerina happily recalls her childhood, because she grew up in love and understanding. She belongs to the patriarchal world and up to a certain point everything suited her, even the fact that her parents themselves decided her fate and gave her in marriage. But Katerina does not like the role of the humiliated daughter-in-law, she does not understand how one can constantly live in fear and captivity.

The main character of the play is gradually changing, a strong personality awakens in her, able to make her choice, which manifests itself in love for Boris. Katerina was killed by her entourage, the lack of hope pushed her to suicide, because she could not live in the Kabanikhi home prison.

The attitude of the children of Kabanikh to the patriarchal world

Barbara is one who does not want to live according to the laws of the patriarchal world, but she is not going to openly oppose the will of her mother. She was crippled by the house of Kabanikha, because it was here that the girl learned to lie, cheat, do whatever she wanted, but carefully hide the traces of her misdeeds. To show the ability of some persons to adapt to different conditions, Ostrovsky wrote his play. A thunderstorm (the characterization of the heroes shows what kind of blow Varvara inflicted on her mother by escaping from the house) brought everyone to clean water, during bad weather the inhabitants of the town showed their real faces.

Tikhon is a weak person, the embodiment of the completion of the patriarchal way of life. He loves his wife, but cannot find the strength to protect her from her mother's tyranny. It was Kabanikha who pushed him to drunkenness, destroyed him with her moralizing. Tikhon does not support the old order, but he sees no reason to go against his mother, passing her words on deaf ears. Only after the death of his wife does the hero decide to rebel against Kabanikh, accusing her of the death of Katerina. To understand the worldview of each character and his attitude to the patriarchal world allows characterization of the characters. "Thunderstorm" is a play with a tragic end, but faith in a better future.

The action of the play "Thunderstorm" takes place in the fictional town of Kalinov, which is a collective image of all the provincial towns of that time.
There are not so many main characters in the play "Thunderstorm", each must be said separately.

Katerina is a young woman married without love, "in a strange direction", God-fearing and pious. In the parental home, Katerina grew up in love and care, prayed and enjoyed life. Marriage for her turned out to be a difficult test, which her meek soul opposes. But, despite outward timidity and humility, passions boil in Katerina's soul when she falls in love with a strange man.

Tikhon - Katerina's husband, a kind and gentle person, loves his wife, pities her, but, like all households, obeys his mother. He does not dare to go against the will of the "mother" throughout the play, as well as openly tell his wife about his love, since the mother forbids this, so as not to spoil his wife.

Kabanikha - the widow of the landowner Kabanov, mother of Tikhon, mother-in-law of Katerina. A despotic woman, in whose power the whole house is, no one dares to take a step without her knowledge, fearing a curse. According to one of the heroes of the play, Kudryash, Kabanikh - “a hypocrite, gives to the poor, but eats homemade food.” It is she who tells Tikhon and Katerina how to build their family life in the best traditions of Domostroy.

Varvara is Tikhon's sister, an unmarried girl. Unlike her brother, she obeys her mother only for the sake of appearances, while she herself secretly runs on dates at night, inciting Katerina to do so. Its principle is that you can sin if no one sees, otherwise you will spend your whole life next to your mother.

The landowner Dikoy is an episodic character, but personifying the image of a “tyrant”, i.e. those in power who are sure that money gives the right to do whatever your heart desires.

Boris, Diky's nephew, who arrived in the hope of receiving his share of the inheritance, falls in love with Katerina, but cowardly runs away, leaving the woman he seduced.

In addition, Kudryash, Wild's clerk, is participating. Kuligin is a self-taught inventor, constantly trying to introduce something new into the life of a sleepy town, but is forced to ask Wild for money for inventions. The same, in turn, being a representative of the "fathers", is sure of the futility of Kuligin's undertakings.

All the names and surnames in the play are "speaking", they tell about the character of their "masters" better than any actions.

She herself vividly shows the confrontation between the "old" and "young". The former actively resist all sorts of innovations, complaining that young people have forgotten the orders of their ancestors and do not want to live "as expected." The latter, in turn, are trying to free themselves from the yoke of parental orders, they understand that life is moving forward, changing.

But not everyone decides to go against the parental will, someone - because of the fear of losing their inheritance. Someone - accustomed to obey their parents in everything.

Against the backdrop of flourishing tyranny and precepts of Domostroy, the forbidden love of Katerina and Boris blossoms. Young people are drawn to each other, but Katerina is married, and Boris depends on his uncle for everything.

The heavy atmosphere of the city of Kalinov, the pressure of the evil mother-in-law, the thunderstorm that has begun, force Katerina, tormented by remorse because of her betrayal of her husband, to confess everything in public. The boar rejoices - she turned out to be right in advising Tikhon to keep his wife "strict". Tikhon is afraid of his mother, but her advice to beat his wife so that she knows is unthinkable for him.

The explanation of Boris and Katerina further aggravates the situation of the unfortunate woman. Now she has to live away from her beloved, with her husband, who knows about her betrayal, with his mother, who will now definitely exhaust her daughter-in-law. Katerina's piety leads her to think that there is no more reason to live, the woman throws herself off a cliff into the river.

Only after losing the woman he loves does Tikhon realize how much she meant to him. Now he will have to live all his life with the understanding that his callousness and obedience to his tyrant mother led to such an ending. The last words of the play are the words of Tikhon, pronounced over the body of his dead wife: “Good for you, Katya! And why in the world did I stay to live and suffer!

The play "Thunderstorm" by the famous Russian writer of the XIX century Alexander Ostrovsky, was written in 1859 in the wake of a public upsurge on the eve of social reforms. It became one of the best works of the author, opening the eyes of the whole world to the mores and moral values ​​of the then merchant class. It was first published in the Library for Reading magazine in 1860 and, due to the novelty of its subject matter (descriptions of the struggle of new progressive ideas and aspirations with old, conservative foundations), immediately after publication caused a wide public outcry. She became the subject for writing a large number of critical articles of that time (“A Ray of Light in the Dark Kingdom” by Dobrolyubov, “Motives of Russian Drama” by Pisarev, criticism by Apollon Grigoriev).

History of writing

Inspired by the beauty of the Volga region and its vast expanses during a trip with his family to Kostroma in 1848, Ostrovsky began writing the play in July 1859, after three months he finished it and sent it to the court of St. Petersburg censorship.

Having worked for several years in the office of the Moscow Conscientious Court, he knew well what the merchants were like in Zamoskvorechye (the historical district of the capital, on the right bank of the Moscow River), more than once, on duty, faced with what was happening behind the high fences of the merchants' choir , namely with cruelty, tyranny, ignorance and various superstitions, illegal transactions and scams, tears and suffering of others. The plot of the play is based on the tragic fate of a daughter-in-law in the wealthy merchant family of the Klykovs, which happened in reality: a young woman rushed into the Volga and drowned, unable to withstand the harassment of her imperious mother-in-law, tired of her husband’s spinelessness and secret passion for the postal clerk. Many believed that it was stories from the life of the Kostroma merchants that became the prototype for the plot of the play written by Ostrovsky.

In November 1859, the play was performed on the stage of the Maly Academic Theater in Moscow, and in December of the same year at the Alexandrinsky Drama Theater in St. Petersburg.

Analysis of the work

Story line

At the center of the events described in the play is the wealthy merchant family of the Kabanovs, who live in the fictional Volga city of Kalinovo, a kind of peculiar and closed little world, symbolizing the general structure of the entire patriarchal Russian state. The Kabanov family consists of a domineering and cruel woman-tyrant, and in fact the head of the family, a wealthy merchant and widow Marfa Ignatievna, her son, Tikhon Ivanovich, weak-willed and spineless against the backdrop of the heavy temper of his mother, the daughter of Varvara, who learned by deceit and cunning to resist the despotism of her mother , as well as daughter-in-law Katerina. A young woman, who grew up in a family where she was loved and pitied, suffers in the house of an unloved husband from his lack of will and the claims of her mother-in-law, in fact, having lost her will and becoming a victim of the cruelty and tyranny of the Kabanikh, left to the mercy of fate by a rag-husband.

From hopelessness and despair, Katerina seeks solace in love for Boris Diky, who also loves her, but is afraid to disobey her uncle, the wealthy merchant Savel Prokofich Diky, because the financial situation of him and his sister depends on him. Secretly, he meets with Katerina, but at the last moment he betrays her and runs away, then, at the direction of his uncle, he leaves for Siberia.

Katerina, being brought up in obedience and submission to her husband, tormented by her own sin, confesses everything to her husband in the presence of his mother. She makes the life of her daughter-in-law completely unbearable, and Katerina, suffering from unhappy love, reproaches of conscience and cruel persecution of the tyrant and despot Kabanikhi, decides to end her torment, the only way in which she sees salvation is suicide. She throws herself off a cliff into the Volga and dies tragically.

Main characters

All the characters in the play are divided into two opposing camps, some (Kabanikha, her son and daughter, merchant Dikoy and his nephew Boris, maids Feklusha and Glasha) are representatives of the old, patriarchal way of life, others (Katerina, self-taught mechanic Kuligin) are new, progressive.

A young woman, Katerina, the wife of Tikhon Kabanov, is the central character of the play. She was brought up in strict patriarchal rules, in accordance with the laws of the ancient Russian Domostroy: a wife must obey her husband in everything, respect him, fulfill all his requirements. At first, Katerina tried with all her might to love her husband, to become a submissive and good wife for him, but due to his complete spinelessness and weakness of character, she can only feel pity for him.

Outwardly, she looks weak and silent, but in the depths of her soul there is enough willpower and perseverance to resist the tyranny of her mother-in-law, who is afraid that her daughter-in-law can change her son Tikhon and he will no longer obey the will of his mother. Katerina is cramped and stuffy in the dark realm of life in Kalinovo, she literally suffocates there and in her dreams she flies away like a bird away from this terrible place for her.

Boris

Having fallen in love with the visiting young man Boris, the nephew of a wealthy merchant and businessman, she creates in her head the image of an ideal lover and a real man, which is completely untrue, breaks her heart and leads to a tragic ending.

In the play, Katerina's character is opposed not to a specific person, her mother-in-law, but to the entire existing patriarchal way of life at that time.

Boar

Marfa Ignatyevna Kabanova (Kabanikha), like the merchant-tyrant Dikoy, who tortures and insults his relatives, does not pay wages and deceives his workers, are vivid representatives of the old, petty-bourgeois way of life. They are distinguished by stupidity and ignorance, unjustified cruelty, rudeness and rudeness, complete rejection of any progressive changes in the ossified patriarchal way of life.

Tikhon

(Tikhon, in the illustration near the Kabanikhi - Marfa Ignatievna)

Tikhon Kabanov throughout the play is characterized as a quiet and weak-willed person, who is under the complete influence of a despotic mother. Distinguished by his gentle nature, he makes no attempt to protect his wife from the attacks of his mother.

At the end of the play, he finally breaks down and the author shows his rebellion against tyranny and despotism, it is his phrase at the end of the play that leads readers to a certain conclusion about the depth and tragedy of the current situation.

Features of compositional construction

(Fragment from a dramatic production)

The work begins with a description of the city on the Volga of Kalinov, whose image is a collective image of all Russian cities of that time. The landscape of the Volga expanses depicted in the play contrasts with the musty, dull and gloomy atmosphere of life in this city, which is emphasized by the dead isolation of the life of its inhabitants, their underdevelopment, dullness and wild lack of education. The author described the general state of urban life as if before a thunderstorm, when the old, dilapidated way of life is shaken, and new and progressive trends, like a gust of furious thunderstorm wind, will carry away outdated rules and prejudices that prevent people from living normally. The period of life of the inhabitants of the city of Kalinov described in the play is just in a state when outwardly everything looks calm, but this is only the calm before the coming storm.

The genre of the play can be interpreted as a social drama, as well as a tragedy. The first is characterized by the use of a thorough description of living conditions, the maximum transfer of its "density", as well as the alignment of characters. The attention of readers should be distributed among all participants in the production. The interpretation of the play as a tragedy suggests its deeper meaning and solidity. If we see in the death of Katerina the consequence of her conflict with her mother-in-law, then she looks like a victim of a family conflict, and all the unfolding action in the play seems small and insignificant for a real tragedy. But if we consider the death of the main character as a conflict of a new, progressive time with a fading, old era, then her act is best interpreted in a heroic way, characteristic of a tragic narrative.

The talented playwright Alexander Ostrovsky from the social drama about the life of the merchant class gradually creates a real tragedy, in which, with the help of a love and domestic conflict, he showed the onset of an epoch-making turning point in the minds of the people. Ordinary people are aware of the awakening sense of their own dignity, they begin to relate to the world around them in a new way, they want to decide their own destinies and fearlessly express their will. This nascent desire comes into irreconcilable contradiction with the real patriarchal way of life. The fate of Katerina acquires a social historical meaning, expressing the state of the people's consciousness at the turning point of two eras.

Alexander Ostrovsky, who noticed in time the doom of decaying patriarchal foundations, wrote the play "Thunderstorm" and opened the eyes of the entire Russian public to what was happening. He depicted the destruction of the usual, outdated way of life, with the help of the ambiguous and figurative concept of a thunderstorm, which, gradually growing, will sweep away everything from its path and open the way for a new, better life.

Appendix 5

Quotes characterizing the characters

Savel Prokofich Wild

1) Curly. This? This Wild nephew scolds.

Kuligin. Found a place!

Curly. He has a place everywhere. Afraid of what, he of whom! He got Boris Grigoryevich as a sacrifice, so he rides on it.

Shapkin. Look for such and such a scolding, like our Savel Prokofich, to look for more! Will cut off a person for nothing.

Curly. A poignant man!

2) Shapkin. There is no one to take him down, so he is fighting!

3) Curly. ... and this one, as if off the chain!

4) Curly. How not to scold! He can't breathe without it.

Action one, event two:

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

Boris. Holiday; what to do at home!

Wild. Find the job you want. Once I told you, twice I said to you: "Don't you dare meet me"; you get it all! 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 al no?

1) Boris. No, that's not enough, Kuligin! He first breaks down on us, scolds us in every possible way, as his heart desires, but all the same ends up giving us nothing or just a little. Moreover, he will begin to tell that he gave out of mercy, that this should not have been.

2) Boris. The fact of the matter, Kuligin, is that it is absolutely impossible. Even their own people cannot please him; but where am I!

Curly. Who will please him, if his whole life is based on cursing? And most of all because of the money; not a single calculation without scolding is complete. Another is glad to give up his own, if only he calms down. And the trouble is, how someone will annoy him in the morning! He picks on everyone all day long.

3) Shapkin. One word: warrior.

Marfa Ignatievna Kabanova

1) Shapkin. Good, too, and Kabanikha.

Curly. Well, yes, at least that one, at least, everything under the guise of piety, but this one, as if off the chain!

1) Kuligin. Hypnotize, sir! She clothes the poor, but eats the household completely.

Act one, scene seven:

1) Barbara. Speak! I'm worse than you!

Tikhon Kabanov

Act one, scene six:

1) Barbara. So it's her fault! Her mother attacks her, and so do you. And you say you love your wife. I'm bored looking at you.

Ivan Kudryash

Action one, appearance one:

1) Curly. I wanted to, but I didn’t give it away, so it’s all one thing. He will not give up (Wild) me, he smells with his nose that I will not sell my head cheaply. He's scary to you, but I know how to talk to him.

2) Curly. What's here: oh! I am considered a brute; why is he holding me? Steel to be, he needs me. Well, that means I'm not afraid of him, but let him be afraid of me.

3) Curly. ... Yes, I don’t let it go either: he is the word, and I am ten; spit, and go. No, I will not be a slave to him.

4) Curly. ... It hurts dashing for girls!

Katerina

1) Katerina. And never leaves.

Barbara. Why?

Katerina. I was born so hot! I was still six years old, no more, so I did it! They offended me with something at home, but it was in the evening, it was already dark, I ran out to the Volga, got into the boat, and pushed it away from the shore. The next morning they already found it, ten miles away!

2) Katerina. I don't know how to deceive; I can't hide anything.

Action one, event three:

1) Kuligin. How, sir! After all, the British give a million; I would use all the money for society, for support. Work must be given to the bourgeoisie. And then there are hands, but there is nothing to work.

Action one, event three:

Boris. Eh, Kuligin, it is painfully difficult for me here without a habit! Everyone looks at me somehow wildly, as if I were superfluous here, as if I were disturbing them. I don't know the customs. I understand that all this is our Russian, native, but still I can’t get used to it in any way.

1) F e k l u sh a. Blah-alepie, honey, blah-alepie! Beauty is wondrous! What can I say! Live in the promised land! And the merchants are all pious people, adorned with many virtues! Generosity and alms by many! I'm so happy, so, mother, happy, neck-deep! For our failure to leave them even more bounty will be multiplied, and especially the house of the Kabanovs.

2) Feklusha. No, honey. I, due to my weakness, did not go far; and hear - heard a lot. They say that there are such countries, dear girl, where there are no Orthodox tsars, and the Saltans rule the earth. In one land, the Turkish Saltan Mahnut sits on the throne, and in the other, the Persian Saltan Mahnut; and they do justice, dear girl, over all people, and whatever they judge, everything is wrong. And they, my dear, cannot judge a single case righteously, such is the limit set for them. We have a righteous law, and they, my dear, are unrighteous; that according to our law it turns out that way, but according to theirs everything is the other way around. And all their judges, in their countries, are also all unrighteous; so to them, dear girl, and in requests they write: “Judge me, unjust judge!” And then there is the land where all the people with dog heads.

Farewell for now!

Glasha. Goodbye!

Feklusha leaves.

City manners:

Action one, event three:

1) Kuligin. And you'll never get used to it, sir.

Boris. From what?

Kuligin. Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and bare poverty. And we, sir, will never get out of this bark! Because honest labor will never earn us more daily bread. And whoever has money, sir, he tries to enslave the poor, so that he can make even more money from his free labors. Do you know what your uncle, Savel Prokofich, answered the mayor? The peasants came to the mayor to complain that he would not read any of them by the way. The gorodnii began to say to him: “Listen, he says, Savel Prokofich, you count the peasants well! Every day they come to me with a complaint!” Your uncle patted the mayor on the shoulder, and said: “Is it worth it, your honor, to talk about such trifles with you! A lot of people stay with me every year; you understand: I’ll underpay them for some penny per person, and I make thousands of this, so it’s good for me! That's how, sir! And among themselves, sir, how they live! They undermine each other's trade, and not so much out of self-interest, but out of envy. They quarrel with each other; they lure drunken clerks into their tall mansions, such, sir, clerks, that there is no human appearance on him, his human appearance is lost. And those to them, for a small blessing, on stamp sheets malicious slander scribble on their neighbors. And they will begin, sir, the court and the case, and there will be no end to the torment. They sue, they sue here, but they will go to the province, and there they are already expected and splash their hands with joy. Soon the fairy tale is told, but the deed is not soon done; lead them, lead them, drag them, drag them; and they are also happy with this dragging, that's all they need. “I, he says, will spend money, and it will become a penny for him.” I wanted to describe all this in verses ...

2) F e k l u sh a. Bla-alepie, honey blah-alepie! Beauty is wondrous! What can I say! Live in the promised land! AND merchants all a pious people, adorned with many virtues! Generosity and alms by many! I'm so happy, so, mother, happy, neck-deep! For our failure to leave them even more bounty will be multiplied, and especially the house of the Kabanovs.

Action two, appearance one:

3) Feklusha. No, honey. I, due to my weakness, did not go far; and hear - heard a lot. They say that there are such countries, dear girl, where there are no Orthodox tsars, and the Saltans rule the earth. In one land, the Turkish Saltan Mahnut sits on the throne, and in the other, the Persian Saltan Mahnut; and they do justice, dear girl, over all people, and whatever they judge, everything is wrong. And they, my dear, cannot judge a single case righteously, such is the limit set for them. We have a righteous law, and they, my dear, are unrighteous; that according to our law it turns out that way, but according to theirs everything is the other way around. And all their judges, in their countries, are also all unrighteous; so to them, dear girl, and in requests they write: “Judge me, unjust judge!” And then there is the land where all the people with dog heads.

Glasha. Why is it so, with dogs?

Feklush. For infidelity. I'll go, dear girl, wander around the merchants: will there be something for poverty. Farewell for now!

Glasha. Goodbye!

Feklusha leaves.

Here are some other lands! There are no miracles in the world! And we're sitting here, we don't know anything. It's also good that there are good people; no, no, yes, and you will hear what is happening in the world; otherwise they would die like fools.

Relationships in the family:

Act one, event five:

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

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

Kabanova. There is not much respect for elders these days.

Barbara (to herself). Do not respect you, how!

Kabanov. I, it seems, mother, not a step out of your will.

Kabanova. I would have believed you, my friend, if I had not seen with my own eyes and heard with my own ears, what is now the reverence for parents from children! If only they remembered how many diseases mothers endure from children.

Kabanov. I mama...

Kabanova. If a parent that when and insulting, in your pride, says so, I think it could be transferred! What do you think?

Kabanov. But when did I, mother, not endure from you?

Kabanova. Mother is old, stupid; well, and you, smart young people, should not exact from us, fools.

Kabanov (sighing to the side). Oh you, Lord! (Mothers.) Do we dare, mother, to think!

Kabanova. After all, out of love, parents are strict with you, out of love they scold you, everyone thinks to teach good. Well, now I don't like it. And the children will go to people to praise that the mother is grumbling, that the mother does not give a pass, she shrinks from the light. And, God forbid, one cannot please the daughter-in-law with some word, well, and the conversation began that the mother-in-law completely ate.

Kabanov. Something, mother, who is talking about you?

Kabanova. I didn’t hear, my friend, I didn’t hear, I don’t want to lie. If only I had heard, I would not have spoken to you, my dear, then. (Sighs.) Oh, a grave sin! That's a long time to sin something! A conversation close to the heart will go on, well, and you will sin, get angry. No, my friend, say what you want about me. You won’t order anyone to speak: they won’t dare to face it, they will stand behind your back.

Kabanov. Let your tongue dry....

Kabanova. Complete, complete, don't worry! Sin! I'll
I have long seen that your wife is dearer to you than your mother. Since
married, I don’t see your former love from you.

Kabanov. What do you see, mother?

K a b a n o v a. Yes, everything, my friend! What a mother cannot see with her eyes, she has a prophetic heart, she can feel with her heart. Al wife takes you away from me, I don’t know.

Action two, phenomenon two:

2) Katerina. I don't know how to deceive; I can't hide anything.

V a r v a r a. Well, but without this it is impossible; remember where you live! Our whole house is based on that. And I was not a liar, but I learned when it became necessary. I walked yesterday, so I saw him, talked to him.

Act one, scene nine:

1) Barbara (looking around). That this brother is not coming, out, no way, the storm is coming.

KATERINA (with horror). Storm! Let's run home! Hurry!

Barbara. What are you, crazy, or something, gone! How can you show yourself home without a brother?

Katerina. No, home, home! God bless him!

Barbara. What are you really afraid of: the storm is still far away.

Katerina. And if it's far away, then perhaps we'll wait a little; but it would be better to go. Let's go better!

Barbara. Why, if anything happens, you can’t hide at home.

Katerina. Yes, all the same, everything is better, everything is calmer; At home, I go to images and pray to God!

Barbara. I didn't know you were so afraid of thunderstorms. I'm not afraid here.

Katerina. How, girl, do not be afraid! Everyone should be afraid. It’s not so terrible that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts. I'm not afraid to die, but when I think that all of a sudden I will appear before God the way I am here with you, after this conversation, that's what's scary. What's on my mind! What a sin! scary to say!

It was not for nothing that Ostrovsky gave the name to his work “Thunderstorm”, because before people were afraid of the elements, they associated it with the punishment of heaven. Thunder and lightning inspired superstitious fear and primitive horror. The writer told in his play about the inhabitants of a provincial town, who are conditionally divided into two groups: the "dark kingdom" - rich merchants who exploit the poor, and "victims" - those who tolerate the arbitrariness of tyrants. The characteristics of the heroes will tell in more detail about the life of people. The storm reveals the true feelings of the characters in the play.

Characteristics of the Wild

Savel Prokofich Wild is a typical petty tyrant. This is a rich merchant who has no right. He tortured his relatives, because of his insults, households scatter through attics and closets. The merchant is rude to the servants, it is impossible to please him, he will definitely find something to cling to. You can’t beg for a salary from the Wild, because he is very greedy. Savel Prokofich, an ignorant man, a supporter of the patriarchal system, does not want to know the modern world. The stupidity of the merchant is evidenced by his conversation with Kuligin, from which it becomes clear that Wild does not know, a thunderstorm. The characterization of the heroes of the "dark kingdom", unfortunately, does not end there.

Description of Kabanikhi

Marfa Ignatievna Kabanova is the embodiment of the patriarchal way of life. A rich merchant's wife, a widow, she constantly insists on observing all the traditions of her ancestors and herself strictly follows them. The boar brought everyone to despair - this is precisely what the characterization of the heroes shows. "Thunderstorm" is a play that reveals the mores of a patriarchal society. A woman gives alms to the poor, goes to church, but does not give life to her children and daughter-in-law. The heroine wanted to maintain her former way of life, so she kept her family at bay, taught her son, daughter, daughter-in-law.

Characteristics of Katerina

In a patriarchal world, humanity, faith in goodness can be preserved - this is also shown by the characteristics of the heroes. "Thunderstorm" is a play in which there is a confrontation between the new and the old world, only the characters of the work defend their point of view in different ways. Katerina happily recalls her childhood, because she grew up in love and understanding. She belongs to the patriarchal world and up to a certain point everything suited her, even the fact that her parents themselves decided her fate and gave her in marriage. But Katerina does not like the role of the humiliated daughter-in-law, she does not understand how one can constantly live in fear and captivity.

The main character of the play is gradually changing, a strong personality awakens in her, able to make her choice, which manifests itself in love for Boris. Katerina was killed by her entourage, the lack of hope pushed her to suicide, because she could not live in the Kabanikhi home prison.

The attitude of the children of Kabanikh to the patriarchal world

Barbara is one who does not want to live according to the laws of the patriarchal world, but she is not going to openly oppose the will of her mother. She was crippled by the house of Kabanikha, because it was here that the girl learned to lie, cheat, do whatever she wanted, but carefully hide the traces of her misdeeds. To show the ability of some persons to adapt to different conditions, Ostrovsky wrote his play. A thunderstorm (the characterization of the heroes shows what kind of blow Varvara inflicted on her mother by escaping from the house) brought everyone to clean water, during bad weather the inhabitants of the town showed their real faces.

Tikhon is a weak person, the embodiment of the completion of the patriarchal way of life. He loves his wife, but cannot find the strength to protect her from her mother's tyranny. It was Kabanikha who pushed him to drunkenness, destroyed him with her moralizing. Tikhon does not support the old order, but he sees no reason to go against his mother, passing her words on deaf ears. Only after the death of his wife does the hero decide to rebel against Kabanikh, accusing her of the death of Katerina. To understand the worldview of each character and his attitude to the patriarchal world allows characterization of the characters. "Thunderstorm" is a play with a tragic end, but faith in a better future.

The play "Thunderstorm" by the famous Russian writer of the XIX century Alexander Ostrovsky, was written in 1859 in the wake of a public upsurge on the eve of social reforms. It became one of the best works of the author, opening the eyes of the whole world to the mores and moral values ​​of the then merchant class. It was first published in the Library for Reading magazine in 1860 and, due to the novelty of its subject matter (descriptions of the struggle of new progressive ideas and aspirations with old, conservative foundations), immediately after publication caused a wide public outcry. She became the subject for writing a large number of critical articles of that time (“A Ray of Light in the Dark Kingdom” by Dobrolyubov, “Motives of Russian Drama” by Pisarev, criticism by Apollon Grigoriev).

History of writing

Inspired by the beauty of the Volga region and its vast expanses during a trip with his family to Kostroma in 1848, Ostrovsky began writing the play in July 1859, after three months he finished it and sent it to the court of St. Petersburg censorship.

Having worked for several years in the office of the Moscow Conscientious Court, he knew well what the merchants were like in Zamoskvorechye (the historical district of the capital, on the right bank of the Moscow River), more than once, on duty, faced with what was happening behind the high fences of the merchants' choir , namely with cruelty, tyranny, ignorance and various superstitions, illegal transactions and scams, tears and suffering of others. The plot of the play is based on the tragic fate of a daughter-in-law in the wealthy merchant family of the Klykovs, which happened in reality: a young woman rushed into the Volga and drowned, unable to withstand the harassment of her imperious mother-in-law, tired of her husband’s spinelessness and secret passion for the postal clerk. Many believed that it was stories from the life of the Kostroma merchants that became the prototype for the plot of the play written by Ostrovsky.

In November 1859, the play was performed on the stage of the Maly Academic Theater in Moscow, and in December of the same year at the Alexandrinsky Drama Theater in St. Petersburg.

Analysis of the work

Story line

At the center of the events described in the play is the wealthy merchant family of the Kabanovs, who live in the fictional Volga city of Kalinovo, a kind of peculiar and closed little world, symbolizing the general structure of the entire patriarchal Russian state. The Kabanov family consists of a domineering and cruel woman-tyrant, and in fact the head of the family, a wealthy merchant and widow Marfa Ignatievna, her son, Tikhon Ivanovich, weak-willed and spineless against the backdrop of the heavy temper of his mother, the daughter of Varvara, who learned by deceit and cunning to resist the despotism of her mother , as well as daughter-in-law Katerina. A young woman, who grew up in a family where she was loved and pitied, suffers in the house of an unloved husband from his lack of will and the claims of her mother-in-law, in fact, having lost her will and becoming a victim of the cruelty and tyranny of the Kabanikh, left to the mercy of fate by a rag-husband.

From hopelessness and despair, Katerina seeks solace in love for Boris Diky, who also loves her, but is afraid to disobey her uncle, the wealthy merchant Savel Prokofich Diky, because the financial situation of him and his sister depends on him. Secretly, he meets with Katerina, but at the last moment he betrays her and runs away, then, at the direction of his uncle, he leaves for Siberia.

Katerina, being brought up in obedience and submission to her husband, tormented by her own sin, confesses everything to her husband in the presence of his mother. She makes the life of her daughter-in-law completely unbearable, and Katerina, suffering from unhappy love, reproaches of conscience and cruel persecution of the tyrant and despot Kabanikhi, decides to end her torment, the only way in which she sees salvation is suicide. She throws herself off a cliff into the Volga and dies tragically.

Main characters

All the characters in the play are divided into two opposing camps, some (Kabanikha, her son and daughter, merchant Dikoy and his nephew Boris, maids Feklusha and Glasha) are representatives of the old, patriarchal way of life, others (Katerina, self-taught mechanic Kuligin) are new, progressive.

A young woman, Katerina, the wife of Tikhon Kabanov, is the central character of the play. She was brought up in strict patriarchal rules, in accordance with the laws of the ancient Russian Domostroy: a wife must obey her husband in everything, respect him, fulfill all his requirements. At first, Katerina tried with all her might to love her husband, to become a submissive and good wife for him, but due to his complete spinelessness and weakness of character, she can only feel pity for him.

Outwardly, she looks weak and silent, but in the depths of her soul there is enough willpower and perseverance to resist the tyranny of her mother-in-law, who is afraid that her daughter-in-law can change her son Tikhon and he will no longer obey the will of his mother. Katerina is cramped and stuffy in the dark realm of life in Kalinovo, she literally suffocates there and in her dreams she flies away like a bird away from this terrible place for her.

Boris

Having fallen in love with the visiting young man Boris, the nephew of a wealthy merchant and businessman, she creates in her head the image of an ideal lover and a real man, which is completely untrue, breaks her heart and leads to a tragic ending.

In the play, Katerina's character is opposed not to a specific person, her mother-in-law, but to the entire existing patriarchal way of life at that time.

Boar

Marfa Ignatyevna Kabanova (Kabanikha), like the merchant-tyrant Dikoy, who tortures and insults his relatives, does not pay wages and deceives his workers, are vivid representatives of the old, petty-bourgeois way of life. They are distinguished by stupidity and ignorance, unjustified cruelty, rudeness and rudeness, complete rejection of any progressive changes in the ossified patriarchal way of life.

Tikhon

(Tikhon, in the illustration near the Kabanikhi - Marfa Ignatievna)

Tikhon Kabanov throughout the play is characterized as a quiet and weak-willed person, who is under the complete influence of a despotic mother. Distinguished by his gentle nature, he makes no attempt to protect his wife from the attacks of his mother.

At the end of the play, he finally breaks down and the author shows his rebellion against tyranny and despotism, it is his phrase at the end of the play that leads readers to a certain conclusion about the depth and tragedy of the current situation.

Features of compositional construction

(Fragment from a dramatic production)

The work begins with a description of the city on the Volga of Kalinov, whose image is a collective image of all Russian cities of that time. The landscape of the Volga expanses depicted in the play contrasts with the musty, dull and gloomy atmosphere of life in this city, which is emphasized by the dead isolation of the life of its inhabitants, their underdevelopment, dullness and wild lack of education. The author described the general state of urban life as if before a thunderstorm, when the old, dilapidated way of life is shaken, and new and progressive trends, like a gust of furious thunderstorm wind, will carry away outdated rules and prejudices that prevent people from living normally. The period of life of the inhabitants of the city of Kalinov described in the play is just in a state when outwardly everything looks calm, but this is only the calm before the coming storm.

The genre of the play can be interpreted as a social drama, as well as a tragedy. The first is characterized by the use of a thorough description of living conditions, the maximum transfer of its "density", as well as the alignment of characters. The attention of readers should be distributed among all participants in the production. The interpretation of the play as a tragedy suggests its deeper meaning and solidity. If we see in the death of Katerina the consequence of her conflict with her mother-in-law, then she looks like a victim of a family conflict, and all the unfolding action in the play seems small and insignificant for a real tragedy. But if we consider the death of the main character as a conflict of a new, progressive time with a fading, old era, then her act is best interpreted in a heroic way, characteristic of a tragic narrative.

The talented playwright Alexander Ostrovsky from the social drama about the life of the merchant class gradually creates a real tragedy, in which, with the help of a love and domestic conflict, he showed the onset of an epoch-making turning point in the minds of the people. Ordinary people are aware of the awakening sense of their own dignity, they begin to relate to the world around them in a new way, they want to decide their own destinies and fearlessly express their will. This nascent desire comes into irreconcilable contradiction with the real patriarchal way of life. The fate of Katerina acquires a social historical meaning, expressing the state of the people's consciousness at the turning point of two eras.

Alexander Ostrovsky, who noticed in time the doom of decaying patriarchal foundations, wrote the play "Thunderstorm" and opened the eyes of the entire Russian public to what was happening. He depicted the destruction of the usual, outdated way of life, with the help of the ambiguous and figurative concept of a thunderstorm, which, gradually growing, will sweep away everything from its path and open the way for a new, better life.

Federal Agency for Education of the Russian Federation

Gymnasium No. 123

on literature

Speech characteristics of heroes in the drama of A.N. Ostrovsky

Work completed:

10th grade student "A"

Khomenko Evgenia Sergeevna

………………………………

Teacher:

Orekhova Olga Vasilievna

……………………………..

Grade…………………….

Barnaul-2005

Introduction………………………………………………………

Chapter 1. Biography of A. N. Ostrovsky……………………..

Chapter 2

Chapter 3. Speech characteristics of Katerina………………..

Chapter 4

Conclusion……………………………………………………

List of used literature……………………….

Introduction

Ostrovsky's drama "Thunderstorm" is the most significant work of the famous playwright. It was written during a period of social upsurge, when the foundations of serfdom were cracking, and a thunderstorm was really gathering in a stuffy atmosphere. Ostrovsky's play takes us to a merchant environment, where the house-building order was most stubbornly maintained. The inhabitants of a provincial town live a life closed and alien to public interests, in ignorance of what is going on in the world, in ignorance and indifference.

It is to this drama that we turn now. The problems that the author touches upon in it are very important for us. Ostrovsky raises the problem of a turning point in public life that occurred in the 50s, a change in social foundations.

After reading the novel, I set myself the goal of seeing the features of the speech characteristics of the characters and finding out how the speech of the characters helps to understand their character. After all, the image of a hero is created with the help of a portrait, with the help of artistic means, with the help of characterization of actions, speech characteristics. Seeing a person for the first time, by his speech, intonation, behavior, we can understand his inner world, some vital interests and, most importantly, his character. The speech characteristic is very important for a dramatic work, because it is through it that one can see the essence of a particular character.

In order to better understand the character of Katerina, Kabanikha and Dikoy, it is necessary to solve the following tasks.

I decided to start with the biography of Ostrovsky and the history of the creation of "Thunderstorm", in order to understand how the talent of the future master of the speech characteristics of the characters was honed, because the author very clearly shows the whole global difference between the positive and negative characters of his work. Then I will consider the speech characteristics of Katerina and make the same characterization of Diky and Boar. After all this, I will try to draw a definite conclusion about the speech characteristics of the characters and their role in the drama "Thunderstorm"

While working on the topic, I got acquainted with the articles by I. A. Goncharov “Review of the drama “Thunderstorm” by Ostrovsky” and N. A. Dobrolyubov “Ray of Light in the Dark Kingdom”. Moreover, I studied the article by A.I. Revyakin "Features of Katerina's speech", where the main sources of Katerina's language are well shown. I found various material about the biography of Ostrovsky and the history of the creation of the drama in the textbook Russian literature of the 19th century by V. Yu. Lebedev.

To deal with theoretical concepts (hero, characterization, speech, author), I was helped by an encyclopedic dictionary of terms, published under the guidance of Yu. Boreev.

Despite the fact that many critical articles and responses of literary critics are devoted to Ostrovsky's drama "Thunderstorm", the speech characteristics of the characters have not been fully studied, therefore it is of interest for research.

Chapter 1. Biography of A. N. Ostrovsky

Alexander Nikolayevich Ostrovsky was born on March 31, 1823 in Zamoskvorechye, in the very center of Moscow, in the cradle of glorious Russian history, about which everyone was talking about, even the names of Zamoskvoretsky streets.

Ostrovsky graduated from the First Moscow Gymnasium and in 1840, at the request of his father, entered the law faculty of Moscow University. But studying at the university did not please him, a conflict arose with one of the professors, and at the end of the second year, Ostrovsky quit "due to domestic circumstances."

In 1843, his father appointed him to serve in the Moscow conscientious court. For the future playwright, this was an unexpected gift of fate. The court considered the complaints of fathers against unlucky sons, property and other domestic disputes. The judge delved deeply into the case, carefully listened to the disputing parties, and the scribe Ostrovsky kept records of cases. Plaintiffs and defendants in the course of the investigation uttered such things that are usually hidden and hidden from prying eyes. It was a real school of knowledge of the dramatic aspects of merchant life. In 1845, Ostrovsky moved to the Moscow Commercial Court as a clerical officer of the table "for cases of verbal violence." Here he encountered peasants, urban philistines, merchants, and petty nobility who were engaged in trade. Judged "according to conscience" of brothers and sisters arguing about the inheritance, insolvent debtors. A whole world of dramatic conflicts unfolded before us, all the discordant richness of the living Great Russian language sounded. I had to guess the character of a person by his speech warehouse, by the features of intonation. The talent of the future “auditory realist”, as Ostrovsky called himself, was brought up and honed - a playwright, a master of the speech characterization of characters in his plays.

Having worked for the Russian stage for almost forty years, Ostrovsky created a whole repertoire - about fifty plays. The works of Ostrovsky still remain on the stage. And after a hundred and fifty years it is not difficult to see the heroes of his plays nearby.

Ostrovsky died in 1886 in his beloved Trans-Volga estate Shchelykovo, which is in the dense forests of Kostroma: on the hilly banks of small winding rivers. For the most part, the life of the writer proceeded in these core places of Russia: where from a young age he could observe the original, still little affected by contemporary urban civilization, customs and mores, and hear the native Russian speech.

Chapter 2

The creation of "Thunderstorm" was preceded by an expedition of the playwright along the Upper Volga, undertaken on the instructions of the Moscow Ministry in 1856-1857. She revived and resurrected his youthful impressions in 1848, when in 1848 Ostrovsky first went with his family on an exciting journey to his father's homeland, to the Volga city of Kostroma and further, to the Shchelykovo estate acquired by his father. The result of this trip was Ostrovsky's diary, which reveals a lot in his perception of provincial Volga Russia.

For quite a long time, it was believed that Ostrovsky took the plot of The Thunderstorm from the life of the Kostroma merchants, that it was based on the Klykov case, which made a sensation in Kostroma at the end of 1859. Until the beginning of the 20th century, Kostroma residents pointed to the place of Katerina's murder - a gazebo at the end of a small boulevard, which in those years literally hung over the Volga. They also showed the house where she lived - next to the Church of the Assumption. And when the "Thunderstorm" was for the first time on the stage of the Kostroma Theater, the artists made up "under the Klykovs."

Kostroma local historians then thoroughly examined the Klykovo case in the archive and, with documents in their hands, came to the conclusion that it was this story that Ostrovsky used in his work on Thunderstorm. The coincidences were almost literal. A.P. Klykova was extradited at the age of sixteen to a gloomy, unsociable merchant family, consisting of old parents, a son and an unmarried daughter. The mistress of the house, severe and obstinate, depersonalized her husband and children with her despotism. She forced her young daughter-in-law to do any menial work, she provided her with requests to see her relatives.

At the time of the drama, Klykova was nineteen years old. In the past, she was brought up in love and in the hall of the soul in her, a doting grandmother, she was cheerful, lively, cheerful. Now she was unkind and a stranger in the family. Her young husband, Klykov, a carefree man, could not protect his wife from the harassment of his mother-in-law and treated her indifferently. The Klykovs had no children. And then another man stood in the way of the young woman, Maryin, who works in the post office. Began suspicions, scenes of jealousy. It ended with the fact that on November 10, 1859, the body of A.P. Klykova was found in the Volga. A long legal process began, which received wide publicity even outside the Kostroma province, and none of the Kostroma residents doubted that Ostrovsky had used the materials of this case in Groz.

Many decades passed before researchers established for sure that The Thunderstorm was written before the Kostroma merchant Klykova rushed into the Volga. Ostrovsky began working on The Thunderstorm in June-July 1859 and finished on October 9 of the same year. The play was first published in the January 1860 issue of The Library for Reading. The first performance of "Thunderstorm" on stage took place on November 16, 1859 at the Maly Theater, in the benefit performance of S. V. Vasiliev with L. P. Nikulina-Kositskaya in the role of Katerina. The version about the Kostroma source of the "Thunderstorm" turned out to be far-fetched. However, the very fact of an amazing coincidence speaks volumes: it testifies to the foresight of the national playwright, who caught the growing conflict between the old and the new in merchant life, a conflict in which Dobrolyubov saw “what is refreshing and encouraging” for a reason, and the famous theater figure S. A. Yuryev said: “Thunderstorm” was not written by Ostrovsky ... “Thunderstorm” was written by Volga.

Chapter 3

The main sources of Katerina's language are folk vernacular, folk oral poetry and ecclesiastical literature.

The deep connection of her language with folk vernacular is reflected in vocabulary, figurativeness, and syntax.

Her speech is full of verbal expressions, idioms of folk vernacular: “So that I don’t see either my father or my mother”; "did not have a soul"; "Calm my soul"; “how long to get into trouble”; "to be sin," in the sense of unhappiness. But these and similar phraseological units are generally understood, commonly used, clear. Only as an exception in her speech are morphologically incorrect formations: “you do not know my character”; "After this conversation, then."

The figurativeness of her language is manifested in the abundance of verbal and visual means, in particular comparisons. So, in her speech there are more than twenty comparisons, and all the other characters in the play, taken together, have a little more than this number. At the same time, her comparisons are of a widespread, folk character: “it’s like dove me”, “it’s like a dove is cooing”, “it’s like a mountain has fallen off my shoulders”, “it burns my hands, like coal”.

Katerina's speech often contains words and phrases, motifs and echoes of folk poetry.

Turning to Varvara, Katerina says: "Why don't people fly like birds? .." - etc.

Yearning for Boris, Katerina in the penultimate monologue says: “Why should I live now, well, why? I don’t need anything, nothing is nice to me, and the light of God is not nice!

Here there are phraseological turns of folk-colloquial and folk-song character. So, for example, in the collection of folk songs published by Sobolevsky, we read:

No way, no way it is impossible to live without a dear friend ...

I will remember, I will remember about the dear, the white light is not nice to the girl,

Not nice, not nice white light ... I'll go from the mountain to the dark forest ...

Going out on a date with Boris, Katerina exclaims: “Why did you come, my destroyer?” In a folk wedding ceremony, the bride greets the groom with the words: "Here comes my destroyer."

In the final monologue, Katerina says: “It’s better in the grave ... There is a grave under the tree ... how good ... The sun warms her, wets her with rain ... in the spring, grass grows on it, so soft ... birds will fly to the tree, they will sing, they will bring out children, flowers will bloom: yellow , red ones, blue ones ... ".

Here everything is from folk poetry: diminutive-suffixal vocabulary, phraseological turns, images.

For this part of the monologue in oral poetry, direct textile correspondences are also abundant. For example:

... They will cover with an oak board

Yes, they will be lowered into the grave

And covered with damp earth.

You are ant grass,

More scarlet flowers!

Along with folk vernacular and the arrangement of folk poetry in the language of Katerina, as already noted, ecclesiastical literature had a great influence.

“Our house,” she says, “was full of wanderers and pilgrims. And we’ll come from the church, sit down for some work ... and the wanderers will begin to tell where they were, what they saw, different lives, or they sing poems ”(d. 1, yavl. 7).

Possessing a relatively rich vocabulary, Katerina speaks freely, drawing on various and psychologically very deep comparisons. Her speech is flowing. So, such words and turns of the literary language are not alien to her, such as: a dream, thoughts, of course, as if all this happened in one second, something so unusual in me.

In the first monologue, Katerina talks about her dreams: “What dreams I had, Varenka, what dreams! Or golden temples, or some extraordinary gardens, and everyone sings invisible voices, and it smells of cypress, and mountains and trees, as if not the same as usual, but as they are written on the images.

These dreams, both in content and in the form of verbal expression, are undoubtedly inspired by spiritual verses.

Katerina's speech is original not only lexico-phraseologically, but also syntactically. It consists mainly of simple and compound sentences, with predicates at the end of the phrase: “So the time will pass before lunch. Here the old women would fall asleep and lie down, and I would walk in the garden… It was so good” (d. 1, yavl. 7).

Most often, as is typical for the syntax of folk speech, Katerina connects sentences through conjunctions a and yes. “And we’ll come from the church ... and the wanderers will begin to tell ... Otherwise it’s like I’m flying ... And what dreams I had.”

Katerina's floating speech sometimes takes on the character of a folk lament: “Oh, my misfortune, misfortune! (Crying) Where can I, poor thing, go? Who can I grab onto?"

Katerina's speech is deeply emotional, lyrically sincere, poetic. To give her speech emotional and poetic expressiveness, diminutive suffixes are also used, so inherent in folk speech (key, water, children, grave, rain, grass), and amplifying particles (“How did he feel sorry for me? What words did he say?” ), and interjections (“Oh, how I miss him!”).

Lyrical sincerity, poetry of Katerina's speech is given by epithets that come after defined words (golden temples, unusual gardens, with evil thoughts), and repetitions, so characteristic of the oral poetry of the people.

Ostrovsky reveals in Katerina's speech not only her passionate, tenderly poetic nature, but also strong-willed power. Willpower, Katerina's determination are set off by syntactic constructions of a sharply assertive or negative nature.

Chapter 4

Kabanikhi

In Ostrovsky's drama "Thunderstorm", Dikoy and Kabanikh are representatives of the "Dark Kingdom". One gets the impression that Kalinov is fenced off from the rest of the world by the highest fence and lives some kind of special, closed life. Ostrovsky focused on the most important, showing the wretchedness, the savagery of the customs of the Russian patriarchal life, because all this life only stands on the usual, outdated laws, which, obviously, are completely ridiculous. The "Dark Kingdom" tenaciously clings to its old, well-established. This is standing in one place. And such a standing is possible if it is supported by people who have power and authority.

A more complete, in my opinion, idea of ​​a person can be given by his speech, that is, the usual and specific expressions inherent only to this hero. We see how 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. It is enough to recall his words: “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. 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.

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

“The view is extraordinary! Beauty! The soul rejoices! ”- exclaims Kuligin, but against the background of this beautiful landscape, a bleak picture of life is drawn, which appears before us in The Thunderstorm. It is Kuligin who gives an accurate and clear description of the life, customs and customs that prevail in the city of Kalinov.

So, like Wild, Kabanikha is distinguished by selfish inclinations, she thinks only of herself. Residents of the city of Kalinov talk about Dikoy and Kabanikh very often, and this makes it possible to obtain rich material about them. In conversations with Kudryash, Shapkin calls Diky "a scolder", while Kudryash calls him a "shrill peasant". The boar calls Wild a "warrior". All this speaks of the grumpiness and nervousness of his character. Reviews about Kabanikh are also not very flattering. Kuligin calls her "a hypocrite" and says that she "clothes the poor, but completely ate her home." This characterizes the merchant from a bad side.

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

The boar is richer than the Wild Boar, and therefore she is the only person in the city with whom the Wild Boar must 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.

Kabanikha, like no other, reflects the whole commitment of this city to old traditions. (She teaches Katerina, Tikhon how to live in general and how to behave in a particular case.) Kabanova tries to seem kind, sincere, and most importantly an unhappy woman, tries to justify her actions with her age: “Mother is old, stupid; well, you young people, smart, should not exact from us fools. But these statements are more like irony than sincere confession. Kabanova considers herself the center of attention, she cannot imagine what will happen to the whole world after her death. The boar is blindly devoted to her old traditions to the point of absurdity, forcing all households to dance to her tune. She makes Tikhon say goodbye to his wife in the old way, causing laughter and a feeling of regret among those around him.

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. In the speech of Kabanikhi, hypocrisy and duality of speech are very clearly manifested. She talks to people very boldly and rudely, but at the same time, while communicating with him, she wants to seem kind, sensitive, sincere, and most importantly, an unhappy woman.

We can say that Dikoy is completely illiterate. 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 the water one here! ”, Which shows him as an extremely rude and ill-mannered person.

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.

Therefore, we can conclude that Diky and Kabanikha cannot be considered typical representatives of the merchant class. These characters in Ostrovsky's drama are very similar and differ in egoistic inclinations, they think only of themselves. And even their own children, to some extent, seem to be a hindrance to them. Such an attitude cannot decorate people, which is why Dikoy and Kabanikha evoke persistent negative emotions in readers.

Conclusion

Speaking of Ostrovsky, in my opinion, we can rightfully call him an unsurpassed master of words, an artist. The characters in the play "Thunderstorm" appear before us as living, with bright embossed characters. Each word spoken by the hero reveals some new facet of his character, shows him from the other side. The character of a person, his mood, attitude towards others, even if he does not want it, are manifested in speech, and Ostrovsky, a true master of speech characteristics, notices these features. The style of speech, according to the author, can tell the reader a lot about the character. Thus, each character acquires its own individuality, unique flavor. This is especially true for drama.

In Ostrovsky's Thunderstorm, we can clearly distinguish the positive hero Katerina and two negative heroes Wild and Kabanikha. Of course, they are representatives of the "dark kingdom". And Katerina is the only person who tries to fight them. The image of Katerina is drawn brightly and vividly. The main character speaks beautifully, figurative folk language. Her speech abounds in subtle semantic nuances. Katerina's monologues, like a drop of water, reflect her entire rich inner world. In the speech of the character, even the attitude of the author towards him appears. With what love, sympathy, Ostrovsky treats Katerina, and how sharply he condemns the tyranny of Kabanikh and Diky.

He draws Kabanikha as a staunch defender of the foundations of the "dark kingdom". She strictly observes all the orders of patriarchal antiquity, does not tolerate the manifestation of personal will in anyone, and has great power over others.

As for Wild, Ostrovsky was able to convey all the anger and anger that boils in his soul. All households are afraid of the wild, including nephew Boris. He is open, rude and unceremonious. But both powerful heroes are unhappy: they do not know what to do with their unrestrained character.

In Ostrovsky's drama "Thunderstorm", with the help of artistic means, the writer managed to characterize the characters and create a vivid picture of that time. "Thunderstorm" is very strong in its impact on the reader, the viewer. The dramas of the heroes do not leave indifferent the hearts and minds of people, which not every writer succeeds. Only a true artist can create such magnificent, eloquent images, only such a master of speech characteristics is able to tell the reader about the characters only with the help of their own words, intonations, without resorting to any other additional characteristic.

List of used literature

1. A. N. Ostrovsky "Thunderstorm". Moscow "Moscow worker", 1974.

2. Yu. V. Lebedev "Russian literature of the nineteenth century", part 2. Enlightenment, 2000.

3. I. E. Kaplin, M. T. Pinaev "Russian Literature". Moscow "Enlightenment", 1993.

4. Yu. Borev. Aesthetics. Theory. Literature. Encyclopedic Dictionary of Terms, 2003.

The history of creation, the system of images, methods of characterizing the characters in the play by A. N. Ostrovsky "Thunderstorm" "The most decisive work of Ostrovsky"

The story of the creation of the play 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 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 due respect in the voice, does not observe decency, then - disobedience. 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 meaning of the name of the play "Thunderstorm" Conclusion. The meaning of the title: a thunderstorm in nature - refreshes, a thunderstorm in the soul - cleanses, a thunderstorm in society - illuminates (kills).

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 the majority of women, as in pre-Petrine Rus', were satisfied by folk holidays and church services. "Domostroy" is a monument of Russian writing of the 16th century, which is a set of rules for family life.

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. 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.

The system of characters in the play Speaking last names The age of the characters "Masters of Life" "Victims" What place does Katerina occupy in this system of images?

The system of characters in the play by Wild: “You are a worm. If I want - I will have mercy, if I want - I will crush. Kabanikha: "I have long seen that you want freedom." "That's where the will leads." Curly: "Well, that means I'm not afraid of him, but let him be afraid of me."

The system of characters in the play 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 is a poetic speech resembling a spell, crying or a 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.

Appendix 5

Quotes characterizing the characters

Savel Prokofich Wild

1) Curly. This? This Wild nephew scolds.

Kuligin. Found a place!

Curly. He has a place everywhere. Afraid of what, he of whom! He got Boris Grigoryevich as a sacrifice, so he rides on it.

Shapkin. Look for such and such a scolding, like our Savel Prokofich, to look for more! Will cut off a person for nothing.

Curly. A poignant man!

2) Shapkin. There is no one to take him down, so he is fighting!

3) Curly. ... and this one, as if off the chain!

4) Curly. How not to scold! He can't breathe without it.

Action one, event two:

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

Boris. Holiday; what to do at home!

Wild. Find the job you want. Once I told you, twice I said to you: "Don't you dare meet me"; you get it all! 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 al no?

1) Boris. No, that's not enough, Kuligin! He first breaks down on us, scolds us in every possible way, as his heart desires, but all the same ends up giving us nothing or just a little. Moreover, he will begin to tell that he gave out of mercy, that this should not have been.

2) Boris. The fact of the matter, Kuligin, is that it is absolutely impossible. Even their own people cannot please him; but where am I!

Curly. Who will please him, if his whole life is based on cursing? And most of all because of the money; not a single calculation without scolding is complete. Another is glad to give up his own, if only he calms down. And the trouble is, how someone will annoy him in the morning! He picks on everyone all day long.

3) Shapkin. One word: warrior.

Marfa Ignatievna Kabanova

1) Shapkin. Good, too, and Kabanikha.

Curly. Well, yes, at least that one, at least, everything under the guise of piety, but this one, as if off the chain!

1) Kuligin. Hypnotize, sir! She clothes the poor, but eats the household completely.

Act one, scene seven:

1) Barbara. Speak! I'm worse than you!

Tikhon Kabanov

Act one, scene six:

1) Barbara. So it's her fault! Her mother attacks her, and so do you. And you say you love your wife. I'm bored looking at you.

Ivan Kudryash

Action one, appearance one:

1) Curly. I wanted to, but I didn’t give it away, so it’s all one thing. He will not give up (Wild) me, he smells with his nose that I will not sell my head cheaply. He's scary to you, but I know how to talk to him.

2) Curly. What's here: oh! I am considered a brute; why is he holding me? Steel to be, he needs me. Well, that means I'm not afraid of him, but let him be afraid of me.

3) Curly. ... Yes, I don’t let it go either: he is the word, and I am ten; spit, and go. No, I will not be a slave to him.

4) Curly. ... It hurts dashing for girls!

Katerina

1) Katerina. And never leaves.

Barbara. Why?

Katerina. I was born so hot! I was still six years old, no more, so I did it! They offended me with something at home, but it was in the evening, it was already dark, I ran out to the Volga, got into the boat, and pushed it away from the shore. The next morning they already found it, ten miles away!

2) Katerina. I don't know how to deceive; I can't hide anything.

Action one, event three:

1) Kuligin. How, sir! After all, the British give a million; I would use all the money for society, for support. Work must be given to the bourgeoisie. And then there are hands, but there is nothing to work.

Action one, event three:

Boris. Eh, Kuligin, it is painfully difficult for me here without a habit! Everyone looks at me somehow wildly, as if I were superfluous here, as if I were disturbing them. I don't know the customs. I understand that all this is our Russian, native, but still I can’t get used to it in any way.

1) F e k l u sh a. Blah-alepie, honey, blah-alepie! Beauty is wondrous! What can I say! Live in the promised land! And the merchants are all pious people, adorned with many virtues! Generosity and alms by many! I'm so happy, so, mother, happy, neck-deep! For our failure to leave them even more bounty will be multiplied, and especially the house of the Kabanovs.

2) Feklusha. No, honey. I, due to my weakness, did not go far; and hear - heard a lot. They say that there are such countries, dear girl, where there are no Orthodox tsars, and the Saltans rule the earth. In one land, the Turkish Saltan Mahnut sits on the throne, and in the other, the Persian Saltan Mahnut; and they do justice, dear girl, over all people, and whatever they judge, everything is wrong. And they, my dear, cannot judge a single case righteously, such is the limit set for them. We have a righteous law, and they, my dear, are unrighteous; that according to our law it turns out that way, but according to theirs everything is the other way around. And all their judges, in their countries, are also all unrighteous; so to them, dear girl, and in requests they write: “Judge me, unjust judge!” And then there is the land where all the people with dog heads.

Farewell for now!

Glasha. Goodbye!

Feklusha leaves.

City manners:

Action one, event three:

1) Kuligin. And you'll never get used to it, sir.

Boris. From what?

Kuligin. Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and bare poverty. And we, sir, will never get out of this bark! Because honest labor will never earn us more daily bread. And whoever has money, sir, he tries to enslave the poor, so that he can make even more money from his free labors. Do you know what your uncle, Savel Prokofich, answered the mayor? The peasants came to the mayor to complain that he would not read any of them by the way. The gorodnii began to say to him: “Listen, he says, Savel Prokofich, you count the peasants well! Every day they come to me with a complaint!” Your uncle patted the mayor on the shoulder, and said: “Is it worth it, your honor, to talk about such trifles with you! A lot of people stay with me every year; you understand: I’ll underpay them for some penny per person, and I make thousands of this, so it’s good for me! That's how, sir! And among themselves, sir, how they live! They undermine each other's trade, and not so much out of self-interest, but out of envy. They quarrel with each other; they lure drunken clerks into their tall mansions, such, sir, clerks, that there is no human appearance on him, his human appearance is lost. And those to them, for a small blessing, on stamp sheets malicious slander scribble on their neighbors. And they will begin, sir, the court and the case, and there will be no end to the torment. They sue, they sue here, but they will go to the province, and there they are already expected and splash their hands with joy. Soon the fairy tale is told, but the deed is not soon done; lead them, lead them, drag them, drag them; and they are also happy with this dragging, that's all they need. “I, he says, will spend money, and it will become a penny for him.” I wanted to describe all this in verses ...

2) F e k l u sh a. Bla-alepie, honey blah-alepie! Beauty is wondrous! What can I say! Live in the promised land! AND merchants all a pious people, adorned with many virtues! Generosity and alms by many! I'm so happy, so, mother, happy, neck-deep! For our failure to leave them even more bounty will be multiplied, and especially the house of the Kabanovs.

Action two, appearance one:

3) Feklusha. No, honey. I, due to my weakness, did not go far; and hear - heard a lot. They say that there are such countries, dear girl, where there are no Orthodox tsars, and the Saltans rule the earth. In one land, the Turkish Saltan Mahnut sits on the throne, and in the other, the Persian Saltan Mahnut; and they do justice, dear girl, over all people, and whatever they judge, everything is wrong. And they, my dear, cannot judge a single case righteously, such is the limit set for them. We have a righteous law, and they, my dear, are unrighteous; that according to our law it turns out that way, but according to theirs everything is the other way around. And all their judges, in their countries, are also all unrighteous; so to them, dear girl, and in requests they write: “Judge me, unjust judge!” And then there is the land where all the people with dog heads.

Glasha. Why is it so, with dogs?

Feklush. For infidelity. I'll go, dear girl, wander around the merchants: will there be something for poverty. Farewell for now!

Glasha. Goodbye!

Feklusha leaves.

Here are some other lands! There are no miracles in the world! And we're sitting here, we don't know anything. It's also good that there are good people; no, no, yes, and you will hear what is happening in the world; otherwise they would die like fools.

Relationships in the family:

Act one, event five:

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

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

Kabanova. There is not much respect for elders these days.

Barbara (to herself). Do not respect you, how!

Kabanov. I, it seems, mother, not a step out of your will.

Kabanova. I would have believed you, my friend, if I had not seen with my own eyes and heard with my own ears, what is now the reverence for parents from children! If only they remembered how many diseases mothers endure from children.

Kabanov. I mama...

Kabanova. If a parent that when and insulting, in your pride, says so, I think it could be transferred! What do you think?

Kabanov. But when did I, mother, not endure from you?

Kabanova. Mother is old, stupid; well, and you, smart young people, should not exact from us, fools.

Kabanov (sighing to the side). Oh you, Lord! (Mothers.) Do we dare, mother, to think!

Kabanova. After all, out of love, parents are strict with you, out of love they scold you, everyone thinks to teach good. Well, now I don't like it. And the children will go to people to praise that the mother is grumbling, that the mother does not give a pass, she shrinks from the light. And, God forbid, one cannot please the daughter-in-law with some word, well, and the conversation began that the mother-in-law completely ate.

Kabanov. Something, mother, who is talking about you?

Kabanova. I didn’t hear, my friend, I didn’t hear, I don’t want to lie. If only I had heard, I would not have spoken to you, my dear, then. (Sighs.) Oh, a grave sin! That's a long time to sin something! A conversation close to the heart will go on, well, and you will sin, get angry. No, my friend, say what you want about me. You won’t order anyone to speak: they won’t dare to face it, they will stand behind your back.

Kabanov. Let your tongue dry....

Kabanova. Complete, complete, don't worry! Sin! I'll
I have long seen that your wife is dearer to you than your mother. Since
married, I don’t see your former love from you.

Kabanov. What do you see, mother?

K a b a n o v a. Yes, everything, my friend! What a mother cannot see with her eyes, she has a prophetic heart, she can feel with her heart. Al wife takes you away from me, I don’t know.

Action two, phenomenon two:

2) Katerina. I don't know how to deceive; I can't hide anything.

V a r v a r a. Well, but without this it is impossible; remember where you live! Our whole house is based on that. And I was not a liar, but I learned when it became necessary. I walked yesterday, so I saw him, talked to him.

Act one, scene nine:

1) Barbara (looking around). That this brother is not coming, out, no way, the storm is coming.

KATERINA (with horror). Storm! Let's run home! Hurry!

Barbara. What are you, crazy, or something, gone! How can you show yourself home without a brother?

Katerina. No, home, home! God bless him!

Barbara. What are you really afraid of: the storm is still far away.

Katerina. And if it's far away, then perhaps we'll wait a little; but it would be better to go. Let's go better!

Barbara. Why, if anything happens, you can’t hide at home.

Katerina. Yes, all the same, everything is better, everything is calmer; At home, I go to images and pray to God!

Barbara. I didn't know you were so afraid of thunderstorms. I'm not afraid here.

Katerina. How, girl, do not be afraid! Everyone should be afraid. It’s not so terrible that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts. I'm not afraid to die, but when I think that all of a sudden I will appear before God the way I am here with you, after this conversation, that's what's scary. What's on my mind! What a sin! scary to say!