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Thunderstorm is the theme of the work. What topics does Ostrovsky raise in the play "Thunderstorm"? Features of compositional construction

The play "Thunderstorm" was written by Ostrovsky during the summer and autumn 1859 ., in the same year put on stage, it was printed in 1860. Thisa period of social upsurge, when the foundations of serfdom were cracking. Naz“Thunderstorm” is not just a majestic natural phenomenon, but a social upheaval. The drama reflected the rise of the social movement, thosebuildings that lived advanced people of the era of 50-60 years.

The play "Thunderstorm" was able to pass through censorship slingshots not by chance.At the request of Ostrovsky's friends, censor I. Nordstrom, who favored the dramaturgu, presented "Thunderstorm" as a play not socially accusatory, a satirechesky, but love-domestic, not mentioning a word in his report aboutDikoi, neither about Kuligin, nor about Feklusha. "Thunderstorm" was allowed a dramaticcensored for submission in 1859, and printed in January 1860.

In the most general formulation the main theme of "Thunderstorms" can be identified divide as a clash between new trends and old traditions. between the oppressed and the oppressors, between the desire of the oppressed people to the free manifestation of their Human rights, spiritual needs and the social and family orders that dominated in post-reform Russia, household arrangements.

The theme of "Thunderstorm" is organically connected with its conflicts. The conflict that forms the basis of the plot of the drama is the conflict between the old ones, from living themselves, authoritarian social principles based attacking the entire system of feudal serf despotism progressive aspirations for equality, for the freedom of the human person ness.The conflict of "Thunderstorm", reflecting the plot of the depicted life,is a node of conflicts united by the main conflict -Katerina and Boris with their environment, he is joined by conconflicts between Kuligin and Wild and Kabanikha, Curly with Wild, Boris with Wild,Barbarians with Kabanikha, Tikhon with Kabanikha. The play is truesocial relations, interests and struggles of their time.

The general theme of "Thunderstorms" entails a number of private topics:

a) a story mi Kuligin, replicas of Kudryash and Boris, the actions of Dikoy and KabanikhaOstrovsky gives a detailed description of the material and legal situationboth the privileged social strata and the working people of that era hee;

b) outlining the views and dreams of Kuligin, the author introduces us to the views,then dominating in people's lives, with the level of cultural inquiries andstate of public morals. From beginning to end, the theme of struggle runsbetween reactionary and democratic forces. This struggle is expressed in the images of Wild, Kabanikh and Feklusha, on the one hand, and Kuligin and Katerina, on the other;

c) drawing life, interests, attractions and experiences of actionthe leading faces of the "Thunderstorm", the author from different sides reproduces the then generalstvenny and family-household way of life of merchants and petty bourgeoisie. Thus, inThe play highlights the problem of social and family relations. OstRovsky, detailing this problem, clearly outlined the position of a woman inmixed-merchant environment;

d) answering current questions of the timenor, Ostrovsky painted a wide background of life in the play. The heroes talk about social phenomena important for their time: about the emergence of the first railways, about cholera epidemics, about the development of commercial and industrial activities in Moscow, etc.;

e) along with socio-economic and everyday lifeconditions, the author masterfully painted the surrounding nature, variousthe attitude of the actors towards it.

So, in the words of Goncharov, in The Thunderstorm "a broad picture of national life and customs subsided." Pre-refor changing Russia is represented in it both by its socio-economic and cultural tourno-moral, and family-everyday appearance.

What is the idea? The author acted as a bold exposer of social orders; the merciless truth with which in The Thunderstorm the morals of the greatof the higher classes and the position of the working people, turned the play into a mirror of its era. The nature in which people live is wonderful, its riches are boundless, its beauty is amazing. But the social order that governs lifeno, ugly. With these orders, Ostrovsky says in his play, painthe majority of the population is in material bondage to a wealthy minorityva. “And who has the money,” Kuligin tells Boris about the customs of his city, “he tries to enslave the poor, so that for his free labors even moremoney - to make money ”(D 1, yavl. 3). Wealthy minority is not satisfied with the hornbeamthe pulp of the people enslaved by them, are fiercely fighting for the ruble and among themselves. “And among themselves,” says Kuligin, “how they live! trade friendthey undermine each other, they are at enmity with each other” (D. I , yavl. 3). In the conditions beforereformed stratum, the majority of the population was oppressed not only economicallyski, but also spiritually. Merchants, confident, like the nobility, in their fullimpunity, did judgment and reprisals against the enslaved, guided only by their own interests and desires. “If I want,” Dika boasts before Kuligin, “I’ll have mercy, if I want, I’ll crush” (D. IV , yavl. 2). In a formidable cry and constant intimidation of those subject to her, the basic law of lifeRoystvo sees and Kabanikh.

One of the remarkable features of this play is in the organica combination of merciless criticism of the old and the affirmation of the new. revealingtheme and idea of "Thunderstorm", Ostrovsky divides all the characters into two fundamentalsgroups: the oppressors and the oppressed, the despots and the Protestants. Crush-whether, the "dark kingdom", according to Dobrolyubov, is primarily the Wild andKabanikh, representatives of the bourgeoisie, which was rapidly gaining strength in pre-reform Russia. (Kabanikha - Marfa Ignatievna Kabanova). To the cliffRecruited include all other heroes.

Composition of the play

A) Exposition - paintings of the Volga expanse and the stuffiness of Kalinov's customs
(D. I, yavl. 1-4).

b) The plot - to the nitpicking of mother-in-law Katerina with dignity and peacefully
replies: “You are talking about me, mother, it’s in vain. What about people
that without people, I'm all alone, I don't prove anything of myself. First encounter nie (D. I, yavl. 5).

V) Next comes the development of the conflict between the heroes, in nature twice collecting there is a thunderstorm (D. I , yavl. 9). Katerina confesses to Varvara that she fell in love with Borisand the old lady's prophecy, a distant thunderclap; end D. IV. Thunderstorm the cloud is creeping, like a living, half-mad old woman threatening Katerina with death inpool and hell, and Katerina confesses her sin (the first climax), falls unconscious. But the storm did not hit the city, only the pre-storm tension nie.

e) The second climax - Katerina delivers the last monologue when
says goodbye not to life, which is already unbearable, but with love: “My friend!
My joy! Goodbye!" (D. V, yavl. 4).

e) The denouement is the suicide of Katerina, the shock of the inhabitants of the city, Tikhon,
who, being alive, envies his dead wife: “It is good for you. Kate! And I
why did he stay to live and suffer! .. ”(D. \, yavl.7).

Genre originality of the play "Thunderstorm".

By all the hallmarks of the genre, the play "Thunderstorm" is a tragedy, sinceconflict between the characters leads to tragic consequences. is in the play andelements of comedy (the tyrant Dikaya with his ridiculous, degrading humandignity by requirements, Feklusha's stories, Kalinov's reasoningtsev), which help to see the abyss, ready to swallow Katerina and which Cooley unsuccessfully tries to illuminate with the light of reason, kindness and mercy gin.

Ostrovsky himself called the play a drama, thus emphasizing the widespread conflict of the play, the everyday life depicted in it. events.

Ostrovsky's works are always full of sincerity. The author conveys the realities of that time through the lives of the characters, showing all the shortcomings of that society. Many problems and topics are also relevant in modern society, because classical literature is distinguished by the fact that it will be in demand at all times. The genius of the authors is that they were able to create masterpieces that are admired by more than one generation and I hope that they will be admired in the future.

The problematics of the play "Thunderstorm" by Ostrovsky is diverse.

1. Fathers and sons (the problem of fathers and sons or generational conflict - a conflict, the meaning of which is not accepting each other and rejecting the foundations of both generations)

2. Moral choice (this problem is presented through the main character - Katerina)

3. The position of a woman in the society of that time and in the family (this problem is presented in the play through Katerina, Varvara)

4. Spiritual freedom of the individual

5. Immorality and despotism in the souls of people and in power (Kabanikha and Wild are the masters of life)

The theme of the work is multifaceted. There are three areas of themes in the work - these are moral themes, social and philosophical. The first direction is love, true happiness for a person, family. The second is the infringement of human rights and the enslavement of man. The third is the fate of man, life and death, truth and faith, hope. The author considers similar topics in his other works, which can also be used as an argument for the exam.

Updated: 2017-12-02

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Useful material on the topic

The comedy "Thunderstorm" is one of the most famous works of the Russian playwright A. N. Ostrovsky. The idea, the characters of the work can be explored forever. The images of the characters in "Thunderstorm" are quite remarkable.

Problems of the play "Thunderstorm"

All characters can be divided into 2 groups: representatives of the older and younger generations. The elder represents the Boar and Wild. They are representatives of the patriarchal world, where selfishness and poverty rule. Other characters suffer from the tyranny of the Boar and the Wild. First of all, these are Varvara, Katerina, Boris and Tikhon. Comparative characteristics of the characters show that all the heroes resigned themselves to their fate, and only Katerina is not able to go against her conscience and her desires.

The entire work "Thunderstorm" is dedicated to the history of the main character Katerina. She is one of the participants. Katerina has to choose between two men, and these men are Boris and Tikhon. These characters will help to understand in detail the behavior of the characters in the play.

The fate of Boris

Before analyzing the character of Boris, you need to familiarize yourself with his history.

Boris is not Kalinov. He gets there at the behest of his parents. Boris was supposed to get the inheritance, which for the time being is in charge of Dikoy. For good behavior and obedience, Dikoy is obliged to give the inheritance to Boris, but readers understand that because of the greed of Dikoy, this will never happen. Therefore, Boris has to stay in Kalinovo and live there according to the rules established by Diky and Kabanikha.

The fate of Tikhon

Among all the characters, he singles out two heroes, two men - these are Boris and Tikhon. Comparative characteristics of these heroes can say a lot.

Tikhon depends on Kabanikhi - his mother. He has to obey her in everything. The boar does not hesitate to get into the personal life of his son, dictating how he should treat his wife. His daughter-in-law, Katerina Kabanikha, is literally slaughtered from the world. Katerina Kabanikha constantly finds fault.

Once Tikhon is forced to leave for another city for a few days. The reader clearly sees how glad he is of the opportunity to be alone and show his independence.

Common between Boris and Tikhon

So, we have two characters - this is Boris and Tikhon. A comparative description of these heroes is impossible without an analysis of their lifestyle. So, both characters live with tyrants, both heroes are forced to obey someone else's will. Both characters lack independence. Both heroes love Katerina.

At the end of the play, both suffer greatly after Katerina's death. Tikhon is left alone with his mother, and orders Boris Dika to leave Kalinov. Of course, after the incident with Katerina, he definitely will not see the inheritance.

Boris and Tikhon: differences

There are more differences between Boris and Tikhon than they have in common. So, Boris and Tikhon are a comparative characteristic. The table below will help organize the knowledge about these heroes.

	Boris	Tikhon
Relationship with Katerina	Boris is ready for anything. He risks his reputation, the reputation of Katerina - a married woman. His love is passionate, open and emotional.	Tikhon loves Katerina, but the reader sometimes questions this: if he loves her, why doesn’t he protect Kabanikha from attacks? Why doesn't he feel her suffering?
Relationships with other characters in the play	Boris operates under the cover of Varvara. Night Kalinov is the time when all young people go out into the streets with songs and romantic moods.	Tikhon is treated well, but little is said about his relationship with other characters. The only remarkable thing is his relationship with his mother. He loves her to some extent and tries to respect her, but on the other hand, he feels her wrong.

Such are Boris and Tikhon. The comparative characteristics of the characters given in the table above are quite short and capacious. It is worth noting that readers mostly sympathize with Boris than Tikhon.

The main idea of the play "Thunderstorm"

The characterization of Boris and Tikhon suggests that the two men loved Katerina. However, neither one nor the other could save her. Katerina threw herself off a cliff into the river, no one stopped her. It was Boris and Tikhon, whose comparative characteristics were given above, who were supposed to save her, who were supposed to rebel against the power of Kalinov's petty tyrants. However, they did not succeed, and the lifeless body of Katerina was carried out of the river.

Kalinov is a town that lives by its own rules. Dobrolyubov called Katerina "a ray of light in a dark kingdom", and this is true. Katerina could not change her fate, but perhaps she is the whole city. Her death is the first catastrophe that violated the patriarchal way of the family. Kabanikha and Dikoy feel that the youth is getting out of their power, which means that changes are coming.

Thus, A. Ostrovsky was able to show not just a family tragedy. Before us is the tragedy of an entire city perishing in the despotism of the Wild and Boar. Kalinov is not a fictional city, but there are a lot of such "Kalinovs" throughout Russia.

The main character of Ostrovsky's drama "Thunderstorm". 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 looking into Katerina's soul, understanding her ideas about life. And this can be done thanks to the skill of the playwright Ostrovsky. 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 something that contradicted her ideals, then she 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.

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 doesn’t matter to me whether it’s home or in the grave ... It’s better in the grave ... To live again No, no, don’t ... not good.” Pursued by her sin, Katerina leaves life to save your soul. 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.

The play "Thunderstorm" Ostrovsky wrote in 1859 at a time when a change in social foundations was ripe in Russia, on the eve of the peasant reform. Therefore, the play was perceived as an expression of the spontaneous revolutionary moods of the masses. It was not for nothing that Ostrovsky gave his play the name "Thunderstorm". occurs not only as a natural phenomenon, the action unfolds to the sound of thunder, but also as an internal phenomenon - the characters are characterized through their attitude to a thunderstorm. For each hero, a thunderstorm is a special symbol, for some it is a harbinger of a storm, for others it is purification, the beginning of a new life, for others it is a “voice from above” that predicts some important events or warns against any actions.

In Katerina’s soul, an invisible thunderstorm is happening to no one, a thunderstorm for her is a punishment from heaven, “the hand of the Lord”, which should punish her for betraying her husband: “It’s not scary that it will kill you, but that death will suddenly overtake you Yeso all wicked thoughts." Katerina is afraid and waiting for a thunderstorm. She loves Boris, but this depresses her. She believes that she will burn in "hell of fire" for her sinful feelings.

For the mechanic Kuligin, a thunderstorm is a crude manifestation of natural forces, consonant with human ignorance, which must be fought. Kuligin believes that by introducing mechanization and enlightenment into life, one can achieve power over “thunder”, which carries the meaning of rudeness, cruelty and immorality: “I decay in the dust with my body, I command the thunders with my mind.” Kuligin dreams of building a lightning rod to save people from the fear of a thunderstorm.

For Tikhon, a thunderstorm is anger, oppression on the part of the mother. He is afraid of her, but as a son he must obey her. Leaving home on business, Tikhon says: “Yes, as far as I know, there will be no thunderstorm over me for two weeks, there are no shackles on my legs.”

Dikoy believes that it is impossible and sinful to resist lightning. For him, a thunderstorm is humility. Despite his wild and vicious disposition, he dutifully obeys the Kabanikhe.

Boris fears human thunderstorms more than natural ones. Therefore, he leaves, throws Katerina alone with people's rumors. "It's scarier here!" - says Boris, running away from the place of prayer of the whole city.

The thunderstorm in Ostrovsky's play symbolizes both ignorance and malice, heavenly punishment and retribution, as well as purification, insight, the beginning of a new life. This is evidenced by the conversation of two townspeople of Kalinov, changes began to occur in the outlook of the inhabitants, the assessment of everything that was happening began to change. Perhaps people will have a desire to overcome their fear of a thunderstorm, to get rid of the oppression of anger and ignorance that reigns in the city. After the terrible peals of thunder and lightning strikes, the sun will shine again overhead.

N. A. Dobrolyubov in the article “A Ray of Light in the Dark Kingdom” interpreted the image of Katerina as “a spontaneous protest carried to the end”, and suicide as a force of a freedom-loving character: “such a liberation is bitter; But what to do when there is no other?

I believe that Ostrovsky's play "Thunderstorm" was timely and contributed to the fight against the oppressors.

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The play by Alexander Nikolayevich Ostrovsky "Thunderstorm" is rightfully considered not only the pinnacle of the writer's work, but also one of the outstanding works of Russian drama. It represents a large-scale socio-historical conflict, a confrontation between two eras, a crisis in the socio-political life of an entire state. We suggest that you familiarize yourself with the literary analysis of the work according to the plan, which will be useful for a 10th grade student in preparation for a lesson in literature.

Brief analysis

Year of writing- 1859.

History of creation– The play was written under the influence of a trip along the Volga, during which the writer recorded interesting everyday scenes, conversations and incidents from the life of the Volga provincials.

Subject– The work highlights the problems of the relationship between two generations, two fundamentally different worlds. The topics of family and marriage, sin and repentance are also raised.

Composition- The composition of the work is built on contrast. The exposition is a description of the characters of the main characters and their way of life, the plot is Katerina's conflict with Kabanikha, the development of actions is Katerina's love for Boris, the culmination is Katerina's internal torment, her death, the denouement is Varvara and Tikhon's protest against the tyranny of their mother.

Genre- Play, drama.

Direction- Realism.

History of creation

Ostrovsky began writing the play in July 1859, and a few months later it was ready and sent to St. Petersburg to be judged by literary critics.

The inspiration for the writer was an ethnographic expedition along the Volga, organized by the Maritime Ministry to study the mores and customs of the indigenous population of Russia. One of the participants in this expedition was Ostrovsky.

During the trip, Alexander Nikolaevich witnessed many everyday scenes, dialogues of the provincial public, which he absorbed like a sponge. Subsequently, they formed the basis of the play "Thunderstorm", giving the drama a folk character and true realism.

The fictional city of Kalinov, described in the play, has absorbed the characteristic features of the Volga cities. Their originality and indescribable color delighted Ostrovsky, who carefully recorded all his observations about the life of provincial towns in his diary.

For a long time there was a version that the writer took the plot for his work from real life. On the eve of writing the play, a tragic story took place in Kostroma - a young girl named Alexandra Klykova drowned herself in the Volga, unable to withstand the oppressive atmosphere in her husband's house. The overbearing mother-in-law oppressed her daughter-in-law in every possible way, while the spineless husband could not protect his wife from the attacks of her mother. The situation was aggravated by a love affair between Alexandra and the postal clerk.

Having successfully passed the censorship, the play was staged at the Maly Academic Theater in Moscow and the Alexandrinsky Drama Theater in St. Petersburg.

Subject

In his work, Alexander Nikolayevich raised many important topics, but the main one among them was the theme of the conflict of two eras- a patriarchal way of life and a young, strong and courageous generation, full of bright hopes for the future.

Katerina became the personification of a new, progressive era, which desperately needed to be freed from the tenacious shackles of the dark philistine. She could not put up with hypocrisy, servility and humiliation for the sake of the prevailing foundations. Her soul strove for light and beauty, but in the conditions of musty ignorance, all her impulses were doomed to failure.

Through the prism of relations between Katerina and her new family, the author tried to convey to the reader the current situation in a society that was on the verge of a global social and moral turning point. This idea perfectly matches the meaning of the play's title - "Thunderstorm". This powerful natural element has become the personification of the collapse of the stagnant atmosphere of a provincial town, mired in superstition, prejudice and falsehood. The death of Katerina during a thunderstorm was the inner impetus that prompted many residents of Kalinov to take the most decisive action.

The main idea of the work lies in the steadfast defense of one's interests - the desire for independence, beauty, new knowledge, spirituality. Otherwise, all the beautiful spiritual impulses will be mercilessly destroyed by the sanctimonious old order, for which any deviation from the established rules brings certain death.

Composition

In The Thunderstorm, the analysis includes an analysis of the compositional structure of the play. The peculiarity of the composition of the work lies in the artistic contrast on which the entire structure of the play, consisting of five acts, is built.

On display Ostrovsky's works depict the way of life of the inhabitants of the city of Kalinin. He describes the historical foundations of the world, which is destined to become a decoration for the events described.

Followed by plot, in which Katerina's conflict with her new family escalates uncontrollably. Katerina's confrontation with Kabanikha, their unwillingness to even try to understand the other side, Tikhon's lack of will escalate the situation in the house.

Action Development of the play lies in the internal struggle of Katerina, who, out of hopelessness, rushes into the arms of another man. Being a deeply moral girl, she experiences pangs of conscience, realizing that she committed a betrayal in relation to her lawful spouse.

climax is represented by Katerina's confession, made under the influence of internal suffering and the curses of the lady who has lost her mind, and her voluntary departure from life. In extreme despair, the heroine sees the solution to all her problems only in her death.

denouement The play consists in the manifestation of the protest of Tikhon and Barbara against the despotism of Kabanikh.

Main characters

Genre

According to Ostrovsky himself, "Thunderstorm" is realistic drama. Such a literary genre defines a serious, morally difficult plot, as close as possible to reality. It is always based on the conflict between the protagonist and the environment.

If we talk about the direction, then this play is fully consistent with the direction of realism. Proof of this are the detailed descriptions of the customs and living conditions of the inhabitants of small Volga towns. The author attaches great importance to this aspect, since the realism of the work emphasizes it in the best possible way. main idea.

The premiere of The Thunderstorm took place on December 2, 1859 at the Alexandrinsky Theater in St. Petersburg. A.A. Grigoriev, who was present at the performance, recalled: “That's what the people will say! .. I thought, leaving the box into the corridor after the third act of “Thunderstorm”, which ended in an explosion ...

For works of a realistic direction, endowing objects or phenomena with a symbolic meaning is characteristic. This technique was first used by A. S. Griboedov in the comedy Woe from Wit, and this became another principle of realism. A. N. Ostrovsky continues ...

Enmity between loved ones can be especially irreconcilable P. Tacitus There is no worse retribution for madness and delusion than to see your own children suffer because of them W. Sumner A play by A.N. Ostrovsky's "Thunderstorm" tells about the life of a provincial ...

In the work of A. N. Ostrovsky, the theme of "hot heart" occupies a very important place. Constantly exposing the "dark realm", the writer sought to establish high moral principles, tirelessly searched for forces that could resist despotism, predation, ...

A. N. Ostrovsky is rightfully considered the singer of the merchant environment, the father of Russian everyday drama, Russian theater. About 60 plays belong to his pen, of which the most famous are such as "Dowry", "Late Love", "Forest", "Enough for every wise man ...

In 1845, Ostrovsky worked in the Moscow Commercial Court as a clerical officer of the desk "for cases of verbal violence." A whole world of dramatic conflicts opened before him, all the discordant richness of the living Great Russian language sounded ....

A.N. Ostrovsky. Storm.

Theme, problem, idea and pathos of "Thunderstorm".

In "Thunderstorm" subject- an image of the life and customs of the Russian merchants of the 60s of the 19th century.

Issues - sociocultural and eternal. Exposure of tyranny as a social and psychological phenomenon in the characters of Dikoy and Kabanova. Condemnation of moral weakness, selfishness, opportunism through the images of Tikhon, Boris and Barbara. The problem of the Russian national heroic character, embodied in the image of Katerina. The Problem of Love, Sin and Repentance .

Idea: Ostrovsky argues that the desire for freedom and happiness is natural and irresistible, despite the tragic circumstances of life, and tyranny of any kind is doomed to death. The pursuit of freedom, justice, truth at all times has a high price. .

The pathos of the play- tragic. Its basis is Katerina's struggle for the realization and protection of lofty ideals, the impossibility of achieving the ideal at a given historical moment in a given social environment.

Conflict.

In The Thunderstorm we encounter two types of conflict. On the one hand, this contradiction between rulers (Dikaya, Kabanikha) and subordinates (Katerina, Tikhon, Boris, etc.) is an external conflict. On the other hand, the action moves due to the psychological conflict, internal - in the soul of Katerina.

Composition.

"Thunderstorm" begins with an exposition. exposition- this is, as a rule, the initial part of the work, which precedes the plot, introduces the characters, the place and time of the action. There is still no conflict here (1 action, 1 -4 phenomena). Here the author creates an image of the world in which the characters live and events unfold.

Then comes action development, that is, a series of episodes in which the actors try to actively resolve the conflict. Finally, the conflict reaches the moment when the contradictions require immediate resolution, the conflict reaches its maximum development - this is climax(4 days, 6 appearance). Since there are two conflicts in the play, each has its own culmination. The culmination of the internal conflict is Katerina's last monologue in act 5.

Following her - interchange, which demonstrates the insolubility of the conflict (the death of Katerina).

Artistic features of the drama.

Special artistic touch use of symbolism.

A symbol is a special artistic image, a kind of allegory. He is significant.

The very word "thunderstorm" in the title is ambiguous. The image of the “fiery hyena” on the wall is also symbolic, the image of a crazy lady is also symbolic. Katerina's striving for freedom is symbolized by the free flight of the bird.

Used in the play and reception of "speaking surnames" and special signs of heroes. Wild's unbridled arbitrariness fully corresponds to his surname, and in the city he is called "warrior" - this is a sign.

The city of Kalinov is a space of tyranny and fear.

The city as a scene of action has the same functions as the landscape: it affects the character and psyche Place of action in the "Thunderstorm" - the fictional town of Kalinov on the high bank of the Volga. (Then this town will become the setting for his other dramas - “Forest”, “Hot Heart ».)

Time of action- "our days", that is, the very end of the 1850s. The action takes place on the banks of the Volga, symbolizing will, freedom. Here, according to Kuligin, "beauty". This "beauty" is opposed image of the city of Kalinov

The city of Kalinov, under the pen of Ostrovsky, turns into self image, becomes one of equal heroes of the play. He lives his own life, has his own character, his own temper. As the city sage Kuligin says, "cruel morals, sir, in our city, cruel!" Invisible, inaudible tears flow in it, and on the surface - silence and grace. If not for Katerina with her public rebellion against tradition, so everything would be quiet and smooth, the storm would pass by.

Wild.

Wild, endowed with a "speaking surname", has a special sign: in the city he is called "warrior". He is a petty tyrant, he knows one power - the power of money. Looking for the unrequited in order to take out his anger on them. His life consists of quarrels with others and hoarding. He feels this emptiness, it oppresses him and embitters him even more.

The epithet "cool at heart", characterizing Diky, is leitmotif, the word "heart" is repeated five times in connection with his image. In his concept, this word is associated with anger, indignation, anger, malice. Here he asks the Kabanikha: “Talk to me so that my heart will pass” (= anger). But he admires himself: “But what do you order me to do with myself when my heart is like that?” Here heart means "character". Is anger really the original trait of his character? No. Kabanova directly declares to him: “Why are you deliberately bringing yourself into your heart?” This quote contains a hint. The tyrant fools himself, "leads to the heart." For what? To be sure of your power. Why power? For the sake of power. This means that it is connected with fear for one's power, and requires its constant confirmation. "One word: warrior!" _ Shapkin says about him. In act 3, he himself admits: "... I have a war going on there." And everyone depends on the mercy of the “warrior”: if he wants, he will pay off the workers, give Boris his share of the inheritance, if he doesn’t want, it’s his will. But he cannot suppress a person - he keeps, like Curly, nearby, in sight, on his territory . Speech it is fully consistent with the character - rude, offensive, oversaturated reduced vocabulary and curses: “parasite”, “go to hell”, “ugh, you damned”, “fail you”, “imposed”.

Test.

Public garden on the high bank ________; for __________ rural look.

There are two benches and several bushes on the stage.

The first phenomenon

Kuligin sits on a bench and looks across the river. Kudryash and Shapkin

are walking.

Kuligin (sings)."In the midst of a flat valley, at a smooth height..." (Stops

sing.) Miracles, truly it must be said, miracles! Curly! Here you are brother

my, for fifty years I have been looking for ________ every day and I can’t get enough of everything.

Curly. And what?

Kuligin. The view is extraordinary! Beauty! The soul rejoices.

Curly. Something!

Kuligin. Delight! And you: "something!" Have you looked or you don't understand

what beauty is in nature.

Curly. Well, what's the deal with you! You are an antique, a chemist!

Kuligin. Mechanic, self-taught mechanic.

Curly. All the same.

Silence

Kuligin (pointing to the side). Look, brother Curly, who is there

waving his arms like that?

Curly. This? This Wild nephew scolds.

Kuligin. Found a place!

Curly. He has a place everywhere. Afraid of what, he of whom! Got him to sacrifice

Boris Grigorievich, so he rides on it.

Shapkin. Look for such and such a scolder as Savel Prokofich among us!

Will cut off a person for nothing.

Curly. A poignant man!

Shapkin. Good, too, and Kabaniha.

Curly. Well, yes, that one, at least in the extreme, is all under the guise of piety, but this one is like

off the chain!

Shapkin. There is no one to appease her, so he is fighting!

Curly. We don’t have many guys like me, otherwise we would be naughty

Shapkin. What would you do?

Curly. They would have done well.

Shapkin. Like this?

Curly. Four of us, five of us in the alley somewhere would talk to

him face to face, so he would have become silk. But about our science, and not

I would have peeped to anyone, if only I would have walked and looked around.

Shapkin. No wonder he wanted to give you to the soldiers.

Curly. I wanted to, but I didn’t give it away, so it’s all one thing. He won't give me away

he smells with his nose that I will not sell my head cheaply. This is it for you

scary, but I can talk to him.

Shapkin. Oy!

Curly. What's here: oh! I am considered a brute; why is he holding me?

So, he needs me. Well, that means I'm not afraid of him, but let him go

Shapkin. Like he doesn't scold you?

Curly. How not to scold! He can't breathe without it. Yes, I do not go down either:

he is the word, and I am ten; spit, and go. No, I'm in front of him

I will not be a slave.

Kuligin. With him, that eh, an example to take! It's better to be patient.

The second phenomenon

The same, Dikoy and Boris.

Wild. Buckwheat, you came here to beat! Parasite! Fuck you

go to hell!

Boris. Holiday; what to do at home!

Wild. Find the job you want. Once I told you, twice I told you: "Don't

dare to meet me"; you get it all! Is there enough space for you? Where

never mind, here you are! Pah you damned! Why are you standing like a pillar! Are you being told al no?

Boris. I'm listening, what else can I do!

wild (looking at Boris). You failed! I'm with you and don't talk

I want with a Jesuit. (Leaving.) Here it is imposed! (Spits and leaves.)

Alexander Ostrovsky "Thunderstorm".

B1. Which of the three genres of literature does the play "Thunderstorm" belong to (answer

write it in the nominative case)?

B2. Insert the name of the river in question in place of the gap in the text

(in the nominative case).

B3. For Wild, Boar (and other heroes of their type) the word was fixed,

brought to the stage by Ostrovsky and made after his plays

commonly used. They are usually used to mean "a powerful person,

which is guided in relationships with people by personal

arbitrariness." One of the heroes of Ostrovsky interpreted this word as follows:

“This is called, if a person doesn’t listen to anyone, at least you

a stake on your head, and he is all his own. He stamps his foot, he says: who am I?

At this point, all the households must hit him at the feet, and they lie there, otherwise

trouble..." Write down this word.

B4. What is the name of an acute clash, a confrontation of characters and

circumstances underlying the stage action (the beginning

we see such a confrontation in the above fragment)?

B5. What is the name of the verbal communication of two or more persons, built on

alternating their statements in a conversation?

B6. What is the name of a short statement of a character, a phrase that

does he speak in response to another character's words?

pronouncements of the characters, typed in italics. Which term

mean?

Clear and legible.

For a question in the amount of 5-10 sentences. Write down answers

Clear and legible.

C1 If you were a director of a play, what

comments would you give to the actors involved in the above episode

(on the example of one or two roles)?

The above fragment is taken from the first act of "Thunderstorm". In it Ostrovsky

releases all the characters on stage to introduce the viewer to them. Before

us the first appearance of the Kabanov family (the first exit, the first words

the hero in a drama is always very important for his understanding). Just now we

heard from Kuligin that Kabanikha is a hypocrite, that she “clothes the poor, and

ate at home completely. Now we see it with our own eyes.

The actress playing the Boar needs to master different intonations. Heroine

generously uses them in his military operations against domestic ones. She then

complains and pretends to be humble, now threatens and accuses, now speaks

“hot”, then “completely cold-blooded”. The boar is a master of confusing, playing people off for an outwardly good purpose. At the heart of her character is the same tyranny that Wild, only covered with piety. The key moment of the fragment is Kabanikh's extended remark about law and fear. She betrays the anxiety that the heroine feels (new, “last” times have come, the unshakable foundations are shaking).

Katerina, on the contrary, does not know how to pretend, which Kabanikhe declares directly.

The actress playing Katerina needs to show this directness and openness of her

character, not adapted to life in the "dark kingdom" of Kalinov. Here

Varvara knows how to live (it is no coincidence that all her remarks are aside, she knows how to

observe the rules outwardly, and find a way out of your inner energy - "if only everything was covered").

Tikhon is a downtrodden and obedient son of his mother, who in self-deprecation is ridiculous. Let us notice the word-words in his speech: servants speak with masters, lower ranks with higher ranks. Tikhon belongs to such a group of heroes of the play who resign themselves to their lives under the heel of tyrants (Boris, Kuligin).

The more interesting will be the public protest, which Tikhon decides to

It is also important to note that the whole scene looks like a walk

families in the city. None of those around will suspect that inside this decorously walking family there is a war. This is very similar to Kuligin's stories about the structure of Kalinov's life - locked gates, high fences, behind which people eat at home and tears flow.

After this scene, the reasons for Katerina's conflict with

"dark realm"

C2 What other works of Russian literature raise the topic

the relationship between parents and children and what roll calls arise

between them and the play "Thunderstorm"?

The topic of the relationship between parents and children is raised in many

works of Russian literature. Students can apply, for example,

to Fonvizin's "Undergrowth", Griboyedov's "I'm Burning with Wit", Pushkin's "Captain's Daughter", Gogol's "Dead Souls" (Chichikov's childhood), "Oblomov"

Goncharov, "Fathers and Sons" by Turgenev, "War and Peace" by Tolstoy, etc.

Test.

Part 1

BORS (not seeing Katerina). My God! It's her voice, after all! Where is she? (Looks around.) KATERINA (runs up to him and falls on his neck). I did see you! (Crying on his chest.) Silence. B o r and s. Well, here we cried together, God brought. K a t e r i n a. Have you forgotten me? B o r and s. How to forget that you! K a t e r i n a. Oh, no, not that, not that! Are you angry at me? B o r and s. Why should I be angry? Katerina, Well, forgive me! I did not want to harm you; Yes, she was not free. What she said, what she did, she did not remember herself. B o r and s. Completely you! what you! K a t e r i n a. Well, how are you? Now how are you? B o r and s. I'm going. K a t e r i n a. Where are you going? B o r and s. Far away, Katya, to Siberia. K a t e r i n a. Take me away from here! B o r and s. I can't, Katya. I am not going of my own free will: my uncle sends, and the horses are already ready; I just asked my uncle for a minute, I wanted to at least say goodbye to the place where we met. K a t e r i n a. Ride with God! Don't worry about me. At first, only if it will be boring for you, the poor, and then you will forget. B o r and s. What is there to say about me! I am a free bird. How are you? What is the mother-in-law? K a t e r i n a. Torments me, locks me up. She tells everyone and says to her husband: "Do not trust her, she is cunning." Everyone follows me all day and laughs right in my eyes. At every word, everyone reproaches you. B o r and s. What about the husband? K a t e r i n a. Now affectionate, then angry, but drinking everything. Yes, he hates me, hates me, his caress is worse for me than beatings. B o r and s. Is it hard for you, Katya? K a t e r i n a. It's so hard, so hard, that it's easier to die! B o r and s. Who knew what it was for our love to suffer so much with you! I'd better run then! K a t e r i n a. Unfortunately, I saw you. I saw little joy, but grief, grief, what! Yes, there is still so much to come! Well, what to think about what will happen! Now I've seen you, they won't take that away from me; and I don't need anything else. I just needed to see you. Now it has become much easier for me; like a mountain had been lifted off my shoulders. And I kept thinking that you were angry with me, cursing me... B o r and s. What are you, what are you! K a t e r i n a. No, everything is not what I say; That's not what I wanted to say! I was bored with you, that's what, well, I saw you ... B o r and s. They wouldn't have found us here! K a t e r i n a. Stop, stop! I wanted to tell you something... I forgot! Something had to be said! Everything is confused in my head, I don’t remember anything. B o r and s. Time for me, Katya! Katerina. Wait, wait! Boris. Well, what did you want to say? K a t e r i n a. I'll tell you now. (thinking) Yes! You will go on your way, don’t let a single beggar through like that, give it to everyone and order them to pray for my sinful soul. B o r and s. Oh, if only these people knew what it feels like to say goodbye to you! My God! God grant that someday it will be as sweet for them as it is for me now. Farewell, Katya! (Hugs and wants to leave.) You villains! Fiends! Oh, what strength! A.N. Ostrovsky, "Thunderstorm".

B1	Specify the literary genus to which the work belongs.
	Answer:

B2	What act of Katerina will follow immediately after the events depicted?
	Answer:

VZ
	Answer:

B4
	Answer:

B5	In the answer sheet, write down the phrase that throughout the play was the poetic leitmotif of the image of Katerina, and what Boris said in this scene exposes his insincerity (a fragment from the words “Ride with God!”).
	Answer:

B6	Katerina's response to Tikhon's remark ("Who knew that we should suffer so much with you for our love! ..") is a complete detailed statement. What is this type of utterance in a play called?
	Answer:

B7	The last words of Boris contain exclamations aimed at attracting the attention of listeners. What are these exclamations called?
	Answer:
B1		drama
B2		suicide
B3
B4
B5		free Bird
B6		monologue
B7		rhetorical

C1. How are Boris and Tikhon similar? Expand your position.

Tikhon and Boris. Comparative characteristics (based on the drama by A. N. Ostrovsky "Thunderstorm")

The play "Thunderstorm" was allowed by dramatic censorship to be presented in 1859. The censor I. Nordstrem, who had a good relationship with A. N. Ostrovsky, at the request of the playwright's friends, presented The Thunderstorm as love, and not socially accusatory, satirical, and in his report did not mention either Kabanikh or Diky. But the love conflict turns into a public one and unites all the others: family, social. The conflict between Katerina and Boris with those around them is joined by conflicts between Kuligin and Wild and Kabanikha, Kudryash with Wild, Boris with Wild, Varvara with Kabanikha, Tikhon with Kabanikha.

Two male images help us understand Katerina's character. The meek, unrequited Tikhon, Katerina's husband, who loves her, but cannot protect her, and Boris, Diky's nephew, who came to Kalinov from Moscow.

Boris involuntarily came to Kalinov: “ Our parents raised us well in Moscow, they spared nothing for us. I was sent to the Commercial Academy, and my sister was sent to a boarding school, but both suddenly died of cholera; my sister and I were left orphans. Then we hear that my grandmother also died here and left a will so that our uncle would pay us the part that should be when we come of age, only with the condition". Boris is uncomfortable in the city, he cannot get used to the local order: “ 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..»

Both heroes are united by bondage, dependence: Tikhon - from his own mother, Boris - from Wild. Tikhon from childhood is in the power of a despotic mother, agrees with her in everything, does not dare to contradict. She suppressed his will so much that, even after marrying Katerina, Tikhon continues to live according to his mother's orders:

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

Kabanov: Yes, how can I, mother, disobey you!

N. A. Dobrolyubov, considering the image of Tikhon, notes that he “by himself loved his wife and would be ready to do everything for her; but the oppression under which he grew up so disfigured him that there is no strong feeling in him ... ".

Tikhon does not know how to please his mother ("... only I don’t know what kind of unfortunate person I was born into the world that I can’t please you with anything”), and even breaks down on the innocent Katerina (“ You see, I always get it for you from my mother! Here is my life!"). And Kuligin was right when he said that behind the locked gates in families "debauchery of the dark and drunkenness!" Tikhon drinks from hopelessness, trying to brighten up his life with this. He is waiting for a trip in order to escape from maternal tyranny at least for a while. Varvara understands well the true desires of her brother:

Varvara: They are sitting with their mother, shutting themselves up. She sharpens it now, like rusting iron.

Katerina: For what?

Barbara: No way, so, he teaches the mind. It will be two weeks on the road, a secret matter! Judge for yourself! Her heart is aching that he walks of his own free will. Now she is giving him orders, one more menacing than the other, and then she will lead him to the image, make him swear that he will do everything exactly as ordered.

Katerina: And in the wild, he seems to be bound.

Barbara: Yes, of course, connected! As soon as he leaves, he will drink. He is now listening, and he himself is thinking how to break out as soon as possible.

Tikhon cannot, and it simply does not occur to him, to contradict his mother, cannot protect Katerina from attacks, although he pities her. In the parting scene, we see how Tikhon is tormented, realizing that he offends his wife, giving orders under pressure from his mother:

Kabanova: Why are you standing there, don't you know the order? Tell your wife how to live without you.

Kabanov: Yes, tea, she knows herself.

Kabanova: Talk more! Well, well, order! I want to hear what you order her! And then you come and ask if everything is done right.

Kabanov: Listen to your mother, Katya!

Kabanova: Tell her not to be rude to her mother-in-law.

Kabanov: Don't be rude!

Kabanova: To honor the mother-in-law as her own mother!

Kabanov: Honor, Katya, mother, as your own mother!

Kabanova: So that she doesn’t sit idly by like a lady!

Kabanov: Do something without me! Etc.

Tikhon prefers "non-resistance", adapting in his own way to domestic tyranny. He consoles Katerina, trying to make amends: " Take everything to heart, so you will soon fall into consumption. Why listen to her! She needs to say something! Well, let her talk, and you pass by your ears ... "

Boris is also in a dependent position, because the main condition for receiving an inheritance is to show respect for his uncle, Diky. He confesses that he would quit everyone left. And sorry sister».

Boris is a new face in town, but also succumbs to Kalinov's "cruel morals". How did he deserve Katerina's love? Perhaps Katerina pays attention to Boris because he is a visitor, not from the locals; or, as N. Dobrolyubov wrote, “she is attracted to Boris not only by the fact that she likes him, that he does not look like the others in appearance and speech ...; she is attracted to him by the need for love, which has not found a response in her 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 claims that she loves her husband, replacing the concept of "love" with pity. According to Varvara, “if it’s a pity, you don’t love it. Yes, and for nothing, we must tell the truth!

I think that there is nothing to love Boris either. He knew that this forbidden, sinful relationship could have very serious consequences for him, and especially for Katerina. And Curly warns: “ Only you look, don’t make trouble for yourself, and don’t get her into trouble! Suppose, even though her husband is a fool, but her mother-in-law is painfully fierce". But Boris does not even try to resist his feelings or reason with Katerina. But this is not the worst. Boris's behavior is striking after Katerina confessed to cheating on her mother-in-law and husband. Boris is also unable to protect Katerina. But she offers a way out of this situation - she asks to take her to Siberia, she is ready to go with her beloved even to the ends of the world. But Boris cowardly replies: “ I can't, Katya. I’m not going of my own free will: my uncle sends, and the horses are ready...". Boris is not ready for an open rebellion, and this is exactly how the Kalinovites would regard an act that the hero did not dare to do. It turns out that the inheritance is still more precious to him. He is only ready to cry with Katerina over his and her unfortunate shares. And after all, he understands that he leaves the woman he loves to die (“ There is only one thing we must ask God for, so that she will die as soon as possible, so that she does not suffer for a long time!"). One cannot but agree with the point of view of N. A. Dobrolyubov that “Boris is not a hero, he is far from being worth Katerina, she fell in love with him more in the absence of people ... He represents one of the circumstances that make a fatal end necessary ... » plays.

But Tikhon, on the contrary, turned out to be more humane, higher and stronger than Boris! Despite the fact that Katerina betrayed and disgraced him, he was able to sympathize with her and his rival: “ It rushes about too; cries. Just now we pounced on him with his uncle, they already scolded him, scolded him - he was silent. Just what a wild one has become. With me, she says whatever you want to do, just don’t torture her! And he has pity for her too.».

Tikhon's love for Katerina is fully manifested after her death:

« Mommy, let me go, my death! I'll pull it out, otherwise I'll do it myself ... What can I do without it!"And at that moment, Tikhon was able to tell his mother the truth, accusing her of the death of his wife:" Mother, you ruined her! you, you, you...»

These words speak of the fact that new times have come, where there is no place for despotism, tyranny, and oppression.

C2. What caused Katerina's protest in the drama "Thunderstorm" and in what works of Russian literature of the 19th century are rebel heroes portrayed?

Test.

Part 1

Read the text below and do tasks B1-B7; C1-C2.

D i k o y. Look, you've soaked everything. (Kuligin.) Get away from me! Leave me alone! (With heart.) Stupid man! K u l i g and n. Savel Prokofich, after all, this, your degree, is of benefit to all the townsfolk in general. D i k o y. Go away! What a use! Who needs this benefit? K u l i g and n. Yes, at least for you, your degree, Savel Prokofich. That would be, sir, on the boulevard, in a clean place, and put it. And what is the expense? The expense is empty: a stone column (shows with gestures the size of each thing), a copper plate, so round, and a hairpin, here is a straight hairpin (shows with a gesture), the simplest one. I'll put it all together and cut out the numbers myself. Now you, your degree, when you deign to walk or others who are walking, now come up and see what time it is. And that sort of place is beautiful, and the view, and everything, but it seems to be empty. With us, too, your degree, and there are passers-by, they go there to look at our views, after all, an ornament - it is more pleasant for the eyes. D i k o y. What are you doing to me with all sorts of nonsense! Maybe I don't want to talk to you. You should have known first whether I was in the mood to listen to you, fool, or not. What am I to you - even, or something! Look, what an important case you have found! So right with the snout something and climbs to talk. K u l i g and n. If I climbed with my business, well, then it would be my fault. And then I am for the common good, your degree. Well, what does ten rubles mean for society! More, sir, is not needed. D i k o y. Or maybe you want to steal; who knows you. K u l i g and n. If I want to give away my labors for nothing, what can I steal, your degree? Yes, everyone here knows me, no one will say bad things about me. D i k o y. Well, let them know, but I don't want to know you. K u l i g and n. Why, sir Savel Prokofich, do you want to offend an honest man? D i k o y. Report, or something, I'll give you! I don't report to anyone more important than you. I want to think about you that way, and I think so. For others, you are an honest person, but I think that you are a robber, that's all. Would you like to hear it from me? So listen! I say that the robber, and the end! What are you going to sue, or what, will you be with me? So you know that you are a worm. If I want - I'll have mercy, if I want - I'll crush. K u l i g and n. God be with you, Savel Prokofich! I, sir, am a small man; it will not be long to offend me. And I’ll tell you this, your degree: “Virtue is honored in rags!” D i k o y. Don't you dare be rude to me! Do you hear! K u l i g and n. I'm not doing you any rudeness, sir; but I tell you because, perhaps, you will take it into your head to do something for the city sometime. You have a lot of strength, your degree; there would only be a will for a good deed. Let’s just take it now: we have frequent thunderstorms, and we won’t start lightning rods. D&C (proudly). All is vanity! K u l i g and n. But what's the fuss when the experiments were? D i k o y. What kind of lightning rods do you have there? K u l i g and n. Steel. D and to about y (with anger). Well, what else? K u l i g and n. Steel poles. DIKOY (more and more angry). I heard that the poles, you sort of asp; yes, what else? Adjusted: poles! Well, what else? K u l i g and n. Nothing more. D i k o y. Yes, a thunderstorm, what do you think, huh? Well, speak up. K u l i g and n. Electricity. DIKOY (stomping his foot). What else there elestrichestvo! Well, how are you not a robber! A thunderstorm is sent to us as a punishment so that we feel, and you want to defend yourself with poles and some kind of goads, God forgive me. What are you, a Tatar, or what? Are you Tatar? Ah, speak! Tatar? K u l i g and n. Savel Prokofich, your degree, Derzhavin said: I decay in the dust with my body, I command the thunders with my mind. D i k o y. And for these words, send you to the mayor, so he will ask you! Hey, venerable ones, listen to what he says! K u l i g and n. Nothing to do, you have to submit! But when I have a million, then I'll talk. (Waving his hand, he leaves.) DIKOY. What are you, steal, or something, from someone! Hold it! Such a fake man! What kind of person should be with this people? I don't know. (Turning to the people). Yes, you damned ones, you will lead anyone into sin! I didn’t want to be angry today, but he, as if on purpose, did make me angry. For him to fail! (Angrily). Has it stopped raining? 1st. It seems to have stopped. D i k o y. Seems! And you, fool, go and have a look. And then - it seems! 1st (coming out from under the vaults). Stopped! The third phenomenon Barbara and then Boris. V a r v a r a. It seems he is! BORS (passes in the back of the stage). Sssss! BORS (looks around). Come here. (Beckoning with his hand.) Borys (enters). What are we to do with Katherine? Say mercy! B o r and s. And what? V a r v a r a. The trouble is, and only. My husband has arrived, do you know that? And they did not wait for him, but he arrived. B o r and s. No, I didn't know. V a r v a r a. She just didn't make herself! B o r and s. It can be seen that only I lived a dozen days, bye! He was absent. You won't see her now! A.N. Ostrovsky, "Thunderstorm".
When completing tasks B1-B7, write down your answer in the answer sheet No. 1 to the right of the number of the corresponding task, starting from the first cell. The answer must be given in the form of a word or a combination of words. Write each letter in a separate cell legibly. Write words without spaces, punctuation marks and quotation marks.
B1	What is the genre of the work from which the fragment is taken?
	Answer:

B2	What class, depicted by Ostrovsky, is Dikaya a representative of?
	Answer:

VZ	Establish a correspondence between the three characters appearing (mentioned) in this fragment and their inherent personality traits. For each position in the first column, select the corresponding position from the second column.
	Answer:

B4	Establish a correspondence between the three main characters appearing in this fragment and their future fate. For each position in the first column, select the corresponding position from the second column.
	Answer:
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". 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 looking into Katerina's soul, understanding her ideas about life. And this can be done thanks to the skill of the playwright Ostrovsky. 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.

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 will not exchange you for anyone. But the sincere manifestations of this love are suppressed by Kabanikha: “What are you hanging on your neck, shameless woman, 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 Katerina fell 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 doesn’t matter to me whether it’s home or in the grave ... It’s better in the grave ... Living again No, no, don’t ... it’s not good” Pursued by her sin, Katerina passes away to save her soul . defined Katerina's character as "resolute, integral, 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.

In 1859, and at the same time, it was successfully staged on the stages of the capital. The playwright's play, without losing its relevance, is being staged in many modern theaters around the world. This means that these works are still capable of arousing interest among viewers and readers. This means that the topics that Ostrovsky raised continue to excite society today.

The action of the play takes place on the eve of turning points, literally a year and a half remains before the famous Peasant Reform of 1861, which led to the abolition of serfdom. Within society, a future turning point is already felt, a silent protest of the enslaved part of the population against the usual patriarchal way of life, the power of merchants and landowners. This growing crisis can be compared to a pre-storm atmosphere.

A storm is gathering. People of the old way, ignorant and rude representatives, as the critic Dobrolyubov put it, of the "dark kingdom" perceive the impending disaster as a punishment for those who decided to disobey the "slave-owning" laws, according to which most of the country's society still lives. Progressive people, including both Ostrovsky and Dobrolyubov, see the thunderstorm as a positive sign, believing that this phenomenon should illuminate the most hidden corners of the old world. A thunderstorm should refresh the stuffy atmosphere in the country.

So, one of the central themes of the work is the confrontation between the “dark kingdom” and people who are enslaved and dissatisfied with this state of affairs. The main characters representing the old world are the merchant Kabanikha and the merchant Dikoy. The defining traits of Kabanikh's character are cruelty, deceit, hypocrisy, hypocrisy. To assert its power, it can use a variety of techniques. For her, the main thing is to feel the humility of others. Moreover, for outsiders, it may seem like an example of piety and kindness.In Diky, on the contrary, the brute force of tyranny is fully shown. Money and power made him practically the king of the city. He does everything with people that he sees fit, and often ordinary whims guide his actions. Young people rebel against the old order: Katerina, Tikhon, Kudryash, Boris, Kuligin, Varvara. But they do it one by one, so for each of them such a protest ends sadly.

In addition to the struggle against the "dark kingdom", another theme sounds in the play - the theme of love.

The motive of Katerina's love for Boris runs through the whole work. This love turns out to be the first real feeling of the main character. Katerina never had a shortage of admirers, but she was not interested in them. As the heroine herself stated in a conversation with Varvara, she only laughed at them. Katerina married Tikhon by agreement of her parents and of her own free will - the son of Kabanikh did not cause her rejection. Everything was turned upside down by her meeting with a visiting young man - Boris, whose appearance, in which the capital's education and grooming was felt, favorably differed from the background of local society. But the object of her sighs turned out to be a weak-willed and timid person who was constantly frightened by the thought that someone would find out about their romance. Ultimately, he betrayed Katerina by refusing to take her to Siberia, where his uncle Dikoy sent him. And this act predetermined the death of the main character. Despite the betrayal, Katerina continued to love him until the very end.

If we talk about love, then we can say about the relationship between Varvara and Kudryash. The feelings that they have for each other can hardly be called passionate. Rather, they were united by a hidden protest against the patriarchal urban way of life, a desire to escape from the "dark kingdom". As a result, they fulfill their dream and run away from the city.

In addition to the struggle with the old world and the theme of love, other problems are also revealed in the plays: the problem of relationships between generations, the problem of lies and truth, sin and repentance, etc.

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