“The central themes and images in the play by A.N. Ostrovsky "Thunderstorm

The main character in Ostrovsky's drama "The Thunderstorm". The main idea of \u200b\u200bthe work is the conflict of this girl with the "dark kingdom", the kingdom of tyrants, despots and ignoramuses. To find out why this conflict arose and why the end of the drama is so tragic, you can look into Katerina's soul, understanding her ideas about life. And this is possible 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 village. Katerina's childhood was joyful, cloudless. Mother in her "doted", did not force to work on the house.

Katya lived freely: she got up early, washed herself with spring water, crawled flowers, went with her mother to church, then sat down to do some work and listened to the pilgrims and praying moths, which 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 her house to the Volga in the evening, got into a boat and pushed off the shore! ... We see that Katerina grew up a happy, romantic, but limited girl. She was very devout and passionately loving. She loved everything and everyone around her: nature, the sun, the church, her home with wanderers, the beggars whom she helped. But the most important thing about Katya is that she lived in her dreams, apart from the rest of the world. From all that exists, she chose only what 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 light, 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 stranger, stranger who boldly disturb her soul. This was the case with the boat. After marriage, Katya's life changed a lot. From a free, joyful, sublime world in which she felt her merger with nature, the girl got into a life full of deception, cruelty and omission.

She sacrificed the purity of her conscience to freedom and Boris. In my opinion, while 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 occasion. On the first date, Katerina said to Boris: "You ruined me." Boris is the reason for the discrediting of her soul, and for Katya it is tantamount to death. Sin hangs like a heavy stone on her heart. Katerina is terribly afraid of the impending thunderstorm, considering her a punishment for what she did. Katerina had been afraid of a thunderstorm ever since she began to think 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 Kabanikha. 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 herselfBeing 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 she will return home and look into the eyes of her husband, whom she has cheated on, and how she will live with a stain on her conscience.

The only way out of this situation, Katerina sees death: “No, I’m going to go home or to the grave - it’s all the same ... It’s better in the grave ... To live again. No, no, don’t ... not good.” life to save your soul. Dobrolyubov defined Katerina's character as "decisive, 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 whoever, no matter how Russian, is capable of loving so, is able to sacrifice so, so seemingly submissively endure all the hardships, while remaining himself, free, not a slave.

Ostrovsky wrote the play "The Thunderstorm" 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 sentiments of the masses. Ostrovsky knowingly gave his play the name "The Thunderstorm". takes place not only as a natural phenomenon, the action unfolds to the sounds of thunder, but also as an internal phenomenon - the heroes are characterized through their attitude to the thunderstorm. For each hero, a thunderstorm is a special symbol, for some it is a harbinger of a storm, for others 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 the soul of Katerina, there is an invisible thunderstorm for anyone, a thunderstorm for her is a heavenly punishment, the “hand of God”, which should punish her for betraying her husband: “It’s not scary that it will kill you, but that death will suddenly overtake you with all with evil thoughts ”. Katerina is afraid and waiting for a thunderstorm. She loves Boris, but it depresses her. She believes that she will burn in "fiery hell" for her sinful feeling.

For the mechanic Kuligin, a thunderstorm is a gross 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 with my body in dust, command thunder with my mind." Kuligin dreams of building a lightning rod to rid people of the fear of a thunderstorm.

For Tikhon, a thunderstorm is anger, oppression from the mother. He is afraid of her, but as a son he must obey her. Leaving home on business, Tikhon says: "How can I know that there won't be any thunderstorms 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 obedience. Despite his wild and vicious disposition, he dutifully obeys Kabanikha.

Boris fears a human thunderstorm more than a natural one. Therefore, he leaves, throws Katerina alone, not one with a rumor. "It's worse here!" - says Boris, running away from the place of prayer of the whole city.

The thunderstorm in Ostrovsky's play symbolizes both ignorance and anger, heavenly punishment and retribution, and purification, enlightenment, the beginning of a new life. This is evidenced by the conversation between the two townspeople of Kalinov, changes began to occur in the worldview 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 reign in the city. After the terrible peals of thunder and lightning strikes, the sun will shine overhead again.

NA Dobrolyubov, in his article "A ray of light in a dark kingdom", interpreted the image of Katerina as "a spontaneous protest brought to the end", and suicide as a force of a freedom-loving character: "such liberation is bitter; but what to do when there is no other. "

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

Need to download an essay? Press and save - "The main idea of \u200b\u200bthe work" Thunderstorm ". And the finished composition appeared in the bookmarks.

The play by Alexander Nikolayevich Ostrovsky "The 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 a plan that will be useful for a 10th grade student in preparation for a literature lesson.

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.

Theme - The work highlights the problem of the relationship between two generations, two fundamentally different worlds. The topics of family and marriage, sin and repentance were also raised.

Composition- The composition of the piece is built on contrast. The exposition is a description of the characters of the protagonists and their way of life, the plot is the conflict between Katerina and Kabanikha, the development of actions is Katerina's love for Boris, culmination is Katerina's inner torment, her death, the denouement is the protest of Barbara and Tikhon against the tyranny of her 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 Petersburg for literary critics to be judged.

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

During the trip, Alexander Nikolayevich witnessed many everyday scenes, dialogues of the provincial public, which he absorbed like a sponge. Subsequently, they formed the basis of the play "The 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 flavor delighted Ostrovsky, who carefully recorded all his observations about the life of provincial townships 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 the writing of 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. An overly domineering mother-in-law oppressed her daughter-in-law in every possible way, while a spineless husband could not protect his wife from the mother's attacks. The situation was aggravated by the love affair between Alexandra and the postal worker.

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

Theme

In his work, Alexander Nikolaevich raised many important topics, but the main one among them was the theme of the conflict between 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 yearned 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 society, which was on the verge of a global social and moral turning point. The meaning of the title of the play - "The Thunderstorm" - fits perfectly with this idea. 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 \u200b\u200bthe work is concluded in the persistent defense of their interests - the desire for independence, beauty, new knowledge, spirituality. Otherwise, all beautiful emotional impulses will be mercilessly destroyed by the sanctimonious old order, for which any deviation from the established rules will bring certain death.

Composition

In The Thunderstorm, 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 is built, consisting of five acts.

On displayostrovsky's works draws the lifestyle of the inhabitants of the city of Kalinin. He describes the historically established foundations of the world, which is destined to become a decoration for the events described.

Followed by tie, in which there is an unrestrained increase in the conflict between Katerina and her new family. 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 the play is about Katerina's inner struggle, who, out of despair, throws herself into the arms of another man. As a deeply moral girl, she experiences a pang of conscience, realizing that she has committed treason in relation to her legal spouse.

Climaxrepresented by the confession of Katerina, committed under the influence of internal suffering and the curses of the lady who has survived from her mind, and her voluntary departure from life. In extreme despair, the heroine sees the solution to all her problems only in her death.

Interchangethe play is about the protest of Tikhon and Varvara against the despotism of Kabanikha.

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 of the protagonist with the environment.

If we talk about the direction, then this play is fully consistent with the direction of realism. This is evidenced by 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 perfectly emphasizes it main idea.

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

For works of a realistic direction, it is characteristic to endow objects or phenomena with symbolic meaning. A. Griboyedov was the first to use this technique in the comedy "Woe from Wit", and this became another principle of realism. A. N. Ostrovsky continues ...

Enmity between loved ones is especially irreconcilable P. Tacitus There is no more terrible retribution for follies and delusions than to see how your own children suffer because of them W. Sumner 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" takes a very important place. Constantly exposing the "dark kingdom", the writer strove to establish high moral principles, tirelessly sought 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. He penned about 60 plays, of which the most famous such as "Dowry", "Late Love", "Forest", "For every wise man is enough ...

In 1845, Ostrovsky worked at the Moscow Commercial Court as a clerical officer at the desk "for cases of verbal reprisals." A whole world of dramatic conflicts was revealed before him, all the discordant wealth of the living Great Russian language sounded ...

A.N. Ostrovsky. Storm.

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

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

Problematic - sociocultural and eternal. Exposure of tyranny as a social and psychological phenomenon in the images of Dikiy and Kabanova. Condemnation of moral weakness, egoism, opportunism through the images of Tikhon, Boris and Varvara. 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 striving for freedom and happiness is natural and irresistible, despite the tragic circumstances of life, and tyranny of all kinds is doomed to death. Striving for freedom, justice, truth at all times has a high price .

Paphos plays- tragic. Its basis is Katerina's struggle for the realization and protection of lofty ideals, the impossibility of achieving an 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 the rulers (Dikaya, Kabanikha) and the rulers (Katerina, Tikhon, Boris, etc.) is an external conflict. On the other hand, the action moves thanks to a psychological conflict, internal - in Katerina's soul.

Composition.

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

Then comes development of action, that is, a series of episodes in which the actors try to actively resolve the conflict. Finally, the conflict reaches the point when the contradictions require immediate resolution, the conflict reaches its maximum development - this is climax(4 days, 6 phenomenon). 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 - denouement, which demonstrates the insolubility of the conflict (the death of Katerina).

The artistic features of the drama.

A special artistic technique - use of symbols.

A symbol is a special artistic image, a kind of allegory. It has many meanings.

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

Used in the piece and reception of "speaking surnames" and special characters of the characters. The unbridled arbitrariness of the Wild is quite consistent with his surname, and in the city his name is "warrior" - this is a sign.

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

The city as a place of action has the same functions as the landscape: it affects the character and psyche The scene in the "Thunderstorm" - the fictional town of Kalinov on the high bank of the Volga. (Then this town will become the scene of his other dramas - "The 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, "the beauty". This "beauty" is opposed image of the city of Kalinov

The city of Kalinov under the pen of Ostrovsky turns into independent 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 manners, sir, are cruel in our city!" Invisible, inaudible tears flow in it, and on the surface - peace and grace. If not for Katerina with her public rebellion against tradition, so everything would be quiet and coherent, the storm would pass by.

Wild.

Dikoy, endowed with a "speaking surname", has a special sign: in the city he is called "warrior". He is a tyrant, a tyrant, he knows one power - the power of money. He is looking for unrequited people 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 even more.

The epithet “tough-hearted”, which characterizes the Wild, is a leitmotif, the word “heart” is repeated five times in connection with his image. In his concept, this word is associated with anger, indignation, anger, anger. So he asks Kabanikha: “Talk to me so that my heart goes away” (\u003d anger). But he admires himself: "But what do you command me to do with myself when my heart is like that?" Here, heart means character. Is anger really the original character trait? No. Kabanova directly declares to him: "Why do you deliberately bring yourself into your heart?" This line contains a hint. The tyrant fools himself, "leads to the heart." What for? To be convinced of your power. Why power? For the sake of power itself. This means that it is associated with fear for its power, requires its constant confirmation. "One word: warrior!" _ Shapkin speaks about him. In 3 acts, 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 does not want it, it is his will. But he cannot suppress a person - he keeps, like Curly, nearby, in the field of view, on his territory ... Speechit is completely consistent with the character - rude, offensive, oversaturated reduced vocabulary and curses: "parasite", "waste your time", "ugh, damn you", "you failed", "imposed."

Test.

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

There are two benches and a few bushes on the stage.

The first phenomenon

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

stroll around.

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

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

my, for fifty years I have been looking at ________ every day and I cannot see everything.

Curly. What?

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

Curly. Nothing!

Kuligin. Delight! And you: "nothing!" You take a closer look, or you don't understand

what beauty is spilled in nature.

Curly. Well, why talk to you! You are an antique chemist with us!

Kuligin. Mechanic, self-taught mechanic.

Curly. All one.

Silence

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

waving his arms like that?

Curly. It? It scolds the Wild nephew.

Kuligin. Found a place!

Curly. He belongs everywhere. Afraid that he is who! Got him as a sacrifice

Boris Grigorovich, so he drives it.

Shapkin. Look for such-and-such a scolder like ours Savel Prokofich!

No way will he cut off a man.

Curly. Piercing man!

Shapkin. Kabanikha is also good.

Curly. Well, yes, at least at least everything is under the guise of piety, but this one is like

broke off the chain!

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

Curly. We have few guys on my side, otherwise we would play him naughty

Shapkin. What would you do?

Curly. They would suffer well.

Shapkin. Like this?

Curly. That way, four of us, five of us in an alley somewhere would talk to

him face to face, so he would have become silk. And about our science, something is not

i would have squealed to anyone, if only he would walk and look around.

Shapkin. No wonder he wanted to give you up as a soldier.

Curly. Wanted, but did not give, so it's all one that nothing. He will not give me up:

he senses with his nose that I won't sell my head cheaply. This is him for you

scary, but I can talk to him.

Shapkin. Whether oh!

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

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

Shapkin. As if he doesn't scold you?

Curly. How not to scold! He cannot breathe without it. Yes, I do not lower it either:

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

i will not slave.

Kuligin. From him, eh, take an example! Better to endure.

The second phenomenon

The same, Dikoy and Boris.

Wild. Whoops, you came here to beat! The parasite! Lost you

a waste!

Boris. Celebration; what to do at home!

Wild. You will find a case as you want. Once I told you, I told you twice: “Don't

dare to meet me halfway ”; you are itching to do everything! Not enough space for you? Where to

come on, here you are! Ugh, damn you! Why are you standing like a pillar! Are you told al no?

Boris. I listen, what else can I do!

Wild (looking at Boris)... You failed! I'm not talking to you

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

Alexander Ostrovsky "Thunderstorm".

B1.Which of the three types of literature belongs to the play "The Thunderstorm" (answer

write in the nominative case)?

B2.Insert the name of the river in question instead of a gap in the text

(in the nominative case).

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

brought onto the stage by Ostrovsky and made after his plays

commonly used. They usually mean "a domineering person,

who is guided in relationships with people by personal

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

"This is called, if a person does not listen to anyone, you

the stake on your head amuse, and he is all his own. He will stamp his foot and say: who am I?

At this point, all the household should be at his feet, so they lie, otherwise

trouble ... "Write this word down.

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

circumstances underlying the stage action (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 small statement of a character, a phrase that

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

characters' sayings, typed in italics. What is their term

mean?

Clear and legible.

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

Clear and legible.

C1If you were the director of the play, what

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

(for example, one or two roles)?

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

releases all the characters onto the stage to introduce them to the viewer. Front

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

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

heard from Kuligin that Kabanikha is a bigot, that she “clothe the poor, and

i ate my family completely. " Now we see it with our own eyes.

The actress playing Kabanikha needs to master different intonations. Heroine

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

complains and pretends to be humble, then threatens and accuses, then says

"Hot", then "completely cool." Kabanikha is a master of confusing, playing people off for an outwardly good purpose. At the heart of her character is the same tyranny as that of the Wild, only covered by piety. The key moment of the fragment is Kabanikha's detailed 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 other hand, does not know how to pretend, which Kabanikha directly states.

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 can and

outwardly observe the rules, and find a way out of their internal energy - "if only everything is sewn-covered").

Tikhon is a downtrodden and obedient son of his mother, who in self-deprecation reaches ridiculous. Let us note the words in his speech: this is how servants speak to masters, lower ranks with higher ones. 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 will decide on in

It is also important to note that the entire scene is externally a walk.

families in the city. None of those around him would suspect that there is a war inside this ceremoniously walking family. This is very similar to the stories of Kuligin about the structure of Kalinov's life - locked gates, high fences, behind which they eat their family and cry.

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

"Dark kingdom".

C2In what other works of Russian literature the topic is raised

the relationship between parents and children and what rolls arise

between them and the play "The Thunderstorm"?

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

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

to Fonvizin's "Minor", "I Burn From Wit" by Griboyedov, "The Captain's Daughter" by Pushkin, "Dead Souls" by Gogol (Chichikov's childhood), "Oblomov"

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

Test.

Part 1

BORIS (without seeing Katerina). Oh my God! It's her voice! Where is she? (Looks around.) KATERINA (runs up to him and falls on his neck). I saw you! (Cries on his chest.) Silence. B about r and s. Well, so we cried together, God said. K and e rina. Have you forgotten me? B about r and s. How to forget that you are! K and e rina. Oh no, not that, not that! Are you angry at me? B about r and s. Why should I be angry? Katerina, Well, forgive me! I didn't want to hurt you; yes, she was not free in herself. What she said, what she did, she did not remember herself. B about r and s. Full of what you are! What are you! Catherine. Well, how are you? How are you now? B about r and s. I'm going. K and e rina. Where are you going? B about r and s. Far away, Katya, to Siberia. K and e rina. Take me with you from here! B about r and s. I can't, Katya. I am not going by my own will: my uncle is sending, the horses are already ready; I only asked my uncle for a minute, I wanted to say goodbye at least to some place, where we met. K and e rina. Ride with God! Don't grieve for me. At first, only will it be boring for you, the poor, and then you will forget. B about r and s. What can they say about me! I am a free bird. How are you? What is the mother-in-law? K and e rina. Torments me, locks me up. He says to everyone and says to her husband: "Don't believe her, she is cunning." Everyone follows me all day long and laughs right in my eyes. At every word, everyone reproaches you. B about r and s. And the husband? K and e rina. Either affectionate, then angry, but everyone drinks. Yes, he was hateful to me, hated, his caress is worse than beatings to me. B about r and s. Is it hard for you, Katya? Catherine. It's so hard, so hard that it's easier to die! B about r and s. Who knew that for our love we suffer so much with you! Better to run to me then! Catherine. Unfortunately, I saw you. I saw little joy, but grief, grief! And how much is still ahead! Well, what to think about what will happen! Now I saw you, they won't take that away from me; and I don't need anything else. Only after all I also needed to see you. Now it became much easier for me; as if a mountain had fallen off his shoulders. And I kept thinking that you were angry with me, curse me ... B o r and s. What are you, what are you! Catherine. No, that's not what I'm saying; 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 caught us here! Catherine. Wait, wait! 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 about r and s. Time for me, Katya! Katerina. Wait, wait! Boris. Well, what did you want to say? K and e rina. I'll tell you now. (Thinking.) Yes! If you go on the road, do not miss a single beggar, give and order to everyone to pray for my sinful soul. B about r and s. Ah, if these people knew how it feels for me to say goodbye to you! Oh my God! God grant that someday they will be as sweet as I am now. Goodbye Katya! (Embraces and wants to leave.) You villains! Fiends! Eh, if only strength! A.N. Ostrovsky, "The Thunderstorm".

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

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

OT
	Answer:

B4
	Answer:

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

B6	Katerina's answer to Tikhon's remark (“Who knew that for our love to suffer so much with you! ..”) is a complete, detailed statement. What is the name of this type of utterance in a dramatic work?
	Answer:

B7	Boris's last words contain exclamations intended to attract the attention of the audience. 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 A. N. Ostrovsky "The Thunderstorm")

The play "The Thunderstorm" was admitted by the dramatic censorship to the performance in 1859. The censor I. Nordstrem, who had a good attitude towards A. N. Ostrovsky, at the request of the playwright's friends, presented The Thunderstorm as love, not socially accusatory, satirical, and in his report did not mention either Kabanikha or Dick. But a love conflict turns into a public one and unites all the others: family, social. The conflicts of Katerina and Boris with those around them are joined by the conflicts of Kuligin with Dikim and Kabanikha, Kudryash with Dikim, Boris with Dikim, 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 does not know how to protect her, and Boris, Diky's nephew, who came to Kalinov from Moscow.

Boris involuntarily came to Kalinov: “ Our parents in Moscow raised us well, they did not spare anything for us. I was sent to the Commercial Academy, and my sister to a boarding school, but both suddenly died of cholera; my sister and I were orphans and remained. Then we hear that my grandmother died here and left a will so that my uncle would pay us the part that should be paid when we come of age, only on the condition". Boris is uncomfortable in the city, he cannot get used to the local order: “ Eh, Kuligin, it’s painfully difficult for me here without habit! Everyone is looking at me somehow wildly, as if I were superfluous here, as if I was interfering with them. I don't know the local customs. I understand that all this is our Russian, dear, but still I won't get used to it..»

Both heroes are united by bondage, dependence: Tikhon - from his own mother, Boris - from the Wild. Tikhon from an early age is in the power of a despotic mother, agrees with her in everything, does not dare to contradict. She so suppressed his will that, even having married Katerina, Tikhon continues to live by his mother's behest:

Kabanova: If you want to listen to your mother, as soon as you arrive there, do as I ordered you.

Kabanov: How can I, mamma, disobey you!

NA Dobrolyubov, examining the image of Tikhon, notes that he “loved his wife by himself and would be ready to do anything for her; but the oppression under which he grew up has disfigured him so 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 unhappy person I was born that I can't please you with anything"), And even breaks down on the innocent Katerina (" You see, I always get it from my mother for you! Here is my life!"). And Kuligin was right when he said that behind closed gates in families "the debauchery of dark and drunkenness!" Tikhon drinks from despair, trying to brighten up his life. He is waiting for a trip in order to escape from the maternal tyranny at least for a while. Varvara understands well the true desires of her brother:

Barbara: They are locked up with my mother. She sharpens it now, like rusting iron.

Katerina: For what?

Varvara: No way, he teaches wisdom. It will be two weeks on the road, it's a mystery! Judge for yourself! Her heart will wear out, that he walks on his own. So she now gives him orders, one is more menacing than the other, and then she will lead him to the image, make him swear that he will do everything so accurately, as ordered.

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

Varvara: Yes, of course, connected! He will drink as soon as he goes out. He is now listening, and he is thinking how to get out as soon as possible.

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

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

Kabanov: Yes, she, tea, knows herself.

Kabanova: Talk some more! Well, well, order! So that I can hear what you are ordering her! And then you will come and ask if you did everything that way.

Kabanov: Listen to mamma, Katya!

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

Kabanov: Don't be rude!

Kabanova: So that the mother-in-law can honor her as her own mother!

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

Kabanova: So that I don't sit idly by like a lady!

Kabanov: Work something without me! Etc.

Tikhon prefers "non-resistance", in his own way adapting 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 speak, and you let go of it ... "

Boris is also in a dependent position, because the main condition for receiving an inheritance is showing respect to his uncle, the Wild. He confesses that he would give up " all yes left. I'm sorry for my sister».

Boris is a new face in the city, but he also sags under the influence of Kalinov's "cruel morals". How did he earn Katerina's love? Perhaps Katerina pays attention to Boris because he is a newcomer, 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 is not 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 a wife and a woman, and the mortal melancholy of her monotonous life, and a desire for will, space, hot, unforbidden freedom.

Katerina claims that she loves her husband, replacing the concept of "love" with pity. According to Varvara, “if you feel sorry, you don’t love. And there is nothing for that, I must tell the truth! "

I believe that there is nothing to love about Boris either. He knew that this forbidden, sinful relationship could have very serious consequences for him, and especially for Katherine. And Kudryash warns: “ Only you look, don’t bother yourself, and don’t bring her into trouble! Suppose, even though her husband is a fool, but her mother-in-law hurts fiercely". But Boris does not even try to resist his feelings or to reason with Katerina. But this is not the worst thing. Boris's behavior after Katerina confessed to her mother-in-law and husband is striking. Boris is also unable to protect Katerina. But she offers a way out of this situation - 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 am not on my way: my uncle sends, the horses are ready... ". Boris is not ready for an open revolt, and this is how the Kalinovites would have regarded an act that the hero did not dare to do. It turns out that the inheritance is still more dear to him. He is only ready to cry with Katerina over his and her unfortunate shares. And after all, he understands that he leaves his beloved woman to perish (“ Only one thing and need to ask God, that she died as soon as possible, so that she would 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, and she loved him more for being alone ... He is one of the circumstances that make a fatal end necessary ... »Plays.

But Tikhon, on the contrary, turned out to be more human, taller and stronger than Boris! Despite the fact that Katerina cheated and disgraced him, he was able to sympathize with her and his rival: “ Tossing too; crying. We pounced on him just now with my uncle, we scolded, scolded - he is silent. Just as wild as he has become. With me, she says what 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:

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

These words also say that new times have come, where there is no place for despotism, tyranny, and oppression.

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

Test.

Part 1

Read the passage below and complete tasks B1-B7; C1-C2.

D and k o y. Look, everything has soaked. (To Kuligin) Leave me alone! Leave me alone! (With heart.) You stupid man! Kul and g and n. Savel Prokofich, after all, this, your degree, is beneficial for all ordinary people in general. D and k o y. Go away! What is the use! Who needs this benefit? Kul and g and n. Yes, even for you, your degree, Savel Prokofich. If only, 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 fix it all and cut out the numbers myself. Now you, your dignity, when you deign to walk or others who are walking, now come up and see what time it is. And that kind of place is beautiful, and the view, and that's all, but it seems empty. With us, too, your degree, there are travelers, they go there to see our views, after all, decoration is more pleasant for the eyes. D and k o y. Why are you bothering 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, a fool, or not. What am I to you - even, or what! Look, what an important thing you have found! So right with a snout and climbs to talk. Kul and g and n. If I were climbing with my business, well then it would be my fault. And then I am for the common good, your degree. Well, what does it mean for society some ten rubles! More, sir, will not be needed. D and k o y. Or maybe you want to steal; who knows you. Kul and g and n. If I want to donate my labors, what can I steal, your degree? Yes, everyone here knows me, no one will say bad things about me. D and k o y. Well, let them know, but I don't want to know you. Kul and g and n. Why, sir Savel Prokofich, would you please to offend an honest man? D and k o y. I’ll give you a report! I don’t give any account to anyone more important than you. I want to think so of you, I think so. For others you are an honest man, but I think you are a robber, that's all. Would you like to hear it from me? So listen! I say that a robber, and the end! What are you, to sue, or what, you will be with me? So you know that you are a worm. If I want - I will have mercy, if I want - I will crush. Kul and g and n. God be with you, Savel Prokofich! I am, sir, a small man, I will not offend for long. And I will report to you, your degree: "And virtue is honored in rags!" D and k o y. Don't you dare be rude to me! Do you hear! Kul and g and n. I am not doing any rudeness to you, sir; but I tell you because, perhaps, you will think of doing something for the city sometime. You have a lot of strength, your degree; there would only be a will for a good deed. If only now we will take something: we have frequent thunderstorms, but we will not start thunderous branches. D and coy (proudly). All is vanity! Kul and g and n. But what is the fuss when the experiments were? D and k o y. What kind of thunder taps do you have there? Kul and g and n. Steel. D and k o th (with anger). Well, what else? Kul and g and n. Steel poles. DIKO (getting angry more and more). I heard that the poles, you are like a viper; and what else? Adjusted: poles! Well, what else? Kul and g and n. Nothing more. D and k o y. Yes, a thunderstorm, what do you think, huh? Well, speak. Kul and g and n. Electricity. Diko (stamping his foot). What other elegance there is! Well, how are you not a robber! A thunderstorm is sent to us as punishment, so that we feel, and you want to defend yourself with poles and rods of some kind, God forgive me. What are you, a Tatar, or what? Are you a Tatar? Oh, speak! Tatar? Kul and g and n. Savel Prokofich, your rank, Derzhavin said: I decay with my body in dust, I command thunder with my mind. D and k o y. And for these words, send you to the mayor, so he will ask you! Hey, honorable ones, listen to what he says! Kul and g and n. There is nothing to do, you have to submit! But when I have a million, then I'll talk. (With a wave of his hand, leaves.) D and k o y. Well, you steal, or something, from whom! Keep it! Such a fake peasant! What kind of person should be with these people? I don't know. (Addressing the people). Yes, you damned people, at least lead someone into sin! I didn't want to be angry today, but he, as if on purpose, made me angry. Let him fail! (Angrily). Has it stopped raining? 1st. Seems to have stopped. D and k o y. It seems! And you, fool, go and see. And then - it seems! 1st (coming out from under the vaults). Stopped! The third phenomenon Varvara and then Boris. V a r v a r a. It seems he is! B o r and s (passes at the back of the stage). Ss-ss! BORIS (looks around). Come here. (Beckons with his hand.) BORIS (enters). What are we to do with Katerina? Be merciful! B about r and s. What? V a r v a r a. The trouble is, and that's all. My husband has arrived, do you know that? And they did not expect him, but he came. B about r and s. No, I didn't know. V a r v a r a. She just didn't become herself! B about r and s. Apparently, I was the only one who lived a dozen days, so far! He was absent. You won't see her now! A.N. Ostrovsky, "The Thunderstorm".
When completing tasks B1-B7, write down your answer in answer form 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 legibly in a separate box. Write words without spaces, punctuation marks and quotation marks.
B1	What is the genre of the piece from which the fragment is taken?
	Answer:

B2	The representative of which class, depicted by Ostrovsky, is Dikoy?
	Answer:

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

". The main idea of \u200b\u200bthe 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 is possible 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 village. Katerina's childhood was joyful, cloudless. Mother in her "doted", did not force to work on the house.

Katya lived freely: she got up early, washed herself with spring water, crawled flowers, went with her mother to church, then sat down to do some work and listened to the pilgrims and praying moths, which 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 her house to the Volga in the evening, got into a boat and pushed off the shore! ... We see that Katerina grew up a happy, romantic, but limited girl. She was very devout and passionately loving. She loved everything and everyone around her: nature, the sun, the church, her home with wanderers, the beggars whom she helped. But the most important thing about Katya is that she lived in her dreams, apart from the rest of the world. From all that exists, she chose only what 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 light, 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 stranger, stranger, who boldly disturb her soul. This was the case with the boat. After marriage, Katya's life changed a lot. From a free, joyful, sublime world in which she felt her merger with nature, the girl got into a life full of deception, cruelty and omission.

The point is not even that Katerina did not marry Tikhon of her own free will: she did not love anyone at all and she didn’t care who to marry. The fact is that the girl was robbed of her former life, which she had created for herself. Katerina no longer feels such a delight from attending church, she cannot do her usual things. Sad, disturbing thoughts do not allow her to calmly admire nature. Katya is left to endure, as long as she is, and to dream, but she can no longer live with her thoughts, because the cruel reality brings her back to earth, where humiliation and suffering. Katerina is trying to find her happiness in her love for Tikhon: “I will love my husband. Tisha, my dear, I will not trade you for anyone. " But sincere manifestations of this love are suppressed by Kabanikha: "What are you hanging around your neck, shameless woman? You don't say goodbye to your lover." In Katerina, there is a strong sense of external obedience 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 walk freely, the girl (already a woman) becomes completely lonely. Why Katerina fell in love with Boris After all, he did not show his masculine qualities, like Paratov, did not even talk to her. Perhaps the reason is that she lacked something clean in the stuffy atmosphere of Kabanikha's house. And love for Boris was this pure, did not let Katerina completely wither away, somehow supported her. She went on a date with Boris because she felt like a person with pride and elementary rights. It was a rebellion against obedience to fate, against lawlessness. Katerina knew that she was committing a sin, but she also knew that it was still impossible to live further.

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 occasion. On the first date, Katerina said to Boris: "You ruined me." Boris is the reason for the discrediting of her soul, and for Katya it is tantamount to death. Sin hangs like a heavy stone on her heart. Katerina is terribly afraid of the impending thunderstorm, considering her a punishment for what she did. Katerina had been afraid of a thunderstorm ever since she began to think 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 Kabanikha. 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 herselfBeing 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 she will return home and look into the eyes of her husband, whom she has cheated on, and how she will live with a stain on her conscience.

The only way out of this situation, Katerina sees death: “No, I don't care if I go home or to the grave… It's better in the grave… To live again. ... defined Katerina's character as "decisive, 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 whoever, no matter how a Russian person, is capable of loving so much, is able to sacrifice so, so seemingly submissively endure all hardships, while remaining himself, free, not a slave.

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 characters in The 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 one represents Kabanikh and Dikaya. They are representatives of a patriarchal world ruled by selfishness and poverty. Other characters suffer from the tyranny of Kabanikha and the Wild. First of all, these are Varvara, Katerina, Boris and Tikhon. The comparative characteristics of the characters show that all the heroes have resigned themselves to their fate, and only Katerina is unable to go against her conscience and her desires.

The entire work "The Thunderstorm" is dedicated to the story 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.

Boris's fate

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

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

The fate of Tikhon

Among all the characters, he distinguishes two heroes, two men - this is Boris and Tikhon. The comparative characteristics of these heroes can tell a lot.

Tikhon depends on Kabanikha - his mother. He has to obey her in everything. Kabanikha 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 literally squeezes out of the world. Katerina Kabanikha constantly finds fault with her.

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

Common between Boris and Tikhon

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

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

Boris and Tikhon: differences

There are more differences between Boris and Tikhon than in common. So, Boris and Tikhon are comparative characteristics. The table below will help to systematize knowledge about these heroes.

	Boris	Tikhon
Relationship to Katherine	Boris is ready for anything. He risks his reputation, the reputation of Catherine, a married woman. His love is passionate, open and emotional.	Tikhon loves Katerina, but the reader sometimes casts doubt on this: if he loves her, why does he not defend against Kabanikha's attacks? Why doesn't she feel her suffering?
Relationships with other characters in the play	Boris acts under the cover of Varvara. Night Kalinov is a time when all young people go out into the street with songs and romantic moods.	Tikhon is treated well, but little is said about his relationship with other characters. The only thing that is remarkable is his relationship with his mother. He loves her to some extent and tries to respect, 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 rather short and capacious. It is worth noting that most of the readers sympathize with Boris rather than Tikhon.

The main idea of \u200b\u200bthe play "Thunderstorm"

The characteristic of Boris and Tikhon suggests that the two men loved Katerina. However, neither one nor the other could save her. Katerina rushed off the cliff into the river, no one stopped her. It was Boris and Tikhon, whose comparative characteristics were given above, who should have saved her, should have rebelled against the power of the Kalinov tyrants. However, they failed, and Katerina's lifeless body was carried out of the river.

Kalinov is a town that lives by its own rules. Dobrolyubov called Katerina "a ray of light in the dark kingdom," and this is true. Katerina was unable to change her fate, but perhaps she is the whole city. Her death is the first disaster to break the patriarchal family structure. Kabanikha and Dikoy feel that young people are 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 dying in the despotism of the Wild and Kabanikha. Kalinov is not a fictional city, but there are a lot of such "Kalinovs" all over Russia.

Brief analysis

Year of writing - 1859.

Theme - The work highlights the problem of the relationship between two generations, two fundamentally different worlds. The topics of family and marriage, sin and repentance were also raised.

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 Petersburg for literary critics to be judged.

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

Theme

Composition

Interchangethe play is about the protest of Tikhon and Varvara against the despotism of Kabanikha.

main characters

Genre

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Analysis rating

Average rating: 4.6. Total ratings received: 4205.

“Ostrovsky's plays are modern,” we say without thinking about the meaning of what has been said. Modern ... Modern ?! Indeed ... Why? Obviously, to answer this question, you need to look more closely at at least one of the plays ... Take a closer look ... Think ...
The play "The Thunderstorm" ... What questions are posed here by the playwright? Why is such a strange at first glance name given by Ostrovsky to this play? "Storm"...
The heroes of "The Storm" live in a crisis and catastrophic world. This catastrophic nature is akin to a pre-thunderstorm atmosphere: something else holds back the elements, but the spirit of struggle and confrontation is invisibly in the air. Just as naturally and inevitably as the storm gathers over Kalinov, the storm of the human spirit, which could not bear oppression and violence, which turned out to be unable to come to terms with life in slavery, even in the face of death, also gathers.
Ostrovsky's merit lies not only in the fact that the great playwright skillfully portrayed and conveyed the feeling of a swaying world, a confrontation between the old and the new, tyranny and a simple desire to live, but also that he showed the birth of the first protest, defining its inevitability at all times and era. Protest against what? I have yet to answer this question.
Who lives in the city on the banks of the Volga, where the drama takes place? Kalinov's population is certainly not homogeneous. Thinking over, one can draw an imaginary line between all the characters in the play, dividing them thus into representatives of the "dark kingdom" - the oppressors - and "fighters" against oppression. Thus, on one side of this line there will be Kabanikha, Wild, the wanderer Feklusha, and on the other - Kudryash, Varvara, Tikhon and Katerina. We agree, however, that some heroes will stand a little closer to this line, thereby showing their incomplete belonging to one or another part of the Kalinov society, some - a little further ...
Of course, Kabanikha is a representative of the "dark kingdom", but she, as aptly emphasizes in the words of Kudryash
Ostrovsky, is terrible not for its adherence to antiquity, but for tyranny "under the guise of piety."
The old morality is largely denied here, the most cruel formulas are extracted from Domostroi, justifying despotism.
"The enemies must forgive, sir!" - says Kuligin to Tikhon. And what does he hear in response? "Come on, talk to mamma, what will she tell you about this."
Unlike the tyranny of Kabanikha, the wild will not be constrained by anything, it is not justified by any rules. Money untied his hands, allowed him to twist people and the law as he wants. The moral foundations in his soul are significantly shaken, and, according to Kabanikha, he cannot be re-educated, one can only "stop". The "young forces of life" rise up against the city fathers. These are Tikhon and Varvara, Kudryash and Katerina.
Tikhon is quiet, and that says it all. Yes, he is kind, generous and undoubtedly loves Katherine. Not sharing in any way the despotic claims of mamma, he nevertheless bends before her, and only in the finale of the play does something like a protest appear in him: “Mamma, you ruined her! You, you, you ... ”These words no longer contain the former Tikhon. He turns out to be much higher in moral terms than Boris, who, guided by the vile "tightly-covered", comes out of the crowd and bows to Kabanova.
Unlike her brother, Barbara is endowed with both will and fearlessness, but she is a child of wild and wild boars, and therefore, is not devoid of the immorality of the “fathers”. She simply does not understand Katerina's mental anguish. “I don’t understand what you’re saying,” she asks desperately. - What a desire to dry up! Though die of longing, they will regret you! Why, wait. So what a bondage to torture yourself! "
Kudryash turns out to be morally superior to Barbara. In it we notice the "folk roots". He is talented and gifted. He opposes the "dark kingdom" with daring and mischief, but not moral strength.
All these people live, deceiving each other, dodging cunningly. But now a man appears among them, endowed with pride, self-esteem, "a ray of light in the dark kingdom", as Katerina Dobrolyubov will call. The light beginning in her is natural, like breathing, she is a freedom-loving nature, passionate. In the Kabanova family, she is like a prisoner. She can't breathe there. Drawing an image
his main character, Ostrovsky put her closeness to nature, to folk origins, to the fore. In the morning she bows to the sun, listens to the birds singing spellbound. When she is offended in childhood, she gets into a boat and sails along the Volga, not knowing where she is. This reminds us of Russian folk tales, in which a little girl often asks for protection by the river, by the forest ... "Why don't people fly!" - and this is inextricably linked with Russian epics, legends. In them, a maiden languishing in captivity asks the forces of nature to turn her into a free bird in order to fly away from captivity to freedom.
Gradually, we realize that Katerina has only one way out. This exit is liberation. However, moral impeccability excludes the possibility of an easy release for her, so the release of Katerina is tragic.
The conflict in the drama is not only external. Contradictions also exist in the soul of the heroine herself: an unstable conscience collides with reckless love, and fear with a desperate desire to free herself.
And when this pure soul dies, finding no other way out of moral death, violence, oppression, a flash of light brighter than thunderstorm lightning illuminates the entire play, giving it a meaning that goes far beyond the ordinary drama in a merchant family. This flash illuminates all the characters, forcing the reader and viewer to think, feel and act.
Undoubtedly, the image of Katerina has always provided food for thought. In this way, Ostrovsky not only showed the birth of a protest directed against despotism, tyranny, against everything that fetters a person, seeks to destroy pride and self-esteem. With the image of Katerina Ostrovsky marked a new type of heroine in drama: not an aristocrat, not a noblewoman, but a representative of the merchant class, that is, a simple woman from the people, showed her special charm and undoubted superiority over the pompous "dolls" of secular salons. It is the ability to show the true "Russianness" and nationality of life, events and characters that showed the contradictions that were characteristic of Russia, to reveal the essence of purely Russian phenomena, the ability to describe folk customs that distinguishes Ostrovsky's plays from the plays that came before him. And it is precisely this feature of his work that gives us the right to call him the father of the Russian theater.
Ostrovsky's plays have been and will be staged on the stage of various theaters in various parts of the world.
Why are these plays, written more than a hundred years ago, so modern now?
The answer is simple. Ostrovsky poses before us universal human problems, questions that sound equally relevant at all times and eras. This is both a question of moral choice, and the problem of misunderstanding between the old and the new, this and much, much more, that it is impossible to grasp a simple school composition. My thoughts are just a drop in the ocean ... Or put it another way? A whole drop ... After all, it is from these tiny particles that the world ocean of readers' reflections and judgments consists.

Ostrovsky's drama "The Thunderstorm" is the most significant work of the famous playwright. It was written in 1860 during a period of social upsurge, when the foundations of serfdom were crumbling and a thunderstorm was gathering in the stifling atmosphere of reality. Ostrovsky's play takes us to the merchant environment, where the Domostroy order was maintained most stubbornly. The inhabitants of the provincial city live a closed life alien to public interests, in ignorance of what is happening in the world, in ignorance and indifference. The range of their interests is limited by the scope of household chores. Behind the external tranquility of life are dark thoughts, the dark life of tyrants who do not recognize human dignity. The representatives of the "dark kingdom" are Dikoy and Kabanikha. The first complete type of tyrant merchant, the meaning of his life is to amass capital by any means. The main theme of the thunderstorm is a clash between new trends and old traditions, between oppressed and oppressed, between the desire of people to freely manifest their human rights, spiritual needs that prevailed in Russia - social and family orders.

If we consider “Thunderstorm” as a social and everyday drama, then the resulting conflict looks quite simple: it is, as it were, external, social; the audience's attention is equally distributed between the characters, all of them, like checkers on a board, play almost the same roles necessary to create a plot outline, they confuse and then, flickering and rearranging like in tags, help to resolve the confusing plot. If the character system is laid out in such a way that the conflict arises and is resolved, as it were, with the help of all the actors. Here we are dealing with an everyday drama, its conflict is simple and easy to guess.

Ostrovsky's play "The Thunderstorm" raises the problem of the turning point in public life that took place in the 50s, the change in social foundations. The author cannot be absolutely impartial, but it is very difficult for him to express his position - the author's position is revealed in remarks, which are not very numerous and they are not expressive enough. There remains one option - the author's position is presented through a certain hero, through composition, symbolism, etc.
The names are very symbolic in the play. The speaking names used in “The Thunderstorm” are an echo of the classicist theater, the features of which were preserved in the late 1860s.
The name of Kabanova vividly depicts a heavy, heavy woman for us, and the nickname “Kabanikha” complements this unpleasant picture.
The author characterizes the wild as a wild, unrestrained person.
Kuligin's name is ambiguous. On the one hand, it is consonant with Kulibin, a self-taught mechanic. On the other hand, “kuliga” is a swamp.

For a long time, the critical literature has considered either one or the other conflict. But the author gave the work a deeper meaning - this is a national tragedy.

Dobrolyubov called Katerina “a ray of light in the dark kingdom”, but later, a few years later, Ostrovsky himself gave such people a name - “warm heart”. Indeed, this is a conflict between the “hot heart” and the icy environment. And a thunderstorm, as a physical phenomenon, tries to melt this ice. Another meaning put by the author in a thunderstorm symbolizes the wrath of God, and everyone who is afraid of a thunderstorm is not ready to accept death and face the judgment of God or think so. But the author puts his words into the mouth of Kuligin. “The judge is more merciful than you,” he says. Thus, he characterizes his attitude towards this society. And this end expresses hope. Ostrovsky divides all the time in Kalinov, like the play, into day and night. During the day, people play as the faithful living according to Domostroi, and at night they take off their masks. Young people go for a walk and have fun, and the elders turn a blind eye to this. The author's position is expressed partly in Kuligin's monologues, partly it can be understood from the opposition of Katerina and Kabanikha. The author's position is expressed in the composition. The composition is distinguished by two possible variants of the climax and denouement.

Undoubtedly, the play is written on a social and everyday theme: it is characterized by the author's special attention to depicting the details of everyday life, the desire to accurately convey the atmosphere of the city of Kalinov, its “cruel manners”. The fictional city is described in detail, in many ways. An important role is played by the landscape beginning, but here you can immediately see a contradiction: Ku-ligin speaks of the beauty of the distant beyond the river, the high Volga cliff. “Nothing,” Kudryash objects to him. Pictures of night walks along the boulevard, songs, picturesque nature, Katerina's stories about her childhood - this is the poetry of the Kalinov world, which collides with the daily cruelty of residents, stories about the “poverty of the naked”. About the past, the Kalinovites have preserved only vague legends - Lithuania “fell from heaven to us”, news from the big world is brought to them by the wanderer Feklusha. Undoubtedly, such attention of the author to the details of the characters' everyday life makes it possible to speak of drama as a genre of the play “The Thunderstorm”.

Another feature characteristic of the drama and present in the play is the presence of a chain of intra-family conflicts. First, it is a conflict between the daughter-in-law and the mother-in-law behind the locks of the gates of the house, then the whole city learns about this conflict, and from everyday life it grows into a social one. The expression of the code-conflict characteristic of the drama in the actions and words of the heroes is most clearly shown in the monologues and dialogues of the characters. So, we learn about Katerina's life before marriage from a conversation between young Kabanova and Varvara: Katerina lived, “did not grieve for anything,” like “a bird in the wild,” spending the whole day in pleasures and household chores. We do not know anything about the first meeting of Katerina and Boris, about how their love originated. In his article, N. A. Dobrolyubov considered the insufficient “development of passion” to be a significant omission, and said that this is precisely why “the struggle between passion and duty” is meant for us “not quite clearly and strongly”. But this fact does not contradict the laws of drama.

The originality of the Thunderstorms genre is also manifested in the fact that, despite the gloomy, tragic general coloring, the play also contains comic, satirical scenes. We think that Feklusha's anecdotal and ignorant stories about the Saltans, about the lands where all people are “with dog heads”, seem ridiculous. After the release of The Thunderstorm, AD Galakhov wrote in his review of the play that “the action and the catastrophe are tragic, although many passages arouse laughter.”

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