Linguistic characteristics of the heroes of the drama thunderstorm. Speech characteristics of Katerina

Reading the plays of Alexander Nikolaevich Ostrovsky, you note that they are characterized by the constant clarity of the author's position, which is achieved primarily through speech characteristics. In 1845, Ostrovsky worked in the Moscow Commercial Court as a clerical officer of the table "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. I had to guess the character of a person by his speech makeup, by the peculiarities of intonation. This is how the talent of the future master of the speech characteristics of the characters in his plays was brought up and honed.
Ostrovsky in the drama "The Thunderstorm" very clearly distinguishes between the positive and negative characters of his work. All the most important features of the characters are clearly visible, their place in the plot twists and turns.
Consider the speech characteristic as part of the image of Katerina. The epigraph to the play is a song about the tragedy of goodness and beauty: the richer spiritually and morally a person is, the more dramatic his existence. The song anticipates the fate of the heroine with her human restlessness ("Where can I rest my heart when the storm comes up?"), With her vain aspirations to find support and support in the world around ("Where can I, poor one, go? Who can I grab?") ... In a difficult moment in her life, Katerina will complain: "If I had died a little, it would have been better ... would have flown from cornflower to cornflower in the wind, like a butterfly."
“How frisky I was! - Katerina turns to Varvara, but then, drooping, adds: - I have completely wilted. The soul of Katerina really withers in the hostile world of wild and wild boars.
Cheating Katerina is undoubtedly a crime, and she understands the full gravity of her act, but she cannot live without the love that she found in Boris. And, as if making excuses to herself, repenting, Katerina says: "Well, it doesn't matter, I have ruined my soul." The heroine is extremely conscientious and religious. "It's not that it's scary that it will kill you, but that death will suddenly find you, as you are, with all your sins." “Fear” has always been understood by the Russian people as a heightened moral self-awareness.
Katerina endures spiritual torment in this terrible society too hard: Kabanikha's bullying, her husband's cold attitude and disappointment in love. Katerina hopes that God will forgive her her sins as a martyr.
Ostrovsky expresses Katerina's attitude to family and society in the words: “And people are disgusting to me, and the house is disgusting to me and the walls are disgusting! I won't go there! No, no, I won't go! You come to them, they go, they say, but what do I need it for? " Ostrovsky clearly shows that Katerina does not hesitate to die: “So quiet! so good. And I don’t want to think about life. Live again? No, no, don't ... not good! "
Her death is a challenge to all the inhabitants of the "dark kingdom". Katerina is not just tired of the terrible life in this world. She does not want to be reconciled, does not want to condemn her living soul to miserable vegetation. Katerina protests against Kabanov's notions of morality. And Tikhon only at the very end of this terrible tragedy demonstrates something similar to a protest: “Mamma, you ruined her! you, you, you ... "

The boar is an evil, grumpy mother-in-law. A man of a crisis era, she is strange by tyranny "under the guise of piety": "After all, parents are strict with you from love, they scold you because of love, everyone thinks to teach good. Well, now I don't like it. And children will go. to glorify people that the mother is a grumble, that the mother does not give a pass, she stifles with light. But God forbid, some word will not please the daughter-in-law, well, the conversation started that the mother-in-law ate completely. " "... I have long seen that you want freedom. Well, wait, live and be free, when I’m not there. Then do whatever you want ..." "So that you don’t sit idly by like a lady. I didn't stare at the windows! ", addressing Katerina.

Kuligin is a poetic, noble figure of a self-taught mechanic. "This is what a small town we have, sir! We've made a boulevard, and they don't walk. They walk only on holidays, and then they pretend to be walking, and they themselves go there to show their clothes."

Dikoy is a merchant, an important person in the city. His willfulness is not based on anything, the more he gets rich, the more unceremonious he becomes. "Well, it means that they must obey me. Otherwise I, or something, will obey!" Strong materially, he is weak spiritually. He believes that he is always and always right. Kudryash says about Dick: "How not to scold! He cannot breathe without it." Dikoy: "You have failed! I don't want to talk to you, to a Jesuit. Here I am!"

Tikhon is the son of Kabanikha, he feels fear of his mother, he does not believe her, does not share her claims. "Take everything to heart, so you will soon fall into consumption. Why listen to her! She needs to say something! Well, let her talk, but let go of it ..." Deep down he is kind, generous, loving Catherine.

Kudryash is Barbara's beloved, higher and morally more discerning than her, he has a folk principle, he opposes the world of "fathers" with his mischief and prowess, but not moral strength. "We don't have enough guys to take my position, otherwise we would have disaccustomed him to mischief," speaking of Dick. "I am considered rude; why does he hold me? Therefore, he needs me. Well, then I am not afraid of him, but let him be afraid of me."

Boris is Dikiy's nephew, a well-educated young man. lives in his uncle's house and tries to please him in everything to no avail. “It’s painful and difficult for me here, without a habit. Everyone looks at me somehow wildly, as if I’m superfluous here, as if I’m interfering with them. I don’t know the local customs. I understand that all this is our Russian, dear, but all- I won't get used to it in any way. "

Katerina is the wife of Tikhon. Her image is very tragic, life is sad and hard. She has nothing but her love "... something unkind is happening to me, some kind of miracle ... something so extraordinary in me. As if I'm starting to live again, or ... I don't know anymore." She is a brooding and dreamy, broken nature: "I say, why do not people fly like birds? You know, sometimes it seems to me that I am a bird. When you stand on a mountain, you are drawn to fly. That would run away, raise your hands and flew. Is there nothing to try now? "

Varvara is the opposite of Tikhon, she has will and courage, but no responsibility for her actions. She does not understand Katerina's moral torment. Katerina: "Why don't people fly?" Varvara: "I don't understand what you are saying." "What's the matter with you? Are you healthy?" addressing Katherine.

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

The deep connection of her language with the popular vernacular is reflected in her vocabulary, imagery and syntax.

Her speech is replete with verbal expressions, idioms of popular vernacular: "So that I do not see either my father or mother"; "I doted on the soul"; “Calm my soul”; "How long to get into trouble"; "To be sin," in the sense of unhappiness. But these and similar phraseological units are generally understandable, commonly used, clear. Only as an exception in her speech there are morphologically incorrect formations: "you do not know my character"; "After that, let's talk."

The imagery of her language is manifested in the abundance of verbal and pictorial means, in particular comparisons. So, in her speech there are more than twenty comparisons, and all the other characters in the play, taken together, have a little more than this amount. At the same time, her comparisons are widespread, popular in nature: "as if it was doing me a dove", "as if a dove was cooing," "as if a mountain had fallen off my shoulders," "her hands were burning like coal.

In Katerina's speech, words and phrases, motives and echoes of folk poetry are often heard.

Addressing Varvara, Katerina says: “Why don't people fly like birds? ..” - and so on.

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

Here we can see the phraseological turns of the folk vernacular and folk song character. So, for example, in the collection of folk songs published by Sobolevsky, we read:

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

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

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

speech phraseological thunderstorm Ostrovsky

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

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

Here everything is from folk poetry: diminutive-suffix vocabulary, phraseological phrases, images.

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

... will be covered with an oak board

Yes, they will lower it into the grave

And they will cover with damp earth.

Grow up my grave

You are a grass ant

More scarlet flowers!

Along with the popular vernacular and the arrangement of folk poetry into the language of Katerina, as already noted, the church hagiographic literature had a great influence.

“We,” she says, “had a house full of pilgrims and praying moths. And we will come back from church, sit down for some work ... and the pilgrims will begin to tell where they were, what they saw, different lives, or they sing verses ”(d. 1, yavl. 7).

Possessing a relatively rich vocabulary, Katerina speaks fluently, drawing on diverse and psychologically very deep comparisons. Her speech flows. So, she is not alien to such words and turns of the literary language as: a dream, thoughts, of course, as if all this was in one second, something so extraordinary in me.

In the first monologue, Katerina talks about her dreams: “What dreams I dreamed, Varenka, what dreams! Or golden temples, or some extraordinary gardens, and everyone is singing invisible voices, and the smell of cypress, and the mountains and trees, as if not the same as usual, but how they are written on images "

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

Katerina's speech is unique not only in lexical and phraseological, but also syntactically. It consists mainly of simple and complex sentences, with the statement of predicates at the end of the phrase: “This is how time will pass before dinner. Here the old women will fall asleep, and I am walking in the garden ... It was so good ”(d. 1, yavl. 7).

Most often, as is typical for the syntax of folk speech, Katerina connects sentences through the unions a and yes. "And we will come from the church ... and the wanderers will begin to tell ... And it is as if I am flying ... And what dreams did I have."

Sometimes Katerina's floating speech takes on the character of a popular lament: “Oh, my trouble, trouble! (Crying) Where can I, poor, go? Who can I grab hold of? "

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

The lyrical sincerity, poetry of Katerina's speech is given by the epithets that follow the defined words (golden temples, extraordinary gardens, with crafty thoughts), and repetitions, so characteristic of the oral poetry of the people.

Ostrovsky reveals in Katerina's speech not only her passionate, gentle-poetic nature, but also her strong-willed power. Strong-willed power, Katerina's decisiveness are set off by syntactic constructions of a sharply affirming or negative character.

Homework for the lesson

1. Collect quotation material for the characterization of Katherine.
2. Read actions II and III. Note the phrases in Katerina's monologues that testify to the poetry of her nature.
3. What is Katherine's speech?
4. How is life in the parents' home different from living in the husband's home?
5. What is the inevitability of Katerina's conflict with the world of the "dark kingdom", with the world of Kabanova and the Wild?
6. Why next to Katerina Varvara?
7. Does Katerina love Tikhon?
8. Happiness or unhappiness in the life of Katerina Boris?
9. Can Katerina's suicide be considered a protest against the “dark kingdom?” Perhaps the protest is in love for Boris?

The task

Using homemade material, characterize Katherine. What traits of her character appear in the very first remarks?

Answer

D.I, yavl. V, p. 232: Failure to hypocrite, lie, directness. The conflict is outlined immediately: Kabanikha does not tolerate self-esteem, disobedience in people, Katerina does not know how to adapt and submit. In Katerina there is - along with spiritual softness, tremulousness, songwriting - and hateful for Kabanikha firmness, strong-willed decisiveness, which are heard in her story about sailing on a boat, and in her individual actions, and in her patronymic Petrovna, derived from Peter - “ a rock". D. II, yavl. II, pp. 242–243, 244.

Therefore, Katerina cannot be brought to her knees, and this greatly complicates the conflicting confrontation between the two women. A situation arises when, according to the proverb, a scythe has found on a stone.

Question

How else does Katerina differ from the inhabitants of the city of Kalinova? Find the places in the text that emphasize the poetry of Katerina's nature.

Answer

Katerina is a poetic nature. Unlike the rude Kalinovites, she feels the beauty of nature and loves it. Early in the morning I got up ... Oh, yes I lived with my mother like a flower bloomed ...

"I used to get up early; if in the summer, I go to the spring, wash, bring some water with me and that's it, water all the flowers in the house. I had many, many flowers," she says about her childhood. (d.I, jav. VII, p. 236)

Her soul is constantly striving for beauty. Her dreams were filled with wonderful, fabulous visions. She often dreamed that she was flying like a bird. She talks about the desire to fly several times. (d.I, jav. VII, p. 235). With these repetitions, the playwright emphasizes the romantic sublimity of Katerina's soul, her freedom-loving aspirations. Married early, she tries to get along with her mother-in-law, to fall in love with her husband, but in the Kabanovs' house, no one needs sincere feelings.

Katerina is religious. With her impressionability, the religious feelings instilled in her in childhood firmly took possession of her soul.

“Until my death, I loved to go to church! Precisely, I used to go into heaven, and I don’t see anyone, I don’t remember the time, and I don’t hear when the service is over,” she recalls. (d.I, jav. VII, p. 236)

Question

How would you characterize the heroine's speech?

Answer

All the richness of her inner world is reflected in Katerina's speech: the strength of feelings, human dignity, moral purity, the truthfulness of nature. The strength of feelings, the depth and sincerity of Katerina's experiences are also expressed in the syntactic structure of her speech: rhetorical questions, exclamations, unfinished sentences. And in especially tense moments, her speech takes on the features of a Russian folk song, becomes smooth, rhythmic, melodious. Her speech contains vernaculars, words of a church-religious nature (lives, angels, golden temples, images), expressive means of folk-poetic language ("Rampant winds, you will transfer my sadness to him"). Speech is rich in intonations - joyful, sad, enthusiastic, sad, alarming. Intonations express Katerina's attitude towards others.

Question

Where did these traits come from in the heroine? Tell us how Katerina lived before marriage? How is life in the parents' home different from living in the husband's home?

Answer

P. 235, file I VII ("Was I that way!")

Conclusion

Outwardly, living conditions in Kalinov are no different from those of Katerina's childhood. The same prayers, the same rituals, the same activities, but "here," the heroine notes, "everything seems to be out of bondage." And bondage is incompatible with her freedom-loving soul.

Question

What is Catherine's protest against the "dark kingdom"? Why can't we call her either "victim" or "mistress"?

Answer

Katerina differs in character from all the characters in "The Groza". Whole, honest, sincere, she is incapable of lying and falsehood, therefore, in a cruel world where Wilds and Kabanovs reign, her life is tragic. She does not want to adapt to the world of the "dark kingdom", but she cannot be called a victim either. She protests. Her protest is love for Boris. This is freedom of choice.

Question

Does Katerina love Tikhon?

Answer

Married, apparently not of her own free will, she is at first ready to become an exemplary wife. D. II, yavl. II, p. 243. But such a rich nature as Katerina cannot love a primitive, limited person.

D. V, yavl. III, p. 279 "Yes, he was hateful to me, he was hateful, his caress is worse than beatings to me."

Already at the beginning of the play, we learn about her love for Boris. D. I, yavl.VII, p. 237.

Question

Happiness or unhappiness in the life of Katerina Boris?

Answer

The very love for Boris is a tragedy. D.V, yavl. III, p. 280 "Unfortunately, I saw you." Even the dull-witted Kudryash understands this, warning with alarm: "Oh, Boris Grigorich! (...) It means you want to ruin her completely, Boris Grigorovich! (...) But what kind of people here! You know yourself. They will be driven into the coffin. (...) Only you look - don’t bother yourself, but don’t bring her into trouble! Suppose, even though she has a husband and a fool, but her mother-in-law hurts fiercely. ”

Question

What is the complexity of Katerina's inner state?

Answer

Love for Boris is: free choice dictated by the heart; a deception that puts Katerina on a par with Barbara; rejection of love is submission to the world of Kabanikha. Love-choice dooms Katerina to torment.

Question

How is the heroine's torment, her struggle with herself, her strength shown in the scene with the key and the scenes of a date and farewell to Boris? Analyze vocabulary, sentence structure, folklore elements, connections with folk song.

Answer

D.III, scene II, yavl. III. pp. 261–262, 263

D.V, yavl. III, p. 279.

Scene with the key: “What am I saying, that I am deceiving myself? I should at least die and see him. " Date scene: “Let everyone know, let everyone see what I’m doing! If I was not afraid of sin for you, will I be afraid of human judgment? " Farewell scene: “My friend! My joy! Goodbye!" All three scenes show the heroine's determination. She never betrayed herself anywhere: she decided on love at the behest of her heart, confessed to treason due to her inner feeling of freedom (lies are always lack of freedom), she came to say goodbye to Boris not only because of a feeling of love, but also because of a feeling of guilt: he suffered because of for her. She threw herself into the Volga at the request of her free nature.

Question

So what is at the heart of Katherine's protest against the "dark kingdom"?

Answer

Katerina's protest against the oppression of the "dark kingdom" is based on a natural desire to defend the freedom of her personality. Bondage is the name of her main enemy. With all her being, Katerina felt that living in the "dark kingdom" was worse than death. And she chose death over captivity.

Question

Prove that Katherine's death is a protest.

Answer

The death of Katerina is a protest, a riot, a call to action. Varvara ran away from home, Tikhon blamed his mother for the death of his wife. Kuligin threw a reproach of mercy.

Question

Will the city of Kalinov be able to live as before?

Answer

Most likely no.

The fate of Katerina takes on a symbolic meaning in the play. It is not only the heroine of the play that perishes, but patriarchal Russia and patriarchal morality perish and become a thing of the past. Ostrovsky's drama, as it were, captured people's Russia at a turning point, on the threshold of a new historical era.

For conclusion

The play asks many questions to this day. First of all, it is necessary to understand the genre nature, the main conflict of "Thunderstorms" and understand why N.A. Dobrolyubov wrote in his article "A ray of light in the dark kingdom": "The storm" is, without a doubt, Ostrovsky's most decisive work. The author himself called his work a drama. Over time, researchers increasingly began to call the "Thunderstorm" a tragedy, based on the specifics of the conflict (clearly tragic) and the nature of Katerina, who raised the big questions that remained somewhere on the periphery of society's attention. Why did Katerina die? Because she got a cruel mother-in-law? Because she, being a husband's wife, committed a sin and could not bear the pangs of conscience? If we restrict ourselves to these problems, the content of the work is significantly impoverished, reduced to a separate, private episode from the life of such and such a family and loses its high tragic intensity.

At first glance, it seems that the main conflict of the play is the clash between Katerina and Kabanova. If Marfa Ignatievna were kinder, softer, more humane, the tragedy with Katerina would hardly have happened. But the tragedy might not have happened if Katerina knew how to lie, adapt, if she did not judge herself so severely, if she looked at life more simply and calmly. But Kabanikha remains Kabanikha, and Katerina remains Katerina. And each of them reflects a certain position in life, each of them acts in accordance with its own principles.

The main thing in the play is the inner life of the heroine, the emergence in her of something new, still unclear to herself. “Something in me is so extraordinary, as if I’m starting to live again, or ... I don’t know,” she confesses to her husband's sister Varvara.