All conflicts in the play are a thunderstorm. The main conflict in the play "Thunderstorm

Ostrovsky wrote his play "Thunderstorm" back in 1859, even before serfdom was abolished. In his work, the author shows how society eats itself from the inside, living according to the established way of life and touches on several conflicts.

Drama Thunderstorm conflict and placement of characters

In the drama "Thunderstorm", where conflicts of various nature are touched upon, the car arranged the characters, dividing them into those who live happily in the patriarchal Kalinov and those who do not agree with its foundations and laws. To the first we include Kabanikha and Wild, who by nature are despots, petty tyrants, representatives of the “Dark Kingdom. The second group includes the younger generation, where Varvara leaves home, Tikhon becomes weak-willed, and Katerina, in spite of everything, in spite of despotism, decides to commit suicide, so as not to live by the rules that will contradict her as a person. The heroine with a new outlook on life does not want to accept Domodedovo mores. Yes, with the help a small amount the heroes who live in Kalinovo on the banks of the Volga, the author reveals several peculiar conflicts of the drama "Thunderstorm", among them a family conflict, which is manifested by the collision of Katerina with her mother-in-law.

Social conflict in the drama Thunderstorm

The author also touched upon the social conflict in the drama "Thunderstorm", which is represented by a clash of different worldviews, where the old fights with the new, where the merchant and the merchant's wife are generalized images of tyranny and ignorance that flourished in those days. They are opponents of progress, everything new is perceived with hostility. They want to keep everyone on a short leash so that their "dark kingdom" does not collapse. However, the new worldview that Katerina has is an alternative to the old one. It is different from the views, foundations, traditions that are followed in the dark kingdom. Katerina is a generalized character of a different mindset, with a different character, which is already beginning to emerge in a rotten society and is becoming a ray of light in this dark world.

What is the main conflict of the drama Thunderstorm

Among the social and family conflict, one can single out the main conflict. What is the main conflict of the drama "Thunderstorm"? I believe that the main thing here is the conflict that unfolds within the heroine herself. This is a confrontation between the individual and society. Here we see that Katerina wants to be herself, free, life in the midst of violence is unacceptable to her, only in Kalinovo it is impossible otherwise. It's either like this or it's not. But, the heroine does not put up with such a situation, and if it is impossible to live as you want, it is better to die. She could not kill the freedom-loving personality in herself for the sake of the established order.

Why did the author choose this title for his work? Probably because the depicted life in Kalinovo is in a pre-stormy state, in a state when a catastrophe is coming. This is a thunderstorm, as a harbinger of future changes, a thunderstorm, like a spontaneous feeling that arose between Katerina and Boris, a thunderstorm is a disagreement with the foundations. And in order to emphasize the dead life of the Kalinovites, the author uses the image and description of beautiful nature.

Conflict is an essential part of a dramatic work. It is realized through the plot at various levels and is transformed along with the change in the literary direction.

Thus, in Ostrovsky's play The Thunderstorm, written just two years before the abolition of serfdom, the author describes people who do not want to live in a new way. Society clings to the patriarchal order, thereby stopping progress. Ignorance and groveling is considered the norm.

The conflict manifests itself through the relationship of the characters. A striking confrontation in the play is the pair of Katerina and Kabanikh. Women had to be under the same roof due to circumstances. The Kabanov family is influential and prosperous. Marta Ignatievna has an adult son and daughter. The mother loves to manipulate the children, especially the son. He considers only his opinion correct, does not skimp on humiliation and insults for all family members.

Katerina married Tikhon at a young age, and therefore she hoped that after marriage she would live the way she wants. In reality, the girl is faced with cruelty from her mother-in-law. Katerina and Martha are different, but both have a strong character. The young girl is trying with all her might to resist Kabanikhe.

A love conflict is observed in a pair of Katerina and Boris. Katya falls in love with a recently arrived young man. She likes that he does not look like the inhabitants of the city, his views are close to her. A romance begins between the couple. Katerina is not afraid of either condemnation or shame. However, Boris is not ready to take responsibility. For him, this is just entertainment, because the main purpose of his arrival in Kalinov is to receive an inheritance from his uncle.

A serious conflict occurs between a pair of Wild and self-taught inventor Kuligin. Wild keeps the whole city in fear: steals, insults, drinks and treats everyone down. Kuligin, on the contrary, is trying to help people, he wants to invent something useful for everyone. However, he does not have enough money for his ideas.

Thus, several conflict situations: between a person and society, generations, old and new, as well as a conflict within the personality itself.

Some interesting essays

The image and characteristics of Sotnikov in Bykov's story
Bykov's work "Sotnikov" was written in 1969. At first, the author called his creation "Liquidation". In his works, the author touched upon issues related to morality.
Composition The problem of fathers and children (based on the novel by Turgenev)
The issue of relations between the younger and older generations has been worrying, is worrying and will continue to worry people. This problem has been addressed in many works. Writers and poets of all times tried to explain the causes of clashes between
Analysis of Pushkin's tragedy Mozart and Salieri Grade 9
Artwork by genre direction refers to the tragedy, called by the author small and created in accordance with the unity of place, time and action in the style of classicism.
Harmony in the relationship between fathers and children Final essay
The problem of fathers and children has always excited the minds of various segments of the population. It is not for nothing that even Turgenev himself devoted his greatest work to this issue, which made the writer famous all over the world.
Raskolnikov's path to crime (based on Dostoevsky's novel Crime and Punishment)
Fyodor Mikhailovich Dostoevsky was a Russian writer who first set about writing psychological works. The reader should think about such works, take out something useful for himself.

(327 words) Alexander Ostrovsky was the founding father of the Russian drama theater. He, like no one else, managed to portray the conflict tearing apart real life on different sides of the barricades, so his plays always touch a nerve. The drama "Thunderstorm" is one of such amazing works, which displays the contradictions that concern the whole society today.

Ostrovsky contrasted the brave heroine, uncompromising in her aspirations, with an inert, petrified representative of the older generation. On the scale of one family turned out to be fundamentally different women: Katerina personified the development and supremacy of natural feelings, Kabanikha - loyalty to tradition and all-conquering rationalism. The drama of the collision of these two worlds is not invented by the author. He used life material and depicted the fate of the real inhabitants of Zamoskvorechye. It is no coincidence that the main antagonists are women, this gives additional sharpness to the plot and again immerses the reader in reality. Quarrels and squabbles of the daughter-in-law and mother-in-law resonate in the soul of everyone family man. However, in the play the heroine is only the flesh and blood of two worldviews, which still underlie the conflict between fathers and children.

If the age and family contradictions of the heroines are understandable and natural, then their social confrontation is much deeper. Kabanikha is a representative of the old patriarchal merchants with its prejudices, ignorance and petty-bourgeois conventions. Her world is based on age-old traditions, cunning and calculation. Her morality is hypocrisy. Such is the collective image of the provincial merchant's wife - a representative of a class that gradually supplanted the less cohesive and more wasteful nobles. While the aristocracy was striving for a bird's-eye (wasting hereditary wealth, but was not able to acquire new ones), entrepreneurs saved up and grew stronger, becoming a new financial elite, which lacked one thing - authority. They acquired it through misalliances: they bought noble honors by entering into marriages. Tikhon did the same. However, Katerina was unable to integrate into the social reality of Kalinov, and this is quite expected: her origin rebelled. She saw the world based on ideals, but real family life in a rough and ignorant environment disappointed a sophisticated noblewoman, accustomed to sophistication and grace in everything that surrounded her. In her image, the nobility rebelled against the merchants, not wanting to give up their positions to the rich, but limited and stiff hypocrites who are pulling the country back.

Thus, the diverse conflict in Ostrovsky's drama "Thunderstorm" affects a wide range of social problems that do not have a solution to this day.

Interesting? Save it on your wall!

Ministry of Education of the Republic of Belarus

educational institution

"Belarusian State Pedagogical University named after Maxim Tank"

Department of Russian and Foreign Literature

The peculiarity of conflicts in the drama of A.N. Ostrovsky "Thunderstorm"

Course work

2nd year student

Faculty of Russian Philology

Patorsky Leonid Anatolievich

Scientific adviser:

Karpushin Sergey Vladimirovich

Minsk 2006.

Introduction 3

History of creation, idea, heroes 5

Character, conflict and features of the stage

Actions 9

The relationship between the world and

Personality 11

The idea of the doom of the "dark kingdom" 14

Katerina's protest 15

Features of the conflict 17

Conclusion 22

References 23

INTRODUCTION

In every dramatic work, the connection between composition, conflict and genre is very close, these three components of the work simply cannot but echo each other, and quite often, denoting its genre definition, highlighted in small print on title page, we guess not only the form manifestation and plot resolution, and with it the ideological and thematic basis of the work, but also the main conflict that gives rise to these ideas. Sometimes the genre definition itself (in this case, often underlined by the author) may simply not correspond to the main traditions of genre division in literature. The fact that the genre definition of the author suddenly does not correspond to the form or content suggests that the conflict here is much deeper than the boundaries of one chosen genre dictate. If the writer deliberately emphasizes this discrepancy between form and content, then researchers and critics are faced with another mystery, the resolution of which is important for understanding the conflict, and, consequently, the idea of the work. Gogol's " Dead Souls”, not accidentally called a poem. With his work N.V. Gogol, as it were, sums up the development of literature, forcing already existing genres honed to perfection to work in a new way, and the purpose of such work is to reveal a deeper conflict.

The pictures in the play "Thunderstorm", and the history of its creation reveals many similarities and differences in the comprehension of the formal and meaningful elements of the artistic fabric of the work. A.N. Ostrovsky did not sum up, did not synthesize new genres, however, the genre definition of "Thunderstorm" as an everyday social drama, given by himself, is not entirely accurate, and accordingly, one conflict lying on the surface is, in fact, replaced by another, deeper and more complex. The genre definition of A. Ostrovsky was only a tribute to the literary tradition. The conflict here is destined to play a completely different role.

Ostrovsky showed that even in the ossified world of Kalinov, a folk character of amazing beauty and strength can arise, faith in which - truly Kalinovskaya - is nevertheless based on love, on a free dream of justice, beauty, some kind of higher truth.

Target research work: analyze a work of art at the level of conflicts revealed in it.

Tasks: consider the system of conflictogens at the formal-content level of the organization of textual material; analyze the role of the main characters, their actions in the process of organizing a conflict situation.

Object of study: disclosure of the heuristic potential of social conflict within the framework of a work of art.

Subject of study: disclosure of the specifics of the manifestation of the social conflict in the plot-compositional and linguistic foundations of a work of art.

Research methods: psychological analysis of a work of art.

Predictive proposals for the development of the research object: There are a lot of issues to explore in The Storm drama. For a work, it is productive to study such problems as: the relationship between the “old” and “new” generation in the work; new views on the life of the "young" generation of Kalinov's people; the future of Kalinov and others.

Scientific novelty research work is determined by the nature of the material involved and the methods of its literary interpretation.

HISTORY OF CREATION, IDEA, HEROES

Alexander Nikolaevich Ostrovsky (1823-1886) - the great Russian playwright. Developing the traditions of the realistic dramaturgy of Griboedov, Pushkin, Gogol, he completed the creation of Russian national dramaturgy with his work, and established realism on the Russian stage. His theater was the school of a number of generations of Russian actors.

There is a version that Ostrovsky wrote "Thunderstorm", being in love with a married actress of the Maly Theater Lyuba Kositskaya. It was for her that he wrote his Katerina, it was she who played her. However, the actress did not respond to the writer's fiery love - she loved another, who later brought her to poverty and early death. But then, in 1859, Lyubov Pavlovna played like her own destiny, lived with feelings understandable to her, creating the image of a young touching Katerina, who conquered even the emperor himself.

The play was written in 1859 during a period of social upheaval, when the foundations of serfdom were cracking, and a thunderstorm was gathering in the stuffy atmosphere of reality. Ostrovsky's play takes us to a merchant environment, where the house-building order was most stubbornly maintained. The inhabitants of a provincial town live a life closed and alien to public interests, in ignorance of what is going on in the world, in ignorance and indifference. The range of their interests is limited to household chores. Behind the outward calmness of life lie gloomy thoughts, the dark life of tyrants who do not recognize human dignity. Representatives of the "dark kingdom" are Wild and Boar. The first is the finished type of a tyrant merchant, whose meaning of life is to make capital by any means. Ostrovsky showed from life. The domineering and stern Kabanikha is an even more sinister and gloomy representative of the house-building. She strictly observes all the customs and orders of patriarchal antiquity, "eats" the household, breeds hypocrisy, bestowing gifts on the poor, does not tolerate the manifestation of personal will in anyone. Ostrovsky draws Kabanikha as a staunch defender of the foundations of the "dark kingdom". But even in her family, where everyone resignedly obeys her, she sees the awakening of something new, alien and hated by her. And Kabanikha bitterly complains, feeling how life is destroying her usual relationships: “They don’t know anything, there’s no order. They don’t know how to say goodbye. If the light stays on, I don't know. Well, it's good that I won't see anything." Beneath this humble complaint of Kabanikhi is misanthropy, inseparable from religious bigotry.

"Thunderstorm", published in 1860, was a kind of result creative achievements Ostrovsky. In it, more clearly than in all previous plays, both his satirical power and his ability to affirm the progressive tendencies that arise in life were revealed.

With the images of Dikoy, Kabanikha, Feklusha, a half-mad lady, the playwright showed that those who dominated the life of that time public relations were based on wild arbitrariness, despotism and cruel violence. Wild and Boar, the richest people the city of Kalinov, hold all power in their hands. They do whatever pleases them.

In the play The Thunderstorm, the playwright portrayed not only the deadening conditions of the dark kingdom, but also manifestations of deep hatred for them. The satirical denunciation naturally merged in this work with the affirmation of new forces growing in life, positive, bright, rising to fight for their human rights.

Ostrovsky put Katerina at the center of the drama "Thunderstorm" - a poetic nature, pure, open, a creator in essence of her strong character. She herself says about herself that she was born so hot. “If it gets too cold for me here, I don’t want to live here, I won’t, even if you cut me!” she says. “Everything here seems to be from under captivity.”

In the main character of the drama, the writer drew a new type - an original, integral, selfless Russian woman, who, with the determination of her protest, foreshadowed the end of the dark kingdom.

Katerina personifies the moral purity, spiritual beauty of a Russian woman, her desire for will, for freedom, her ability not only to endure, but also to defend her rights, her human dignity.

Dobrolyubov called Katerina a national, national character, “a bright ray in a dark kingdom,” meaning the effective expression in her of direct protest, the liberation aspirations of the masses. Pointing to the deep typicality of this image, to its nationwide significance, the critic wrote that it represents "an artistic combination of homogeneous features that appear in different situations in Russian life, but serve as an expression of one idea."

The integrity, decisiveness of Katerina's character was expressed in the fact that she refused to obey the rules of the boar's house and preferred death to life in captivity. And this was not a manifestation of weakness, but of spiritual strength and courage, of ardent hatred of oppression and despotism. The heroine of Ostrovsky reflected in her feelings, in her actions, the spontaneous protest of the broad masses of the people against the hated conditions of the dark kingdom.

The leading images of "Thunderstorm" are revealed against a wide social background, organically included in the development of the action. In The Thunderstorm, secondary characters (Kuligin, Feklusha) do not directly participate in the development of the main plot intrigue, but they are necessary, they serve to embody the theme and idea of the work and help the playwright to draw a multifaceted picture of Russian life in the play. Skillfully using the most diverse visual means of the national language, Ostrovsky makes the speech of the characters in The Thunderstorm socially typical and at the same time distinctly individual, concrete, figurative, picturesque.

The playwright masterfully subjugates the composition of The Thunderstorm to the natural disclosure of the conflict underlying the play, reflecting the struggle between obsolete feudal morality and progressive aspirations for the manifestation of human rights. The action of "Thunderstorm", distinguished by epic breadth, is deeply dramatic, it continuously grows in its internal and external dynamism. Increasing the drama and theatricality of the play, Ostrovsky resorts to a contrasting image, to the parallelism between the experiences of the characters and phenomena occurring in nature (thunderstorm), to sharp turns in the development of the action, saturates the play with episodes of high emotional stress. This play, the action of which is carried out both on the street and on the square, is a work of enormous social scale, a distinct democratic ideology, deeply typical characters and high theatricality.

The most profound disclosure of the ideological meaning and artistic features of "Thunderstorm" was given by N.A. Dobrolyubov. Shortly before the appearance of The Thunderstorm, he published an article entitled "Dark Kingdom", in which he brilliantly interpreted Ostrovsky's work as a debunker of the dark kingdom of autocratic Russia, as a writer who had "a deep understanding of Russian life and a great ability to portray its essential aspects sharply and vividly."

The Thunderstorm served as new proof of the correctness of the propositions expressed by the revolutionary-democratic critic. Dobrolyubov explained that the nationality of The Thunderstorm, like all of Ostrovsky’s work, lies in the fact that his plays, showing the complex relationships prevailing in life with all their consequences, serve as “an echo of aspirations that require a better device”.

CHARACTER, CONFLICT AND FEATURES OF STAGE ACTION

Among the expanse of Russian nature, on the steep bank of the Volga, the city of Kalinov is spread. And beyond the Volga one can see villages, fields, forests. “The view is extraordinary! Beauty! The soul rejoices! Kuligin admires. It would seem that the life of the people of this city should be happy. However, it is not. There is a struggle of new forces, younger generation with obsolete social orders and their defenders. The younger generation in the play is represented by Katerina, Varvara, Kudryash, Tikhon. Each of them opposes the "dark kingdom" in its own way, the main representatives of which are Kabanikha and Wild. The composition of "Thunderstorms" is based on love drama. The plot of the action begins with Katerina's confession that she does not love Tikhon, but loves Boris. Katerina's love is dramatic, as she was raised in a religious family. Her feelings are in conflict with the views that she has been instilled with since childhood. Therefore, she considers her love for Boris a sin that she cannot overcome. Her suffering is aggravated by the fact that she is a truthful and sincere person: “I can’t deceive, I can’t hide anything.” Katerina's feeling does not cause well-being in anyone, only Barbara takes pity on her and tries to help her. However, Varvara offers Katerina help, which is unnatural for Katerina and only increases her suffering. Varvara, brought up in the Kabanikh family, learned to lie and dodge, seeing this as an opportunity to resist the oppression of her mother. Barbara lives by the principle: "do whatever you want, as long as it's sewn and covered." Her beloved Kudryash, who works for Diky, lives on the same principle. In the image of the Wild is shown brute force tyranny. Dikoy's speech is ignorant. He does not want to know anything about science, culture, inventions that improve life. Wild constantly fights, but only with those who are afraid of him or dependent on him financially. Households hide from him in attics and cellars, Boris, his nephew, endures his abuse, as he depends on him. Wild greedy. The meaning of his life is to acquire and increase his wealth. To do this, he does not hesitate to use any means. Having thousands, he feels his strength and brazenly demands universal respect and humility. However, in the guise of the Wild, despite all his militancy, there are features of the comic. The boar is the most sinister figure in the city. She observes obsolete orders and customs in the house, based on religious prejudices and Domostroy. She "eats" her sacrifice, "grinds like rusty iron." The speech of the imperious Kabanikh sounds like an order. Kabanikha is a spokesman for the ideas and principles of the "dark kingdom". She understands that some money is not yet given to the authorities, others a sine qua non is the obedience of those who have no money. She wants to kill the domestic will, any ability to resist. Neither Tikhon nor Varvara dare to openly contradict her. However, they are not satisfied with the patriarchal order in the house. Varvara says: “What a hunt to dry something! At least die of longing ... ”She secretly meets with Curly and offers the same way to Katerina. It’s hard for Katerina to go for it, but she decides: “Come what may, and I will see Boris!” However, she cannot hide her love for a long time and decides to repent. Public repentance shows the depth of her suffering, moral greatness, determination and willpower. She says to Boris: “I was not afraid of sin for you, if I am afraid of human court.” But public repentance does not bring her relief. Katerina is left completely alone, she has nowhere to wait for support. The whole future life seems to her a continuous torment for the sin committed. Her position in the family becomes unbearable. In this state, Katerina could only rely on her loved one. But Boris could not be such a support. Financially dependent on the Wild, he obeys his will and leaves for the trading settlement of Kyakhta. What is left for Katherine? “Where to now? Go home?.. Live again? she asks herself. - No, no, don't, it's not good! And the people are disgusting to me, and the house is disgusting to me, and the walls are disgusting! .. I would die now ... ”The only way out that she finds is to rush into the Volga. Having experienced freedom and true happiness, she cannot come to terms with the oppression of the sinister Boar. All her inflexible nature rebelled against this, but she did not have the strength to resist this world in an unequal struggle. The death of Katerina is a spontaneous challenge to the "dark kingdom". It was in the intransigence and decisiveness of Katerina's protest that Dobrolyubov saw "shakyness and the near end of tyranny." Kudryash and Varvara flee to other lands, Tikhon regrets that he did not die with his wife: “It’s good for you. Kate! But why did I stay alive in the world and suffer ... "Dobrolyubov perceived the death of Katerina not only as "bitter", but also "pleasant": in her he saw "a protest brought to an end, proclaimed both under domestic torture, and over the abyss into which the poor woman threw herself.

THE PROBLEM OF RELATIONS BETWEEN THE WORLD AND THE PERSON

The author focuses on the crisis of the patriarchal world and patriarchal consciousness. But at the same time, the play turns out to be a hymn to a living soul that dared to boldly protest, to confront the petrified world. And this problem will be relevant at all times.

The classic "petrification" of characters is deeply in line with the entire system of the patriarchal world. This is his inability to change, his fierce resistance to everything that does not comply with his laws, enslaves everyone who is part of the circle of the patriarchal world, forms souls that are unable to exist outside of his vicious circle. It doesn't matter whether they like this life or not - they simply will not be able to live in another. The heroes of the play belong to the patriarchal world, and their blood connection with it, their subconscious dependence on it, is the hidden spring of the entire action of the play; a spring that forces the characters to make mostly "puppet" movements. The author constantly emphasizes them
lack of self-sufficiency, lack of self-sufficiency. figurative system drama almost repeats the social and family model of the patriarchal world. The family and
family problems. The dominant of this small world is the eldest in the family, Marfa Ignatievna. Around her, family members are grouped at various distances - a daughter, a son, a daughter-in-law and almost disenfranchised residents of the house: Glasha and Feklusha. The same “alignment of forces” organizes the entire life of the city: in the center of Dikaya (and merchants of his level not mentioned in the play), on the periphery there are less and less significant people who do not have money and
social position.

Kalinov fenced himself off from the world so firmly that for more than a century not a single breath of living life has penetrated the city. Look at Kalinov's "progressive and educator" Kuligin! This self-taught mechanic, whose love of science and passion for the public good puts him on the brink of foolishness in the eyes of others, is still trying to invent the “perpeta mobile”: he, poor man, has not heard that in big world long ago proved the fundamental impossibility of creating a perpetual motion machine ... He enthusiastically recites the lines of Lomonosov and Derzhavin,
and he even writes poetry in their spirit... And he is taken aback: as if there was no Pushkin, no Griboyedov, no Lermontov, no Gogol, no Nekrasov! Archaism, living fossil - Kuligin. And his appeals, his ideas, his enlightening monologues about the well-known, about the long-discovered seem
Kalinovtsy with insane innovations, a daring shock to the foundations:

“D and k about y. Yes, what is a thunderstorm, in your opinion? A? Well, speak!

Kuligin. Electricity.

wild (stomping foot). What else there elestrichestvo! Well, how are you not a robber! A thunderstorm is sent to us as a punishment so that we feel, and you want to defend yourself with poles and some kind of goads, God forgive me. What are you, a Tatar, or what? Are you Tatar? A? Speak! Tatar?

Kuligin. Savel Prokofich, your degree, Derzhavin said:

I'm body in
I decay to dust

Mind thunders
I command.

Neither lightning rods, nor Lomonosov, nor a perpetual motion machine are needed by Kalinov: there is simply no place for all this in patriarchal world. But what happens beyond its borders? The ocean rages there, the abysses open up there - in a word, "Satan rules the ball there." Unlike Tolstoy, who believed that the parallel and independent existence of two worlds is possible: the patriarchal, self-contained and unchanging, and the modern,
constantly changing, Ostrovsky saw their fundamental incompatibility, the doom of a frozen life incapable of renewal. Resisting the impending innovations that supplant him
“of all rapidly rushing life”, the patriarchal world generally refuses to notice this life, it creates around itself a special mythologized space in which - the only one - its gloomy, hostile isolation to everything else can be justified. The unimaginable is happening around Kalinov: there are falling from the sky
entire countries inhabited by bloodthirsty peoples: for example, Lithuania "fell on us from the sky ... and where there was some battle with it, mounds were poured there for memory." People “with dog heads” live there; there they make their
unrighteous court Mahnut Persian and Turkish Sultan Mahnut.

“There is nothing to do, we must submit! But when I have a million, then I will talk.” This million will give Kuligin to the trial "the right
demolition”, will be the strongest argument in his favor. In the meantime, there is no million, clever Kuligin "submits." Everyone submits, leading their quiet deceitful game: Varvara, Tikhon, dashing Curly, submits already tightened in
closed space Kalinova Boris. Katerina cannot submit.
Faith, degenerated in the patriarchal consciousness into an empty ritual, is alive in her, her sense of guilt and sin is primarily personal; she believes and repents with the ardor of the first Christians, not yet ossified in religious rituals.
And this personal perception of life, God, sin, duty takes Katerina out of the vicious circle and contrasts her with Kalinov's world. The Kalinovites saw in it a phenomenon much more alien than the city dweller Boris or
reciting Kuligin's poems. Therefore, Kalinov arranges a trial for Katerina.

In the brilliant sketch “Who are the judges?” V. Turbin subtly explores the theme of the trial in Groz: “Kuligin does not want to judge anyone. With a grin, the simple Varvara avoids the role of judge: “Why should I judge you? I have my sins."
But it is not for them to resist the mass psychosis that gripped Kalinov. And psychosis is kindled by two eccentrics flickering on the stage: a wanderer
Feklusha and the lady with footmen. Feklushin's stories about the Makhnuts and people with dog heads seem to Turbin to be the most important
element of the poetics of the play: "And they look at each other, as if in a mirror, two worlds: fantastic and real." And again we meet with a bunch of monsters, centaurs. True, this time their bizarre figures are only a background against which, according to the wanderer-wanderer, the righteousness of the judgment being performed here, in Kalinovo, stands out more clearly.

This court lurked in anticipation of the victim. And the sacrifice appears: in the peals of thunder, in the flash of lightning, the natural is heard, honestly yearning for the cleansing of a sinner. And what happened next is all too well known. Somewhere in the realm of the Turkish and Persian Makhnuts, Katerina, perhaps, would have been pardoned; but she has no mercy in Kalinov.

Driven into the abyss, into the abyss by the all-pervading, all-overtaking
with the word of an amateur court, the sinner passes away: “It’s better in the pool ... Yes, hurry, hurry!”

THE IDEA OF THE DOOM OF THE "DARK KINGDOM"

The development of the action in The Thunderstorm gradually exposes the conflict of the drama. The power of the Boar and the Wild over others is still great. “But it’s a wonderful thing,” Dobrolyubov writes in the article “A Ray of Light in the Dark Kingdom,” “the petty tyrants of Russian life begin, however, to feel some kind of discontent and fear, without knowing what and why ..., another life has grown up, with other beginnings, and although it is far away, it is still not clearly visible, but it already gives itself a presentiment and sends bad visions to the dark arbitrariness of tyrants. Such is the "dark kingdom" - the embodiment of the whole system of life in tsarist Russia: the lack of rights of the people, arbitrariness, oppression of human dignity. Katerina, a poetic, dreamy, freedom-loving nature, enters this world of the Wild and Boars. The world of her feelings and moods was formed in her parents' house, where she was surrounded by the care and affection of her mother. In an atmosphere of hypocrisy and importunity, petty tutelage, the conflict between the "dark kingdom" and Katerina's spiritual world is gradually maturing. Katerina suffers only for the time being. “And if I get really sick of it here, then no force can hold me back. I’ll throw myself out the window, throw myself into the Volga, I don’t want to live here, so I won’t, even if you cut me!” she says. Finding no echo in the heart of a narrow-minded and downtrodden husband, her feelings turn to a person who is unlike everyone else. Love for Boris flared up with the force characteristic of such an impressionable nature as Katerina, it became the meaning of the heroine's life. Katerina comes into conflict not only with environment but also by itself. This is the tragedy of the position of the heroine. If the drama ended with a scene of repentance, it would show the invincibility of the "dark kingdom". But the drama ends with Katerina's moral victory both over the forces that fettered her freedom and over the dark representatives that fettered her will and mind. Katerina decides to commit suicide. The suicide of the heroine is a protest of a worthless life, to the dark forces of the house-building kingdom. If a woman, the most disenfranchised being, and even in the dark, inert milieu of the merchant class, can no longer put up with the oppression of "tyrannical power", it means that among the destitute, downtrodden people, indignation is ripening, which should induce the people to a decisive struggle. For its time, when Russia experienced a period of tremendous social upsurge before the peasant reform, the drama "Thunderstorm" was of great importance. The image of Katerina belongs to the best images women not only in the work of Ostrovsky, but also in all Russian and world literature.

KATERINA'S PROTEST

The image of Katerina is the most striking image in Ostrovsky's play "Thunderstorm". Dobrolyubov, analyzing in detail the image of Katerina, called her "a ray of light in a dark kingdom." Katerina's life in her parents' house proceeded well and carelessly. Here she felt at ease. Katerina lived easily, carefree, joyfully. She loved her garden very much, in which she so often walked and admired the flowers. Later, telling Varvara about his life in home, she says: “I lived, I didn’t grieve about anything, like a bird in the wild. Mom did not have a soul in me, dressed me up like a doll, didn’t force me to work, what I want, it happened, that’s what I do.”

Katerina differs from all representatives of the "dark kingdom" in the depth of her feelings, honesty, truthfulness, courage, determination. Being brought up in a good family, she retained all the beautiful features of the Russian character. This is a pure, sincere, hot nature, an open soul that does not know how to deceive. “I don’t know how to deceive; I can’t hide anything,” she says to Varvara, who claims that everything in their house is based on deception. The same Varvara calls our heroine some kind of "tricky", "wonderful". Katerina is a strong, determined, strong-willed person. From childhood she was capable of bold deeds. Telling Varvara about herself and emphasizing her hot nature, she says: "I was born so hot!" Katerina was very fond of nature, its beauty, Russian songs. Therefore, her speech - emotional, enthusiastic, musical, melodious - is imbued with high poetry and sometimes reminds us of a folk song.

Growing up in her own home, our heroine adopted all the centuries-old traditions of her family: obedience to elders, religiosity, obedience to customs. Katerina, who did not study anywhere, loved to listen to the stories of wanderers and pilgrims and perceived all their religious prejudices that poisoned her young life, forcing Katerina to perceive love for Boris as terrible sin from which she tries and cannot get away. Once in a new family, where everything is under the rule of a cruel, harsh, rude, despotic Kabanikh, Katerina does not find a sympathetic attitude towards herself. Dreamy, honest, sincere, friendly to people, Katerina takes the oppressive atmosphere of this house especially hard. Gradually, life in the house of Kabanikha, which constantly offends the human dignity of Katerina, becomes unbearable for the young woman. In her soul, a dull protest against the "dark kingdom" begins to emerge, which did not give her happiness, freedom and independence. This process develops... Katerina commits suicide. Thus, she proved her case, a moral victory over " dark kingdom".

FEATURES OF THE CONFLICT IN THE PLAY

A conflict is a clash of two or more parties that do not coincide in their views, attitudes. There are several conflicts in Ostrovsky's play "Thunderstorm", but how to decide which one is the main one? In the era of sociologism in literary criticism, it was believed that social conflict was the most important thing in a play. Of course, if we see in the image of Katerina a reflection of the spontaneous protest of the masses against the shackling conditions of the "dark kingdom" and perceive the death of Katerina as the result of her collision with the tyrant mother-in-law, the genre of the play should be defined as a social and everyday drama. Drama is a work in which the public and personal aspirations of people, and sometimes their very lives, are threatened with destruction by external forces that do not depend on them. The play also contains a conflict of generations between Katerina and Kabanikha: the new always steps on the heels of the old, the old does not want to surrender to the new. But the play is much deeper than it might seem at first glance. After all, Katerina primarily struggles with herself, and not with Kabanikha, the conflict develops not around her, but in herself. Therefore, the play "Thunderstorm" can be defined as a tragedy. Tragedy is a work in which there is an insoluble conflict between the personal aspirations of the hero and the supra-personal laws of life that occur in the mind of the protagonist. In general, the play is very similar to an ancient tragedy: the choir is replaced by some extra-plot heroes, the denouement ends with the death of the protagonist, as in ancient tragedy. Katerina's death is the result of a collision between two historical eras. Some of the characters in the play seem to differ in the time in which they live. For example: Kuligin is a man of the 18th century, he wants to invent a sundial, which was known in antiquity, or a perpetuum mobile, which is hallmark Middle Ages, or lightning rod. He himself reaches with his mind what has long been invented, and he only dreams about it. He quotes Lomonosov and Derzhavin - this is also a trait of a man of the 18th century. Boris is already an educator of the 19th century, educated person. Katerina is the heroine of pre-Petrine times. The story about her childhood is a story about the ideal variant of patriarchal house-building relations. In this world of kings, only all-penetrating mutual love, a person does not separate himself from society. Katerina was brought up in such a way that she could not refuse moral and ethical laws, any violation of them is inevitable death. Katerina turns out to be, as it were, older than everyone in the city in her worldview, even older than Kabanikha, who remained as the last guardian of the house-building way in Kalinovo. After all, Kabanikha only pretends that everything is as it should be in her family: her daughter-in-law and her son are afraid and respected, Katerina is afraid of her husband, and she doesn’t care how everything really happens, only appearance is important for her. The main character finds herself in a world that she imagined in a completely different way, and the patriarchal way of life inside Katerina is being destroyed right before her eyes. In many ways, Varvara decides the fate of Katerina, inciting the latter to go on a date. Without Varvara, she would hardly have decided on this. Varvara refers to the youth of the city of Kalinov, which was formed at the turning point of patriarchal relations. Katerina, getting into a new environment for her, cannot get used to society, it is alien to her. For her Ideal husband- it is a support, support, ruler. But Tikhon does not confirm Katerina's expectations, she is disappointed in him, and at this moment a new feeling is born - a feeling of personality, which takes the form of a feeling of love. This feeling for Katerina is a terrible sin. If she continued to live in a patriarchal world, then this feeling would not exist. Even if Tikhon showed his masculine will and simply took her with him, she would forget about Boris forever. The tragedy of Katerina is that she does not know how to be hypocritical and pretend like Kabanikha. The main character of the play, moral, with high moral requirements, does not know how to adapt to life. She could not live on, having once violated the laws of Domostroy. The feeling that originated in Katerina cannot be fully embodied in her, and she, not reconciling herself to what she has done, commits an even greater sin - suicide. The play "Thunderstorm" is a tragedy main character, in which the era of the turning point of patriarchal relations played an important role.

If we consider The Thunderstorm as a social 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 themselves, as if in tags, help to resolve the intricate plot. If the system of characters 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 a drama of an everyday nature, its conflict is simple and easy to guess. What happens in the Storm? A married woman, rather God-fearing, fell in love with another person, secretly meets with him, cheats on her husband. The only thing that worries her is her relationship with her mother-in-law, who is a representative of the "past century" and sacredly protects the letter of the law, and not the content itself, speaking allegorically. Katerina, with such a layout of the conflict and such an understanding of it in the light of the genre definition of "Thunderstorm" as a social and everyday drama, is the personification of the new time, the "current century", and along with Tikhon, Varvara, Kudryash, she fights against the remnants of the past, against housing construction, against the very atmosphere stagnant of dead rules and orders, the personification of which is the pre-reform Kalinov. The main antagonists are also easily identified - Katerina and Kabanikha. In this spirit, many critics understood The Storm, and, in particular, N. A. Dobrolyubov. Here strong personalities collide, two antagonists, one of them must leave, and suddenly ... This seemingly doomed person turns out not to be the old Kabanikha with her archaic views on life, but the young, full of strength Katerina, surrounded by her like-minded people. What's the matter? What happened? The conflict between the old and the new, “the current century and the past century”, would seem to be resolved, but in a somewhat strange way. All this leads us to the idea that the conflict in the play is much deeper, more complex and subtle than it seems at first glance. Of course, a skillfully built storyline, a confrontation between two strong personalities - Katerina and Kabanikhi take place and give us the opportunity to observe a conflict of a social nature, reminiscent of any current television series. But a deeply hidden conflict is revealed here with a slightly different reading of the play and a different genre definition, with a different interpretation of the plot of "Thunderstorms". The definition of the genre "Thunderstorms" and the understanding of the conflict as social and everyday, given by A. N. Ostrovsky, is here not only a tribute to tradition, but also, perhaps, the only possible option at that time. A. I. Zhuravleva explains this phenomenon in this way: “... the whole history of the Russian drama that preceded Ostrovsky did not give examples of such a tragedy in which the heroes would be private individuals, and not historical figures, even legendary ones.” So, the genre definition of "Thunderstorm" with a different interpretation is tragedy, and tragedy, accordingly, implies a higher level of conflict than in drama. The contradiction is carried out not at the level of the system of characters, but at a more complex level. The conflict arises, first of all, in the mind of the hero, who is fighting with himself.

The history of tragedy goes far into the depths of centuries, but usually the characters, starting from ancient tragedy, were historical figures. Suffice it to recall Antigone of Sophocles, who does not know what to do without violating her moral, internal moral principles (and by no means “external”, synthesized state laws).

Such is the conflict with A. N. Ostrovsky, it is internal, moral, only it is experienced not by the tsar's daughter or a noble lady, but by a simple merchant's wife. Brought up on Christian morality and house building principles, she sees with horror their collapse not only around, but also inside herself, in her soul. Everything around her is collapsing, “time began to come in supplication,” says the wanderer Feklusha. The consciousness of her "sinfulness and at the same time the understanding that she is not to blame for anything and that she is not in her power to resist passion, brings her to an insoluble contradiction within herself.

Katerina cannot but love Tikhon - after all, this is how she betrays God in her soul, but nevertheless a terrible thing happens, and Katerina is not able to change anything. The conflict is not in the antagonism of Kabanikh and Katerina, who at first glance seeks the right to freedom of choice of feelings, the conflict lies in Katerina herself, who saw in such a struggle a crime against God and could not come to terms with it. And it is not Kabanikha who destroys Katerina, as Tikhon exclaims in the finale, perceiving everything that happens from the point of view of a man of modern times - Katerina is ruined by her own oppressive inconsistency of her feelings. But the understanding of Katerina's inner experiences is inaccessible to Tikhon, as well as to all other characters in the play. They seem to be relegated to the background, they serve only as a background, a decoration for the manifestation of Katerina's character, such as, for example, Wild or a lady. But in fact, one of the main characters, Boris, is generally characterized as "belonging more to the situation." All the characters seem to form a single whole - their disbelief, coupled with Kuligin's progressive worldview, acts as a kind of counterbalance to Katerina's fanatical faith. At the same time, Katerina's almost sectarian faith leads to an insoluble contradiction in her soul, while everyone else has long been reconciled with their conscience. This contradiction cannot be peacefully resolved, and Katerina is not able to compromise with herself.

Katerina is very different from all the other heroes, however, she is very similar to Kabanikha. Both fanatically believe, both are aware of the horror of Katerina's misdeed, but if Kabanikha guards the old, obsolete, then Katerina also believes with all her heart, and for her all these tests are many times harder than for Kabanikh. Unable to withstand the state of uncertainty, Katerina sees a way out in repentance, but even this does not bring her relief. Repentance no longer plays a special role, retribution is inevitable, Katerina, like all true believers, is a fatalist and does not believe that anything can be changed. There is only one way to end the tragic conflict in the soul - to lose it, to deprive it of immortality, and Katerina commits the gravest sin - suicide.

So, we see that the culmination and denouement of this tragedy is dictated by the genre itself, and this is no longer a social drama with its external conflict. The play is built according to the laws of tragedy; genre, composition, plot - everything affects the conflict, making it subtle and multifaceted, deep and meaningful.

It can be said with confidence: "Thunderstorm" is, as it were, the beginning of the emergence of a new tradition and at the same time remains, due to the peculiarity of the conflict, "a unique phenomenon in Russian literature XVIII century."

CONCLUSION

Love is not only the most exalted feeling of a person, but also the most humane. Sometimes it lifts a person from the very depths of life, with all his shortcomings and imperfections, and leads to the snow-white heights of the spirit. And sometimes it is so huge that it can only find a tragic outcome. That is how, tragically, the life of the main character of the drama A.N. Ostrovsky "Thunderstorm". And in everything that happened, she blamed only herself, on no one, and not offended by anything. Her departure from life will probably be a bitter reproach to those who knew her and loved her, a reproach for their indecision, inability and even unwillingness to understand their loved ones.

The drama "Thunderstorm" can be called the tragedy of "hot heart". Everything in it is fanned by the breath of burning passion, everything is full of tragic contrasts and conflicts. All clashes of characters, feelings, interests are brought to an extreme, excluding compromises and reconciliation.

In the course of the study, we came to the conclusion that only a Russian person is capable of loving in such a way, is able to sacrifice in such a way, so seemingly submissively endure all hardships, while remaining himself, free, not a slave.

In his work, A.N. Ostrovsky showed the tragedy female destiny in the conditions of a petty-bourgeois family that followed the precepts and traditions of house building. The writer showed how a cruel family makes a person capable of suicide out of a cheerful and naive girl,
that is, a person driven to an extreme degree of despair and disappointment in life.

Despite the fact that this work is more than 140 years old, it still remains largely modern. After all, in many families the women's lot remains as difficult as Katerina's.

LIST OF USED LITERATURE:

1. Anikin A.A. To the reading of the play by A.N. Ostrovsky "Thunderstorm". // Lit. in school - 1998. - No. 3

2. Gracheva I.V. Artistic detail in Ostrovsky's play "Thunderstorm". // Lit. in school - 2003. - No. 8

3. Dobrolyubov N.A. Collected works, in 3 volumes, vol. III

4. Zhuravleva A.I. "Thunderstorm" A.N. Ostrovsky. // Lit. in school - 1984 - No. 2

5. Zhuravleva A.I., Makeev M.S. Alexander Nikolaevich Ostrovsky. - M.: Publishing House of Moscow. university 1998. - p. 35-56

6. Orlov P. Ostrovsky's drama "Thunderstorm" in the assessment of Dobrolyubov and Pisarev. // Lit. in school - 1967. - No. 3

7. Petrova S.M. History of Russian literature of the 19th century. - M.: Enlightenment. 1974. - from 225-241

8. Pisarev M.I. Storm. Drama A.N. Ostrovsky. "Wrap Sheet". 1860. - No. 20

9. Podrubnaya E.A. There is always room for achievement in life. // Rus. lang and lit. - 2000. - No. 5

10. Repina L.G. The theme of "Hot Heart" in the work of A.N. Ostrovsky. // Rus. lang and lit. - 2001. - No. 5

11. Fokin P.E. Thunderstorm in Thunderstorm. // Rus. speech. - 1985. - No. 2

ON THE. Dobrolyubov. Collected works, in 3 volumes, vol. III, p. 198.

ON THE. Dobrolyubov. Collected works, in 3 volumes, vol. III, p. 177

A.I. Zhuravleva

The old days are coming to an end!

A. Ostrovsky

The drama “Thunderstorm” is based on Katerina’s protest against the age-old traditions and the old Testament way of life of the “dark kingdom”. The author shows Katerina's deep inner drama: a passionate impulse for freedom and happiness collides with her own ideas about morality, which were formed under the influence of the same "dark kingdom" against which she "revolted".

The play takes place in a very beautiful place on the banks of the Volga. The landscape creates a certain mood,

Which allows, by contrast, to feel the stuffy atmosphere of the life of Kalinovites more sharply. Ignorance and complete mental stagnation are characteristic of the life of the city of Kalinov.

Behind the external calmness of life lie harsh, gloomy mores. “ Cruel morals sir, in our city, cruel!” Kuligin says. They live here according to the principle: "Whoever has money, he tries to enslave the poor." And although in The Thunderstorm attention is focused on family relationships, a picture of gross arbitrariness, robbery and money-grubbing is formed from individual replicas of the characters.

Wild frankly shortchanges the peasants, when they complain about him to the mayor, he cynically declares: “Should we, your honor, talk with you about such trifles!” He is a real despot with his household: in the attics and in the closets, family members hide from his anger, he completely hounded his nephew.

But even more difficult in domestic life is the despotism of Kabanikh. The wild one will scream, swear, even beat him in the heat of the moment, but he will immediately cool down. The boar, on the other hand, torments and pursues his victim from day to day, eats food, “like rusty iron.”

She does not tolerate contradictions in anyone, she teaches everyone, forcing them to live according to the laws of the “old life”. This is a domineering, stern, adamant guardian of the foundations of the “dark kingdom”.

But Katerina does not want and cannot put up with the deceitful and cruel atmosphere of Kabanova's house. Planned main conflict: the unwillingness of a bright personality to put up with the "dark kingdom".

Katerina could not learn to lie, to be hypocritical. From the very beginning of the play, we feel her rejection of the life that is being forced on her. She is deeply offended by the instructions of her mother-in-law, who wants to bring her into complete obedience.

During her husband's departure, Katerina "stands as if in a daze." She understands that her husband did not want to offend her, that he acted against his will, and is not angry with him. But love and respect him can not.

The more Katerina is humiliated, the stronger the desire for freedom, love, and happiness awakens in her soul. Katerina considers this aspiration to be sinful, she is afraid of herself, afraid to be alone with her thoughts and feelings. Despair and doom are heard in her words: “Where can I, poor thing, go?

Who can I grab onto? My fathers, I am dying!” Katerina makes a desperate attempt to prevent trouble, to force herself to love her husband. But Tikhon is not able to understand her condition.

Katerina cannot live in deceit, she considers her love a great sin. Having fallen in love with Boris, she "just begins to live again." It has inner strength, decisiveness: “I was born that way, hot!” She is ready to defend her freedom, at least at the cost of death: “If I get very cold here, they won’t hold me back by any force.

I'll throw myself out the window, I'll throw myself into the Volga. I don’t want to live here, I won’t, even if you cut me!”

Katerina's position is difficult, she was brought up on the same house-building customs. She is a "husband's wife" and has nowhere to go. There were two options left: to return home and submit or die.

She chose the latter. By her behavior, Katerina rejects the principles of Domostroy morality, strives for a new life and prefers death to life in captivity.

Influenced by Katerina and her tragic fate in one form or another, other heroes of the drama express their protest against the despotism of tyrants. Varvara and Kudryash flee from Kalinovo, Kuligin for the first time addresses the petty tyrants with bitter reproach, and finally, the resigned Tikhon, who still has not disobeyed his mother, throws her a severe accusation: “You ruined her! You! You!"

Everything that so fanatically defends Kabanikh is to blame for the death of Katerina, all those established social relations that lead a person to tragedy. But in the “dark kingdom” a person is possible who is capable of protest. Dobrolyubov wrote about the death of Katerina: “This end seems to us gratifying ... it is given terrible challenge tyrannical force ... In Katerina we see a protest against Kaban's concepts of morality, a protest carried to the end ... "

The death of Katerina confirmed the gloomy forebodings of Kabanikh and Wild: the end of their strength is coming, new times are coming.

(No Ratings Yet)

A. N. Ostrovsky introduced into Russian literature new genre comedy - "essay" in composition and "physiological" in style. The main focus of the playwright throughout creative way was focused on revealing the life and customs of the merchant class. At the same time, he considered realism and nationality to be the highest criterion of creativity, and the main feature of Russian literature was its accusatory character. Ostrovsky started [...]
THE CENTRAL CONFLICT OF THE DRAMA OF AN OSTROVSKY "THE THUNDER" Any dramatic work is always based on a dramatic conflict - a clash of opposing ideas, views, moral principles, and characters. There is such a conflict in the drama of A. N. Ostrovsky “Thunderstorm”. However, in the work of Ostrovsky, he acquires an extraordinary versatility and complexity. The fact is that, starting with the confrontation between the main character and the surrounding [...] ...
"Thunderstorm" by Ostrovsky is a complex and multifaceted work, allowing various interpretations and interpretations. Even the genre of this play is defined in different ways: it is sometimes called a drama, sometimes a folk tragedy, depending on how the conflict underlying it is understood. If we consider it as intra-family, everyday, then the reason for Katerina's drama is obvious: the wife cheated on her husband, which she herself admitted [...] ...
It is not for nothing that in the mean author's remark of the last act of the play “Thunderstorm” it is written: “The scenery of the first act. Twilight". The twilight world is presented to us by a talented playwright, a world in which the "thunderstorm" is not able to dispel the darkness otherwise than at the everyday level. And the death of Katerina, despite all the efforts of the author to give her the volume of a symbol, is tragic, but not dramatic. Katerina was ruined by her own notions [...] ...
The drama "Thunderstorm" was written by Ostrovsky in 1859, when Russian society lived in anticipation of reforms or thunderstorms of popular unrest. The play was perceived as a call for the renewal of life, for freedom. The play is based on the tragic conflict of Katerina's living feelings and the dead way of the “dark kingdom”. Two different poles, two opposite forces are embodied in Katerina and Kabanikh. Boar […]...
tragic conflict in the play by A.N. Ostrovsky's "Thunderstorm" I. Introduction A tragic conflict is a contradiction that cannot be safely resolved. (For more details, see Glossary, Art. Conflict and Tragic.) II. The main part The tragedy of the conflict in the play “Thunderstorm” is connected mainly with the image of Katerina. There are two sides to this conflict: external and internal: a) external conflict. It is in conflict [...]
Katerina's death is a tragedy for society. Ostrovsky thus shows that in the existing society, many people cannot survive in it. But who is still to blame for the death of Katerina? Boris, Tikhon, Kabanova or the whole society? What caused such an impetus? Firstly, Katerina was a believer, God was an idol for her. Cheating on her husband at that time was a great sin. […]...
The work of A. Ostrovsky - the Russian Moliere and the Russian Shakespeare, as he is sometimes called, today, in the era of the formation of a specific form of "wild capitalism", requires new approaches and more careful reading, because it again raises the problems that worried society both in mid-nineteenth and at the end of the 20th – beginning of the 21st century. Ostrovsky's drama "Thunderstorm" is one of the best [...] ...
Such is the event outline of the work, with the help of which the author reveals to us a whole gallery of human types. Here are the merchants - tyrants, And the honorary mothers of families - guardians of local customs, and wanderers - pilgrims, telling fables, taking advantage of the darkness and ignorance of the people, and home-grown scientists - projectors. However, with all the variety of types, it turns out to be easy to see that all of them [...] ...
After the release of Ostrovsky’s drama “Thunderstorm”, the contemporaries saw in it a call for the renewal of life, for freedom, because it was written in 1860, when everyone was waiting for the abolition of serfdom in the country. In the center of the play is a socio-political conflict: the conflict between the masters of life, representatives of the “dark kingdom”, and their victims. Against the backdrop of a beautiful landscape, an unbearable [...] ...
Arbitrariness, on the one hand, and lack of consciousness of the rights of one's personality, on the other; these are the foundations on which all the ugliness of relations is based, developed by Mykh in most of Ostrovsky's comedy. NL Dobrolyubov The theme of the conflict between the individual and society in literature is one of the eternal ones. Throughout the 19th-20th centuries, writers reveal this problem in their works, trying to bring […]
The drama "Thunderstorm" is the pinnacle of Ostrovsky's work. It was first published in the January issue of the Library for Reading magazine for 1860. The main theme of the play is the struggle of new aspirations with old, conservative foundations. The city of Kalinov and its inhabitants. The city of Kalinov on the Volga is a collective image of the Volga cities - the keepers of the traditions of the Russian way of life. View of the distant banks of the Volga, opening [...] ...
The darkness of bitter truths is dearer to us than the uplifting deception. AS Pushkin Looking at the same thing, we all see different things. There is an anecdote about this: -What is the difference between an optimist and a pessimist? -An optimist says that the hall is half full, and a pessimist says that it is half empty. Look at what Dobrolyubov saw in the heroine of the drama “Thunderstorm”: “The extraordinary originality of this [...] ...
1. The life of the Russian patriarchal merchant class. 2. "Dark Kingdom" and its representatives. 3. The younger generation in drama. 4. Contradictions between the older and younger generations. A. N. Ostrovsky showed the life of the Russian merchants. In the drama "Thunderstorm", against an ordinary background, a tragedy unfolds that ruined the life of a young woman. What is the cause of Catherine's death? Is it possible to say that it was the conflict of generations that led […]
Conflict is the main driving force of a dramatic work. The conflict unfolds through the story and can be implemented on several different levels. Whether it's a confrontation of interests, characters or ideas, the conflict is resolved at the end of the work. The essence of the conflict can also be determined by the literary era (realism and postmodernism, for example, are characterized by different types of conflicts). In realism, the conflict will be hidden in the depiction of social [...] ...
Ostrovsky's plays reflected, as if in a mirror, the whole life of the Russian merchant class. The drama "Thunderstorm" shows the reader a reliable picture of the tragedy, which can be considered a completely common occurrence for the merchant environment. The life and customs of the Russian merchants were capable of bringing a person to moral and physical death, and Ostrovsky in his works shows all the terrible circumstances in their everydayness and typicality, [...] ...
Ostrovsky's play has every reason to be called a "Russian tragedy". The constructive elements of the tragedy genre appear in it, transformed by the specifics of national life. The “fatal” passion of the heroine, leading to “death”, the image of a “thunderstorm” that pervades all the action, the divination of a crazy lady, in which the myth “of the tragic guilt inherent in beauty” (P. A. Markov ). The inhabitants of the city of Kalinov, witnesses and [...] ...
In Katerina we saw a protest against Kaban's conceptions of morality, a protest carried through to the end. N. A. Dobrolyubov Ostrovsky's play was written in 1859, during the rise of the revolutionary movement of the masses, in an era when the individual stood up to fight for his emancipation. “Thunderstorm”, according to N. A. Dobrolyubov, “Ostrovsky’s most decisive work”, since it shows [...] ...
The drama "Thunderstorm", written by A. N. Ostrovsky in 1859, is a socio-psychological drama in its genre, but it is close to tragedy. This is proved not only by the tragic ending - the suicide of the heroine, but also by the strongest passions, the classic contradiction between feeling and duty in Katerina's soul. As a subtle master psychologist, the author draws the heroine's deep feelings, her suffering, her mood swings. […]...
Written on the eve of the abolition of serfdom, “Thunderstorm” rightfully ranks among best plays Russian dramaturgy. A. N. Ostrovsky raises in it the themes of freedom, happiness, conscience, love. Against the backdrop of the difficult fate of the inhabitants of the provincial Kalinov, the personal tragedy of the central heroine, Katerina, unfolds. It is unbearable for a young woman, married to the son of a local merchant Kabanova, to live in an environment of heartlessness and [...] ...
Our 19th writers centuries, they often talked about the unequal position of the Russian woman. “You share!” - Russian female share! Hardly more difficult to find,” exclaims Nekrasov. Chernyshevsky, Tolstoy, Chekhov and others wrote on this subject. But personally, A.N. Ostrovsky really revealed the tragedy of the female soul to me in his plays. “There was a girl. Dreamy, kind, affectionate. She lived with her parents. Needs […]
The drama of A. N. Ostrovsky “Thunderstorm” is the most significant work playwright - appeared in 1860, at a time when the foundations of serfdom were breaking down and a thunderstorm was really gathering in the stuffy Russian atmosphere. At the heart of the work is the conflict between the young woman Katerina and the “dark kingdom”, the kingdom of petty tyrants, despots, and ignoramuses. To understand why this conflict arose, why the end of the drama is so tragic, […]
In 1845, Ostrovsky worked in the Moscow Commercial Court as a clerical officer of the desk "for cases of verbal violence." Unfolded before him the whole world dramatic conflicts, sounded all the discordant wealth of the living Great Russian language. I had to guess the character of a person by his speech warehouse, by the features of intonation. The talent of the future master was brought up and honed speech characteristics characters in their plays. Ostrovsky in [...]
Objectives: to test knowledge of the content of the read actions of the drama “Thunderstorm”; improve the ability to comment and expressively read scenes from a play, identify conflicts and issues raised by the playwright, analyze what has been read, draw independent conclusions; to teach kindness, justice, respect for the human person. Equipment: portrait a. n. Ostrovsky; drama illustrations; fragments of the film or the play “Thunderstorm” (at the choice of the teacher); drama text; epigraph on […]
There are two types of people: one is people who are used to fighting for better life, people are decisive, strong, while others prefer to obey, adapt to environmental conditions. In A. N. Ostrovsky's play "Thunderstorm", Katerina can be attributed to the first, and Varvara - to the second type. Katerina is a poetic nature, she feels the beauty of nature. “I used to get up early in the morning, […]
The main characters: Savel Prokofievich Dikoi - a merchant, a significant person in the city. Boris Grigorievich is his nephew, an educated young man. Marfa Ignatievna Kabanova - a widow, a rich merchant's wife. Tikhon Ivanych Kabanov is her son. Katerina is his wife. Varvara is the sister of Tikhon Kabanov. Kuligin is a self-taught watchmaker looking for a perpetuum mobile, a tradesman. Vanya Kudryash is a clerk in Wild, a young man. […]...
Main characters: Savel Prokofievich Dikoi - a merchant, significant person in the city; Boris Grigoryevich - his nephew, a young man, decently educated; Marfa Ignatievna Kabanova (Kabanikha) - a rich merchant's wife, widow; Tikhon Ivanovich Kabanov - her son; Katerina, his wife; Barbara, daughter of Kabanikhi; The action takes place in the city of Kalinov on the banks of the Volga, in the summer. Between the third and fourth acts, […]
THUNDER A drama in five acts Act I A public garden on the banks of the Volga. Sitting on a bench, the tradesman Kuligin admires the Volga. Curly and Shapkin, strolling along, hearing the merchant Dikoy scolding his nephew, discuss this. Kudryash sympathizes with Boris Grigorievich, believes that Diky needs to be properly scared so that he does not mock people. Shapkin recalls that Dikoi wanted [...]
In the development of the drama there must be observed strict unity and consistency; the denouement should flow naturally and necessarily from the tie; each scene must certainly contribute to the movement of the action and move it to a denouement; therefore, there should not be a single person in the play who would not directly and necessarily participate in the development of the drama, there should not be a single conversation [...] ...
After the release of Ostrovsky’s drama “Thunderstorm”, the contemporaries saw in it a call for the renewal of life, for freedom, because it was written in 1860, when everyone was waiting for the abolition of slavery and serfdom in the country. In the center of the play is a socio-political conflict: the masters of life, representatives of the "dark kingdom" with their victims. Against the backdrop of a beautiful landscape, an unbearable [...] ...
Ostrovsky's play caused many articles and reviews. Among them, the article by N. A. Dobrolyubov “A ray of light in a dark kingdom” stands out. Why was Katerina called “a ray of light”? Because the instinctive protest of the heroine of "Thunderstorm" was for the critic a direct proof of the doom of the "dark kingdom". “It is known,” Dobrolyubov argued, “that extremes are reflected by extremes and that the strongest protest […]
The drama Thunderstorm was conceived under the impression of Ostrovsky’s trip along the Volga (1856-1857), but written in 1859. “Thunderstorm,” as Dobrolyubov wrote, “is without a doubt Ostrovsky’s most decisive work.” This assessment has not lost its force to this day. Among everything written by Ostrovsky, “Thunderstorm” is undoubtedly the best work, the pinnacle of his work. This is a real pearl of the Russian […]...
Is Katerina's death a protest? Is it true that the strongest protest is brewing in the weakest and most patient individuals? Indeed, Katerina is a complex character, in which inner strength and determination are hidden behind external fragility. This person is no weaker than the representatives of the “dark kingdom”. Katerina does not intend to adapt and endure the old way of life. Her first protest is […]
Two dramas by A. N. Ostrovsky are devoted to the same problem - the position of women in Russian society. Before us are the fates of three young women: Katerina, Varvara, Larisa. Three images, three destinies. Katerina differs in character from all the characters in the drama "Thunderstorm". Honest, sincere and principled, she is not capable of deceit and falsehood, of resourcefulness [...] ...
A. N. Ostrovsky, the author of numerous plays about the merchants, the creator of the repertoire for the Russian national theater, is rightfully considered a "singer of merchant life." And he sits at the entrance to the Maly Theater, sculpted with a chisel by the sculptor Andreev, and reminds us of the past, of the dark, funny and scary world its many heroes: the Glumovs, the Bolshovs, the Podkhalyuzins, the Wild and the Boars. Image of the world of Moscow […]...
The highest artistic achievement of A. N. Ostrovsky in the pre-reform years was the drama “Thunderstorm”. The author takes us to the provincial merchant town of Kalinov, whose inhabitants stubbornly cling to the established way of life for centuries. But already at the beginning of the play it becomes clear that those human values, for which Domostroy stands up, have long lost their meaning for [...] ...
This work was published in 1860, during a period of public upsurge, when feudal foundations began to crumble, and a thunderstorm really gathered in a stuffy, disturbing atmosphere. In Russian literature, a thunderstorm has long been the personification of the struggle for freedom, and in Ostrovsky it is not just a majestic natural phenomenon, but a social upheaval. The play reflects the impressions of the trip along the Volga, which [...] ...
The plot of "Thunderstorm" is defined in different ways. A. I. Revyakin considers Boris's declaration of love for Katerina, combined with Katerina's reciprocal confession, to be the plot. E. Kholodov argues that Katerina's confession is “not yet the beginning, but only the possibility of the beginning”, which is realized only when Katerina decides to date Boris. In both cases, the basis of the plot [...] ...
The tragic acuteness of Katerina's conflict with the "dark kingdom" in the drama of A. N. Ostrovsky's "Thunderstorm" I. Combination of genres of drama and tragedy in Ostrovsky's play "Thunderstorm". II. Masters and victims of the "dark kingdom". 1. “The absence of any law and logic is the law and logic of this life” (Dobrolyubov). 2. Wild and Boar as the embodiment of despotism, tyranny, ignorance and hypocrisy. 3. […]...
In The Thunderstorm, Ostrovsky, operating with a small number of characters, managed to uncover several problems at once. Firstly, it is, of course, a social conflict, a clash of "fathers" and "children", their points of view (and if we resort to generalization, then two historical epochs). Kabanova and Dikoy belong to the older generation, actively expressing their opinion, and Katerina, Tikhon, Varvara, Kudryash and Boris belong to the younger one. Kabanova is sure […]