The concept of mirror images. From work experience. Lesson. Drama "Thunderstorm". System of images, techniques for revealing the characters' characters. The originality of the conflict. Meaning of the name

Lesson topic: Drama “Thunderstorm”. System of images, techniques for revealing the characters' characters.

Goals:

1. Introduce the system of images of the drama “The Thunderstorm” by A.N. Ostrovsky.

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

3. Education of patriotism using the example of Ostrovsky’s drama “The Thunderstorm”; awaken interest in Ostrovsky’s work

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

Progress of the lesson.

1. Org. start of the lesson.

2. Checking homework

3. Communicating the topic and objectives of the lesson

4. Work on the topic of the lesson

Working with the text of Ostrovsky's play "The Thunderstorm".

System characters plays.

"Dark Kingdom"

Kabanova Marfa Ignatievna

Dikoy Savel Prokofich

wanderer Feklusha

tradesman Shapkin

maid Glasha

Victims of the “dark kingdom”

Katerina

Studying the list of characters, it should be noted speaking names, distribution of heroes by age (young - old), family ties (indicated by Dikoy and Kabanova, and most of the other heroes by family ties with them), education (only Kuligin, a self-taught mechanic, and Boris have it). The teacher, together with the students, draws up a table, which is written down in their notebooks.

Questions for discussion

- What place does Katerina occupy in this system of images?

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

 How to understand this definition - “mirror” images?

Features of revealing the characters' characters. Students' reports of their observations of the text.

Speech characteristics ( individual speech characterizing the hero):

 Katerina - poetic speech, reminiscent of a spell, lament or song, filled with folk elements.

 Kuligin is the speech of an educated person with “scientific” words and poetic phrases.

- Wild - speech is replete with rude words and curses.

 Kabanikha is a hypocritical, “pressing” speech.

 Feklusha - the speech shows that she has been in many places.

The role of the first remark, which immediately reveals the character of the hero:

 Kuligin. Miracles, truly one must say: miracles!

 Curly. And what?

 Wild. What the hell are you, you came to beat the ships! Parasite! Get lost!

 Boris. Holiday; what to do at home!

 Feklusha. Blah-alepie, honey, blah-alepie! The beauty is wonderful.

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

 Tikhon. How can I, Mama, disobey you!

 Varvara. No respect for you, of course!

 Katerina. For me, Mama, it’s all the same, like my own mother, like you, and Tikhon loves you too.

Using the technique of contrast and comparison:

 monologue of Feklushi - monologue of Kuligin;

 life in the city of Kalinov - Volga landscape;

 Katerina - Varvara;

 Tikhon - Boris.

The main conflict of the play is revealed in the title, in the system of characters who can be divided into two groups - “masters of life” and “victims”, in the unique position of Katerina, who is not included in any of the named groups, in the speech of the characters corresponding to their position , and even in the technique of contrast, which determines the confrontation of the heroes.

Let us characterize the city of Kalinov, let’s find out how people live here, answer the question: “Is Dobrolyubov right in calling this city a “dark kingdom”?

« The action takes place in the city of Kalinov, located on the banks of the Volga. In the city center there is Market Square, nearby there is an old church. Everything seems peaceful and calm, but the owners of the city are rude and cruel.”

We enter the city of Kalinov from the side of the public garden. Let's pause for a minute and look at the Volga, on the banks of which there is a garden. Beautiful! Don't take your eyes off! So Kuligin also says: “The view is extraordinary! Beauty! The soul rejoices!” People probably live here peaceful, calm, measured and kind. Is this true? How is the city of Kalinov shown?

Tasks for the analysis of two monologues by Kuligin (D. 1, appearance 3; D. 3, appearance 3)

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

"Cruel morals"; “rudeness and naked poverty”; “You can never earn more than your daily bread through honest work”; “trying to enslave the poor”; "for free labor more money make money”; “I won’t pay a penny extra”; “trade is undermined out of envy”; “they are at enmity”, etc. - these are the principles of life in the city.

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

“They made the boulevard, but they don’t walk”; “the gates are locked and the dogs are down”; “so that people don’t see how they eat their own family and tyrannize their family”; “tears flow behind these constipations, invisible and inaudible”; “behind these castles there is dark debauchery and drunkenness”, etc. - these are the principles of family life.

Conclusion. If it’s so bad in Kalinov, then why is the wonderful view of the Volga shown at the beginning? Why is the same beautiful nature shown in the scene of the meeting between Katerina and Boris? It turns out that the city of Kalinov is contradictory. On the one hand, this is a wonderful place, on the other, life in this city is terrible. Beauty is preserved only in that it does not depend on the owners of the city; they cannot subjugate the beautiful nature. Only poetic people who are capable of sincere feelings. People's relationships are ugly, their lives "behind bars and gates."

Questions for discussion

How can you evaluate Feklushi’s monologues (d. 1, appearance 2; d. 3, appearance 1)? How does the city appear in her perception? Bla-alepye, wondrous beauty, promised land, paradise and silence.

What are the people like who live here? The residents are ignorant and uneducated, they believe Feklusha’s stories, which show her darkness and illiteracy: the story of the fiery serpent; about someone with black face; about time that is becoming shorter (d. 3, yav. 1); about other countries (d. 2, yavl. 1). Kalinovites believe that Lithuania fell from the sky (d. 4, yavl. 1.), they are afraid of thunderstorms (d. 4, yavl. 4).

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

Who prepares their appearance? Kudryash introduces Dikiy, Feklush introduces Kabanikha.

Wild

Who is he in terms of his material and social status?

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

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

How did Dikoy behave during the collision with the hussar and after it?

Show how Wild’s speech reveals his character?

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

Kabanikha

Who is she in terms of her social and financial status?

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

How does her hypocrisy and hypocrisy manifest itself?

What actions and statements of Kabanikha indicate cruelty and heartlessness?

What are the similarities and differences between the characters of the Wild and Kabanikha?

What are the features of Kabanikha’s speech?

How do Tikhon, Varvara and Katerina feel about Kabanikha’s teachings?

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

General conclusion. The Boar is more terrible than the Wild One, since her behavior is hypocritical. Wild is a scolder, a tyrant, but all his actions are open. Kabanikha, hiding behind religion and concern for others, suppresses the will. She is most afraid that someone will live in their own way, by their own will.

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

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

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

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

"The tyrants of Russian life."

What does the word "tyrant" mean? (wild, powerful person, tough at heart)

What is your idea of ​​the Wild?

What is the reason for the unbridled tyranny of the Wild One?

How does he treat others?

Is he confident in the limitlessness of power?

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

Let's conclude:

Dikoy Savel Prokofich -“shrill man”, “swearer”, “tyrant”, which means a wild, cool-hearted, powerful person. The goal of his life is enrichment. Rudeness, ignorance, swearing, and swearing are common to the Wild One. The passion for swearing becomes even stronger when they ask him for money.

Kabanova Marfa Ignatievna – a typical representative of the “dark kingdom”.

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

2. How does she treat her family? What is her attitude to the “new order”?

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

4. Describe Kabanova’s speech, manner of speaking, and communication. Give examples.

Let's conclude:

Kabanova Marfa Ignatievna - the embodiment of despotism disguised as hypocrisy. How Kuligin correctly described her: “A prude... She gives favors to the poor, but completely eats up her family!” For her, love and maternal feelings for her children do not exist. Kabanikha is the exact nickname given to her by people. She is a “guardian” and defender of the customs and orders of the “dark kingdom”.

The results of the actions of these heroes:

- the talented Kuligin is considered an eccentric and says: “There is nothing to do, we must submit!”;

- kind, but weak-willed Tikhon drinks and dreams of breaking out of the house: “and with this kind of bondage you will run away from whatever beautiful wife you want”; he is completely subordinate to his mother;

- Varvara adapted to this world and began to deceive: “And I wasn’t a deceiver before, but I learned when it became necessary”;

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

This is how he breaks the dark kingdom of good people, forcing them to endure and remain silent.

Young heroes of the play. Give them a description.

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

Boris - gentle, kind, really understands Katerina, but is unable to help her. He is unable to fight for his happiness and chooses the path of humility.

Varvara - understands the meaninglessness of protest; for her, lying is protection from the laws of the “dark kingdom.” She ran away from home, but did not submit.

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

Lesson summary.

The city of Kalinov is a typical second city in Russia half of the 19th century century. Most likely, A. N. Ostrovsky saw something similar during his travels along the Volga. Life in the city is a reflection of a situation where the old does not want to give up its positions and seeks to maintain power by suppressing the will of those around them. Money gives the “masters of life” the right to dictate their will to the “victims”. In a truthful display of such a life, the author’s position calls for changing it.

Homework

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

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

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

The realistic method of writing enriched literature with images and symbols. Griboedov used this technique in the comedy “Woe from Wit.” The essence is that objects are endowed with a certain symbolic meaning. Symbolic images can be end-to-end, that is, repeated several times throughout the text. In this case, the meaning of the symbol becomes significant for the plot. Special attention you need to pay attention to those images-symbols that are included in the title of the work. That is why emphasis should be placed on the meaning of the name and figurative symbolism of the drama “The Thunderstorm”.

To answer the question of what the symbolism of the title of the play “The Thunderstorm” contains, it is important to know why and why the playwright used this particular image. The thunderstorm in the drama appears in several forms. The first is a natural phenomenon. Kalinov and its inhabitants seem to live in anticipation of thunderstorms and rain. The events that unfold in the play take place over approximately 14 days. All this time, phrases are heard from passers-by or from the main characters that a thunderstorm is approaching. The violence of the elements is the culmination of the play: it is the thunderstorm and the clap of thunder that force the heroine to admit to treason. Moreover, thunderclaps accompany almost the entire fourth act. With each blow the sound becomes louder: Ostrovsky seems to be preparing readers for highest point intensity of the conflict.

The symbolism of a thunderstorm includes another meaning. "Thunderstorm" is understood different heroes differently. Kuligin is not afraid of a thunderstorm, because he does not see anything mystical in it. Dikoy considers the thunderstorm a punishment and a reason to remember the existence of God. Katerina sees the thunderstorm as a symbol of rock and fate - after the loudest thunderclap, the girl confesses her feelings for Boris. Katerina is afraid of thunderstorms, because for her it is equivalent Last Judgment. At the same time, the thunderstorm helps the girl decide to desperate step, after which she became honest with herself. For Kabanov, Katerina’s husband, the thunderstorm has its own meaning. He talks about this at the beginning of the story: Tikhon needs to leave for a while, which means he will lose his mother’s control and orders. “For two weeks there will be no thunderstorm over me, there are no shackles on my legs...” Tikhon compares the riot of nature with the incessant hysterics and whims of Marfa Ignatievna.

One of the main symbols in Ostrovsky’s “The Thunderstorm” can be called the Volga River. It’s as if she separates two worlds: the city of Kalinov, “ dark kingdom"and that ideal world that each of the characters came up with for themselves. The words of Barynya are indicative in this regard. Twice the woman said that the river is a whirlpool that draws in beauty. From a symbol of supposed freedom, the river turns into a symbol of death.

Katerina often compares herself to a bird. She dreams of flying away, breaking out of this addictive space. “I say: why don’t people fly like birds? You know, sometimes I feel like I'm a bird. When you stand on a mountain, you feel the urge to fly,” says Katya to Varvara. Birds symbolize freedom and lightness, which the girl is deprived of.

The symbol of the court is not difficult to trace: it appears several times throughout the work. Kuligin, in conversations with Boris, mentions the court in the context of “ cruel morals cities." The court appears to be a bureaucratic apparatus that is not called upon to seek the truth and punish violations. All he can do is waste time and money. Feklusha talks about refereeing in other countries. From her point of view, only Christian court and court according to the laws of the economy can judge righteously, while the rest are mired in sin.
Katerina talks about the Almighty and about human judgment when she tells Boris about her feelings. For her, Christian laws come first, not public opinion: “If I was not afraid of sin for you, will I be afraid of human judgment?”

On the walls of the dilapidated gallery, past which residents of Kalinov walk, scenes from the Holy Letter are depicted. In particular, pictures of fiery Gehenna. Katerina herself remembers this mythical place. Hell becomes synonymous with mustiness and stagnation, which Katya fears. She chooses death, knowing that this is one of the most terrible Christian sins. But at the same time, through death, the girl gains freedom.

The symbolism of the drama “The Thunderstorm” is developed in detail and includes several symbolic images. With this technique, the author wanted to convey the severity and depth of the conflict that existed both in society and within each person. This information will be useful for 10th graders when writing an essay on the topic “The meaning of the title and symbolism of the play “The Thunderstorm”.”

Work test

In 1859, on the stage of one of capital theaters the premiere took place. The audience saw a drama created by a young writer - Alexander Nikolaevich Ostrovsky. This work is considered unique of its kind. Drama does not follow many of the rules of the genre.

"The Thunderstorm" was written in the era of realism. This means that the work is filled with symbols and images. Consequently, in our article you will learn about the meaning of the name and figurative symbolism of the drama “The Thunderstorm” by Ostrovsky.

First image of a thunderstorm

The image of a thunderstorm this work multifaceted. This natural phenomenon is both the idea and the character of the drama. Why do you think Ostrovsky used the image of a thunderstorm? Let's think about this.

Please note that this natural phenomenon in the work appears to the reader in several forms. Firstly, the meaning of the name and figurative symbolism drama "The Thunderstorm" is that initially the reader sees a natural phenomenon. The city of Kalinov, described in the work, as well as its inhabitants live in anticipation and expectation of a thunderstorm. Everything that happens in the play lasts about two weeks. Every now and then on the streets of the town you can hear talk that a storm is approaching.

Compositionally, the thunderstorm is also the climax! It is the powerful peals of thunder that force Katerina to admit to deception and treason. Attentive readers will notice that act 4 is accompanied by peals. One gets the impression that the writer was preparing the reader and viewer for the climax. But that's not all. Secondly, the meaning of the name and figurative symbolism of the drama “The Thunderstorm” has another core. Let's look at that too.

Second image of a thunderstorm

It turns out that each character in the work understands the thunderstorm differently, that is, in their own way:

• The inventor Kuligin is not afraid of it, since he does not see anything mystical in this natural phenomenon.
• Dikoy perceives the thunderstorm as a punishment; he considers it an occasion to remember the Almighty.
• Unhappy Catherine saw in the thunderstorm the symbolism of fate and fate. So, after the most terrible clap of thunder, the young lady admitted her feelings for Boris. She is afraid of thunderstorms because she considers them to be God's judgment. This concludes the search for the meaning of the title of the play “The Thunderstorm” by A.N. Ostrovsky does not end there. This natural phenomenon helps Katerina take a desperate step. Thanks to her, she admits to herself and becomes honest.
• Kabanov, her husband, sees a different meaning in the thunderstorm. The reader learns this at the very beginning of the play. He needs to leave for a while, thanks to this he will get rid of his mother’s excessive control, as well as her unbearable orders. He says that there will be no thunderstorm and no shackles over him. These words contain a comparison of a natural disaster with Kabanikha’s endless hysterics.

The author's interpretation of the meaning of the title and figurative symbolism of the drama "The Thunderstorm"

We have already said above that the image of a thunderstorm is symbolic, multifaceted, and also multi-valued. This suggests that the title of the play contains many meanings that complement and combine with each other. All this allows the reader to understand the problem comprehensively.

It is worth noting that the reader has huge amount associations with the name. It is noteworthy that the author’s interpretation of the work does not limit the reader, so we do not know exactly how to decipher the image-symbol that interests us.

Nevertheless, the meaning of the title and the figurative symbolism of the drama “The Thunderstorm” is understood by the author as a natural phenomenon, the beginning of which the reader observes in the first act. And in the fourth, the thunderstorm impulsively gains strength.

The city lives in fear of the coming thunderstorm. Only Kuligin is not afraid of her. After all, he alone leads a righteous life - he earns his living by honest labor and so on. He does not understand the primitive fear of the townspeople.

One gets the impression that the image of a thunderstorm carries negative symbolism. However, this is not true. The role of this natural phenomenon in the play is to stir up and refresh social life and people. It's not in vain literary critic Dobrolyubov wrote that the city of Kalinov is a remote kingdom in which the spirit of vices and stagnation lives. Man has become a fool because he does not know and does not understand his own culture, which means he does not know how to be a Man.

A thunderstorm phenomenon is trying to destroy the trap and enter the city. But one such thunderstorm will not be enough, as will the death of Katerina. The death of the young lady led to the fact that for the first time the indecisive husband acts as his conscience tells him.

River image

As you may have guessed, the image of a thunderstorm in this work is pervasive. That is, he is embodied and appears before the reader in different guises. However, there is another equally important image in the drama, which also contains the figurative symbolism of the drama “The Thunderstorm”.

We move on to consider the image of the Volga River. Ostrovsky depicted it as a border that separates opposite worlds - cruel kingdom the city of Kalinov and the ideal world invented by each hero of the work. The lady repeated several times that the river attracts any beauty, since it is a whirlpool. The supposed symbol of freedom in Kabanikha’s mind turns out to be a symbol of death.

Conclusion

We looked at the work of Alexander Nikolaevich Ostrovsky - “The Thunderstorm”. The drama was written in the era of realism, which means it is filled with many meanings and images.

We saw that the meaning of the name and figurative symbolism of the drama “The Thunderstorm” is relevant even today. The author's skill lies in the fact that he was able to depict the image of a thunderstorm in various phenomena. With the help of a natural phenomenon, he showed all sides of Russian society early XIX centuries, starting from wild morals and ending with the personal drama of each of the heroes.

1. Image of a thunderstorm. Time in the play.
2. Katerina’s dreams and symbolic images end of the world.
3. Hero-symbols: Wild and Kabanikha.

The very name of A. N. Ostrovsky’s play “The Thunderstorm” is symbolic. A thunderstorm is not only an atmospheric phenomenon, it is an allegorical designation of the relationship between elders and younger ones, those who have power and those who are dependent. “...For two weeks there will be no thunderstorm over me, there are no shackles on my legs...” - Tikhon Kabanov is glad to escape from the house, at least for a little while, where his mother “gives orders, one more menacing than the other.”

The image of a thunderstorm—a threat—is closely related to the feeling of fear. “Well, what are you afraid of, pray tell! Now every grass, every flower is rejoicing, but we are hiding, afraid, as if some kind of misfortune is coming! The thunderstorm will kill! This is not a thunderstorm, but grace! Yes, grace! It's a storm for everyone!" - Kuligin shames his fellow citizens who tremble at the sounds of thunder. Indeed, a thunderstorm as a natural phenomenon is as necessary as sunny weather. Rain washes away dirt, cleanses the earth, promotes better growth plants. A person who sees a thunderstorm as a natural phenomenon in the cycle of life, and not as a sign of divine wrath, does not experience fear. The attitude towards the thunderstorm in a certain way characterizes the heroes of the play. The fatalistic superstition associated with thunderstorms and widespread among the people is voiced by the tyrant Dikoy and the woman hiding from the thunderstorm: “The thunderstorm is sent to us as punishment, so that we feel...”; “No matter how you hide! If it’s destined for someone, you won’t go anywhere.” But in the perception of Dikiy, Kabanikha and many others, fear of a thunderstorm is something familiar and not a very vivid experience. “That’s it, you have to live in such a way that you are always ready for anything; “For fear this wouldn’t happen,” Kabanikha coolly notes. She has no doubt that the thunderstorm is a sign of God's wrath. But the heroine is so convinced that she is leading the right lifestyle that she does not experience any anxiety.

In the play, only Katerina experiences the most lively trepidation before a thunderstorm. We can say that this fear clearly demonstrates her mental discord. On the one hand, Katerina longs to challenge her hateful existence and meet her love halfway. On the other hand, she is not able to renounce the ideas instilled in the environment in which she grew up and continues to live. Fear, according to Katerina, is an integral element of life, and it is not so much the fear of death as such, but the fear of future punishment, of one’s spiritual failure: “Everyone should be afraid. It’s not so scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts.”

In the play we also find a different attitude towards the thunderstorm, towards the fear that it supposedly must certainly evoke. “I’m not afraid,” say Varvara and the inventor Kuligin. The attitude towards a thunderstorm also characterizes the interaction of one or another character in the play with time. Dikoy, Kabanikha and those who share their view of the thunderstorm as a manifestation of heavenly displeasure are, of course, inextricably linked with the past. Internal conflict Katerina comes from the fact that she is neither able to break with ideas that are a thing of the past, nor to keep the precepts of “Domostroy” in inviolable purity. Thus, she is at the point of the present, in a contradictory, turning point time, when a person must choose what to do. Varvara and Kuligin are looking to the future. In the fate of Varvara, this is emphasized due to the fact that she leaves her home to an unknown destination, almost like heroes of folklore going in search of happiness, and Kuligin is constantly in scientific search.

The image of time slips into the play every now and then. Time does not move evenly: it sometimes shrinks to a few moments, sometimes it drags on for an incredibly long time. These transformations symbolize different sensations and changes, depending on the context. “Sure, it happened that I would enter heaven, and I didn’t see anyone, and I didn’t remember the time, and I didn’t hear when the service was over. Just like it all happened in one second” - this is how Katerina characterizes the special state of spiritual flight that she experienced as a child, attending church.

“The last times... by all accounts the last times. There is also paradise and silence in your city, but in other cities it’s just chaos, mother: noise, running around, incessant driving! People are just scurrying around, one here, another there.” The wanderer Feklusha interprets the acceleration of the pace of life as approaching the end of the world. It is interesting that the subjective feeling of time compression is experienced differently by Katerina and Feklusha. If time passes quickly for Katerina church service is associated with a feeling of indescribable happiness, then for Feklushi the “decreasing” of time is an apocalyptic symbol: “...Time is getting shorter. It used to be that summer or winter drag on and on, you can’t wait for it to end, and now you won’t even see it fly by. The days and hours still seem to remain the same; and time, because of our sins, is becoming shorter and shorter.”

No less symbolic are the images from Katerina’s childhood dreams and the fantastic images in the wanderer’s story. Unearthly gardens and palaces, the singing of angelic voices, flying in a dream - all these are symbols of a pure soul, not yet aware of contradictions and doubts. But the uncontrollable movement of time also finds expression in Katerina’s dreams: “I no longer dream, Varya, of paradise trees and mountains as before; and it’s as if someone is hugging me so warmly and warmly and leading me somewhere, and I follow him, I go...” This is how Katerina’s experiences are reflected in dreams. What she tries to suppress in herself rises from the depths of the unconscious.

The motifs of “vanity”, “fiery serpent” that appear in Feklushi’s story are not just the result of a fantastic perception of reality a simple person, ignorant and superstitious. The themes in the wanderer's story are closely related to both folklore and biblical motifs. If the fiery serpent is just a train, then vanity in Feklushi’s view is a capacious and multi-valued image. How often people are in a hurry to do something, not always correctly assessing the real significance of their affairs and aspirations: “It seems to him that he is running after something; he’s in a hurry, poor thing, he doesn’t recognize people, he imagines that someone is beckoning him; but when he comes to the place, it’s empty, there’s nothing, just a dream.”

But in the play “The Thunderstorm” not only phenomena and concepts are symbolic. The figures of the characters in the play are also symbolic. This especially applies to the merchant Dikiy and Marfa Ignatievna Kabanova, nicknamed Kabanikha in the city. A symbolic nickname, and the surname of the venerable Savel Prokofich can rightfully be called telling. This is not accidental, because it was in the images of these people that the thunderstorm was embodied, not mystical heavenly wrath, but a very real tyrannical power, firmly entrenched on the sinful earth.

Goals:

determine the meaning of the title, the originality of the image system; answer questions about how the characters’ characters are revealed and what is unique about the play’s conflict.

Progress of the lesson.

Group 1. The meaning of the title of the play "The Thunderstorm". Students' reports of teacher-guided self-observation of text.

Define the word "thunderstorm"?

What is the significance of the play?

(A thunderstorm for Katerina is God’s punishment; Tikhon calls his mother’s scolding a thunderstorm; Kuligin sees “grace” in a thunderstorm)

The compositional role of thunderstorms? (ties the whole play together: in act 1 a thunderstorm is approaching, in act 4 it foreshadows death, erupts in the climactic scene of Katerina’s confession)

Group 2. The system of characters in the play. Reports of independent observations of the text.

– Let’s name the characters in “The Thunderstorm” ( reading the poster ). What do their first and last names mean?

– Surnames in Ostrovsky’s plays “speak” not only about the character of the hero, but actually provide information about him. Ostrovsky’s careful attitude to the names of the characters is one of the reasons for their realism. Here such a rare quality as reader's intuition is manifested.

Studying the list of characters, one should note the distribution of heroes by age (young - old), family ties (Dikaya and Kabanova are indicated, and most of the other heroes by family ties with them), education (only Kuligin, a self-taught mechanic, and Boris have it ). Then, when working with the text, students’ knowledge deepens, and the system of heroes becomes different. The teacher, together with the class, draws up a table, which is written down in notebooks.

Questions for discussion

What place does Katerina occupy in this system of images?

Why were Kudryash and Feklusha among the “masters of life”?

How to understand this definition - “mirror” images?

Group 3 . Features of revealing the characters' characters.Students' reports of their observations of the text.

Speech characteristics (individual speech characterizing the hero):

Katerina is a poetic speech reminiscent of a spell, lament or song, filled with folk elements.

Kuligin is the speech of an educated person with “scientific” words and poetic phrases.

Wild - speech is replete with rude words and curses.

Kabanikha is a hypocritical, “pressing” speech.

Feklusha - the speech shows that she has been in many places.

The role of the first remark, which immediately reveals the character of the hero:

Kuligin . Miracles, truly one must say: miracles!

Curly. And what?

Wild. What the hell are you, you came to beat the ships! Parasite! Get lost!

Boris. Holiday; what to do at home!

Feklusha. Blah-alepie, honey, blah-alepie! The beauty is wonderful.

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

Tikhon . How can I, Mama, disobey you!

Varvara. No respect for you, of course!

Katerina. For me, Mama, it’s all the same, like my own mother, like you, and Tikhon loves you too.

Using the technique of contrast and comparison:

Feklushi's monologue - Kuligin's monologue;

life in the city of Kalinov - Volga landscape;

Katerina - Varvara;

Tikhon - Boris.

Lesson summary . The main conflict of the play is revealed in the title, in the system of characters who can be divided into two groups - “masters of life” and “victims”, in the unique position of Katerina, who is not included in any of the named groups, in the speech of the characters corresponding to their position, and even in the technique of contrast, which determines the confrontation of the heroes.

Homework:

1. Answer the problematic question: Can we condemn Kabanikha for her attitude towards her daughter-in-law, if, ultimately, the mother-in-law turned out to be right in her fears, because Katerina cheated on her husband.
2. Trace through the development of the play how the conflict develops, what role does the thunderstorm play in this?