Speech characteristics of the heroes of the work The Thunderstorm. Speech characteristics of Katerina. Homework for the lesson

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Katerina’s strength and determination are shaded by syntactic constructions of a sharply affirming or negative nature.

Chapter 4. Comparative speech characteristics of Wild and

Kabanikha

In Ostrovsky's drama, Groza Wild and Kabanikh are representatives of the Dark Kingdom. It seems as if Kalinov is fenced off from the rest of the world by a high fence and lives some kind of special, closed life. Ostrovsky focused on the most important things, showing the wretchedness and savagery of the morals of Russian patriarchal life, because all this life is based solely on familiar, outdated laws, which are obviously completely ridiculous. The dark kingdom tenaciously clings to its old, established one. This is standing in one place. And such standing is possible if it is supported by people who have strength and authority.

A more complete, in my opinion, idea of ​​a person can be given by his speech, that is, by habitual and specific expressions inherent only to a given hero. We see how Dikoy, as if nothing had happened, can just offend a person. He doesn’t regard not only those around him, but even his family and friends. His family lives in constant fear of his wrath. Dikoy mocks his nephew in every possible way. It is enough to remember his words: I told you once, I told you twice; Don’t you dare come across me; you'll find everything! Not enough space for you? Wherever you fall, here you are. Ugh, damn you! Why are you standing like a pillar! They tell you no? Dikoy openly shows that he does not respect his nephew at all. He puts himself above everyone around him. And no one offers him the slightest resistance. He scolds everyone over whom he feels his power, but if someone scolds him himself, he cannot answer, then stay strong, everyone at home! It’s on them that Dikoy will take out all his anger.

Wild significant person in the city, a merchant. This is how Shapkin speaks about him: Look for another scolder like ours, Savel Prokofich. There's no way he'll cut someone off.

The view is unusual! Beauty! The soul rejoices! - Kuligin exclaims, but against the backdrop of this beautiful landscape a bleak picture of life is drawn that appears before us in the Thunderstorm. It is Kuligin who gives an accurate and clear description of the life, morals and customs that reign in the city of Kalinov.

Just like Dikoy, Kabanikha is distinguished by selfish inclinations; she thinks only of herself. Residents of the city of Kalinov talk about Dikiy and Kabanikha very often, and this makes it possible to obtain rich material about them. In conversations with Kudryash, Shapkin calls Diky a scolder, while Kudryash calls him a shrill man. Kabanikha calls the Wild warrior. All this speaks of the grumpiness and nervousness of his character. Reviews about Kabanikha are also not very flattering. Kuligin calls her a hypocrite and says that she gives favors to the poor, but is completely fed up with her family. This characterizes the merchant's wife from the bad side.

We are struck by their callousness towards people dependent on them, their reluctance to part with money when paying workers. Let's remember what Dikoy says: I was fasting about a great fast, and then it was not easy and I slipped a little man in, I came for money, I carried firewood... I did sin: I scolded him, I scolded him... I almost killed him. All relationships between people, in their opinion, are built on wealth.

Kabanikha is richer than Dikoy, and therefore she is the only person in the city with whom Dikoy must be polite. Well, don't let your throat out too much! Find me cheaper! And I am dear to you!

Another feature that unites them is religiosity. But they perceive God not as someone who forgives, but as someone who can punish them.

Kabanikha, like no one else, reflects this city’s commitment to old traditions. (She teaches Katerina and Tikhon how to live in general and how to behave in a specific case.) Kabanova tries to seem like a kind, sincere, and most importantly unhappy woman, tries to justify her actions by her age: Mother is old, stupid; Well, you, young people, smart, should not exact from us, fools. But these statements sound more like irony than sincere recognition. Kabanova considers herself the center of attention; she cannot imagine what will happen to the whole world after her death. Kabanikha is absurdly blindly devoted to her old traditions, forcing everyone at home to dance to her tune. She forces Tikhon to say goodbye to his wife in the old-fashioned way, causing laughter and a feeling of regret among those around him.

The play “The Thunderstorm” is one of the most famous in Ostrovsky’s work. A bright, social drama, the events of which take place in the 19th century in the town of Kalinov. The female characters in the play deserve special attention. They are colorful and unique. The image and characterization of Kabanikha in the play “The Thunderstorm” are undoubtedly important in the work. She is the main despot and tyrant in the play. She is also responsible for Katerina's death. Kabanikha’s goal is to subjugate as many people as possible in order to impose on them the morals, traditions and laws that she sacredly observes. True fear crept into her soul when she realized that a new time was approaching, a time of change that she was unable to resist.

Marfa Ignatievna Kabanova- she is Kabanikha. Widow. Merchant's wife. Mother of Varvara and Tikhon.

Image and characteristics

The surname Kabanova suits the main character very accurately, characterizing her from the first minutes. A wild animal is capable of attacking a person without a good reason, and so is the Kabanikha. Furious, ferocious. She is capable of “biting to death” a person if she doesn’t like him, which is what happened with Katerina, whom the widow simply killed off. It is impossible to please her. She will always find something to complain about, no matter how hard you try.

Kabanikha, after the death of her husband, was left with two small children in her arms. There was no time to be sad. I had to take care of and raise Varvara and Tikhon. Brother and sister are completely different in character and appearance, although they were raised the same.

Powerful, despotic woman, keeping not only household members, but also the entire neighborhood in fear.

“Your mommy is too cool...”

To subjugate and rule is her credo. I am absolutely convinced that the family is built on fear and subordination of the younger to the elder. “Don’t judge your older self! They know more than you. Old people have signs for everything.” He sees nothing abnormal in his attitude towards children.

“After all, out of love your parents are strict with you, out of love they scold you, everyone thinks to teach you good.”

Religious. This is not the faith of a religious fanatic who sacredly observes all fasts and God's laws. More like a tribute to tradition. She performs rituals automatically, without really delving into the process and its meaning. She has no faith in forgiveness and mercy. For her, the main thing is strict adherence to patriarchal orders. This is sacred.

“Well, I’ll go and pray to God; Do not bother me…".

She is no less demanding of those around her than of herself. What people themselves think about this and what feelings they experience is deeply indifferent to her.

Nerd. I am constantly dissatisfied with everything. Grumps with or without reason. It's hard to please her. Her own family annoys her, especially her son and daughter-in-law. This is where Kabanikha has a blast. He pokes his nose into their lives, interfering with advice. He believes that after his marriage the son lost interest in his mother, turning into a doormat and a henpecked man.

“Maybe you loved your mother while you were single. Do you care about me, you have a young wife.”

Daughter-in-law is a separate issue. The daughter-in-law's behavior is out of the ordinary. She doesn’t follow traditions and doesn’t care about her husband. Completely out of hand. Old age is not respected or honored.

Self-confident. I am convinced that she is doing everything right. He sincerely believes that if you maintain the ancient order and way of life, the house will not suffer from external chaos. The farm is managed harshly, worse than a peasant. Showing emotions is not typical for her. In her opinion, this is unnecessary. At the slightest sign of rebellion on the part of the family, Kabanikha nips everything in the bud. Any misconduct on their part entails punishment. She is immediately infuriated if young people try to cross her. Strangers are closer to her than her son and daughter-in-law.

“Prude, sir! He gives money to the poor, but completely eats up his family...”

He will say a kind word and reward him with alms.

Loves money. The boar is used to being in charge of the entire household. She is sure that the one who has more cash in his pocket is right. Having settled the resident praying mantises, she hears their laudatory speeches addressed to her every day. The flattering grandmothers completely fooled her. Kabanikha doesn’t even allow the thought that she might do something wrong. With their conversations about the end of the world, the old women support Kabanikha’s idea of ​​​​life on earth.

Sections: Literature

Lesson objectives:

• Educational: students understand theoretical concepts (hero, character, characterization, speech, author, author's assessment), define and explain literary concepts, master such important concepts and skills as speech characteristics of characters, clarifying the author's position, try to see the peculiarities of the speech characteristics of the heroes of Ostrovsky's drama “The Thunderstorm” and find out how the speech of the characters helps to understand their character
• Educational: from observations of the features of Ostrovsky's style, they draw initial conclusions and generalizations regarding individual components of the style, master the theoretical and literary concept of style in a specific analysis of a literary text, in the process of working on the text of the play, they learn thoughtful reading, a sensitive attitude to the word, aesthetic perception of the images and events of the dramatic works.
• Educational: learn to understand people, draw conclusions and generalizations based on the speech of the interlocutor, construct their own statements

Equipment: computer, screen, flash presentation, handouts.

During the classes

1. Introductory speech by the teacher.

The image of a hero in a work of fiction is made up of many factors - character, appearance, profession, hobbies, circle of acquaintances, attitude towards oneself and others. One of the main ones is the character’s speech, which fully reveals both the inner world and way of life. The image of the adventurer Ostap Bender is inseparable from his aphoristic speech, replete with witticisms. The vocabulary of Ellochka the cannibal has long become textbook. The paradoxical nature of Lord Henry's statements in The Picture of Dorian Gray is a reflection of his intelligence, originality, education and cynicism. Among modern writers, Boris Akunin can be considered a master of speech characteristics. The first chapter of the novel “F.M.”, written from the point of view of a criminal, sharply contrasts with the sophisticated literary style to which the reader of the Fandorin cycle is accustomed:

A talentedly created speech characteristic of the hero is a decoration of the artistic text and an important touch to the character’s portrait. Skillful use of speech characteristics is one of the tools of a professional writer. And there is nothing more boring than heroes of different ages, different occupations and temperaments, who speak the same language.

You won’t find this in Ostrovsky. And today in class we will observe the speech characteristics of his heroes.

Slide 1-4. (Write down the topic of the lesson)

What is needed to understand this topic? Slide 5

2. Question: What is the peculiarity of the literary basis of drama? What are the reasons for these features?

? Slide 6

• Ideological and thematic content;
• composition;
• characters;
• character language and etc.

In this case, it is necessary to take into account the features of dramaturgy:

• lack of descriptive speech by the author;
• greater severity of conflict situations;
• speech of the characters as the only source for characterization and analysis of character images

3. Teacher information.

Slide 7

What role does speech characterization play in a work of art?

Slide 8

4. Let's see how the heroes of the drama appear on stage?

Slide 9

The characters' first lines What can you say about the characters?

Conclusion: Five lines - five characters.

Slide 10

5. The heroes of the drama are conventionally divided into two camps. Is it possible to determine from their statements who is from which camp?

Slide 11

Conclusion: Ostrovsky in the drama "The Thunderstorm" very clearly shows the global difference between positive and

negative heroes of his work. All the most important character traits and their reactions to developing events are clearly visible. Slide 12

6. Analysis of the character’s speech using the example of the Wild.

Slide 13-14

It is important not only what the hero is talking about and how it characterizes him, but also the very manner of expressing his thoughts, vocabulary, and phrase construction.

After all, a word is a living reaction to the thoughts of the interlocutor, a living reaction to what is happening on stage, an expression of his thoughts and emotional experiences

Slide 15

7. Group work. Speech characteristics of Kuligin, Varvara, Kudryash and Boris.

8. Summing up.

Slide 16

“Ostrovsky’s work is a filigree polished gem of the Russian word.” Through the language of its characters, Russian speech shines through its most essential features: lexical richness, richness, imagery, accuracy, flexibility. The speech of Ostrovsky’s characters is a manifestation of their inherent appearance, worldview, social and everyday connections and influences. That is why characters of the same social category differ not in their actions, but especially in their language and manner of speaking.

9. Homework.

Slide 17

Write a speech description of Katerina or Kabanikha (with quotes)

Prepare an analysis of the image of a character in a dramatic work based on speech characteristics.

Add. task: presentation-quiz “Recognize the hero by his cue.”

9. Reflection.

Reflection in a literature lesson (student self-analysis)

• In today's lesson I learned...
• I managed...
• Failed..
• I understand…
• I didn't understand.

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

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

Her speech is replete with verbal expressions, idioms of popular vernacular: “So that I don’t see either my father or my mother”; “doted on my soul”; “calm my soul”; “how long does it take to get into trouble”; “to be a sin”, in the sense of misfortune. But these and similar phraseological units are generally understandable, commonly used, and clear. Only as an exception are morphologically incorrect formations found in her speech: “you don’t know my character”; “After this we’ll talk.”

The imagery of her language is manifested in the abundance of verbal and visual means, in particular comparisons. So, in her speech there are more than twenty comparisons, and all the other characters in the play, taken together, have a little more than this number. At the same time, her comparisons are of a wide-spread, folk nature: “as if he were calling me blue,” “as if a dove was cooing,” “as if a mountain had been lifted from my shoulders,” “my hands were burning like coal.”

Katerina’s speech often contains words and phrases, motifs and echoes of folk poetry.

Addressing Varvara, Katerina says: “Why don’t people fly like birds?..” - etc.

Longing for Boris, Katerina says in her penultimate monologue: “Why should I live now, well, why? I don’t need anything, nothing is nice to me, and God’s light is not nice!”

Here there are phraseological turns of a folk-colloquial and folk-song nature. So, for example, in the collection of folk songs published by Sobolevsky, we read:

It’s absolutely impossible to live without a dear friend...

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

The white light is not nice, not nice... I’ll go from the mountain into the dark forest...

speech phraseological thunderstorm Ostrovsky

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

In the final monologue, Katerina says: “It’s better in the grave... There’s a grave under the tree... how good... The sun warms it, the rain wets it... in the spring the grass grows on it, it’s so soft... birds will fly to the tree, they will sing, they will bring out children, the flowers will bloom: yellow , little red ones, little blue ones...”

Everything here comes from folk poetry: diminutive-suffixal vocabulary, phraseological units, images.

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

...They will cover it with an oak board

Yes, they will lower you into the grave

And they will cover it with damp earth.

Overgrow, my grave,

You're an ant in the grass,

More scarlet flowers!

Along with popular vernacular and folk poetry, the language of Katerina, as already noted, was greatly influenced by church literature.

“Our house,” she says, “was full of pilgrims and praying mantises. And we’ll come from church, sit down to do some work... and the wanderers will begin to tell where they have been, what they have seen, different lives, or sing poetry” (D. 1, Rev. 7).

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

In the first monologue, Katerina talks about her dreams: “And what dreams I had, Varenka, what dreams! Or golden temples, or some extraordinary gardens, and everyone is singing invisible voices, and there is a smell of cypress, and the mountains and trees, as if not the same as usual, but as if they were written in images.”

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

Katerina’s speech is unique not only lexico-phraseologically, but also syntactically. It consists mainly of simple and complex sentences, with predicates placed at the end of the phrase: “So time will pass until lunch. Here the old women will fall asleep, and I will walk in the garden... It was so good” (D. 1, Rev. 7).

Most often, as is typical for the syntax of folk speech, Katerina connects sentences through the conjunctions a and yes. “And we’ll come from church... and the wanderers will start telling... It’s like I’m flying... And what dreams did I have.”

Katerina’s floating speech sometimes takes on the character of a folk lament: “Oh, my misfortune, my misfortune! (Crying) Where can I, poor thing, go? Who should I grab hold of?

Katerina’s speech is deeply emotional, lyrically sincere, and poetic. To give her speech emotional and poetic expressiveness, diminutive suffixes are used, so inherent in folk speech (key, water, children, grave, rain, grass), and intensifying particles (“How did he feel sorry for me? What words did he say?” ), and interjections (“Oh, how I miss him!”).

The lyrical sincerity and poetry of Katerina’s speech are given by the epithets that come after the defined words (golden temples, extraordinary gardens, with evil thoughts), and repetitions, so characteristic of the oral poetry of the people.

Ostrovsky reveals in Katerina’s speech not only her passionate, tenderly poetic nature, but also her strong-willed strength. Katerina’s willpower and determination are shaded by syntactic constructions of a sharply affirming or negative nature.

As you know, in classical works and fairy tales there are several types of heroes. This article will focus on the antagonist-protagonist pair. This opposition will be examined using the example of Alexander Nikolaevich Ostrovsky’s play “The Thunderstorm”. The main character of this play, in other words the protagonist, is a young girl Katerina Kabanova. She is opposed, that is, is an antagonist, by Marfa Ignatievna Kabanova. Using the example of comparisons and analysis of actions, we will give a more complete description of Kabanikha in the play “The Thunderstorm”.

First, let's look at the list of characters: Marfa Ignatievna Kabanova (Kabanikha) - an old merchant's wife, a widow. Her husband died, so the woman had to raise two children alone, manage the household and take care of business. Agree, this is quite difficult at the present time. Despite the fact that the merchant's nickname is indicated in parentheses, the author never calls her that. The text contains remarks from Kabanova, not Kabanikha. With such a technique, the playwright wanted to emphasize the fact that people call a woman this way among themselves, but they personally address her with respect. That is, in fact, the residents of Kalinov do not like this man, but they are afraid of him.

Initially, the reader learns about Marfa Ignatievna from the lips of Kuligin. The self-taught mechanic calls her “a hypocrite who has eaten up everyone at home.” Kudryash only confirms these words. Next, a wanderer, Feklusha, appears on the stage. Her judgment about Kabanikha is exactly the opposite: quote. As a result of this disagreement, additional interest in this character arises. Marfa Ignatievna appears on stage already in the first act, and the reader or viewer is given the opportunity to verify the veracity of Kuligin’s words.

Kabanikha is not happy with the way her son behaves. She teaches him to live, despite the fact that his son is already an adult and has been married for a long time. Marfa Ignatievna shows herself as a grumpy, domineering woman. Her daughter-in-law Katerina behaves differently. In general, it is quite interesting to trace the similarities and differences of these characters throughout the play.

In theory, both Kabanikha and Katerina should love Tikhon. For one he is a son, for another he is a husband. However, neither Katya nor Marfa Ignatievna have real love for Tikhon. Katya feels sorry for her husband, but does not love him. And Kabanikha treats him as a guinea pig, as a creature on whom you can take out your aggression and test methods of manipulation, while hiding behind maternal love. Everyone knows that the most important thing for every mother is the happiness of her child. But Marfa Kabanova in “The Thunderstorm” is not at all interested in Tikhon’s opinion. Through years of tyranny and dictatorship, she was able to teach her son that the lack of his own point of view is quite normal. Even observing how carefully and, in some moments, tenderly Tikhon treats Katerina, Kabanikha always tries to destroy their relationship.

Many critics argued about the strength or weakness of Katerina’s character, but no one doubted the strength of Kabanikha’s character. This is a truly cruel person who tries to subjugate those around him. She would like to rule the state, but she has to waste her “talents” on her family and provincial town. Varvara, the daughter of Marfa Kabanova, chose pretense and lies as a way of coexistence with her oppressive mother. Katerina, on the contrary, resolutely opposes her mother-in-law. They seemed to take two positions, truth and lie, defending them. And in their conversations that Kabanikha should not categorically blame Katya for mistakes and various sins, the struggle of light and darkness, truth and the “dark kingdom”, of which Kabanikha is a representative, emerges through the everyday background.

Katerina and Kabanikha are Orthodox Christians. But their faith is completely different. For Katerina, faith that comes from within is much more important. For her, the place of prayer is not important. The girl is devout, she sees the presence of God throughout the world, and not just in the church building. Marfa Ignatievna’s religiosity can be called external. For her, rituals and strict adherence to rules are important. But behind all this obsession with practical manipulations, faith itself disappears. Also, for Kabanikha it turns out to be important to observe and maintain old traditions, despite the fact that many of them are already outdated: “they won’t be afraid of you, and even less so of me. What kind of order will there be in the house? After all, you, tea, live with her in law. Ali, do you think the law means nothing? Yes, if you hold such stupid thoughts in your head, you should at least not talk in front of her, in front of your sister, in front of the girl.” It is impossible to characterize Kabanikha in Ostrovsky’s “The Thunderstorm” without mentioning her almost manic attention to detail. Tikhon, the son of Kabanova Sr., is a drunkard, his daughter Varvara is lying, hanging out with whoever she wants, and is about to run away from home, disgracing the family. And Marfa Ignatievna is worried that they come to the door without bowing, not as their great-grandfathers taught. Her behavior is reminiscent of the behavior of the priestesses of a dying cult, who are trying with all their might to maintain life in it with the help of external paraphernalia.

Katerina Kabanova was a somewhat suspicious girl: in the “prophecies” of the crazy lady she imagined her own fate, and in the thunderstorm the girl saw the punishment of the Lord. Kabanikha is too mercantile and down-to-earth for this. She is closer to the material world, practicality and utilitarianism. Kabanova is not at all afraid of thunder and thunder, she just doesn’t want to get wet. While the residents of Kalinov are talking about the raging elements, Kabanikha grumbles and expresses her dissatisfaction: “Look, what races he has made. There is something to listen to, nothing to say! Now the times have come, some teachers have appeared. If an old man thinks like this, what can we demand from young people!”, “Don’t judge your older self! They know more than you. Old people have signs for everything. An old man won’t say a word to the wind.”
The image of Kabanikha in the play “The Thunderstorm” can be called a kind of generalization, a conglomerate of negative human qualities. It’s hard to call her a woman, a mother, or even a person in general. Of course, she is far from the dummies of the city of Foolov, but her desire to subjugate and dominate killed all human qualities in Marfa Ignatievna.

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