The drama “The Thunderstorm” by Alexander Nikolaevich Ostrovsky was written during serious reform changes in Russia and was published in 1859. As in any literary work, the meaning of the title of the play “The Thunderstorm” contains the theme and idea of ​​the entire work. And therefore, it requires detailed consideration and analysis.

What is a play?

Before we begin to answer the question of what is the meaning of the title of the play “The Thunderstorm,” it is necessary to define the genre of this work. So the play is literary work, intended for production on stage. Distinctive Features this will be:

• Building the entire plot on dialogues and monologues of the characters.
• Division into parts, called acts or actions, and scenes.
• Author's notes describing the setting and costumes of the characters. And also the actions of the heroes.

The originality of the drama "The Thunderstorm"

The meaning of the title of A. N. Ostrovsky’s play “The Thunderstorm” is directly related to genre originality works. The fact is that literary scholars still cannot agree on whether “The Thunderstorm” is a drama or a tragedy.

The tragedy of the play is associated with the image of Katerina, who is opposed to all other characters. The girl is sharply different from the people around her; she is a bright and dreamy person. Her conflict with the world is predetermined, merciless and dark - it is only capable of destroying and destroying.

The dramatic side of the play is manifested in social aspect- each hero has his own social position, which determines his actions and character. Thus, it is not possible to put an end to and attribute the play to one of the genres.

Conflict of the play

Before determining the meaning of the title of the play “The Thunderstorm,” it is necessary to understand the main conflict of this work.

Let's start with the fact that there is not one conflict in the drama, but several. And the first one that criticism has always paid attention to is social. From this point of view, Katerina appears as the embodiment of a people who are outraged and can no longer endure the tyranny and tyranny of those in power, of which Kabanikha is a representative. Another conflict, also associated with the confrontation between Kabanikha and Katerina, is the conflict of generations.

But the main and most important confrontation in the play is Katerina’s struggle with herself. Internal conflict is much deeper than external conflict and carries the deepest meaning. A girl struggles with forbidden love. Unable to be a hypocrite, she finds herself under attack from the public. And in the end she has no choice but to commit suicide.

Katerina's image

The meaning of the title of the play “The Thunderstorm” is directly related to the image main character. Katerina has become unusual female character for Ostrovsky. Compared to the writer’s previous heroines, she stands out for her subtle attitude and integrity of personality. She is a poetic and dreamy person with a bright soul and lofty aspirations. Description happy life for her it looks like this: embroidery, visiting temples and prayers, communicating with praying mantises and wonderful dreams about golden temples and wonderful gardens. By this, the writer emphasizes what is above material things for Katerina.

The image of the girl is closely intertwined with the image of the bird and the motif of flight. Katerina’s desire to fly away introduces the theme of imprisonment and bondage into the narrative. And along with them the theme of death, because the soul can free itself and take off only by losing its corporeal shell.

Katerina has a strong character, her sense of dignity is very great. It is very difficult for her to live under the same roof with Kabanikha. After all, reproaches, despotism and tyranny on the part of the mistress reign there, as well as stupidity, spinelessness and obedience of the rest of the inhabitants.

The melancholy that grips Katerina in Marfa Ignatievna’s house is mixed with the girl’s desire to know true love. The heroine cannot experience this feeling for Tikhon, since he is weak-willed, stupid, and spiritually poor. Katerina can only fall in love with a worthy, kind person who is different from those around her. And the girl seems to find this in Boris Grigorievich. It is from the moment that meetings with a young man begin that internal conflict heroines. She is torn between her feelings and her duty to her husband.

But Katerina is deceived; Boris is an ordinary person who is not able to dare to save the girl. Katerina, realizing that she cannot forgive herself and continue to live in the darkness surrounding her, decides to commit suicide. It is with this episode that the meaning of the title of Ostrovsky’s play “The Thunderstorm” is connected, which we will consider in more detail below.

The meaning of the play's title

There is a huge meaning hidden in the title of the drama. Tikhon utters this word for the first time when he says goodbye to his wife before leaving. The hero compares Kabanikha to an impending thunderstorm and is glad that he will get rid of her attacks at least for a while. short term. Thus, answering the question, what is symbolic meaning title of the play “The Thunderstorm,” we can say that this personifies can be caused by both the tyranny of others and higher powers. And it covers all the heroes of the work. Even Katerina is subject to him, as she fears the ultimate punishment for her betrayal of her husband. Even death does not frighten the girl as much as possible punishment for her sins.

The entire development of actions in the play is similar to the time before a thunderstorm, which will certainly end in a storm. It is in the fear that grows as the disaster approaches that the meaning of the title of the play “The Thunderstorm” lies. It is better to supplement the essay with descriptions of those scenes in the play where the characters most clearly show fear.

Conclusion

The work was received with great enthusiasm by critics and had many interpretations of the conflicts, main topic and the image of Katerina. The meaning of the title of the play “The Thunderstorm” also became a symbolic riddle. Essay provided school curriculum, once again confirms that interest in this controversial creation of Ostrovsky has not yet weakened.

The play “The Thunderstorm” appeared in print in 1859, when all of Russia was expecting the abolition of serfdom. Contemporaries of the work saw in it a certain call for renewal of life. In his play A.N. Ostrovsky was an innovator in the choice of plot and characters of the work. He was one of the first to address the problems of the patriarchal “dark kingdom.” Dobrolyubov said this about Ostrovsky’s drama: “...The Thunderstorm” is, without a doubt, the most decisive work Ostrovsky... There is something refreshing and encouraging in The Thunderstorm. This “something is, in our opinion, the background of the play, indicated by us and revealing the precariousness and the near end of tyranny...” The central place in the work is occupied by the conflict between representatives of the “dark kingdom” and their victims.

The title of the play - "The Thunderstorm" - is certainly very symbolic. Almost the entire fourth act of the work is devoted to this natural phenomenon. For the first time, the word “thunderstorm” flashed in the scene of farewell to Tikhon. He says: “...For two weeks there will be no thunderstorm over me.” Tikhon, leaving for the fair, strives to get rid of fear, powerlessness and dependence.

Thunderstorm, normal natural phenomenon, causes natural, wild horror among the residents of Kalinov. This is fear driven by tyrants, fear of retribution for sins. The Kalinovites consider the thunderstorm to be something supernatural, given to them as a punishment. And only one self-taught mechanic, Kuligin, is not afraid of thunderstorms. He tries to reason with the crowd, says that there is nothing supernatural in this phenomenon: “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! Eh, people. I’m not afraid.” To avoid accidents, Kuligin suggests that the townspeople make a lightning rod. But he himself understands perfectly well that the residents of Kalinov simply will not hear him - they are too accustomed to being afraid and looking for a threat and danger to themselves in everything. Dikoy expresses the opinion of all residents of the city: “A thunderstorm is sent to us as punishment, so that we feel, but you want to defend yourself with poles and some kind of rods, God forgive me. What are you, a Tatar, or what?”

Everyone in the city has their own thunderstorm. And Katerina is terrified of a thunderstorm, expecting it as a just punishment from God. In her opinion, the thunderstorm was a harbinger of the highest retribution for her sins: “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...”

Having fallen in love with Boris and cheating on her husband, Katerina, as a deeply religious person, cannot find peace. Unable to withstand the pressure of her own conscience and the oppression of those around her, she decides to commit the most serious sin - suicide.

Boris, Dikiy's nephew, sincerely fell in love with Katerina. In him, like in his beloved, there is spiritual purity. But, as a person who has come to terms with his spiritual slavery, this hero is not capable of active action. And Katerina, like a bright, dreamy soul, cannot exist in an alien, suffocating, dark society. In my opinion, even if Boris had taken Katerina away from Kalinov, her fate would have been tragic. She could not live under the weight of her sin.

Thunderstorms are also present in the lives of other city residents. For Kabanova and Wild thunderstorm appears in the person of Kuligin and Katerina. These heroes indicate that changes are approaching, which Kalinov’s inert people refuse to accept. Dikoy and Kabanikha do not know how to hide from the thunderstorm, subconsciously fearing the coming changes. Kabanikha is the embodiment of despotism and hypocrisy. She eats her neighbors and pesters them with complaints and suspicions.
Kabanikha does not hide the fact that she wants to have unlimited and complete power over them. Everything old is good for her, everything young and new is bad for her. It seems to Marfa Kabanova that if the old foundations collapse, the end of the world will come: “I don’t know what will happen, how the old people will die, how the world will stand.”
Dikoy in the play is portrayed as a narrow-minded tyrant who rushes at everyone like a dog. The constant scolding of this hero is a form of his self-affirmation, and, in addition, defense from everything hostile and incomprehensible.

I think that it is impossible to exist on earth for a long time with such ideas about the world as the Kalinovites had. Only in an ignorant, dark, uneducated society could the wanderer Feklusha with her tales about wonderful countries in the world, “where all the people with dog heads ... for infidelity ...”, enjoy respect and honor.
This heroine is the intercessor of the “dark kingdom”. Feklusha guesses the desire of the strong and flatteringly asserts: “No, mother,” says Feklusha to Kabanikha, “the reason you have silence in the city is that many people, for example, you, are decorated with virtues, like flowers; That’s why everything is done coolly and orderly.”

Tikhon Kabanov's life has its own storm: strong pressure and fear of his mother, betrayal and death of his wife. Love, filial and maternal feelings do not exist in " dark kingdom“Kalinova, they are poisoned by arbitrariness and hypocrisy, callousness. And only at Katerina’s corpse does Tikhon dare to contradict his mother and even blame her for his wife’s death.

I believe that the title of this play provides a lot for understanding the tragic nature of The Thunderstorm. The thunderstorm symbolically expresses the idea of ​​the work and directly participates in the actions of the drama as a very real natural phenomenon. Each character in the play has his own moral “thunderstorm”. Changes are coming. They are inevitable, because they are required by time and new people who have become cramped in the stuffy “dark kingdom” of tyrants.

What is the meaning of the play "The Thunderstorm" by the great Russian playwright A. Ostrovsky?

“The Thunderstorm” is, without a doubt, Ostrovsky’s most decisive work; the mutual relations of tyranny and voicelessness are brought to the most tragic consequences in it... There is even something refreshing and encouraging in “The Thunderstorm”.

N. A. Dobrolyubov

A.N. Ostrovsky after the appearance of his first major play received literary recognition. Ostrovsky's dramaturgy became a necessary element of the culture of his time; he retained the position of the best playwright of the era, the head of the Russian dramatic school, despite the fact that at the same time A.V. Sukhovo-Kobylin, M.E. Saltykov-Shchedrin, A. F. Pisemsky, A. K Tolstoy and L. N. Tolstoy. The most popular critics viewed his works as a true and profound reflection of modern reality. Meanwhile, Ostrovsky, following his original creative way, often baffled both critics and readers.

Thus, the play “The Thunderstorm” came as a surprise to many. L.N. Tolstoy did not accept the play. The tragedy of this work forced critics to reconsider their views on Ostrovsky’s dramaturgy. Ap. Grigoriev noted that in “The Thunderstorm” there is a protest against the “existing”, which is terrible for its adherents. Dobrolyubov stated in his article “A Ray of Light in the Dark Kingdom.” that from the image of Katerina in “The Thunderstorm” “blows on us new life”.

Perhaps for the first time, scenes of family, “private” life, the arbitrariness and lawlessness that were hitherto hidden behind the thick doors of mansions and estates, were shown with such graphic power. And at the same time, this was not just an everyday sketch. The author showed the unenviable position of the Russian woman in merchant family. Immense power The tragedy was given special truthfulness and skill by the author, as D.I. Pisarev rightly noted: “The Thunderstorm” is a painting from life, which is why it breathes truth.”

The tragedy takes place in the city of Kalinov, which is located among the greenery of gardens on the steep bank of the Volga. “For fifty years I’ve been looking across the Volga every day and I can’t get enough of it. The view is extraordinary! Beauty! The soul rejoices,” Kuligin admires. It would seem that the life of the people of this city should be beautiful and joyful. However, the life and customs of the rich merchants created “a world of prison and deathly silence.” Savel Dikoy and Marfa Kabanova are the personification of cruelty and tyranny. The order in the merchant's house is based on the outdated religious dogmas of Domostroy. Dobrolyubov says about Kabanikha that she “gnaws at her victim... long and relentlessly.” She forces her daughter-in-law Katerina to bow at her husband’s feet when he leaves, scolds her for “not howling” in public when seeing off her husband.

Kabanikha is very rich, this can be judged by the fact that the interests of her affairs go far beyond Kalinov; on her instructions, Tikhon travels to Moscow. She is respected by Dikoy, for whom the main thing in life is money. But the merchant's wife understands that power also brings obedience to those around her. She seeks to kill any manifestation of resistance to her power in the home. The boar is hypocritical, she only hides behind virtue and piety, in the family she is an inhuman despot and tyrant. Tikhon does not contradict her in anything. Varvara learned to lie, hide and dodge.

The main character of the play Katerina is marked strong character, she is not used to humiliation and insults and therefore conflicts with her cruel old mother-in-law. In her mother’s house, Katerina lived freely and easily. In the Kabanov House she feels like a bird in a cage. She quickly realizes that she cannot live here for long.

Katerina married Tikhon without love. In Kabanikha’s house, everything trembles at the mere imperious cry of the merchant’s wife. Life in this house is difficult for young people. And then Katerina meets a completely different person and falls in love. For the first time in her life, she experiences deep personal feeling. One night she goes on a date with Boris. Whose side is the playwright on? He is on Katerina’s side, because a person’s natural aspirations cannot be destroyed. Life in the Kabanov family is unnatural. And Katerina does not accept the inclinations of those people with whom she ended up. Having heard Varvara’s offer to lie and pretend, Katerina replies: “I don’t know how to deceive, I can’t hide anything.”

Katerina's directness and sincerity evokes respect from both the author, the reader, and the viewer. She decides that she can no longer be a victim of a soulless mother-in-law, she cannot languish behind bars. She's free! But she saw a way out only in her death. And one could argue with this. Critics also disagreed about whether it was worth paying Katerina for freedom at the cost of her life. So, Pisarev, unlike Dobrolyubov, considers Katerina’s act senseless. He believes that after Katerina’s suicide everything will return to normal, life will go on as usual, and the “dark kingdom” is not worth such a sacrifice. Of course, Kabanikha brought Katerina to her death. As a result, her daughter Varvara runs away from home, and her son Tikhon regrets that he did not die with his wife.

It is interesting that one of the main, active images of this play is the image of the thunderstorm itself. Symbolically expressing the idea of ​​the work, this image directly participates in the action of the drama as a real natural phenomenon, enters into action at its decisive moments, and largely determines the actions of the heroine. This image is very meaningful; it illuminates almost all aspects of the drama.

So, already in the first act a thunderstorm broke out over the city of Kalinov. It broke out like a harbinger of tragedy. Katerina already said: “I’ll die soon,” she confessed to Varvara her sinful love. In her mind, the mad lady's prediction that the thunderstorm would not pass in vain, and the feeling of her own sin with a real thunderclap had already been combined. Katerina rushes home: “It’s still better, everything is calmer, I’m at home - to the images and pray to God!”

After this, the storm ceases for a short time. Only in Kabanikha’s grumbling are its echoes heard. There was no thunderstorm that night when Katerina felt free and happy for the first time after her marriage.

But the fourth, climactic act, begins with the words: “The rain is falling, as if a thunderstorm is not gathering?” And after that the thunderstorm motif never ceases.

The dialogue between Kuligin and Dikiy is interesting. Kuligin talks about lightning rods (“we have frequent thunderstorms”) and provokes Dikiy’s anger: “What other kind of electricity is there? Well, how come you are not a robber? A thunderstorm is sent to us as punishment, so that we can feel it, but you want to defend yourself, God forgive me, with poles and some horns. What are you, a Tatar or what?” And in response to the quotation from Derzhavin, which Kuligin cites in his defense: “I decay with my body in dust, I command thunder with my mind,” the merchant does not find anything to say at all, except: “And for these words, send you to the mayor, so he will will ask!”

Undoubtedly, in the play the image of a thunderstorm takes on special meaning: This is a refreshing, revolutionary start. However, the mind is condemned in the dark kingdom; it is faced with impenetrable ignorance, supported by stinginess. But still, the lightning that cut through the sky over the Volga touched the long-silent Tikhon and flashed over the destinies of Varvara and Kudryash. The thunderstorm shook everyone up thoroughly. Inhuman morals will sooner or later come to an end. The struggle between the new and the old has begun and continues. This is the meaning of the work of the great Russian playwright.

The meaning of the title of A. N. Ostrovsky’s play “The Thunderstorm”

“The Thunderstorm” is one of the brightest works of A. N. Ostrovsky. It was written in 1859, during a time of fundamental changes taking place in Russian society. And it is no coincidence that Ostrovsky chose exactly this name for his play.

The word “thunderstorm” has a huge meaning. A thunderstorm is not only a natural phenomenon, but it is also a symbol of changes in the “dark kingdom”, in the way of life that existed for several centuries in Russian life.

At the center of the play is the conflict between representatives of the “dark kingdom” and their victims. Against the backdrop of beautiful, calm nature, the unbearable life of people is depicted. And the main character - Katerina - cannot stand the oppression, the humiliation of her human dignity. This is also evidenced by changes in nature: colors become thicker; a thunderstorm is approaching, the sky is darkening. You can feel a thunderstorm approaching. All this is a harbinger of some terrible events.

The word “thunderstorm” is heard for the first time in the scene of farewell to Tikhon. He says: “...For two weeks there will be no thunderstorm over me.” Tikhon really wants to escape, at least for a short time, from the musty atmosphere of his parents’ house, to escape from the power of his mother Kabanikha, to feel free, so to speak, “to take a break for the whole year.” By “thunderstorm” he means the mother’s oppression, her omnipotence, fear of her, as well as fear of retribution for sins committed. “A thunderstorm is sent to us as punishment,” says Dikaya Kuligina And this fear of retribution is inherent in everyone to the characters of the play, even Katerina. She is religious and considers her love for Boris a great sin, but she can’t help herself.

The only one who was not afraid of the thunderstorm was the self-taught mechanic Kuligin. He even tried to resist this natural phenomenon by building a lightning rod. Kuligin saw in a thunderstorm only a majestic and beautiful spectacle, a manifestation of the strength and power of nature, and not a danger to humans. He says to everyone: “Well, what are you afraid of, pray tell? Now every grass, every flower is rejoicing, but we are hiding, afraid, as if some misfortune is coming! Eh, people. I’m not afraid.”

So, in nature, the thunderstorm has already begun. What is happening in society? Not everything is calm in society either - some changes are brewing. The thunderstorm in this case is an omen of the coming conflict and its resolution. Katerina is no longer able to live according to Domostroev’s rules, she wants freedom, but she no longer has the strength to fight with those around her. It is no coincidence, by the way, that a crazy lady appears on stage, which is accompanied by thunderclaps. She predicts the main character's imminent death.

Thus, the thunderstorm is the impetus for the outbreak of the conflict. Katerina was very frightened by the lady’s words and thunderclaps, taking them as a sign “from above.” She was a very emotional and religious person, so she simply could not live with sin on her Soul - the sin of love for a stranger. Katerina threw herself into the abyss of the Volga, unable to withstand the terrible, difficult, forced existence that fettered the impulses of her hot heart, not coming to terms with the hypocritical morality of the tyrants of the “dark kingdom.” These were the consequences the thunderstorm had for Katerina.

It should be noted that the thunderstorm is also a symbol of Katerina’s love for Boris, Dikiy’s nephew, because there is something elemental in their relationship, just like in a thunderstorm. Just like a thunderstorm, this love does not bring joy to either the heroine or her lover. Katerina - married woman, she has no right to cheat on her husband, because she took an oath of fidelity before God. But the marriage was completed, and no matter how hard the heroine tried, she could not love her legal husband, who was not able to either protect his wife from her mother-in-law’s attacks or understand her. But Katerina thirsted for love, and these impulses of her heart found a way out in her affection for Boris. He was the only inhabitant of the city of Kalinov who did not grow up in it. Boris was more educated than others; he studied in Moscow. He was the only one who understood Katerina, but could not help her, since he lacked determination. Did Boris really love Katerina? Most likely not. Obviously, this was not such a strong feeling for which one could sacrifice everything. This is also evidenced by the fact that he leaves Katerina completely alone in the city, advising her to submit to fate, foreseeing that she will die. Boris exchanged his love for Dikiy's inheritance, which he will never receive. Thus, Boris is also flesh and blood of the Kalinovsky world, he was taken prisoner by this city.

Ostrovsky in his work was able to show the changes that took place in Russian society in the middle and second half of the 19th century. This is evidenced by the title of the play “The Thunderstorm”. But if in nature after a thunderstorm the air becomes cleaner, a discharge occurs, then in life after a “thunderstorm” it is unlikely that anything will change, more likely, everything will remain in its place.

The title of a work very often reflects either its essence or gives the reader at least a little understanding of what will be discussed. This does not apply to texts of the late XX and beginning of the XXI century, but this position can be fully applied to the texts of the era of realism. For example, in “Poor People” by F. Dostoevsky it really talks about poor people, and in “Childhood. Adolescence. Youth" by L. Tolstoy shows precisely these stages of a person’s life. The same can be said for plays. One of Ostrovsky’s dramas, which will be discussed, was written in 1859, during the acute social contradictions. The meaning of the title of the play “The Thunderstorm” is not limited to the characteristics of a natural phenomenon.

In order to most accurately answer the question of why Ostrovsky called the drama “The Thunderstorm,” we need to take a closer look at this image.

As is known, sentimentalists introduced the image of nature into literature, conveying the feelings and emotions of heroes using the landscape. Thunder and lightning in Ostrovsky's play perform the same functions. Initially, the author describes the pre-storm time. This applies not only to the weather (some characters notice that it may soon start to rain), but also to the social situation. Before a thunderstorm it is usually very stuffy - the same is true in the city of Kalinov. People who don't like lies and hypocrisy find it impossible to breathe in such an environment. Money talk, drinking and judgment become concentrated to the point where disaster becomes inevitable. In order for this state of affairs to change, a push, a blow, a catalyst was needed, which in the text of the play is thunder and thunder.

Thunderstorm is one of the main characters in the fourth act, namely in the scene of a walk along the embankment. Kuligin draws attention to the gathering rain, admiring the power of nature. He thinks that a lightning rod would be useful to all residents of the city, but Dikoy does not share his ideas. In act No. 4, the author's remarks that a clap of thunder is heard are repeatedly repeated. These sounds become the auditory design of the climactic scene, increasing the semantic load and enhancing the severity of the unfolding tragedy. It is the thunderstorm that frightens Katerina, makes her nervous and weak. The girl, hearing the rumble of thunder, confesses to cheating on her husband and Kabanikha, and with the next lightning strike she falls unconscious.

As noted earlier, the title of the play “The Thunderstorm” has several meanings. There is one more aspect that needs to be considered in more detail. The thunderstorm appears before the reader not only as a manifestation of the elements, but also as a separate character. The thunderstorm seems like a fate that hangs over all the heroes. It is no coincidence that Tikhon, before leaving, says that “there will be no thunderstorms over him for two weeks.” By the word “thunderstorm,” Kabanov means the entire unhealthy atmosphere that reigns in their family. This mainly concerns Marfa Ignatievna’s moral teachings, because for two whole weeks the mother will not interfere in her son’s life.
Kuligin, for example, is not afraid of thunderstorms. On the contrary, he calls on residents to come to their senses from causeless anxiety: “it’s not the thunderstorm that kills!

...kills grace! Perhaps Kuligin is the only character who does not have an internal feeling of a thunderstorm. There is no premonition of impending misfortune. Dikoy believes that “a thunderstorm is sent as punishment.” The merchant thinks that people should be afraid of thunderstorms, even though it scares the Wild One himself. Katerina considers the thunderstorm to be God's punishment. The girl is also afraid of her, but not as much as Dikoy. There is a significant difference between the concepts of “punishment” and “punishment”: punishment is rewarded only for sins, but you can punish just like that. Katerina considers herself a sinner because she betrayed her husband. In her soul, just like in nature, a thunderstorm begins. Doubts accumulate gradually, Katerina is torn between the desire to live her life and control her own destiny and stay in her familiar surroundings, trying to forget about her feelings for Boris. There can be no compromise between these contradictions.

Another meaning of the name of the drama “The Thunderstorm” can be called a plot-forming factor. The thunderstorm becomes the impetus for the conflict to end. Both the internal contradiction of the main character and the conflict between representatives of " dark kingdom"and educated people XIX century. Katerina was frightened by the words of the crazy Lady about beauty, which certainly leads to a whirlpool, but only after a clap of thunder did Katerina admit to treason.

The relationship between Boris and Katya can also be compared to a thunderstorm. There is a lot of decisive, passionate, spontaneous things in them. But, like a thunderstorm, this relationship would not last long.
So, what is the meaning of the title of the play “The Thunderstorm” by Ostrovsky? The thunderstorm appears as a natural phenomenon, framing the work with an auditory frame; as a separate image; as a symbol of fate and punishment; as a kind of generalized reflection of the social catastrophe that hangs over Russia XIX century.

The given versions of the title of Ostrovsky’s drama are intended to answer the popular question “why was the thunderstorm called a thunderstorm?” This information can help 10th grade students in revealing the relevant topic in the essay “The meaning of the title of the play “The Thunderstorm” by Ostrovsky.”

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