Option I
The drama “The Thunderstorm” is a landmark work by A. N. Ostrovsky. The action takes place in the city of Kalinov, standing on the banks of the beautiful Volga River.
The city of Kalinov is described in detail, specifically and in many ways. An important role in the drama is played by the landscape, which is described not only in the author's remarks, but also in the dialogues of the characters. Some see its beauty, others are indifferent to it. The high Volga bank and the distances beyond the river define the motive of flight, inseparable from Katerina.
Beautiful nature, pictures of youth partying at night, songs sounding in Act III- all this is the poetry of the city of Kalinov. But in the life of the city there is also a bleak prose: the everyday cruelty of residents towards each other, the inevitable poverty and lack of rights for the majority of the townspeople.
From action to action, the feeling of Salinov’s lostness intensifies. The life of this city is completely closed and unchanged. Residents do not see anything new and do not want to know about other lands and countries. And about their past they retained only dark legends, devoid of connections and meaning (like the legend about Lithuania, which “fell to us from the sky”). Life in Kalinov freezes, dries up, the past is forgotten, “there are hands, but there is nothing to work.” News from big world The wanderer Feklusha brings the inhabitants of this city, and they trustingly listen to stories about countries where people with dog heads “for infidelity”, about railway, where “they began to harness the fiery serpent” for speed.
Among characters There is no one in the play who does not belong to the world of this city. The lively and the meek, the powerful and the oppressed, merchants and clerks - they all move in this closed patriarchal world. Not only the dark Kalinovsky inhabitants, but also Kuligin, who, at first glance, is the bearer of progressive views, is flesh of the flesh of this world. He is a self-taught mechanic, but all his technical ideas are a clear anachronism for the 30s of the 19th century, to which the action of “The Thunderstorm” is attributed. The sundial he dreams of came from antiquity, the “perpetuum mobile” is a typical medieval idea, the unrealizability of which was beyond doubt in the 19th century. Kuligin is a dreamer and poet, but he writes “in the old-fashioned way,” like Lomonosov and Derzhavin. Kind and delicate, dreaming of changing the lives of the Kalinovsky poor, who received an award for his discovery perpetual motion machine, he seems to his fellow countrymen to be something of a city holy fool.
There is only one person who does not belong to the inhabitants of this city by birth and upbringing - Boris. He feels like a stranger, he is not used to the local customs, but he recognizes the power of the laws of this city over himself. That is why he behaves as if he were financially dependent on the Wild One or was obliged to obey him as the eldest in the family.
The city of Kalinov is not just a drama setting. This is a symbol of patriarchy merchant life with its poetry and cruelty. This is a symbol of all of Russia.
Option II
A. N. Ostrovsky entered the history of Russian art as the co-creator of the realistic “ folk theater", creator of a rich and diverse world artistic types. One of his outstanding works is the drama “The Thunderstorm”. N. Krutikova in the article “Creator of the People’s Theater” writes that “The Thunderstorm” seems to be “specifically national, having only local, ethnographic significance,” and then immediately clarifies that “within the framework of the ancient merchant life, within one the Ostrovsky family raised indigenous social problems, created images of global significance.”
The drama takes place on the banks of the deep, wide Russian Volga River, which is a symbol of the Russian soul. Here, as Kuligin says, “the view is extraordinary! Beauty! The soul rejoices." Against this background, the image of a dark, deceitful merchant city is especially clear, where “we can never earn more than our daily bread through honest labor. And whoever has money, sir, tries to enslave the poor so that his labors will be free more money make money."
The rulers of the city, legislators, executors and judges at the same time are the limited, grumpy Kabanikha and the unbridled tyrant Dikoy. They are the main force of the dark kingdom. The first is known for its despotic character, which is based on the dogma of subordinating all actions to the rules, and the rules are not written, but ossified in her dark head: everything must be done “as it should be” (“Why are you standing there, don’t you know the order? Order wife, how to live without you”). The second is an unreasonable boor and a warrior in the “war on women”, a petty, mean and stingy old man, guided by the principle “I won’t pay them a penny extra per person, but I make thousands out of this, so it’s good for me.” !
Among the ignorant and hypocritical rich people of the city, who lock themselves in their houses not from thieves and not because of piety, but “so that people do not see how they eat their household and tyrannize their family,” young people are the true treasure: Katerina , Varvara, Kudryash, trying to fight Kalinov’s darkness and boredom. Standing apart is no longer the young, smart, self-taught watchmaker Kuligin, who not only clearly sees the life that this city lives, but also tries to somehow really help the residents: he persuades Dikiy to donate money for the construction of a clock and a lightning rod, and also offers his labor free of charge and selflessly.
Kuligin says: " Cruel morals.., in our city", telling about the life of the people of the city of Kalinov. In the drama “The Thunderstorm”, it is he who acts as the bearer of the author’s thoughts, exposing the morals of the inhabitants living in the “dark kingdom.” And among the reasons for such morals, he is the dominant position of wealthy people: “ ... whoever has money... tries to enslave the poor in order... to make even more money.” People in the city are embittered and find joy when they manage to do something bad to their neighbor: “and among themselves... how they live Trade! undermine... They are at enmity...”
The defender of the order established in Kalinov is the page of Feklush, who exclaims admiringly: “You live in the promised land! And the merchants... pious people!” So, N.A. Ostrovsky creates a contrast of opinions when he shows the reader two different points view of what is happening. Feklusha is the real embodiment of inertia, ignorance and superstition, which enters homes influential people city of Kalinov. It is with the help of her image that the playwright emphasizes how much what is happening in Kalinov contradicts her assessment, when she continually says: “Splendor, dear, splendor!..”
The embodiment of tyranny, feeble-mindedness, ignorance, and cruelty in the play are the wealthy merchants Kabanova Marfa Ignatievna and Dikoy Savel Prokofievich. Kabanikha is the head of the family, who considers herself right in everything, she holds everyone living in the house in her fist, closely monitors the observance of largely outdated customs and orders based on Domostroy and church prejudices. Moreover, the principles of Domostroy are distorted in her; she takes from it not a wise way of life, but prejudices and superstitions.
Kabanikha is the bearer of the principles of the “dark kingdom”. She is smart enough to understand that her money alone will not give her real power, and that is why she craves obedience from those around her. And according to N.A. Dobrolyubova, for deviating from her established rules, she “gnaws at her victim... relentlessly.” Most of all goes to Katerina, who must bow at her husband’s feet and howl when leaving. She diligently hides her tyranny and tyranny under the guise of piety, and she herself destroys the lives of people around her: Tikhon, Varvara, Katerina. It’s not in vain that Tikhon regrets that he did not die with Katerina: “Good for you..! Why did I stay in the world and suffer?”
Diky, unlike Kabanikha, can hardly be called a bearer of the ideas of the “dark kingdom”; he is simply a narrow-minded and rude tyrant. He is proud of his ignorance and rejects everything new. The achievements of science and culture mean absolutely nothing to him. He's superstitious. The dominant trait of the Wild is the desire for profit and greed; he devotes his life to accumulating and increasing his fortune, while not disdaining any methods.
Despite the gloomy picture of the cruel morals that reign in Kalinov, the playwright leads us to the idea that the oppression of the “dark kingdom” is not eternal, because the death of Katerina served as the beginning of change and became a symbol of the fight against tyranny. Kudryash and Varvara cannot live any longer in this world and therefore run away to distant lands.
To summarize, we can say that N.A. Ostrovsky in his drama exposed the morals of life of the merchants and the autocratic-serf system of his contemporary Russia, which he would not want to see in society: despotism, tyranny, greed and ignorance.
Essay The cruel morals of the city of Kalinov
The drama “The Thunderstorm,” written by Alexander Nikolaevich Ostrovsky in the mid-nineteenth century, remains a work relevant and understandable to everyone today. Human dramas, difficult life choices and ambiguous relationships between seemingly close people - these are the main issues that the writer touches on in his work, which has become truly iconic for Russian literature.
The small town of Kalinov, located on the banks of the Volga River, amazes with its picturesque places and beautiful nature. However, the man whose foot set foot on such fertile soil managed to ruin absolutely the entire impression of the city. Kalinov is stuck in the highest and strongest fences, and all the houses are similar to each other in their facelessness and grayness. We can say that the inhabitants of the city are very reminiscent of the place where they live, and using the example of the two main negative characters of the play, Marfa Kabanova and Savel Dikiy, I would like to show exactly why.
Kabanova, or Kabanikha, is a very wealthy merchant of the city of Kalinov. She is despotic towards her family members, and especially towards Katerina, her daughter-in-law, however strangers they know her as a person of exceptional decency and kindness. It is not difficult to guess that this virtue is nothing more than a mask behind which hides a truly cruel and evil woman who is not afraid of anyone, and therefore feels complete impunity.
The second one negative character In the play, Savel Dikoy appears before readers as a man of rare ignorance and narrow-mindedness. He does not strive to learn something new, improve and develop, instead preferring to quarrel with someone once again. Dikoy believes that accumulation Money is the most important goal in everyone's life reasonable person, which he considers himself to be, so he is always busy looking for easy money.
In my opinion, in his work “At the Bottom” Ostrovsky shows readers how terrible ignorance, limitations and banal human stupidity are. After all, it was Kalinin’s morals that destroyed Katerina, who simply could not live in such an environment and in such a moral atmosphere. The worst thing is that there are very, very many people like Kabanova and Dikoy, we meet them at almost every step, and it is very important to be able to abstract from their harmful and destructive influence and, of course, to realize how important it is to remain a bright and kind person .
Several interesting essays
- Landscape in Ostrovsky's Thunderstorm essay
It’s interesting that it’s usually difficult to talk about the role of landscape in a play. That is, there is clearly no two-page descriptions of nature here. Usually the type of scene (landscape) is indicated briefly at the very beginning of the actions before the dialogues
- Female images in the novel Doctor Zhivago by Pasternak essay
Revealing to the reader the life story of Yuri Zhivago, Pasternak pays considerable attention to the love storyline, and therefore important in the novel female images, characterized by ambiguity.
- Analysis of the work of Sholokhov Ilyukha
Sholokhov wrote great amount different works, but the most interesting is “Ilyukha”. Here the main character is a guy named Ilyusha. More than anything, his parents
- Analysis of the story by Mumu Turgenev, grade 5
Turgenev wrote his story “Mumu” in 1852, but it was published 2 years later. many years fight against censorship in one of the issues of the Sovremennik magazine.
My family is me, dad, mom, sister and cat. We rarely see other relatives because they live far away, but the whole family spends every evening together.
Nothing sacred, nothing pure, nothing right in this dark world.
ON THE. Dobrolyubov.
The drama “The Thunderstorm” by A.N. Ostrovsky is one of the outstanding works of Russian drama. In it, the author showed the life and customs of a typical provincial town, whose residents stubbornly cling to a long-established way of life with its patriarchal traditions and foundations. Describing the conflict in merchant family, the writer denounces spiritual and moral problems Russia mid-19th century.
The play takes place on the banks of the Volga, in the small town of Kalinov.
In this city, the basis of human relationships is material dependence. Here money decides everything, and power belongs to those who have more capital. Profit and enrichment become the goal and meaning of life for most Kalinov residents. Because of money, they quarrel among themselves and harm each other: “I’ll spend it, and it will cost him a pretty penny.” Even the self-taught mechanic Kuligin, who is advanced in his views, realizing the power of money, dreams of a million in order to talk on equal terms with the rich.
So, money in Kalinov gives power. Everyone is timid in front of the rich, so there is no limit to their cruelty and tyranny. Dikoy and Kabanikha, the richest people in the city, oppress not only their workers, but also their relatives. Unquestioning submission to elders, in their opinion, is the basis family life, and everything that happens inside the house should not concern anyone except the family.
The tyranny of the “masters of life” manifests itself in different ways. Dikoy is openly rude and unceremonious; he cannot live without swearing and swearing. For him, a person is a worm: “If I want, I will have mercy, if I want, I will crush.” He enriches himself by ruining hired workers, and he himself does not consider this a crime. “I won’t pay them a penny more per person, but I make thousands out of this,” he boastfully tells the mayor, who himself is dependent on him. Kabanikha hides her true essence under the guise of righteousness, while tormenting both his children and his daughter-in-law with nagging and reproaches. Kuligin gives her an apt description: “Prude, sir! He gives money to the poor, but completely eats up his family.”
Hypocrisy and hypocrisy determine the behavior of those in power. Kabanikha’s virtue and piety are false, her religiosity is put on display. She also wants to force the younger generation to live by the laws of hypocrisy, arguing that the most important thing is not the true manifestation of feelings, but the external observance of decency. Kabanikha is outraged that Tikhon, when leaving home, does not order Katerina how to behave, and the wife does not throw herself at her husband’s feet and does not howl to show her love. And Dikoy doesn’t mind covering up his greed with a mask of repentance. At first he “scold” the man who came for the money, and “after he asked for forgiveness, bowed at his feet, ... bowed in front of everyone.”
We see that Kalinov has been living for centuries according to long-established laws and traditions. The townspeople are not interested in new ideas and thoughts; they are superstitious, ignorant and uneducated. Residents of Kalinov are afraid of various innovations and know little about science and art. Dikoy is not going to install lightning rods in the city, believing that the thunderstorm is God’s punishment, Kabanikha thinks the train is a “fiery serpent” that cannot be ridden, and the townspeople themselves think that “Lithuania has fallen from the sky.” But they willingly believe the stories of wanderers who, “due to their weakness,” did not walk far, but “heard and heard a lot.”
The city of Kalinov is located in a very picturesque place, but its residents are indifferent to the beauty that surrounds them. The boulevard built for them remains empty, “they only walk there on holidays, and even then... they go there to show off their outfits.”
The Kalinovites are also indifferent to the people around them. Therefore, all requests and efforts of Kuligin remain unanswered. While the self-taught mechanic has no money, all his projects do not find support.
Any manifestation sincere feeling in Kalinov it is regarded as a sin. When Katerina, saying goodbye to Tikhon, throws herself on his neck, Kabanikha pulls her back: “Why are you hanging on his neck, shameless one! You are not saying goodbye to your lover! He’s your husband, your boss!” Love and marriage are incompatible here. Kabanikha remembers love only when she needs to justify her cruelty: “After all, out of love, parents are strict with you...”
These are the conditions in which the younger generation of the city of Kalinov is forced to live. This is Varvara, Boris, Tikhon. Each of them adapted in their own way to life under despotism, when any manifestation of personality is suppressed. Tikhon completely obeys his mother’s demands and cannot take a step without her instructions. Material dependence on Dikiy makes Boris powerless. He is unable to protect Katerina or stand up for himself. Varvara learned to lie, dodge, and pretend. Her life principle: “Do what you want, as long as it’s sewn and covered.”
One of the few who is aware of the atmosphere that has developed in the city is Kuligin. He speaks directly about the lack of education and ignorance of the townspeople, about the impossibility of earning money through honest work, and criticizes the cruel morals that reign in Kalinov. But he is also unable to protest in defense of his human dignity, believing that it is better to endure and submit.
Thus, we see the passivity of the majority of residents of Kalinov, their reluctance and inability to fight the established order, the despotism and arbitrariness of the “masters of life.”
The only person who is not afraid to challenge the “dark kingdom” is Katerina. She does not want to adapt to the life around her, but the only way out she sees for herself is death. According to Dobrolyubov, the death of the main character is “a protest against Kabanov’s concepts of morality, a protest brought to the end.”
Thus, Ostrovsky masterfully showed us a typical provincial city with its customs and morals, a city where arbitrariness and violence reign, where any desire for freedom is suppressed. Reading "The Thunderstorm", we can analyze merchant environment of that time, to see its contradictions, to understand the tragedy of that generation that can no longer and does not want to live within the framework of the old ideology. We see that the crisis of an oppressive, ignorant society is inevitable and the end of the “dark kingdom” is inevitable.
Dramatic events of the play by A.N. Ostrovsky's "The Thunderstorm" takes place in the city of Kalinov. This town is located on the picturesque bank of the Volga, from the high cliff of which the vast Russian expanses and boundless distances open up to the eye. “The view is extraordinary! Beauty! The soul rejoices,” enthuses local self-taught mechanic Kuligin.
Pictures of endless distances, echoed in a lyrical song. Among the flat valleys,” which he hums, have great importance to convey the feeling of the immense possibilities of Russian life, on the one hand, and the limitations of life in a small merchant town, on the other.
Magnificent paintings of the Volga landscape are organically woven into the structure of the play. At first glance, they contradict its dramatic nature, but in fact they introduce new colors into the depiction of the scene of action, thereby fulfilling an important artistic function: The play begins with a picture of a steep bank, and it ends with it. Only in the first case does it give rise to a feeling of something majestically beautiful and bright, and in the second - catharsis. The landscape also serves to more vividly depict the characters - Kuligin and Katerina, who subtly sense its beauty, on the one hand, and everyone who is indifferent to it, on the other. The brilliant playwright so carefully recreated the scene of action that we can visually imagine the city Kalinov, immersed in greenery, as he is depicted in the play. We see its high fences, and gates with strong locks, and wooden houses with patterned shutters and colored window curtains filled with geraniums and balsams. We also see taverns where people like Dikoy and Tikhon are carousing in a drunken stupor. We see the dusty streets of Kalinovsky, where ordinary people, merchants and wanderers talk on benches in front of the houses, and where sometimes a song can be heard from afar to the accompaniment of a guitar, and behind the gates of the houses the descent begins to the ravine, where young people have fun at night. A gallery with vaults of dilapidated buildings opens to our eyes; a public garden with gazebos, pink bell towers and ancient gilded churches, where “noble families” walk decorously and where entertainment unfolds public life this small merchant town. Finally, we see the Volga pool, in the abyss of which Katerina is destined to find her final refuge.
Residents of Kalinov lead a sleepy, measured existence: “They go to bed very early, so it’s difficult for an unaccustomed person to endure such a sleepy night.” On holidays, they walk decorously along the boulevard, but “they only pretend to be walking, but they themselves go there to show off their outfits.” The inhabitants are superstitious and submissive, they have no desire for culture, science, they are not interested in new ideas and thoughts. The sources of news and rumors are pilgrims, pilgrims, and “passing kaliki.” The basis of relationships between people in Kalinov is material dependence. Here money is everything. “Cruel morals, sir, in our city, cruel! - says Kuligin, addressing a new person in the city, Boris. “In philistinism, sir, you will see nothing but rudeness and stark poverty.” And we, sir, will never get out of this crust. Because honest work will never earn us more than our daily bread. And whoever has money, sir, tries to enslave the poor in order to make even more money from his free labors. He testifies: “And among themselves, sir, how they live! They undermine each other's trade, and not so much out of self-interest as out of envy. They are at enmity with each other; they get drunken clerks into their high mansions... And they... write malicious clauses about their neighbors. And for them, sir, a trial and a case will begin, and there will be no end to the torment.”
A vivid figurative expression of the manifestation of rudeness and hostility that reigns in Kalinov is the ignorant tyrant Savel Prokofich Dikoy, a “scold man” and a “shrill man,” as its residents characterize it. Endowed with an unbridled temper, he intimidated his family (dispersed “to attics and closets”), terrorizes his nephew Boris, who “got to him as a sacrifice” and which, according to Kudryash, he constantly “rides.” He also mocks other townspeople, cheats, “shows off” over them, “as his heart desires,” rightly believing that there is no one to “calm him down” anyway. Swearing and swearing for any reason is not only the usual way of treating people, it is his nature, his character, the content of his entire life.
Another personification of the “cruel morals” of the city of Kalinov is Marfa Ignatievna Kabanova, a “hypocrite,” as the same Kuligin characterizes her. “He gives money to the poor, but completely eats up his family.” Kabanikha firmly stands guard over the established order established in her home, jealously guarding this life from the fresh wind of change. She cannot come to terms with the fact that the young people do not like her way of life, that they want to live differently. She doesn't swear like Dikoy. She has her own methods of intimidation, she corrosively, “like rusting iron,” “sharpenes” her loved ones.
Dikoy and Kabanova (one - rudely and openly, the other - “under the guise of piety”) poison the lives of those around them, suppressing them, subordinating them to their orders, destroying bright feelings in them. For them, the loss of power is the loss of everything in which they see the meaning of existence. That’s why they hate new customs, honesty, sincerity in the expression of feelings, and the attraction of young people to “freedom.”
A special role in the “dark kingdom” belongs to the ignorant, deceitful and arrogant wanderer-beggar Feklusha. She “wanders” through cities and towns, collecting absurd tales and fantastic stories - about the diminishment of time, about people with dog heads, about scattering chaff, about a fiery serpent. One gets the impression that she deliberately misinterprets what she hears, that she takes pleasure in spreading all these gossip and ridiculous rumors - thanks to this, she is willingly accepted in the houses of Kalinov and towns like it. Feklusha does not fulfill her mission selflessly: she will be fed here, given something to drink here, and given gifts there. The image of Feklusha, personifying evil, hypocrisy and gross ignorance, was very typical of the environment depicted. Such feklushi, carriers of nonsense news that clouded the consciousness of ordinary people, and pilgrims were necessary for the owners of the city, as they supported the authority of their government.
Finally, another colorful exponent of the cruel morals of the “dark kingdom” is the half-crazed lady in the play. She rudely and cruelly threatens the death of someone else's beauty. These terrible prophecies, sounding like the voice of tragic fate, receive their bitter confirmation in the finale. In the article “A Ray of Light in the Dark Kingdom” N.A. Dobrolyubov wrote: “In The Thunderstorm the need for the so-called “unnecessary faces” is especially visible: without them we cannot understand the heroine’s face and can easily distort the meaning of the entire play...”
Dikoy, Kabanova, Feklusha and the half-crazy lady - representatives of the older generation - are exponents of the worst sides of the old world, its darkness, mysticism and cruelty. These characters have nothing to do with the past, rich in its own unique culture and traditions. But in the city of Kalinov, in conditions that suppress, break and paralyze the will, representatives of younger generation. Someone, like Katerina, closely bound by the way of the city and dependent on it, lives and suffers, strives to escape from it, and someone, like Varvara, Kudryash, Boris and Tikhon, humbles himself, accepts its laws or finds ways to reconcile with them .
Tikhon, the son of Marfa Kabanova and Katerina’s husband, is naturally endowed with a gentle, quiet disposition. There is in him kindness, and responsiveness, and the ability for sound judgment, and the desire to break free from the clutches in which he finds himself, but weak-willedness and timidity outweigh him positive traits. He is used to unquestioningly obeying his mother, doing everything she demands, and is not able to show disobedience. He is unable to truly appreciate the extent of Katerina’s suffering, unable to penetrate her spiritual world. Only in the finale does this weak-willed but internally contradictory person rise to open condemnation of his mother’s tyranny.
Boris, “a young man of decent education,” is the only one who does not belong to the Kalinovsky world by birth. This is a mentally soft and delicate, simple and modest person, and, moreover, his education, manners, and speech are noticeably different from most Kalinovites. He does not understand local customs, but is unable either to defend himself from the insults of the Wild One, or to “resist the dirty tricks that others do.” Katerina sympathizes with his dependent, humiliated position. But we can only sympathize with Katerina - she happened to meet on her way a weak-willed man, subordinate to the whims and whims of his uncle and doing nothing to change this situation. N.A. was right. Dobrolyubov, who claimed that “Boris is not a hero, he stands far from Katerina, and she fell in love with him in the desert.”
Cheerful and cheerful Varvara - the daughter of Kabanikha and the sister of Tikhon - is a vitally full-blooded image, but she emanates some kind of spiritual primitiveness, starting with her actions and everyday behavior and ending with her thoughts about life and rudely cheeky speech. She adapted, learned to be cunning so as not to obey her mother. She is too down to earth in everything. Such is her protest - escaping with Kudryash, who is well acquainted with the customs of the merchant environment, but lives easily” without hesitation. Varvara, who learned to live guided by the principle: “Do what you want, as long as it’s well protected,” expressed her protest at the everyday level, but on the whole she lives according to the laws of the “dark kingdom” and in her own way finds agreement with it.
Kuligin, a local self-taught mechanic who in the play acts as an “exposer of vices,” sympathizes with the poor, is concerned with improving people’s lives, having received a reward for the discovery of a perpetual motion machine. He is an opponent of superstitions, a champion of knowledge, science, creativity, enlightenment, but his own knowledge is not enough.
He doesn’t see an active way to resist tyrants, and therefore prefers to submit. It is clear that this is not the person who is able to bring novelty and fresh air into the life of the city of Kalinov.
Among the characters in the drama, there is no one, except Boris, who does not belong to the Kalinovsky world by birth or upbringing. All of them revolve in the sphere of concepts and ideas of a closed patriarchal environment. But life does not stand still, and tyrants feel that their power is being limited. “Besides them, without asking them,” says N.A. Dobrolyubov, - another life has grown, with different beginnings ... "
Of all the characters, only Katerina - a deeply poetic nature, filled with high lyricism - is focused on the future. Because, as noted by academician N.N. Skatov, “Katerina was brought up not only in the narrow world of a merchant family, she was born not only by the patriarchal world, but by the entire national world, folk life, already spilling over the boundaries of patriarchy.” Katerina embodies the spirit of this world, its dream, its impulse. She alone was able to express her protest, proving, albeit at a cost own life that the end of the “dark kingdom” is approaching. By creating such an expressive image of A.N. Ostrovsky showed that even in the ossified world of a provincial town, “ folk character amazing beauty and strength”, whose pen is based on love, on the free dream of justice, beauty, some kind of higher truth.
Poetic and prosaic, sublime and mundane, human and animal - these principles are paradoxically united in the life of a provincial Russian town, but in this life, unfortunately, darkness and oppressive melancholy prevail, which N.A. could not better characterize. Dobrolyubov, calling this world a “dark kingdom.” This phraseological unit is of fairy-tale origin, but the merchant world of “The Thunderstorm,” we are convinced of this, is devoid of that poetic, mysterious and captivating quality that is usually characteristic of a fairy tale. “Cruel morals” reign in this city, cruel...
- In general, the history of the creation and concept of the play “The Thunderstorm” is very interesting. For some time there was an assumption that this work was based on real events that occurred in the Russian city of Kostroma in 1859. “In the early morning of November 10, 1859, Kostroma bourgeois Alexandra Pavlovna Klykova disappeared from her home and either rushed into the Volga herself, or was strangled and thrown there. The investigation revealed the silent drama that played out in an unsociable family living narrowly with commercial interests: […]
- Whole, honest, sincere, she is incapable of lies and falsehood, which is why in a cruel world where wild and wild boars reign, her life turns out so tragically. Katerina’s protest against Kabanikha’s despotism is a struggle of the bright, pure, human against the darkness, lies and cruelty of the “dark kingdom”. No wonder Ostrovsky, who is very great attention paid attention to the selection of names and surnames of the characters, and gave this name to the heroine of “The Thunderstorm”: translated from Greek, “Ekaterina” means “eternally pure.” Katerina is a poetic person. IN […]
- Alexander Nikolaevich Ostrovsky was endowed with great talent as a playwright. He is deservedly considered the founder of the Russian national theater. His plays, varied in theme, glorified Russian literature. Ostrovsky's creativity had a democratic character. He created plays that showed hatred of the autocratic serfdom regime. The writer called for the protection of the oppressed and humiliated citizens of Russia and longed for social change. Ostrovsky’s enormous merit is that he opened the enlightened [...]
- In “The Thunderstorm,” Ostrovsky shows the life of a Russian merchant family and the position of women in it. Katerina’s character was formed in a simple merchant family, where love reigned and the daughter was given complete freedom. She acquired and retained all the wonderful traits of the Russian character. This is a pure, open soul that does not know how to lie. “I don’t know how to deceive; I can’t hide anything,” she tells Varvara. In religion Katerina found the highest truth and beauty. Her desire for the beautiful and the good was expressed in prayers. Coming out […]
- In the drama "The Thunderstorm" Ostrovsky created a very complex psychologically image - the image of Katerina Kabanova. This young woman charms the viewer with her huge, pure soul, childish sincerity and kindness. But she lives in the musty atmosphere of the “dark kingdom” of merchant morals. Ostrovsky managed to create a bright and poetic image of a Russian woman from the people. Main story line plays are tragic conflict the living, feeling soul of Katerina and the dead way of life of the “dark kingdom”. Honest and […]
- Katerina Varvara Character Sincere, sociable, kind, honest, pious, but superstitious. Tender, soft, and at the same time, decisive. Rough, cheerful, but taciturn: “... I don’t like to talk a lot.” Decisive, can fight back. Temperament Passionate, freedom-loving, courageous, impetuous and unpredictable. She says about herself, “I was born so hot!” Freedom-loving, intelligent, prudent, courageous and rebellious, she is not afraid of either parental or heavenly punishment. Upbringing, […]
- “The Thunderstorm” was published in 1859 (on the eve of the revolutionary situation in Russia, in the “pre-storm” era). Its historicism lies in the conflict itself, the irreconcilable contradictions reflected in the play. It responds to the spirit of the times. "The Thunderstorm" represents the idyll of the "dark kingdom". Tyranny and silence are brought to the extreme in her. A real heroine from the people’s environment appears in the play, and it is the description of her character that receives the main attention, while the little world of the city of Kalinov and the conflict itself are described in a more general way. "Their life […]
- Katerina – main character Ostrovsky's drama "The Thunderstorm", Tikhon's wife, Kabanikha's daughter-in-law. The main idea of the work is the conflict of this girl with the “dark kingdom”, the kingdom of tyrants, despots and ignoramuses. You can find out why this conflict arose and why the end of the drama is so tragic by understanding Katerina’s ideas about life. The author showed the origins of the heroine's character. From Katerina's words we learn about her childhood and adolescence. Here is an ideal version of patriarchal relations and the patriarchal world in general: “I lived, not about [...]
- “The Thunderstorm” by A. N. Ostrovsky made a strong and deep impression on his contemporaries. Many critics were inspired by this work. However, even in our time it has not ceased to be interesting and topical. Elevated to the category of classical drama, it still arouses interest. The tyranny of the “older” generation lasts for many years, but some event must occur that could break the patriarchal tyranny. Such an event turns out to be the protest and death of Katerina, which awakened other […]
- The critical history of "The Thunderstorm" begins even before its appearance. To argue about "a ray of light in a dark kingdom", it was necessary to open " Dark Kingdom". An article under this title appeared in the July and September issues of Sovremennik for 1859. It was signed with the usual pseudonym of N.A. Dobrolyubova - N. - bov. The reason for this work was extremely significant. In 1859, Ostrovsky brings up the intermediate result literary activity: his two-volume collected works appear. "We consider it the most [...]
- In The Thunderstorm, Ostrovsky, using a small number of characters, managed to reveal several problems at once. Firstly, this is, of course, social conflict, the clash of “fathers” and “children”, their points of view (and if we resort to generalization, then two historical eras). Kabanova and Dikoy belong to the older generation, who actively express their opinions, and Katerina, Tikhon, Varvara, Kudryash and Boris to the younger generation. Kabanova is sure that order in the house and control over everything that happens in it are the key right life. Correct […]
- A conflict is a clash between two or more parties that do not coincide in their views and worldviews. There are several conflicts in Ostrovsky’s play “The Thunderstorm,” but how can you decide which one is the main one? In the era of sociology in literary criticism, it was believed that social conflict was the most important in the play. Of course, if we see in the image of Katerina a reflection of the spontaneous protest of the masses against the constraining conditions of the “dark kingdom” and perceive Katerina’s death as the result of her collision with her tyrant mother-in-law, one should […]
- The play “The Thunderstorm” by Alexander Nikolaevich Ostrovsky is historical for us, as it shows the life of the philistinism. "The Thunderstorm" was written in 1859. It is the only work of the “Nights on the Volga” series conceived but not realized by the writer. The main theme of the work is a description of the conflict that arose between two generations. The Kabanikha family is typical. The merchants cling to their old morals, not wanting to understand the younger generation. And since young people do not want to follow traditions, they are suppressed. I'm sure, […]
- Let's start with Katerina. In the play "The Thunderstorm" this lady - main character. What is the problem? of this work? The problematic is the main question that the author asks in his work. So the question here is who will win? The dark kingdom, which is represented by the bureaucrats of a provincial town, or the bright beginning, which is represented by our heroine. Katerina is pure in soul, she has a gentle, sensitive, loving heart. The heroine herself is deeply hostile to this dark swamp, but is not fully aware of it. Katerina was born […]
- Special Hero in Ostrovsky’s world, adjacent to the type of poor official with self-esteem is Yuliy Kapitonovich Karandyshev. At the same time, his pride is hypertrophied to such an extent that it becomes a substitute for other feelings. Larisa for him is not just his beloved girl, she is also a “prize” that gives him the opportunity to triumph over Paratov, a chic and rich rival. At the same time, Karandyshev feels like a benefactor, taking as his wife a dowry-free woman, partly compromised by the relationship […]
- Alexander Nikolaevich Ostrovsky was called the “Columbus of Zamoskvorechye,” a region of Moscow where people from the merchant class lived. He showed how intense, dramatic Life is going behind the high fences, what Shakespearean passions sometimes boil in the souls of representatives of the so-called “simple class” - merchants, shopkeepers, small employees. The patriarchal laws of a world that is becoming a thing of the past seem unshakable, but a warm heart lives according to its own laws - the laws of love and goodness. The characters of the play “Poverty is not a vice” […]
- The love story of clerk Mitya and Lyuba Tortsova unfolds against the backdrop of life in a merchant's house. Ostrovsky in Once again delighted his fans with his remarkable knowledge of the world and amazingly vivid language. Unlike the earlier plays, this comedy contains not only the soulless manufacturer Korshunov and Gordey Tortsov, who boasts of his wealth and power. They are contrasted with those dear to the hearts of the soil people, simple and sincere people- kind and loving Mitya and the wasted drunkard Lyubim Tortsov, who remained, despite his fall, […]
- The drama takes place in the Volga city of Bryakhimov. And in it, as everywhere else, cruel orders reign. The society here is the same as in other cities. The main character of the play, Larisa Ogudalova, is a homeless woman. The Ogudalov family is not rich, but, thanks to the persistence of Kharita Ignatievna, they make acquaintance with strongmen of the world this. The mother inspires Larisa that, although she does not have a dowry, she should marry a rich groom. And Larisa for the time being accepts these rules of the game, naively hoping that love and wealth […]
- The focus of the writers of the 19th century is on a person with a rich spiritual life and a changeable inner world. The new hero reflects the state of the individual in an era of social transformation. The authors do not ignore the complex conditioning of the development of the human psyche by the external material environment. The main feature of the depiction of the world of heroes of Russian literature is psychologism , that is, the ability to show a change in the hero’s soul. In the center of different works we see “extra […]
- It is not for nothing that the novel “The Master and Margarita” is called the “sunset novel” of M. Bulgakov. For many years he rebuilt, supplemented and polished his final work. Everything that M. Bulgakov experienced in his life - both happy and difficult - he devoted all his most important thoughts, all his soul and all his talent to this novel. And a truly extraordinary creation was born. The work is unusual, first of all, in its genre. Researchers still cannot determine it. Many consider The Master and Margarita a mystical novel, citing […]
Kalinov is a small merchant town on the Volga, where for generations they have been living according to Domostroevsky rules. They listen to wanderers, believe their fairy tales, are afraid to contradict their elders, life is unhurried and unhurried, like weakly flowing stagnant water. Here they resist innovation with all their might, especially those who have power over people. “Your own benefit is more important” and “Let your neighbor feel bad” are the basic principles of philanthropy and good neighborliness that the residents profess. The rich make money from misfortune and underpayment; you won’t find the truth here; whoever is richer is right. The permissiveness of those in power has no boundaries and no control.
Wild has seven Fridays a week. He got off on the wrong foot - he mocks those who depend on him all day long. He is an important figure - rich, influential, even the head of the council does not order him, but asks: you should pay the peasants so that they don’t make a fuss. To which Dikoy answers without hesitation that kindness and decency are not profitable. “I won’t pay them a penny extra per person, but this makes up thousands for me.” And he gets rich by cheating, cheating, and on and on. Of course, he will not share the inheritance with his nephew and niece, Boris hopes in vain.
The wild one only needs a reason to take all the money for himself, and Boris provided the reason by entering into a relationship with a married woman. He is also impudent in conversations with petitioners - he looks at Kuligin as an annoying petitioner, although the scientist only wants to improve the city, without demanding anything for his services. The only thing Wild is afraid of is Kabanikha - an intelligent, cruel, hypocritical merchant's wife.
Kabanikha is an admirer of old traditions: the wife should be afraid of her husband, we are not even talking about love. When the husband leaves, he must give her an order in front of everyone, and she must “howl” when saying goodbye. A widow's mother-in-law should even be there for her daughter-in-law more important than her husband– elders must be respected and feared. “Will” for her is equated to an obscene word, this is a violation of the meaning of her existence, the short leash on which she keeps everyone.
Kabanova's daughter-in-law, Katerina, once in her husband's house, feels that the swamp is drawing her in, sucking her out vitality, and the tyrannical mother-in-law humiliates with impunity, and there is no hope. The boar is healthy and will live a long time, but with the possible mention of her death she constantly torments her loved ones. And Katerina, out of despair, falls in love with the same dependent person, who, nevertheless, seems to her more worthy than her husband.
For married woman In the city of Kalinov, getting married means becoming a silent slave in your husband’s house; the only possible consolation is children. Katerina’s betrayal of her husband is the only challenge possible for her to protect her daily humiliated honor and dignity.
The sons of Kalinov's merchants and merchant women belong least to themselves. Their fate is managed for their own benefit and enrichment; they are a commodity.
Of course, Dikoy and Kabanikha love children. In my own way. Trying to keep them in a constant consciousness of their insignificance, controlling and manipulating. Dikiy’s daughters are not yet adults, but he already wants to rob his nephews in their favor, and Kabanikha constantly reproaches her son for how much she suffered because of him.
Varvara Kabanova, on the other hand, is given complete freedom, and she walks with her lover at night, accustomed to being a hypocrite and agreeing with her mother outwardly and putting her foot down in practice. “Shito-covered” is one of Kalinov’s basic rules. Do whatever you want, just so people don't find out. Hide your true feelings, if you have them, don’t show them. But Katerina, by confessing, doomed Varvara to escape, although Varvara did not plan to escape. She had freedom in girls, and she didn’t think about tomorrow, everything suited her. But the ban on a free life forced her to go against her mother - Varvara’s character is the same as that of her parent. She runs away with Kudryash, whom Dikoy himself is afraid of, and perhaps some good will come out of this connection.
For the believer Katerina there is no such option. Now she would live forever in a situation that offended the family of the disobedient woman. She has no one to ask for help - she knew what she was doing, but honesty does not allow her to remain silent. And she also “escaps”, in her own way.
Kalinov will no longer be the same - too many secrets have become apparent. And soon, not only Kuligin will see the beauty of his native expanses - only a cleansing thunderstorm will pour in...