The play "The Thunderstorm", written by Alexander Nikolaevich Ostrovsky in 1859, is the only one of the series "Nights on the Volga" conceived by the writer. The main theme of the drama is the conflict in the merchant family, first of all, the despotic attitude of representatives of the older generation (Kabanikha, Wild) towards the younger generation subordinate to him. Thus, the drama "The Thunderstorm" is based on a description of the life, foundations, and morals of a merchant family.
The owners of life in the city of Kalinov - rich merchants - defend their views regarding family norms and rules. The conservative morals that reign in the Kabanov family and are common for a family living in a small provincial town dictate that a “good wife,” after seeing her husband off, howl while lying on the porch; the husband regularly beats his wife, and both of them unquestioningly obey the will of the elders in the house. The model that Marfa Kabanova chose for herself is an old Russian family, which is characterized by complete lack of rights younger generation, and especially women. No wonder “all the faces, except Boris, are dressed in Russian.” By the fact that the appearance of the inhabitants of Kalinov is far from the appearance of modern (of course, for that time) people, Ostrovsky emphasizes the reluctance of the provincial Russian inhabitants and, above all, the merchant class to move forward themselves or at least not to interfere with the younger, more energetic generation from doing this.
Ostrovsky, describing merchant life and customs, draws attention not only to the shortcomings of relationships in one or two individual families. We are likely to notice that most of the inhabitants of Kalinov cannot boast of practically any education. Suffice it to recall the townspeople’s discussions about the “Lithuanian ruin” near the painted walls of the gallery. The situation in the Kabanov family, the relationship between Katerina and her mother-in-law does not cause any reaction from society. This suggests that such situations are common, typical for this circle, and it is not for nothing that the writer took the story of the conflict in the Kabanov family from life.
Another important aspect of the life of the merchants described by Ostrovsky is everyday life. This is a calm, measured existence, devoid of events. News about life in the capital or distant countries the inhabitants of Kalinov are informed by “feklushi”, even darker, ignorant wanderers, distrustful of everything new and unusual, like Kabanikha, who will not get into the car, “even if you shower her with gold.”
But time has taken its toll, and the older generation is forced to reluctantly give way to the younger ones. And what’s more, the cruel old Kabanova feels this, and the wanderer Feklusha agrees with her: “ Last times, mother Marfa Ignatievna, the last, by all accounts the last."
Thus, Ostrovsky in his play describes the crisis of the provincial merchants, the impossibility of their continued existence while maintaining their old ideology.
In Ostrovsky's drama "The Thunderstorm" the problems of morality are widely raised. Using the example of the provincial town of Kalinov, the playwright showed the truly prevailing cruel morals. The embodiment of these morals is the Kabanovs' house.
Let's meet its representatives.
Marfa Ignatievna Kabanova is a champion of the old world. The name itself paints a picture of an overweight woman with a difficult character, and the nickname “Kabanikha” complements this unpleasant picture. Kabanikha lives the old fashioned way, in accordance with strict order. But she only observes the appearance of this order, which she supports in public: a kind son, an obedient daughter-in-law. He even complains: “They don’t know anything, no order... What will happen, how the old people will die, how the light will stay on, I don’t even know. Well, at least it’s good that I won’t see anything.” There is real arbitrariness in the house. The boar is despotic, rude to the peasants, “eats” the family and does not tolerate objections. Her son is completely subordinate to her will, and she expects this from her daughter-in-law.
Next to Kabanikha, who day after day “sharpenes all her household like rusting iron,” stands the merchant Dikoy, whose name is associated with wild force. Dikoy not only “sharpenes and saws” his family members.
The men whom he deceives during payments suffer from it, and, of course, the customers, as well as his clerk Kudryash, a rebellious and impudent guy, ready to teach a “scold” a lesson in a dark alley with his fists.
Ostrovsky described the character of the Wild One very accurately. For the Wild, the main thing is money, in which he sees everything: power, glory, worship. This is especially striking in the small town where he lives. He can easily “pat on the shoulder” the mayor himself.
The images of Tikhon and Boris are slightly developed. Dobrolyubov in a well-known article says that Boris can be attributed more to the setting than to the heroes. In the remark, Boris stands out only in his clothes: “All faces, except Boris, are dressed in Russian.” This is the first difference between him and the residents of Kalinov. The second difference is that he studied at a commercial academy in Moscow. But Ostrovsky made him Dikiy’s nephew, and this suggests that, despite some differences, he belongs to the people of the “dark kingdom.” This is also confirmed by the fact that he is not able to fight this kingdom. Instead of lending a helping hand to Katerina, he advises her to submit to her fate. Tikhon is the same. Already on the list characters it is said about him that he is “her son,” that is, the son of Kabanikha. He really is more likely just Kabanikha’s son than a person. Tikhon has no willpower. The only wish this person - to break away from his mother's care in order to take the whole year off. Tikhon is also unable to help Katerina. Both Boris and Tikhon leave her alone with their inner experiences.
If Kabanikha and Dikoy belong to the old way of life, Kuligin carries the ideas of enlightenment, then Katerina is at a crossroads. Having grown up and brought up in a patriarchal spirit, Katerina fully follows this way of life. Cheating here is considered unforgivable, and having cheated on her husband, Katerina sees this as a sin before God. But her character is naturally proud, independent and free. Her dream of flying means breaking free from the power of her oppressive mother-in-law and from the stuffy world of the Kabanovs' house. As a child, she once, offended by something, went to the Volga in the evening. The same protest can be heard in her words addressed to Varya: “And if I’m really tired of being here, they won’t hold me back by any force. I’ll throw myself out the window, throw myself into the Volga. I don’t want to live here, I won’t do this, even if you cut me!” In Katerina’s soul there is a struggle between the pangs of conscience and the desire for freedom. She does not know how to adapt to life, to be a hypocrite and pretend, as Kabanikha does, she does not know how to look at the world as easily as Varya.
The morals of the Kabanov house drive Katerina to suicide.
The play “The Thunderstorm”, written by Alexander Nikolaevich Ostrovsky in 1859, is the only one of the series “Nights on the Volga” conceived by the writer. The main theme of the drama is the conflict in the merchant family, first of all, the despotic attitude of representatives of the older generation (Kabanikha, Wild) towards the younger generation subordinate to him. Thus, the drama “The Thunderstorm” is based on a description of the life, foundations, and morals of a merchant family.
The owners of life in the city of Kalinov - rich merchants - defend their views regarding family norms and rules. The conservative morals that reign in the Kabanov family and are common for a family living in a small provincial town dictate that a “good wife,” “having seen off her husband,” howl while lying on the porch; the husband regularly beats his wife, and both of them unquestioningly obey the will of the elders in the house. The model that Marfa Kabanova chose for herself is an old Russian family, which is characterized by complete lack of rights for the younger generation, and especially women. No wonder “all the faces, except Boris, are dressed in Russian.” By the fact that the appearance of the residents of Kalinov is far from the appearance of modern (of course, for that time) people, Ostrovsky emphasizes the reluctance of provincial Russian residents and, above all, the merchant class to move forward themselves or at least not to interfere with the younger, more energetic generation from doing this.
Ostrovsky, describing merchant life and customs, draws attention not only to the shortcomings of relationships in one or two individual families. We have the opportunity to notice that the majority of the inhabitants of Kalinov cannot boast of practically any education. Suffice it to recall the townspeople’s arguments about the “Lithuanian ruin” at the painted walls of the gallery. The situation in the Kabanov family, the relationship between Katerina and her mother-in-law does not cause any reaction from society. This suggests that such situations are common, typical for this circle, and it is not for nothing that the writer took the story of the conflict in the Kabanov family from life.
Another important aspect of the life of the merchants described by Ostrovsky is everyday life. This is a calm, measured existence, devoid of events. News about the capital’s life or distant countries is brought to the inhabitants of Kalinov by “feklushi”, even darker, ignorant wanderers, distrustful of everything new and unusual, like Kabanikha, who will not get into the car, “even if you shower her with gold.”
But time takes its toll, and the older generation is forced to reluctantly give way to the younger ones. And even the cruel old Kabanova feels this, and the wanderer Feklusha agrees with her: “The last times, Mother Marfa Ignatievna, the last, by all accounts the last.”
Thus, Ostrovsky in his play describes the crisis of the provincial merchants, the impossibility of their continued existence while maintaining their old ideology.
The theme of Russia in the drama “The Thunderstorm” by A.N. Ostrovsky.
Morals and life of the Russian merchants in the drama “The Thunderstorm” by A.N. Ostrovsky.
Portrayal of a merchant family in A.N. Ostrovsky’s drama “The Thunderstorm.”
The city of Kalinov and its inhabitants in the drama “The Thunderstorm” by A.N. Ostrovsky.
The theme of “Warm Heart” in A.N. Ostrovsky’s drama “The Thunderstorm”.
Moral problems in the drama “The Thunderstorm” by A.N. Ostrovsky.
Female images in the drama “The Thunderstorm” by A.N. Ostrovsky.
Strength and weakness of Katerina Kabanova.
Katerina and Varvara in the drama “The Thunderstorm” by A.N. Ostrovsky.
Essay plans
The city of Kalinov and its inhabitants in A.N. Ostrovsky’s drama “The Thunderstorm”
“The Thunderstorm” is a work of the pre-reform era. The end of the 1850s - the beginning of the 1860s - a line of different historical eras. “Pre-thunderstorm” condition Russian society reflected in the fate of the inhabitants of the city of Kalinov.
The city of Kalinov in the drama “The Thunderstorm”– collective image Russian patriarchal provincial town; generalized image of the city in Kuligin’s monologues.
Inhabitants of the city of Kalinov:
b) heroes who are ready to adapt to city life: Varvara, Kudryash;
c) heroes, suppressed by the life of the city, weak and weak-willed: Tikhon, Boris;
d) heroes seeking to change something in the life of the city. (Kuligin not only denounces Kalinov’s morals, but also tries to transform the life of the city).
e) Katerina – “a ray of light in dark kingdom“Kalinova or the spawn of darkness? The ambiguity of the assessment of this image. Assessments expressed by N. Dobrolyubov. Assessment of Katerina’s character by D. Pisarev.
Katerina’s tragedy is a reflection of the pre-storm state of Russia. Destruction of the old moral foundations of the city.
Female characters in A.N. Ostrovsky’s drama “The Thunderstorm”
Russia before the reform of 1861. Ostrovsky's depiction of a patriarchal world on the verge of destruction.
Special role women in a patriarchal world.
Leading role female images in drama:
b) ways to create the image of Kabanikha; c) ways to create the image of Katerina;
d) comparison of the images of Kabanikha and Feklushi; e) contrasting the images of Katerina and Varvara;
e) role episodic characters(Glasha and the half-crazy lady), off-stage characters (Wild’s wife, etc.) in the play. The special role of the image of a half-crazy lady in Katerina’s drama.
The variety of female images in the drama “The Thunderstorm”.
Portrayal of a merchant family in A.N. Ostrovsky’s drama “The Thunderstorm”
Ostrovsky’s plays about the life of the merchants (“We are our own people – we will be numbered!”, “Poverty is not a vice”, “Warm Heart”, etc.). Merchant life of Moscow and Volga cities in Ostrovsky's plays.
Merchant families brought out by the playwright in the drama “The Thunderstorm”.
a) the off-stage characters are Dikiy’s wife and his daughters (we learn about family relationships from the stories of Boris and Kudryash);
b) Dikoy and his nephew Boris; c) relationships in the family are determined by the tyranny of the Wild;
2) Kabanov family:
a) in this family, relationships are based on the old Domostroevsky norms of life. But, not warmed by the warmth of a living feeling, a living faith, they take on ugly forms in the Kabanov family;
b) the role of Kabanikha as the eldest woman in the house, the keeper of patriarchal customs;
c) Kabanova’s relationship with her children (Tikhon and Varvara);
d) relationship with Katerina; e) the role of hangers-on, wanderers in Kabanova’s house.
3) Contrasting the Kabanov family with Katerina’s family. Members of the second family are off-stage characters. From Katerina's stories we learn that relationships in her family were built on love and mutual understanding.
4) Generalized image family relations in the city is given in Kuligin’s monologues.
Ostrovsky portrayed merchant families in both tragic (“Thunderstorm”) and comic (“Warm Heart”) colors. But during a turning point for the fate of Russia, the playwright saw a tragic character in the relationships in the merchant family.
The theme of the “hot heart” in A.N. Ostrovsky’s drama “The Thunderstorm”
The theme of the “hot heart” is a cross-cutting theme in the dramaturgy of A.N. Ostrovsky (We love Tortsov, Snegurochka, Larisa and other heroes have a “hot heart”).
The concept of a “warm heart” refers to living heroes who react sharply to everything that happens around them. Not only worthy (positive) heroes can have a warm heart.
Heroes with a “hot heart” in “The Thunderstorm”:
b) Kuligin’s “warm heart” opens in admiration for nature, poetry, in a passionate desire to transform life in the city, in the dream of a perpetual motion machine;
c) Varvara and Kudryash show their ardor in their own way. Varvara, with her kindness and love, helps Katerina arrange a date with Boris, without thinking about the possible consequences. Curly is all cut from passionate folk songs, The removal of Varvara, the courage of his behavior with the Wild One is a manifestation of his “warm heart”;
d) Tikhon. His “warm heart” is hidden and is manifested in the revelry into which he embarked upon leaving home, in the last bitter words addressed to Kabanikha;
e) Dikoy also has a “warm heart”; his ability to repent (the episode with the man before whom he knelt during Holy Week) is evidence of this.
Characters with “hot hearts” are contrasted with people with “cold hearts”:
b) Kabanikha is the coldest of all the characters in the drama; she is indifferent to children, to Katerina, even to her death. For her, only external observance of customs is important;
c) it is Kabanikha and Boris who play fatal role in fate main character, in her death.
Almost all the characters in the play are characterized by strong sensations and feelings. The menacing atmosphere of the play (“a certain excess of life is poured into the sultry air”) is also manifested in the ardor of the characters.
The play “The Thunderstorm”, written by Alexander Nikolaevich Ostrovsky in 1859, is the only one of the series “Nights on the Volga” conceived by the writer. The main theme of the drama is the conflict in the merchant family, first of all, the despotic attitude of representatives of the older generation (Kabanikha, Wild) towards the younger generation subordinate to him. Thus, the drama “The Thunderstorm” is based on a description of the life, foundations, and morals of a merchant family.
The owners of life in the city of Kalinov - rich merchants - defend their views regarding family norms and rules. The conservative morals that reign in the Kabanov family and are common for a family living in a small provincial town dictate that a “good wife,” “having seen off her husband,” howl while lying on the porch; the husband regularly beats his wife, and both of them unquestioningly obey the will of the elders in the house. The model that Marfa Kabanova chose for herself is an old Russian family, which is characterized by complete lack of rights for the younger generation, and especially women. No wonder “all the faces, except Boris, are dressed in Russian.” By the fact that the appearance of the residents of Kalinov is far from the appearance of modern (of course, for that time) people, Ostrovsky emphasizes the reluctance of provincial Russian residents and, above all, the merchant class to move forward themselves or at least not to interfere with the younger, more energetic generation from doing this.
Ostrovsky, describing merchant life and customs, draws our attention not only to the shortcomings of relationships in one or two individual families. We have the opportunity to notice that the majority of the inhabitants of Kalinov cannot boast of practically any education. Suffice it to recall the townspeople’s arguments about the “Lithuanian ruin” at the painted walls of the gallery. The situation in the Kabanov family, the relationship between Katerina and her mother-in-law does not cause any reaction from society. This suggests that such situations are common, typical for this circle, and it is not for nothing that the writer took the story of the conflict in the Kabanov family from life.
Another important aspect of the life of the merchants described by Ostrovsky is everyday life. This is a calm, measured existence, devoid of events. News about the capital’s life or distant countries is brought to the inhabitants of Kalinov by “feklushi”, even darker, ignorant wanderers, distrustful of everything new and unusual, like Kabanikha, who will not get into the car, “even if you shower her with gold.”
But time takes its toll, and the older generation is forced to reluctantly give way to the younger ones. And even the cruel old Kabanova feels this, and the wanderer Feklusha agrees with her: “The last times, Mother Marfa Ignatievna, the last, by all accounts the last.”
Thus, Ostrovsky in his play describes the crisis of the provincial merchants, the impossibility of their continued existence while maintaining their old ideology.