Ostrovsky Alexander Nikolaevich - Control questions for the drama of A. N. Ostrovsky "Thunderstorm"

Control questions with selective answers to the drama by A. N. Ostrovsky "Thunderstorm"

kontrolnye-voprosy-k-drame-a.-n.-ostrovskogo-grozacontrol questions with selective answers to the drama a. n. Ostrovsky "thunderstorm"
Where and when does the action of the drama "Thunderstorm" take place? What phenomena of Russian life are reflected in it?

Name the main characters in the play. Who is opposed to whom? Is it about the struggle of generations of "fathers" and "children" or about the opposition of psychology, views, beliefs?

The main characters of the play are contrasted to some extent as people of different generations, "fathers" (Dikoi, Kabanikha) and "children" (Katerina, Varvara, Boris, Tikhon). But the main thing is different: the attitude to life, the psychology of the guardians of antiquity, who are afraid of everything new that threatens their power, and the desire for individual freedom, liberation from the oppression of traditions and family oppression, from despotism in all its manifestations of younger people are opposed. But Kuligin, for example, is not very young, but with all his heart is on the side of Katerina, Tikhon is a victim of despotism, but also his support, Boris is spineless and cannot dare to take decisive actions, Varvara is freedom-loving, but is not able to fight honestly, openly, everything she has a "sewn-covered". That is why Katerina is alone in the "dark realm" of despotism and lies.

What is common in relation to Wild and Boar to life and people? What are the differences and what causes them?

Both Wild and Boar embody the "dark kingdom" of heartlessness, the cruelty of conservatism, despotism, and arbitrariness. But Wild, like a man, acts openly, impudently; he, a despot, a miser, feels himself the master of the situation, he is not afraid of anyone. The boar (even she!) sees the unequal position of women in society. Hence her hypocrisy and family arbitrariness: with strangers she is even unctuous and affectionate, “clothes the poor”, and her family, especially her unrequited son (Tikhon - quiet), “got completely stuck”. She is the keeper of the Domostroy traditions and most of all she is afraid of any disobedience, any novelty.

What do we learn about Katerina during her first appearance on stage?

How are relations developing in the Kabanov family? Why can Katerina never be her own in this family? Do you think her clash with Kabanikha is inevitable? Why?

What place do Varvara, Tikhon and Boris occupy in the drama? Are they all or any of them to blame for Katerina's tragedy? Why do you think so?

What was the strength of Katerina's character, her love of freedom? Why could she neither justify nor hide her love for Boris?

In Katerina, we see both the strength and the weakness of the Russian female national character. Its strength is in honesty, integrity of nature, fidelity to one's "I". Weakness - in religious prejudices, excessive gullibility, ardor.

Why do you think Dobrolyubov called Katerina "a ray of light in a dark kingdom"? Do you agree with him?

Do you consider Katerina's suicide a protest or weakness? Do you share the point of view of Dobrolyubov?

Explain the meaning of the title of the drama "Thunderstorm". What is the role of pictures of nature in it? What brings "Groza" closer to the traditions of folklore?

Only ideas, not words, have a firm power over society.
(V. G. Belinsky)

The literature of the 19th century is qualitatively different from the literature of the preceding "golden age". In 1955–1956 freedom-loving and freedom-realizing tendencies in literature are beginning to manifest themselves more and more actively. Piece of art is endowed with a special function: it must change the system of reference points, reshape consciousness. Sociality becomes an important initial stage, and one of the main problems is the question of how society distorts a person. Of course, many writers in their works tried to solve the problem. For example, Dostoevsky writes "Poor People", in which he shows the poverty and hopelessness of the lower strata of the population. This aspect was also in the sphere of attention of playwrights. N. A. Ostrovsky in The Thunderstorm showed the cruel customs of the city of Kalinov quite clearly. The audience had to reflect on the social problems that were characteristic of the entire patriarchal Russia.

The situation in the city of Kalinovo is quite typical for all the provincial cities of Russia in the second half of the 19th century. In Kalinov you can find out Nizhny Novgorod, and the cities of the Volga region, and even Moscow. The phrase "cruel morals, sir" is pronounced in the first act by one of the main characters of the play and becomes the main motif associated with the theme of the city. Ostrovsky in The Thunderstorm makes Kuligin's monologue about cruel morals quite interesting in the context of Kuligin's other phrases in previous phenomena.

So, the play begins with a dialogue between Kudryash and Kuligin. Men talk about the beauty of nature. Curly does not consider the landscape to be something special, the external scenery means little to him. Kuligin, on the other hand, admires the beauty of the Volga: “Miracles, truly it must be said that miracles! Curly! Here, my brother, for fifty years I have been looking beyond the Volga every day and I can’t see enough”; “The view is extraordinary! Beauty! The soul rejoices." Then other characters appear on the stage, and the topic of conversation changes. Kuligin talks to Boris about life in Kalinovo. It turns out that life, in fact, is not here. Stagnation and stuffiness. This can be confirmed by the phrases of Boris and Katya that you can suffocate in Kalinovo. People seem to be deaf to the manifestation of discontent, and there are a lot of reasons for discontent. Basically, they are associated with social inequality. All the power of the city is concentrated only in the hands of those who have money. Kuligin talks about Dikoy. This is a rude and petty person. Wealth untied his hands, so the merchant believes that he has the right to decide who can live and who cannot. After all, many in the city are asking for a loan from Dikoy at huge interest, while they know that Dikoy, most likely, will not give this money. People tried to complain about the merchant to the mayor, but this also did not lead to anything - the mayor actually has absolutely no power. Savl Prokofievich allows himself insulting comments and swearing. More precisely, his speech is only this. He can be called marginal in the highest degree: Dikoy often drinks, is devoid of culture. The author's irony is that the merchant is materially rich and completely spiritually poor. It does not seem to have those qualities that make a person a person. At the same time, there are those who laugh at him. For example, a certain hussar who refused to comply with the request of the Wild. And Kudryash says that he is not afraid of this petty tyrant and can answer Diky for an insult.

Kuligin also talks about Marfa Kabanova. This rich widow "under the guise of piety" does cruel things. Her manipulation and treatment of the family can terrify any person. Kuligin characterizes her as follows: “she clothes the poor, but completely ate the household.” The characterization is quite accurate. The boar seems to be much more terrible than the Wild one. Her moral violence against loved ones never stops. And they are her children. With her upbringing, Kabanikha turned Tikhon into an adult infantile drunkard who would be glad to escape from mother's guardianship, but is afraid of her wrath. With his tantrums and humiliations, Kabanikha drives Katerina to suicide. Kabanikhi has a strong character. The bitter irony of the author is that the patriarchal world is led by an imperious and cruel woman.

It is in the first act that the cruel customs of the dark kingdom are most clearly depicted in The Thunderstorm. frightening pictures social life contrasted with the picturesque landscapes on the Volga. A social swamp and fences are opposed to space and freedom. Fences and bolts, behind which the inhabitants fenced off from the rest of the world, clogged up in the bank, and, executing lynching, arbitrarily rot from lack of air.

In The Thunderstorm, the cruel customs of the city of Kalinov are shown not only in a pair of characters of Kabanikh - Wild. In addition, the author introduces several more significant characters. Glasha, the servant of the Kabanovs, and Feklusha, designated by Ostrovsky as a wanderer, are discussing the life of the city. It seems to women that only here the old house-building traditions are still preserved, and the house of the Kabanovs is the last paradise on earth. The wanderer talks about the customs of other countries, calling them unfaithful, because there is no Christian faith there. People like Feklusha and Glasha deserve "bestial" treatment from merchants and philistines. After all, these people are hopelessly limited. They refuse to understand and accept anything if it is at odds with the familiar world. They feel good in that “bla-a-adati” that they have built for themselves. It's not that they refuse to see reality, but that reality is considered the norm.

Of course, the cruel customs of the city of Kalinov in "Thunderstorm", characteristic of society as a whole, are shown somewhat grotesquely. But thanks to such exaggeration and concentration of negativity, the author wanted to get a reaction from the public: people should realize that changes and reforms are inevitable. It is necessary to participate in the changes ourselves, otherwise this quagmire will grow to an incredible scale, when obsolete orders will subjugate everything to themselves, finally removing even the possibility of development.

The above description of the morals of the inhabitants of the city of Kalinov can be useful for 10 classes in preparing materials for an essay on the topic “Cruel morals of the city of Kalinov”.

Artwork test

Sections: Literature

Lesson type: learning new material.

Lesson Objectives:

Tutorial:

• arouse interest in the life and work of the playwright;
• to acquaint with the main stages of the creative path of Ostrovsky;
• tell students about the features of the drama genre, about the creative history of the play "Thunderstorm";
• find out what is the essence of the main conflict;
• get to know the characters, determine the meaning of their names and surnames.

Educational:

• to promote the education of a patriotic attitude to Russian literature;
• educate the moral reading position of students.

Developing: Contribute to the development of the following competencies:

• linguistic competence: to promote the development of students' imagination, mastering the skills of introspection; development of skills to compare, contrast, generalize);
• communicative competence: promote enrichment vocabulary);
• language competence: to develop students' ability to use words, their forms, syntactic structures in accordance with the norms of the literary language).

Methodological goal: the use of methods of activation of cognitive activity in the lessons of literature.

Equipment: Multimedia screen (presentations of Ostrovsky's biography and the history of the creation of "Thunderstorm"), fragments of a documentary film, lists of achievements, a dictionary of the writer's language, a table, a diagram of genres.

During the classes

I. Motivation, goal setting.

I want to start our lesson with a parable.

One day, old people came to the sage from a distant village.
- Wise man, we heard that you give wise advice to everyone, point out the right path, reveal the truth. Help us too! The younger generation in our village has ceased to understand us, and it is very difficult for us to live with this. What should we do?
The sage looked at them and asked:
- What language do you speak?
- All the older generation speaks gibberish.
What about the young residents?
The old people thought and confessed:
We didn't ask them.
- That is why you can only listen to them, but not hear them!

- The topic of our lesson will be the conflict between the older and younger generations, which was voiced by the famous playwright of the 19th century Alexander Nikolayevich Ostrovsky in his work "Thunderstorm". The problem is as old as the world, but nevertheless it is still relevant for us.

- So, the topic of our lesson: The life and work of the playwright Alexander Nikolayevich Ostrovsky. The creative history of the play "Thunderstorm". The main conflict and the arrangement of the characters in The Thunderstorm. (Learners write down the topic).

The main goal of our lesson is to get acquainted with the main stages of the life and work of Alexander Nikolayevich Ostrovsky, as well as start working on reading and analyzing his work "Thunderstorm". At the end of the lesson, you will be required to write and then verbally answer the following question:

II. Learning new material.

1) Message from the teacher about the main stages of the life and work of Alexander Nikolayevich Ostrovsky.

Written on the board epigraph:

Why are they lying that Ostrovsky is "outdated"?
For whom? For a huge number of Ostrovsky is still quite new - moreover, quite modern, but for those who are refined, looking for everything new and complicated, Ostrovsky is beautiful, like a refreshing spring, from which you get drunk, from which you wash, from which you rest - and set off again. on the road.
Alexander Rafailovich Kugel(theatrical critic )

Teacher's story + presentation of Ostrovsky's biography

Alexander Nikolayevich Ostrovsky was born on March 31, 1823 in Moscow. His father, Nikolai Fedorovich, worked most of his life in the judicial department. Mother, Lyubov Ivanovna, died when Alexander was eight years old. The environment in which A.N. Ostrovsky, contributed to his acquaintance with the life and customs of the "third estate": his father's clients, neighbors in Zamoskvorechye, friends were mostly merchants and bourgeois. On Slide you see the Shchelykovo estate, where Alexander Nikolaevich spent every summer. Here he wrote nineteen plays. The main house, built in the 18th century, has never been rebuilt. It houses the memorial museum of A.N. Ostrovsky.

On the slide is the House-Museum of A. N. Ostrovsky in Zamoskvorechye (Malaya Ordynka, 9). The great playwright was born in this house, where the Ostrovskys rented an apartment from the deacon of the Church of the Intercession in Goliki.

Studies

In 1835, Alexander entered the Moscow Provincial Gymnasium. During his studies, he showed particular interest in literature: his father had a rich library. An important event in his life was the appearance in the house of his stepmother, Baroness Emilia Andreevna von Tessin. She paid great attention teaching children music, foreign languages, secular manners.

After graduating from high school in 1840 A.N. Ostrovsky entered the law faculty of Moscow University, however, he studied here for only three years: his passion for theater and literary creativity prevented him.

Service

In 1843 A.N. Ostrovsky entered the service of a scribe in the Constituent Court, which dealt with criminal offenses and civil suits on complaints parents to children and children to parents. In 1845 he was transferred to the Commercial Court.

Family life

In the 1840s, A.N. Ostrovsky became interested in the simple bourgeois Agafya Ivanovna and in 1849 brought her into the house as his wife. Despite the difference in upbringing and education, Agafya Ivanovna brought order and comfort into his life. However, Father A.N. Ostrovsky was against it - he broke off relations with his son and refused him financial assistance. Unfortunately, all the children born in this marriage died, and in 1867 Agafya Ivanovna herself died.

With his second wife, Marya Vasilievna, A.N. Ostrovsky lived happily until his death. They had five children: Alexander, Sergey, Lyubov, Maria and Mikhail.

Cooperation with magazines

In the early 1850s, A.N. Ostrovsky joined the "young editors" of the magazine "Moskvityanin". Its members (the poet and critic A.A. Grigoriev, the writer A.F. Pisemsky, the performer of folk songs G.I. Filippov, the artist P.M. Sadovsky and others) advocated the preservation of the originality and nationality of art.

In the late 1850s, frequent trips from Moscow to St. Petersburg, in connection with productions at the Alexandrinsky Theater, brought A.N. Ostrovsky to a new literary circle - the salon of I.I. Panaev. Here he met L.N. Tolstoy, I.S. Turgenev, F.M. Dostoevsky and became one of the authors of the magazine "Contemporary". For many years A.N. Ostrovsky collaborated with him, and after its closure in 1866 he began to publish his plays in the magazine "Domestic Notes"(the editor-in-chief of both journals was N.A. Nekrasov).

Social activity

November 14, 1865 A.N. Ostrovsky, together with the composer N.G. Rubinstein, playwright and translator K.A. Tarnovsky and writer V.F. Odoevsky opened in Moscow Artistic circle. Musical and literary evenings were held here, plays were performed, works were read, costumed balls were held. An amateur orchestra was formed at the circle, and then an amateur choir, a library was opened.

In 1863, A.N. Ostrovsky published in the newspaper "Northern Bee" an article "Circumstances hindering the development of dramatic art in Russia" about the excessive severity of censorship and the lack of rights of authors. In order to solve these problems under his leadership in The Society of Dramatic Writers and Opera Composers was founded in 1874..

Creation of a folk theater

In 1882 A.N. Ostrovsky sent a “Note on the situation of dramatic art in Russia at the present time” to a special Commission, where he expressed his opinion on the need to create a Russian folk theater in Moscow: “ We have a Russian school of painting, we have Russian music, it is permissible for us to wish for a Russian school of dramatic art... The national theater is a sign of the coming of age of a nation.”

The petition was granted, and A.N. Ostrovsky started the project. However, it was not possible to complete it. In 1885 A.N. Ostrovsky was appointed head of the repertoire of the Moscow theaters and head of the theater school of the Imperial Moscow Theatres, and 2 June 1886 he died at work in his office at the Shchelykovo estate.

Periodization of creativity

In the work of A.N. Ostrovsky can be divided into several periods:

creativity (late 1840s - early 1850s)

1847–1851– A.N. Ostrovsky is looking for his way in literature, writing both prose and dramatic works. After the comedy "Bankrupt"(“Own people - we will count”) N.V. Gogol recognizes in him a "decisive talent."

1852–1855– A.N. Ostrovsky actively cooperates with the "young editors" of the magazine "Moskvityanin". At this time he creates comedies “Do not sit in your sleigh”, “Poverty is not a vice”, “Do not live as you want.”

Creativity (late 50s - early 1880s)

1856–1860- the worldview is finally formed and the creative principles of A.N. Ostrovsky the playwright. Highest Achievement - Drama "Storm".

1861–1886- there is an expansion of the themes and problems of the works of A.N. Ostrovsky, artistic techniques become more complicated. At this time, plays appear: a historical chronicle "Dmitry the Pretender and Vasily Shuisky", satirical comedy "Forest", psychological drama "Dowry".

Documentary film about Ostrovsky.

Questions for him:

• The role of Ostrovsky in the development of the Russian theater.
• What role did the biographical circumstance - life in Zamoskvorechye - play in the creative fate of Ostrovsky? (written on the board).

- Everything that we have now learned about the life and work of Ostrovsky was undoubtedly reflected in his works. In addition, Alexander Nikolayevich is an innovator in the development of the traditional genre - drama, to which the work "Thunderstorm" belongs.

Therefore, to begin with, let's still analyze the features of the drama in order to understand the features of The Thunderstorm.

Drama- this is a difficult kind of literature, not only for the writer, but also for the reader. Figurative thinking is necessary to present the hero in a given situation. The real reader does the work of understanding the character of the character that the actor does in the process of working on the role.

Everyone has a handout on the table, let's turn to the diagram in which the drama is analyzed (Scheme of genera and types of literature). Read the features of the drama.

– So what is the difficulty in the perception of a dramatic work?

Drama is characterized by spectacle and acting. Also, the text is divided into actions and phenomena, we learn about the events from the replicas of the characters, there is no author's speech in the play. This is where the difficulty will lie in reading The Thunderstorm.

Creative history of "Thunderstorm"(message and presentation of the student).

- In fact, each work has its own creative history of creation, and "Thunderstorm" is no exception. To understand what moments and details from Ostrovsky's life influenced the writing of The Thunderstorm, let's now listen to the history of the creation of this work.

The creation of the "Thunderstorm" was preceded by Ostrovsky's trip along the Upper Volga, undertaken on the instructions of the Naval Ministry. The result of this trip was Ostrovsky's diary, which reveals a lot in his perception of the life of the provincial Upper Volga region.

“Merya begins from Pereyaslavl,” he writes in his diary, “a land abundant in mountains and waters, and people and tall, and beautiful, and smart, and frank, and obligatory, and a free mind, and a wide open soul.

“We are standing on the steepest mountain, under our feet is the Volga, and ships go back and forth on it, either on sails or barge haulers, and one charming song haunts us irresistibly ... And there is no end to this song ...

Impressions from the Volga cities and villages, from the most beautiful nature, meetings with interesting people from the people accumulated in the soul of the playwright and poet for a long time, before such a masterpiece of his work as “Thunderstorm” was born.

For a long time it was believed that Ostrovsky took the plot of the drama "Thunderstorm" from the life of the Kostroma merchants, and the sensational case of the Klykovs was put at the heart of the work.

Until the beginning of the 20th century, many Kostroma residents pointed with sorrow to the place of Katerina's suicide - a gazebo at the end of a small boulevard, which in those years literally hung over the Volga. They pointed to the house where she lived.

A.P. Klykova was given away at the age of sixteen to a gloomy merchant family, consisting of old parents, a son and a daughter. The mistress of the house, a stern Old Believer, forced the young daughter-in-law to do any menial work, refused her requests to see her relatives.

At the time of the drama, Klykova was 19 years old. In the past, she was brought up by her beloved grandmother, she was a cheerful, lively, cheerful girl. Her young husband, Klykov, a carefree, apathetic man, could not protect his wife from the nit-picking of his mother-in-law and treated them indifferently. The Klykovs had no children.

And then another person stood in the way of Klykova, Maryin, an employee of the post office. Began suspicions, scenes of jealousy. It ended with the fact that on November 10, 1859, the body of A.P. Klykova was found in the Volga. There was a noisy trial, which received wide publicity.

Many years passed before the researchers of Ostrovsky's work established for sure that "Thunderstorm" was written before the Kostroma merchant Klykova rushed into the Volga. But the very fact of such a coincidence speaks of the playwright’s genius foresight, who deeply felt the dramatic conflict between the old and the new that was growing in the merchant life of the Upper Volga, a conflict in which Dobrolyubov saw “something refreshing and encouraging” for a reason.

Ostrovsky began to write "Thunderstorm" in June - July 1859 and finished on October 9 of the same year. The play was first published in the Library for Reading magazine in the January 1860 issue. The first performance of "Thunderstorm" on the stage took place on November 16, 1859 at the Maly Theater for the benefit of S.V. Vasiliev with L.P. Nikulina-Kositsina as Katerina

- In the end, we can say that it was the journey along the Volga that Ostrovsky left an undoubted mark on his work, since it is precisely the beauty of these places that he describes in Thunderstorm. And how do you like the story about Klykova? Here Ostrovsky is already acting as a clairvoyant.

III. vocabulary work.

- And now we proceed to selective reading and analysis of the work. But before that, let's get acquainted with the dictionary of the writer's language. When you read a work, then, of course, you came across words whose meaning you do not know or do not have a complete understanding of, since many of them are already outdated. Before you lie sheets, the so-called Writer's language dictionaries(Appendix 2), let's read the meaning of some words. Today we will get acquainted with only two words that we will meet when reading 1 action ( Perpetu - mobile, hypocrite, Jesuit, tradesman, clerk).

IV. Reading and analysis of the actions of the "Thunderstorm". Characteristics of the actors.

- Let's call the actors "Thunderstorms" ( On the desk). What do their names and surnames mean?

- Surnames in Ostrovsky's plays "speak" not only about the character of the hero, but actually give information about him. Ostrovsky's careful attitude to the names of the characters is one of the reasons for their realism. Here, such a rare quality as the reader's intuition is manifested. ( Annex 3).

Questions and tasks for the analysis of 1 action of the play (1-4 phenomena)

- Now we will read in roles from 1 to 4 the phenomenon 1 of the “Thunderstorm” action.

Questions:

- Where does the action take place? (the city of Kalinov, which is located on the Volga River).

- What picture appears before the viewer when the curtain opens? Why does the author draw this picturesque picture before us? (The beauty of nature emphasizes the ugliness, the tragedy of what is happening in the world of people).

- The meaning of the first 4 phenomena of 1 action? (From them we learn about the order prevailing in the city of Kalinov, about its most influential inhabitants, about Boris's love for Katerina).

- What did we learn from what we read about Dikoy, Boris, Kuligin, Kudryash?

- What characteristic does Kuligin give to the life of the city?

Questions and tasks for the analysis of 1 action of the play (5-6 phenomena)

In the fifth phenomenon, the main characters of the play, Katerina and Kabanikha, are introduced.

– What conclusion about these two heroines can be drawn from this dialogue?

Why does Kabanova hate Katerina so much?

- What does the word “order” mean in the mouth of a boar?

V. Filling in the table

What is the conflict in the play?

- So, we can already divide all the characters in the play into two camps: "masters of life" and "victims of these masters." You have already read this play at home, so let's try to characterize each character by filling out the table, you have sheets with empty tables in which you will enter the characteristic ( Appendix 4).

- At home, you did a great job, namely, you wrote out quotes, dialogues that characterize the characters. Therefore, we work as follows. First you read, then we give general characteristics and enter in the table Annex 5).

"Masters of Life"

"Victims"

wild- a wild, tough-hearted, domineering person. The power of money is the basis of tyranny. Rudeness, ignorance, abuse, swearing are habitual for the Wild. Kabanova- the embodiment of despotism, covered with hypocrisy. She constantly and subtly sharpens her household. Kabanikha is the defender of the customs and orders of patriarchal antiquity. "Domostroy". Feklusha - stranger, illiterate. Merchants decorate with empty virtues.

Tikhon- weak-willed, calm, exhausted by the reproaches of his mother. But he loves Catherine. Boris- he really understands Katerina, but he is unable to help her; indecisive, unable to fight for his happiness. Boris chooses the path of humility. Kuligin – talented person from the people. He does not enter into a decisive struggle with petty tyrants, he persuades them more, convinces them to do something for the common good. barbarian- understands the senselessness of the protest, she lives by the principle: everything is possible, but make sure that no one knows about it. For Barbara, lying is the norm. Curly- desperate, boastful, but at the same time capable of sincere feelings. He worries about Katerina, is not afraid of his master.

- Now I want to make a little emphasis on the following. When we characterized Kabanova, we said that she was the defender of the customs and orders of patriarchal antiquity. Yes, indeed, there were laws of behavior and customs for each family, besides, these orders were fixed in writing. The written “document” of the patriarchal order was Domostroy, an anonymous monument of Russian literature of the 16th century, which is a collection of rules, advice and instructions in all areas of human and family life, including social, family, economic and religious issues. It is best known in the mid-16th century edition in Old Church Slavonic, attributed to Archpriest Sylvester. Written in a living language, with frequent use of proverbs and sayings.

At home, you worked with this book on electronic media and had to choose the rules that characterize relationships in the family, relationships between parents and children, wives and husbands. (Reading texts).

- Of course, the orders were strict, but correct and necessary. Why do you think? (I want you to understand everything correctly, in principle, there is nothing wrong with these laws, since they helped save the family, improve relationships between family members, adapt to each other. It’s just that the essence of a Russian person has a peculiarity - to bring everything to the point of absurdity, to the extreme, for example, as in Kabanikha, not just to honor parents, but to bow before them, even in the truest sense of the word (Tikhon's farewell to his mother).

VI. Summarizing

- Our lesson is coming to an end, but in the next lesson we will continue to work on the Thunderstorm, to analyze the conflict that we just started talking about today.

In conclusion, let's answer the question that was posed at the beginning of the lesson: What is the significance of Ostrovsky's dramaturgy for the culture of the Russian people?(note to the epigraph)

- And lastly, you have sheets of achievements in front of you ( Annex 1), which will help you navigate the following: have we achieved our goals in the lesson. These small tables will help me formulate new correct learning goals, and they will give you an impetus to new discoveries. (Students turn in achievement sheets.)

– Student assessment.

VII. Homework.

1. Read Dobrolyubov's article "A ray of light in a dark kingdom";
2. To answer the problematic question: Can we condemn Kabanikha for her attitude towards her daughter-in-law, if, in the end, the mother-in-law turned out to be right in her fears, because Katerina cheated on her husband.

Literature:

1. A. "Thunderstorm" Ostrovsky. –M., 1975.
2. Astafiev Ashukin N.S., Ozhegov S.I., Filippov V.A. Dictionary for Ostrovsky's plays. - M., 1983.
3. Ostrovsky's drama "Thunderstorm" in Russian criticism. - L., 1990.
4. Dudyshkin S.S. Two folk dramas // Drama by A.N. Ostrovsky "Thunderstorm" in Russian criticism. - L., 1990.
5. Zhuravleva A.I., Nekrasov V.N. Ostrovsky Theatre. - M., 1986.
6. Zhuravleva A.I. Ostrovsky is a comedian. - M., 1981.
7. Kutuzov A.G., Romanicheva E.S. etc. In the world of literature. 10th grade. Textbook for general education educational institutions. - M, 2000.
8. Lakshin V.Ya. Alexander Nikolaevich Ostrovsky. - M., 1982.
9. Lebedev Yu.V. Russian literature of the 19th century. Grade 10. Textbook for educational institutions. - M., 2000. Part 2.
10. Lotman L.M. Dramaturgy Ostrovsky// History of Russian dramaturgy. - L., 1987.

Literature lesson in grade 10 based on the work of N. Ostrovsky "Thunderstorm" The city of Kalinov and its inhabitants.
The purpose of the lesson: to create conditions for comprehension moral values in the analysis of the image of the city of Kalinov and its inhabitants created by the author.
Lesson progressChecking homework
Conversation
Name the main characters of the play, their social position.
In the drama "Thunderstorm" there are no random names and surnames. What principle is put by the author in the system of characters in the play?
Try to define the names and surnames of the characters in this drama: Savel Prokofich Wild, Marfa Ignatievna Kabanova (Kabanikha). Tikhon, Katerina, Kuligin and others.
How does the author express his attitude to what is happening in the play through the system of characters?
Where and when do events unfold?
teacher's word
From the first pages of the play, we draw attention to the skill of Ostrovsky, the playwright. The first act takes place on a summer evening, in a public garden on the banks of the Volga. Such a choice of place and time of action gave the playwright the opportunity to acquaint the reader and viewer with the main characters of the play, to introduce into the essence of its conflict in the first manifestations. The landscape crown of the "Thunderstorm" also gives a certain emotional mood, which, in contrast, makes it possible to feel the stuffy atmosphere of the life of Kalinovites more sharply.
To imagine the Volga landscapes, consider Levitan's painting “Evening. Golden splash". This is what you would see if you were on the banks of the Volga, in those places where the play took place: juicy greenery of bushes, flooded with the rays of the setting sun, orange, golden colors of water and sky. Fog rises over the river. The opposite bank lies in a grayish-blue haze. Silence and peace.
Pay attention to the words of Kuligin: “Miracles! I can't look." Kuligin not only admires the charm of the Volga landscapes, but also seeks to show others "what beauty is spilled in nature." After all, in his opinion, the enjoyment of nature could soften the cruel morals of the inhabitants of Kalinov.
IV. Working with the text of the play
What do we learn from the characters' dialogues about Diky and Boar? How do Kudryash, Shapkin, Kuligin treat the merchants? What is the difference in their life positions?
Exercise.
Draw a portrait of Wild, tell about his relationship to the household and residents of the city, give his speech characteristics.
(Dikoy is a burly, portly merchant with a broad beard, he is in a coat, oiled boots, stands on his hips, speaks in a low, deep voice ... or Dikoy is a small, lean old man with a sparse beard and uneasily shifting eyes; this essentially pitiful person is capable of intimidate others.)
What is the basis for the tyranny of people like Dikoy?
(On the power of money, material dependence and the traditional obedience of the Kalinovites. Dikoy frankly shortchanges the peasants. Dikoy is aware of his strength - this is the power of the money bag. That is why he values ​​every penny so much, that is why his meetings with Boris, who claims part of the inheritance, are so annoying. Dikoy is rude pounces on Boris, and he is forced to endure insults: after all, he will receive an inheritance only if he is respectful. And Dikoi is well aware that Boris depends on him, and openly swaggers over him. Material dependence is the basis of the relationship between the heroes of the play.) What is the life position of Kuligin?
(Kuligin speaks with pain about the “cruel morals” of the city, but advises to “please somehow” petty tyrants. He is not a fighter, but a dreamer; his projects are not feasible. He spends his strength on inventing a perpetual motion machine. speech, emotional, but old-fashioned. He often uses Old Slavonic words and phraseological units, quotations from the "Holy Scripture" ("The urgency of bread", "a small blessing", "there is no end to torment", etc.). Archaic and artistic tastes of Kuligin The literature of the 19th century—Pushkin, Gogol, Lermontov—passed him by, he remained faithful to Lomonosov and Derzhavin. Who are the actors, their role?
(A room in the Kabanovs' house. The windows are closed with shutters, twilight; flickering flows from the lamps hanging in front of the icons, chests with the master's goods stand on the walls. Feklusha's monologue sounds especially expressive in this gloomy room.) Who is Feklusha? What is your first impression of her?
What does she tell Glasha about? What hero can she be compared to?
(In the course of development, the actions of Kuligin and Feklusha do not enter into an open struggle, but are depicted in the play as antipodes.) What Feklusha tells about in D. II, yavl. 1?
So, if Kuligin brings culture to society, then Feklusha brings darkness, ignorance. Her ridiculous stories create distorted ideas about the world among Kalinovites, instill fear in their souls.
How does Feklusha's speech reflect her character?
(The life position of Feklusha also predetermines the features of her speech. She seeks to win over those around her, therefore the tone of her speech is insinuating, flattering. She retains this habitual tone even when addressing the maid Glasha. Feklusha’s obsequiousness is also emphasized by her saying “dear”.)
We reread Feklusha's story about the "unrighteous lands", keeping
features of her speech.
D. III, yavl. 1. Kabanikh's conversations with Feklusha. What new does this conversation give to characterize these heroes?
(They mourn the end of the good old times, condemn the new order. The author shows how ignorant they are. The new powerfully enters life, undermines the foundations of the house-building orders. Feklusha’s words sound symbolic that the “last times” are coming and even “time has become come down to belittlement." Indeed, the patriarchal world of the Kabanovs and the wild ones is surviving last days. A thunderstorm is gathering over them.) D. III, yavl. 2. What new things do we learn about the character of the Wild?
(No one can please him, only the Boar can “talk”, because rudeness to rudeness (“You don’t open your throat very much ... but I’m dear to you ...”) D. III, yavl. 3. It's a warm summer evening, and again from the lips of Kuligin we hear a story about Kalinov's morals.Read the monologue, draw a conclusion.
Exercise.
Describe Marfa Ignatievna Kabanova
(A tall, overweight old woman, wears a dark, old-fashioned dress; she holds herself upright, with dignity, walks slowly, sedately, speaks weightily, significantly.) And what is her spiritual appearance? Her character traits, relationships with other characters?
Who gives her the first characteristic? (Javl. 3). Is this characterization justified in yavl. 5?
What foundations, according to Kabanikhi, should family life be built on?
(Kabanikha sees the house-building laws of life consecrated by the old days as the basis of the family. Kabanikha is sincerely convinced that if these laws are not observed, there will be no order. She speaks on behalf of a whole generation, constantly using moralizing phrases: “They don’t really respect elders today,” "After all, out of love, parents are strict with you, out of love they scold you..." All this gives Kabanikh's figure monumentality. Her image grows to a symbol of patriarchal antiquity.) What are the features of Kabanikh's speech, how are they connected with life position and character of Kabanikh?
(Relying on the authority of antiquity, Kabanikha widely uses folk phraseology, proverbs in his speech (“Why are you pretending to be an orphan? repetitions of words, phrases (“... if I didn’t see with my own eyes and didn’t hear with my own ears”, “... that the mother is grumbling, that the mother does not give a pass, shrinks from the light ...”) give a monotonous character to Kabanikh’s speech.
How does Tikhon, Varvara, Katerina feel about Kabanikha and her teachings? What is their attitude?
(Households dependent on Kabanikha have a different attitude towards her teachings. Tikhon thinks only of pleasing his mother, seeks to convince her of his obedience. The plural appeal, the repeated word “mother” give his speech a derogatory character, and only a remark to the side (“Oh, my God!”) expresses his true attitude to maternal teachings. During the dialogue, Varvara did not say a single word aloud, but she sneers at her mother to herself, condemns her (“You won’t respect you, how can it be!” “ I found a place for instruction to read"), Varvara is convinced that you cannot live here without pretense. And only Katerina openly declares her human dignity. ("Yes, even by the way, why are you offending me?" who's happy!")
Thus, already in the first manifestations, sharp clashes of heroes are revealed before us, which add up to a single conflict of petty tyrants and their victims. Kuligin's monologue takes us beyond the personal relationships of the actors and gives this conflict a broad public sound.
D. IV, yavl. 1.2. Again pictures of the wild ignorance of the dark kingdom.
How does the author show these pictures in this action?
(If earlier they were associated with the stories of Feklusha, now Ostrovsky shows a whole crowd of townspeople personifying the Kalinov philistinism. The townspeople’s conversations about Lithuania, which “fell on us from the sky”, and their superstitious fear of a thunderstorm, and a wary attitude towards words are also characteristic Kuligin, and the humility with which they carry out the orders of Dikoy.) How do the townspeople express their attitude towards Dikoy?
(During the conversation between Diky and Kuligin, the crowd clearly sympathizes with Diky, laughing angrily and stupidly at Kuligin.)
What is the relationship between Dikoy and Kuligin? (Kuligin acts as an educator. He persuades Dikoy to benefit the city, asks him for money for a sundial and a lightning rod, but in response, Dikoy reminds Kuligin that that worm: “If I want it, I’ll have mercy, if I want it, I’ll crush it.” He likes to show his strength, he likes to swagger over the defenseless.Wild, like Kabanikha, tenaciously clings to the old order.) Task.
Read this episode and draw a conclusion about the development and independence of thinking of the inhabitants of the city.
Yavl. 6. What is the relationship between Varvara, Tikhon and Katerina?
Yavl. 7. What scenes and episodes contain, in your opinion, the plot of the drama? What is its uniqueness?
What is the significance of Katerina's monologue at the beginning of yavl. 7?
What do we learn about Katerina's life in her parents' house?
How did the influence of folk poetry and church literature affect Katerina's speech?
What is the essence of Katherine? How is Katerina's inner struggle revealed in her dialogue with Varvara? How does the gradual increase in internal anxiety affect her speech?
V. Teacher's word
The plot of "Thunderstorm" is defined in different ways. A.I. Revyakin considers Boris's declaration of love for Katerina, combined with Katerina's reciprocal confession, to be the plot. E. Kholodov claims that the plot is Katerina's decision to go on a date with Boris. Both points of view reflect the love conflict of the drama. But the essence of drama cannot be reduced to a love affair. The conflict is based on the clash of petty tyrants and their victims. "The Thunderstorm" from the first appearances introduces the reader and the viewer into an atmosphere of intense struggle. We find the heroes at a moment when the contradictions between them have already reached considerable sharpness.
Katerina's speech corresponds to the image of a woman from the people. The basis of her speech is the poetics of the folk song; repetitions, inversions, rhetorical exclamations give Katerina’s speech sincerity, melodiousness (“What dreams I had, Varenka, what dreams!”), comparisons, words with diminutive suffixes (“key”, “water”). Influence on Katerina's speech of the church, spiritual verses ("golden temples", "smells of cypress", "whispering crafty"). Through speech, we see a double influence on Katerina's character: 1) from folk song art - an impulse towards freedom, happiness, light; 2) from the church - self-denial, humility. The language already reflects the profound contradiction that is the essence of Katerina's spiritual tragedy. Accustomed to independence since childhood, Katerina seeks to defend her freedom, but considers her dreams and aspirations to be sinful. The state of mind of the heroine is reflected in her speech. Remembering her home, Katerina speaks calmly, unhurriedly. When she talks about her love, emotional struggle, her speech becomes anxious, impulsive. (“What should I do! My strength is not enough. Where should I go…”). The gloomy prophecies of the crazy lady, in which Katerina hears confirmation of her premonitions of imminent death, the pictures of the thunderstorm enhance the drama of the situation...
In the next lesson, we will devote our conversation to this heroine.
Homework
Fill in the tables (by options):
Table for Option I "Image of the city of Kalinov (image in play)"
Scenes from the life of the inhabitants of the city of Kalinov, depicted in the play City Orders, which we learn about from the heroes of the play Features of the lifestyle of Kalinovites mentioned in monologues
Action-
Phenomenon Content Action-
Phenomenon Content Action-
phenomenon Content
Table for Option II "The city of Kalinov through the eyes of the heroes of the play"
Action-
phenomenon Active
face Replicas about the city of Kalinov, the customs and lifestyle of its inhabitants
2. Individual task. The image of Katerina in the assessment of Dobrolyubov and Pisarev.

Attached files

THE MEANING OF THE TITLE OF THE WORK

The title of the play contains the word thunderstorm - a natural phenomenon that often inspires fear in people. From the very beginning of the play, a thunderstorm becomes a harbinger of some kind of misfortune that should happen in the calm city of Kalinovo. The first time a thunderstorm rumbles in the first act after the words of the half-mad lady who prophesied Katerina tragic fate. In the fourth act, the townspeople hear thunder again. Katerina also hears him, who, after meeting with Boris, cannot suppress the pangs of conscience in herself. The storm is coming, it's starting to rain.

In the peals of thunder, Katerina sees God's wrath. She is afraid to stand before God with sin in her soul. In the same action of the play, Katerina confesses everything to her husband. Thunderstorm characters perceive differently. For Katerina, this is a symbol of retribution for sins and a symbol of mental suffering. For the Wild, this is God's punishment. For Kuligin, a thunderstorm is a natural phenomenon, from which you can protect yourself with a lightning rod. The storm personifies the storm in Katerina's soul. Fear keeps order in the city of Kalinov.

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COMPOSITION

The play consists of five acts and begins with a scene in which Kuligin, Kudryash, Dikoy and Boris meet on the banks of the Volga. This is a kind of exposition, from which the reader learns about the place and time of the action, understands the future conflict of the work. Events unfold in a provincial town on the Volga in a bourgeois environment, and the plot of the action lies in the fact that Boris is in love with married woman. The climax of the play is the scene of Katerina's confession to her husband. It is supported not only by the emotional intensity associated with experiences main character, but also a thunderstorm, the image of which symbolizes the suffering of Katerina. The climax of events is unusual in that it does not occur at the very end of the play, the climax and denouement are separated by a whole action.

The denouement of the play is the death of the main character, who, due to her proud disposition and sincerity of nature, did not find another way out. conflict situation in which it appeared. The action of the play ends where it began, on the banks of the Volga. Thus, Ostrovsky uses the technique of ring composition. Nevertheless, the author departs from the classical canons of the construction of a dramatic work.

Ostrovsky introduces romantic descriptions of nature, contrasting them with the cruel customs of the city of Kalinov. With the help of this, he “expands” the framework of the work, emphasizing the social and everyday nature of the play. Ostrovsky violates the classical rule of three unities, characteristic of drama. The action of the play spans several days, and the events take place on the streets of the city of Kalinov, and in the gazebo in the garden, and in the Kabanikh's house, and on the banks of the Volga. There are two love lines in the play: Katerina - Boris (main) and Varvara - Kudryash (secondary).

These lines reflect different perceptions of a seemingly similar situation. If Barbara easily pretends, adapts, deceives and hides her adventures, and then runs away from home altogether, then Katerina cannot bear the pangs of conscience, and death becomes for her deliverance from unbearable suffering. In addition, there are many minor characters in the play, which help the author to more vividly and fully convey the cruel customs of the merchant's "dark kingdom".

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CONFLICT

The main conflict of the play is outlined at its very beginning. It is associated with the cruel customs of the city of Kalinov and the image of the main character, who cannot exist in an atmosphere of inertia, ruthlessness and obscurantism. This is a conflict of the soul, which does not tolerate bondage and rudeness, and the surrounding society in which the main character is forced to live. Katerina is not able to adapt to the lifestyle of the Kabanov family, where, in order to survive, one must lie, pretend, flatter, hide one's feelings and thoughts.

At first glance, it seems that only Kabanikha opposes Katerina, poisons her life, finds fault and reproaches everything. Indeed, Kabanikha is the head of the family. Everyone in the house listens to her. She manages not only affairs, but also the personal life of the household. Kabanikha, like Katerina, has a strong character and will. She can't help but command respect. After all, this woman protects the way of life, which she considers the best, but which after a while will be irretrievably lost. If it were not for the Kabanikh, Katerina would have lived much more freely, because her husband is not cruel and harmless.

The conflict is also brewing in the soul of the main character, who is tormented by remorse. Inside her, love for Boris and a sense of duty towards her husband cannot coexist. This conflict becomes destructive and becomes fatal for Katerina. However, the conflict of the play is not private, but public. The boar personifies the entire merchant class, along with Wild, the crazy lady and other adherents of the provincial way of life. The play raises the problem of an internally free and sincere person who faced the inert environment of the merchants of those times.

This is a clash of personality with the way of life of the whole social group. The disputes between Wild and Kuligin are also a reflection of the social conflict. On the one hand, a narrow-minded, but rich and influential merchant-tyrant appears, and on the other, an intelligent, talented, but poor tradesman. And none of Kuligin's arguments can affect Diky. The Thunderstorm is not a classic tragedy, but a social drama. Without adapting, a sensitive and kind person will not be able to survive in a world dominated by people like Dikoi and Boar.

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KATERINA

Katerina is the wife of Tikhon, the daughter-in-law of Kabanikhi, the main character of the work. She is opposed to other characters in the play. Katerina is young and attractive. Sincerely trying to adapt to the way of life that fell to her lot. She tries to respect her mother-in-law, who reproaches her endlessly. Her speech is full of dignity, the girl is well brought up. Katerina has a poetic soul, which is burdened by everyday life and strives for freedom. Her famous monologue "Why don't people fly like birds?" reveals the inner world of the main character. She strives for harmony in the soul, for peace and freedom.

Katerina's character was formed in the atmosphere of peace and tranquility of her father's house, where there was no rudeness and abuse. Katerina is devout, she sincerely believes in God, loves to go to church because she feels the need for it, and not because it is customary. Katerina is alien to pretense and flattery. In the church, Katerina's soul found peace and beauty. She loved to listen to the lives of the saints, to pray, to talk with wanderers.

In her faith, Katerina is unusually sincere. Katerina is opposed by Varvara Kabanova, another female character in the play. The position of Barbara is similar to that of Katerina. They are approximately the same in age and social status. Both live in Kabanova's house under her strict supervision, in an atmosphere of constant prohibitions, nit-picking and strict control. Only Varvara, unlike Katerina, perfectly managed to adapt to the surrounding conditions. In order to see Kudryash, Varvara stole the key to the gate from her mother and invited Katerina to spend the night in the gazebo so as not to arouse suspicion.

A love affair with Curly is devoid of a deep feeling. For Varvara, this is just a way to pass the time and not languish from boredom in her mother's house. Having deceived her husband, Katerina experiences pangs of conscience, first of all, in front of herself. Her soul cannot live in a lie. She is not afraid of God's punishment, like Wild or Boar, she herself cannot live with sin in her soul. Suicide, which is also considered a sin, scares Katerina less than being forced to return to her mother-in-law's house. The inability to live with a bad conscience in an atmosphere of lies and cruelty forces the heroine to rush into the Volga.

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BOAR

Kabanikha - Marfa Ignatievna Kabanova, a rich merchant's wife who keeps her whole family in fear. She has a strong and domineering personality. The boar is grumpy, rude, cruel, selfish. At the same time, she constantly hides behind piety and faith in God. Kabanikha follows the old patriarchal traditions, regulating the life of her adult children. She believes that the husband should teach and instruct his wife, even has the right to beat her, and the wife should lament and cry, showing love for her husband. Kuligin says about her: "The hypocrite ... She clothes the poor, but completely ate the household." Even the son only dreams of how to leave home and escape from the power of his mother. The life of Kabanikh's daughter-in-law makes her especially unbearable. Fear is what family life should be based on.

The boar teaches her son how he should treat his wife: “Why be afraid! Why be afraid! .. You will not be afraid, and even more so me. What kind of order will this be in the house? According to Kabanikha, her adult children are not able to "live by their own will", and she, instructing them, does them good deeds. The scene of Tikhon's departure is indicative, when his mother gives him instructions.

She is not interested in her son's upcoming business trip, but she wants to demonstrate her own importance in the house. The boar tells Tikhon to teach his wife: “Tell me not to be rude to your mother-in-law ... So that you don’t sit idly by like a lady! .. So that she doesn’t stare at the windows! .. So that I don’t look at young guys without you!” Tikhon resignedly repeats the words of his mother, not understanding why he should teach his wife and what she is to blame for. It seems that Kabanikha does not miss a single opportunity to show who is the boss in the house. She seems to be afraid that her time will soon come to an end.

After all, young people - a daughter and a son - openly or secretly try to live their own way. The age of the Boar and the Wild is passing. At the end of the work, Kabanikha hears the already undisguised protest of his son when he blames his mother for the death of his wife. She threatens Tikhon, who no longer hears her. Kabanikha is a symbol of the Russian patriarchal merchant class, who profess traditional spiritual values, but in this they have reached the point of rudeness and cruelty.

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TIKHON AND BORIS

Tikhon Ivanych Kabanov is the son of Kabanikhi. He is in complete submission to his own mother, who humiliates him in every possible way. Tikhon does not dare to openly say a single word across, although he internally disagrees with his mother and is tired of her dictates. In public, he is the very humility and obsequiousness. By nature, he is kind, gentle and accommodating. He does not want to be rude to his wife. He needs his wife to love him, and not be afraid (although his mother makes him bully his wife). He does not want to be cruel and ruthless, he does not want to beat his wife, which is considered normal in merchant families.

When the mother tells Tikhon to instruct his wife on how she should behave in his absence, he does not understand what Katerina is to blame for, and even tries to defend her. Upon learning of his wife's infidelity, Tikhon was forced, by order of his mother, to punish her, which he himself later regretted, and therefore experienced pangs of conscience. Tikhon is weak in character. He cannot resist a strong-willed and power-hungry mother. However, at the end of the play, even Tikhon protests. He dares to blame Kabanikha in front of everyone for the death of his wife, without fear of consequences. Boris is the nephew of the merchant Diky.

He grew up in Moscow, apparently in a loving family, received a good education. Boris is the only one of the heroes who is dressed in a European dress. He speaks correctly and beautifully. From the work we learn why Boris was in a dependent position from his uncle. The lack of means of independent existence makes the hero endure rudeness and humiliation, although they cause him suffering.

Boris chooses a wait-and-see position, not trying to somehow change this situation. It turns out to be easier for him to wait for a possible inheritance, enduring the injustice and arbitrariness of his uncle. At first glance, Boris and Tikhon are opposed to each other. The main character falls in love with Boris. It seems to her that he is not like the other inhabitants of the city of Kalinov. However, Boris and Tikhon have much in common. They are weak in character, weak-willed and unable to protect Katerina.

The scene of farewell of Katerina and Boris before his departure to Siberia is indicative. He leaves Katerina in this city, knowing full well what her life will turn into. At the same time, he says that she is married, and he is free. Boris is unable to save Katerina.

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"DARK KINGDOM"

The city of Kalinov, where the action of the play "Thunderstorm" takes place, is located in a picturesque place - on the banks of the Volga. At the beginning of the play, Kuligin admires the view of the river from the high bank. Kalinov is a provincial town in which life goes slowly, unhurriedly. Peace and boredom reign everywhere. However, the silence of the provincial town hides the cruel and rude petty-bourgeois customs. Rich tyrants rule the city, while the poor are powerless and invisible.

Kuligin himself, talented and clever man, admits that the only way to survive in this city is to pretend and hide your thoughts under the mask of humility. He bitterly says: “Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and bare poverty. And we, sir, will never break out of this bark! Greed and deceit reign in Kalinov. An honest person can't get through here. And those who have money do whatever they want with poor people. Even in business relations merchants do not disdain deceit. “They undermine each other’s trade, and not so much out of self-interest, but out of envy.” Wild - a merchant, the "owner" of the city of Kalinov. He is rich and prominent. His opinion is listened to, he is feared.

Wild feels his power, which is expressed in a sense of impunity (he does not hesitate to scold his nephew in front of the whole city, while Kabanikha hides his true face under the mask of piety). Shapkin respectfully and not without fear says about Dikoy: "... Savel Prokofich ... He will cut off a person for nothing." And Kudryash adds: “Shrill man!” Wild is merciless not only to strangers, but especially to relatives.

Boris, Dikiy's nephew, is forced to endure his bullying in order to receive the inheritance legally due to him: “He will first break over us, scold us in every possible way, as his heart desires, but still end up giving nothing or so, some little ". Dikoy himself does not seem to understand why he treats people so rudely and cruelly. For no reason, he scolded the peasant who came for the money he had earned: “I sinned: I scolded, so scolded that it was impossible to demand better, I almost beat him. Here it is, what a heart.

Kuligin exclaims that outwardly the city of Kalinov and its inhabitants are quite positive. However, cruelty, arbitrariness, violence and drunkenness reign in families: “No, sir! And they don’t lock themselves up against thieves, but so that people don’t see how they eat their household and tyrannize their families ... And what, sir, behind these locks is the debauchery of dark and drunkenness! And everything is sewn and covered ... ”Dikoy, together with Kabanikha, personifies the old, patriarchal way of life, characteristic of the merchant class of Russia in the 19th century. They are still strong and have power over those who are weaker and poorer, but they also feel that their time is running out.

Another young life is breaking through, still timid and imperceptible. The new generation of residents of Kalinov is trying in different ways to resist the power of Dikoy and Boar. Kuligin, although he is afraid of Wild and tries to be inconspicuous, nevertheless sets out to him his progressive proposals, such as arranging a city clock or a lightning rod. Varvara and Kudryash are not at all afraid of either the Boar or the Wild. They try to live in their own way and break out from under the authority of the elders. Tikhon finds a way out in drunkenness as soon as he is out of the house. For Katerina, suicide becomes such a way out.

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LANGUAGE OF THE PLAY

"Thunderstorm" in many ways became an innovative work for its time. This can be said about the artistic means used by the author. Each hero is characterized by his own style, language, remarks. This is the language of the Russian people, mainly the merchants, alive and unadorned. Wild is ignorant, his speech is replete with vernacular (confused, palmed off) and swear words (fool, robber, worm, damned).

The boar, a hypocrite and a hypocrite, uses religious words in her speech (Lord, sin, sin), teaches households, using proverbs (an alien soul is dark, distant wires are extra tears) and colloquial vocabulary (to whine, nurse dismissed). Boris, an educated person, speaks correctly, he has a delivered speech. Tikhon constantly commemorates his mother, bowing before her will. Katerina is emotional, in her speech there are many exclamatory sentences (Ah! Ruined, ruined, ruined!) And poetic words (children, angel, cornflower in the wind).

Kuligin, an enlightened person, a scientist, uses scientific terms (thunder rods, electricity), is emotional at the same time, quotes both Derzhavin and works of folk art. Ostrovsky uses such a technique as speaking names and surnames. The meaning of the surname Wild is transparent, which indicates the unbridled disposition of the tyrant merchant. It was not for nothing that the merchant's wife Kabanova was nicknamed Kabanikha.

This nickname indicates the cruelty and ferocity of its owner. It sounds unpleasant and repulsive. The name Tikhon is consonant with the word quiet, which emphasizes the character of this character. He speaks quietly, and also rebels against his mother when he is out of the house. His sister's name is Barbara, which in Greek means alien, the name speaks of the unbridled and rebellious nature of her. And indeed, in the end, Varvara leaves home.

At the same time, we must not forget that they are both Kabanovs, that is, they are also characterized by features characteristic of the whole family. The surname Kuligin is consonant with the surname of the famous inventor Kulibin and with the name of the bird kulik. Kuligin, like a bird, is timid and quiet. The name of the protagonist characterizes her especially accurately. Katerina in Greek means pure. She is the only sincere and pure soul in the city of Kalinov.

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"GROZA" IN RUSSIAN CRITICISM

The play "Thunderstorm" became a work that caused fierce debate among critics of the 19th century. The most famous publicists of that time expressed critical remarks about Ostrovsky's drama: D. I. Pisarev in the article "Motives of Russian Drama", A. A. Grigoriev in the article "After the Thunderstorm" by Ostrovsky "and many others. The most famous article by N. A. Dobrolyubov “A Ray of Light in the Dark Kingdom”, written in 1860.

At the beginning of the article, Dobrolyubov talks about the ambiguous perception of Ostrovsky's work by other critics. The author himself notes that the playwright "possesses a deep understanding of Russian life and a great ability to depict sharply and vividly its most essential aspects." The play "Thunderstorm" is the best proof of these words. The central theme of the article is the image of Katerina, who, according to Dobrolyubov, is a "beam of light" in the realm of tyranny and ignorance. The character of Katerina is something new in the string of positive female images of Russian literature.

This is a "resolute, integral Russian character." It is the most cruel merchant environment depicted by Ostrovsky that caused the emergence of such a strong female character. Tyranny “has gone to the extreme, to the denial of all common sense; it is more than ever hostile natural requirements humanity and more fiercely than ever tries to stop their development, because in their triumph he sees the approach of his inevitable death.

Along with this, Dikoy and Boar are no longer so confident in themselves, they have lost their firmness in actions, have lost some of their strength and no longer cause general fear. Therefore, those heroes whose life has not yet become unbearable endure and do not want to fight. Katerina is deprived of any hope for the best.

However, having felt freedom, the soul of the heroine “strives for a new life, even if she had to die in this impulse. What is death to her? It doesn't matter - she does not consider life and the vegetative life that fell to her lot in the Kabanov family. This is how Dobrolyubov explains the finale of the play, when the heroine commits suicide. The critic notes the integrity and naturalness of Katerina's nature.

In her character there is no “external, alien, but everything comes out somehow from within him; every impression is processed in it and then fuses with it organically. Katerina is sensitive and poetic, with her, “as a direct, lively person, everything is done according to the inclination of nature, without a distinct consciousness ...”. Dobrolyubov sympathizes with Katerina, especially when he compares her life before marriage and existence in the Kabanikh family. Here "everything is gloomy, scary around her, everything breathes cold and some irresistible threat ...". Death becomes a release for Katerina. The critic sees the strength of her character in the fact that the heroine was able to decide on this terrible step. Boris cannot save Katerina. He is weak, the heroine fell in love with him "in the wilderness." Boris is similar to Tikhon, only he is "educated".

Such heroes are dependent on the "dark kingdom". Dobrolyubov notes that in the play "Thunderstorm" there is "a height to which our folk life reaches in its development, but to which very few in our literature were able to rise, and no one knew how to hold on to it as well as Ostrovsky." The skill of the playwright consisted in the fact that he was able to "create such a person who serves as a representative of the great national idea."

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Act one

The events depicted take place in the summer in the city of Kalinov, which stands on the banks of the Volga. The self-taught watchmaker Kuligin and the clerk Vanya meet in the public garden.
Curly and tradesman Shapkin. Kuligin, a man with a poetic soul and subtle feeling beautiful, sits on a bench, admires the beauty of the Volga.

The heroes see how, in the distance, the merchant Savel Prokofievich Dikoi scolds his nephew Boris. “He got Boris Grigoryevich as a sacrifice, so he rides on it.” Shapkin says that there is no one to appease Wild. To this, Kudryash replies that he is not afraid of either the formidable merchant or his abuse.

Dikoy and Boris Grigoryevich, a young educated man, appear. Wild scolds Boris, accusing him of idleness and idleness. Then Wild leaves.

The rest of the characters ask Boris why he tolerates such treatment. It turns out that Boris is financially dependent on Wild. The fact is that, according to the will of Boris's grandmother and his sister, Dikoy is obliged to pay them an inheritance if they are respectful with him. Boris talks about his life.

Boris's family lived in Moscow. Parents raised their son and daughter well, they spared nothing for them. Boris was educated at the Commercial Academy, and his sister was in a boarding school. But the parents suddenly died of cholera, and the children were left orphans. Now, having no means of subsistence, Boris is forced to live with Wild and obey him in everything, hoping that he will someday fulfill his promise and give him part of the inheritance.

Dikoi wanted Boris's sister to live with him, but her mother's relatives would not let her go. Kuligin and Boris are left alone. Boris complains that he is not used to such a life: he is lonely, everything here is alien to him, he does not know the local customs, does not understand the way of life.

Boris exclaims in despair: “Everyone looks at me somehow wildly, as if I were superfluous here, as if I were disturbing them.” Kuligin replies that Boris will never be able to get used to the rough philistine mores of the local society. "Cruel morals" reign in the city, even merchants do business dishonestly among themselves, trying to deceive each other not so much for profit, but out of malice.

Kuligin, it turns out, writes poetry, but is afraid to bring them to the public: “They will eat them, they will swallow them alive.

In the private life of people, things are no better. We are talking about the Kabanov family, where the old merchant's wife holds both affairs and all the household in her hands, while pretending to be pious and merciful.

Left alone, Boris regrets his ruined youth, that he fell in love with a married woman who comes with her husband and mother-in-law. Boris leaves.
Marfa Ignatievna Kabanova appears, a rich merchant's wife, a widow, nicknamed Kabanikha. With her son Tikhon Ivanovich, daughter-in-law Katerina and daughter Varvara.

The boar reproaches Tikhon for being out of obedience, he justifies himself. She teaches her son how to treat his wife, complains that Tikhon's wife has now become sweeter than her mother and she does not see her former love from him.

Tikhon openly cannot object to Kabanikha, but in fact he is burdened by her moralizing. Kabanova leaves. Tikhon reproaches his wife, teaches how to answer her mother so that she is satisfied. But Katerina does not know how to pretend. Barbara protects her. Tikhon leaves. The girls stay. Tikhon's sister takes pity on Katerina. Katerina dreams of breaking out
out of this life, become free like a bird. With longing, she recalls her life before marriage.

In her father's house, Katerina was not captive, she lived the way she wanted, in peace and quiet. She got up early, went to the key, watered the flowers. Then she went to church with her mother. The heroine recalls: “Before my death, I loved to go to church! Precisely, it happened, I will enter paradise ... ".

In the house they always had pilgrims and wanderers who told where they were and what they saw. Then Katerina was happy. To Varvara’s words that they live in the same way in the Kabanikhs’ house, Katerina replies that here “everything seems to be from under captivity.”

Katerina suddenly says that she will die soon. She is overcome by bad forebodings: “... something bad is happening to me, some kind of miracle! This has never happened to me. There is something so extraordinary about me. It’s like I’m starting to live again, or ... I don’t know.” Katerina says that she has a sin in her soul - because she loves another and therefore suffers. Varvara does not understand why she is tormenting herself like this: “What a desire to dry up! Even if you die of longing, they will pity you! .. So what a bondage to torture yourself!”

When her husband leaves, Katerina will have the opportunity to meet her lover without interference. But the heroine is afraid that after meeting him she will no longer be able to return home. Varvara calmly replies that it will be seen later.

A lady passing by, a half-mad old woman of about seventy, threatens Katerina and Varvara, saying that beauty and youth lead to death; while she points towards the Volga. These words scare Katerina even more. She is overcome by unkind forebodings about her tragic fate.

Varvara mimics the lady, calling her an old fool: “It's all nonsense. You really need to listen to what she is talking about. She prophesies to everyone. I have sinned all my life since I was young. Ask what they say about her!

That's why he's afraid to die. What she is afraid of, that scares others. Barbara does not understand Katerina's fears. Suddenly Katerina hears thunder. She is afraid of God's wrath and what can appear before God with sin in her soul: “It's not terrible that it will kill you, but that death will suddenly find you as you are, with all your sins, with all evil thoughts. I’m not afraid to die, but when I think that suddenly I will appear before God the way I am here with you, after this conversation, that’s what’s scary.

Katerina hurries home, not intending to wait for Tikhon. Varvara says that she cannot show herself at home without her husband. Finally Tikhon arrives, and everyone rushes home.

Action two

The action opens with a dialogue between the wanderer Feklusha and Glasha, a maid in the Kabanovs' house. Glasha collects the owner's things for the journey. Feklusha tells the girl unprecedented stories about overseas countries. Moreover, she herself has not been to these countries, but she has heard a lot. Her stories are like fiction. Glasha is surprised at what she hears and exclaims: “What other lands are there! There are no miracles in the world! And we're sitting here, we don't know anything."

Varvara and Katerina are gathering Tikhon for a trip. Varvara calls the name of Katerina's beloved. This is Boris. Varvara warns Katerina about caution and the need to pretend and hide her feelings. But pretense is alien to Katerina. She says she will love her husband. She is again overcome by gloomy forebodings.

Katerina speaks about her character, that she is able to endure up to a certain point, but if she is greatly offended, she may leave home, that no forces will keep her. She recalls how, as a child, she sailed away on a boat, offended by her relatives, Varvara invites Katerina to spend the night in the gazebo, otherwise her mother alone will not let go.

And he adds that Tikhon only dreams of leaving in order to escape from the power of Kabanikha for a while. Marfa Ignatievna orders Tikhon to give instructions to his wife before leaving.

She dictates instructions, and the son repeats. He tells Katerina not to be rude to her mother, not to argue, to honor her as her own mother.

Alone, Tikhon asks his wife for forgiveness. Katerina begs her husband not to leave or take her with him. She anticipates trouble and wants Tikhon to demand some kind of oath from her. But he does not understand Katerina's condition. He wants only one thing - to leave his parental home as soon as possible and be free.

Tikhon leaves. Kabanikha reproaches Katerina that she does not love her husband and does not lament after his departure, as a good wife should do.

Left alone, Katerina thinks about death and regrets that she does not have children. She is going to do household chores before her husband arrives in order to distract from sad thoughts.

Varvara took out the key to the gate in the garden and gave it to Katerina. It seems to her that the key is burning her hands. Katerina is in thought: throw away the key or hide it. Finally, she decides to leave the key and see Boris.

Act Three

The boar and the wanderer Feklusha are sitting on a bench. Feklusha praises the city of Kalinov, saying that it is calm and good here, there is no fuss, everything is “decent”.

Wild appears. He says that his greatest pleasure is to scold someone. The boar and Dikoy go into the house.

Boris appears. He is looking for his uncle, but he is thinking how to see Katerina. Following Boris appears Kuligin. He says that in the city, behind the mask of well-being and peace, rudeness and drunkenness are hidden. They notice Varvara and Kudryash kissing. Boris approaches them. Varvara invites him to the gate to her garden.

At night, Kudryash and Boris meet at the gate. Boris confesses to him that he fell in love with a married woman. Curly says that if a woman is married, then you need to leave her, otherwise she will die, people's rumor will destroy her. Then he guesses that Boris's beloved is Katerina Kabanova. Curly tells Boris that, apparently, it was she who invited him on a date. Boris is happy.

Barbara appears. She takes Curly away, telling Boris to wait here. Boris is excited. Catherine arrives. Boris confesses his love to Katerina. She is very excited. First, she chases Boris, then it turns out that she loves him too. Boris is happy that Katerina's husband left for a long time and it will be possible to meet with her without interference. Katerina does not leave thoughts of death. She suffers because she considers herself a sinner.

Kudryash and Varvara appear. They rejoice at how well everything worked out with the gate and dates. The lovers say goodbye.

act four

Citizens walk along the shore overlooking the Volga. A storm is gathering. Dikoy and Kuligin appear. Kuligin asks the merchant to install a clock on the street so that everyone walking around can see what time it is. In addition, the clock will serve as a decoration of the city. Kuligin turned to Wild as an influential person who might want to do something for the benefit of the townspeople. In response, Wild only scolds the inventor.

Kuligin suggests installing lightning rods and tries to explain to the merchant what it is. Wild does not understand what is at stake, and speaks of a thunderstorm as a punishment from heaven. The conversation between him and the inventor did not lead to anything.

Varvara and Boris meet. Varvara reports that Tikhon returned ahead of time. Katerina herself is not herself, she cries, she is afraid to look her husband in the eye. The boar suspects something. Boris is scared. He is afraid that Katerina will tell her husband about everything, he asks Varvara to talk to Katerina.

A storm is coming. It starts to rain. Katerina, Kabanikha, Varvara and Tikhon walk along the boulevard. Katerina is very afraid of thunderstorms. Seeing Boris, she is completely frightened. Kuligin reassures her, trying to explain that the storm does not attack, but "grace" for nature. Boris leaves with the words: “It’s scarier here!”

People in the crowd say that the storm will kill someone. Catherine is in a panic. She claims that the storm will kill her. The crazy lady appears. Her words about beauty and sin become the last straw for Katerina: it seems to her that she is dying, she sees fiery hell ... Katerina falls on her knees in front of her husband and admits that ten
nights walked with Boris. Tikhon is trying to calm his wife, he does not want a scandal in public.

Barbara denies everything. There is a rumble of thunder. Katerina collapses. The boar gloats.

Act Five

Tikhon and Kuligin meet. When Kabanov went to Moscow, instead of doing business, he drank all ten days. Kuligin had already heard what happened in the Kabanov family. Tikhon says that he is sorry for his wife, and he beat her quite a bit, as his mother ordered. The boar said that Katerina should be buried alive in the ground.

But Tikhon is not cruel to his wife, he worries about her. Katerina, on the other hand, “weeps and melts like wax.” Kuligin says that it is time for Tikhon to stop doing as his mother orders. Kabanov replies that he cannot and does not want to live by his own mind: “No, they say, his own mind. And, therefore, live as a stranger. I’ll take the last one, what I have, I’ll drink it: let
mamma then with me, as with a fool, and nurses.

The boar and Varvara were told that she had run away with Kudryash, and no one knew where she was. Dikoy is going to send Boris to work for three years with a familiar merchant, away from Kalinov. Glasha appears. She says that Katerina has gone somewhere. Tikhon is worried, he believes that it is necessary to find her immediately. He is afraid that Katerina will do something to herself.

Katerina alone. She thinks about Boris, worries that she has dishonored him. The heroine doesn't care about herself. She dreams of death as a deliverance from unbearable suffering, she is tormented by the fact that she has ruined her soul. Katerina dreams of seeing Boris at least once more.

Boris appears. Katerina rushes to him. The hero says that he is leaving very far. Katerina complains to him about her mother-in-law and her husband. In the Kabanovs' house, she became completely unbearable. Boris is worried that they would not be caught together. Katerina is glad that she was able to see her beloved again. She orders him on the way to give to all the beggars, so that they
prayed for her.

Boris is in a hurry to leave. Suddenly, he begins to fear that Katerina is planning to do something bad to herself. But she comforts him. Boris is tormented by the suffering of Katerina and his own, but he cannot do anything. “Oh, if only these people knew what it feels like to say goodbye to you! My God! Oh, if only there was strength!

Boris even has thoughts about the death of Katerina so that she no longer suffers: “Only one thing you need to ask God for her to die as soon as possible so that she does not suffer for a long time!” The heroes say goodbye. Boris, sobbing, leaves.

Katerina alone. She doesn't know what to do or where to go. “Yes, what is home, what is in the grave! that in the grave! It's better in the grave... There's a little grave under the tree... how nice! So quiet, so good! I feel better!”

Katerina does not want to live, people are disgusting to her. She dreams of death. She can't run away because she's going home. And then Katerina decides to rush into the Volga. Kabanikha, Tikhon and Kuligin appear. They are on the river bank. Tikhon is afraid for his wife. The boar reproaches him. Nobody saw Katherine.

Kuligin pulled the dead Katerina out of the water and brought her body: “Here is your Katerina. Do with her what you want! Her body is here, take it; and the soul is not yours now; she is now before a judge who is more merciful than you!” Tikhon rushes to his wife and reproaches his mother that she is to blame for the death of Katerina: “Mother, you ruined her! You, you, you…”

It seems that he is no longer afraid of Kabanikhi. The hero exclaims in despair: “It’s good for you, Katya! Why am I left to live in the world and suffer!”

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