Analysis of the monologue with the key is the key to understanding Man, not only in the drama "Thunderstorm". Analysis of a monologue with a key - the key to understanding a person in the poem "Thunderstorm" (Ostrovsky A

A.N. Ostrovsky is a great Russian playwright, author of many plays. But only the play "Thunderstorm" is the pinnacle of his work. The critic Dobrolyubov, analyzing the image of Katerina, the main character of this work, called her "a ray of light in a dark kingdom."

Katerina's monologues embody her cherished dreams of a harmonious happy life, of truth, of a Christian paradise.

The life of the heroine in the parental home proceeded well and carelessly. Here she felt at ease. Katerina lived easily, carefree, joyfully. She loved her garden very much, in which she so often walked and admired the flowers. Later, telling Varvara about her life in her parents' house, she says: “I lived, did not grieve about anything, like a bird in the wild. Mother did not have a soul in me, dressed me up like a doll, did not force me to work; I used to do what I want... I used to get up early; if it’s summer, I’ll go to the spring, wash myself, bring water with me and that’s it, water all the flowers in the house. I had many, many flowers. Katerina experiences the real joy of life in the garden, among the trees, herbs, flowers, the morning freshness of awakening nature: “Either I’ll go to the garden early in the morning, the sun is just rising, I’ll fall on my knees, pray and cry, and I myself don’t know what I’m praying for and what am I crying about? that's how they'll find me."

Katerina dreams of an earthly paradise, which she imagines in her prayers to the rising sun, in the morning visit to the springs, in the bright images of angels and birds. Later, in a difficult moment of her life, Katerina will complain: “If I had died a little, it would be better. I would look from heaven to earth and rejoice in everything. And then she would fly invisibly wherever she wanted. I would fly into the field and fly from cornflower to cornflower in the wind, like a butterfly.

Despite her dreaminess and enthusiasm, since childhood, Katerina has been distinguished by truthfulness, courage and determination: “I was born so hot! I was still six years old, no more, so I did it! They offended me with something at home, but it was in the evening, it was already dark, I ran out to the Volga, got into the boat, and pushed it away from the shore. The next morning they already found it, ten miles away!

Speaking with her whole life against despotism and callousness, Katerina trusts in everything her inner voice of conscience and at the same time tries to overcome her longing for the lost spiritual harmony. When Varvara hands her the key to the gate through which you can go on a secret date, her soul is full of confusion, she rushes about like a bird in a cage: “Whoever has fun in captivity! The case came out, the other is glad: so headlong and rush. And how is it possible without thinking, without judging something! How long to get into trouble! And there you cry all your life, suffer; bondage will seem even more bitter. But the longing for a kindred spirit and the awakening love for Boris take over, and Katerina keeps the cherished key and waits for a secret date.

The dreamy nature of Katerina mistakenly sees the male ideal in the image of Boris. After her public confession about her relationship with him, Katerina realizes that even if her mother-in-law and husband forgive her sins, she will no longer be able to live as before. Her hopes and dreams are shattered: “If only I could live with him, maybe I would see some kind of joy,” and now her thoughts are not about herself. She asks her beloved for forgiveness for causing him anxiety: “Why did I bring him into trouble? I would die alone. Otherwise I ruined myself, I ruined him, dishonor myself - eternal obedience to him!

The decision to commit suicide comes to Katerina as an internal protest against family despotism and hypocrisy. The house of Kabanikha became hated for her: “I don’t care whether it’s home or in the grave. It's better in the grave ... ". She wants to find freedom after the moral storms she has experienced. Now, towards the end of the tragedy, her worries are gone and she decides to leave this world with the consciousness of her rightness: “Won't they pray? Whoever loves will pray."

Katerina's death comes at a moment when dying is better for her than living, when only death turns out to be the way out, the only salvation for the good that is in her.

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TEXT
KATERINA (alone, holding the key). What is she doing? What is she thinking? Ah, crazy, really, crazy! Here is death! Here she is! Throw him away, throw him far away, throw him into the river, so that they will never be found. He burns his hands like coal. (Thinking.) That's how our sister dies. In captivity, someone has fun! Few things come to mind. The case came out, the other is glad: so headlong and rush. And how is it possible without thinking, without judging something! How long to get into trouble! And there you cry all your life, suffer; bondage will seem even more bitter. (Silence.) But bondage is bitter, oh, how bitter! Who does not cry from her! And most of all, we women. Here I am now! I live - I toil, I don’t see a gap for myself! Yes, and I will not see, know! What's next is worse. And now this sin is on me. (Thinks.) If it were not for my mother-in-law! .. She crushed me ... she made me sick of the house; the walls are disgusting. (Looks thoughtfully at the key.) Throw it away? Of course you have to quit. And how did he get into my hands? To temptation, to my ruin. (Listens.) Ah, someone is coming. So my heart sank. (Hides the key in his pocket.) No! .. Nobody! That I was so scared! And she hid the key ... Well, you know, there he should be! Apparently, fate itself wants it! But what a sin in this, if I look at him once, at least from a distance! Yes, even though I’ll talk, it’s not a problem! But what about my husband! .. Why, he himself did not want to. Yes, perhaps such a case will not come out in a lifetime. Then cry to yourself: there was a case, but I didn’t know how to use it. Why am I saying that I am deceiving myself? I have to die to see him. To whom am I pretending!.. Drop the key! No, not for anything! He's mine now... Come what may, I'll see Boris! Oh, if only the night would come sooner!..

Sections: Literature

Katerina's monologue (Act 2, scene 10) is one of the key scenes in A.N. Ostrovsky "Thunderstorm". True, very often this scene remains outside the scope of school study. More often they analyze the scene of Katerina's confession, the scene of her death, etc. And yet, it seems that it is precisely such moments as a monologue with a key that should attract attention when analyzing the works of the classics, since it is the scenes that lift the veil of secrecy over human actions and psychology that can affect our young readers, arousing their interest not so much in the historical context of the works, as much as to that eternal, personal, which is inherent in every serious artistic creation.

Teaching literature at school should not be reduced to developing ready-made recipes for solving problems, to formulating a set of ready-made “correct” answers - this is an axiom. That is why in every work, it seems to me, the teacher, first of all, should see educational opportunities, and after that try to offer students such a work option in which the educational moment will be implemented with the greatest effect.

It seems to many that the study of A.N. Ostrovsky's drama "Thunderstorm" is an anachronism: the merchant life has long gone into the past, there is not even a trace of orientation to the house-building orders, one can interpret the concept of freedom in accordance with one's ideas. And yet, let's take a closer look at one of the best monologues of a Woman from the point of view of psychology, look into her world, try to understand the motives of her actions, because the human essence does not depend on either class affiliation or time spent in the world.

How often in life we ​​are faced with idle judgments that the relationship in some family is destroyed, and the blame for everything is the new hobby of the wife or husband. The situation in the drama "Thunderstorm" seems recognizable, but at the same time intriguing, because it is impossible to destroy the bonds of marriage in the current situation, firstly, because the marriage of Katerina and Tikhon is consecrated by the church, and secondly, because even according to secular laws, Katerina cannot think about freedom from marriage. (“Where will you go? You are a husband’s wife,” Varvara says, reminding Katerina of the law). At the same time, it is Varvara who understands that Katerina is not free in her feelings, that love that unexpectedly descended, frightening Katerina herself, can turn out to be a destructive force, because this is the first feeling in Katerina's life. It is Varvara, pitying Katerina, who tries to explain to her the reasons for her suffering and give advice on how best to arrange life: “They gave you away in marriage, you didn’t have to walk in the girls: your heart hasn’t left yet.”

We will try to invite fifteen or sixteen-year-old teenagers to think about the situation, to consider it from the point of view of everyday life: Katerina did not marry of her own free will, she did not choose her betrothed; they chose her, and Tikhon did not marry for love. Let's think together with our students how serious a step the choice of a life partner should be in the conditions of our freedom today, what a tragedy for a person himself a hasty decision to start a family can turn into. Let's also reflect on the fact that a person who makes decisions takes responsibility not only for himself, but also for those who will be around.

Varvara's words about the science of deceit do not suit Katerina. A sincere and pure person, she reacts unambiguously: “I will love my husband. Tisha, my dear, I won’t exchange you for anyone!

And yet, the plan that instantly matured in Varvara's head is being implemented. Why, contrary to her own ideas about life, her own attitudes, does Katerina go to meet Boris?

We find the answer to this question in the scene with the key.

In terms of form, this work, as practice suggests, should be as visual as possible: you can give text on the screen, on an interactive whiteboard and offer to trace how Katerina's feelings and experiences change. If it is not possible to work with technology, you can work with a pencil in the margins of the book, and then arrange the entries in the notebook, writing out only the key phrases and short comments on them.

In a strong class, you can give preliminary homework: analyze Katerina's monologue, and then systematize the analysis data; in a class with an insufficient level of analytical skills, it is better to carry out this work as a collective search.

Having singled out the key phrases and realizing what feelings and experiences are hidden behind them, we will try to understand the subtext of this, at first glance, “understandable” monologue of the heroine. Katerina is presented here both as a thinking person and as a deeply feeling person.

Indeed, before the monologue with the key, we knew the heroine as a person of freedom-loving aspirations (memories of childhood and life in the parental home), as a decisive person ( Katerina . Eh, Varya, you don't know my character! Of course, God forbid this happens! And if it gets too cold for me here, they won't hold me back by any force. I'll throw myself out the window, I'll throw myself into the Volga. I don’t want to live here, so I won’t, even if you cut me! D. 2, yavl. 2) as a strong-willed person ( Katerina . I'd rather endure as long as I endure. D. 2, yavl. 2).

A monologue with a key opens up other aspects of the heroine's personality before the reader (viewer). First of all, we pay attention to the fact that the playwright conveys the actions of Katerina: from the complete denial of the way of life proposed by Varvara to the unconditional approval of the correctness of her own choice. Katerina’s monologue presents a whole range of experiences: from shame and anxiety, from doubts about one’s own rightness, through rejection of the idea that love is a sin, through attempts to find the culprit in the fact that human desires and feelings come into conflict with social attitudes – to understanding that the main thing for a person is to be honest with himself and be able to listen to his own heart.

1. thinking
2. Silence
3. Thinking.
4. He looks thoughtfully at the key.

The remarks constantly remind the reader that we have before us a thinking person, a person striving to live in accordance with those guidelines that come from the mind, from consciousness, from understanding the human laws of existence.

Everything changes the moment Katherine "Listening". It's reasonable to ask yourself: ToWhat or who is she listening to?? According to the plot - “Oh, someone is coming! So the heart fell, ”actually a remark "Listening" can also mean something else: for the first time the heroine listens not to the voice of reason, but to the voice of her own heart, to the call of a feeling that suddenly sounded so unexpectedly. It seems that the playwright is not against such an interpretation, because it is here that the word first appears "heart"(Until this moment, another word was heard many times: “You never know what to the head something will come, ”the other is glad: so headlong and rush", "But how is it possible, without thinking, without arguing! How long to get into trouble!)

Katerina's inner liberation is connected precisely with the fact that she is learning to listen not only to the voice of reason, but also to the voice of her own soul. So before our eyes a personality is born, a Man is born in the high sense of the word. For such a person, the basis of life is freedom of thought and feeling, which has nothing in common with tyranny (unlimited freedom to express one's own emotions) wild, nor with hypocrisy Boars.

Everything that interferes with freedom, everything that fetters it, acts as an anti-human force. That is why Katerina does not accept the principle of lies ("Do whatever you want, as long as it is sewn and covered"). That is why she says with pride, with a sense of her own dignity: “If I am not afraid of sin for you, will I be afraid of human judgment?”

The monologue with the key ends with the complete victory of the human in man: harmony of rational and emotional principles.

This conclusion is also supported by the amazing phrase: “He is mine now ...” To whom or what are these words addressed? The context will not tell us the only correct solution: on the one hand, this phrase completes the reflections on the key, on the other hand, it embodies the passionate call of feeling in the word. "He's mine" can be applied with equal success to both the key and Boris. So the playwright himself connects the rational and emotional principles into an inseparable whole.

Why not talk with the guys about the fact that it is at such moments of the hero’s self-disclosure that readers who are not experienced in everyday problems can find answers to many exciting questions for themselves.

It is no secret that today's problems in family relations, in gender relations in general, are associated with a misunderstanding of the place and role of women in the world. Someone believes that this role is limited to fulfilling the duties of a wife and mother, someone is convinced that a woman should to be in free flight, obeying only the call of feeling. The truth, however, can probably be revealed quite unexpectedly in the conclusions that Katerina's monologue dictates to us: any person achieves understanding of himself only when he listens and understands the voice of his own mind and the call of the heart. Otherwise, mistakes are inevitable in determining one's capabilities, one's path, self-identification, in the formulation of the Self-concept. The role of a woman and her place in the world of human relations is determined by nature itself as the role of a person who gives life not only physically, but also spiritually. (Is it any wonder that the finale of the play sounds like a hymn to liberation souls from the fetters of existence in the world of unfreedom. Is it any wonder that Kuligin openly announces the liberation of Katerina’s soul, that Tikhon is “seeing the light” and gaining a voice).

For many teenagers, such conclusions from the “boring” classics become a revelation, because textbooks contain completely different thoughts, correct, fair, based on the opinions of venerable scientists, but out of touch with life.

I am not a supporter of a simplistic approach to the works of the classics, I do not think that the works of the masters of the word should be reduced to the everyday level, but it seems to me that the obvious educational possibilities of those books that many of our students read because they are "obliged" should not be left unnoticed. I would like the classic to become a good companion in life, an adviser, a friend after school study. And this is possible only with such a reading that will allow a young person to pass an artistic creation through the prism of personal experiences, to replenish his life experience, which is still not rich with the experience of previous generations.

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

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

Her speech is full of verbal expressions, idioms of folk vernacular: “So that I don’t see either father or mother”; "did not have a soul"; "Calm my soul"; “how long to get into trouble”; "to be sin," in the sense of unhappiness. But these and similar phraseological units are generally understood, commonly used, clear. Only as an exception in her speech are morphologically incorrect formations: “you do not know my character”; "After this conversation, then."

The figurativeness of her language is manifested in the abundance of verbal and visual means, in particular comparisons. So, in her speech there are more than twenty comparisons, and all the other characters in the play, taken together, have a little more than this number. At the same time, her comparisons are of a widespread, folk character: “it’s like dove me”, “it’s like a dove is cooing”, “it’s like a mountain has fallen off my shoulders”, “it burns my hands, like coal”.

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

Turning to Varvara, Katerina says: "Why don't people fly like birds? .." - etc.

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

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

No way, no way it is impossible to live without a dear friend ...

I will remember, I will remember about the dear, the white light is not nice to the girl,

Not nice, not nice white light ... I'll go from the mountain to the dark forest ...

speech phraseological thunderstorm Ostrovsky

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

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

Here everything is from folk poetry: diminutive-suffixal vocabulary, phraseological turns, images.

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

... They will cover with an oak board

Yes, they will be lowered into the grave

And covered with damp earth.

Overgrow my grave

You are ant grass,

More scarlet flowers!

Along with folk vernacular and the arrangement of folk poetry, as already noted, ecclesiastical life literature had a great influence on the language of Katerina.

“Our house,” she says, “was full of wanderers and pilgrims. And we will come from the church, sit down for some work ... and the wanderers will begin to tell where they have been, what they have seen, different lives, or they sing poems ”(case 1, phenomen 7).

Possessing a relatively rich vocabulary, Katerina speaks freely, drawing on diverse and psychologically very profound comparisons. Her speech is flowing. So, such words and turns of the literary language are not alien to her, such as: a dream, thoughts, of course, as if all this happened in one second, something so unusual in me.

In the first monologue, Katerina talks about her dreams: “What dreams I had, Varenka, what dreams! Or golden temples, or some extraordinary gardens, and everyone sings invisible voices, and it smells of cypress, and mountains and trees, as if not the same as usual, but as they are written on the images.

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

Katerina's speech is original not only lexico-phraseologically, but also syntactically. It consists mainly of simple and compound sentences, with predicates at the end of the phrase: “So the time will pass before lunch. Here the old women would fall asleep and lie down, and I would walk in the garden… It was so good” (d. 1, yavl. 7).

Most often, as is typical for the syntax of folk speech, Katerina connects sentences through conjunctions a and yes. “And we’ll come from the church ... and the wanderers will begin to tell ... Otherwise it’s like I’m flying ... And what dreams I had.”

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

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

Lyrical sincerity, poetry of Katerina's speech is given by epithets that come after defined words (golden temples, unusual gardens, with evil thoughts), and repetitions, so characteristic of the oral poetry of the people.

Ostrovsky reveals in Katerina's speech not only her passionate, tenderly poetic nature, but also strong-willed power. Willpower, Katerina's determination are set off by syntactic constructions of a sharply affirming or negative nature.