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Features of the classic drama in the play Thunderstorm. A.I

Features of the classic drama in the play Thunderstorm. A.I

29.03.2019

Exam: Russian literature of the 18th century

"Undergrowth" is the first socio-political comedy on the Russian stage.

Artistic originality"Undergrowth" is determined by the fact that the play combines the features of classicism and realism. Formally, Fonvizin remained within the framework of classicism: observance of the unity of place, time and action, conditional division of characters into positive and negative, schematism in depicting positive, " speaking surnames", features of reasoning in the image of Starodum and so on. But, at the same time, he took a certain step towards realism. This is manifested in the accuracy of reproducing the provincial noble type, social relations in a fortified village, faithfully recreating typical features negative characters, life authenticity of images. For the first time in the history of Russian drama, love intrigue was relegated to the background and acquired secondary importance.

Fonvizin's comedy is a new phenomenon, because it is written on the material of Russian reality. The author innovatively approached the problem of the character of the hero, the first of the Russian playwrights sought to psychologize him, to individualize the speech of the characters (here it is worth taking examples from the text!).

"Fonvizin introduces biographies of heroes into his work, approaches the solution of the problem of education in a complex way, denoting the trinity of this problem: family, teachers, environment, that is, the problem of education is posed here as social problem. All this allows us to conclude that "Undergrowth" is a work of enlightenment realism.

K. V. Pisarev: "<...>Fonvizin sought to generalize, typify reality. IN negative images comedy, he succeeded brilliantly.<...> positive characters"Undergrowth" clearly lacks artistic and life-like persuasiveness.<...>The images he created were not clothed with living human flesh and, indeed, are a kind of mouthpiece for the "voice", "concepts" and "way of thinking" of both Fonvizin himself and the best representatives his time"

Critics doubted the art of Fonvizin to build dramatic action and talked about the presence in it of "superfluous" scenes that do not fit into the action, which must certainly be one:

P. A. Vyazemsky: “All other [except for Prostakova] persons are secondary; some of them are completely outsiders, others are only adjacent to the action.<...>Of the forty phenomena, among which there are several quite long ones, there is hardly a third in the whole drama, and even then short ones, which are part of the action itself.

A. N. Veselovsky: "<...>the ineptness of the structure of the play, forever remaining weak side Fonvizin's writing, despite the school of European models<...>";" A widely developed desire to speak not in images, but in rhetoric<...>gives rise to stagnation, fading, and then the viewer will recognize Milo's view of true fearlessness in war and in civilian life, then sovereigns hear the unvarnished truth from virtuous people, or the thoughts of the Starodum about the education of women ... "

The word, the initial constructive material of the drama, is emphasized in The Undergrowth in dual functions: in one case, the pictorial, plastic-figurative function of the word (negative characters), which creates a model of the world of physical flesh, is accentuated, in the other, its inherently valuable and independent ideal-conceptual nature (positive characters), for which human character is needed only as an intermediary, translating an incorporeal thought into the matter of a sounding word. Thus, the specificity of his dramatic word, initially and fundamentally ambiguous and ambiguous, is put forward at the center of the aesthetics and poetics of "Undergrowth".

the punning nature of the word

Reception of the destruction of phraseological units, pushing the traditionally conventional figurative with the direct literal meaning of a word or phrase.

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Consider the features of the comedy created by Fonvizin ("Undergrowth"). The analysis of this work is the topic of this article. This play is a masterpiece. domestic literature 18th century. This work is included today in the fund of the Russian classical literature. It covers a range of eternal problems". And the beauty of a high style still attracts many readers today. The name of this play is associated with a decree issued by Peter I, according to which "undergrowths" (young nobles) are forbidden to enter the service and marry without education.

The history of the creation of the play

Back in 1778, the idea of this comedy arose from its author, who is Fonvizin. "Undergrowth", the analysis of which we are interested in, was written in 1782 and presented to the public in the same year. It should briefly highlight the time of creation of the play that interests us.

During the reign of Catherine II, Fonvizin wrote "Undergrowth". The analysis of the heroes presented below proves that they were the heroes of their time. The period in the development of our country is associated with the dominance of ideas. They were borrowed by the Russians from the French enlighteners. The spread of these ideas, their great popularity among the educated philistinism and the nobility was largely facilitated by the Empress herself. She, as you know, corresponded with Diderot, Voltaire, d'Alembert. In addition, Catherine II opened libraries and schools, supported the development of art and culture in Russia by various means.

Continuing to describe the comedy created by D. I. Fonvizin ("Undergrowth"), analyzing its features, it should be noted that, as a representative of his era, the author, of course, shared the ideas that prevailed at that time in noble society. He tried to reflect them in his work, revealing not only positive aspects to readers and viewers, but also pointing out misconceptions and shortcomings.

"Undergrowth" - an example of classicism

Analysis of the comedy "Undergrowth" by Fonvizin requires considering this play as part of cultural era And literary tradition. This work is considered one of the best examples of classicism. In the play, there is a unity of action (there are no secondary plot lines in it, only the struggle for Sophia's hand and her property is described), places (the characters do not move long distances, all events take place either near the Prostakovs' house or inside it), and time ( all events take no more than a day). In addition, he used "talking" surnames, which are traditional for the classic play, Fonvizin ("Undergrowth"). Analysis shows that, following tradition, he divided his characters into positive and negative ones. Positive ones are Pravdin, Starodum, Milon, Sophia. They are opposed to Prostakov, Mitrofan, Skotinin by D. I. Fonvizin (the play "Undergrowth"). An analysis of their names shows that they let the reader understand which features in the image of this or that character are prevalent. For example, the personification of morality and truth in the work is Pravdin.

A new genre of comedy, its features

"Undergrowth" at the time of creation became important step forward in the development of the literature of our country, in particular, dramaturgy. Denis Ivanovich Fonvizin created a new socio-political. It harmoniously combines a number of realistic scenes depicted with sarcasm, irony, laughter from the life of some ordinary representatives of the high society(nobility) with sermons on morality, virtue, the need for education human qualities that were characteristic of the Enlightenment. At the same time, instructive monologues do not burden the perception of the play. They complement this work, as a result of which it becomes deeper.

First action

The play is divided into 5 acts, the author of which is Fonvizin ("Undergrowth"). Analysis of the work involves a description of the organization of the text. In the first act we get acquainted with the Prostakovs, Pravdin, Sofya, Mitrofan, Skotinin. The characters' characters emerge immediately, and the reader understands that the Skotinin and Prostakovs - and Sophia and Pravdin - are positive. In the first act, the exposition and the plot of this work take place. In the exposition, we get to know the characters, we learn that Sofya lives in the care of the Prostakovs, who is going to be married off as Skotinin. Reading a letter from Starodum is the beginning of the play. Sophia now turns out to be a rich heiress. From day to day, her uncle returns to take the girl to him.

The development of events in the play created by Fonvizin ("Undergrowth")

We continue the analysis of the work with a description of how events unfolded. 2nd, 3rd and 4th actions are their development. We get acquainted with Starodum and Milon. Prostakova and Skotinin are trying to please Starodum, but their flattery, falsity, lack of education and a huge thirst for profit only repels. They look stupid and funny. The most ridiculous scene of this work is Mitrofan's interrogation, during which the stupidity of not only this young man, but also his mother is exposed.

Climax and denouement

5th act - climax and denouement. It should be noted that the opinions of researchers about what moment should be considered the culmination differ. There are 3 most popular versions. According to the first, this is the abduction of Prostakova Sofya, according to the second, Pravdin’s reading of a letter stating that Prostakova’s estate is being transferred under his care, and, finally, the third version is Prostakova’s rage after she understands her own impotence and tries to “recoup "on his servants. Each of these versions is true, since it considers with different points view of the work of interest to us. The first, for example, highlights the storyline dedicated to Sophia's marriage. An analysis of the episode of Fonvizin's comedy "Undergrowth" associated with marriage, indeed, allows us to consider it the key in the work. The second version examines the play from a socio-political point of view, highlighting the moment when justice triumphs on the estate. The third focuses on the historical one, according to which Prostakova is the personification of the weakened principles and ideals of the old nobility, which, however, still do not believe in their own defeat. This nobility, according to the author, is based on ignorance, lack of education, as well as low moral standards. During the denouement, everyone leaves Prostakova. She has nothing left. Pointing to her, Starodum says that this is " worthy fruits"malice".

Negative characters

As we have already noted, the main characters are clearly divided into negative and positive. Mitrofan, Skotinin and Prostakov - bad guys. Prostakova is a woman seeking profit, uneducated, rude, domineering. She knows how to flatter for profit. However, Prostakova loves her son. Prostakov appears as the "shadow" of his wife. This is an inactive character. His word means little. Skotinin is the brother of Mrs. Prostakova. It's just as uneducated and foolish man, rather cruel, like his sister, greedy for money. For him, a walk to the pigs in the barnyard - the best activity. Mitrofan is a typical son of his mother. This is a spoiled young man of 16 years old, who inherited from his uncle a love for pigs.

Issues and heredity

In the play, it should be noted important place Fonvizin (“Undergrowth”) takes away the issue of family ties and heredity. Analyzing this issue, let's say, for example, that Prostakova is only married to her husband (a "simple" person who does not want much). However, she is actually Skotinina, akin to her brother. Her son absorbed the qualities of both his parents - "animal" qualities and stupidity from his mother and lack of will from his father.

Similar family ties can be traced between Sophia and Starodum. Both of them are honest, virtuous, educated. The girl listens to her uncle attentively, respects him, "absorbs" science. Pairs of opposites create negative and goodies. Children - spoiled stupid Mitrofan and meek smart Sophia. Parents love children, but they approach their upbringing differently - Starodub talks on the topics of truth, honor, morality, and Prostakova only pampers Mitrofan and says that education is not useful to him. A couple of grooms - Milon, who sees the ideal and his friend in Sophia, who loves her, and Skotinin, who calculates the fortune that he will receive after marrying this girl. At the same time, Sophia as a person is not interesting to him. Skotinin does not even try to equip his bride with comfortable housing. Prostakov and Pravdin are in reality the "voice of truth", a kind of "auditors". But in the person of an official, we find active strength, help and real action, while Prostakov is a passive character. The only thing that this hero could say was to reproach Mitrofan at the end of the play.

Issues raised by the author

Analyzing, it becomes clear that each of the above-described pairs of characters reflects a separate problem that is revealed in the work. This is the problem of education (which is supplemented by the example of half-educated teachers like Kuteikin, as well as impostors like Vralman), upbringing, fathers and children, family life, relationships between spouses, relations of nobles to servants. Each of these problems is considered through the prism of enlightenment ideas. Fonvizin, sharpening his attention to the shortcomings of the era by using comic tricks, the emphasis is on the need to change outdated, traditional, outdated foundations. They drag foolishness, malevolence into the swamp, liken people to animals.

As our analysis of Fonvizin's play "Undergrowth" showed, main idea and the theme of the work is the need to educate the nobility in accordance with educational ideals, the foundations of which are still relevant today.

The play by A. N. Ostrovsky "Thunderstorm" was written in 1859. In the same year, it was staged in theaters in Moscow and St. Petersburg, and for many years it has not left the stages of all theaters in the world. Such popularity and relevance of the play is explained by the fact that The Thunderstorm combines the features of social drama and high tragedy.

In the center of the plot of the play is the conflict of feeling and duty in the soul of the main character, Katerina Kabanova. This conflict is a hallmark of a classic tragedy.

Katerina is a very pious and religious person. She dreamed about strong family, loving husband and children, but ended up in the Kabanikha family. Marfa Ignatievna put the house-building order and way of life above all else. Naturally, Kabanikha forced everyone in her family to follow her Charter. But Katerina, a bright and free person, could not come to terms with the cramped and stuffy world of Domostroy. She aspired to a completely different life. This desire led the woman to sin - betrayal of her husband. Going on a date with Boris, Katerina already knew that after that she would not be able to live. The sin of treason lay like a heavy stone on the soul of the heroine, with whom she simply could not exist. A thunderstorm in the city accelerated Katerina's national recognition - she repented of her treason.

The boar also found out about the sin of the daughter-in-law. She ordered to keep Katerina locked up. What awaited the heroine? In any case, death: sooner or later, Kabanikha, with her reproaches and instructions, would have brought the woman to the grave.

But the worst thing for Katerina was not that. The worst thing for the heroine is her internal punishment, her internal judgment. She herself could not forgive herself for her betrayal, her terrible sin. Therefore, the conflict in the play is resolved in the tradition of classic tragedy: the heroine dies.

But Dobrolyubov also pointed out that throughout the play, readers think “not about love affair but about all life. This means that the accusatory notes of the work concerned the most different parties Russian life. The play takes place in the provincial merchant town of Kalinov, located on the banks of the Volga River. In this place, everything is so monotonous and stable that even news from other cities and from the capital does not reach here. Residents in the city are closed, distrustful, hate everything new and blindly follow the Domostroy way of life, which has long outlived its usefulness.

Wild and Kabanikha personify the "fathers of the city", enjoying power and authority. Wild is depicted as a complete tyrant. He swaggers before his nephew, before his family, but retreats before those who are able to rebuff him. Kuligin notices that all the atrocities in the city take place behind the high walls of merchant houses. Here they deceive, tyrannize, suppress, cripple lives and destinies. In general, Kuligin's remarks often expose the "dark kingdom", pass judgment on him, and even, to some extent, reflect the position of the author.

Other minor characters also play an important role in the play. So, for example, the pilgrim Feklusha reveals all the ignorance and backwardness of the "dark kingdom", as well as his imminent death, because a society guided by such views cannot exist. Important role the play also plays the image of a half-mad Lady, who voices the idea of sinfulness and inevitable punishment for both Katerina and the entire “dark kingdom”.

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Ostrovsky's play "Thunderstorm" raises the problem of fracture public life, changing social patterns. The author cannot be absolutely impartial, his position is revealed in remarks, which are not very many, and they are not expressive enough. There is only one option left: the author's position is presented through a certain hero, through composition, symbolism.

Names are very symbolic in the play. " Talking names", used in The Thunderstorm, is an echo of the classic theater, the features of which were preserved in the late sixties of the XIX century.

The name Kabanova vividly draws us a heavy, heavy woman, and the nickname "Kabanikha" completes this unpleasant picture. The author characterizes the wild man as a wild, unrestrained person. Kuligin's name is ambiguous. On the one hand, it is consonant with the name of Kulibin, a self-taught mechanic. On the other hand, "kuliga" is a swamp. There is a saying: "Every sandpiper praises his swamp." This saying can explain Kuligin's sublime praise of the Volga. His name refers him to the "bog" of the city of Kalinov, he is a natural inhabitant of the city. Women are also important. Greek names. Katerina means "pure", and indeed, throughout the play she is tormented by the problem of purification. Opposed to her, Barbara ("Barbarian") does not go deep into her soul, lives naturally and does not think about her sinfulness. She believes that every sin can be redeemed.

Dobrolyubov called Katerina "a ray of light in a dark kingdom," and later, a few years later, Ostrovsky himself gave people like her the name - "hot hearts." The play shows the conflict of the "hot heart" with the surrounding icy environment. And the storm is trying to melt this ice. Another meaning attached by the author to the word "thunderstorm" symbolizes the wrath of God. All those who are afraid of a thunderstorm are not ready to accept death and face the judgment of God. The author puts his words into the mouth of Kuligin. "The judge is more merciful than you," he says. Thus, he characterizes his attitude towards this society.

The motive of the rise runs through the whole play, relying on Katerina's words about the field, those on the landscape. The author managed to convey the landscape with limited means: the view of the vastness of the Trans-Volga region, opening from the cliff, creates the feeling that Kalinov is not the only place suitable for humans, as Kalinovtsy think. For Katerina, this is a city of thunderstorms, a city of retribution. It is worth leaving it, and you find yourself in a new world, united with God and nature - on the Volga, the greatest river in Russia. 11o You can only come to the Volga at night, when you can't see your own or other people's sins. Another way to freedom is through the cliff, through death. Ostrovsky is aware that the swamp, the "kuliga" - the city of Kalinov - draws in and does not let go.

In the stage directions, that is, at the beginning of the play, Boris is named the only person who wears European costume. And his name is Boris - "fighter". But he first descends to a relationship with married woman, and then, unable to fight, leaves, sent by Wild. If at first he said that he lives in Kaliion only because of the inheritance left by his grandmother, now, even when he perfectly understands that they will not give him money, he remains here because he was swallowed up by this environment.

When Katerina talks about her home, she describes the ideal of a patriarchal Christian family. But this ideal is already changing. And it is the initial inconsistency with the canons that will lead to spiritual and social conflict. All her life Katerina dreamed of flying. It is the desire to fly that will push Katerina into the abyss.

A feature of the composition, which also expresses the author's position, are two possible options climaxes and denouements. If we consider that the climax occurs when Katerina goes for a walk on the Volga, then repentance will become the denouement, that is, the drama of a free woman comes to the fore. But repentance does not happen at the very end. Then what is the death of Katerina? There is another option - the spiritual struggle of Katerina, the culmination of which is repentance, and the denouement is death.

In connection with this question, the problem of determining the genre of the play arises. Ostrovsky himself called it a drama, because after greatest tragedies Antigone or Phaedra to call the story of a simple merchant's wife a tragedy would be unthinkable. By definition, tragedy is internal conflict hero, in which the hero himself pushes himself to death. This definition fits the second version of the composition. If we consider social conflict then it's drama.

Equally ambiguous is the question of the meaning of the name. Thunderstorm breaks out on two levels - external and internal. All the action takes place to the sound of thunder, and each of the characters is characterized through their attitude to the thunderstorm. Kabanikha says that one must be prepared for death, Wild, that it is impossible and sinful to resist lightning, Kuligin talks about the process of mechanization and offers to escape from a thunderstorm, and Katerina is madly afraid of her, which shows her spiritual confusion. An internal, invisible thunderstorm occurs in Katerina's soul. While the external storm brings relief and purification, the storm in Katerina leads her into a terrible sin - suicide.

The Thunderstorm by A. N. Ostrovsky made a strong and deep impression on his contemporaries. Many critics were inspired by this work. However, in our time it has not ceased to be interesting and topical. Raised to the category of classical drama, it still arouses interest.

The arbitrariness of the "older" generation lasts for many years, but some event must occur that could break the patriarchal tyranny. Such an event is the protest and death of Katerina, which awakened other representatives of the younger generation.

Let us consider in more detail the characteristics of the main acting heroes.

Characters	Characteristic	Examples from the text
*"Older generation.*
Kabanikha (Kabanova Marfa Ignatievna)	A wealthy merchant's widow, imbued with old beliefs. “Everything is under the guise of piety,” according to Kudryash. Forces to honor the rites, blindly follow the old customs in everything. Domestic tyrant, head of the family. At the same time, he understands that the patriarchal way of life is collapsing, the covenants are not respected - and therefore he imposes his authority in the family even more rigidly. "Prude", according to Kuligin. He believes that before people it is necessary to portray decency at all costs. Her despotism is main reason family breakdown.	Action 1, phenomenon 5; Action 2, phenomenon 3, 5; Action 2, phenomenon 6; Action 2, event 7.
Dikoi Savel Prokofievich	Merchant, tyrant. Accustomed to intimidate everyone, to take impudently. Swearing is what brings him true pleasure, there is no greater joy for him than the humiliation of people. trampling human dignity experiencing an incomparable pleasure. If this “swearer” encounters someone whom he does not dare to scold, then he breaks down at home. Rudeness is an integral part of his nature: "he can't breathe, so as not to scold someone." Swearing is also a kind of protection for him, as soon as it comes to money. Stingy, unfair, as evidenced by his behavior towards his nephew and niece.	Action 1, phenomenon 1 - Kuligin's conversation with Kudryash; Action 1, phenomenon 2 - Diky's conversation with Boris; Action 1, phenomenon 3 - words about him by Kudryash and Boris; Act 3, event 2; Act 3, event 2.
*Younger generation.*
Katerina	Tikhon's wife does not contradict her husband, treats him affectionately. Initially, traditional humility and obedience to her husband and elders in the family are alive in her, but sharp feeling injustice allows you to step towards "sin". She says about herself that she is "unchanging in character both in front of people and without them." In girls, Katerina lived freely, her mother spoiled her. He sincerely believes in God, therefore he is very worried because of sinful love out of wedlock for Boris. Dreamy, but her attitude is tragic: she anticipates her death. "Hot", fearless since childhood, she challenges Domostroy mores with both her love and her death. Passionate, having fallen in love, gives her heart without a trace. Lives more with emotions than with reason. He cannot live in sin, hiding and hiding, like Barbara. That is why she confesses to her husband in connection with Boris. She shows courage, which not everyone is capable of, defeating herself and rushing into the pool.	Action 1, phenomenon 6; Action 1, phenomenon 5; Action 1, phenomenon 7; Action 2, phenomenon 3, 8; Action 4, phenomenon 5; Action 2, phenomenon 2; Act 3, scene 2, appearance 3; Action 4, phenomenon 6; Action 5, phenomenon 4, 6.
Tikhon Ivanovich Kabanov.	Son of Kabanikha, husband of Katerina. Quiet, timid, submissive in everything to his mother. Because of this, he is often unfair to his wife. I am glad to get out from under the heel of my mother for a while, to get rid of the constantly consuming fear, for which I go to the city to get drunk. In his own way, he loves Katerina, but in no way can he resist his mother. As a weak nature, devoid of any will, he envies Katerina's determination, remaining "to live and suffer", but at the same time he shows a kind of protest, blaming his mother for Katerina's death.	Action 1, phenomenon 6; Action 2, phenomenon 4; Action 2, phenomenon 2, 3; Action 5, phenomenon 1; Action 5, phenomenon 7.
Boris Grigorievich.	Nephew of Diky, Katerina's lover. An educated young man, an orphan. For the sake of the inheritance left by his grandmother to him and his sister, he involuntarily endures the scolding of Wild. " Good man", According to Kuligin, he is not capable of decisive action.	Action 1, phenomenon 2; Action 5, phenomenon 1, 3.
Barbara.	Sister Tikhon. The character is more lively than that of his brother. But, just like him, he does not openly protest against arbitrariness. Prefers to condemn the mother quietly. Practical, down to earth, not in the clouds. He secretly meets with Kudryash and sees nothing wrong in bringing Boris and Katerina together: “do whatever you want, if only it was sewn and covered.” But she also does not tolerate arbitrariness over herself and runs away with her beloved from home, despite all outward humility.	Action 1, phenomenon 5; Action 2, phenomenon 2; Action 5, phenomenon 1.
Curly Vanya.	Clerk Wild, has a reputation for being rude, in his own words. For the sake of Varvara, he is ready for anything, but he believes that male women should sit at home.	Action 1, phenomenon 1; Act 3, scene 2, appearance 2.
*Other heroes.*
Kuligin.	A tradesman, a self-taught mechanic, is looking for a perpetuum mobile. Selfish, sincere. preaches common sense, enlightenment, reason. Diversely developed. Like an artist, enjoy natural beauty nature, looking at the Volga. He writes poetry according to his own words. Stands up for progress for the benefit of society.	Action 1, phenomenon 4; Action 1, phenomenon 1; Action 3, phenomenon 3; Action 1, phenomenon 3; Action 4, phenomenon 2, 4.
Feklusha	A wanderer who adapts to the concepts of Kabanikh and seeks to frighten those around her with a description of an unrighteous lifestyle outside the city, suggesting that they can live happily and in virtue only in Kalinov's "promised land". A gossip and a gossip.	Action 1, phenomenon 3; Action 3, event 1.

Katerina Varvara Character Sincere, sociable, kind, honest, pious, but superstitious. Gentle, soft, at the same time, decisive. Rude, cheerful, but taciturn: "... I don't like to talk a lot." Determined, can fight back. Temperament Passionate, freedom-loving, bold, impetuous and unpredictable. She says about herself “I was born so hot!”. Freedom-loving, smart, prudent, bold and rebellious, she is not afraid of either parental or heavenly punishment. Upbringing, […]
In The Thunderstorm, Ostrovsky shows the life of a Russian merchant family and the position of a woman in it. The character of Katerina was formed in a simple merchant family, where love reigned and her daughter was given complete freedom. She acquired and retained all the beautiful features of the Russian character. It's pure open soul who can't lie. “I don’t know how to deceive; I can’t hide anything,” she says to Varvara. In religion Katerina found the highest truth and beauty. Her desire for the beautiful, the good, was expressed in prayers. Coming out […]
In "Thunderstorm" Ostrovsky, operating with a small number of characters, managed to uncover several problems at once. Firstly, this is, of course, a social conflict, a clash of "fathers" and "children", their points of view (and if we resort to generalization, then two historical eras). Kabanova and Dikoy belong to the older generation, actively expressing their opinion, and Katerina, Tikhon, Varvara, Kudryash and Boris belong to the younger one. Kabanova is sure that order in the house, control over everything that happens in it is a guarantee right life. Correct […]
"The Thunderstorm" was published in 1859 (on the eve of the revolutionary situation in Russia, in the "pre-storm" era). Its historicism lies in the conflict itself, the irreconcilable contradictions reflected in the play. She responds to the spirit of the times. "Thunderstorm" is an idyll of the "dark kingdom". Tyranny and silence are brought in it to the limit. In the play, a real heroine from the people's environment appears, and it is the description of her character that is given the main attention, and the little world of the city of Kalinov and the conflict itself are described more generally. "Their life […]
The play by Alexander Nikolayevich Ostrovsky "Thunderstorm" is historical for us, as it shows the life of the bourgeoisie. "Thunderstorm" was written in 1859. She happens to be the only work conceived, but not implemented by the writer of the cycle "Nights on the Volga". The main theme of the work is a description of the conflict that arose between two generations. The Kabanihi family is typical. The merchants cling to their old ways, not wanting to understand the younger generation. And because the young do not want to follow the traditions, they are suppressed. I'm sure, […]
Let's start with Catherine. In the play "Thunderstorm" this lady - main character. What is the problem this work? The issue is main question, which is set by the author in his creation. So the question here is who will win? dark kingdom, which is represented by the bureaucrats of the county town, or the bright beginning, which is represented by our heroine. Katerina is pure in soul, she has a gentle, sensitive, loving heart. The heroine herself is deeply hostile to this dark swamp, but is not fully aware of it. Katerina was born […]
A conflict is a clash of two or more parties that do not coincide in their views, attitudes. There are several conflicts in Ostrovsky's play "Thunderstorm", but how to decide which one is the main one? In the era of sociologism in literary criticism, it was believed that social conflict was the most important thing in a play. Of course, if we see in the image of Katerina a reflection of the spontaneous protest of the masses against the shackling conditions of the “dark kingdom” and perceive the death of Katerina as the result of her collision with the tyrant mother-in-law, […]
Dramatic events of the play by A.N. Ostrovsky's "Thunderstorm" are deployed in the city of Kalinov. This town is located on the picturesque bank of the Volga, from the high steepness of which the vast Russian expanses and boundless distances open up to the eye. “The view is extraordinary! Beauty! The soul rejoices, ”the local self-taught mechanic Kuligin admires. Pictures of endless distances, echoed in a lyrical song. In the midst of the flat valley," which he sings, have great importance to convey a sense of the immense possibilities of the Russian […]
Katerina - main character Ostrovsky's drama "Thunderstorm", wife of Tikhon, daughter-in-law of Kabanikhi. The main idea of the work is the conflict of this girl with the "dark kingdom", the kingdom of tyrants, despots and ignoramuses. You can find out why this conflict arose and why the end of the drama is so tragic by understanding Katerina's ideas about life. The author showed the origins of the character of the heroine. From the words of Katerina, we learn about her childhood and adolescence. Here is drawn perfect option patriarchal relations and the patriarchal world in general: “I lived, not about […]
In general, the history of the creation and the idea of the play “Thunderstorm” are very interesting. For some time there was an assumption that this work was based on real events that took place in the Russian city of Kostroma in 1859. “In the early morning of November 10, 1859, the Kostroma bourgeois Alexandra Pavlovna Klykova disappeared from the house and either rushed into the Volga herself, or was strangled and thrown there. The investigation revealed a dull drama that played out in an unsociable family living with narrowly trading interests: […]
In the drama "Thunderstorm" Ostrovsky created a very psychologically complex image - the image of Katerina Kabanova. This young woman disposes the viewer with her huge, pure soul, childish sincerity and kindness. But she lives in the musty atmosphere of the "dark kingdom" merchant morals. Ostrovsky managed to create a bright and poetic image of a Russian woman from the people. Main story line plays are tragic conflict the living, feeling soul of Katerina and the dead way of life of the “dark kingdom”. Honest and […]
Alexander Nikolayevich Ostrovsky was endowed with a great talent as a playwright. He is deservedly considered the founder of the Russian national theater. His plays, varied in subject matter, glorified Russian literature. Creativity Ostrovsky had a democratic character. He created plays in which hatred for the autocratic-feudal regime was manifested. The writer called for the protection of the oppressed and humiliated citizens of Russia, longed for social change. The great merit of Ostrovsky is that he opened the enlightened […]
critical history"Thunderstorm" begins even before its appearance. To argue about "a ray of light in the dark realm", it was necessary to open the "Dark Realm". An article under this title appeared in the July and September issues of Sovremennik in 1859. It was signed by the usual pseudonym of N. A. Dobrolyubova - N. - bov. The reason for this work was extremely significant. In 1859, Ostrovsky summed up the interim literary activity: his two-volume collected works appear. "We consider it the most […]
Whole, honest, sincere, she is not capable of lies and falsehood, therefore, in a cruel world where wild and wild boars reign, her life is so tragic. Katerina's protest against the despotism of Kabanikha is the struggle of the bright, pure, human against the darkness, lies and cruelty of the "dark kingdom". No wonder Ostrovsky, who is very great attention devoted to the selection of names and surnames actors, gave such a name to the heroine of "Thunderstorm": translated from Greek, "Catherine" means "eternally pure." Katerina is a poetic nature. IN […]
Turning to reflections on the topics of this direction, first of all, remember all our lessons in which we talked about the problem of "fathers and children." This problem is multifaceted. 1. Perhaps the topic will be formulated in such a way as to make you talk about family values. Then you must remember the works in which fathers and children are blood relatives. In this case, it is necessary to consider the psychological and moral foundations family relationships, role family traditions, controversy and […]
The novel was written from the end of 1862 to April 1863, that is, it was written in 3.5 months in the 35th year of the author's life. The novel divided readers into two opposing camps. Supporters of the book were Pisarev, Shchedrin, Plekhanov, Lenin. But such artists as Turgenev, Tolstoy, Dostoevsky, Leskov believed that the novel was devoid of true artistry. To answer the question "What to do?" Chernyshevsky raises and resolves the following burning problems from a revolutionary and socialist position: 1. The socio-political problem […]
How I wash the floors In order to clean the floors, and not pour water and smear the dirt, I do this: I take a bucket in the pantry, which my mother uses for this, as well as a mop. I pour into the basin hot water, I add a tablespoon of salt to it (to exterminate microbes). I rinse the mop in the basin and wring it out well. I clean the floors in every room, starting from the far wall towards the door. I look into all corners, under beds and tables, where most of the crumbs, dust and other evil spirits accumulate. Domyv every […]
At the ball After the ball Feelings of the hero He is "very strongly" in love; admired by the girl, life, ball, beauty and elegance of the surrounding world (including interiors); notices all the details on a wave of joy and love, ready to be touched and shed tears from any trifle. Without wine - drunk - with love. He admires Varya, hopes, trembles, is happy to be chosen by her. It is light, does not feel its own body, "floats". Delight and gratitude (for a feather from a fan), "cheerful and contented", happy, "blessed", kind, "an unearthly being." WITH […]
I have never had my own dog. We live in the city, the apartment is small, the budget is limited and we are too lazy to change our habits, adapting to the dog's "walking" mode ... As a child, I dreamed of a dog. She asked to buy a puppy or take at least from the street, anyone. She was ready to take care, give love and time. Parents all promised: "Here you grow up ...", "Here you go to the fifth grade ...". Passed the 5th and 6th, then I grew up and realized that no one would ever let a dog into the house. Agreed on cats. Since then […]
The love story of the clerk Mitya and Lyuba Tortsova unfolds against the backdrop of the life of a merchant's house. Ostrovsky in Once again delighted his fans with a wonderful knowledge of the world and a surprisingly vivid language. Unlike earlier plays, in this comedy there is not only the soulless factory owner Korshunov and Gordey Tortsov, who boasts of his wealth and power. They are contrasted with the simple and sincere people- kind and loving Mitya and a squandered drunkard Lyubim Tortsov, who, despite his fall, […]