Appendix 5

Quotes characterizing the characters

Savel Prokofich Dikoy

1) Curly. This? This is Dikoy scolding his nephew.

Kuligin. Found a place!

Curly. He belongs everywhere. He's afraid of someone! He got Boris Grigoryich as a sacrifice, so he rides it.

Shapkin. Look for another scolder like ours, Savel Prokofich! There's no way he'll cut someone off.

Curly. Shrill man!

2) Shapkin. There is no one to calm him down, so he fights!

3) Curly. ...and this one just broke the chain!

4) Curly. How not to scold! He can't breathe without it.

Act one, phenomenon two:

1) Wild. What the hell are you, you came here to beat me up! Parasite! Get lost!

Boris. Holiday; what to do at home!

Wild. You will find a job as you want. I told you once, I told you twice: “Don’t you dare come across me”; you're itching for everything! Not enough space for you? Wherever you go, here you are! Ugh, damn you! Why are you standing there like a pillar! Are they telling you no?

1) Boris. No, that’s not enough, Kuligin! He will first break with us, scold us in every possible way, as his heart desires, but he will still end up not giving anything, or just some little thing. Moreover, he will say that he gave it out of mercy, and that this should not have been the case.

2) Boris. That's the thing, Kuligin, it's absolutely impossible. Even their own people cannot please him; where am I supposed to be!

Curly. Who will please him, if his whole life is based on swearing? And most of all because of the money; Not a single calculation is complete without swearing. Another is happy to give up his own, if only he would calm down. And the trouble is, someone will make him angry in the morning! He picks on everyone all day long.

3) Shapkin. One word: warrior.

Marfa Ignatievna Kabanova

1) Shapkin. Kabanikha is also good.

Curly. Well, at least that one is all under the guise of piety, but this one is like he’s broken loose!

1) Kuligin. Prude, sir! He gives money to the poor, but completely eats up his family.

Act one, scene seven:

1) Varvara. Speak! I'm worse than you!

Tikhon Kabanov

Act one, scene six:

1) Varvara. So it’s not her fault! Her mother attacks her, and so do you. And you also say that you love your wife. It's boring for me to look at you.

Ivan Kudryash

Act one, phenomenon one:

1) Curly. I wanted it, but I didn’t give it, so it’s all the same thing. He won’t give me up to (Dikaya), he senses with his nose that I won’t sell my head cheaply. He's the one who's scary to you, but I know how to talk to him.

2) Curly. What's here: oh! I am considered a rude person; Why is he holding me? Maybe he needs me. Well, that means I’m not afraid of him, but let him be afraid of me.

3) Curly. ... Yes, I don’t let it go either: he is the word, and I am ten; he will spit and go. No, I won’t slave to him.

4) Curly. ...I'm so crazy about girls!

Katerina

1) Katerina. And it never leaves.

Varvara. Why?

Katerina. I was born so hot! I was still six years old, no more, so I did it! They offended me with something at home, and it was late 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 found it, about ten miles away!

2) Katerina. I don’t know how to deceive; I can’t hide anything.

Act one, scene three:

1) Kuligin. Why, sir! After all, the British give a million; I would use all the money for society, for support. Jobs must be given to the philistines. Otherwise, you have hands, but nothing to work with.

Act one, scene three:

Boris. Eh, Kuligin, it’s painfully difficult for me here without the habit! Everyone looks at me somehow wildly, as if I’m superfluous here, as if I’m disturbing them. I don't know the customs here. I understand that all this is Russian, native, but I still can’t get used to it.

1) F e k l u sha. Blah-alepie, honey, blah-alepie! Wonderful beauty! What can I say! You live in the promised land! And the merchants are all pious people, adorned with many virtues! Generosity and many alms! I’m so pleased, so, mother, completely satisfied! For our failure to leave them even more bounties, and especially to the Kabanovs’ house.

2) Feklusha. No, honey. Due to my weakness, I did not walk far; and to hear - I heard a lot. They say that there are such countries, dear girl, where there are no Orthodox kings, and the Saltans rule the earth. In one land the Turkish Saltan Makhnut sits on the throne, and in another - the Persian Saltan Makhnut; and they carry out judgment, dear girl, on all people, and no matter what they judge, everything is wrong. And they, my dear, cannot judge a single case righteously, such is the limit set for them. Our law is righteous, but theirs, dear, is unrighteous; that according to our law it turns out this way, but according to theirs everything is the opposite. And all their judges, in their countries, are also all unrighteous; So, dear girl, they write in their requests: “Judge me, unjust judge!” And then there is also a land where all the people have dog heads.

Goodbye for now!

Glasha. Goodbye!

Feklusha leaves.

City manners:

Act one, scene three:

1) Kuligin. And you will never get used to it, sir.

Boris. From what?

Kuligin. Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and stark poverty. And we, sir, will never escape this crust! Because honest work will never earn us more than our daily bread. And whoever has money, sir, tries to enslave the poor so that his labors will be free more money make money Do you know what your uncle, Savel Prokofich, answered to the mayor? The peasants came to the mayor to complain that he would not disrespect any of them. The mayor began to tell him: “Listen, he says, Savel Prokofich, pay the men well! Every day they come to me with complaints!” Your uncle patted the mayor on the shoulder and said: “Is it worth it, your honor, for us to talk about such trifles! I have a lot of people every year; You understand: I won’t pay them a penny per person, but I make thousands out of this, so that’s good for me!” That's it, sir! And among themselves, sir, how they live! They undermine each other's trade, and not so much out of self-interest as out of envy. They are at enmity with each other; They get drunken clerks into their high mansions, such, sir, clerks that there is no human appearance on him, his human appearance is hysterical. And they, for small acts of kindness, scribble malicious slander against their neighbors on stamped sheets. And for them, sir, a trial and a case will begin, and there will be no end to the torment. They sue and sue here, but they go to the province, and there they are waiting for them and splashing their hands with joy. Soon the fairy tale is told, but not soon the deed is done; they drive them, they drive them, they drag them, they drag them; and they are also happy about this dragging, that’s all they need. “I’ll spend it, he says, and it won’t cost him a penny.” I wanted to depict all this in poetry...

2) F e k l u sha. Bla-alepie, honey, blah-alepie! Wonderful beauty! What can I say! You live in the promised land! AND merchants All are pious people, adorned with many virtues! Generosity and many alms! I’m so pleased, so, mother, completely satisfied! For our failure to leave them even more bounties, and especially to the Kabanovs’ house.

Act two, scene one:

3) Feklusha. No, honey. Due to my weakness, I did not walk far; and to hear - I heard a lot. They say that there are such countries, dear girl, where there are no Orthodox kings, and the Saltans rule the earth. In one land the Turkish Saltan Makhnut sits on the throne, and in another - the Persian Saltan Makhnut; and they carry out judgment, dear girl, on all people, and no matter what they judge, everything is wrong. And they, my dear, cannot judge a single case righteously, such is the limit set for them. Our law is righteous, but theirs, dear, is unrighteous; that according to our law it turns out this way, but according to theirs everything is the opposite. And all their judges, in their countries, are also all unrighteous; So, dear girl, they write in their requests: “Judge me, unjust judge!” And then there is also a land where all the people have dog heads.

Glasha. Why is this so with dogs?

Feklusha. For infidelity. I’ll go, dear girl, and wander around the merchants to see if there’s anything for poverty. Goodbye for now!

Glasha. Goodbye!

Feklusha leaves.

Here are some other lands! There are no miracles in the world! And we sit here, we don’t know anything. It’s also good that there are good people; no, no, and you will hear what is happening in this wide world; Otherwise they would have died like fools.

Family relationships:

Act one, scene five:

1) Kabanova. If you want to listen to your mother, then when you get there, do as I ordered you.

Kabanov. How can I, Mama, disobey you!

Kabanova. Elders are not very respected these days.

Varvara (to herself). No respect for you, of course!

Kabanov. I, it seems, mummy, don’t take a step out of your will.

Kabanova. I would believe you, my friend, if I hadn’t seen with my own eyes and heard with my own ears what kind of respect children show to their parents now! If only they remembered how many illnesses mothers suffer from their children.

Kabanov. I, mummy...

Kabanova. If your parent ever says something offensive, out of your pride, then, I think, you could bear it! What do you think?

Kabanov. But when, Mama, have I ever been unable to bear being away from you?

Kabanova. The mother is old and stupid; Well, you, young people, smart ones, shouldn’t exact it from us fools.

Kabanov (sighing, aside). Oh, Lord! (Mother.) Dare we, Mama, to think!

Kabanova. After all, out of love your parents are strict with you, out of love they scold you, everyone thinks to teach you good. Well, I don’t like it now. And the children will go around praising people that their mother is a grumbler, that their mother does not allow them to pass, that they are squeezing them out of the world. And, God forbid, you can’t please your daughter-in-law with some word, so the conversation started that the mother-in-law was completely fed up.

Kabanov. No, mama, who is talking about you?

Kabanova. I haven’t heard, my friend, I haven’t heard, I don’t want to lie. If only I had heard, I would have spoken to you, my dear, in a different way. (Sighs.) Oh, a grave sin! What a long time to sin! A conversation close to the heart will go well, and you will sin and get angry. No, my friend, say what you want about me. You can’t tell anyone to say it: if they don’t dare to your face, they will stand behind your back.

Kabanov. Shut up your tongue...

Kabanova. Come on, come on, don't be afraid! Sin! I'll
I’ve seen for a long time that your wife is dearer to you than your mother. Since
I got married, I don’t see the same love from you anymore.

Kabanov. How do you see this, Mama?

Kabanova. Yes in everything, my friend! A mother cannot see with her eyes, but her heart is a prophet; she can feel with her heart. Or maybe your wife is taking you away from me, I don’t know.

Act two, scene two:

2) Katerina. I don’t know how to deceive; I can’t hide anything.

V a r v a r a. Well, you can’t live without it; remember where you live! Our whole house rests on this. And I was not a liar, but I learned when it became necessary. I was walking yesterday, I saw him, I talked to him.

Act one, scene nine:

1) Varvara (looking around). Why is this brother not coming, there’s no way, the storm is coming.

Katerina (with horror). Storm! Let's run home! Hurry up!

Varvara. Are you crazy or something? How will you show up home without your brother?

Katerina. No, home, home! God bless him!

Varvara. Why are you really afraid: the thunderstorm is still far away.

Katerina. And if it’s far away, then perhaps we’ll wait a little; but really, it’s better to go. Let's go better!

Varvara. But if something happens, you can’t hide at home.

Katerina. Yes, it’s still better, everything is calmer; At home I go to the images and pray to God!

Varvara. I didn't know you were so afraid of thunderstorms. I'm not afraid.

Katerina. How, girl, not to be afraid! Everyone should be afraid. It’s not so scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts. I’m not afraid to die, but when I think that suddenly I will appear before God as I am here with you, after this conversation, that’s what’s scary. What's on my mind! What a sin! scary to say!

The action of the play "The Thunderstorm" takes place in the fictional town of Kalinov, which is a collective image of all provincial towns of that time.
There are not so many main characters in the play “The Thunderstorm”; each one needs to be discussed separately.

Katerina is a young woman, married without love, “to someone else’s side,” God-fearing and pious. IN parental home Katerina grew up in love and care, prayed and enjoyed life. Marriage for her turned out to be a difficult test, which her meek soul resists. But, despite outward timidity and humility, passions boil in Katerina’s soul when she falls in love with someone else’s man.

Tikhon is Katerina’s husband, a kind and gentle man, he loves his wife, feels sorry for her, but, like everyone else at home, he obeys his mother. He does not dare to go against the will of “mama” throughout the play, just as he does not dare to openly tell his wife about his love, since his mother forbids this, so as not to spoil his wife.

Kabanikha is the widow of the landowner Kabanov, mother of Tikhon, mother-in-law of Katerina. A despotic woman, in whose power the whole house is, no one dares to take a step without her knowledge, fearing a curse. According to one of the characters in the play, Kudryash, Kabanikha is “a hypocrite, he gives to the poor and eats his family.” It is she who shows Tikhon and Katerina how to build their family life in the best traditions of Domostroy.

Varvara - Tikhon's sister, unmarried girl. Unlike his brother, he obeys his mother only for appearances; she herself secretly goes on dates at night, inciting Katerina to do the same. Her principle is that you can sin if no one sees, otherwise you will spend your whole life next to your mother.

Landowner Dikoy is an episodic character, but personifies the image of a “tyrant”, i.e. a person in power who is confident that money gives him the right to do whatever his heart desires.

Boris, Dikiy’s nephew, who came in the hope of getting his share of the inheritance, falls in love with Katerina, but cowardly runs away, abandoning the woman he seduced.

In addition, Kudryash, Dikiy’s clerk, takes part. Kuligin is a self-taught inventor, constantly trying to introduce something new into the life of a sleepy town, but is forced to ask Dikiy for money for inventions. The same, in turn, being a representative of the “fathers”, is confident in the uselessness of Kuligin’s undertakings.

All the names and surnames in the play are “talking”; they tell about the character of their “owners” better than any actions.

She herself vividly shows the confrontation between the “old people” and the “young people”. The first actively resist all kinds of innovations, complaining that young people have forgotten the orders of their ancestors and do not want to live “as they should.” The latter, in turn, are trying to free themselves from the oppression of parental orders, they understand that life moves forward and changes.

But not everyone decides to go against their parents’ will, some for fear of losing their inheritance. Some people are used to obeying their parents in everything.

Against the backdrop of blossoming tyranny and Domostroev’s covenants, the forbidden love of Katerina and Boris blossoms. The young people are drawn to each other, but Katerina is married, and Boris depends on his uncle for everything.

The difficult atmosphere of the city of Kalinov, the pressure of an evil mother-in-law, and the onset of a thunderstorm force Katerina, tormented by remorse for cheating on her husband, to confess everything publicly. Kabanikha is rejoicing - she turned out to be right when she advised Tikhon to keep his wife “strict.” Tikhon is afraid of his mother, but her advice to beat his wife so that she knows is unthinkable for him.

The explanation of Boris and Katerina further aggravates the situation of the unfortunate woman. Now she has to live away from her beloved, with a husband who knows about her betrayal, with his mother, who will now definitely harass her daughter-in-law. Katerina’s fear of God leads her to the idea that there is no point in living anymore, the woman throws herself off a cliff into the river.

Only after losing his beloved woman does Tikhon realize how much she meant to him. Now he will have to live his whole life with the understanding that his callousness and submission to his tyrant mother led to such an ending. The last words of the play are the words of Tikhon, spoken over the body of his dead wife: “Good for you, Katya! Why did I stay in the world to live and suffer!”

History of creation, system of images, methods of characterizing characters in A. N. Ostrovsky’s play “The Thunderstorm” “Ostrovsky’s most decisive work”

The history of the creation of the play The work has a general meaning; it is no coincidence that Ostrovsky named his fictitious, but surprisingly real city with the non-existent name Kalinov. In addition, the play is based on impressions from a trip along the Volga as part of an ethnographic expedition to study the life of the inhabitants of the Volga region. Katerina, remembering her childhood, talks about sewing on velvet with gold. The writer could see this craft in the city of Torzhok, Tver province.

The meaning of the title of the play “The Thunderstorm” A thunderstorm in nature (act 4) is a physical phenomenon, external, independent of the characters. The storm in Katerina's soul - from the gradual confusion caused by love for Boris, to the pangs of conscience from betraying her husband and to the feeling of sin before people, which pushed her to repentance. A thunderstorm in society is a feeling by people who stand up for the immutability of the world of something incomprehensible. Awakening of free feelings in a world of unfreedom. This process is also shown gradually. At first there are only touches: there is no proper respect in the voice, does not maintain decency, then - disobedience. A thunderstorm in nature is an external cause that provoked both a thunderstorm in Katerina’s soul (it was she who pushed the heroine to confession) and a thunderstorm in society, which was dumbfounded because someone went against it.

The meaning of the title of the play “The Thunderstorm” Conclusion. The meaning of the title: a thunderstorm in nature - refreshes, a thunderstorm in the soul - cleanses, a thunderstorm in society - illuminates (kills).

The status of women in Russia in the 1st half of the 19th century. In the first half of the 19th century, the position of women in Russia was dependent in many respects. Before marriage, she lived under the unquestioned authority of her parents, and after the wedding, her husband became her master. The main sphere of activity of women, especially among the lower classes, was the family. According to the rules accepted in society and enshrined in Domostroi, she could only count on a domestic role - the role of a daughter, wife and mother. The spiritual needs of most women, as in pre-Petrine Rus', were satisfied folk holidays And church services. “Domostroy” is a monument of Russian writing of the 16th century, which is a set of rules for family life.

The era of change The play “The Thunderstorm” was created in the pre-reform years. It was an era of political, economic and cultural change. The transformations affected all layers of society, including the merchants and philistines. The old way of life was collapsing, becoming a thing of the past patriarchal relations- people had to adapt to new conditions of existence. Changes also occurred in the literature of the mid-19th century. Works whose main characters were representatives of the lower classes gained particular popularity at this time. They interested writers primarily as social types.

System of characters in the play Speaking surnames Age of heroes “Masters of Life” “Victims” What place does Katerina occupy in this system of images?

The system of characters in Dikaya’s play: “You are a worm. If I want, I’ll have mercy, if I want, I’ll crush.” Kabanikha: “I’ve seen for a long time that you want freedom.” “This is where the will leads.” Kudryash: “Well, that means I’m not afraid of him, but let him be afraid of me.”

The system of characters in the play Varvara: “And I was not a liar, but I learned.” “In my opinion, do whatever you want, as long as it’s safe and covered.” Tikhon: “Yes, Mama, I don’t want to live by my own will. Where can I live by my own will!” Kuligin: “It’s better to endure it.”

Features of revealing the characters of Katerina's characters - poetic speech, reminiscent of a spell, lament or song, filled with folk elements. Kuligin is the speech of an educated person with “scientific” words and poetic phrases. Wild - speech is replete with rude words and curses.

Lesson topic: Drama “Thunderstorm”. System of images, techniques for revealing the characters' characters.

Goals:

1. Introduce the system of images of the drama “The Thunderstorm” by A.N. Ostrovsky.

3. Education of patriotism using the example of Ostrovsky’s drama “The Thunderstorm”; awaken interest in Ostrovsky’s work

Equipment:

During the classes.

1. Org. start of the lesson.

2. Checking homework

3. Communicate the topic and objectives of the lesson

4. Work on the topic of the lesson

Working with the text of Ostrovsky's play "The Thunderstorm".

The system of characters in the play.

"Dark Kingdom"

Kabanova Marfa Ignatievna

Dikoy Savel Prokofich

wanderer Feklusha

tradesman Shapkin

maid Glasha

Victims of the “dark kingdom”

Katerina

Studying the list of characters, it should be noted speaking names, distribution of heroes by age (young - old), family ties (indicated by Dikoy and Kabanova, and most of the other heroes by family connection with them), education (only Kuligin, a self-taught mechanic, and Boris have it). The teacher, together with the students, draws up a table, which is written down in their notebooks.

Issues for discussion

- What place does Katerina occupy in this system of images?

- Why were Kudryash and Feklusha among the “masters of life”?

 How to understand this definition - “mirror” images?

Features of revealing the characters' characters. Students' reports of their observations of the text.

Speech characteristics (individual speech characterizing the hero):

 Katerina - poetic speech, reminiscent of a spell, lament or song, filled with folk elements.

 Kuligin is the speech of an educated person with “scientific” words and poetic phrases.

- Wild - speech is replete with rude words and curses.

 Kabanikha is a hypocritical, “pressing” speech.

 Feklusha - the speech shows that she has been in many places.

The role of the first remark, which immediately reveals the character of the hero:

 Kuligin. Miracles, truly one must say: miracles!

 Curly. And what?

 Wild. What the hell are you, you came to beat the ships! Parasite! Get lost!

 Boris. Holiday; what to do at home!

 Feklusha. Blah-alepie, honey, blah-alepie! The beauty is wonderful.

 Kabanova. If you want to listen to your mother, then when you get there, do as I ordered you.

 Tikhon. How can I, Mama, disobey you!

 Varvara. No respect for you, of course!

 Katerina. For me, Mama, it’s all the same birth mother, that you, and Tikhon loves you too.

Using the technique of contrast and comparison:

 monologue of Feklushi - monologue of Kuligin;

 life in the city of Kalinov - Volga landscape;

 Katerina - Varvara;

 Tikhon - Boris.

The main conflict of the play is revealed in the title, in the system of characters who can be divided into two groups - “masters of life” and “victims”, in the peculiar position of Katerina, who is not included in any of the named groups, in the speech of the characters corresponding to their position , and even in the technique of contrast, which determines the confrontation of the heroes.

Let us characterize the city of Kalinov, let’s find out how people live here, answer the question: “Is Dobrolyubov right in calling this city a “dark kingdom”?

«

We enter the city of Kalinov from the side of the public garden. Let's pause for a minute and look at the Volga, on the banks of which there is a garden. Beautiful! Eye-catching! So Kuligin also says: “The view is extraordinary! Beauty! The soul rejoices!” People probably live here peaceful, calm, measured and kind. Is it so? How is the city of Kalinov shown?

Tasks for the analysis of two monologues by Kuligin (D. 1, appearance 3; D. 3, appearance 3)

1. Highlight the words that especially vividly characterize life in the city.

"Cruel morals"; “rudeness and naked poverty”; “You can never earn more than your daily bread through honest work”; “trying to enslave the poor”; “to make even more money from free labor”; “I won’t pay a penny extra”; “trade is undermined out of envy”; “they are at enmity”, etc. - these are the principles of life in the city.

2. Highlight the words that especially clearly characterize life in the family.

“They made the boulevard, but they don’t walk”; “the gates are locked and the dogs are down”; “so that people don’t see how they eat their own family and tyrannize their family”; “tears flow behind these constipations, invisible and inaudible”; “behind these castles there is dark debauchery and drunkenness”, etc. - these are the principles of family life.

Conclusion. If it’s so bad in Kalinov, then why is the wonderful view of the Volga shown at the beginning? Why is the same beautiful nature shown in the scene of the meeting between Katerina and Boris? It turns out that the city of Kalinov is contradictory. On the one hand, this is a wonderful place, on the other, life in this city is terrible. Beauty is preserved only in that it does not depend on the owners of the city; they cannot subjugate the beautiful nature. Only poetic people capable of sincere feelings see it. People's relationships are ugly, their lives "behind bars and gates."

Issues for discussion

How can you evaluate Feklushi’s monologues (d. 1, appearance 2; d. 3, appearance 1)? How does the city appear in her perception? Bla-alepye, wondrous beauty, promised land, paradise and silence.

What are the people like who live here? The residents are ignorant and uneducated, they believe Feklusha’s stories, which show her darkness and illiteracy: the story of the fiery serpent; about someone with black face; about time that is becoming shorter (d. 3, yav. 1); about other countries (d. 2, yavl. 1). Kalinovites believe that Lithuania fell from the sky (d. 4, yavl. 1.), they are afraid of thunderstorms (d. 4, yavl. 4).

How is it different from the residents of the city of Kuligin? An educated man, a self-taught mechanic, his surname resembles the surname of the Russian inventor Kulibin. The hero subtly senses the beauty of nature and aesthetically stands above other characters: he sings songs, quotes Lomonosov. Kuligin advocates for the improvement of the city, tries to persuade Dikiy to give money for a sundial, for a lightning rod, tries to influence the residents, educate them, explaining the thunderstorm as a natural phenomenon. Thus, Kuligin personifies the best part residents of the city, but he is alone in his aspirations, so he is considered an eccentric. The image of the hero embodies the eternal motive of grief from the mind.

Who prepares their appearance? Kudryash introduces Dikiy, Feklush introduces Kabanikha.

Wild

Who is he in terms of his material and social status?

What is the impact of his desire for profit? How does he get money?

What actions and judgments of the Wild indicate his rudeness, ignorance, and superstition?

How did Dikoy behave during the collision with the hussar and after it?

Show how Wild’s speech reveals his character?

What techniques does Ostrovsky use to create the image of the Wild?

Kabanikha

Who is she in terms of her social and financial status?

What, in her opinion, should family relationships be based on?

How does her hypocrisy and hypocrisy manifest itself?

What actions and statements of Kabanikha indicate cruelty and heartlessness?

What are the similarities and differences between the characters of the Wild and Kabanikha?

What are the features of Kabanikha’s speech?

How do Tikhon, Varvara and Katerina feel about Kabanikha’s teachings?

How the characters of Wild and Kabanikha are revealed in their speech characteristics?

General conclusion. The Boar is more terrible than the Wild One, since her behavior is hypocritical. Wild is a scolder, a tyrant, but all his actions are open. Kabanikha, hiding behind religion and concern for others, suppresses the will. She is most afraid that someone will live in their own way, by their own will.

N. Dobrolyubov spoke about the residents of the city of Kalinov as follows:

"The tyrants of Russian life."

What does the word "tyrant" mean? (wild, powerful person, tough at heart)

Let's conclude:

Dikoy Savel Prokofich -

Kabanova Marfa Ignatievna –

Let's conclude:

Kabanova Marfa Ignatievna - the embodiment of despotism disguised as hypocrisy. How Kuligin correctly described her: “A prude... She gives favors to the poor, but completely eats up her family!” For her, love and maternal feelings for her children do not exist. Kabanikha is the exact nickname given to her by people. She is a “guardian” and defender of the customs and orders of the “dark kingdom”.

The results of the actions of these heroes:

- the talented Kuligin is considered an eccentric and says: “There is nothing to do, we must submit!”;

- kind, but weak-willed Tikhon drinks and dreams of breaking out of the house: “and with this kind of bondage you will run away from whatever beautiful wife you want”; he is completely subordinate to his mother;

- Varvara adapted to this world and began to deceive: “And I wasn’t a deceiver before, but I learned when it became necessary”;

- educated Boris is forced to adapt to the tyranny of the Wild in order to receive an inheritance.

It breaks so much dark kingdom not bad people, forcing them to endure and remain silent.

Tikhon -

Boris -

Varvara -

Curly –

Lesson summary.

The city of Kalinov is a typical second city in Russia half of the 19th century century. Most likely, A. N. Ostrovsky saw something similar during his travels along the Volga. Life in the city is a reflection of a situation where the old does not want to give up its positions and seeks to maintain power by suppressing the will of those around them. Money gives the “masters of life” the right to dictate their will to the “victims”. In a truthful display of such a life, the author’s position calls for changing it.

Homework

Write down a description of Katerina (external appearance, character, behavior, what she was like in childhood, how she changed in the Kabanovs’ house). Determine the main stages in the development of Katerina’s internal conflict. Prepare an expressive memorization of Katerina’s monologues (act 2, phenomenon 10 and act 5, phenomenon 4).

write down other statements you like that characterize Katerina (required)

determine your attitude to these theses, select an argument (required).

Subject. Drama "Thunderstorm". History of creation, system of images, techniques for revealing the characters' characters.

Goals: 1. Present material about the creation of Ostrovsky’s drama “The Thunderstorm” in the form of a video report.

2. Develop the skill of analyzing characteristics dramatic characters using the example of the residents of the city of Kalinov: first of all, those on whom the spiritual atmosphere in the city depends.

3. Education of patriotism using the example of the history of the creation of Ostrovsky’s drama “The Thunderstorm”; awaken interest in Ostrovsky’s work

Equipment: multimedia projector, computer, presentation for a lesson on the topic, video report about cities located on the Volga River.

Lesson Plan.

Organizing time.

Checking homework. Survey:

Why did the formula “Columbus of Zamoskvorechye” “grow” to Ostrovsky?

How did Ostrovsky himself imagine Zamoskvorechye?

What is dramaturgy?

What theater did Ostrovsky collaborate with and what did Goncharov call this theater in a letter to Ostrovsky?

What is Ostrovsky’s contribution to the theater?

III. Work on the topic of the lesson. Announcing the topic of the lesson:“Drama “The Thunderstorm”. History of creation, system of images, techniques for revealing the characters’ characters.”

1. Video report on the history of the creation of Ostrovsky’s play “The Thunderstorm”.

1. “Prototype” of the city of Kalinov

In the summer of 1855, the Russian Maritime Ministry equipped an ethnographic expedition to study the life and culture of the Volga cities. A.N. Ostrovsky took part in the expedition. Impressions from the trip were reflected in many of the playwright’s works. According to researchers, the “prototype” of the city of Kalinov in the play “The Thunderstorm” could be Kostroma, Torzhok or Kineshma. It is connected with Kostroma by a picturesque area, and with Kineshma by a scene Last Judgment, captured on the porch of one of the churches, with Torzhok - local customs. It would be more correct to say that Kalinov is a generalized image of the provincial cities of Russia.

2. Work with theoretical material.

Conversation with the class:

Name genre features dramas.

Drama:

2) literary genre, belonging simultaneously to theater and literature.

Drama Feature:

1) conflict,

2) dividing the plot into stage episodes,

3) a continuous chain of statements by characters,

4) lack of narrative beginning.

Identify the conflict in the play.

A.N. Ostrovsky showed how “a protest against centuries-old traditions

and how the Old Testament way of life begins to collapse under the pressure of life’s demands.”

The conflict between the "dark kingdom" and the new

a person who lives according to the laws of conscience.

3. Working with the text of Ostrovsky’s play “The Thunderstorm”.

Let's consider the system of artistic images:

"Dark Kingdom"

Kabanova Marfa Ignatievna

Dikoy Savel Prokofich

wanderer Feklusha

tradesman Shapkin

maid Glasha

Victims of the “dark kingdom”

Katerina

- let’s turn to the meanings of names, since the heroes of the play have “speaking names.”

Catherine– colloquial Katerina, translated from Greek: pure, noble.

Varvara – translated from Greek: foreigner, foreigner.

Marfa – from Aramaic: lady

Boris – abbreviation of the name Borislav, from Bulgarian:

fight, from Slavic: words.

Sovel – from Saveliy, from Hebrew: requested

Tikhon – from Greek: successful, calm.

Teacher's word: " The action takes place in the city of Kalinov, located on the banks of the Volga. In the city center there is Market Square, nearby there is an old church. Everything seems peaceful and calm, but the owners of the city are rude and cruel.”

Conversation with the class on the following questions:

Tell us about the residents of Kalinov.

What kind of order reigns in the city? (Confirm your answer with text).

N. Dobrolyubov spoke about the residents of the city of Kalinov as follows:

"Nothing holy, nothing pure, nothing right in this dark

world: the tyranny that dominates it, wild, insane,

wrong, drove out from him all consciousness of honor and right...”

Do you agree with the critic's opinion?

"The tyrants of Russian life."

Conversation with the class:

What does the word "tyrant" mean?

What is your idea of ​​the Wild?

What is the reason for the unbridled tyranny of the Wild One?

How does he treat others?

Is he confident in the unlimited power?

Describe the speech, manner of speaking, communicating of the Wild. Give examples.

Let's conclude:

Dikoy Savel Prokofich -“shrill man”, “swearer”, “tyrant”, which means a wild, cool-hearted, powerful person. The goal of his life is enrichment. Rudeness, ignorance, swearing, and swearing are common to the Wild One. The passion for swearing becomes even stronger when they ask him for money.

Kabanova Marfa Ignatievna – a typical representative of the “dark kingdom”.

1. What is your idea of ​​this character?

2. How does she treat her family? What is her attitude to the “new order”?

3. What are the similarities and differences between the characters of the Wild and Kabanikha?

4. Describe Kabanova’s speech, manner of speaking, and communication. Give examples.

Let's conclude:

Kabanova Marfa Ignatievna - the embodiment of despotism disguised as hypocrisy. How Kuligin correctly described her: “A prude... She gives favors to the poor, but completely eats up her family!” For her, love and maternal feelings for her children do not exist. Kabanikha is the exact nickname given to her by people. She is a “guardian” and defender of the customs and orders of the “dark kingdom”.

Young heroes of the play. Give them a description.

Tikhon - kind, sincerely loves Katerina. Exhausted by his mother’s reproaches and orders, he thinks about how to escape from the house. He is a weak-willed, submissive person.

Boris - gentle, kind, really understands Katerina, but is unable to help her. He is unable to fight for his happiness and chooses the path of humility.

Varvara - understands the meaninglessness of protest; for her, lying is protection from the laws of the “dark kingdom.” She ran away from home, but did not submit.

Curly – desperate, boastful, capable of sincere feelings, not afraid of his master. He fights in every way for his happiness.

Katerina's struggle for happiness.

How is Katerina different from other heroes of the drama “The Thunderstorm”?

2. Tell the story of her life. Give examples from the text.

3. What is the tragedy of her situation?

4. What paths does she look for in the struggle for happiness?

Comment on the illustration for the work.

Why is Katerina left alone with her grief? Why didn't Boris take her with him?

Why didn't she return to her husband?

Are Boris and Tikhon worthy of her love?

Did Katerina have any other way out other than death?

Work with text.

Why did Katerina decide to publicly repent of her sin?

2. What role does the thunderstorm scene play in the play?

3. Read expressively Katerina’s monologue in the repentance scene. What role does it play in revealing the ideological content of the work?

Try to interpret the meaning of the title of the drama "The Thunderstorm".

Storm - This is an elemental force of nature, terrible and not fully understood.

Storm - This is a thunderous state of society, a thunderstorm in the souls of people.

Storm - this is a threat to the one leaving, but still strong world boar and wild.

Storm - This is a Christian belief: the wrath of God, punishing sins.

Storm - these are new forces maturing in the fight against old remnants of the past.

Prove that the development of the action inevitably leads to a tragic end?

Could Katerina find happiness in her family? Under what conditions?

What is the heroine struggling with: a sense of duty or the “dark kingdom”?

Read expressively last words Katerina. Who is to blame for her death?

N.A. Dobrolyubov:“Katerina is a ray of light in a dark kingdom.

At the tragic end...a terrible challenge was given to tyrant power. morality, protest brought to the end...” (N.A. Dobrolyubov “A Ray of Light in a Dark Kingdom”).

D.I.Pisarev:“Education and life could not give Katerina either a strong character or a developed mind... She cuts through the tight knots with suicide, which is completely unexpected for herself.”

(D.I. Pisarev “Motives of Russian Drama”).

What is your opinion and why?

Lesson summary:

Evaluating student responses.

Today in class we learned not only about the customs of the Kalinovites, but also looked at representatives of the “dark” and “light” kingdoms

At the end of the lesson, answer the question for yourself: “Which side of self-education should I pay more attention to?”

Homework:

Complete the outline of N. Dobrolyubov’s article “A Ray of Light in the Dark Kingdom” according to plan:

"Dark Kingdom" in "Thunderstorm"

Katerina – “a ray of light in the “dark kingdom”

Expression of popular aspirations

Ostrovsky's most decisive work.

Lesson 4

Subject:"Storm". History of creation. Artistic originality plays.

Target: introduce students to creative history plays; identify artistic features conflict and genre of the work.

Epigraph: In “The Thunderstorm” “a broad picture of national life and customs has settled down”

I. A. Goncharov

“The Thunderstorm” is, without a doubt, Ostrovsky’s most decisive work; the mutual relations of tyranny and voicelessness are brought to the most tragic consequences...

ON THE. Dobrolyubov

During the classes

Org moment. Independent work (one of the tasks chosen by the teacher) :

List the features of the Ostrovsky Theater.

List the main periods of the playwright's work. Give them a brief description.

II. Introduction.

“The Thunderstorm” is one of the most striking, unusual and problematic plays of the Russian theater. For almost a century and a half, the attitude towards drama has not been stable, each new theatrical performance discovered something new in the poetics and content of “The Thunderstorm,” invariably arousing interest in this mysterious creation of Ostrovsky.

III. History of the creation of the work.

1. 1856 - on the initiative of the Maritime Ministry, a literary expedition was organized to study the life of the inhabitants of the Volga. Inclusion of Ostrovsky among the participants. Forced interruption of travel. 1857 - continuation of the expedition: Yaroslavl, Uglich, Kostroma.

2. History merchant family Klykov. Fact or fiction? Inconsistency in dates: Ostrovsky began work on “The Thunderstorm” in June - July 1859, finished on October 9, 1859. First performance - November 16, 1859. First publication - the January issue of the magazine “Library for Reading”. Death of Alexandra Klykova - November 10, 1859. The version about the Kostroma source of the “Thunderstorm” turned out to be far-fetched.

- Why do you think this version appeared?(The story of the Kabanov family was typical for provincial cities in Russia).

3. September 25, 1860 reign Russian Academy Sciences awarded the play the Great Uvarov Prize. The scientific world of Russia quickly confirmed the high merits of the work.

4. Critics assessed The Thunderstorm and its main character differently.

The highest assessment of the play was given by N. A. Dobrolyubov in the articles “A Ray of Light in the Dark Kingdom” (1860) and “The Dark Kingdom” (1859). I. A. Goncharov, P. P. Pletnev, A. D. Galakhov were unanimous with him.

Evaluation of “The Thunderstorm” by L. Tolstoy (from a letter to A. Fet): Ostrovsky’s “The Thunderstorm” is, in my opinion, a deplorable composition.” A. Fet agreed with him.

Outstanding thinker and progressive critic D.I. Pisarev wrote the articles “Motives of Russian Drama” (1864) and “Let's see!” (1865), in which he objected to N.A. Dobrolyubov. Recognizing some of the merits of the play, he resolutely refused to make any protest to “The Thunderstorm” and its heroine Katerina. Katerina, according to Pisarev, is not “a ray of light in a dark kingdom,” but an “eternal child,” an “unfortunate victim.”

The great artist M. S. Shchepkin spoke with bitterness and resentment about Ostrovsky’s work. On October 31, 1859, he went backstage during a rehearsal of “The Thunderstorm” at the Moscow Maly Theater.

IV. Conversation on the first perception of the work.

- What impression did the play make on you? What do you remember most? Why?

- What do you think this work is about?(“The Thunderstorm” is a play about the peculiarities of the national way of life, about the nature of the worldview of the Russian person, about individual psychological qualities a person, his aesthetic views, the type of relationships between people belonging to the same social stratum).

- What is the content of the play? Refusal to idealize merchants and patriarchal life.

- What is this connected with? A work in the second half of the 1850s, when the playwright moved away from the poeticization of the merchant's way of life, realizing all the most pressing social problems of society.

V. The ideological and artistic originality of the work.

1. The meaning of the title of the play.

- How did you understand the meaning of the title of the play?

The 50-60s were a period of social upsurge, when the foundations of serfdom were cracking. The drama reflected the rise of the social movement, the sentiments that lived the leading people of this era. This was the expectation of reforms; numerous unrest among the peasant masses began to result in formidable riots. The name “Thunderstorm” is not just a majestic natural phenomenon, but a social upheaval, a tense state of society, as a feeling in the souls of people.

- What do you think is the significance of the image of a thunderstorm in the play? This is both an image of emotional experience and an image of fear: punishment, sin, parental authority, human judgment.

2. Theme of the work.

- Try to determine the theme of the play. The clash between new trends and old traditions, between the oppressors and the oppressed, between the desire of people to freely express their human rights, spiritual needs and the social, family and everyday order that prevailed in pre-reform Russia.

The general theme of the work entails a number of specific themes:

with the stories of Kuligin, the remarks of Kudryash and Boris, the actions of Dikiy and Kabanikha, Ostrovsky gives a detailed description of the financial and legal situation of all layers of society;

depicting the life, interests, hobbies and experiences of the characters, the writer reproduces from different sides the social and family life of the merchants and philistines;

the life background and problems of that time are depicted. The characters talk about important social phenomena for their time: the emergence of the first railways, cholera epidemics, the development of commercial and industrial activities in Moscow, etc.;

Along with socio-economic and living conditions, the author masterfully painted the surrounding nature, different attitude characters to it.

3. Conflict of the work.

The theme of “The Thunderstorm” is organically connected with its conflict.

- Define the conceptconflictin a literary work.

- What caused the conflict situation in the play? As a result of an attempt by the individual to live in accordance with the needs of the soul, without submitting to dead dogmas.

What conflict forms the basis of the play's plot? The conflict between old social and everyday principles and new, progressive aspirations for equality, for the freedom of the human person (the conflict of Katerina and Boris with their environment).

The main conflict of the work unites all other conflicts. Try highlighting them:

Kuligin's conflict with Dikiy and Kabanikha;

Conflict between Kudryash and Wild;

Boris's conflict with Dikiy;

Varvara's conflict with Kabanikha;

Conflict between Tikhon and Kabanikha.

The main conflict in The Thunderstorm develops quickly and intensely. This is achieved by a special arrangement of scenes: with each new scene the intensity of the struggle increases. Let's trace the development of the main conflict:

Action 1 - social background of the conflict; inevitability, anticipation of conflict.

Act 2 - the irreconcilability of contradictions and the severity of Katerina’s conflict with the “dark kingdom”;

Act 3 - the freedom gained by Katerina is a step towards the tragic death of the heroine;

Act 4 - Katerina’s mental turmoil is a consequence of the freedom she has acquired;

Act 5 - Katerina's suicide as a challenge to tyranny.

4. Features of the genre of the work.

For the first time in his work, Ostrovsky brought a dramatic conflict to a tragic outcome.

- Remember the definitions of drama, tragedy.

Why can Ostrovsky’s play “The Thunderstorm” be classified as both a drama and a tragedy? Highlight the features of both genres in the work.

Tragedy - the action develops in a tragic manner, the conflict between the characters leads to tragic consequences, the scale of the characters’ images, symbolic and mythological associations.

Drama is the widespread conflict of the play, the everyday life of the events depicted in the work.

drama tragedy

VI. Bottom line.

The drama “The Thunderstorm” became a unique result of the playwright’s work of 1856-1860. Problems of personality and environment, ancestral memory and individual human activity in relation to the “cherished legends” of the “dark antiquity” (M.Yu. Lermontov) in “The Thunderstorm” reach their culmination. Is it possible to combine the needs of human nature free from nature with the enslavement of all manifestations of life in the “dark kingdom”? And how can one reconcile the internal concept of the moral law with a dead moral code - a substitute for everyday morality based on Christian commandments and the experience of people's life? The play gives an answer to these questions, containing a fundamental protest against everything anti-natural, violent, striving to tyrannize the healthy forces inherent in every living soul.

Dictionary:

Theme of the work- this is what underlies a particular text; the subject of the image, those facts and phenomena of life that the writer captured in his work.

Conflict - a clash, confrontation, embodied in the plot of the work.

Plot - development of action, course of events in narrative and dramatic works.

Drama - a play with an acute conflict that is not sublime, mundane, ordinary and one way or another resolved.

Tragedy - a play that depicts extremely acute, irreconcilable conflicts in life, the resolution of which most often ends in the death of the hero.

Homework(homework depends on the level of preparation of the group, the number of hours provided for studying Ostrovsky’s work and the textbook used by a particular group)

Boris Grigorievich - Dikiy's nephew. He is one of the weakest characters in the play. B. himself says about himself: “I’m walking around completely dead... Driven, beaten...”
Boris is a kind, well-educated person. He stands out sharply against the background of the merchant environment. But he is by nature weak person. B. is forced to humiliate himself before his uncle, Dikiy, for the sake of hope for the inheritance that he will leave him. Although the hero himself knows that this will never happen, he nevertheless curries favor with the tyrant, tolerating his antics. B. is unable to protect either himself or his beloved Katerina. In misfortune, he only rushes about and cries: “Oh, if only these people knew how it feels for me to say goodbye to you! My God! God grant that someday they may feel as sweet as I do now... You villains! Monsters! Oh, if only there was strength! But B. does not have this power, so he is unable to alleviate Katerina’s suffering and support her choice by taking her with him. Varvara Kabanova- daughter of Kabanikha, sister of Tikhon. We can say that life in Kabanikha’s house morally crippled the girl. She also does not want to live according to the patriarchal laws that her mother preaches. But despite a strong character, V. does not dare to openly protest against them. Her principle is “Do what you want, as long as it’s safe and covered.”

This heroine easily adapts to the laws of the “dark kingdom” and easily deceives everyone around her. This became habitual for her. V. claims that it is impossible to live otherwise: their whole house rests on deception. “And I was not a liar, but I learned when it became necessary.”
V. was cunning while she could. When they began to lock her up, she ran away from the house, inflicting a crushing blow on Kabanikha.

D. is a typical tyrant. He feels his power over people and complete impunity, and therefore does what he wants. “There are no elders over you, so you are showing off,” Kabanikha explains D.’s behavior.
Every morning his wife begs those around her with tears: “Fathers, don’t make me angry! Darlings, don’t make me angry!” But it’s hard not to make D. angry. He himself does not know what mood he may be in in the next minute.
This “cruel scolder” and “shrill man” does not mince words. His speech is filled with words like “parasite”, “Jesuit”, “asp”.
But D. “attacks” only on people weaker than himself, on those who cannot fight back. But D. is afraid of his clerk Kudryash, who has a reputation for being rude, not to mention Kabanikha. D. respects her, moreover, she is the only one who understands him. After all, the hero himself is sometimes not happy with his tyranny, but he can’t help himself. Therefore, Kabanikha considers D. a weak person. Kabanikha and D. are united by belonging to the patriarchal system, following its laws, and concern about the upcoming changes around them.

This image in its own way points to the end of the patriarchal way of life. T. no longer considers it necessary to adhere to the old ways in everyday life. But, due to his character, he cannot act as he sees fit and go against his mother. His choice is everyday compromises: “Why listen to her! She needs to say something! Well, let her talk, and you turn a deaf ear!”
T. is a kind, but weak person; he rushes between fear of his mother and compassion for his wife. The hero loves Katerina, but not in the way Kabanikha demands - sternly, “like a man.” He doesn’t want to prove his power to his wife, he needs warmth and affection: “Why should she be afraid? It’s enough for me that she loves me.” But Tikhon doesn’t get this in Kabanikha’s house. At home, he is forced to play the role of an obedient son: “Yes, Mama, I don’t want to live by my own will! Where can I live by my own will!” His only outlet is traveling on business, where he forgets all his humiliations, drowning them in wine. Despite the fact that T. loves Katerina, he does not understand what is happening to his wife, what mental anguish she is experiencing. T.'s gentleness is one of his negative qualities. It is because of her that he cannot help his wife in her struggle with her passion for Boris, and he cannot ease Katerina’s fate even after her public repentance. Although he himself reacted kindly to his wife’s betrayal, without being angry with her: “Mama says that she must be buried alive in the ground so that she can be executed! But I love her, I would be sorry to lay a finger on her.” Only over the body of his dead wife does T. decide to rebel against his mother, publicly blaming her for the death of Katerina. It is this riot in public that deals Kabanikha the most terrible blow.

The events in A. N. Ostrovsky’s drama “The Thunderstorm” take place on the Volga coast, in the fictional city of Kalinov. The work provides a list of characters and their brief characteristics, but they are still not enough to better understand the world of each character and reveal the conflict of the play as a whole. There are not many main characters in Ostrovsky's "The Thunderstorm".

Katerina, girl, main character plays. She is quite young, she was married off early. Katya was brought up exactly according to the traditions of house-building: the main qualities of a wife were respect and obedience to her husband. At first, Katya tried to love Tikhon, but she could not feel anything but pity for him. At the same time, the girl tried to support her husband, help him and not reproach him. Katerina can be called the most modest, but at the same time the most powerful character in “The Thunderstorm”. Indeed, Katya’s strength of character does not appear outwardly. At first glance, this girl is weak and silent, it seems as if she is easy to break. But this is not true at all. Katerina is the only one in the family who resists Kabanikha’s attacks. She resists, and does not ignore them, like Varvara. The conflict is rather internal in nature. After all, Kabanikha is afraid that Katya might influence her son, after which Tikhon will stop obeying his mother’s will.

Katya wants to fly and often compares herself to a bird. She is literally suffocating in Kalinov’s “dark kingdom”. Having fallen in love with a visiting young man, Katya created for herself perfect image love and possible liberation. Unfortunately, her ideas had little to do with reality. The girl's life ended tragically.

Ostrovsky in “The Thunderstorm” makes not only Katerina the main character. The image of Katya is contrasted with the image of Marfa Ignatievna. A woman who keeps her entire family in fear and tension does not command respect. Kabanikha is strong and despotic. Most likely, she took over the “reins of power” after the death of her husband. Although it is more likely that in her marriage Kabanikha was not distinguished by submissiveness. Katya, her daughter-in-law, got the most from her. It is Kabanikha who is indirectly responsible for the death of Katerina.

Varvara is the daughter of Kabanikha. Despite the fact that over so many years she has learned to be cunning and lie, the reader still sympathizes with her. Varvara is a good girl. Surprisingly, deception and cunning do not make her like other residents of the city. She does as she pleases and lives as she pleases. Varvara is not afraid of her mother’s anger, since she is not an authority for her.

Tikhon Kabanov fully lives up to his name. He is quiet, weak, unnoticeable. Tikhon cannot protect his wife from his mother, since he himself is under the strong influence of Kabanikha. His rebellion ultimately proves to be the most significant. After all, it is the words, and not Varvara’s escape, that make readers think about the whole tragedy of the situation.

The author characterizes Kuligin as a self-taught mechanic. This character is a kind of tour guide. In the first act, he seems to be taking us around Kalinov, talking about its morals, about the families that live here, about the social situation. Kuligin seems to know everything about everyone. His assessments of others are very accurate. Kuligin himself is a kind person who is used to living by established rules. He constantly dreams of the common good, of a perpetu mobile, of a lightning rod, of honest work. Unfortunately, his dreams are not destined to come true.

The Wild One has a clerk, Kudryash. This character is interesting because he is not afraid of the merchant and can tell him what he thinks about him. At the same time, Kudryash, just like Dikoy, tries to find benefit in everything. He can be described as a simple person.

Boris comes to Kalinov on business: he urgently needs to establish relations with Dikiy, because only in this case will he be able to receive the money legally bequeathed to him. However, neither Boris nor Dikoy even want to see each other. Initially, Boris seems to readers like Katya, honest and fair. In the last scenes this is refuted: Boris is unable to decide to take a serious step, to take responsibility, he simply runs away, leaving Katya alone.

One of the heroes of “The Thunderstorm” is a wanderer and a maid. Feklusha and Glasha are shown as typical inhabitants of the city of Kalinov. Their darkness and lack of education is truly amazing. Their judgments are absurd and their horizons are very narrow. Women judge morality and ethics according to some perverted, distorted concepts. “Moscow is now full of carnivals and games, but through the streets there is an indo roar and groan. Why, Mother Marfa Ignatievna, they started harnessing a fiery serpent: everything, you see, for the sake of speed” - this is how Feklusha speaks about progress and reforms, and the woman calls a car a “fiery serpent”. The concept of progress and culture is alien to such people, because it is convenient for them to live in an invented limited world of calm and regularity.

This article provides a brief description of the characters in the play “The Thunderstorm”; for a deeper understanding, we recommend that you read the thematic articles about each character in “The Thunderstorm” on our website.

Work test

To create a tragedy means to elevate the conflict depicted in the play to the struggle of large social forces. The character of the tragedy should be a large personality, free in his actions and deeds

The character in the tragedy embodies a great social principle, the principle of the whole world. That is why tragedy shuns concrete forms of everyday life; it elevates its heroes to the personification of great historical forces.

The heroes of "The Thunderstorm", unlike the heroes of old tragedies, are merchants and townspeople. From this arise many features and originality of Ostrovsky’s play.

In addition to the participants in the family drama that happened in the Kabanovs’ house, the play also contains characters who are in no way connected with it, acting outside the family sphere. These are ordinary people walking in a public garden, and Shapkin, and Feklusha, and in in a certain sense even Kuligin and Dikoy.

One can imagine that the system of images of the drama “The Thunderstorm” is built on the opposition of the masters of life, tyrants, Kabanikha and Dikiy, and Katerina Kabanova as a figure of protest against the world of violence, as a prototype of the trends of a new life.

. Images of the masters of life - Wild and Kabanikha: bearers of the ideas of the old way of life (Domostroy), cruelty, tyranny and hypocrisy towards other characters, a feeling of the death of the old way of life.

. Images of tyrants humbled under the rule- Tikhon and Boris (double images): lack of will, weakness of character, love for Katerina, which does not give the heroes strength, the heroine is stronger than those who love her and whom she loves, the difference between Boris and Tikhon in external education, the difference in expression of protest: Katerina's death leads to Tikhon's protest; Boris weakly submits to circumstances and practically abandons his beloved woman in a tragic situation for her.

. Images of heroes expressing protest against the “dark kingdom” of tyrants:

Varvara and Kudryash: external humility, lies, confronting force with force - Kudryash, escape from the power of tyrants when mutual existence becomes impossible)

Kuligin - opposes the power of enlightenment to tyranny, understands with reason the essence of the “dark kingdom”, tries to influence it with the power of persuasion, practically expresses the author’s point of view, but as a character he is inactive

The image of Katerina is like the most decisive protest against the power of tyrants, “a protest carried through to the end”: the difference between Katerina’s character, upbringing, and behavior from the character, upbringing, and behavior of other characters

. Secondary images emphasizing the essence of the “dark kingdom”: Feklusha, the lady, the townspeople who witnessed Katerina’s confession. Image of a Thunderstorm

1. Images of the masters of life

Dikoy Savel Prokofich is a wealthy merchant, one of the most respected people in the city of Kalinov.

Dikoy is a typical tyrant. He feels his power over people and complete impunity, and therefore does what he wants. “There are no elders over you, so you are showing off,” Kabanikha explains the behavior of the Wild.

Every morning his wife begs those around her with tears: “Fathers, don’t make me angry! Darlings, don’t make me angry!” But it’s hard not to make the Wild One angry. He himself does not know what mood he may be in in the next minute.

This “cruel scolder” and “shrill man” does not mince words. His speech is filled with words like “parasite”, “Jesuit”, “asp”

The play, as you know, begins with a conversation about Diky, who “has broken free” and cannot live without swearing. But right away from Kudryash’s words it becomes clear that Dikoy is not so scary: there are few guys “on my side, otherwise we would have taught him not to be naughty... The four of us, the five of us in an alley somewhere, would have talked to him face to face , so he would become silk. And he wouldn’t say a word about our science to anyone, he’d just walk around and look around.” Kudryash confidently says: “I’m not afraid of him, but let him be afraid of me”; “No, I won’t slave to him.”

Dikoy wants to cut off any attempt to demand an account from him the first time. It seems to him that if he recognizes over himself the laws of common sense, common to all people, then his importance will greatly suffer from this. This is where eternal dissatisfaction and irritability develops in him. He himself explains his situation when he talks about how difficult it is for him to give out money. “What do you tell me to do when my heart is like this! After all, I already know that I have to give, but I can’t give everything good. You are my friend, and I must give to you, but if you come to ask me, I will scold you. I will give, "I'll give it to you, but I'll scold you. Therefore, as soon as you even mention money to me, it will start to ignite my whole insides; it'll ignite my whole insides, and that's all; well, and in those days I'll never curse a person for anything." Even in the consciousness of the Wild One, some reflection awakens: he realizes how absurd he is, and blames it on the fact that “his heart is like that!”

Dikoy only wants more, as many rights as possible for himself; when it is necessary to recognize them for others, he considers this an attack on his personal dignity, and gets angry, and tries in every possible way to delay the matter and prevent it. Even when he knows that he absolutely must give in, and will give in later, he will still try to cause mischief first. “I’ll give it, I’ll give it, but I’ll scold you!” And one must assume that the more significant the issuance of money and the more urgent the need for it, the more Dikoy scolds... It is clear that no reasonable convictions will stop him until an external force that is tangible to him is united with them: he scolds Kuligin; and when a hussar scolded him once during a transport, he did not dare contact the hussar, but again took out his insult at home: for two weeks they hid from him in attics and closets...

Such relationships show that the position of Dikiy and all tyrants like him is far from being as calm and firm as it once was, during the times of patriarchal morals.

Kabanikha (Kabanova Marfa Ignatievna) - “rich merchant’s wife, widow,” mother-in-law of Katerina, mother of Tikhon and Varvara.

The Kabanov family follows a traditional way of life. The head of the family is a representative of the older generation. Kabanikha lives “as is customary,” as fathers and sons lived in the old days. Patriarchal life is typical in its immobility. Through the mouth of Kabanikha, the entire centuries-old house-building way of life speaks.

Kabanova has a firm conviction that she is obliged, this is her duty - to mentor young people for their own good. This is Domostroev’s way, it has been like this for centuries, this is how our fathers and grandfathers lived. She says to her son and daughter-in-law: “After all, parents are strict with you out of love, and they scold you out of love, and everyone thinks to teach you good things. Well, I don’t like that these days.” “I know, I know that you don’t like my words, but what can you do? I’m not a stranger to you, my heart aches for you. I’ve seen for a long time that you want freedom. Well, wait, live and free when I'm gone. Then do whatever you want, there will be no elders over you. And maybe you'll remember me too."

Kabanova will be very seriously upset about the future of the old order, with which she has outlived the century. She foresees their end, tries to maintain their significance, but already feels that there is no former respect for them, that they are being preserved reluctantly, only unwillingly, and that at the first opportunity they will be abandoned. She herself had somehow lost some of her knightly fervor; She no longer cares with the same energy about observing old customs; in many cases she has given up, bowed down before the impossibility of stopping the flow and only watches with despair as it little by little floods the colorful flower beds of her whimsical superstitions. Kabanova’s only consolation is that somehow, with her help, the old order will survive until her death; and then - whatever happens - she won’t see it anymore.

Seeing her son off on the road, she notices that everything is not being done as she should: her son does not bow at her feet - this is precisely what should be demanded of him, but he himself did not think of it; and he does not “order” his wife how to live without him, and he does not know how to give orders, and when parting, he does not require her to bow to the ground; and the daughter-in-law, having seen her husband off, does not howl or lie on the porch to show her love. If possible, Kabanova tries to restore order, but she already feels that it is impossible to conduct business completely in the old way. But seeing off her son inspires her with the following sad thoughts: “Youth is what it means! It’s funny to look even at them! If they weren’t our own, I’d laugh to my heart’s content: they don’t know anything, there’s no order. They don’t know how to say goodbye. Good.” Also, those who have elders in the house, they hold the house together as long as they are alive. But they, too, are stupid, they want their own will; but when they are released, they get confused in obedience and the laughter of good people. Of course, who and he will regret it, but most of all everyone laughs. But it’s impossible not to laugh: they’ll invite guests, they don’t know how to seat them, and, look, they’ll forget one of their relatives. Laughter, and that’s all! That’s how it comes out in the old days. In another I don’t even want to go up the house. But if you do go up, you’ll just spit, but get out quickly. What will happen, how the old people will die, how the light will stay, I don’t know. Well, at least it’s good that I won’t see anything "

Kabanikha needs to always inviolably preserve exactly those orders that she recognizes as good.

2. Those who resigned themselves to the rule of tyrants

Boris stands apart from the other characters in the tragedy. Ostrovsky separates him from them even in the remarks characterizing the characters: “A young man, decently educated” - and another remark: “All the faces, except Boris, are dressed in Russian.”

Boris Grigorievich is Dikiy's nephew. He is one of the weakest characters in the play. Boris himself says about himself: “I’m walking around completely dead... Driven, beaten...”

Boris is a kind, well-educated person. He stands out sharply against the background of the merchant environment. But he is a weak person by nature. Boris is forced to humiliate himself before his uncle for the sake of hope for the inheritance that he will leave him. Although the hero himself knows that this will never happen, he nevertheless curries favor with the tyrant, tolerating his antics. Boris is unable to protect either himself or his beloved Katerina. In misfortune, he only rushes about and cries: “Oh, if only these people knew what it’s like for me to say goodbye to you! My God! May God grant that they may someday feel as sweet as I do now... You villains! Monsters! Oh, if only force!" But Boris does not have this power, so he is unable to alleviate Katerina’s suffering and support her choice by taking her with him.

In Tikhon there are also, as it were, two people. This becomes especially clear during his last conversation with Kuligin, when he talks about what is happening in their family.

“What my wife did against me! It can’t be worse...” - Tikhon says this. But this is mommy's voice. And then he continues with the same mama’s words: “It’s not enough to kill her for this. So mama says, she needs to be buried alive in the ground so that she can be executed!” In the next words, Tikhon himself, a narrow-minded man, weak and helpless, but loving, kind and sincere: “But I love her, I’m sorry to lay a finger on her. I beat her a little, and even then mummy ordered it. I feel sorry for looking at her, you understand that, Kuligin. Mama eats her up, but she walks around like a shadow unrequited. She just cries and melts like wax. So I’m killing myself, looking at her.” A man with a heart, Tikhon understands Boris’s suffering and sympathizes with him. But at the last moment he comes to his senses and obeys what his inexorable mother tells him.

Tikhon is a Russian character. He attracts kindness and sincerity. But he is weak and suppressed by family despotism, crippled and broken by it. This instability of his character manifests itself all the time, right up to the death of Katerina. Under the influence of her death, a flash of humanity breaks out in Tikhon. He discards the vulgar and cruel maxims imposed by his mother, and even raises his voice against her.

3. Heroes protesting against the dark kingdom

Varvara is the direct opposite of Tikhon. She has both will and courage. But Varvara is Kabanikha’s daughter, Tikhon’s sister. We can say that life in Kabanikha’s house morally crippled the girl. She also does not want to live according to the patriarchal laws that her mother preaches. But, despite her strong character, Varvara does not dare to openly protest against them. Its principle is “Do what you want, as long as it’s safe and covered.”

In Varvara she has a craving for will. Her escape from the power of family despotism indicates that she does not want to live under oppression. She has a sense of justice, she sees the cruelty of her mother and the insignificance of her brother.

This heroine easily adapts to the laws of the “dark kingdom” and easily deceives everyone around her. This became habitual for her. Varvara claims that it is impossible to live any other way: their whole house rests on deception. “And I was not a liar, but I learned when it became necessary.”

Much higher and more morally insightful than Varvara is Vanya Kudryash. In him, more than in any of the heroes of "The Thunderstorm", with the exception, of course, of Katerina, the people's principle triumphs. This is a song nature, gifted and talented, daring and reckless on the outside, but kind and sensitive in depth. But Kudryash also gets used to Kalinov’s morals, his nature is free, but sometimes self-willed. Kudryash opposes the world of his “fathers” with his daring and mischief, but not with his moral strength.

"The Thunderstorm" is not only imbued with the spirit of criticism. One of its main themes is the talent of the Russian person, the wealth of talents and opportunities contained in his personality.

A vivid embodiment of this is Kuligin (the surname, as is known, hints at the closeness of this character to the famous self-taught mechanic Kulibin).

Kuligin is a talented genius who dreams of inventing a perpetuum mobile to give work to the poor and ease their lot. “Otherwise you have hands, but nothing to work with.”

“A mechanic, a self-taught mechanic,” as Kuligin calls himself, wants to make a sundial in the city park, for this he needs ten rubles and he asks Dikiy for them. Here Kuligin encounters the stubborn stupidity of Dikiy, who simply does not want to part with his money. Dobrolyubov wrote in his article “The Dark Kingdom” that “tyrants are easy to “stop” with the power of a judicious, enlightened mind.” “An enlightened person does not retreat, trying to instill in the Wild the correct concepts about the benefits of sundials and the saving power of lightning rods.” But everything is useless. One can only be surprised at the patience, respect and tenacity with which Kuligin tries to reach out to Dikiy.

People are drawn to Kuligin. Tikhon Kabanov tells him with complete confidence about his experiences, about how hard it is for him to live in his mother’s house. Kuligin clearly understands all of Tikhon’s problems, gives him advice to forgive his wife and live by his own mind. “She would be a good wife for you, sir; look, she’s better than anyone else.”

In the "dark kingdom" Kuligin appears a good man, he reads poetry, sings, his judgments are always accurate and thorough. He is a kind dreamer who strives to make people's lives better and expand their knowledge about the world around them. It often seems that the wise and judicious thoughts that Kuligin expresses are an assessment of the events of the play by the author himself.

It is Kuligin who reproaches the people who killed Katerina. “Here is your Katerina. Do with her what you want! Her body is here, take it; but her soul is now not yours: she is now before a judge who is more merciful than you!”

4. Image of Katerina

First of all, we are struck by the extraordinary originality of Katerina’s character. Katerina does not at all belong to the violent character, never satisfied, who loves to destroy at any cost. On the contrary, this character is predominantly loving, ideal. She tries to reconcile any external dissonance with the harmony of her soul, covering any shortcoming from the fullness of her inner strength.

For Katerina, her own judgment on herself is unbearable. Her inner, moral foundations are shaken. This is not just a “family deception”. A moral catastrophe occurred, the eternal moral principles in Katerina’s eyes were violated, and from this, as from original sin, the universe may tremble and everything in it will be distorted and perverted. It is on this universal scale that Katerina perceives the thunderstorm. In the common view, her suffering is not a tragedy at all: you never know when a wife meets another in the absence of her husband, he returns and does not even know about his rival, etc. But Katerina would not have been Katerina, who received literary immortality, if everything had ended just like that for her, and, as in a farce or an anecdote, everything would have been “all right.” Just as Katerina is not afraid of human judgment, so no deal with her conscience is possible for her.

Katerina’s tragedy is not so much in “broken love”, in a “disgusted” life with an unloved husband, with an overbearing mother-in-law, but in that internal hopelessness when it is revealed that it is impossible to find oneself in the “new morality” and the future turns out to be closed.

In Katerina’s personality we see an already mature demand for the right and spaciousness of life arising from the depths of the whole organism. Here it is no longer imagination, not hearsay, not an artificially excited impulse that appears to us, but the vital necessity of nature.

Katerina tells Varya one trait about her character from her childhood memories: “I was so hot at birth! I was only six years old, no more, so I did it! They offended me with something at home, and it was late 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 found it, about ten miles away..." This childish fervor was preserved in Katerina. An adult, forced to endure insults, finds the strength to endure them for a long time, without vain complaints, half-resistance and any noisy antics. She endures until some interest speaks up in her, without the satisfaction of which she cannot remain calm.

Katerina, with amazing ease, resolves all the difficulties of her situation. Here is her conversation with Varvara: “Varvara: You’re kind of tricky, God be with you! But in my opinion: do what you want, as long as it’s sewn and covered. Katerina. I don’t want so. And what’s good! I’d rather endure it as long as I can endure it... Eh, Varya, you don’t know my character! Of course, God forbid this happens! And if I get really tired of it here, they won’t hold me back by any force. In "I'll throw myself out of the window and throw myself into the Volga. I don't want to live here, I won't, even if you cut me!" This is true strength of character, which you can rely on in any case! This is the height to which ours reaches folk life in its development. Ostrovsky felt that it was not abstract beliefs, but life facts control a person that it is not the way of thinking, not the principles, but the nature that is needed for education and the manifestation of a strong character, and he knew how to create such a person who serves as a representative of the great national idea. Her actions are in harmony with her nature, they are natural for her, necessary, she cannot refuse them, even if it has the most disastrous consequences.

Katerina, at Varvara’s first proposal about her meeting with Boris, screams: “No, no, don’t! What, God forbid: if I see him even once, I’ll run away from home, I won’t go home for anything in the world! " it is passion that speaks in her; and it’s clear that no matter how she restrained herself, her passion was higher than all her prejudices and fears. Her whole life lies in this passion; all the strength of her nature. What attracts her to Boris is not just the fact that she likes him, that he, both in appearance and in speech, is not like the others around her; He is attracted to him by the need for love, which has not found a response in her husband, and the offended feeling of a wife and woman, and the mortal melancholy of her monotonous life, and the desire for freedom, space, hot, unfettered freedom.

Katerina is not afraid of anything except being deprived of the opportunity to see her chosen one, talk to him, enjoy these summer nights, these new feelings for her. My husband arrived, and life became miserable. It was necessary to hide, to be cunning; she didn’t want it and couldn’t do it; she had to return again to her callous, dreary life - this seemed to her more bitter than before. This situation was unbearable for Katerina: days and nights she kept thinking, suffering, and the end was one that she could not endure - in front of all the people crowded in the gallery of the strange church, she repented of everything to her husband.

She decided to die, but she is afraid of the thought that this is a sin, and she seems to be trying to prove to us and herself that she can be forgiven, since it is very difficult for her. She would like to enjoy life and love; but she knows that this is a crime, and therefore she says in her justification: “Well, it doesn’t matter, I’ve already ruined my soul!” There is no malice in her, no contempt, nothing that is usually so flaunted by disappointed heroes who voluntarily leave the world. But she can’t live anymore, she can’t, and that’s all; she says from the fullness of her heart: “I’m already exhausted... How long do I have to suffer? Why should I live now - well, for what?... To live again?.. No, no, don’t... it’s not good. And people disgust me , and the house is disgusting to me, and the walls are disgusting! I won’t go there!..."

It is usually customary to say that Katerina is one of the most perfect embodiments of the character of a Russian woman. Katerina’s appearance is depicted with everyday colors, covered in the everyday flavor of old Russian life. She is a woman of extraordinary depth and strength. mental life. “What an angelic smile she has on her face, and her face seems to glow,” Boris says about her.

By nature, Katerina is far from religious humility. She was raised by the Volga expanse. She has a strong character, a passionate temperament, no internal independence and a craving for will, a spontaneous sense of justice.

5. Secondary images. Image of a thunderstorm

Minor characters of wanderers and praying mantises also help create the necessary background for the play. With their fantastic fables they emphasize the ignorance and denseness of the inhabitants of the “dark kingdom”.

Feklushi's stories about the lands where people with dog heads live are perceived by them as immutable facts about the universe. The wanderer Feklusha can be called an “ideologist” of the “dark kingdom.” With her stories about lands where people with dog heads live, about thunderstorms, which are perceived as irrefutable information about the world, she helps “tyrants” keep people in constant fear. Kalinov for her is a land blessed by God.

And one more character - a half-crazy lady who, at the very beginning of the play, predicts the death of Katerina. She becomes the personification of those ideas about sin that live in the soul of the religious Katerina, raised in a patriarchal family. True, in the finale of the play, Katerina manages to overcome her fear, for she understands that lying and humbling herself all her life is a greater sin than suicide.

The title of the play does not denote the name of the heroine of the tragedy, but the violent manifestation of nature, its phenomenon. And this cannot be considered an accident. Nature is an important character in the play.

These are the words with which it opens: “A public garden on the high bank of the Volga, a rural view beyond the Volga.” This is a stage direction indicating the location of the action. But she immediately introduces the motif of nature, which is necessary for the development of the concept of tragedy. The remark depicts the beauty of the Volga landscape, the vastness of the Volga.

Not all the characters in the play notice the beauty of nature. It is inaccessible to the vulgar and self-interested inhabitants of the city of Kalinov - merchants and townspeople.

It's not just about the contrast between beautiful nature and the unfair and cruel life of people. Nature also enters their lives. She illuminates it, becomes its participant.

The real thunderstorm becomes a symbolic embodiment of the thunderstorm thundering in Katerina’s soul, a harbinger of the punishment that threatens her for her crime. A thunderstorm is a terrible turmoil of her soul.

Kuligin perceives the thunderstorm differently. For him, a thunderstorm is a powerful expression of the beauty and power of nature, a thunderstorm is a grace that overshadows people.

But the meaning of the play's title can be interpreted even more broadly and somewhat differently.

The thunderstorm is the element of Katerina’s love for Boris, it is the strength and truth of her stormy repentance. It’s like a cleansing thunderstorm that swept over a city mired and ossified in vices. The city needs a storm like this.

The thunderstorm that thundered over the city of Kalinov is a refreshing thunderstorm and foreshadows punishment, indicating that there are forces in Russian life that can revive and renew it.

"is symbolic and polysemantic. It includes several meanings that combine and complement each other, allowing you to show several facets of the problem. First you need to separate the concept of image-symbol from the concept of metaphor. The image-symbol is polysemantic, like a metaphor, but, unlike the latter, it implies that the reader can have many different associations that are not limited to the author’s interpretation of the text. That is, the text of the work does not indicate exactly how one or another image-symbol should be deciphered and understood. The interpretation of metaphorical transfer is usually indicated by the author himself. It is the latter option that is implemented in the play under consideration by Alexander Nikolaevich.

The image of a thunderstorm in Ostrovsky's drama includes several author's interpretations. Thunderstorm is understood in the literal sense, that is, as a natural phenomenon. The thunderstorm begins already in the first act and, by the fourth, periodically stopping, it gains strength. The city of Kalinov literally lives in anticipation of a thunderstorm.
The inhabitants' fear of thunder and rain is comparable to pagan fears of the elements. The only one who is not afraid of thunderstorms is the self-taught inventor Kuligin. He is the only one who leads a righteous life in the city, strives to earn money by honest labor and thinks about the good of society. For him, there is nothing mysterious or mystical in a thunderstorm. Kuligin is shocked by the reaction to the thunderstorm: “after all, it’s not the thunderstorm that kills, it’s grace that kills!” A man does not understand that primal fear to which everyone submits. Dikoy even believes that God sends the thunderstorm so that sinners do not forget about him. This is a pagan, not a Christian understanding. Katerina, the main character of the play, is frightened by the thunderstorm for other reasons. Katya herself is a calm and quiet girl, so any burst of energy makes her feel anxious. From the first appearances of the play, the reader learns that Katerina is terribly afraid of thunderstorms, and therefore strives in every possible way to hide from it as soon as possible. Even Varvara’s remark “Why are you afraid: the thunderstorm is still far away,” which can be regarded as prophetic, cannot calm the girl down. Katya explains her fear from a philosophical point of view (quite in the spirit of Woland from “The Master and Margarita”): “it’s not so scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all evil thoughts." So it becomes clear that the image of a thunderstorm in Ostrovsky’s drama is associated with the motive of death. The power of the elements reaches its apogee in the fourth act - the culmination of the work. At first, as usual before a thunderstorm, it was quiet. Townspeople walked along the embankment, talked, and admired the scenery. But as soon as the weather began to deteriorate, many took refuge in the gallery, on the walls of which one could discern the remains of a drawing of fiery Gehenna, that is, hell. Negative symbolism is again added to the image of a thunderstorm.

At the same time, the image of a thunderstorm in the play cannot be perceived as unambiguously negative.
Of course, Katerina is frightened by the violent weather. The thunder is getting louder, and the fear of getting bogged down in lies is getting stronger. In the thunderstorm, Katya saw a symbol of the Higher Court, God's punishment for those who do not live a righteous life. That is why the onset of a thunderstorm can be considered a catalyst for admitting treason. On the embankment, in front of everyone, despite the entreaties of Tikhon and Varvara, Katerina says that all the time Tikhon was away, she secretly met with Boris. This is becoming a real thunderstorm. Katya's confession turned the life of the whole family upside down and made them think about life. A thunderstorm becomes not only an external manifestation, but also an internal conflict. There was a thunderstorm in Katya's soul. She had been preparing for a long time, the clouds became blacker with each reproach from her mother-in-law. The gap between real life and the girl’s ideas was too great. Katya could not avoid the inner storm: she was brought up differently. She was taught to live honestly and righteously. And in the Kabanov family they want to teach you to lie and pretend. Feelings for Boris can also be compared to a thunderstorm. They develop rapidly and spontaneously. But unfortunately, they are a priori doomed to a quick and sad ending.

The role of a thunderstorm in the play “The Thunderstorm” comes down to stirring up people and shaking up space. Dobrolyubov called Kalinov a “dark kingdom,” a kingdom of vices and stagnation. Here live narrow-minded people, who are made fools not by ignorance of the cultures of other countries, but by ignorance of their own culture, inability to be human. Merchant Dikoy, one of the most influential people in the city, does not know Derzhavin and Lomonosov; residents are accustomed to lying and stealing, pretending that nothing is happening, but at the same time cheating and terrorizing their families. There was nothing human left in the inhabitants. Kuligin, Tikhon, Boris and Katya call Kalinov differently, but the meaning is the same: this is a space from which it is impossible to get out. There's no fresh air, and it sucks in like a swamp. The thunderstorm, with its strength and energy, must break through the crust, break the trap, and allow something new to penetrate into the city of Kalinov. Unfortunately, one thunderstorm is not enough. Just like Katya’s death is not enough for people to remove the “dark kingdom” from their souls. Only Tikhon, incapable of decisive action, goes against the established rules for the first time. He blames his mother for the death of his wife, and he, mourning Katya, regrets that he cannot go with her to another world, where he can live according to the laws of conscience.

The objectives of the lesson are to find out what impressions became the source of the creation of the play; working with the text, determine the meaning of the title, the originality of the system of images; answer questions about how the characters’ characters are revealed and what is unique about the play’s conflict.

During the lesson, a group form of educational work can be used.

Group 1. The history of the play. (Student messages: Homework with additional literature.)

It is necessary to note the general meaning of the work; it is no coincidence that Ostrovsky named his fictional, but surprisingly real city with the non-existent name Kalinov. This city of Kalinov will appear again in the play “The Forest”. In addition, the play is based on impressions from a trip along the Volga as part of an ethnographic expedition to study the life of the inhabitants of the Volga region. The playwright visited many large and small cities on the Volga. Katerina, remembering her childhood, talks about sewing on velvet with gold. The writer could see this craft in the city of Torzhok, Tver province.

Group 2. The meaning of the title of the play "The Thunderstorm". (Students’ reports about independent observations of the text under the guidance of the teacher.)

Group 3. The system of characters in the play. (Messages about independent observations of the text.)

Studying the list of characters, one should note the telling surnames, the distribution of heroes by age (young - old), family ties (Dikay and Kabanova are indicated, and most of the other heroes by family ties with them), education (only Kuligin, a self-taught mechanic, and Boris). Then, when working with the text, students’ knowledge deepens, and the system of heroes becomes different. The teacher, together with the class, draws up a table, which is written down in notebooks.

Issues for discussion

What place does Katerina occupy in this system of images?

Why were Kudryash and Feklusha among the “masters of life”?

How to understand this definition - “mirror” images?

Group 4. Features of revealing the characters' characters. (Students’ reports about their observations of the text.)

1. Speech characteristics (individual speech characterizing the hero):

Katerina - poetic speech, similar to a spell, lament or song, filled with folk elements;

Kuligin is the speech of an educated person with “scientific” words and poetic phrases;

Wild - speech is replete with rude words and curses;

Kabanikha - hypocritical, “pressing” speech;

Feklusha - the speech shows that she has been in many places.

2. The role of the first remark, which immediately reveals the character of the hero.

Kuligin. Miracles, truly one must say: miracles!

Curly. And what?

Wild. What the hell are you, you came here to beat me up! Parasite! Get lost!

Boris. Holiday; what to do at home!

Feklusha. Blah-alepie, honey, blah-alepie! The beauty is wonderful.

Kabanova. If you want to listen to your mother, then when you get there, do as I ordered you.

Tikhon. How can I, Mama, disobey you!

Varvara. No respect for you, of course!

Katerina. For me, Mama, it’s all the same, like my own mother, like you, and Tikhon loves you too.

3. Using the technique of contrast and comparison:

Feklushi's monologue - Kuligin's monologue;

Life in the city of Kalinov - Volga landscape;

Katerina - Varvara;

Tikhon - Boris.

Lesson summary. The main conflict of the play is revealed in the title, the system of characters, who can be divided into two groups - “masters of life” and “victims”, in the position of Katerina, who is not included in any of the named groups, in the speech of the characters and even in the use of contrast, defining the confrontation between the heroes.

Lesson 83. “Cruel morals, sir, in our city...”

"Storm". The city of Kalinov and its inhabitants. Depiction of the “cruel morals” of the “dark kingdom”.

The objectives of the lesson are to characterize the city of Kalinov, find out how people live here, and answer the question: “Is Dobrolyubov right in calling this city a “dark kingdom”?”

We enter the city of Kalinov from the side of the public garden. Let's pause for a minute and look at the Volga, on the banks of which there is a garden. Beautiful! Eye-catching! So Kuligin also says: “The view is extraordinary! Beauty! The soul rejoices!” People probably live here peaceful, calm, measured and kind. Is it so? How is the city of Kalinov shown?

The main characters of Ostrovsky's "The Thunderstorm"

The events in A. N. Ostrovsky’s drama “The Thunderstorm” take place on the Volga coast, in the fictional city of Kalinov. The work provides a list of characters and their brief characteristics, but they are still not enough to better understand the world of each character and reveal the conflict of the play as a whole. There are not many main characters in Ostrovsky's "The Thunderstorm".

Katerina, a girl, the main character of the play. She is quite young, she was married off early. Katya was brought up exactly according to the traditions of house-building: the main qualities of a wife were respect and obedience to her husband. At first, Katya tried to love Tikhon, but she could not feel anything but pity for him. At the same time, the girl tried to support her husband, help him and not reproach him. Katerina can be called the most modest, but at the same time the most powerful character in “The Thunderstorm”. Indeed, Katya’s strength of character does not appear outwardly. At first glance, this girl is weak and silent, it seems as if she is easy to break. But this is not true at all. Katerina is the only one in the family who resists Kabanikha’s attacks. She resists, and does not ignore them, like Varvara. The conflict is rather internal in nature. After all, Kabanikha is afraid that Katya might influence her son, after which Tikhon will stop obeying his mother’s will.

Katya wants to fly and often compares herself to a bird. She is literally suffocating in Kalinov’s “dark kingdom”. Having fallen in love with a visiting young man, Katya created for herself an ideal image of love and possible liberation. Unfortunately, her ideas had little to do with reality. The girl's life ended tragically.

Ostrovsky in “The Thunderstorm” makes not only Katerina the main character. The image of Katya is contrasted with the image of Marfa Ignatievna. A woman who keeps her entire family in fear and tension does not command respect. Kabanikha is strong and despotic. Most likely, she took over the “reins of power” after the death of her husband. Although it is more likely that in her marriage Kabanikha was not distinguished by submissiveness. Katya, her daughter-in-law, got the most from her. It is Kabanikha who is indirectly responsible for the death of Katerina.

Varvara is the daughter of Kabanikha. Despite the fact that over so many years she has learned to be cunning and lie, the reader still sympathizes with her. Varvara is a good girl. Surprisingly, deception and cunning do not make her like other residents of the city. She does as she pleases and lives as she pleases. Varvara is not afraid of her mother’s anger, since she is not an authority for her.

Tikhon Kabanov fully lives up to his name. He is quiet, weak, unnoticeable. Tikhon cannot protect his wife from his mother, since he himself is under the strong influence of Kabanikha. His rebellion ultimately proves to be the most significant. After all, it is the words, and not Varvara’s escape, that make readers think about the whole tragedy of the situation.

The author characterizes Kuligin as a self-taught mechanic. This character is a kind of tour guide. In the first act, he seems to be taking us around Kalinov, talking about its morals, about the families that live here, about the social situation. Kuligin seems to know everything about everyone. His assessments of others are very accurate. Kuligin himself is a kind person who is used to living by established rules. He constantly dreams of the common good, of a perpetu mobile, of a lightning rod, of honest work. Unfortunately, his dreams are not destined to come true.

The Wild One has a clerk, Kudryash. This character is interesting because he is not afraid of the merchant and can tell him what he thinks about him. At the same time, Kudryash, just like Dikoy, tries to find benefit in everything. He can be described as a simple person.

Boris comes to Kalinov on business: he urgently needs to establish relations with Dikiy, because only in this case will he be able to receive the money legally bequeathed to him. However, neither Boris nor Dikoy even want to see each other. Initially, Boris seems to readers like Katya, honest and fair. In the last scenes this is refuted: Boris is unable to decide to take a serious step, to take responsibility, he simply runs away, leaving Katya alone.

One of the heroes of “The Thunderstorm” is a wanderer and a maid. Feklusha and Glasha are shown as typical inhabitants of the city of Kalinov. Their darkness and lack of education is truly amazing. Their judgments are absurd and their horizons are very narrow. Women judge morality and ethics according to some perverted, distorted concepts. “Moscow is now full of carnivals and games, but through the streets there is an indo roar and groan. Why, Mother Marfa Ignatievna, they started harnessing a fiery serpent: everything, you see, for the sake of speed” - this is how Feklusha speaks about progress and reforms, and the woman calls a car a “fiery serpent”. The concept of progress and culture is alien to such people, because it is convenient for them to live in an invented limited world of calm and regularity.

Characteristics of Katerina from the play “The Thunderstorm”

Using the example of the life of a single family from the fictional city of Kalinov, Ostrovsky’s play “The Thunderstorm” shows the whole essence of the outdated patriarchal structure of Russia in the 19th century. Katerina is the main character of the work. She is contrasted with all the other characters in the tragedy, even from Kuligin, who also stands out among the residents of Kalinov, Katya is distinguished by her strength of protest. The description of Katerina from “The Thunderstorm”, the characteristics of other characters, the description of the life of the city - all this adds up to a revealing tragic picture, conveyed photographically accurately. The characterization of Katerina from the play “The Thunderstorm” by Ostrovsky is not limited to just the author’s commentary in the list of characters. The playwright does not evaluate the actions of the heroine, relieving himself of the responsibilities of an all-knowing author. Thanks to this position, each perceiving subject, be it a reader or a viewer, can himself evaluate the heroine based on his own moral convictions.

Katya was married to Tikhon Kabanov, the son of a merchant's wife. It was given out, because then, according to the domostroy, marriage was more likely the will of the parents than the decision of the young people. Katya's husband is a pitiful sight. The child's irresponsibility and immaturity, bordering on idiocy, led to the fact that Tikhon is incapable of anything other than drunkenness. In Marfa Kabanova, the ideas of tyranny and hypocrisy inherent in the entire “dark kingdom” were fully embodied. Katya strives for freedom, comparing herself to a bird. It is difficult for her to survive in conditions of stagnation and slavish worship of false idols. Katerina is truly religious, every trip to church seems like a holiday for her, and as a child, Katya more than once fancied that she heard angels singing. It happened that Katya prayed in the garden, because she believed that the Lord would hear her prayers anywhere, not just in church. But in Kalinov, the Christian faith was deprived of any internal content.

Katerina's dreams allow her to briefly escape from real world. There she is free, like a bird, free to fly wherever she wants, not subject to any laws. “And what dreams I had, Varenka,” continues Katerina, “what dreams! Either the temples are golden, or the gardens are extraordinary, and everyone is singing invisible voices, and there is a smell of cypress, and the mountains and trees seem not to be the same as usual, but as if depicted in images. And it’s like I’m flying, and I’m flying through the air.” However, in Lately Katerina began to have a certain mysticism. Everywhere she begins to see imminent death, and in her dreams she sees the evil one who warmly embraces her and then destroys her. These dreams were prophetic.

Katya is dreamy and tender, but along with her fragility, Katerina’s monologues from “The Thunderstorm” reveal perseverance and strength. For example, a girl decides to go out to meet Boris. She was overcome by doubts, she wanted to throw the key to the gate into the Volga, thought about the consequences, but still took an important step for herself: “Throw the key! No, not for anything in the world! He’s mine now... Whatever happens, I’ll see Boris!” Katya is disgusted with Kabanikha’s house; the girl doesn’t like Tikhon. She thought about leaving her husband and, having received a divorce, living honestly with Boris. But there was nowhere to hide from the tyranny of the mother-in-law. With her hysterics, Kabanikha turned the house into hell, stopping any opportunity for escape.

Katerina is surprisingly insightful towards herself. The girl knows about her character traits, about her decisive disposition: “I was born this way, hot! I was only six years old, no more, so I did it! They offended me with something at home, and it was late 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 found it, about ten miles away! Such a person will not submit to tyranny, will not be subject to dirty manipulations by Kabanikha. It’s not Katerina’s fault that she was born at a time when a wife had to unquestioningly obey her husband and was an almost powerless appendage whose function was childbearing. By the way, Katya herself says that children could be her joy. But Katya doesn’t have children.

The motif of freedom is repeated many times in the work. The parallel between Katerina and Varvara seems interesting. Sister Tikhon also strives to be free, but this freedom must be physical, freedom from despotism and mother’s prohibitions. At the end of the play, the girl runs away from home, finding what she dreamed of. Katerina understands freedom differently. For her, this is an opportunity to do as she wants, take responsibility for her life, and not obey stupid orders. This is freedom of the soul. Katerina, like Varvara, gains freedom. But such freedom is achievable only through suicide.

In Ostrovsky’s work “The Thunderstorm,” Katerina and the characteristics of her image were perceived differently by critics. If Dobrolyubov saw in the girl a symbol of the Russian soul, tormented by the patriarchal house-building, then Pisarev saw a weak girl who had driven herself into such a situation.

History of creation, system of images, methods of characterizing characters in A. N. Ostrovsky’s play “The Thunderstorm” “Ostrovsky’s most decisive work”

The history of the creation of the play The work has a general meaning; it is no coincidence that Ostrovsky named his fictitious, but surprisingly real city with the non-existent name Kalinov. In addition, the play is based on impressions from a trip along the Volga as part of an ethnographic expedition to study the life of the inhabitants of the Volga region. Katerina, remembering her childhood, talks about sewing on velvet with gold. The writer could see this craft in the city of Torzhok, Tver province.

The meaning of the title of the play “The Thunderstorm” A thunderstorm in nature (act 4) is a physical phenomenon, external, independent of the characters. The storm in Katerina's soul - from the gradual confusion caused by love for Boris, to the pangs of conscience from betraying her husband and to the feeling of sin before people, which pushed her to repentance. A thunderstorm in society is a feeling by people who stand up for the immutability of the world of something incomprehensible. Awakening of free feelings in a world of unfreedom. This process is also shown gradually. At first there are only touches: there is no proper respect in the voice, does not maintain decency, then - disobedience. A thunderstorm in nature is an external cause that provoked both a thunderstorm in Katerina’s soul (it was she who pushed the heroine to confession) and a thunderstorm in society, which was dumbfounded because someone went against it.

The meaning of the title of the play “The Thunderstorm” Conclusion. The meaning of the title: a thunderstorm in nature - refreshes, a thunderstorm in the soul - cleanses, a thunderstorm in society - illuminates (kills).

The status of women in Russia in the 1st half of the 19th century. In the first half of the 19th century, the position of women in Russia was dependent in many respects. Before marriage, she lived under the unquestioned authority of her parents, and after the wedding, her husband became her master. The main sphere of activity of women, especially among the lower classes, was the family. According to the rules accepted in society and enshrined in Domostroi, she could only count on a domestic role - the role of a daughter, wife and mother. The spiritual needs of most women, as in pre-Petrine Rus', were satisfied by folk holidays and church services. “Domostroy” is a monument of Russian writing of the 16th century, which is a set of rules for family life.

The era of change The play “The Thunderstorm” was created in the pre-reform years. It was an era of political, economic and cultural change. The transformations affected all layers of society, including the merchants and philistines. The old way of life was collapsing, patriarchal relations were becoming a thing of the past - people had to adapt to new conditions of existence. Changes also occurred in the literature of the mid-19th century. Works whose main characters were representatives of the lower classes gained particular popularity at this time. They interested writers primarily as social types.

System of characters in the play Speaking surnames Age of heroes “Masters of Life” “Victims” What place does Katerina occupy in this system of images?

The system of characters in Dikaya’s play: “You are a worm. If I want, I’ll have mercy, if I want, I’ll crush.” Kabanikha: “I’ve seen for a long time that you want freedom.” “This is where the will leads.” Kudryash: “Well, that means I’m not afraid of him, but let him be afraid of me.”

The system of characters in the play Varvara: “And I was not a liar, but I learned.” “In my opinion, do whatever you want, as long as it’s safe and covered.” Tikhon: “Yes, Mama, I don’t want to live by my own will. Where can I live by my own will!” Kuligin: “It’s better to endure it.”

Features of revealing the characters of Katerina's characters - poetic speech, reminiscent of a spell, lament or song, filled with folk elements. Kuligin is the speech of an educated person with “scientific” words and poetic phrases. Wild - speech is replete with rude words and curses.

Wife of Tikhon Kabanov and daughter-in-law of Kabanikha. This is the central character of the play, with the help of which Ostrovsky shows the fate of a strong, extraordinary personality in the conditions of a small patriarchal town. Since childhood, Katerina has a very strong desire for happiness, which, as she grows up, develops into a desire for mutual love.

The wealthy merchant Kabanova Marfa Ignatievna is one of the main pillars of the “dark kingdom”. This is a powerful, cruel, superstitious woman who treats everything new with deep distrust and even contempt. She sees only evil in the progressive phenomena of her time, which is why Kabanikha protects her little world from their invasion with such jealousy.

Katerina's husband and Kabanikha's son. This is a downtrodden person suffering from constant reproaches and orders from Kabanikha. In this character, the crippling, destructive power of the “dark kingdom”, which turns people only into shadows of themselves, is most fully revealed. Tikhon is not capable of fighting back - he constantly makes excuses, pleases his mother in every possible way, and is afraid of disobeying her.

One of the central characters is the nephew of the merchant Wild. Among the provincial public of the city of Kalinov, Boris stands out noticeably for his upbringing and education. Indeed, from Boris’s stories it becomes clear that he came here from Moscow, where he was born, raised and lived until his parents died from a cholera epidemic.

One of the most respected representatives of Kalinov is the enterprising and powerful merchant Savel Prokofievich Dikoy. At the same time, this figure, along with Kabanikha, is considered the personification of the “dark kingdom.” At its core, Dikoy is a tyrant who, in the first place, puts only his desires and whims. Therefore, his relationships with others can be described in only one word - arbitrariness.

Vanya Kudryash is a bearer of the people's character - he is an integral, brave and cheerful person who can always stand up for himself and his feelings. This hero appears in the very beginning scene, introducing readers, together with Kuligin, to the orders and morals of Kalinov and its inhabitants.

Kabanikha's daughter and Tikhon's sister. She is confident in herself, is not afraid of mystical omens, and knows what she wants from life. But at the same time, Varvara’s personality has some moral flaws, the cause of which is life in the Kabanov family. She does not at all like the cruel order of this provincial town, but Varvara does not find anything better than to come to terms with the established way of life.

The play shows a character who, throughout the play, makes certain efforts to defend progress and public interests. And even his surname - Kuligin - is very similar to the surname of the famous Russian mechanic-inventor Ivan Kulibin. Despite his bourgeois origin, Kuligin strives for knowledge, but not for selfish purposes. His main concern is the development of his native city, so all his efforts are aimed at “public benefit.”

The wanderer Feklusha is minor character, but at the same time very characteristic representative"dark kingdom" Wanderers and the blessed have always been regular guests of merchant houses. For example, Feklusha entertains representatives of the Kabanov house with various stories about overseas countries, talking about people with dog heads and rulers who “no matter what they judge, everything is wrong.”

It was not for nothing that Ostrovsky gave the name to his work “The Thunderstorm”, because previously people were afraid of the elements and associated them with punishment from heaven. Thunder and lightning instilled superstitious fear and primitive horror. The writer spoke in his play about the inhabitants of a provincial town, who are conditionally divided into two groups: the “dark kingdom” - rich merchants exploiting the poor, and “victims” - those who tolerate the tyranny of tyrants. The characteristics of the heroes will tell you more about people's lives. The thunderstorm reveals the true feelings of the characters in the play.

Characteristics of the Wild

Savel Prokofich Dikoy is a typical tyrant. This is a rich merchant who has no control. He tortured his relatives, because of his insults, the family fled to attics and closets. The merchant treats servants rudely, it is impossible to please him, he will definitely find something to cling to. You can’t beg a salary from Dikiy, because he is very greedy. Savel Prokofich is an ignorant person, a supporter of the patriarchal system, does not want to learn modern world. The merchant’s stupidity is evidenced by his conversation with Kuligin, from which it becomes clear that Dikoy does not know the thunderstorm. Unfortunately, the characterization of the heroes of the “dark kingdom” does not end there.

Description of Kabanikha

Marfa Ignatievna Kabanova is the embodiment of the patriarchal way of life. A wealthy merchant, a widow, she constantly insists on observing all the traditions of her ancestors and herself strictly follows them. Kabanikha brought everyone to despair - this is exactly what the characteristics of the heroes show. "The Thunderstorm" is a play that reveals the mores of a patriarchal society. The woman gives alms to the poor, goes to church, but does not give life to her children or daughter-in-law. The heroine wanted to preserve the old way of life, so she kept her family at bay and taught her son, daughter, and daughter-in-law.

Characteristics of Katerina

In a patriarchal world, it is possible to preserve humanity and faith in goodness - this is also shown by the characteristics of the heroes. “The Thunderstorm” is a play in which there is a confrontation between the new and old worlds, only the characters in the work defend their point of view in different ways. Katerina remembers her childhood with joy, because she grew up in love and mutual understanding. She belongs to the patriarchal world and up to a certain point everything suited her, even the fact that her parents themselves decided her fate and got her married. But Katerina doesn’t like the role of a humiliated daughter-in-law; she doesn’t understand how one can constantly live in fear and captivity.

The main character of the play gradually changes, a strong personality awakens in her, capable of making her own choice, which is manifested in her love for Boris. Katerina was ruined by her environment, the lack of hope pushed her to commit suicide, because she would not have been able to live in Kabanikha’s home prison.

The attitude of Kabanikha’s children to the patriarchal world

Varvara is someone who does not want to live according to the laws of the patriarchal world, but she is not going to openly resist her mother’s will. She was crippled by Kabanikha’s house, because it was here that the girl learned to lie, be cunning, do whatever her heart desires, but carefully hide the traces of her misdeeds. To show the ability of some individuals to adapt to different conditions, Ostrovsky wrote his play. The thunderstorm (the characterization of the heroes shows the blow Varvara dealt to her mother by escaping from the house) brought everyone out into the open; during bad weather, the residents of the town showed their real faces.

Tikhon is a weak person, the embodiment of the completion of the patriarchal way of life. He loves his wife, but cannot find the strength to protect her from her mother’s tyranny. It was Kabanikha who pushed him towards drunkenness and destroyed him with her moralizing. Tikhon does not support the old ways, but sees no point in going against his mother, letting her words fall on deaf ears. Only after the death of his wife does the hero decide to rebel against Kabanikha, blaming her for the death of Katerina. The characteristics of the heroes allow us to understand the worldview of each character and his attitude to the patriarchal world. "The Thunderstorm" is a play with a tragic ending, but with faith in a better future.

Lesson topic: Drama “Thunderstorm”. System of images, techniques for revealing the characters' characters.

Goals:

1. Introduce the system of images of the drama “The Thunderstorm” by A.N. Ostrovsky.

2. Develop the skill of analyzing the characteristics of dramatic characters using the example of residents of the city of Kalinov: first of all, those on whom the spiritual atmosphere in the city depends.

3. Education of patriotism using the example of Ostrovsky’s drama “The Thunderstorm”; awaken interest in Ostrovsky’s work

Equipment: multimedia projector, computer, presentation for a lesson on the topic, video report about cities located on the Volga River.

During the classes.

1. Org. start of the lesson.

2. Checking homework

3. Communicate the topic and objectives of the lesson

4. Work on the topic of the lesson

Working with the text of Ostrovsky's play "The Thunderstorm".

The system of characters in the play.

"Dark Kingdom"

Kabanova Marfa Ignatievna

Dikoy Savel Prokofich

wanderer Feklusha

tradesman Shapkin

maid Glasha

Victims of the “dark kingdom”

Katerina

Studying the list of characters, one should note the telling surnames, the distribution of heroes by age (young - old), family ties (Dikay and Kabanova are indicated, and most of the other heroes by family ties with them), education (only Kuligin - a mechanic - has it). self-taught and Boris). The teacher, together with the students, draws up a table, which is written down in their notebooks.

Issues for discussion

- What place does Katerina occupy in this system of images?

- Why were Kudryash and Feklusha among the “masters of life”?

 How to understand this definition - “mirror” images?

Features of revealing the characters' characters. Students' reports of their observations of the text.

Speech characteristics (individual speech characterizing the hero):

 Katerina - poetic speech, reminiscent of a spell, lament or song, filled with folk elements.

 Kuligin is the speech of an educated person with “scientific” words and poetic phrases.

- Wild - speech is replete with rude words and curses.

 Kabanikha is a hypocritical, “pressing” speech.

 Feklusha - the speech shows that she has been in many places.

The role of the first remark, which immediately reveals the character of the hero:

 Kuligin. Miracles, truly one must say: miracles!

 Curly. And what?

 Wild. What the hell are you, you came to beat the ships! Parasite! Get lost!

 Boris. Holiday; what to do at home!

 Feklusha. Blah-alepie, honey, blah-alepie! The beauty is wonderful.

 Kabanova. If you want to listen to your mother, then when you get there, do as I ordered you.

 Tikhon. How can I, Mama, disobey you!

 Varvara. No respect for you, of course!

 Katerina. For me, Mama, it’s all the same, like my own mother, like you, and Tikhon loves you too.

Using the technique of contrast and comparison:

 monologue of Feklushi - monologue of Kuligin;

 life in the city of Kalinov - Volga landscape;

 Katerina - Varvara;

 Tikhon - Boris.

The main conflict of the play is revealed in the title, in the system of characters who can be divided into two groups - “masters of life” and “victims”, in the peculiar position of Katerina, who is not included in any of the named groups, in the speech of the characters corresponding to their position , and even in the technique of contrast, which determines the confrontation of the heroes.

Let us characterize the city of Kalinov, let’s find out how people live here, answer the question: “Is Dobrolyubov right in calling this city a “dark kingdom”?

« The action takes place in the city of Kalinov, located on the banks of the Volga. In the city center there is Market Square, nearby there is an old church. Everything seems peaceful and calm, but the owners of the city are rude and cruel.”

We enter the city of Kalinov from the side of the public garden. Let's pause for a minute and look at the Volga, on the banks of which there is a garden. Beautiful! Eye-catching! So Kuligin also says: “The view is extraordinary! Beauty! The soul rejoices!” People probably live here peaceful, calm, measured and kind. Is it so? How is the city of Kalinov shown?

Tasks for the analysis of two monologues by Kuligin (D. 1, appearance 3; D. 3, appearance 3)

1. Highlight the words that especially vividly characterize life in the city.

"Cruel morals"; “rudeness and naked poverty”; “You can never earn more than your daily bread through honest work”; “trying to enslave the poor”; “to make even more money from free labor”; “I won’t pay a penny extra”; “trade is undermined out of envy”; “they are at enmity”, etc. - these are the principles of life in the city.

2. Highlight the words that especially clearly characterize life in the family.

“They made the boulevard, but they don’t walk”; “the gates are locked and the dogs are down”; “so that people don’t see how they eat their own family and tyrannize their family”; “tears flow behind these constipations, invisible and inaudible”; “behind these castles there is dark debauchery and drunkenness”, etc. - these are the principles of family life.

Conclusion. If it’s so bad in Kalinov, then why is the wonderful view of the Volga shown at the beginning? Why is the same beautiful nature shown in the scene of the meeting between Katerina and Boris? It turns out that the city of Kalinov is contradictory. On the one hand, this is a wonderful place, on the other, life in this city is terrible. Beauty is preserved only in that it does not depend on the owners of the city; they cannot subjugate the beautiful nature. Only poetic people capable of sincere feelings see it. People's relationships are ugly, their lives "behind bars and gates."

Issues for discussion

How can you evaluate Feklushi’s monologues (d. 1, appearance 2; d. 3, appearance 1)? How does the city appear in her perception? Bla-alepye, wondrous beauty, promised land, paradise and silence.

What are the people like who live here? The residents are ignorant and uneducated, they believe Feklusha’s stories, which show her darkness and illiteracy: the story of the fiery serpent; about someone with black face; about time that is becoming shorter (d. 3, yav. 1); about other countries (d. 2, yavl. 1). Kalinovites believe that Lithuania fell from the sky (d. 4, yavl. 1.), they are afraid of thunderstorms (d. 4, yavl. 4).

How is it different from the residents of the city of Kuligin? An educated man, a self-taught mechanic, his surname resembles the surname of the Russian inventor Kulibin. The hero subtly senses the beauty of nature and aesthetically stands above other characters: he sings songs, quotes Lomonosov. Kuligin advocates for the improvement of the city, tries to persuade Dikiy to give money for a sundial, for a lightning rod, tries to influence the residents, educate them, explaining the thunderstorm as a natural phenomenon. Thus, Kuligin personifies the best part of the city’s residents, but he is alone in his aspirations, so he is considered an eccentric. The image of the hero embodies the eternal motive of grief from the mind.

Who prepares their appearance? Kudryash introduces Dikiy, Feklush introduces Kabanikha.

Wild

Who is he in terms of his material and social status?

What is the impact of his desire for profit? How does he get money?

What actions and judgments of the Wild indicate his rudeness, ignorance, and superstition?

How did Dikoy behave during the collision with the hussar and after it?

Show how Wild’s speech reveals his character?

What techniques does Ostrovsky use to create the image of the Wild?

Kabanikha

Who is she in terms of her social and financial status?

What, in her opinion, should family relationships be based on?

How does her hypocrisy and hypocrisy manifest itself?

What actions and statements of Kabanikha indicate cruelty and heartlessness?

What are the similarities and differences between the characters of the Wild and Kabanikha?

What are the features of Kabanikha’s speech?

How do Tikhon, Varvara and Katerina feel about Kabanikha’s teachings?

How are the characters of Wild and Kabanikha revealed in their speech characteristics?

General conclusion. The Boar is more terrible than the Wild One, since her behavior is hypocritical. Wild is a scolder, a tyrant, but all his actions are open. Kabanikha, hiding behind religion and concern for others, suppresses the will. She is most afraid that someone will live in their own way, by their own will.

N. Dobrolyubov spoke about the residents of the city of Kalinov as follows:

"Nothing holy, nothing pure, nothing right in this dark

world: the tyranny that dominates it, wild, insane,

wrong, drove out from him all consciousness of honor and right...”

"The tyrants of Russian life."

What does the word "tyrant" mean? (wild, powerful person, tough at heart)

What is your idea of ​​the Wild?

What is the reason for the unbridled tyranny of the Wild One?

How does he treat others?

Is he confident in the unlimited power?

Describe the speech, manner of speaking, communicating of the Wild. Give examples.

Let's conclude:

Dikoy Savel Prokofich -“shrill man”, “swearer”, “tyrant”, which means a wild, cool-hearted, powerful person. The goal of his life is enrichment. Rudeness, ignorance, swearing, and swearing are common to the Wild One. The passion for swearing becomes even stronger when they ask him for money.

Kabanova Marfa Ignatievna – a typical representative of the “dark kingdom”.

1. What is your idea of ​​this character?

2. How does she treat her family? What is her attitude to the “new order”?

3. What are the similarities and differences between the characters of the Wild and Kabanikha?

4. Describe Kabanova’s speech, manner of speaking, and communication. Give examples.

Let's conclude:

Kabanova Marfa Ignatievna - the embodiment of despotism disguised as hypocrisy. How Kuligin correctly described her: “A prude... She gives favors to the poor, but completely eats up her family!” For her, love and maternal feelings for her children do not exist. Kabanikha is the exact nickname given to her by people. She is a “guardian” and defender of the customs and orders of the “dark kingdom”.

The results of the actions of these heroes:

- the talented Kuligin is considered an eccentric and says: “There is nothing to do, we must submit!”;

- kind, but weak-willed Tikhon drinks and dreams of breaking out of the house: “and with this kind of bondage you will run away from whatever beautiful wife you want”; he is completely subordinate to his mother;

- Varvara adapted to this world and began to deceive: “And I wasn’t a deceiver before, but I learned when it became necessary”;

- educated Boris is forced to adapt to the tyranny of the Wild in order to receive an inheritance.

This is how he breaks the dark kingdom of good people, forcing them to endure and remain silent.

Young heroes of the play. Give them a description.

Tikhon - kind, sincerely loves Katerina. Exhausted by his mother’s reproaches and orders, he thinks about how to escape from the house. He is a weak-willed, submissive person.

Boris - gentle, kind, really understands Katerina, but is unable to help her. He is unable to fight for his happiness and chooses the path of humility.

Varvara - understands the meaninglessness of protest; for her, lying is protection from the laws of the “dark kingdom.” She ran away from home, but did not submit.

Curly – desperate, boastful, capable of sincere feelings, not afraid of his master. He fights in every way for his happiness.

Lesson summary.

The city of Kalinov is a typical Russian city of the second half of the 19th century. Most likely, A. N. Ostrovsky saw something similar during his travels along the Volga. Life in the city is a reflection of a situation where the old does not want to give up its positions and seeks to maintain power by suppressing the will of those around them. Money gives the “masters of life” the right to dictate their will to the “victims”. In a truthful display of such a life, the author’s position calls for changing it.

Homework

Write down a description of Katerina (external appearance, character, behavior, what she was like in childhood, how she changed in the Kabanovs’ house). Determine the main stages in the development of Katerina’s internal conflict. Prepare an expressive memorization of Katerina’s monologues (act 2, phenomenon 10 and act 5, phenomenon 4).

write down other statements you like that characterize Katerina (required)

determine your attitude to these theses, select an argument (required).