Characteristics of the characters in the play “The Thunderstorm. History of creation, system of images, techniques for characterizing characters in A. N. Ostrovsky’s play “The Thunderstorm” “Ostrovsky’s most decisive work” - presentation Questions for discussion

In accordance with the point of view based on Dobrolyubov’s article, there was a tradition of seeing in the system of images of “The Thunderstorm” a division of heroes into two camps opposing each other. The defenders of the old way of life, the “dark kingdom”, Dikoy and Kabanikha, were contrasted with heroes who carried dissatisfaction with the existing order. These included Varvara, Kabanova’s daughter, Kudryash, Boris, the local eccentric Kuligin, and even Tikhon, the obedient and downtrodden son of Marfa Ignatievna. With this approach, Katerina was perceived as a heroine, standing in the same ranks, but capable of a stronger, more active protest. She was thus recognized as the main fighter against the “dark kingdom.”

Modern researchers defend a different point of view, taking into account the uniqueness of the author’s position and general concept.

Indeed, a whole group of characters can be characterized as a “dark kingdom”. First of all, it includes such active defenders as Dikoy and Kabanikha. Unlike the primitive tyrant Dikiy, Kabanova is a consistent adherent of the old foundations, with their unshakable rules and traditions. She is unswervingly firm in upholding traditions. It seems to her that the world is collapsing because these rules are no longer observed, that young people have forgotten customs and strive to do everything their own way. In this zeal, Kabanova goes beyond all boundaries, becoming a symbol of extreme dogmatism.

This camp also includes a number of episodic and extra-fabular (i.e., not directly related to the action) characters who help create a “background” and convey the general mood of the city’s inhabitants and its atmosphere. These are the obedient inhabitants of the city, the inhabitants, the philistines, about whom Kuligin speaks at the beginning of the first act. Feklusha, Shapkin, Glasha, city dwellers appear on stage only once or twice, talking on the boulevard about Lithuania that fell from the sky, but without them it would be difficult to imagine how this “dark kingdom” lives and “breathes.”

Of course, in comparison with them, someone who in some way departs from the old norms looks like a person of new views, new principles. But the skill of Ostrovsky the playwright helps to reveal that this difference turns out to be imaginary, it does not affect the deep foundations of life in the “dark kingdom.” In fact, those who, at first glance, rebel against it, also belong to the “dark kingdom”. Kuligin, a “progressive” and educator, does not accept the cruelty of the city’s morals, but he only wants to soften the contradictions between predators and their victims. Varvara’s protest is only a desire to break out from under the despotic power of her mother, and not the laws of the “dark kingdom” - she generally accepts them. Her brother Tikhon is completely downtrodden, submissive, powerless, he meekly obeys his mother. Curly has a broad nature, gifted with a sensitive and kind soul, but even he can oppose the world of “fathers” only with his daring and mischief, and not with moral strength. Katerina’s chosen one, Boris, has spiritual gentleness, delicacy, even a certain urban culture and education, which is noticeable in his manners, in his speech, and in his entire appearance. But this is a weak-willed man, in slavish dependence on his uncle, subject to his whims and consciously tolerating tyranny. Thus, all these outwardly oppositional characters to the “dark kingdom” live and think within its boundaries, and their protest does not go beyond the desire to adapt and exist calmly within the same system, at best, having slightly restored her.

Only Katerina is sharply different from all the other characters in the play. This is a person alien to the morals and all the foundations of the city, as if a person from another world: it is not for nothing that Ostrovsky emphasizes that she comes here “from the outside.” There is initially a huge difference between “her world” and the “dark kingdom”. In “The Thunderstorm,” two opposing cultures—rural and urban—collide, generating a powerful discharge like a thunderstorm, and the confrontation between them goes back to the centuries-old depth of Russian history. K.S. Aksakov, a Slavophile close to Ostrovsky in his views on the merchant class, noted that the merchants, both materially, in education, and in privileges, had become separated from the common people from which they came. But at the same time, the aristocratic culture of the nobles remained alien to them. They carried folk culture within themselves, but if it lived among the common people, then among the merchants it was preserved in a dead, as if frozen form. Aksakov wrote that the life of a merchant is as similar to the life of the people as a frozen river to a flowing one (that is, retaining only its form).

Indeed, the laws by which the “dark kingdom” lives are routine; they are not saturated with internal content. It is not for nothing that life in Kalinov is so difficult for Katerina, who was brought up on truly folk, “living” traditions. After listening to Katerina’s story about her former life in her parents’ house, Varvara is perplexed: “So everything is the same here.” Katerina responds by saying that everything here is “as if from under captivity.” Kabanikha goes to church, but does not live like a god, she eats her family’s food. All her religiosity is sanctimonious, for formality, for appearances. The same goes for everything else. A wife may not love her husband, but she needs to behave as if she does: bow at his feet, listen to orders, howl when he leaves. For Katerina, sin lies in the very fact of love for another man; she cannot be satisfied, like Varvara, with the morality of the “dark kingdom”: “as long as everything is covered up.” Feeling the emergence of love, she sincerely asks her husband: “Tisha, my dear, don’t leave!” On the contrary, Kabanikha is little touched by the fact itself: to love or not to love is a personal matter, the main thing is that she howls, because that’s how it’s supposed to be according to the rules and norms, even if no one believes in them anymore. Material from the site

It turns out that Katerina, this, according to Dobrolyubov, fighter against the “dark kingdom,” is essentially fighting to breathe life into this very kingdom, to give content to a frozen, ossified life. She fights for the individual’s right to feel and experience where, according to the laws of the “dark kingdom,” it is enough to simply follow the rules. In other words, Katerina fights for individual rights, and Kabanikha fights for the rights of the collective. For Katerina, the main thing is to realize her personal destiny (even suicide), and for Kabanikha - to embody herself as part of the team. Thus, we can say that Katerina’s protest rises from the very depths, the historical past of the “dark kingdom,” when its dead laws were still living, personal beliefs of each member of the collective. It turns out that the “Thunderstorm” conflict absorbs the thousand-year history of Russia, and its tragic resolution reflects almost the prophetic premonitions of the national playwright.

At the same time, he does not at all want to present Katerina as an ideological fighter against the “dark kingdom.” She is the embodiment of that harmonious and beautiful ancient world of Rus', which disappears in Ostrovsky’s modern life, which drives the poetry of ancient beliefs into a wretched form. Katerina seems to be “out of this world” - from that fantastic and beautiful country where her desire to fly does not seem at all strange, where angels sing, extraordinary gardens with the scent of cypress bloom. Ostrovsky, a deeply religious person, portrays Katerina in such a way that she appears not only as a completely real person (a typical character), but also as what can be called a soul in its purest form, not burdened by earthly passions and vices. Love - earthly, real - love for Boris pulls her out of her previous life. She wants to love Boris, but for this she needs to be an earthly woman, like Varvara, and Katerina is not adapted to this. Earthly life turns out to be too hard for her: Katerina no longer flies, but throws herself off a cliff into the Volga and falls like a stone. That is why her fate is truly tragic, which allows us to talk about the genre features of tragedy, not drama.

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Lesson 31. Drama "Thunderstorm". System of images, techniques for revealing the characters' characters.

determine the meaning of the title, the originality of the image system; answer questions about how the characters’ characters are revealed and what is unique about the play’s conflict.

During the classes.

Group 1. The meaning of the title of the play "The Thunderstorm". Students' reports of teacher-guided self-observation of text.

Define the word "thunderstorm"?

What is the significance of the play?

(A thunderstorm for Katerina is God’s punishment; Tikhon calls his mother’s scolding a thunderstorm; Kuligin sees “grace” in a thunderstorm)

The compositional role of thunderstorms? (ties the whole play together: in act 1 a thunderstorm is approaching, in act 4 it foreshadows death, erupts in the climactic scene of Katerina’s confession)

Group 2. The system of characters in the play. Reports of independent observations of the text.

– Let’s name the characters in “The Thunderstorm” (reading the poster). What do their first and last names mean?

– Surnames in Ostrovsky’s plays “speak” not only about the character of the hero, but actually provide information about him. Ostrovsky’s careful attitude to the names of the characters is one of the reasons for their realism. Here such a rare quality as reader's intuition is manifested.

Studying the list of characters, one should note the distribution of heroes by age (young - old), family ties (Dikaya and Kabanova are indicated, and most of the other heroes by family ties with them), education (only Kuligin, a self-taught mechanic, and Boris have it ). 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 3. Features of revealing the characters' characters. Students' reports of their observations of the text.

Speech characteristics (individual speech characterizing the hero):

Katerina is a 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. Are you crazy, 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:

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, in the system of characters who can be divided into two groups - “masters of life” and “victims”, in the unique 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.

Homework:

Answer the problematic question: Can we condemn Kabanikha for her attitude towards her daughter-in-law, if, ultimately, the mother-in-law turned out to be right in her fears, because Katerina cheated on her husband. Trace through the development of the play how the conflict develops, what role does the thunderstorm play in this?

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 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. A thunderstorm in nature (act 4) is a physical phenomenon, external, independent of the heroes. The storm in Katerina’s soul is from the gradual confusion caused by her 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. The storm in Katerina’s soul is from the gradual confusion caused by her 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 among people who stand up for the immutability of the world as 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, there is no decorum, then disobedience. A thunderstorm in society is a feeling among people who stand up for the immutability of the world as 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, there is no decorum, 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. 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 status of women in Russia in the 1st half of the 19th century. 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. 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, representing “Domostroy” - a monument of Russian writing of the 16th century, representing a set of rules for family life. 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. 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. 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 Speaking surnames Age of heroes Age of heroes “Masters of Life” “Masters of Life” “Victims” “Victims” What place does Katerina occupy in this system of images? What place does Katerina occupy in this system of images?

The system of characters in the play “Victims” by 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.”

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

The role of the first remark, which immediately reveals the character of the hero: Kuligin: “Miracles, truly it must be said: miracles!” Kuligin: “Miracles, truly it must be said: miracles!” Curly: “What?” Curly: “What?” Dikoy: “What the hell are you, you came to beat the ships! Parasite! Get lost!” Dikoy: “What the hell are you, you came to beat the ships! Parasite! Get lost!” Boris: “Holiday; what to do at home!” Boris: “Holiday; what to do at home!” Feklusha: “Bla-alepie, dear, blah-alepie! The beauty is wonderful." Feklusha: “Bla-alepie, dear, 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.” 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!” Tikhon: “How can I, Mama, disobey you!” Varvara: “I won’t respect you, of course!” Varvara: “I won’t respect you, of course!” Katerina: “For me, Mama, everything is the same as my own mother, as you are, and Tikhon loves you too.” Katerina: “For me, Mama, everything is the same as my own mother, as you are, and Tikhon loves you too.”

Using the technique of contrast and comparison: Feklushi's monologue, Kuligin's monologue, Feklushi's monologue, Kuligin's monologue, life in the city of Kalinov, Volga landscape, life in the city of Kalinov, Volga landscape, Katerina Varvara, Katerina Varvara, Tikhon Boris Tikhon Boris

Homework Kuligin's Monologues - Act 1, yavl. 3; action 3, yavl. 3 Kuligin's Monologues - Act 1, Rev. 3; action 3, yavl. 3 Monologues of Feklushi - act 1, yavl. 2; action 3, yavl. 1 Monologues of Feklushi - act 1, yavl. 2; action 3, yavl. 1 Residents action 3, yavl. 1; action 2, yavl. 1; action 4, yavl. 4; action 4, yavl. 1. Residents action 3, yavl. 1; action 2, yavl. 1; action 4, yavl. 4; action 4, yavl. 1. How is it different from the residents of the city of Kuligin? How is it different from the residents of the city of Kuligin? Wild and Kabanikha. Wild and Kabanikha.

The originality of “The Thunderstorm” lies in the fact that not all the characters in it are connected with each other in terms of plot. So, for example, Dikoy has no visible relationship with Katerina; detailed stories about his tyranny, according to old aesthetic standards, might seem tacky. But he and other extra-plot characters (like Feklusha, for example) were absolutely necessary for the playwright, because they made it possible to understand the origins and nature of Katerina’s tragedy.

In the system of images, Katerina is contrasted primarily with Kabanova and Dikiy. However, she is opposed to all the other characters, who remain only witnesses to the tragedy that is playing out before their eyes.

The heroine of the play, yearning for people, for the light, remains lonely and misunderstood. She cannot receive any help or support from anyone. This even applies to Kuligin, drawn by Ostrovsky with undisguised sympathy. It is significant that Kuligin and Katerina never speak to each other; it is not even clear that they know each other. Their lines in the plot do not intersect anywhere. Perhaps this circumstance was supposed to emphasize the isolation and loneliness of not only Katerina, but also Kuligin.

Kuligin is a typical educator. He takes every opportunity to immediately enlighten everyone who comes his way. He talks to the Wild about the “common benefit” and explains the structure of the lightning rod; to the city dwellers he talks about the beneficence of a thunderstorm, quoting Lomonosov and Derzhavin. His illusions are clearly manifested in the fact that he invents a perpetuum mobile (perpetual motion machine) - a deliberately impossible task. To the Wild One’s threats, he replies: “There’s nothing to do, we must submit! But when I have a million, then I’ll talk!” But he will never have a million - this is self-deception. The same kind of self-deception is Boris’s stay in Kalinov.

What can I say about Boris, and even about Tikhon? How should we treat them? Do they themselves suffer from the “dark kingdom” or do they live in full accordance with its laws? Are they able to rise to the level of understanding the horror of their situation? Material from the site

The difficulty is that in this case, unambiguous answers are hardly possible. The humiliated position of Boris, Tikhon and others is both their fault and their misfortune. On the one hand, they, of course, are victims of the “dark kingdom”, which disfigured and crippled their destinies. But, on the other hand, they accept the power of the prevailing circumstances. The personality element in them is still not sufficiently developed. But it is very important that it grows. Kuligin does not change throughout the play: his character is already established, his image is static.

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

The tyranny of the “older” generation lasts for many years, but some event must occur that could break the patriarchal tyranny. Such an event turns out to be the protest and death of Katerina, which awakened other representatives of the younger generation.

Let's take a closer look at the characteristics of the main characters.