What are the realities of Kalinovskaya life. Lesson plan for a lesson in literature (grade 10) on the topic: From work experience Lesson. Topic: Drama "Thunderstorm". The city of Kalinov and its inhabitants

Published his drama: “The Thunderstorm” (see its summary and analysis). Here he again depicted the “dark kingdom,” but already at that period of its existence when light begins to flicker in this mud.

The play takes place in the city of Kalinov, on the banks of the Volga River; The inhabitants of this city have not yet been touched by the trends of the “new time”. That's why it's hard to breathe here for people who are making their way to the light.

A. N. Ostrovsky. Storm. Play

The city of Kalinov is like the entire remote Russian province in miniature. He lives a dark, rough and inert life; he is dominated by the beginnings of that dark merchant world, which is presented in Ostrovsky’s previous plays. Despotism, brute force, ignorance, the power of wild superstitions, tyranny of elders and oppression of younger ones, drunkenness, tears, beatings - this is what reigns behind the quiet walls of merchant houses. “And what tears flow behind these constipations, invisible and inaudible! And what, sir, behind these castles is dark debauchery and drunkenness! - says the quiet dreamer Kuligin, one of the bright figures in this dark kingdom, and adds: “ Cruel morals", sir, in our city, they are cruel."

In the dark and ignorant life of the inhabitants of the town, no higher interests have influence; religiosity and piety here are external: in the first place is everything that is done “for the people,” for show. By observing fasts and diligently visiting churches and monasteries, Kalinovites do not bind better life with the precepts of religion and continue the same rude and wild life, tyrannizing the household, getting drunk, and cheating customers on weekdays. Everything fresh, young, and talented perishes in this atmosphere, withers away from violence, anger, from the dead emptiness of this life. The weak become drunkards, vicious and petty natures defeat despotism with cunning and resourcefulness; for straight, bright natures, endowed with a tireless desire for another life, a tragic end is inevitable when confronted with the brute forces of this world.

“They made the boulevard, but they don’t walk…” says Kuligin in another monologue. - Well, so that, it seems, they don’t walk, don’t breathe fresh air? So no. Everyone's gates, sir, have been locked for a long time, and the dogs have been let loose... Do you think they are doing business or praying to God? No, sir. And they don’t lock themselves away from thieves, but so that people don’t see them eating their own family and tyrannizing their family. And what tears flow behind these locks, invisible and inaudible!.. And what, sir, behind these locks is dark debauchery and drunkenness! And everything is sewn and covered... You, he says, look, I’m among people and on the street, but you don’t care about my family; for this, he says, I have locks, and constipations, and angry dogs. The family says it’s a secret, secret matter! We know these secrets! Because of these secrets, sir, only he is having fun, while the rest are howling like a wolf. And what's the secret? Who doesn't know him! Rob orphans, relatives, nephews, beat up his family so that they don’t dare make a squeak about anything he does there. That's the whole secret."

In this vivid description of the life of the city's inhabitants, it is revealed reverse side Domostroevsky way of life, with its patriarchal despotism, fear of public “court”, with outward decorum, often covering up heartlessness and cruelty... When the Domostroevsky way of life is softened by the rationality and cordiality of the “lord” of the house, it is not only tolerable, but even captivating with its heartfelt simplicity life (grandmother Tatyana Markovna in “ Precipice", old Bagrov in " Family Chronicle»,

Essay on the topic “Thunderstorm - The City of Kalinov and its inhabitants” 5.00 /5 (100.00%) 2 votes

The drama “The Thunderstorm” by A.N. Ostrovsky reflects many important and current problems of all times. The author reveals them not only through the heroes and their characters, but also with the help of auxiliary images. For example, the image of the City of Kalinov plays an important role in this work.
The city of Kalinov is a collective image. He is the personification of many provincial cities of the 19th century. A city living by its own ignorant and outdated laws. The city of Kalinov is located on the banks of the Volga and adheres to old foundations and traditions, while the city’s residents do not want to accept anything new. This so-called “dark kingdom” and its inhabitants protest against progress and all kinds of innovation.
Residents of the city of Kalinova are monotonous people with a monotonous life. All heroes can be divided into two parts: those who rule and those who obey.
The first group includes Kabanikha. Kabanova Marfa Ignatievna is a powerful woman who knows how to command the people around her. She wants to be obeyed. In fact, it is true. Her son, Tikhon, has neither the right to choose nor own opinion. He is already accustomed to humiliation and agrees with his mother in everything.
Varvara is Kabanikha’s daughter, Tikhon’s sister. The girl says that all life in their house is based on fear and lies.
The above heroes also include the Wild. He, like Kabanikha, adheres to old customs and fights progress in every possible way. Dikoy is not stupid, but he is very stingy and ignorant. The hero admits that the most important thing for him is money, but he hides behind the desires of his heart.
Opposed to all this “dark kingdom” is the young and completely misunderstood Katerina. She free man who lives by his moral and spiritual principles. The boar immediately disliked her daughter-in-law and tried in every possible way to humiliate her. The girl humbly and meekly followed all her mother-in-law’s orders and endured humiliation and insults. But in the end, she could not stand it and committed suicide.
All the ignorance in the city of Kalinov pushed her to this. Residents could live normally, but due to ignorance and unwillingness to know, they die in their fictional cruel world.
A thunderstorm over the city becomes a symbol of grief and a harbinger of trouble. It's like God's punishment for religious Catherine. But on the other hand, according to Dobrolyubov, the thunderstorm is the liberation of the girl from this dark captivity.
Katerina's suicide. What is this? Awareness of one’s guilt or a challenge to the “dark kingdom” and its inhabitants. Katerina is a fighter for justice, for peace. She was against ignorance and vulgarity. Despite this, we see that the world of Kabanikha and Wild will soon collapse, because sooner or later the old goes away and the new comes in its place. Both the author and each of the readers understand that progress cannot be stopped by the imperious Kabanikha. Not to the Wild.

The theater season of 1859 was marked by a bright event - the premiere of the work “The Thunderstorm” by playwright Alexander Nikolaevich Ostrovsky. Against the background of the rise of the democratic movement for the abolition of serfdom, his play was more than relevant. As soon as it was written, it was literally torn from the author’s hands: the production of the play, completed in July, was on the St. Petersburg stage already in August!

A fresh look at Russian reality

A clear innovation was the image shown to the viewer in Ostrovsky’s drama “The Thunderstorm”. The playwright, born in a merchant district of Moscow, thoroughly knew the world he presented to the audience, inhabited by philistines and merchants. The tyranny of the merchants and the poverty of the townspeople reached completely ugly forms, which, of course, was facilitated by the notorious serfdom.

Realistic, as if written off from life, the production (initially in St. Petersburg) made it possible for people buried in everyday affairs to suddenly see the world in which they live from the outside. It's no secret - mercilessly ugly. Hopeless. Indeed, it is a “dark kingdom”. What they saw was a shock to the people.

Average image of a provincial town

The image of the “lost” city in Ostrovsky’s drama “The Thunderstorm” was not only associated with the capital. The author, while working on material for his play, purposefully visited a number of settlements Russia, creating standard, collective images: Kostroma, Tver, Yaroslavl, Kineshma, Kalyazin. Thus, the city dweller saw from the stage a broad picture of life in central Russia. In Kalinov, the Russian city dweller learned about the world in which he lived. It was like a revelation that needed to be seen, realized...

It would be unfair not to note that Alexander Ostrovsky decorated his work with one of the most remarkable female images in Russian classical literature. The author used the actress Lyubov Pavlovna Kositskaya as a prototype for creating the image of Katerina. Ostrovsky simply inserted her type, manner of speaking, and lines into the plot.

The radical protest against the “dark kingdom” chosen by the heroine - suicide - was also not original. After all, there was no shortage of stories when, among the merchants, a person was “eaten alive” behind “high fences” (expressions taken from Savel Prokofich’s story to the mayor). Reports of such suicides periodically appeared in Ostrovsky's contemporary press.

Kalinov as a kingdom of unhappy people

The image of the “lost” city in Ostrovsky’s drama “The Thunderstorm” was indeed similar to the fairy-tale “dark kingdom”. Very few people actually lived in it. happy people. If ordinary people worked hopelessly, leaving only three hours a day for sleep, then employers tried to enslave them to an even greater extent in order to further enrich themselves from the labor of the unfortunate.

Prosperous townspeople - merchants - fenced themselves off from their fellow citizens with tall fences and gates. However, according to the same merchant Dikiy, there is no happiness behind these constipations, because they fenced themselves off “not from thieves,” but so that it would not be seen how “the rich... eat their household.” And behind these fences they “rob relatives, nephews...”. They beat the family members so much that they “don’t dare make a murmur.”

Apologists of the “dark kingdom”

Obviously, the image of the “lost” city in Ostrovsky’s drama “The Thunderstorm” is not at all independent. The richest townsman is the merchant Dikoy Savel Prokofich. This is the type of person who is unscrupulous and accustomed to humiliating ordinary people, underpay them for their work. So, in particular, he himself talks about an episode when a peasant turns to him with a request to borrow money. Savel Prokofich himself cannot explain why he went into a rage then: he cursed and then almost killed the unfortunate man...

He is also a real tyrant for his relatives. His wife daily begs visitors not to anger the merchant. His domestic violence forces his family to hide from this tyrant in closets and attics.

The negative images in the drama “The Thunderstorm” are also complemented by the rich widow of the merchant Kabanov, Marfa Ignatievna. She, unlike Wild, “eats” her family. Moreover, Kabanikha (this is her street nickname) tries to completely subjugate her household to her will. Her son Tikhon is completely deprived of independence and is a pitiful semblance of a man. Daughter Varvara “didn’t break,” but she changed radically internally. Her principles of life were deception and secrecy. “So that everything is covered up,” as Varenka herself claims.

Kabanikha drives his daughter-in-law Katerina to suicide, extorting compliance with the far-fetched Old Testament order: bowing to her husband as he enters, “howling in public,” seeing off her husband. The critic Dobrolyubov in his article “A Ray of Light in the Dark Kingdom” writes about this mockery like this: “It gnaws for a long time and relentlessly.”

Ostrovsky - Columbus of merchant life

Characteristics of the drama “The Thunderstorm” were given in the press early XIX century. Ostrovsky was called “Columbus of the patriarchal merchants.” His childhood and youth were spent in a region of Moscow populated by merchants, and as a court official, he more than once encountered “ dark side» life of various “Wild” and “Boars”. What was previously hidden from society behind the high fences of mansions has become obvious. The play caused a significant resonance in society. Contemporaries recognized that the dramatic masterpiece raises a large layer of problems of Russian society.

Conclusion

The reader, getting acquainted with the work of Alexander Ostrovsky, certainly discovers a special, non-personified character - the city in the drama “The Thunderstorm”. This city created real monsters that oppress people: Wild and Kabanikha. They - an integral part of"dark kingdom"

It is noteworthy that it is these characters who with all their might support the dark patriarchal meaninglessness of house-building in the city of Kalinov, and personally instill misanthropic morals in it. The city as a character is static. It was as if he had frozen in his development. At the same time, it is noticeable that the “dark kingdom” in the drama “The Thunderstorm” is living out its days. Kabanikha’s family is collapsing... Dikaya expresses concerns about her mental health... The townspeople understand that the natural beauty of the Volga region is discordant with the heavy moral atmosphere of the city.

Preview:

Ural State Pedagogical University

Test

on Russian literature of the 19th (2nd) century

IV year correspondence students

IFC and MK

Agapova Anastasia Anatolyevna

Ekaterinburg

2011

Subject: The image of the city of Kalinov in “The Thunderstorm” by A. N. Ostrovsky.

Plan:

1. Brief biography of the writer
2. Image of the city of Kalinova
3. Conclusion
4. Bibliography

1. Brief biography of the writer

Nikolai Alekseevich Ostrovsky was born on September 29 in the village of Viliya, Volyn province, into a working-class family. He worked as an assistant electrician, and from 1923 - in a leading Komsomol job. In 1927, progressive paralysis confined Ostrovsky to bed, and a year later future writer went blind, but “continuing to fight for the ideas of communism,” he decided to take up literature. In the early 30s it was written autobiographical novel“How the Steel Was Tempered” (1935) - one of the textbook works Soviet literature. In 1936, the novel “Born of the Storm” was published, which the author did not have time to finish. Nikolai Ostrovsky died on December 22, 1936.

1. The history of the creation of the story "The Thunderstorm"

The play was begun by Alexander Ostrovsky in July and completed on October 9, 1859. The manuscript is kept inRussian State Library.

The writing of the play “The Thunderstorm” is also associated with the writer’s personal drama. In the manuscript of the play, next to Katerina’s famous monologue: “And what dreams I had, Varenka, what dreams! Or golden temples, or some extraordinary gardens, and everyone is singing invisible voices...” (5), there is Ostrovsky’s entry: “I heard from L.P. about the same dream...”. L.P. is an actressLyubov Pavlovna Kositskaya, with whom the young playwright had a very difficult personal relationship: both had families. The actress's husband was an artist of the Maly TheaterI. M. Nikulin. And Alexander Nikolaevich also had a family: he lived in civil marriage with the commoner Agafya Ivanovna, with whom he had common children - they all died as children. Ostrovsky lived with Agafya Ivanovna for almost twenty years.

It was Lyubov Pavlovna Kositskaya who served as the prototype for the image of the heroine of the play, Katerina, and she also became the first performer of the role.

In 1848, Alexander Ostrovsky went with his family to Kostroma, to the Shchelykovo estate. Natural beauty The Volga region struck the playwright, and then he thought about the play. For a long time it was believed that the plot of the drama “The Thunderstorm” was taken by Ostrovsky from the life of the Kostroma merchants. Kostroma residents at the beginning of the 20th century could accurately indicate the place of Katerina’s suicide.

In his play, Ostrovsky raises the problem of fracture public life which occurred in the 1850s, the problem of changing social foundations.

5 Ostrovsky A. N. Thunderstorm. State Publishing House Fiction. Moscow, 1959.

3. Image of the city of Kalinov

“The Thunderstorm” is rightfully considered one of the masterpieces of Ostrovsky and all Russian drama. “Thunderstorm” is, without a doubt, the most decisive work Ostrovsky.

Ostrovsky's play "The Thunderstorm" shows the ordinary provincial life of the provincial merchant town of Kalinov. It is located on the high bank of the Russian Volga River. The Volga is a great Russian river, a natural parallel to Russian destiny, Russian soul, Russian character, which means that everything that happens on its banks is understandable and easily recognizable to every Russian person. The view from the shore is divine. The Volga appears here in all its glory. The town itself is no different from others: merchant houses in abundance, church, boulevard.

Residents have some kind of their own special image life. Life is changing quickly in the capital, but here everything is the same as before. Monotonous and slow passage of time. The elders teach the younger ones in everything, but the younger ones are afraid to stick their nose out. There are few visitors to the city, so everyone is mistaken for a stranger, like an overseas curiosity.

The heroes of "The Thunderstorm" live without even suspecting how ugly and dark their existence is. For some, their city is “paradise”, and if it is not ideal, then at least it represents the traditional structure of society of that time. Others do not accept either the situation or the city itself that gave birth to this situation. And yet they constitute an unenviable minority, while others maintain complete neutrality.

Residents of the city, without realizing it themselves, fear that just a story about another city, about other people, can dispel the illusion of prosperity in their “promised land.” In the remark preceding the text, the author determines the place and time of the drama. This is no longer Zamoskvorechye, so characteristic of many of Ostrovsky’s plays, but the city of Kalinov on the banks of the Volga. The city is fictional, in it you can see the features of a variety of Russian cities. The landscape background of “Thunderstorms” also gives a certain emotional mood, allowing, by contrast, to more acutely feel the stuffy atmosphere of life in Kalinovsky.

The events take place in the summer, with 10 days passing between acts 3 and 4. The playwright does not say in what year the events take place; any year can be staged - so typical is what is described in the play for Russian life in the provinces. Ostrovsky especially stipulates that everyone is dressed in Russian, only Boris’s costume corresponds to European standards, which have already penetrated into the life of the Russian capital. This is how new touches appear in depicting the way of life in the city of Kalinov. Time seemed to have stopped here, and life turned out to be closed, impenetrable to new trends.

The main people of the city are tyrant merchants who try to “enslave the poor so that his labors will be free.” more money make money." They keep in complete subordination not only the employees, but also the household, who are entirely dependent on them and therefore unresponsive. Considering themselves to be right in everything, they are sure that it is on them that the light rests, and therefore they force all households to strictly follow house-building orders and rituals. Their religiosity is distinguished by the same ritualism: they go to church, observe fasts, receive strangers, generously give them gifts and at the same time tyrannize their family “And what tears flow behind these constipations, invisible and inaudible!.” The internal, moral side of religion is completely alien to Wild and Kabanova, representatives of the “Dark Kingdom” of the City of Kalinov.

The playwright creates a closed patriarchal world: the Kalinovites do not know about the existence of other lands and simply believe the stories of the townspeople:

What is Lithuania? – So it is Lithuania. - And they say, my brother, it fell on us from the sky... I don’t know how to tell you, from the sky, from the sky...

Feklushi:

I...haven’t walked far, but I’ve heard – I’ve heard a lot...

And then there is also a land where all the people have dog heads...For infidelity.

That there are distant countries where “Saltan Maxnut the Turkish” and “Saltan Makhnut the Persian” rule.

Here you have...rarely does anyone come out of the gate to sit...but in Moscow there are carousals and games along the streets, sometimes there is a groan... Why, they began to harness a fiery serpent...

The world of the city is motionless and closed: its inhabitants have a vague idea of ​​their past and know nothing about what is happening outside Kalinov. The absurd stories of Feklusha and the townspeople create distorted ideas about the world among the Kalinovites and instill fear in their souls. She brings darkness and ignorance into society, mourns the end of the good old times, and condemns the new order. The new is powerfully entering life, undermining the foundations of the Domostroev order. Feklusha’s words about “ the last times" She strives to win over those around her, so the tone of her speech is insinuating and flattering.

The life of the city of Kalinov is reproduced in volume, with detailed details. A city appears on the stage, with its streets, houses, beautiful nature, townspeople. The reader seems to see with his own eyes the beauty of Russian nature. Here, on the banks of the free river, glorified by the people, the tragedy that shocked Kalinov will occur. And the first words in “The Thunderstorm” are the words of a familiar song of freedom, sung by Kuligin, a man who deeply feels beauty:

Among the flat valley, at a smooth height, a tall oak blossoms and grows. In mighty beauty.

Silence, excellent air, the smell of flowers from the meadows from across the Volga, the sky is clear... An abyss of stars has opened up and is full...
Miracles, truly it must be said, miracles!... For fifty years I have been looking across the Volga every day and I can’t get enough of it!
The view is extraordinary! Beauty! The soul rejoices! Delight! Either you look closely or you don’t understand what beauty is spilled out in nature. -he says (5). However, next to poetry there is a completely different, unsightly, repulsive side of Kalinov’s reality. It is revealed in Kuligin’s assessments, felt in the conversations of the characters, and sounds in the prophecies of the half-crazy lady.

The only enlightened person in the play, Kuligin, looks like an eccentric in the eyes of the townspeople. Naive, kind, honest, he does not oppose Kalinov’s world, humbly endures not only ridicule, but also rudeness and insult. However, it is he who the author instructs to characterize the “dark kingdom”.

It seems as if Kalinov is fenced off from the whole world and lives some kind of special, closed life. But can we really say that life is completely different in other places? No, this is a typical picture of the Russian province and wild customs patriarchal life. Stagnation.

There is no clear description of the city of Kalinov in the play.But as you read it, you can vividly imagine the outlines of the town and its inner life.

5 Ostrovsky A. N. Thunderstorm. State Publishing House of Fiction. Moscow, 1959.

The central position in the play is occupied by the image of the main character Katerina Kabanova. For her, the city is a cage from which she is not destined to escape. The main reason for Katerina’s attitude towards the city is that she has learned the contrast. Her happy childhood and serene youth passed, above all, under the sign of freedom. Having gotten married and finding herself in Kalinov, Katerina felt like she was in prison. The city and the prevailing situation in it (traditionality and patriarchy) only aggravate the situation of the heroine. Her suicide - a challenge given to the city - was carried out on the basis internal state Katerina and the surrounding reality.
Boris, a hero who also came “from outside,” develops a similar point of view. Probably, their love was due precisely to this. In addition, for him, like Katerina, the main role in the family is played by the “domestic tyrant” Dikoy, who is a direct product of the city and is a direct part of it.
The above can be fully applied to Kabanikha. But for her the city is not ideal; before her eyes, old traditions and foundations are crumbling. Kabanikha is one of those who is trying to preserve them, but only “Chinese ceremonies” remain.
It is on the basis of the differences between the heroes that the main conflict arises - the struggle between the old, the patriarchal and the new, reason and ignorance. The city gave birth to people like Dikoy and Kabanikha, they (and wealthy merchants like them) rule the roost. And all the city’s shortcomings are fueled by morals and environment, which in turn support Kabanikh and Dikoy with all their might.
Art space The play is closed, it is confined exclusively to the city of Kalinov, the more difficult it is to find a way for those who are trying to escape from the city. In addition, the city is static, like its main inhabitants. That is why the stormy Volga contrasts so sharply with the stillness of the city. The river embodies movement. The city perceives any movement as extremely painful.
At the very beginning of the play, Kuligin, who is in some respects similar to Katerina, talks about the surrounding landscape. He sincerely admires beauty natural world, although Kuligin has a very good idea of ​​the internal structure of the city of Kalinov. Not many characters are given the ability to see and admire the world around them, especially in the setting of the “dark kingdom.” For example, Kudryash does not notice anything, just as he tries not to notice the cruel morals reigning around him. The natural phenomenon shown in Ostrovsky's work - a thunderstorm - is also viewed differently by city residents (by the way, according to one of the characters, thunderstorms are a frequent occurrence in Kalinov, this makes it possible to classify it as part of the city's landscape). For Wild thunderstorm - given to people an event tested by God, for Katerina it is a symbol of the near end of her drama, a symbol of fear. Only Kuligin perceives the thunderstorm as ordinary a natural phenomenon, which you can even rejoice at.

The town is small, so high point the banks where the public garden is located, the fields of nearby villages are visible. The houses in the city are wooden, and there is a flower garden near each house. This was the case almost everywhere in Russia. This is the house Katerina used to live in. She recalls: “I used to get up early; If it’s summer, I’ll go to the spring, wash myself, bring some water with me, and that’s it, I’ll water all the flowers in the house. I had many, many flowers. Then we’ll go to church with mommy...”
The church is the main place in any village in Russia. The people were very pious, and the church was given the most beautiful part of the city. It was built on a hill and should have been visible from everywhere in the city. Kalinov was no exception, and the church there was a meeting place for all residents, the source of all conversations and gossip. Walking near the church, Kuligin tells Boris about the order of life here: “Cruel morals in our city,” he says, “In the philistinism, sir, you will not see anything except rudeness and basic poverty” (4). Money makes everything happen - that’s the motto of that life. And yet, the writer’s love for cities like Kalinov is felt in the discreet but warm descriptions of local landscapes.

"It's quiet, the air is great, because...

The Volga of servants smells of flowers, unclean..."

I just want to find myself in that place, to walk along the boulevard with the residents. After all, the boulevard is also one of the main places in small and large cities. The whole class goes out to the boulevard for a walk in the evening.
Previously, when there were no museums, cinemas, or television, the boulevard was the main place of entertainment. Mothers took their daughters there, as if to a viewing party, married couples they proved the strength of their union, and young people looked for future wives. But nevertheless, the life of ordinary people is boring and monotonous. For people with a lively and sensitive nature, such as Katerina, this life is a burden. It sucks you in like a quagmire, and there is no way to get out of it or change anything. On this high note of tragedy, the life of the main character of the play, Katerina, ends. “It’s better in the grave,” she says. She was able to get out of monotony and boredom only in this way. Concluding her “protest, driven to despair,” Katerina draws attention to the same despair of other residents of the city of Kalinov. This despair is expressed in different ways. It is, according to

Dobrolyubov notation, fits into Various types social clashes: younger with older, irresponsible with self-willed, poor with rich. After all, Ostrovsky, bringing the residents of Kalinov onto the stage, draws a panorama of the morals of not just one city, but the entire society, where a person depends only on wealth, which gives strength, whether he is a fool or a smart one, a nobleman or a commoner.

The title of the play itself has symbolic meaning. Thunderstorms in nature are perceived differently characters of the play: for Kuligin she is “grace”, with which “every... grass, every flower rejoices”, while the Kalinovites are hiding from her as if from “some kind of misfortune”. The thunderstorm intensifies emotional drama Katerina, her tension, influencing the very outcome of this drama. The thunderstorm gives the play not only emotional tension, but also a pronounced tragic flavor. At the same time, N.A. Dobrolyubov saw something “refreshing and encouraging” in the ending of the drama. It is known that Ostrovsky himself, who gave great importance title of the play, wrote to playwright N. Ya. Solovyov that if he cannot find a title for the work, it means that “the idea of ​​the play is not clear to him

In “The Thunderstorm,” the playwright often uses the techniques of parallelism and antithesis in the system of images and directly in the plot itself, in the depiction of pictures of nature. The technique of antithesis is especially clearly manifested: in the opposition of the two main characters- Katerina and Kabanikha; in the composition of the third act, the first scene (at the gates of Kabanova’s house) and the second (night meeting in the ravine) differ sharply from each other; in the depiction of pictures of nature and, in particular, the approach of a thunderstorm in the first and fourth acts.

1. Conclusion

Ostrovsky in his play showed a fictional city, but it looks extremely authentic. The author saw with pain how backward Russia was politically, economically, and culturally, how dark the population of the country was, especially in the provinces.

Ostrovsky not only recreates the panorama of city life in detail, specifically and in many ways, but also, using various dramatic means and techniques, introduces art world The plays contain elements of the natural world and the world of distant cities and countries. The peculiarity of seeing the surrounding environment, inherent in the townspeople, creates the effect of a fantastic, incredible “lostness” of Kalinovsky life.

A special role in the play is played by the landscape, described not only in the stage directions, but also in the dialogues of the characters. Some people can understand its beauty, others have taken a closer look at it and are completely indifferent. The Kalinovites not only “fenced off, isolated” themselves from other cities, countries, lands, they made their souls, their consciousness immune to the influence of the natural world, a world full of life, harmony, and higher meaning.

People who perceive their surroundings in this way are ready to believe in anything, even the most incredible, as long as it does not threaten to destroy their “quiet, heavenly life.” This position is based on fear, psychological unwillingness to change something in one’s life. So the playwright creates not only an external, but also an internal, psychological background for tragic story Katerina.

"Thunderstorm" - drama with tragic ending, the author uses satirical devices, on the basis of which it is formed negative attitude readers to Kalinov and his typical representatives. He especially introduces satire to show the ignorance and lack of education of the Kalinovites.

Thus, Ostrovsky creates an image of a city traditional for the first half of the 19th century. The author shows through the eyes of his heroes. The image of Kalinov is collective; the author knew the merchants well and the environment in which they developed. So, with the help of different points of view of the characters in the play “The Thunderstorm”, Ostrovsky creates full picture district merchant town of Kalinov.

1. Bibliography

1. Anastasyev A. “The Thunderstorm” by Ostrovsky. “Fiction” Moscow, 1975.
2. Kachurin M. G., Motolskaya D. K. Russian literature. Moscow, Education, 1986.
3. Lobanov P. P. Ostrovsky. Moscow, 1989.
4. Ostrovsky A. N. Selected works. Moscow, Children's literature, 1965.

5. Ostrovsky A. N. Thunderstorm. State Publishing House of Fiction. Moscow, 1959.

6. http://referati.vladbazar.com

7. http://www.litra.ru/com

Became one of outstanding works in Russian literature. Written at the peak of great reformations in the country, it partly reflects the changes taking place in society. Alexander Nikolaevich, as a master of precise descriptions, managed to fully show everything dark sides Kalinov and its inhabitants. Most population was limited people with little knowledge potential. They were uneducated, stingy and ignorant.

The most main value for them - material well-being. Profit and enrichment are the meaning of life for the Kalinovites. Because of money, they are ready to set each other up or betray each other. Kuligin’s phrase, which he used to explain to Boris the essence of the city’s inhabitants, perfectly reveals their mentality: “I’ll spend it, and it’ll cost him a pretty penny.” He himself is not averse to earning a million in order to be on an equal footing with rich merchants. Although Kuligin can be counted among those few in Kalinov who realize the gravity of the atmosphere and oppose lack of education, ignorance and hypocrisy. Besides money and profit, he has other values. For example, he likes to live on the banks of the Volga. He sincerely admires her and the surrounding nature.

It would seem that in this great place and life should be rosy, but the unquestioning submission of residents to those in power led to the fact that the city was simply mired in cruelty and tyranny. Everyone bows to Kabanikha and Dikiy. These are the richest people in the city, who established their patriarchal order and kept everyone in servile submission. It is noteworthy that not only ordinary citizens suffer from this, but also their closest relatives. Kabanikha’s son Tikhon cannot take a single step without her knowledge. Daughter Varvara long ago learned to pretend that she dutifully honors patriarchal traditions. Only Katerina, the daughter-in-law, could not get used to such a deceitful and hypocritical atmosphere.

Katerina is the main character plays. In it the author collected best features Russian soul. As N.A. Dobrolyubov rightly noted, in the city of Kalinov she is like “a ray of light in a dark kingdom.” Every time she is surprised by how you can pretend to express some feelings, because she herself grew up in a loving, honest and straightforward family. Kabanikha demands that she “howl” in public, seeing off her husband, thus expressing grief over his departure. And when Katerina sincerely wants to hug her husband, she pulls her back and says that showing feelings in public is shameless. Therefore, Varvara prefers to live as she wishes, but in such a way that “it’s sewn and covered.”

Marfa Ignatievna herself remembers her love for children only when she needs to justify her cruelty. Her virtue, religiosity and righteousness are completely false. She hides behind them as a mask in order to remain a despot and tyrant with impunity. No less cruel in his treatment of household members and employees is Dikoy, who likes to say: “If I want, I’ll have mercy, if I want, I’ll crush.” He believes that if each employee is not paid a penny extra, then he will gain thousands from it. Nephew of the Wild local residents They immediately warn him that he came for a legitimate inheritance in vain; he will not give anything back under any conditions. In a sense, out of fear of losing material goods, Boris becomes a servile victim. He cannot protect either himself or Katerina.

The reluctance of the residents of Kalinov to fight against the established tyranny is disrupted by the death of Katerina. She seems to challenge the oppressive world of the “masters of life.” For the first time ever, Tikhon goes against his mother. He publicly blames her for the death of his beloved wife and admits that living in such a family is true torture. Reading “The Thunderstorm” by Ostrovsky, we see the life and customs of a classic provincial town of the mid-nineteenth century. The author shows not just a generational conflict, but an open protest against established foundations and morality.