Conflict in the wild boar family is a thunderstorm. The main conflict of the drama “The Thunderstorm” by A. N. Ostrovsky. Traditional solution to the plot and conflict of the play “The Thunderstorm”

Ministry of Education of the Republic of Belarus

Educational institution

"Belarusian State Pedagogical University named after Maxim Tank"

Department of Russian and Foreign Literature

The originality of conflicts in the drama by A.N. Ostrovsky "Thunderstorm"

Course work

Second year student

Faculty of Russian Philology

Patorsky Leonid Anatolyevich

Scientific adviser:

Karpushin Sergey Vladimirovich

Minsk 2006.

Introduction 3

History of creation, idea, heroes 5

Character, conflict and features of the stage

Actions 9

The problem of the relationship between the world and

Personality 11

The idea of ​​doom of the “dark kingdom” 14

Katerina's protest 15

Features of the conflict 17

Conclusion 22

References 23

INTRODUCTION

In every dramatic work, the connection between composition, conflict and genre is very close, these three components of the work simply cannot help but overlap with each other, and quite often, having indicated its genre definition, highlighted in small print on the title page, we guess not only the form and plot resolution, and with it the ideological and thematic basis of the work, but also the main conflict that gives rise to these ideas. Sometimes the genre definition itself (in this case, often emphasized by the author) may simply not correspond to the basic traditions of genre division in literature. The fact that the author’s genre definition suddenly does not correspond to form or content suggests that the conflict here is much deeper than the framework of one chosen genre dictates. If the writer deliberately emphasizes this discrepancy between form and content, then researchers and critics are faced with another riddle, the resolution of which is important for understanding the conflict, and, consequently, the idea of ​​the work. A striking example is Gogol’s “Dead Souls,” which is not accidentally called a poem. With his work N.V. Gogol, as it were, sums up the development of literature, forcing already existing genres, honed to perfection, to work in a new way, and the purpose of such work is to identify a deeper conflict.

The paintings in the play “The Thunderstorm” and the history of its creation reveal many similarities and differences in the comprehension of the formal and content elements of the artistic fabric of the work. A.N. Ostrovsky did not sum up the results, did not synthesize new genres, however, the genre definition of “The Thunderstorm” as an everyday social drama, given by him, is not entirely accurate, and accordingly, one conflict lying on the surface is, in fact, replaced by another, more profound and complex. A. Ostrovsky's genre definition was only a tribute to literary tradition. The conflict here is destined to play a completely different role.

Ostrovsky showed that even in the ossified world of Kalinov, a folk character of amazing beauty and strength can arise, faith in which - truly Kalinovsky - is nevertheless based on love, on a free dream of justice, beauty, some kind of higher truth.

Purpose of the research work: analyze a work of art at the level of the conflicts revealed in it.

Tasks: consider the system of conflictogens at the formal-substantive level of organization of textual material; analyze the role of the main characters and their actions in the process of organizing a conflict situation.

Object of study: revealing the heuristic potential of social and everyday conflict within the framework of a work of art.

Subject of study: revealing the specifics of the manifestation of social and everyday conflict in the plot-compositional and linguistic foundations of a work of art.

Research methods: psychological analysis of a work of art.

Forecast proposals for the development of the research object: There are a huge number of issues that can be explored in the drama Thunderstorm. For a work, it is productive to study such problems as: the relationship between the “old” and “new” generations in the work; new views on the life of the “young” generation of Kalinov people; the future of Kalinov and others.

Scientific novelty research work is determined by the nature of the material involved and the methods of its literary interpretation.

HISTORY OF CREATION, IDEA, HEROES

Alexander Nikolaevich Ostrovsky (1823-1886) is a great Russian playwright. Developing the traditions of realistic dramaturgy of Griboyedov, Pushkin, Gogol, with his creativity he completed the creation of Russian national dramaturgy and established realism on the Russian stage. His theater was the school of several generations of Russian actors.

There is a version that Ostrovsky wrote “The Thunderstorm” while in love with the married actress of the Maly Theater Lyuba Kositskaya. It was for her that he wrote his Katerina, and it was she who played her. However, the actress did not respond to the writer’s fiery love - she loved another, who later brought her to poverty and early death. But then, in 1859, Lyubov Pavlovna played as if her fate, lived with feelings that she understood, creating the image of a young touching Katerina, who conquered even the emperor himself.

The play was written in 1859 during a period of social upsurge, when the foundations of serfdom were cracking, and a thunderstorm was brewing in the stuffy atmosphere of reality. Ostrovsky's play takes us to the merchant environment, where the Domostroev order was most persistently maintained. Residents of a provincial town live a closed life alien to public interests, in ignorance of what is happening in the world, in ignorance and indifference. Their range of interests is limited to household chores. Behind the external calm of life lie dark thoughts, the dark life of tyrants who do not recognize human dignity. Representatives of the “dark kingdom” are Dikoy and Kabanikha. The first is a complete type of tyrant merchant, whose meaning of life is to amass capital by any means. Ostrovsky showed from life. The imperious and stern Kabanikha is an even more sinister and gloomy representative of the house-building. She strictly observes all the customs and orders of patriarchal antiquity, “eats” her household, spreads hypocrisy by giving gifts to the poor, and does not tolerate manifestations of personal will in anyone. Ostrovsky portrays Kabanikha as a staunch defender of the foundations of the “dark kingdom.” But even in her family, where everyone meekly obeys her, she sees the awakening of something new, alien and hateful to her. And Kabanikha complains bitterly, feeling how life is destroying the relationships that are familiar to her: “They don’t know anything, no order. They don’t know how to say goodbye. "If the light will stay on, I don't know. Well, it's good that I won't see anything." Beneath this humble complaint of Kabanikha is misanthropy, inseparable from religious hypocrisy.

“The Thunderstorm,” published in 1860, was a kind of culmination of Ostrovsky’s creative achievements. In it, more clearly than in all previous plays, both his satirical power and his ability to affirm progressive trends emerging in life were revealed.

With the images of Dikiy, Kabanikha, Feklusha, and the half-crazy lady, the playwright showed that the social relations that dominated life at that time were based on wild tyranny, despotism and cruel violence. Dikoy and Kabanikha, the richest people in the city of Kalinov, hold all power in their hands. They do whatever they please.

In the play “The Thunderstorm,” the playwright depicted not only the deadening conditions of the dark kingdom, but also manifestations of deep hatred towards them. Satirical denunciation naturally merged in this work with the affirmation of new forces growing in life, positive, bright, rising to fight for their human rights.

Ostrovsky placed Katerina at the center of the drama “The Thunderstorm” - a poetic, pure, open nature, a creator with an inherently strong character. She says about herself that she was born so hot. “If I get really tired of it here, I don’t want to live here, I won’t, even if you cut me!” - she says. - “Everything here seems to be out of captivity.”

In the main character of the drama, the writer painted a new type - an original, integral, selfless Russian woman, whose determination in her protest foreshadowed the coming of the end of the dark kingdom.

Katerina personifies the moral purity, spiritual beauty of a Russian woman, her desire for will, for freedom, her ability not only to endure, but also to defend her rights, her human dignity.

Dobrolyubov called Katerina a popular, national character, “a bright ray in a dark kingdom,” meaning the effective expression in her of direct protest and the liberation aspirations of the masses. Pointing out the deep typicality of this image, its national significance, the critic wrote that it represents “an artistic combination of homogeneous features that appear in different situations of Russian life, but serve as an expression of one idea.”

The integrity and determination of Katerina’s character was expressed in the fact that she refused to obey the routine of the Kabaninsky house and preferred death to life in captivity. And this was not a manifestation of weakness, but of spiritual strength and courage, ardent hatred of oppression and despotism. Ostrovsky's heroine reflected in her feelings and in her actions the spontaneous protest of the broad masses against the hated conditions of the dark kingdom.

The leading images of “The Thunderstorm” are revealed against a broad social and everyday background, organically included in the development of the action. In “The Thunderstorm,” the secondary characters (Kuligin, Feklusha) do not directly participate in the development of the main plot intrigue, but they are necessary, they serve to embody the theme and idea of ​​the work and help the playwright paint a multifaceted picture of Russian life in the play. Skillfully using a wide variety of visual means of the national language, Ostrovsky makes the speech of the characters in “The Thunderstorm” socially typical and at the same time clearly individual, concrete, figurative, and picturesque.

The playwright masterfully subordinates the composition “Thunderstorms” to the natural disclosure of the conflict underlying the play, reflecting the struggle between outdated serf morality and progressive aspirations for the manifestation of human rights. The action of "The Thunderstorm", distinguished by its epic breadth, is deeply dramatic, it continuously grows in its internal and external dynamism. Increasing the drama and stage quality of the play, Ostrovsky resorts to a contrasting image, to parallelism between the experiences of the characters and phenomena occurring in nature (thunderstorm), to sharp turns in the development of the action, and saturates the play with episodes of high emotional tension. This play, the action of which takes place both on the street and in the square, is a work of enormous social scale, a distinct democratic ideology, deeply typical characters and high theatricality.

The most profound disclosure of the ideological meaning and artistic features of “The Thunderstorm” was given by N.A. Dobrolyubov. Shortly before the appearance of “The Thunderstorm,” he published an article “The Dark Kingdom,” in which he brilliantly interpreted Ostrovsky’s work as an exposer of the dark kingdom of autocratic Russia, as a writer who had “a deep understanding of Russian life and a great ability to depict sharply and vividly its essential aspects.”

“The Thunderstorm” served as new proof of the validity of the positions expressed by the revolutionary-democratic critic. Dobrolyubov explained that the nationality of “The Thunderstorm,” as well as all of Ostrovsky’s work, lies in the fact that his plays, showing the complex relationships prevailing in life with all their consequences, serve as “an echo of aspirations that require a better structure.”

CHARACTER, CONFLICT AND FEATURES OF STAGE ACTING

Among the expanse of Russian nature, on the steep bank of the Volga lies the city of Kalinov. And beyond the Volga you can see villages, fields, forests. “The view is extraordinary! Beauty! The soul rejoices!” - Kuligin admires. It would seem that the life of the people of this city should be happy. However, it is not. There is a struggle between new forces, the younger generation, against outdated social orders and their defenders. The younger generation in the play is represented by Katerina, Varvara, Kudryash, Tikhon. Each of them in their own way resists the “dark kingdom”, the main representatives of which are Kabanikha and Dikoy. The composition “Thunderstorms” is based on a love drama. The plot of the action begins with Katerina’s confession that she does not love Tikhon, but loves Boris. Katerina's love is dramatic, as she was raised in a religious family. Her feelings conflict with the views that were instilled in her from childhood. Therefore, she considers her love for Boris a sin that she cannot overcome. Her suffering is also intensified by the fact that she is a truthful and sincere person: “I don’t know how to deceive, I can’t hide anything.” Katerina’s feeling does not make anyone feel good; only Varvara feels sorry for her and tries to help her. However, Varvara offers Katerina help, which is unnatural for Katerina and only increases her suffering. Varvara, raised in the Kabanikha family, learned to lie and dodge, seeing this as an opportunity to resist her mother’s oppression. Varvara lives by the principle: “do what you want, as long as it’s safe and covered.” Her beloved Kudryash, who works for Dikiy, lives by the same principle. The image of the Wild shows the brute force of tyranny. The Wild One's speech is ignorant. He doesn't want to know anything about science, culture, inventions that improve life. Dikoy constantly fights, but only with those who fear him or depend on him financially. The family hides from him in attics and basements, Boris, his nephew, endures his abuse because he depends on him. Wildly greedy. The meaning of his life is to acquire and increase his wealth. To achieve this, he does not disdain any means. Having thousands, he feels his strength and brazenly demands everyone's respect and obedience. However, in the appearance of the Wild, despite all his belligerence, there are comical features. Kabanikha is the most sinister figure in the city. She observes obsolete orders and customs in the house, based on religious prejudices and Domostroy. She “eats” her victim, “sharpens like rusting iron.” The speech of the imperious Kabanikha sounds like an order. Kabanikha is an exponent of the ideas and principles of the “dark kingdom”. She understands that money alone does not give the authorities, another indispensable condition is the obedience of those who do not have money. She wants to kill the will of the household, any ability to resist. Neither Tikhon nor Varvara dare to openly contradict her. However, they are not satisfied with the patriarchal order in the house. Varvara says: “What a desire to dry out! At least die of melancholy...” She secretly meets with Kudryash and offers the same method to Katerina. It’s difficult for Katerina to agree to this, but she decides: “Come what may, I’ll see Boris!” However, she cannot hide her love for long and decides to repent. Public repentance shows the depth of her suffering, moral greatness, determination and willpower. She says to Boris: “I wasn’t afraid of sin for you, should I be afraid of human judgment.” But public repentance does not bring her relief. Katerina is left completely alone, she has nowhere to look for support. Her entire future life seems like sheer torment for the sin she committed. Her position in the family becomes unbearable. In this state, Katerina could only rely on her loved one. But Boris could not be such a support. Financially dependent on the Dikiy, he submits to his will and leaves for the trading settlement of Kyakhta. What is left for Katerina? “Where to now? Go home?.. Live again? - she asks herself. - No, no, don’t, it’s not good! And people are disgusting to me, and the house is disgusting to me, and the walls are disgusting!.. I wish I could die now...” The only way out she finds is to throw herself into the Volga. Having experienced freedom and true happiness, she cannot come to terms with the oppression of the ominous Kabanikha. Her entire unbending nature rebelled against this, but she did not have the strength to confront this world in an unequal struggle. The death of Katerina is a spontaneous challenge to the “dark kingdom.” It was in the intransigence and determination of Katerina’s protest that Dobrolyubov saw “the precariousness and the near end of tyranny.” Kudryash and Varvara flee to other lands, Tikhon regrets that he did not die with his wife: “It’s good for you. Kate! But why did I stay in the world and suffer..." Dobrolyubov perceived Katerina’s death not only as “bitter”, but also “gratifying”: in it he saw “a protest brought to the end, proclaimed both under domestic torture and over the abyss into which the poor woman threw herself.”

THE PROBLEM OF THE RELATIONSHIP BETWEEN THE WORLD AND THE PERSON

The author's focus is on the crisis of the patriarchal world and patriarchal consciousness. But at the same time, the play turns out to be a hymn to a living soul that dared to bravely protest, to confront the petrified world. And this problem will be relevant at all times.

The classic “fossilization” of characters deeply corresponds to the entire system of the patriarchal world. It is his inability to change, his fierce resistance to everything that does not comply with his laws, enslaves everyone within the circle of the patriarchal world, forms souls unable to exist outside his vicious circle. It doesn’t matter whether they like this life or not - they simply won’t be able to live in another. The heroes of the play belong to the patriarchal world, and their blood connection with it, their subconscious dependence on it is the hidden spring of the entire action of the play; a spring that forces the heroes to perform mostly “puppet” movements. The author constantly emphasizes them
lack of independence, lack of self-sufficiency. The figurative system of the drama almost repeats the social and family model of the patriarchal world. At the center of the narrative, as well as at the center of the patriarchal community, the family and
family problems. The dominant of this small world is the eldest in the family, Marfa Ignatievna. Around her, family members are grouped at various distances - daughter, son, daughter-in-law and the almost powerless inhabitants of the house: Glasha and Feklusha. The same “alignment of forces” organizes the entire life of the city: in the center of Dikaya (and merchants of his level not mentioned in the play), on the periphery - persons of less and less significance, without money and
social status.

Kalinov has fenced himself off from the world so firmly that for more than a century not a single breath of living life has penetrated the city. Look at Kalinovsky’s “progressive and enlightener” Kuligin! This self-taught mechanic, whose love of science and passion for the public good puts him on the verge of foolishness in the eyes of others, is still trying to invent a “perpeta mobile”: he, poor thing, has not even heard that in the big world a fundamental impossibility was proven long ago creation of a perpetual motion machine... He enthusiastically recites the lines of Lomonosov and Derzhavin,
and he even writes poetry in their spirit... And he is taken aback: as if there was no Pushkin, no Griboedov, no Lermontov, no Gogol, no Nekrasov! Archaism, living fossil - Kuligin. And his calls, his ideas, his educational monologues about what is generally known, about what has long been discovered seem
Kalinovites with crazy innovations, a daring shock to the foundations:

“D i k o y. What do you think a thunderstorm is? A? Well, speak up!

Kuligin. Electricity.

Wild (stomping his foot). What other beauty there is! Why aren't you a robber? A thunderstorm is sent to us as punishment, so that we can feel it, but you want to defend yourself, God forgive me, with poles and some kind of rods. What are you, a Tatar, or what? Are you Tatar? A? Speak! Tatar?

Kuligin. Savel Prokofich, your lordship, Derzhavin said:

I'm body in
I rot into dust,

Mind thunder
I command.

Kalinov does not need lightning rods, Lomonosov, or a perpetual motion machine: all this simply has no place in the patriarchal world. But what happens beyond its borders? The ocean is raging there, the abysses open there - in a word, “Satan rules the roost there.” Unlike Tolstoy, who believed that the parallel and independent existence of two worlds was possible: patriarchal, closed in on itself and unchangeable, and modern,
constantly changing, Ostrovsky saw their fundamental incompatibility, the doom of a frozen life, incapable of renewal. Resisting the oncoming innovations that displace it
“of all rapidly rushing life,” the patriarchal world generally refuses to notice this life, it creates around itself a special mythologized space in which - the only one - its gloomy isolation, hostile to everything alien, can be justified. The unimaginable is happening around Kalinov: people are falling from the sky there.
entire countries inhabited by bloodthirsty peoples: for example, Lithuania “fell on us from the sky... and where there was some kind of battle with it, mounds were poured there for memory.” People “with dog heads” live there; there they do their
unjust court Sultan Makhnut of Persia and Sultan Makhnut of Turkey.

“There is nothing to do, we must submit! But when I have a million, then I’ll talk.” This million will give Kuligin the right to trial
demolition” will be the most compelling argument in its favor. In the meantime, there is no million, clever Kuligin “submits.” Everyone submits, playing their quiet deceitful game: Varvara, Tikhon, the dashing Kudryash, who is already drawn into
closed space Kalinova Boris. Katerina cannot submit.
Faith, degenerated in the patriarchal consciousness into an empty ritual, is alive in her, her feeling of guilt and sin is primarily personal; she believes and repents with the fervor of the first Christians, who were not yet ossified in religious rituals.
And this personal perception of life, God, sin, duty takes Katerina out of the vicious circle and contrasts her with Kalinov’s world. In her the Kalinovites saw a phenomenon much more alien than the city dweller Boris or
reciting Kuligin's poetry. That’s why Kalinov arranges a trial for Katerina.

In the brilliant sketch “And who are the judges?” V. Turbin subtly explores the theme of trial in “The Thunderstorm”: “Kuligin doesn’t want to judge anyone. With a grin, the simpleton Varvara avoids the role of judge: “Why should I judge you? I have my sins."
But it is not for them to resist the mass psychosis that has gripped Kalinov. And the psychosis is inflamed by two eccentrics flickering on stage: the wanderer
Feklusha and the lady with lackeys. Feklushi’s stories about Makhnuts and people with dog heads seem to Turbin to be the most important
element of the play’s poetics: “And two worlds look into each other, as if in a mirror: fantastic and real.” And again we meet with a gathering of monsters, centaurs. True, this time their bizarre figures are only a background against which, in the thoughts of the wandering wanderer, the righteousness of the judgment being carried out here in Kalinov appears more clearly.

This court lies in wait for the victim. And the sacrifice appears: in the peals of thunder, in the flashing of lightning, the natural, honest word of a sinner hungry for cleansing is heard. What happened next is all too well known. Somewhere in the kingdom of the Turkish and Persian Makhnuts, Katerina might have been pardoned; but in Kalinov there is no mercy for her.

Driven into the abyss, into the abyss by the all-pervading, all-overtaking
in the words of an amateur court, the sinner leaves this life: “It’s better to go into the pool... Yes, quickly, quickly!”

THE IDEA OF DOOMET IN THE “DARK KINGDOM”

The development of action in "The Thunderstorm" gradually reveals the conflict of the drama. The power of the Kabanikha and the Wild over those around them is still great. “But a wonderful thing,” writes Dobrolyubov in the article “A Ray of Light in the Dark Kingdom,” “the tyrants of Russian life, however, begin to feel some kind of discontent and fear, without knowing what and why..., another life has grown, with other principles, and although it is far away and is not yet clearly visible, it is already giving itself a presentiment and sending bad visions to the dark tyranny of tyrants.” This is the “dark kingdom” - the embodiment of the entire system of life in Tsarist Russia: the lack of rights of the people, arbitrariness, oppression of human dignity. Katerina finds herself in this world of Wild Boars - a poetic, dreamy, freedom-loving nature. The world of her feelings and moods was formed in her parents' home, where she was surrounded by the care and affection of her mother. In an atmosphere of hypocrisy and importunity, petty tutelage, the conflict between the “dark kingdom” and Katerina’s spiritual world matures gradually. Katerina endures only for the time being. “And if I get really tired of here, no force can hold me back. I’ll throw myself out the window, throw myself into the Volga, I don’t want to live here, so I won’t, even if you cut me!” - she says. Not finding an echo in the heart of her narrow-minded and downtrodden husband, her feelings turn to a man unlike everyone else around her. Love for Boris flared up with the force characteristic of such an impressionable nature as Katerina; it became the meaning of the heroine’s life. Katerina comes into conflict not only with the environment, but also with herself. This is the tragedy of the heroine’s situation. If the drama ended with a scene of repentance, it would show the invincibility of the “dark kingdom.” But the drama ends with Katerina’s moral victory both over the forces that fettered her freedom, and over the dark representatives who fettered her will and reason. Katerina decides to commit suicide. The heroine's suicide is a protest against a worthless life and the dark forces of the kingdom of house-building. If a woman, the most powerless creature, and even in the dark, inert environment of the merchants, can no longer put up with the oppression of “tyrant power,” it means that among the disadvantaged, downtrodden people, indignation is brewing, which should motivate the people to a decisive struggle. For its time, when Russia experienced a period of enormous social upsurge before the peasant reform, the drama "The Thunderstorm" was important. The image of Katerina belongs to the best images of women not only in Ostrovsky’s work, but also in all Russian and world fiction.

KATERINA'S PROTEST

The image of Katerina is the most striking image in Ostrovsky's play "The Thunderstorm". Dobrolyubov, analyzing in detail the image of Katerina, called her “a ray of light in a dark kingdom.” Katerina’s life in her parents’ home was good and carefree. Here she felt “free.” Katerina lived easily, carefree, joyfully. She loved her garden very much, in which she so often walked and admired the flowers. Later telling Varvara about her life in her home, she says: “I lived, didn’t worry about anything, like a bird in the wild. Mama doted on me, dressed me up like a doll, didn’t force me to work, whatever I wanted, it happened. and I do."

Katerina differs from all representatives of the “dark kingdom” in the depth of her feelings, honesty, truthfulness, courage, and determination. Growing up in a good family, she retained all the wonderful traits of the Russian character. This is a pure, sincere, ardent nature, an open soul that does not know how to deceive. “I don’t know how to deceive; I can’t hide anything,” she says to Varvara, who claims that everything in their house is based on deception. This same Varvara calls our heroine some kind of “sophisticated”, “wonderful”. Katerina is a strong, decisive, strong-willed person. Since childhood, she was capable of bold actions. Telling Varvara about herself and emphasizing her hot nature, she says: “I was born so hot!” Katerina loved nature, its beauty, and Russian songs. Therefore, her speech - emotional, enthusiastic, musical, melodious - is imbued with high poetry and sometimes reminds us of a folk song.

Growing up in her home, our heroine accepted all the age-old traditions of her family: obedience to elders, religiosity, submission to customs. Katerina, who did not study anywhere, loved to listen to the stories of wanderers and praying mantises and perceived all their religious prejudices, which poisoned her young life, forcing Katerina to perceive love for Boris as a terrible sin, from which she tries and cannot escape. Having found herself in a new family, where everything is under the rule of the cruel, harsh, rude, despotic Kabanikha, Katerina does not find a sympathetic attitude towards herself. Dreamy, honest, sincere, friendly to people, Katerina takes the oppressive atmosphere of this house especially hard. Gradually, life in Kabanikha’s house, which constantly insults Katerina’s human dignity, becomes unbearable for the young woman. A dull protest against the “dark kingdom”, which did not give her happiness, freedom and independence, begins to arise in her soul. This process develops... Katerina commits suicide. Thus, she proved that she was right, a moral victory over the “dark kingdom.”

FEATURES OF CONFLICT IN THE PLAY

A conflict is a clash between two or more parties that do not coincide in their views and worldviews. There are several conflicts in Ostrovsky's play "The Thunderstorm", but how to decide which one is the main one? In the era of sociology in literary criticism, it was believed that social conflict was the most important in the play. Of course, if we see in the image of Katerina a reflection of the spontaneous protest of the masses against the constraining conditions of the “dark kingdom” and perceive Katerina’s death as the result of her collision with her tyrant mother-in-law, the genre of the play should be defined as a social and everyday drama. Drama is a work in which the social and personal aspirations of people, and sometimes their very lives, are under threat of death from external forces beyond their control. The play also contains a generational conflict between Katerina and Kabanikha: the new always steps on the heels of the old, the old does not want to give in to the new. But the play is much deeper than it might seem at first glance. After all, Katerina primarily fights with herself, and not with Kabanikha, the conflict develops not around her, but in herself. Therefore, the play “The Thunderstorm” can be defined as a tragedy. Tragedy is a work in which there is an insoluble conflict between the personal aspirations of the hero and the super-personal laws of life that occur in the mind of the protagonist. In general, the play is very similar to an ancient tragedy: the chorus is replaced by some extra-plot characters, the denouement ends with the death of the main character, as in the ancient tragedy. The death of Katerina is the result of a collision of two historical eras. Some of the characters in the play seem to differ in the time in which they live. For example: Kuligin is a man of the 18th century, he wants to invent a sundial, which was known in antiquity, or a perpetuum mobile, which is a distinctive feature of the Middle Ages, or a lightning rod. He himself reaches with his mind something that has already been invented a long time ago, but he only dreams about it. He quotes Lomonosov and Derzhavin - this is also a trait of a man of the 18th century. Boris is already an educator of the 19th century, an educated person. Katerina is the heroine of pre-Petrine times. The story about her childhood is a story about the ideal version of patriarchal house-building relations. In this world of kings there is only all-pervading mutual love; a person does not separate himself from society. Katerina was raised in such a way that she could not refuse moral and ethical laws; any violation of them would mean inevitable death. Katerina turns out to be older than everyone in the city in terms of her worldview, even older than Kabanikha, who remained as the last guardian of the house-building way of life in Kalinov. After all, Kabanikha only pretends that everything in her family is as it should be: her daughter-in-law and her son fear and respect her, Katerina is afraid of her husband, and she doesn’t care how everything really happens, only appearances are important to her. The main character finds herself in a world that she imagined completely differently, and the patriarchal structure within Katerina is destroyed right before her eyes. In many ways, Varvara decides Katerina’s fate by encouraging the latter to go on a date. Without Varvara, it is unlikely that she would have decided to do this. Varvara belongs to the youth of the city of Kalinov, who were formed at the turning point of patriarchal relations. Katerina, finding herself in a new environment for her, cannot get used to society; it is alien to her. For her, an ideal husband is a support, support, and ruler. But Tikhon does not confirm Katerina’s expectations, she is disappointed in him, and at this moment a new feeling is born - a feeling of personality, which takes the form of a feeling of love. This feeling for Katerina is a terrible sin. If she had continued to live in a patriarchal world, then this feeling would not have existed. Even if Tikhon had shown his masculine will and simply taken her with him, she would have forgotten about Boris forever. Katerina's tragedy is that she does not know how to be a hypocrite and pretend, like Kabanikha. The main character of the play, moral, with high moral requirements, does not know how to adapt to life. She was unable to live further, having once violated the laws of Domostroy. The feeling that arose in Katerina cannot be fully embodied in her, and she, not reconciling herself with what she has done, commits an even greater sin - suicide. The play “The Thunderstorm” is a tragedy of the main character, in which the era of the turning point of patriarchal relations played an important role.

If we consider “The Thunderstorm” as a social and everyday drama, then the resulting conflict looks quite simple: it is, as it were, external, social; the attention of the audience is equally distributed between the characters, all of them, like checkers on a board, play almost identical roles necessary to create the plot outline, they confuse and then, flashing and rearranging, as in tag, help resolve the confusing plot. If the system of characters is laid out in such a way that the conflict arises and is resolved, as it were, with the help of all the characters. Here we are dealing with an everyday drama; its conflict is simple and easy to guess. What happens in "The Thunderstorm"? A married woman, quite God-fearing, fell in love with another man, secretly meets with him, cheats on her husband. The only thing that worries her is her relationship with her mother-in-law, who is a representative of the “past century” and sacredly protects the letter of the law, and not the content itself, speaking allegorically. Katerina, with such a layout of the conflict and such an understanding of it in the light of the genre definition of “The Thunderstorm” as a social and everyday drama, is the personification of a new time, the “present century”, and along with Tikhon, Varvara, Kudryash, she fights against the remnants of the past, against house-building, against the atmosphere itself a stagnant of dead rules and orders, personified by the pre-reform Kalinov. The main antagonists, Katerina and Kabanikha, are also easily identified. Many critics and, in particular, N.A. Dobrolyubov understood “The Thunderstorm” in this spirit. Here strong personalities collide, two antagonists, one of them must leave, and suddenly... This seemingly doomed person turns out to be not the old Kabanikha with her archaic views on life, but the young, full of strength Katerina, surrounded by her like-minded people. What's the matter? What happened? The conflict between the old and the new, “the present century and the past century,” would seem to be resolved, but in a somewhat strange way. All this leads us to the idea that the conflict in the play is much deeper, more complex and subtle than it seems at first glance. Of course, a skillfully constructed storyline, a confrontation between two strong personalities - Katerina and Kabanikha, takes place and gives us the opportunity to observe a conflict of a social and everyday nature, reminiscent of any current television series. But a deeply hidden conflict is revealed here with a slightly different reading of the play and a different genre definition, with a different interpretation of the plot of “The Thunderstorm”. Definition of the genre “Thunderstorms” and understanding of the conflict as social and everyday, given by A. N. Ostrovsky, is here not only a tribute to tradition, but also, perhaps, the only possible option at that time. A.I. Zhuravleva explains this phenomenon this way: “... the entire history of Russian drama that preceded Ostrovsky did not provide examples of such a tragedy in which the heroes were private individuals, and not historical figures, even legendary ones.” So, the genre definition of “The Thunderstorm”, when interpreted differently, is tragedy, and tragedy, accordingly, presupposes a higher level of conflict than in drama. The contradiction occurs not at the level of the character system, but at a more complex level. The conflict arises, first of all, in the mind of the hero, who is fighting with himself.

The history of tragedy goes back centuries, but usually the characters, starting from ancient tragedy, were historical figures. Suffice it to recall Sophocles’ Antigone, who does not know what to do without violating her moral, internal moral principles (and by no means “external” synthesized state laws).

Such is the conflict in A. N. Ostrovsky, it is internal, moral, only it is not the tsar’s daughter or a noble lady who experiences it, but a simple merchant’s wife. Brought up on Christian morality and Domostroevsky principles, she sees with horror their collapse not only around, but also within herself, in her soul. Everything around her is crumbling, “the time has begun to come for supplication,” says the wanderer Feklusha. The awareness of her sinfulness and at the same time the understanding that she is not to blame for anything and that she is not able to resist passion leads her to an insoluble contradiction within herself.

Katerina cannot help but love Tikhon - after all, this is how she betrays God in her soul, but nevertheless, terrible things happen, and Katerina is unable to change anything. The conflict does not lie in the antagonism between Kabanikha and Katerina, who at first glance is seeking the right to freedom of choice of feelings, the conflict lies in Katerina herself, who saw in such a struggle a crime against God and was unable to come to terms with it. And it is not Kabanikha who destroys Katerina, as Tikhon exclaims in the finale, perceiving everything that happens from the point of view of a man of modern times - Katerina is destroyed by her own oppressive inconsistency of her feelings. But understanding Katerina’s inner experiences is inaccessible to Tikhon, like all other characters in the play. They seem to be relegated to the background, serving only as a background, a decoration for the manifestation of Katerina’s character, like, for example, Wild or the lady. But in fact, one of the main characters, Boris, is generally characterized as “belonging more to the situation.” All the heroes seem to form a single whole - their disbelief, coupled with Kuligin’s progressive worldview, acts as a kind of counterbalance to Katerina’s fanatical faith. At the same time, Katerina’s almost sectarian faith leads to an insoluble contradiction in her soul, while everyone else has long been reconciled with their conscience. This contradiction cannot be resolved peacefully, and Katerina is not able to compromise with herself.

Katerina is sharply different from all the other heroes, however, she is very similar to Kabanikha. Both believe fanatically, both realize the horror of Katerina’s transgression, but if Kabanikha protects the old, outdated, then Katerina also believes with all her soul, and for her all these trials are many times more difficult than for Kabanikha. Unable to withstand the state of uncertainty, Katerina sees a way out in repentance, but this does not bring her relief. Repentance no longer plays a special role, retribution is inevitable, Katerina, like all true believers, is a fatalist and does not believe that anything can be changed. There is only one way to end the tragic conflict in the soul - to lose it, to deprive it of immortality, and Katerina commits the most serious sin - suicide.

So, we see that the culmination and denouement of this tragedy is dictated by the genre itself, and this is no longer a social drama with its external conflict. The play is built according to the laws of tragedy; genre, composition, plot - everything influences the conflict, making it subtle and multifaceted, deep and meaningful.

We can say with confidence: “The Thunderstorm” is, as it were, the beginning of the emergence of a new tradition and at the same time remains, due to the originality of the conflict, “a unique phenomenon in Russian literature of the 18th century.”

CONCLUSION

Love is not only the most sublime feeling of a person, but also the most humane. Sometimes it lifts a person from the very depths of life, with all his shortcomings and imperfections, and leads him to the snow-white heights of the spirit. And sometimes it is so huge that it can only find a tragic outcome. This is exactly how, tragically, the life of the main character of the drama A.N. Ostrovsky "The Thunderstorm". And for everything that happened, she blamed only herself, and was not offended by anyone or anything. Her passing will probably be a bitter reproach to those who knew and loved her, a reproach for their indecision, inability and even unwillingness to understand their loved ones.

The drama “The Thunderstorm” can be called a tragedy of a “warm heart”. Everything in it is covered with the breath of burning passion, everything is full of tragic contrasts and conflicts. All clashes of characters, feelings, interests are taken to extremes, excluding compromises and reconciliation.

In the course of the study, we came to the conclusion that only a Russian person is capable of loving like that, capable of sacrificing like that, seemingly obediently enduring all hardships, while remaining himself, free, not a slave.

In his work A.N. Ostrovsky showed the tragedy of women's fate in the conditions of a bourgeois family that followed the precepts and traditions of house building. The writer showed how a cruel family turns a cheerful and naive girl into a person capable of suicide,
that is, a person brought to an extreme degree of despair and disappointment in life.

Even though this piece is over 140 years old, it is still very much contemporary. After all, in many families the woman’s share remains as difficult as Katerina’s.

LIST OF REFERENCES USED:

1. Anikin A.A. To read the play by A.N. Ostrovsky "The Thunderstorm". // Lit. at school – 1998. - No. 3

2. Gracheva I.V. An artistic detail in Ostrovsky's play "The Thunderstorm". // Lit. at school – 2003. - No. 8

3. Dobrolyubov N.A. Collected Works, in 3 volumes, vol. III

4. Zhuravleva A.I. "Thunderstorm" A.N. Ostrovsky. // Lit. at school – 1984 - No. 2

5. Zhuravleva A.I., Makeev M.S. Alexander Nikolaevich Ostrovsky. - M.: Publishing house Mosk. un-ta. 1998. - p. 35-56

6. Orlov P. Ostrovsky’s drama “The Thunderstorm” in the assessment of Dobrolyubov and Pisarev. // Lit. at school – 1967. - No. 3

7. Petrova S.M. History of Russian literature of the 19th century. - M.: Enlightenment. 1974. - from 225-241

8. Pisarev M.I. Storm. Drama A.N. Ostrovsky. "Wrapping paper." 1860. - No. 20

9. Podrubnaya E.A. There is always a place for heroic deeds in life. // Rus. language and lit. – 2000. - No. 5

10. Repina L.G. The theme of “Warm Heart” in the works of A.N. Ostrovsky. // Rus. language and lit. – 2001. - No. 5

11. Fokin P.E. Thunderstorm in "Thunderstorm". // Rus. speech. – 1985. - No. 2

ON THE. Dobrolyubov. Collected Works, in 3 volumes, vol. III, p. 198.

ON THE. Dobrolyubov. Collected Works, in 3 volumes, vol. III, p. 177

A.I. Zhuravleva

A. N. Ostrovsky was the successor and continuer of realistic traditions in Russian literature. In his works, the playwright reflected contemporary reality, typical types and images of that time, showed the existing orders, their crisis and the contradictions that arose in society in connection with this. One of Ostrovsky’s most striking works is the tragedy “The Thunderstorm,” in which the author raised the problem of the existence of a free individual in the conditions of a patriarchal house-building society.

Dramatic works are always built on conflict, and in such an original, multifaceted play as “The Thunderstorm”, the nature of the problem raised, the abundance of characters and the complexity of the system of images determine the presence of several conflicts. The tragedy describes the life of the provincial Volga town of Kalinov, living under the not best provisions of “Domostroy”. Kalinovsky society is outdated and is experiencing a crisis, a breakdown, as a result of which it is in itself a conflict: the older generation (Dikoy, Kabanikha) teaches the younger (Boris, Tikhon, Varvara, Katerina), and does this in such an obvious, undisguised form that the whole city knows about relationships in their families, although, for example, Kabanova prefers to tyrannize her neighbors not in public, but at home (as Kudryash says: “Well, at least that one, at least, is all under the guise of piety, but this one (Dikoy) has broken loose!" ). The conflict between “fathers and sons” is not the only one: disagreements arise both between representatives of the older generation (conversation between Dikiy and Kabanikha, act three, scene two) and among young people - for example, Varvara is annoyed by Tikhon’s downtroddenness and submissiveness (“It’s boring for me to look- then on you,” she says). These minor contradictions keep society in a state of tension and irritation; conflicts in Kalinov’s world are, in principle, static and do not have such a pronounced development as the main conflict of the tragedy - the conflict of the main character, Katerina, and Kalinov’s society.

The beginning of this conflict can be considered Katerina’s wedding and her move to the Kabanovs’ house. From the usual environment of universal love, harmony, and religiosity, the main character finds herself in an atmosphere of deceit, deceit, and tyranny. Katerina is not like any of the members of this society: her sincerity and artlessness are contrasted with the crudely simple resourcefulness of Varvara, the breadth and passion of her nature are contrasted with the weakness and humility of Tikhon; sensitivity, subtlety, vividness of perception of the surrounding world - Kabanikha’s stupid dogmatism. Not accustomed to being limited in anything, Katerina longs for inner freedom, but freedom here appears not as a conscious necessity, but as a spontaneous, unreasonable thirst for independence, the opportunity to give vent to her passion, and Katerina finds an outlet for her feelings in her love for Boris. In the soul of the main character, a conflict of feelings and duty arises: on the one hand, love captures her completely and requires spiritual food for development; on the other hand, for Katerina, who has absorbed the foundations of Christian teaching since childhood, it is strange to even think about the possibility of cheating on her husband.

In essence, the internal conflict is a consequence of the social one: the contradictions in Katerina’s soul are caused by the discrepancy between her moral demands and the inability of the surrounding world to satisfy them. Tikhon’s departure gives a sharp impetus to the development of the internal conflict: Katerina feels that the absence of her husband could serve as a reason for betrayal, she is afraid of her weakness and asks her husband to stay. In a conversation with Varvara, she describes her condition as follows: “It’s as if I’m standing over an abyss, and someone is pushing me there, but I have nothing to hold on to.” But Tikhon leaves, and Kalinov’s world with renewed vigor begins to drag Katerina into the abyss of lies and deception. Varvara gives her the key - a symbol of sin, and Katerina already feels drawn into this dirty world, but does not find the strength to get out of it. Ten days of festivities with Boris fly by, and Tikhon, who returns, finds his wife changed: “She is shaking all over, as if she were suffering from a fever.” ; so pale, rushing around the house, as if looking for something." Katerina is tormented by her conscience: having externally accepted the laws of Kalinov society, cheating on her husband, lying to him and her mother-in-law, she has not changed internally, retaining her moral principles and self-esteem in her soul. The culmination of the internal, and social conflict is the scene in the garden, when Katerina publicly admits to betrayal, unable to restrain herself any longer, ready for anything. The scene is accompanied by a thunderstorm, a natural disaster, a harbinger of tragedy, but at the same time bringing purification, deliverance from mental burden. However, sincere recognition and repentance in the eyes of the Kalinovites do not serve as mitigating factors, and Kabanikha, with new zeal, begins to tyranny not only Katerina, but also Tikhon (for mistreating his wife). The impossibility of staying in this world, full of misunderstanding and cruelty, terrible remorse, the departure of her beloved push Katerina to a terrible step, and the denouement of both conflicts was the suicide of the main character. The ending can be interpreted in different ways: N.A. Dobrolyubov, who called Katerina “a ray of light in the dark kingdom,” saw in her death a denial of the Domostroevsky laws of the Kalinovsky society, which stifle any manifestations of sincere feeling. On the other hand, suicide is always the highest form of selfishness, because according to religious norms, one can atone for sin only through prolonged suffering, prayer, and humility. Then Katerina had to stay in the Kabanovs’ house and humbly accept all the barbs and insults. But if we take into account the deep spiritual tragedy of the heroine, if we try to enter into her position, then it becomes clear that the cruel society of the city of Kalinov left her no other way out and suicide - a natural outcome of the mental contradictions that tormented Katerina, internal conflict, as well as social - impossibility the coexistence of an individual thirsting for freedom and a deaf patriarchal house-building society.

The contribution of A. N. Ostrovsky to Russian drama is invaluable: following the traditions of realism, he not only created a number of bright, colorful images, not only captured characteristic pictures, but also explored the psychological origins of conflicts in Russian society of the mid-19th century, and was also an innovator in stage solution to the play: he expanded the scope of the action (in “The Thunderstorm” - a garden, a ravine, a street, a square, etc.), made extensive use of the landscape and crowd scenes. Ostrovsky's greatest creations, original and innovative, are included in the treasury of not only Russian, but also world literature.

A conflict is a clash between two or more parties that do not coincide in their views and worldviews. In Ostrovsky’s play<Гроза>several conflicts, but how to decide which one is the main one? In the era of sociology in literary studies, it was believed that social conflict was the most important in the play. Of course, if you see in the image of Katerina a reflection of the spontaneous protest of the masses against the constraining conditions<темно-го царства>and to perceive Katerina’s death as a result of her collision with her tyrant mother-in-law, the genre of the play should be defined as a social and everyday drama. Drama is a work in which the social and personal aspirations of people, and sometimes their lives themselves, are under threat of death from external forces beyond their control. The play also contains a generational conflict between Katerina and Kabanikha: something new always comes on the heels of the old, the old does not want to surrender copyright 2005 ALLSoch.ru to the new. But the play is much deeper than it might seem at first glance. After all, Katerina primarily fights with herself, and not with Kabanikha, the conflict develops not around her, but in herself. Therefore the play<Гроза> can be defined as a tragedy. Tragedy is a work in which there is an insoluble conflict between the personal aspirations of the hero and the super-personal laws of life that occur in the mind of the protagonist. In general, the play is very similar to an ancient tragedy: the chorus is replaced by some extra-plot characters, the denouement ends with the death of the main character, as in the ancient tragedy (except for the immortal Prometheus). The death of Katerina is the result of a collision of two historical eras. Some of the characters in the play seem to differ from the time in which they live. For example: Kuligin is a man of the 18th century, he wants to invent a sundial, which was known in antiquity, or a perpetuum mobile, which is a distinctive feature of the Middle Ages, or a lightning rod. He himself reaches with his mind something that has already been invented a long time ago, but he only dreams about it. He quotes Lomonosov and Derzhavin - this is also a trait of a man of the 18th century. Boris is already an educator of the 19th century, an educated person. Katerina is the heroine of pre-Petrine times. The story about her childhood is a story about the ideal version of patriarchal pre-Mostroev relations. In this world of kings there is only all-pervading mutual love; a person does not separate himself from society. Katerina was raised in such a way that she could not refuse moral and moral laws; any violation of them would mean inevitable death. Katerina turns out to be, as it were, older than everyone in the city in her worldview, even older than Kabanikha, who remained as the last guardian of the house-building way of life in Kalinov. After all, Kabanikha only pretends that everything in her family is as it should be: her daughter-in-law and her son fear and respect her, Katerina is afraid of her husband, and she doesn’t care how everything really happens, only appearances are important to her. The main character finds herself in a world that she imagined completely differently, and the patriarchal structure within Katerina is destroyed right before her eyes. In many ways, Varvara decides Katerina’s fate by encouraging the latter to go on a date. Without Varvara, it is unlikely that she would have decided to do this. Varvara belongs to the youth of the city of Kalinov, which was formed at the turning point of patriarchal relations. Katerina, finding herself in a new environment for her, cannot get used to society; it is alien to her. For her, an ideal husband is a support, support, and ruler. But Tikhon does not confirm Katerina’s expectations, she is disappointed in him, and at this moment a new feeling is born - a feeling of personality, which takes the form of a feeling of love. This feeling for Katerina is a terrible sin. If she had continued to live in a patriarchal world, then this feeling would not have existed. Even if Tikhon had shown his masculine will and simply taken her with him, she would have forgotten about Boris forever. Katerina's tragedy is that she does not know how to be a hypocrite and pretend, like Kabanikha. The main character of the play, moral, with high moral requirements, does not know how to adapt to life. She could not live further, having broken the laws once<Домостроя>. The feeling that arose in Katerina cannot be fully embodied in her, and she, not reconciling herself with what she has done, commits an even greater sin - suicide. Play<Гроза>is the tragedy of the main character, in which the era of the turning point of patriarchal relations played an important role.

Ostrovsky wrote his play “The Thunderstorm” back in 1859, even before serfdom was abolished. In his work, the author shows how society eats itself from the inside, living according to an established way of life and touches on several conflicts.

Drama Thunderstorm conflict and placement of characters

In the drama “The Thunderstorm,” which touches on conflicts of various natures, the automaker arranged the characters, dividing them into those who happily live in patriarchal Kalinov and those who do not agree with its foundations and laws. We include Kabanikha and Dikiy among the first, who by nature are despots, tyrants, representatives of the “Dark Kingdom.” The second group includes the younger generation, where Varvara leaves home, Tikhon becomes weak-willed, and Katerina, in spite of everything, in spite of despotism, decides to commit suicide, just not to live by the rules that contradict her as an individual. The heroine with a new outlook on life does not want to accept Domodedovo morals. Thus, with the help of a small number of characters who live in Kalinov on the banks of the Volga, the author reveals several unique conflicts in the drama “The Thunderstorm,” among them a family conflict, which manifests itself in Katerina’s clash with her mother-in-law.

Social conflict in the drama The Thunderstorm

The author also touched upon the social conflict in the drama “The Thunderstorm,” which is represented by a clash of different worldviews, where the old fights the new, where the merchant and the merchant’s wife are generalized images of tyranny and ignorance that flourished in those days. They are opponents of progress, everything new is perceived with hostility. They want to keep everyone on a short leash so that their “dark kingdom” does not collapse. However, the new worldview that Katerina has is an alternative to the old one. It is different from the views, foundations, traditions that are adhered to in the dark kingdom. Katerina is a generalized character of a different mindset, with a different character, which is already beginning to emerge in a rotten society and becomes a ray of light in this dark world.

What is the main conflict of the drama The Thunderstorm?

Among the social and family conflicts, the main conflict can be identified. What is the main conflict of the drama "The Thunderstorm"? I believe that the main thing here is the conflict that unfolds within the heroine herself. This is a confrontation between the individual and society. Here we see that Katerina wants to be herself, free, life among violence is unacceptable to her, but in Kalinov it is impossible to do otherwise. Here it’s either this way or not at all. But the heroine does not put up with this situation, and if it is impossible to live as she wants, it is better to die. She could not kill the freedom-loving personality in herself for the sake of the established order.

Why did the author choose this title for his work? Probably because the depicted life in Kalinov is in a pre-storm state, in a state when a catastrophe is coming. This is a thunderstorm, as a harbinger of future changes, a thunderstorm, as a spontaneous feeling that arose between Katerina and Boris, a thunderstorm is a disagreement with the foundations. And to emphasize the dead life of the Kalinovites, the author uses the image and description of beautiful nature.

Conflict is an essential component of a dramatic work. It is realized through the plot at various levels and is transformed along with changes in literary direction.

Thus, in Ostrovsky’s play “The Thunderstorm,” written just two years before the abolition of serfdom, the author describes people who do not want to live in a new way. Society clings to the patriarchal order, thereby stopping progress. Ignorance and groveling are considered the norm.

The conflict manifests itself through the relationships of the characters. A striking confrontation in the play is the couple of Katerina and Kabanikha. The women had to be under the same roof due to circumstances. The Kabanov family is influential and wealthy. Marta Ignatievna has an adult son and daughter. The mother loves to manipulate her children, especially her son. He considers only his own opinion to be correct and does not skimp on humiliation and insults for all family members.

Katerina married Tikhon at a young age, and therefore hoped that after marriage she would live the way she wanted. In reality, the girl faces cruelty from her mother-in-law. Katerina and Marfa are different, but both have strong characters. The young girl is trying with all her might to resist Kabanikha.

A love conflict is observed in the couple of Katerina and Boris. Katya falls in love with a young man who recently arrived. She likes that he is not like the inhabitants of the city, his views are close to her. An affair begins between the couple. Katerina is not afraid of either condemnation or shame. However, Boris is not ready to take responsibility. For him, this is just entertainment, because the main purpose of his visit to Kalinov is to receive an inheritance from his uncle.

A serious conflict occurs between the pair of Dikiy and the self-taught inventor Kuligin. Dikoy keeps the whole city in fear: he steals, insults, drinks and treats everyone down. Kuligin, on the contrary, is trying to help people, wants to invent something useful for everyone. However, he does not have enough money for his ideas.

Thus, several conflict situations unfold in the work: between a person and society, generations, old and new, as well as a conflict within the individual himself.

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