Already such and such a scolder, like ours

Savel Prokofich, look for more! ..

Ka-banikha is also good.

A. Ostrovsky. Storm

In his drama "The Thunderstorm" A. N. Ostrovsky brightly and vividly depicted the "dark kingdom" of the Russian province, suppressing the best human feelings and aspirations. The author was not only the first to introduce the word "sa-modur" into literature, but also developed in an artistic form the very phenomenon of tyranny, when people in power act arbitrarily, according to their whim, regardless of others.

In the drama "Thunderstorm" the phenomenon of tyranny is described by the example of the images of "significant persons" of the city of Kalinov - Di-ko and Kabanikha.

For the Wild, the main goal in life, the only law, is money. Rude, greedy, ignorant, Dikoy cowards over every penny. He is the richest man in the city, but everything is not enough for him, because he is convinced that money is power. And this attitude allows him to cruelly exploit people and put himself above everyone else: “So you know that you are a worm. If I want to - I will have mercy, if I want - I will crush ”. In accumulating money, Dikoy does not choose the means: he appropriates the inheritance of his nephews, mocking them at the same time, shamelessly cheating on the poor men working for him: "he will not disappoint a single one." He acts according to the principle: "I have a lot of people a year ... I will not pay them extra for a penny per person, but I make up a thousand of this, so it is good for me!" Dikoy used to think only of himself.

No wonder they say about this merchant: "His whole life is based on swearing." As a human being, Dikoy simply does not know how to talk: he screams, swears, does not give life to the house-mates. Rude and unceremonious, he realizes his impunity and therefore often insults the poor and the wicked: "They must obey me ..." money, Dikoy folds, retreats. Darkness, lack of culture, limited mental outlook - the traits that characterize the merchant are far from being the best.

Kabanikha is an ardent defender of the old foundations of life and customs of the "dark kingdom". Conservatism of views and hatred of everything new are its distinguishing features: “This is how old things are deduced. I don’t want to go to another house. And if you go up, you will spit, and get out as soon as possible. I don’t know what will happen, how the old people will die, how the light will stand. ”

The strong, domineering, despotic character of Kabanikha, combined with the most serious attitude to the domestic order, makes the life of the household in her family unbearable. She raised her son to be spineless, weak, devoid of independence, slavishly submissive to the mother's will. But Kabanikha wants to make him a “master” in his family, whom his wife not only obeys unquestioningly, but is also afraid. Therefore, she not only suppresses the will of her son, but also torments, finds fault, constantly reproaches her daughter-in-law.

The boar strictly adheres to customs and rituals, many of which are outdated and become ridiculous; for her, the main thing is observance of the form, despite the fact that living people suffer from her inertia and ignorance. Material from the site

Hypocrisy and hypocrisy are typical character traits of Kabanikha. She knows how to cover up her actions with a mask of submission to God's will: “Prude, sir. She clothe the beggars, but ate the household ones. " However, Kabanikha's religiousness is external, a tribute to traditions.

The unlimited power of wild boars and boars strangles the city, about the life of which Dobrolyubov wrote: "The absence of any law, any logic - this is the law and logic of this life."

Quite often we even today meet with tyrants in life. They can be distinguished by the fact that "the tyrant is trying to prove that no one decree for him and that he will do whatever he wants." I think that the only way to fight tyranny is the development of the inner qualities of each person, the revival of true culture in one's own heart.

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Ozhegov's dictionary says that a tyrant is a person who acts on a whim and according to personal arbitrariness, humiliating and insulting to others. Thus, tyranny as a phenomenon presupposes the arbitrariness of some people in relation to others. The characters of the play by A. N. Ostrovsky "The Thunderstorm", written in 1859 during the revolutionary situation in Russia, are divided into tyrants and their victims. The action takes place in the fictional city of Kalinov on the banks of the Volga.

The absence of an exact geographical name emphasizes that we are faced with a typical provincial town, in which, as in a mirror, all of Russia will be reflected in the pre-reform period, when the old still has strength and tenaciously holds on to power, and the new arises in the still unclear aspirations for freedom.

The tyrants in the play include “significant persons” of the city: the wealthy merchant Saul Prokofievich the Wild and the merchant's widow Martha Ignatievna Kabanova, in common parlance Kabanikha. The names of the heroes indicate the presence in them of the "animal" principle and the lack of humanity: kindness, pity, mercy, compassion. The name "Saul" is associated with the Apostle Paul, who before his conversion to Christianity bore the name Saul and was a fierce persecutor of Christians. With Dikim moral transformation did not happen, he remained the oppressor of the poor. The patronymic "Prokofievich" is translated as "prosperous", indicating those "earthly" benefits that the merchant has accumulated, robbing the peasants for a penny. The name "Martha" means "mistress", emphasizing the imperious nature of this keeper of the Domostroy foundations. The surname "Wild" characterizes its owner as a hot-tempered and unbalanced person who quickly becomes angry. The surname "Kabanova" conveys the rudeness and cruelty of Marfa Ignatievna's disposition. Thus, we made sure that A. N. Ostrovsky endowed his heroes with bright "speaking" names that accurately and very meaningfully reveal the moral essence of these tyrants.

In characterizing these wealthy residents of Kalinovka, their first appearance on the stage, the so-called "visiting card", is of great importance. Dikoy has not yet appeared on the stage, but Kuligin and Kudryash report about him that he is "waving his arms" and "scolding his nephew." "Found where the place is!" - the mechanic - self-taught Kuligin, who had just admired the beauty of the Volga landscape, notes with disapproval. Indeed, the behavior of the Wild, sharply waving his arms, inflamed in anger, against the background of the free Volga, a wonderful rural view, opening from the high bank of the river, seems ugly. The beauty of nature and the ugliness in human relationships - this is the contrast from which the play begins. People do not understand "what kind of beauty is spilled in nature." If the residents of Kalinovka saw this beauty, they would feel the delight that the "antique" Kuligin has experienced for fifty years, looking beyond the Volga, they would learn peace, silence and harmony from nature. But in the patriarchal world of the town there is no "splendor": tyrants tyrannize their victims, and they meekly endure.

Why is Dikoy scolding Boris? Seeing his nephew, every time he remembers the trouble: according to the will of his mother and grandmother Boris, he must transfer part of the inheritance to the young man, provided that they are respectful to him. It's a pity for money. On the other hand, who will forbid Dikiy to say that Boris is disrespectful, even if it’s not true? After all, Dikoy feels like a full-fledged owner, and the law is not written to him. The mayor himself can easily, in a friendly way, pat on the shoulder when he calls to order. When asked to count the peasants well, Savel Prokofievich replies to the governor: “Is it worth it, your honor, to talk about such trifles with you! I have a lot of people every year; You must understand: I will not pay them a penny per person, but I make thousands of this, so it’s good for me! ”

Kabanikha appears on stage surrounded by his family: son Tikhon, daughter-in-law Katerina and daughter Varvara. Communication of Marfa Ignatievna with close people leaves a painful impression. she has a presentiment that the “children” want to live by their own will, she is afraid that they will leave from under her power. “The elders are not respected very much now,” Kabanikha grumbles and reproaches Tikhon that his wife is dearer to him than his mother.

We see that Dikoy and Kabanikha are two different socio-psychological types. The tyranny of the Wild one is based on the power of money and lawlessness. One has only to start talking about money, as this "swearing man" and "shrill man" becomes uncontrollable, offends defenseless people, "as he fell off the chain", it costs him nothing "to cut off a man for nothing." His actions are governed by self-will. "If I want - I will have mercy, if I want - I will crush," he says to Kuligin when he asks for only ten rubles for public benefit to install a sundial on the boulevard.

Kabanikha embodies the patriarchal type of merchant class, but she only requires formal execution of the traditional way of life. For example, a wife must be afraid of her husband. “Another good wife, after seeing her husband off, howls for an hour and a half, lies on the porch; and you, apparently, nothing, ”she reproaches Katerina. She does "everything under the guise of godliness." Observing the "letter" of the housebuilding law, choosing the most severe rules from it, she forgets about the basic Christian law - mercy and forgiveness. This shows her sanctimonious essence. “Prude, sir! She clothe the beggars, but she ate the family altogether, ”says Kuligin about Kabanikha.

Kabanova is always confident in her righteousness, always firm and adamant, explains her grumbling and severity with her love for children. Feelings of remorse and pity are unfamiliar to this guardian of patriarchal foundations. The dim light of moral truth still dawns in Dick, sometimes gleams of the consciousness of sin appear, and he is able to ask for forgiveness. In Kabanikha, the consciousness of his sinfulness is completely absent.

What is the basis of the power of these masters of the city? The complete helplessness and irresponsibility of the victims, their humility and humility, the inability to defend their human dignity allow the Wild and Kabanikha to commit atrocities with impunity, because they do not meet with resistance. Once on a ferry, a hussar cursed Dikiy. Due to the inability to respond to the offender, Savel Prokofievich took out his evil on his family.

Alexander Ostrovsky in the play "The Thunderstorm" divided all the inhabitants of the city into two large groups: the "dark kingdom" and the oppressed. The first includes the powerful, the rich, and oppressive to everything modern and living. Dikoy and Kabanikha are prominent representatives of this group. The author contrasts them with the victims of the "dark kingdom", the oppressed people. These include Kuligin, Katerina, Boris, Tikhon, Varvara, Kudryash. The unfortunate heroes equally suffer from the representatives of the "dark kingdom", only they show their protest in different ways.

Money rules the world

The characterization of Dikiy becomes clear after reading the landowner's surname, which speaks for itself. Savel Prokofich is a wealthy merchant and highly respected person in the city of Kalinov. This is one of the most negative characters in the play. Rude, aggressive, ignorant, stubborn - this is such a short description of the Wild. This person feels his impunity, so he is ruled by unbridled arbitrariness. The landowner allows himself to treat people like nothing, to be rude, call names, offend - all this gives him unspeakable pleasure.

The wild can be described in one word - tyrant. Savel Prokofich intimidated everyone around him; neither the people around him, nor his relatives can rest from him. The characterization of the Wild is disgusting among readers. Every day his wife, with tears in her eyes, begs everyone not to anger the master, but it is impossible not to make him angry: he himself does not know what his mood will be in a minute. Households from Savel Prokofich's rage are hiding in closets and attics.

Excessive greed of the landlord

The characterization of the Wild will be more complete if greed is added to tyranny. More than anything, he loves his money, parting with which for him is like a knife in his heart. The servants did not dare to hint about the salary. The owner himself understands that he needs to give the money, and in the end he will give it back, but before that he will definitely swear at the person. To offend someone, to prick more painfully to the master did not cost anything. He is not at all ashamed of strangers, uses strong words and without hesitation swaggers over those who are weaker than him.

Ignorance and despotism of the moneybag

Cowardice before equals, rejection of everything new - this is also a characteristic of the Wild. The landowner does not care about the feelings of the people around him, but he keeps his temper in front of those who can fight back. Savel Prokofich did not dare to be rude to the passing hussar, but then he took out his resentment on the family. Kabanikha, he also does not dare to show his character, because he considers her to be his equal.

Ostrovsky very well showed the ignorance of Dikiy in the conversation between the landowner and Kulagin. Savel sincerely believes that a thunderstorm is sent as a punishment for sins. He accuses Kulagin of fraud, because how can one defend against the elements with rods and poles. The characterization of the Wild shows what a stupid and retarded person he really is. His ignorance can be traced in the manner of speaking, intonation, the use of abusive, offensive expressions, distortion of words of foreign origin. A rude, stupid, stubborn despot - that's what you can say about Dick.

The play "The Thunderstorm" occupies a special place in Ostrovsky's work. In this play, the playwright most vividly outlined the "world of the dark kingdom", the world of tyrant merchants, the world of ignorance, arbitrariness and despotism, domestic tyranny.

The play takes place in a small town on the Volga - Kalinov. At first glance, life here is a kind of patriarchal idyll. The whole city is buried in greenery, beyond the Volga there is an "extraordinary view", on its high banks a public garden is laid out, where residents of the town often walk. Life in Kalinov flows quietly and unhurriedly, there are no upheavals, no exceptional events. News from the big world is brought to the town by the wanderer Feklusha, who tells the Kalinovites fables about people with dogs' heads.

However, in reality, not everything is so well in this small, abandoned world. This idyll is already being destroyed by Kuligin in a conversation with Boris Grigorievich, Diky's nephew: “Cruel manners, sir, in our city, are cruel! In philistinism, sir, you will see nothing but coarseness and naked poverty ... And whoever has money ... is trying to enslave the poor so that he can earn even more money from his gratuitous labors. " However, there is no agreement between the rich as well: they "are at enmity with each other", "malicious slanderous scribbling", "suing", "undermining trade." Everyone lives behind an oak gate, behind strong locks. “And they do not lock themselves in from thieves, but so that people do not see how they eat their household and tyrannize their family. And what tears are pouring behind these constipations, invisible and inaudible! .. And what, sir, behind these locks, the debauchery of dark and drunkenness! " - exclaims Kuligin.

One of the richest, most influential people in the city is the merchant Savel Prokofievich Dikoy. The main features of the Wild are rudeness, ignorance, hot temper and absurdity of character. “Look for such and such a scolder like ours Savel Prokofich! No way will he cut off a person, ”Shapkin says about him. The whole life of the Wild is based on "swearing". Neither cash payments, nor a trip to the bazaar - "he can’t do anything without abuse." Most of all goes from Dikiy to his family and his nephew Boris who came from Moscow.

Savel Prokofievich is stingy. “... Just give me a hint of money, I’ll start kindling my whole inner life,” he says to Kabanova. Boris came to his uncle in the hope of receiving an inheritance, but he actually fell into bondage to him. Savel Prokofievich does not pay him a salary, constantly insults and scolds his nephew, reproaching him for laziness and parasitism.

Dikoy and Kuligin, a local self-taught mechanic, repeatedly quarrels. Kuligin is trying to find a reasonable reason for Savel Prokofievich's rudeness: "Why, sir Savel Prokofievich, would you please to offend an honest man?" To which Dikoy replies: “I’ll give you a report or something! I don’t give a report to anyone more important than you. I want to think so of you, and I think so! For others, you are an honest man, but I think that you are a robber - that's all ... I say that you are a robber, and the end. Why are you going to sue, or what, you will be with me? So you know that you are a worm. If I want - I will have mercy, if I want - I will crush ”.

“What theoretical reasoning can stand where life is based on such principles! The absence of any law, of any logic - this is the law and logic of this life. This is not anarchy, but something even much worse ... ", wrote Dobrolyubov about the tyranny of the Wild.

Like most Kalinovites, Savel Prokofievich is hopelessly ignorant. When Kuligin asks him for money to install a lightning rod, Dikoy declares: "A thunderstorm is sent to us as punishment, so that we feel, and you want to defend yourself with poles and rods."

Dikoy represents the "natural type" of tyrant in the play. His rudeness, rudeness, bullying of people are based, first of all, on the absurd, unbridled character, stupidity and lack of opposition from other people. And only then on wealth.

It is characteristic that practically no one provides active resistance to the Wild. Although it is not so difficult to calm him down: an unfamiliar hussar "cursed" him on the ferry, and Kabanikha is not shy in front of him. “There are no elders over you, so you are swaggering,” Marfa Ignatievna bluntly declares to him. Characteristically, here she is trying to fit the Wild to her vision of the world order. Kabanikha explains the constant anger and irascibility of Dikiy by his greed, but Savel Prokofievich himself does not even think to deny her conclusions. "Who does not feel sorry for their good!" he exclaims.

Much more complex in the play is the image of Kabanikha. This is the spokesman for the "ideology of the dark kingdom", which "has created a whole world of special rules and superstitious customs."

Marfa Ignatievna Kabanova is a wealthy merchant's wife, a widow who cultivates the orders and traditions of antiquity. She is grumpy, constantly unhappy with others. It gets from her, first of all, from the family: she "eats" Tikhon's son, reads endless lectures to her daughter-in-law, tries to control her daughter's behavior.

Kabanikha jealously defends all the laws and customs of Domostroi. A wife, in her opinion, should be afraid of her husband, be silent and submissive. Children should honor their parents, follow all their instructions unquestioningly, follow their advice, respect them. None of these requirements, according to Kabanova, are fulfilled in her family. Marfa Ignatievna is dissatisfied with the behavior of her son and daughter-in-law: “They know nothing, no order,” she argues alone. She reproaches Katerina with the fact that she does not know how to accompany her husband "in the old way" - therefore, she does not love him enough. “Another good wife, after seeing her husband off, howls for an hour and a half, lies on the porch ...” she teaches her daughter-in-law. Tikhon, in the opinion of Kabanova, is too soft in his treatment of his wife, not respectful in the proper measure in relation to his mother. “The elders are not respected very much nowadays,” says Marfa Ignatievna, reading the instructions to her son.

The boar is fanatically religious: she constantly thinks about God, about sin and retribution, wanderers are often in her house. However, the religiosity of Marfa Ignatievna is nothing more than pharisaism: "The hypocrite ... He closes the beggars, but the family is completely consumed," Kuligin notes about her. In her faith, Marfa Ignatievna is harsh and adamant, there is no place for love, mercy, forgiveness in her. So, at the end of the play, she does not even think about forgiving Katherine her sin. On the contrary, she advises Tikhon to bury his wife alive in the ground so that she may be executed.

Religion, ancient rituals, pharisaic complaints about his life, playing on filial feelings - Kabanikha uses everything to assert her absolute power in the family. And she "gets her way": in the harsh, oppressive atmosphere of domestic tyranny, Tikhon's personality is disfigured. “Tikhon himself loved his wife and was ready to do anything for her; but the oppression under which he grew up has so disfigured him that in him no strong feeling, no decisive striving can develop. He has a conscience, there is a desire for good, but he constantly acts against himself and serves as a submissive instrument of his mother, even in his relations with his wife, "writes Dobrolyubov.

The simple-minded, non-spiteful Tikhon lost the integrity of his feelings, the opportunity to show the best features of his nature. Family happiness was initially closed to him: in the family where he grew up, this happiness was replaced by "Chinese ceremonies." He cannot show his love for his wife, and not because “the wife should be afraid of her husband,” but because he simply “does not know how” to show his feelings, which were brutally suppressed from childhood. All this led Tikhon to a certain emotional deafness: he often does not understand the state of Katerina.

Depriving her son of any initiative, Kabanikha constantly suppressed his masculinity and at the same time reproached him for lack of masculinity. Subconsciously, he seeks to make up for this "lack of masculinity" in drinking and rare "partying" "in the wild." Tikhon cannot realize himself in some business - probably, his mother does not allow him to manage affairs, considering his son unsuitable for this. Kabanova can only send her son on an errand, but everything else is under her strict control. It turns out that Tikhon is deprived of his own opinion and his own feelings. It is characteristic that Marfa Ignatievna herself is to some extent dissatisfied with her son's infantilism. It slips into her intonations. However, she probably does not realize the extent of her involvement in this.

The life philosophy of Varvara was also formed in the Kabanov family. Her rule is simple: "do what you want, as long as it is sewn and covered." Varvara is far from Katerina's religiosity, from her poetry and exaltation. She quickly learned to lie and dodge. We can say that Varvara, in her own way, "learned" the "Chinese ceremonies", having perceived the very essence of them. The heroine still retains the spontaneity of feelings, kindness, but her lies are nothing more than reconciliation with Kalinov's morality.

It is characteristic that in the finale of the play both Tikhon and Varvara, each in their own way, rebel against the "power of mama." Varvara runs away from home with Kuryash, while Tikhon for the first time openly expresses his opinion, reproaching his mother for the death of his wife.

Dobrolyubov noted that "some critics even wanted to see a singer of broad natures in Ostrovsky", "they wanted to assign arbitrariness to the Russian person as a special, natural quality of his nature - under the name" breadth of nature "; they also wanted to legitimize cheating and cunning in the Russian people under the name of sharpness and deceit. "In the play" The Thunderstorm "Ostrovsky debunks both the one and the other phenomenon. Arbitrariness comes out in him" heavy, ugly, lawless ", he sees in it nothing more than tyranny. , the flip side of tyranny.

"Until recently, people were very wild"
(L. Dobychin)

Dikoy in Ostrovsky's play "The Thunderstorm" completely belongs to the "dark kingdom". A wealthy merchant, the most respected and influential person in the city. But at the same time, terribly ignorant and cruel. The characterization of the Wild in the play "The Thunderstorm" is inextricably linked with the description of the mores and habits of the inhabitants of the city. Kalinov himself is a fictional space, so vices spread to the scale of all of Russia. Having identified the character traits of the Wild one, one can easily understand the sad social situation that developed in Russia in the 19th century.

The author of Dikoy in "The Thunderstorm" gives a meager description: a merchant, a significant person in the city. Almost not a word is said about appearance. Nevertheless, it is a colorful image. The character's surname speaks for itself. The semantic field of "wildness" is mentioned more than once in the text of the work. In the description of the life of the city of Kalinov, drunkenness, abuse and assault, in other words, savagery, are constantly mentioned. Unmotivated fear of a thunderstorm only strengthens the belief that the inhabitants have stopped at some primitive stage of development. The name Saul also speaks. It belongs to the Christian tradition. This biblical character is known as the persecutor of Christians.

The image of the Wild in Ostrovsky's play "The Thunderstorm" is quite unambiguous. There is not a single scene or episode where this character would show his positive qualities. And, in fact, there is nothing to show. All Dikoy seems to be composed of bile, dirt and abuse. Almost all of his remarks contain swear words: “You have failed! I don’t want to talk to you, with a Jesuit ”,“ Leave me alone! Leave me alone! A stupid person! "

Thoughtless submission to those with more money has created a kind of legend about Dick as the main man in the city. And the wild behaves in accordance with this conditional status. He is rude to the mayor, steals from ordinary peasants, threatens Kuligin: “and for these words you will be sent to the mayor, so he will ask you!”, “So you know that you are a worm. If I want - I will have mercy, if I want - I will crush ”. Wild is uneducated. He does not know history, does not know the present. The names of Derzhavin and Lomonosov, and even more so the lines from their writings, are similar for Dikiy to the most insulting abuse. The inner world of the hero is so poor that the reader has no reason to sympathize with him. Wild isn't even a hero, but rather a character. There is no inner filling in it. The character of Savl Prokofievich is based on several qualities: greed, selfishness and cruelty. There is absolutely nothing else in Dick and a priori cannot appear.

One scene from the life of the Wild remains practically invisible to readers. Kudryash says that once a man was rude to Dikoy and put him in an awkward position, which made the merchant laugh for two more weeks. That is, Dikoy is actually not at all what he wants to seem. It is laughter that is an indicator of his insignificance and inappropriate pathos.

In one of the actions, the intoxicated merchant "confesses" with Martha Ignatievna. Kabanikha speaks with him on equal terms, from her point of view, Savl Prokofievich would have been less arrogant if there was a man richer than the Wild in Kalinov. But Dikoy disagrees, remembering how he scolded the peasant, and then apologized, bowing at his feet. We can say that in his speeches a typical feature of the Russian mentality is realized: “I know that I’m doing badly, but I can’t help myself.” Dikoy admits: “I will give, I will give, but I will swear. Therefore, just give me a hint of money, I will start to kindle all my insides; he kindles all the insides, and that's all; well, and in those days I will never swear at a person. " Kabanikha notes that often Savl Prokofievich deliberately tries to arouse aggression in himself when people come to him to ask for loans. But Dikoy parries - "Who does not feel sorry for his good!" Although the merchant is used to taking out his anger on women, he is cautious with Kabanikha: she is more cunning and stronger than him. Perhaps it is in her that he sees a much stronger tyrant than himself.

The role of Dikiy in Ostrovsky's "The Thunderstorm" is clear. It is in this character that such a concept as tyranny is embodied. A wild greedy worthless person who imagines himself the arbiter of destinies. He is capricious and irresponsible, like Tikhon, he just loves to have a glass of vodka. However, behind all this tyranny, rudeness and ignorance, ordinary human cowardice is hidden. Dikoy is even afraid of thunderstorms. In it, he sees supernatural power, the punishment of the Lord, so he tries to hide from the storm as soon as possible.

There are many social flaws that can be highlighted through this concentrated look. For example, clerical worship, bribery, stupidity, narrow-mindedness. Along with this, one can also talk about selfishness, the fall of moral principles and violence.

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In "Storm" there is a typical image of tyrant in the face of the Wild. The rich merchant Dikoy, like Kabanova, does not tolerate any contradictions. Dikoy is very rude to strangers and members of his family.

The self-taught mechanic Kuligin offers Dikiy to arrange a sundial on the boulevard and asks for ten rubles. Dikoy is angry and suspects Kuligin of deception and calls him a robber. “I want to think so of you, and I think so. For others, you are an honest person, but I think that you are a robber, that's all! " The Dikiy's greed for money is so great that he either does not pay the workers at all, or he cheats them. “Nobody dares to utter a word about the salary,” says Kudryash, who lives with him. How do you know what I'm thinking, he says? Can't you know my soul? Or maybe I will come to such an arrangement that I will give you five thousand. " Dikoy himself admits to Kabanova that he cannot give money to anyone with good, although he understands that he must pay. “Just give me a hint of money,” he says, “he’ll kindle all my insides; well, in those days I will never swear at a person. "

Dikoy is a complete type of tyrant merchant.
In one of his comedies ["In a strange feast, a hangover"] Ostrovsky defines the meaning of the word "tyrant" as follows: "Tyrant is called, if a person does not listen to anyone; You give him at least a stake on his head, and he is all his own. He will stamp his foot and say: who am I? At this point, all the household must be at his feet, and they lie, otherwise it’s a disaster ... This is a wild, domineering man with a tough heart. ”

Savel Prokofich Dikoy is such a tyrant, whose behavior is based on unbridled arbitrariness and stupid obstinacy. He was accustomed to the unquestioning obedience of those around him, who would do anything in order not to somehow anger him. It is especially hard for the family: at home, Dikoy loses his girdle without any restraint, and family members, fleeing from his rage, hide all day in attics and in closets. He finally hunted down Dikoy's nephew, Boris Grigorievich, knowing that he was completely financially dependent on him.
Dikoy is not at all shy with strangers, over whom one can "play around" with impunity. Thanks to money, he holds in his hands the entire mass of powerless inhabitants and mocks them. The features of petty tyranny are especially clearly manifested in his conversation with Kuligin. Kuligin once turned to Dikiy with a request to give ten rubles for the construction of a sundial for the city.
“Wild. Or maybe you want to steal; who knows you! ..
Kuligin. Why, sir, Savel Prokofich, would you please to offend an honest man?
Wild. Should I give you a report? I don’t give a report to anyone more important than you. I want to think so of you, I think so. For others, you are an honest person, but I think that you are a robber, that's all. Would you like to hear it from me? So listen! I say that a robber, and the end! What are you, to sue, or what, you will be with me! So you know that you are a worm. If I want - I will have mercy, if I want - I will crush ”.

Dikoy feels his strength and power, the power of capital. "Fat bags" were revered then by "eminent people", before whom the poor were forced to curry favor and grovel. To become people meant "to amass" capital for oneself. Any means were good, just to get rich. The same Kuligin says about it this way: "And whoever has money, sir, is trying to enslave the poor so that he can earn even more money from his free labors."

For the sake of money, Dikoy is ready to go to any kind of fraud and deception. Here is one of his tricks: "I have a lot of people a year ... I will not pay them extra for a penny per person, but I make thousands of this, so it is good for me!" The complaints of the offended do not reach the goal. And what can the poor do with a tyrant when he even pats the mayor familiarly on the shoulder?
Money is his passion. Parting with them, if they got into his pocket, is painful for the Wild. "In his house, no one dares to utter a word about the salary: he will scold what the world is worth." Dikoy himself speaks of this best of all: “... but what are you going to order me to do with yourself when I have such a heart! After all, I already know that I must give it back, but I can’t do everything good! You are my friend, and I have to give you back, but if you come and ask me, I will scold you. I will give, I will give, but I will scold. Therefore, just give me a hint of money, I will start to kindle all my insides; he kindles all the insides, and that's all; well, and in those days I will never swear at a person. " "A piercing man" - this is how Kudryash characterizes Dikiy for his rudeness and swearing.

Dikoy passes only in front of those who are able to repulse him. Once on the ferry, on the Volga, he did not dare to contact the passing hussar, and then again he took out his resentment at home, dispersing everyone in the attics and closets. He also restrains his temper in front of the Kabanikha, seeing her as his equal.
The power of money was, however, not the only reason that created the basis for unbridled arbitrariness. Another reason for tyranny to flourish was ignorance.
The Dikiy's speech is replete with rude, offensive expressions and epithets (robber, worm, fool, damned parasite, etc.).

Despotism, unbridled arbitrariness, ignorance, rudeness - these are the features of "cruel morals" that characterize the image of the tyrant Wild, a typical representative of the "dark kingdom".

Petty tyranny and Ignorance in the drama of A. N. Ostrovsky "The Thunderstorm"

1. The realism of the drama "Thunderstorm".

2. Portrait of Savel Prokofievich the Wild.

3. The boar is the head of the "dark kingdom".

4. Completion of power Petty tyranny and ignorance in the drama of A. N. Ostrovsky "The Thunderstorm"

The idea of ​​creating the drama "The Thunderstorm" came to Alexander Nikolaevich Ostrovsky in 1859 after a long trip to the Volga cities. It is believed that the prototype of the main character of this play - Katerina Kabanova - was a real woman, Alexandra Klykova. Her life story was very similar to that of Katerina. Of interest is the fact that Ostrovsky completed his work about a month before Klykova drowned in the Volga, unable to withstand the bullying of her relatives. This circumstance, of course, testifies to the fact that the author very vividly and realistically showed in the drama "The Thunderstorm" the tough conflict that occurs between different generations in the same merchant family.

Petty tyranny and ignorance in the drama of A. N. Ostrovsky "The Thunderstorm" shown by the author with the help of two very vivid images - Savel Prokofievich Diky and Marfa Ignatievna Kabanova ("Kabanikha"), the mother-in-law of the main character.

Dikoy is one of the typical representatives of the provincial wealthy merchants. This is a person who has certain rights in the city and believes that he is allowed, if not everything, then a lot. This circumstance is evidenced by the following statement:

Kuligin. Why, sir, Savel Prokofievich, would you please to offend an honest man?

Wild. I’ll give you a report! I don't give any account to anyone more important than you ...

Further, Ostrovsky points out that petty tyranny and unworthy behavior of the Wild is not at all a vicious quality, but a natural property of his “hot, self-willed heart”. The trouble with Savel Prokofievich is that he does not make any attempts to curb his indomitable disposition, and therefore he does whatever he wants with impunity.

People around him perceive Savel Prokofievich ambiguously. For example, Kuligin argues that the Dikiy should give in in everything so as not to run into rudeness, but Kudryash quite reasonably objects to him: “... who will please him if his whole life is built on swearing? And most of all because of the money; not a single calculation is complete without abuse ... ".

But no capital, no means can contribute to the enrichment of the spiritual life of the Wild. Despite the unshakable conviction of his own righteousness, he quickly sets his tail, colliding by chance with a more significant person. At the same time, self-criticism is not at all alien to him: for example, having shouted during Lent at an innocent peasant who brought him firewood, he publicly apologized to the offended so as not to take sin on his soul. But this "kind" act is just another whim of a rich tyrant, and not a sincere repentance.

Savel Prokofievich's life is built around money, capital - in his opinion, all good things can be bought, and money should be given “just like that” only in exceptional cases. He himself directly says about this: "I will give it back, but I will swear."

Unlike Dikiy, Marfa Ignatievna Kabanova, whom others call "Kabanikha", adheres to the established norms of the old morality, or rather, its worst side. Observing the rules and laws of Domostroi, she scrupulously selects only those that are beneficial to her, not paying attention to the rest. Unfortunately, she does not observe the most important, key law - you cannot condemn people who have accidentally sinned, you should first of all think about your own sins and take care of this. Kabanikha finds negative sides in everything - even at the moment of Katerina's farewell to her husband, who is leaving on business at the day of the week, the unkind mother-in-law finds a reason for a snide statement: “Why are you hanging around your neck, shameless! 11th you say goodbye to your lover! He is your husband, head! You don’t know the order? Bow down at your feet! " At the same time, Marfa Ignatievna treats her son too harshly, imposing her m. Chlyady, not allowing him to live independently.

Perhaps such despotism, the desire for unlimited power over household members were not the main character trait of Kabanova. She tried with all her might to maintain strict order in the house, to manage not only the household, but also human relationships. Unfortunately, due to its ignorance, it is unable to delicately resolve emerging conflicts, further aggravating the tense situation with its dictatorship. The opinion of strangers is indifferent to her, she does not know how to learn from her own mistakes.

The tragic denouement of the drama "The Thunderstorm" is the suicide of Katerina, tired of the constant oppression of her mother-in-law, emotional stress, constant excuses due to invented sins and "wrong" actions. This is not just a withdrawal from a hateful life, but above all an unconscious challenge to that force. Petty tyranny and ignorance, which rules the surrounding world, a protest against the imposed false "morality". And even Katerina's husband Tikhon, who was downtrodden and suppressed by her mother, understands this. Leaning over the body of his drowned wife, he says: “It's good for you, Katya! And why am I left to live in the world and suffer! " He begins to understand the viciousness and insincerity of the relationship that reigns in his family, but his soft, weak-willed character does not allow him to decide on a serious act, to resist psychological pressure.

Tikhon's words give us to understand that life in the "dark kingdom", where tyranny and ignorance rule, is worse than death. Otherwise, how can living people envy those who have departed, especially suicides (after all, according to the laws of the Orthodox Church, voluntary "flight" from life is one of the most serious sins)? And the very existence of this vicious circle is drawing to a close. A normal person cannot exist in an atmosphere of oppression, resentment, ignorance and false morality, which means that liberation from the power of Kabanikha and others like her is approaching.

Petty tyranny and petty tyranny in A. Ostrovsky's drama "The Thunderstorm"

The drama "The Thunderstorm" (1859) was a significant event in the social life of the country in the 60s of the XIX century. Ostrovsky wrote a play about a thunderstorm bringing renewal to the natural world and to the world of the human soul, about a thunderstorm destroying the foundations of the "dark kingdom" throughout Russia. The purpose of creating images of tyrant merchants in the play was to condemn their wild arbitrariness, despotism, and cruel violence, which then dominated modern Ostrovsky Russia. And the fictional city of Kalinov, as in a mirror, reflected these "cruel manners".

Immediately after the opening of the curtain, the viewer sees the high bank of the Volga, the city garden and the walking residents of the small town of Kalinov. The beauty of the landscape initially closes the real life of the city from prying eyes.

It turns out that in a wonderful town on the Volga, everything is not so great as it seems at first glance. The only educated person in the city, a self-taught mechanic, Kuligin, calls the customs of the city of Kalinov cruel. The main thing that causes his indignation is social inequality, enslavement of the poor by the rich, the power of money and the thirst for profit, but there is no harmony in economic relations between merchants. They write "malicious slander" at each other and seek to undermine trade.

Rich merchants have no control whatsoever. Nobody can tell them. Even the head of the city cannot make a remark to the Wild. Money gives them the right to rule over the inhabitants of Kalinov. Therefore, no one can object to rich merchants.

Family relationships are built on the cruelty and despotism of tyrants. The word "tyrant" has become synonymous with rude self-confidence, rudeness, arbitrariness and impunity. Everyone knows that Dikoy is an influential merchant of the city. He can humiliate and scold a person for nothing. He is self-willed, as he is sure of his own impunity. He knows that he will never meet resistance anywhere, Dikoy freely controls the fate of his nephew Boris, who is financially dependent on him. Wild with his rudeness, rudeness, ignorance and greed embodies the main features of the tyrants of the city of Kalinov. He doesn't even know how to speak calmly, rushes at people like a chain dog, He is constantly dissatisfied with everything. But how his anger grows when he has to part with money. That is why he so scolds and oppresses Boris, whose inheritance he must give him by will. Diy is also angry if he meets something inaccessible to his understanding. Indicative is the scene when he pounces on Kuligin, who is trying to tell him about the lightning rod.

Being a wild and ignorant person, he, like all Kalinovites, is convinced that a thunderstorm is not electricity, but God's punishment sent to people as punishment for their sins. Superstition and fear of the unknown determine the consciousness of the Wild.

The rich merchant's wife Marfa Ignatievna Kabanova is even more inclined to fanatical religiosity. At first glance, she does seem to be pious at all: she accepts pilgrims, goes to church, honors the commandments of God. Unlike Wild, she does not raise her voice, does not yell or swear. But no matter how Kabanikha hides behind pious phrases, residents of the city know the truth about her. So, for example, Kuligin speaks of her hypocrisy to Boris: "She closes the beggars, but she ate the family altogether." True, it must be said that her tyranny is limited by the framework of her own family, but here she gives herself free rein. The boar ruthlessly oppresses her son. Under her influence, he turned into a miserable, downtrodden, weak-willed person who does not decide anything on his own and all the time is forced to make excuses to his mother for some non-existent sins. Tikhon is free from the power of his mother only during business trips. And when he is at home, he tends to drink in order to forget.

Of course, Kabanikha is not so smart, you can adapt to her. Therefore, her daughter Varvara - a brave and cunning girl - easily finds a way out. She prefers to live according to the principle "do what you want, if only it was sewn and covered."

The cruel and despotic Kabanikha, using a mask of piety, turned into hell the life of not only her own children, but also the life of her daughter-in-law. Katerina and Tikhon could not be happy, because their mother interferes in their affairs. Tikhon cannot show any independence even in relations with his wife. It is his mother who dictates to him what to say, how to behave with Katerina. She also arranges the scene of Tikhon's farewell according to her own understanding, assigning her son and daughter-in-law to the performance of her assigned roles. Tikhon, stammering, pronounces the teachings under the dictation of his mother. And Katerina, by order of her mother-in-law, is obliged to howl on the porch after her husband's departure. Yes, that's really, really, wild manners in the city of Kalinov.

The power of the Wild and Kabanovs is formidable, but, apparently, it is also coming to an end. With bitterness, Kabanikha is forced to admit that the old man is being brought out: “I don’t want to go to another house. And when you come up, you spit and get out soon. I don’t know what will happen, how the old people will die, how the light will stand. ”

Despite her unlimited power in the family, Kabanikha feels an inner anxiety. She feels that things are not going the way she wants. Even her uncomplaining son, she cannot instill that the family should hold on with fear, and not with feelings. That is why, in the scene of Katerina's repentance, she triumphantly speaks to Tikhon, trying to convince him that she is right: “What, son! This is where the will is leading! "

The pillars on which the tyrants in Kalinov are held have shaken. Katerina prefers death to the bitter life in captivity and throws down an open challenge to the "dark kingdom". Varvara runs away from home altogether. And even the timid Tikhon dared to blame his mother for the death of his wife: "Mamma, you ruined her."

"The Thunderstorm" is, without a doubt, the most decisive work of Ostrovsky, "wrote Dobrolyubov. The need for changes in the social life of the country is the main idea of ​​the play. By tyranny, the revolutionary democrat Dobrolyubov understood not only family despotism, but also the entire system of social relations in tsarist Russia, taken to an extreme. Ostrovsky's play "The Thunderstorm" was supposed to bring renewal to the world of human relations in order to forever save people from cruelty, despotism, rudeness and hypocrisy.

And despite the fact that for three and a half centuries, since we have overthrown the Tatar yoke, still exists on the Russian land, in the person of these numerous Bolshovs, Wilds, Tortsovs and their downtrodden, unrequited victims - a dark kingdom borrowed from Sarai. From all the inheritance left to us by our former Horde rulers, in three and a half centuries we have been delivered, by the will of the wise, Christian government, only from terrible tortures, the mere memory of which confuses the soul of modern man - yes from the whip. Lechery, family despotism and seclusion of women still exist in the "dark kingdom". They survived both the whip and torture, because the whip and torture could destroy the government at once - with one legislative act, but the rest of the Sarai legacy articles - tyranny, family despotism, covetousness, seclusion of women cannot be destroyed by decrees. How many decrees have been written, decrees of the most formidable, against covetousness and bribery - but they exist. How many decrees have been issued protecting subordinates from the arbitrariness of their elders, but the arbitrariness has not been destroyed. Peter I, with a drumbeat, led the Russian woman out of the Tatar tower into the European Assembly, but the seclusion of women had not yet emerged in Russia. Finally, none of the European legislation has such a broad law for the freedom of women as in ours - a law that gives her the right to independently, independently of her parents or her husband, to dispose of her property, but despite the fact that women themselves are in a dark the kingdom of tyrants no more than movable property. To destroy these wild sides of the Russian people, to scatter the last remnants of the Saraysk inheritance into dust and dust, we need not decrees, but public education, which will bring with it justice, and justice, and respect for the law, and everything that the people still lack Russian.

But before decisive medical measures, every doctor gives a difficult patient, exhausted from chronic ailments, preliminary acute remedies that irritate the congealing organism, so that he is able to usefully take medicinal remedies. And our fabulous hero Ivan Tsarevich sprinkles the dead, wounded body of his mother first with "dead water", and when her shattered joints of her body shattered by the dark force grow together, he sprinkles it with "living water" ... "And she rises more beautiful than before." - This "dead water" is sent by Ivan Tsarevich to our mother through Fonvizin, Griboyedov, Gogol, and in our days he sends it through Ostrovsky. He now sprinkles dead water on the dark kingdom. This dead water is a satire, a comedy, representing the dark kingdom to the popular ridicule.

We will not analyze the previous works of our gifted playwright - they are known to everyone and a lot, a lot has been said about them in our magazines. We will only say one thing, that all of Mr. Ostrovsky's previous works represent a dark kingdom as a hopeless, inviolable, such a kingdom that will never end. The victims of tyranny look at their sufferings unrequitedly, almost even meekly, and the influence of Domostroi fell on them so much that they not only do not try to overthrow the oppressive yoke, but even in deed, not in a word, they do not protest against family despotism and ignorance ... All of them, as we have noticed, go through a school of tyranny, and, as if realizing its legitimacy, they learn how to play tricks when for them, adorned with silvery hair, the time will come to be tricked. The hopeless state of middle society from the realm of the dark kingdom, hopeless for the coming generation, makes the most difficult impression on the reader, brings into his soul a dark, desperate suffering, so characteristic of every person who is not only under oppression, but even under whatever the influence of the dark kingdom of patriarchal-family despotism, and at the same time, which has neither the strength nor the ability to break these shackles, if not for themselves, then at least for their children, for their grandchildren. In The Thunderstorm, it’s not that, in The Thunderstorm one can hear a protest against tyranny, heard from the lips of every victim, even the riotous Barbara protests not only in word, but also in deed: she runs from her mother’s house, overthrowing the shackles of patriarchal despotism, despite the fact that she was allowed freedom for coarse, but the only pleasures in her life. But the strongest, in our opinion, is the protest of Kuligin: it is the protest of the enlightenment, which is already penetrating the dark masses of home-building life. But let's turn to the drama.

Here is its content. Katerina (the main person in the drama) was married in another city to the merchant's son Tikhon Kabanov. According to the patriarchal home-building custom - she issued married and not came out. She was not asked if she loved Tikhon, she was given, with the blessing of her parents, for the unwelcome one, in the hope that, they say, "if she endures, she will fall in love." In the family that I fell into

Katerina, the tyranny of her mother-in-law, old Kabanikha, in front of whom no one in the house can say a word, reigns in all its might. A young woman, having fallen under the oppression of this old woman, experiences thousands of moral torments and at the same time realizes that God has put an ardent heart in her, that passions are raging in her young breast that are not at all compatible with the seclusion of married women, which prevails in that environment. where did Katerina go? A young, handsome nephew of the rich tyrant Dikyi, Boris Grigorievich, who was brought up in a commercial academy, wearing a suit not Russian, but European, turned up in her eyes. The husband leaves, and Katerina, with the help of her sister-in-law, Varvara, a riot girl, sees Boris in the ravine, with whom she had not yet spoken a single word. For ten nights she saw him at night, and suddenly her husband returned home ahead of schedule. Frightened by a thunderstorm, Katerina, with a crowd of people sheltering from the weather under the arches of an ancient building of Byzantine architecture, seeing an old mural depicting the torment of sinners in Gehenna, falls on her knees in front of her husband and publicly repents that she walked with Boris Grigorievich for ten nights. The husband forgave her, although he beat her, on the orders of the mother, but a bitter fate follows the poor woman. The tyranny of the old woman Kabanikha transforms her house into hell, now locked tightly with locks and locks - her own daughter escapes from this hell with her lover, her son gets drunk with a circle, and Katerina, out of grief and despair, rushes into the Volga. Here is a faint outline of the drama being analyzed.

Let us now turn to an analysis of the characters in The Storm.

Representatives of petty tyranny and petty despotism in the drama under consideration are Kabanikha and Dikaya. A faithful servant of the home-building altar, Kabanikha raised her son in the fear of God, as she thinks, but really in fear of parental authority. In the matter of upbringing, she steadily followed the wise rules of Domostroi: "execute your son from his youth and rest thee in old age and give beauty to your soul. If more who beat him with a rod- he will not die, but he will be healthier, then you will save his body and soul from death. And loving his son, increase his wounds Yes, follow him, rejoice, execution of his son Izmlad and you will rejoice in him in courage, and in the midst of the wicked, boast, and your enemies will receive envy. Raise a brainchild with dismissal ... do not laugh at him, making games: loosen up in a little, relax in a big way, grieve. And do not give him power in his youth, but crush his ribs It grows as much as possible. ”Although Tikhon's ribs were brought up according to this excellent program, although they remained intact, he himself did not come out as a man, but as some kind of downtrodden, driven, impersonal good-natured, almost an idiot, incapable of anything but bitter drunkenness. in such and such a family, for such and such a husband, they gave out Katerina, an ardent, dreamy woman, in whose character there is little decisiveness.

Katerina, into whom God put an ardent, inquisitive nature and many inclinations of good and truth, was born in an old-world home-building merchant house, in such a city, in such a circle where in all the severity the custom of keeping married women and girls locked up, where these chains still exist , presented to the once free Russian woman by the dark Sarai and imposed on her by her sweet husband and gentle father, with the permission of Byzantium, which was dying in ignorance.