Moral problems in the work of Ostrovsky. Moral problems in the plays of A. N. Ostrovsky (on the example of one work). Essays on topics

moral problems in the play Thunderstorm and got the best answer

Answer from Valera --14-88 - [guru]
The drama "The Thunderstorm" is based on the image of the awakening sense of personality and a new attitude towards the world.
Ostrovsky showed that even in the ossified little world of Kalinov, a character of striking beauty and strength can arise. It is very important that Katerina was born and formed in the same Kalinov conditions. In the exposition of the play, Katerina tells Varvara about her life as a girl. The main motive of her story is all pervading mutual love and will. But it was a "will" that did not at all contradict the centuries-old way of the closed life of a woman, whose entire range of ideas was limited to domestic work and religious dreams.
This is a world in which it does not occur to a person to oppose himself to the general, since he does not yet separate himself from this community, and therefore there is no violence or compulsion here. But Katerina lives in an era when the very spirit of this morality - the harmony between the individual and the ideas of the environment - has disappeared and the ossified form of relations rests on violence and coercion. Katerina's sensitive soul caught it. "Yes, everything here seems to be out of bondage."
It is very important that it is here, in Kalinov, that a new attitude to the world is born in the soul of the heroine, new feelings that are not yet clear to the heroine herself: “Something in me is so extraordinary. It’s as if I’m starting to live again, or ... I don’t know. ”
This vague feeling is an awakening sense of personality. In the soul of the heroine, it is embodied in love. Passion is born and grows in Katherine. The awakened feeling of love is perceived by Katerina as a terrible sin, because love for a stranger for her, a married woman, is a violation of moral duty. Katerina does not doubt the fidelity of her moral ideas, she only sees that none of those around her cares about the true essence of this morality.
She does not see the outcome of her torment, except death, and it is the complete absence of hope for forgiveness that pushes her to commit suicide - a sin even more serious from the Christian point of view. "All the same, I have ruined my soul."

Answer from 2 answers[guru]

Hey! Here is a selection of topics with answers to your question: moral problems in the play The Thunderstorm

Answer from Marina Skorodumova[newbie]

Answer from L l[active]
Summary and problems, arguments for the exam for the work "The Thunderstorm" by Ostrovsky

Answer from Irishka[newbie]
Ostrovsky knew very well such a part of society as merchants and he looked through in it the center of city life. All types of characters can be traced in this layer. The central moral problem is the struggle between the environment and the individual. This problem is revealed in the center of the main conflict of the work, where one can see the clash of an ardent soul and the ordinary, insensitive traditions of the life of the merchants. In this society, all lawless and cruel acts are committed under the shield of nobility. It is difficult to come to terms with this self-deception and hypocrisy, especially for such a living and exalted person as Katerina Kabanova. This clash of justice and soulfulness with the hypocrisy and hypocrisy that we see in this play, later one of the critics will be called "a ray of light in the dark kingdom."
The next problem is understanding sin. Katerina is unfaithful to her husband and cannot forgive herself for this. She finds the only correct way out - this is public repentance. But this is not the main thing in this problem. The main issue here remains the solution to the question of sin. As a rule, in our society, suicide is considered almost the most terrible sin. But Katerina's understanding of sin differs significantly from this conclusion. She considers the most terrible sin to live in this soulless and full of injustice society.
Another important moral problem in Ostrovsky's play is the problem of human dignity. This problem is closely intertwined with the main problem of the work. Of all the characters, only Katerina has a sense of her own dignity. She defends him with her decision to leave this world. The rest of the youth of the city is not in a position to protest against humiliation and constant moralizing on the part of their entourage.

Answer from Vita Milkin[guru]
Family foundations.
Love is a new feeling (to love a lawful husband, to love a loved one).
Is it possible to overcome this feeling.
Do I have to fight him.
Is it moral to love not a husband?
Is it possible to go against the opinion of the family, mother-in-law, neighbors.
Such a modern play!

A work of art only then becomes relevant and close, if it fully and vividly reflects the problems of reality. These are the plays of A.N. Ostrovsky. The characters of his characters are holistic and realistic, their actions are not spontaneous, they become the result of life circumstances. The basis for the intrigue of many of the playwright's plays was the confrontation between "right and wrong." What is virtue and what is sin? Where is the line between freedom of choice and the violation of social norms?

A person, according to Ostrovsky, lives, as it were, in two dimensions: everyday life, family,

Where outsiders do not see him, and public life, where illusions are created.

This is the way of life of Kabanikha (play "The Thunderstorm"). The tyranny of the callous fanatic, who firmly holds the fate of all household members in her hands, knows no bounds. The old foundations (and they are called upon to observe morality!) Only stifle the younger generation. The mother makes her son's life dull and miserable by constant moralizing. The daughter deliberately violates the norms of morality, without feeling any remorse.

The mother from the play "Dowry" loves a flashy, cheerful life. She trades in her daughters, trying to marry them off profitably, not caring about her feelings at all.

Landowner

Raisa Gurmyzhskaya (play "The Forest"), trying to maintain external decency, leads an immoral lifestyle: she spends her fortune on lovers, but at the same time is callous and stingy with regard to relatives.

And what about the new generation? Where is his protest against obsolete norms leading? In the "Thunderstorm" Katerina dies. What is this - the punishment for adultery or the unwillingness of society to accept new trends? In this context, the problem of sin is acute. Katerina's soul, freedom-loving, creative, irrepressible, cannot live in captivity. She strives for forbidden happiness, feeling and realizing the wrongness of her act. How to live, punishing yourself for treason, seeing the censure of others? And is it possible to build happiness on the misfortune of the same Tikhon?

But Karandyshev (play "Dowry") does not hesitate to assert himself at the expense of others. His feelings are devoid of warmth, they are destructive, because they are based on profit. Dowry Larisa, entangled in her desire to marry for love, but who loves a beautiful life, like Katerina, dies.

What do all these people have in common: so different in their impulses? The era unites them with its false ideals, outdated rules, obsolete foundations. And the fate of a confused person trying to live in harmony with social norms, his desires and his own conscience. The human problems raised by A. Ostrovsky make his plays poignant and relevant even today.

Alexander Nikolaevich highlighted the most important and especially urgent problem of human dignity at that time. The arguments that allow us to consider it as such are very convincing. The author proves that his play is really important, if only because the issues raised in it continue to excite the current generation after many years. The drama is addressed, studied and analyzed, and interest in it has not waned to this day.

In the 50-60s of the 19th century, the following three topics attracted special attention of writers and poets: the emergence of the raznochinny intelligentsia, serfdom, and the position of women in society and the family. In addition, there was one more theme - the tyranny of money, tyranny and the Old Testament authority among the merchants, under the yoke of which were all family members, and especially women. A. N. Ostrovsky in his drama "The Thunderstorm" set the task of exposing the spiritual and economic tyranny in the so-called "dark kingdom".

Who can be considered the bearer of human dignity?

The problem of human dignity in the drama "The Thunderstorm" is the most important in this work. It should be noted that there are very few characters in the play about whom one could speak: “These are the majority of the characters - either unconditionally negative characters, or inexpressive, neutral ones. Dikoy and Kabanikha are idols, devoid of elementary human feelings; Boris and Tikhon are spineless, able only to obey creatures; Kudryash and Varvara are reckless people, drawn to momentary pleasures, incapable of serious experiences and reflections. Only Kuligin, an eccentric inventor, and the main character Katerina stand out from this series. The problem of human dignity in the drama "Thunderstorm" can be briefly described as the opposition of these two heroes to society.

Inventor Kuligin

Kuligin is a rather attractive person with considerable talents, a sharp mind, a poetic soul, and a desire to serve people disinterestedly. He is honest and kind. It is no coincidence that Ostrovsky trusts him to assess the backward, limited, self-righteous Kalinov society, which does not recognize the rest of the world. However, although Kuligin evokes sympathy, he is still unable to stand up for himself, therefore he calmly tolerates rudeness, endless ridicule and insults. He is an educated, enlightened person, but these best qualities in Kalinov are considered only a whim. The inventor is disparagingly referred to as an alchemist. He longs for the common good, wants to install a lightning rod, a clock in the city, but an inert society does not want to accept any innovations. The boar, who is the embodiment of the patriarchal world, will not take the train, even if the whole world has been using the railway for a long time. Dikoy will never understand that lightning is actually electricity. He doesn't even know that word. The problem of human dignity in the drama "The Thunderstorm", the epigraph to which can be Kuligin's remark "Cruel manners, sir, in our city, are cruel!", Thanks to the introduction of this character receives deeper coverage.

Kuligin, seeing all the vices of society, is silent. Only Katerina protests. Despite its weakness, it is still a strong nature. The plot is based on the tragic conflict between the way of life and the real feeling of the main character. The problem of human dignity in the drama "The Thunderstorm" is revealed in the contrast between the "dark kingdom" and the "ray" - Katerina.

"Dark Kingdom" and its victims

The inhabitants of Kalinov are divided into two groups. One of them is made up of representatives of the "dark kingdom" who personify power. This is Kabanikha and Wild. The other includes Kuligin, Katerina, Kudryash, Tikhon, Boris and Varvara. They are victims of the "dark realm" who sense its brutal power, but protest against it in different ways. Through their actions or inaction, the problem of human dignity is revealed in the drama "The Thunderstorm". Ostrovsky's plan was to show from different angles the influence of the "dark kingdom" with its suffocating atmosphere.

Katerina's character

Interests and strongly stands out against the background of the environment in which she unwittingly found herself. The reason for life's drama lies precisely in its special, exceptional character.

This girl is a dreamy and poetic nature. She was raised by a mother who pampered and loved her. The heroine's daily activities as a child consisted of caring for flowers, going to church, embroidering, walking, stories of praying mongrels and wanderers. Under the influence of this lifestyle, the girls were formed. Sometimes she plunged into waking dreams, fabulous dreams. Katerina's speech is emotional and imaginative. And this poetically-minded and impressionable girl, after marriage, finds herself in Kabanova's house, in an atmosphere of annoying guardianship and hypocrisy. The atmosphere of this world is cold and soulless. Naturally, the conflict between the light world of Katerina and the situation in this "dark kingdom" ends tragically.

The relationship between Katerina and Tikhon

The situation is further complicated by the fact that she married a man whom she could not love and did not know, although she was striving with all her might to become a faithful and loving wife to Tikhon. The heroine's attempts to get closer to her husband are broken by his narrow-mindedness, slavish humiliation and rudeness. Since childhood, he was used to obeying his mother in everything, he is afraid to say a word across to her. Tikhon resignedly endures the tyranny of Kabanikha, not daring to object and protest to her. His only desire is to break free from the care of this woman, at least for a short time, to go on a spree, to drink. This weak-willed man, being one of the many victims of the "dark kingdom", not only could not somehow help Katerina, but also simply humanly understand her, since the inner world of the heroine is too high, difficult and inaccessible for him. He could not predict the drama brewing in the heart of his wife.

Katerina and Boris

Dikiy's nephew, Boris, is also a victim of a sanctimonious, dark environment. In terms of his inner qualities, he is much higher than the "benefactors" surrounding him. The education he received in the capital at a commercial academy developed his cultural needs and views, so it is difficult for this character to survive among the Wild and Kabanovs. The problem of human dignity in the play "The Thunderstorm" also arises before this hero. However, he lacks the character to escape from their tyranny. He is the only one who managed to understand Katerina, but was unable to help her: he lacks the determination to fight for the girl's love, so he advises her to reconcile, submit to fate and leaves her, anticipating the death of Katerina. The inability to fight for happiness doomed Boris and Tikhon not to live, but to suffer. Only Katerina managed to challenge this tyranny. The problem of human dignity in the play is thus also a problem of character. Only strong people can challenge the "dark kingdom". Only the main character belonged to them.

Dobrolyubov's opinion

The problem of human dignity in the drama "The Thunderstorm" was revealed in an article by Dobrolyubov, who called Katerina "a ray of light in the dark kingdom." The death of a gifted young woman of a strong, passionate nature illuminated for a moment the sleeping "kingdom" like a ray of sun against the background of gloomy dark clouds. Dobrolyubov sees the suicide of Katerina as a challenge not only to the Wild and Kabanovs, but to the entire way of life in a gloomy, despotic feudal-serf country.

Inevitable ending

It was an inevitable ending, despite the fact that the main character so worshiped God. It was easier for Katerina Kabanova to leave this life than to endure the reproaches of her mother-in-law, gossip and remorse. She publicly pleaded guilty because she could not lie. Suicide and public repentance should be regarded as acts that elevated her human dignity.

Katerina could be despised, humiliated, even beaten, but she never humiliated herself, did not commit unworthy, base deeds, they only went against the morality of this society. Although what kind of moral can there be among such limited, stupid people? The problem of human dignity in The Thunderstorm is the problem of the tragic choice between accepting or challenging society. At the same time, a protest threatens with grave consequences, up to and including the need to lose one's life.

· The problem of fathers and children

· The problem of self-realization

· Power problem

· Love problem

· Conflict of old and new

The problematic of a work in literary criticism is called a range of problems that are somehow touched upon in the text. This can be one or several aspects on which the author focuses.

The play was received ambiguously by critics. Dobrolyubov saw in Katerina a hope for a new life, Ap. Grigoriev noticed the emerging protest against the existing order, and L. Tolstoy did not accept the play at all. The story of The Thunderstorms, at first glance, is quite simple: everything is based on a love conflict. Katerina secretly meets with a young man while her husband left for another city on business. Unable to cope with the pangs of conscience, the girl confesses to treason, after which she rushes into the Volga. However, behind all this mundane, everyday life, lies much more ambitious things that threaten to grow to the scale of space. Dobrolyubov calls the situation described in the text "Dark Kingdom". An atmosphere of lies and betrayal. In Kalinov, people are so accustomed to moral filth that their uncomplaining consent only aggravates the situation. It becomes scary from the realization that this was not a place that made people like that, that people independently turned the city into a kind of accumulation of vices. And now the "dark kingdom" is beginning to influence the inhabitants. After a detailed acquaintance with the text, you can see how widely the problems of the work "The Thunderstorm" are developed. Problems in Ostrovsky's "Thunderstorm" are diverse, but they have no hierarchy. Each problem taken separately is important in itself.

The problem of fathers and children

Here we are not talking about misunderstanding, but about total control, about patriarchal orders. The play shows the life of the Kabanov family. At that time, the opinion of the eldest man in the family was undeniable, and wives and daughters were practically deprived of their rights. The family is headed by Marfa Ignatievna, a widow. She took over the male functions. This is a domineering and calculating woman. Kabanikha believes that she takes care of her children, ordering them to do as she wants. This behavior led to quite logical consequences. Her son, Tikhon, is a weak and spineless person. Mother, it seems, wanted to see him like that, because in this case it is easier to control a person. Tikhon is afraid to say anything, to express his opinion; in one of the scenes, he admits that he does not have his own point of view at all. Tikhon cannot protect himself or his wife from the mother's hysterics and cruelty. Kabanikha's daughter, Varvara, on the contrary, managed to adapt to this lifestyle. She easily lies to her mother, the girl even changed the lock on the gate in the garden in order to freely go on dates with Kudryash. Tikhon is not capable of any rebellion, while Varvara escapes from her parents' house with her lover in the finale of the play.

The problem of self-realization

When talking about the Thunderstorm problems, one cannot but mention this aspect. The problem is implemented in the image of Kuligin. This self-taught inventor dreams of doing something useful for everyone in the city. His plans include assembling a perpetual mobile, building a lightning rod, and getting electricity. But this entire dark, semi-pagan world needs neither light nor enlightenment. Dikoy laughs at Kuligin's plans to find honest earnings, openly mocks him. Boris, after talking with Kuligin, realizes that the inventor will never invent a single thing. Perhaps Kuligin himself understands this. He could be called naive, but he knows what customs reign in Kalinov, what happens behind closed doors, what are those in whose hands the power is concentrated. Kuligin learned to live in this world without losing himself. But he is not able to feel the conflict between reality and dreams as keenly as Katerina did.

Power problem

In the city of Kalinovo, power is not in the hands of the relevant authorities, but in those who have money. The proof of this is the dialogue between the Wild merchant and the mayor. The mayor tells the merchant that there are complaints about the latter. To this Savl Prokofievich answers roughly. Dikoy does not hide the fact that he cheats ordinary men, he speaks of deception as a normal phenomenon: if merchants steal from each other, then you can steal from ordinary residents. In Kalinov, nominal power decides absolutely nothing, and this is fundamentally wrong. After all, it turns out that it is simply impossible to live in such a city without money. Dikoy imagines himself to be almost a priest-king, deciding who to lend money, and who does not. “So know that you are a worm. If I want - I will have mercy, if I want - I will crush ”- this is how Dikoy Kuligin answers.

Love problem

In The Thunderstorm, the problem of love is realized in the pairs Katerina - Tikhon and Katerina - Boris. The girl is forced to live with her husband, although she does not feel any feelings other than pity for him. Katya rushes from one extreme to another: she thinks between the option of staying with her husband and learning to love him or leaving Tikhon. Katya's feelings for Boris flare up instantly. This passion pushes the girl to a decisive step: Katya goes against public opinion and Christian morality. Her feelings were mutual, but for Boris this love meant much less. Katya believed that Boris, like her, was incapable of living in a frozen city and lying for profit. Katerina often compared herself to a bird, she wanted to fly away, to escape from that metaphorical cage, and in Boris Katya saw that air, that freedom that she so lacked. Unfortunately, the girl was mistaken about Boris. The young man turned out to be the same as the inhabitants of Kalinov. He wanted to improve relations with the Dikim for the sake of getting money, talked with Varvara that feelings for Katya are best kept secret as long as possible.

(on the example of one work).

2. The theme of the poet and poetry in the lyrics of AA Akhmatova. Reading one of the poems by heart.

1. The drama "The Thunderstorm" is based on the image of the awakening sense of personality and a new attitude towards the world.

Ostrovsky showed that even in the ossified little world of Kalinov, a character of striking beauty and strength can arise. It is very important that Katerina was born and formed in the same Kalinov conditions. In the exposition of the play, Katerina tells Varvara about her life as a girl. The main motive of her story is all pervading mutual love and will. But it was a "will" that did not at all contradict the centuries-old way of the closed life of a woman, whose entire range of ideas was limited to domestic work and religious dreams.

This is a world in which it does not occur to a person to oppose himself to the general, since he does not yet separate himself from this community, and therefore there is no violence or compulsion here. But Katerina lives in an era when the very spirit of this morality - the harmony between the individual and the ideas of the environment - has disappeared and the ossified form of relations rests on violence and coercion. Katerina's sensitive soul caught it. "Yes, everything here seems to be out of bondage."

It is very important that it is here, in Kalinov, that a new attitude to the world is born in the soul of the heroine, new feelings that are not yet clear to the heroine herself: “Something in me is so extraordinary. It’s as if I’m starting to live again, or. I don’t know ”.

This vague feeling is an awakening sense of personality. In the soul of the heroine, it is embodied in love. Passion is born and grows in Katherine.

The awakened feeling of love is perceived by Katerina as a terrible sin, because love for a stranger for her, a married woman, is a violation of moral duty. Katerina does not doubt the fidelity of her moral ideas; she only sees that no one around her cares about the true essence of this morality.

She does not see the outcome of her torment, except death, and it is the complete abandonment of hope for forgiveness that pushes her to commit suicide - a sin even more serious from the Christian point of view. "All the same, I have ruined my soul."

Ticket number 12

1. The image of Bazarov in the novel by IS Turgenev "Fathers and Sons", his author's assessment.

2. The theme of the Motherland and nature in the lyrics of S. A. Yesenin.

1. I. S. Turgenev wrote to A. A. Fet: “Did I want to curse Bazarov or extol him? I do not know this myself, for I do not know whether I love him or hate him. " The novel "Fathers and Sons" depicts the era of the 50s of the XIX century. Two camps: noblemen and commoners. Sharp ideological struggle of successors

social forces. By his convictions, Turgenev was a supporter of the reformist transformation of Russia. But as a great artist, he could not help but paint a portrait of the emerging social type in Russia.

DI Pisarev: "Turgenev himself will never be Bazarov, but he thought about this type and understood him in a way that none of our realists will understand." Turgenev: “I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, vicious, honest and yet doomed to perish”. Bazarov is a bright personality, captivating those around him with his uncommonness. Despite the feigned swagger, one can guess the character is energetic, courageous and at the same time sincere and kind. Against the background of the inactive Pavel Petrovich, the impractical Nikolai Petrovich and the "sybaric" Arkady Bazarov stands out for his love of work, perseverance in achieving goals, and the desire to bring real benefits to Russia.

But on the other hand, Turgenev endowed Bazarov with features that reduce his image. Bazarov is cynical about women, love, marriage, family. He speaks of Madame Odintsova: "a woman with a brain" and "a rich body." Bazarov does not accept art. In his opinion, "Raphael is not worth a dime," and any art is "the art of making money." He recognizes only natural sciences by virtue of their usefulness for the present Russia.

Bazarov deviates from many of his convictions. A meeting with Madame Odintsova reveals in Bazarov "romanticism", the ability to love. The hero begins to doubt whether Russia really needs him. In the face of death, Bazarov begins to understand the value of such manifestations of life as poetry and beauty.

Bazarov's story illustrates Turgenev's philosophical idea: no matter what people come into the world, no matter how passionately they want to turn life around, no matter how they deny the spiritual principle of life, they leave, disappear, and what remains is that which is eternal - love, children, earth, sky. “No matter how passionate, sinful, rebellious heart is hidden in the grave

the flowers growing on it look at us serenely with their innocent eyes. they say. about eternal reconciliation and about endless life ”.

“Drawing the figure of Bazarov, I excluded everything artistic from his circle of sympathies, I gave him a harsh and unceremonious tone - not out of an absurd desire to offend the younger generation (!!!), but simply as a result of observations of my acquaintance, Dr. D. and persons like him.

“This life has evolved like this,” experience told me again, “maybe erroneous, but, I repeat, conscientious; I had nothing to think about - and I had to draw his figure just like that. probably many of my readers will be surprised if I tell them that, with the exception of his views on art, I share almost all of his beliefs.

And they assure me that I am on the side of the “fathers”. I, who, in the figure of Pavel Kirsanov, even sinned against artistic truth and overdid it, brought his shortcomings to a caricature, made him funny!

The whole reason for the misunderstandings, the whole “trouble,” as they say, was that the Bazarov type I reproduced did not manage to pass through the gradual phases through which literary types usually pass.

At the very moment of the appearance of a new person - Bazarov - the author was critical of him. objectively. This has confused many. " (I. S. Turgenev).

2. Yesenin's poetry is remarkable for its extraordinary integrity, for everything in it is about Russia. “My lyrics are alive with one great love, love for the homeland. The feeling of homeland is the main thing in my work ”. In the 1914 poem "Goy you, Russia, my dear." Yesenin asserted: “If the holy army cries out: /“ Throw Rus, live in paradise! ”/ I will say:“ No need for paradise, / Give me my homeland, ”but even 10 years later in“ Sovetskaya Rus ”he stands his ground: “I will sing / With all my being in a poet / Sixth of the earth / With a short name“ Rus ”. The blood connection with the land that gave birth to him was the main condition thanks to which Yesenin was able to bring