A. N. Ostrovsky is rightfully considered the father of Russian domestic drama, Russian theater. He opened new horizons for the Russian theater, new heroes, new type relationships between people. About 60 plays belong to his pen, of which the most famous are “Dowry”, “ Late love”, “Forest”, “Simplicity is enough for every wise man”, “We will count our own people” and, of course, “Thunderstorm”.
The play “The Thunderstorm” was named by A. N. Dobrolyubov as the most decisive work, since “the mutual relations of tyranny and voicelessness are brought to tragic consequences in it...”. Indeed, the play takes us to the small Volga town of Kalinov, which would not be anything remarkable if, in the depths of its patriarchy, problems had not arisen that can be attributed to a number of universal human problems. Stuffiness is the main thing that determines the atmosphere of the city. And the playwright very accurately conveys to us the state of mind of people forced to spend their lives in this atmosphere.
The minor characters in the play not only form the background against which Katerina’s personal drama unfolds, main character works. They show us different types people's attitudes towards their lack of freedom. The system of images in the play is such that all the minor characters form conditional pairs, and only Katerina is alone in her true desire to escape from the yoke of the “tyrants.”
Dikoy and Kabanova are people who keep in constant fear those who somehow depend on them. Dobrolyubov very aptly called them “tyrants,” since the main law for everyone is their will. It is no coincidence that they treat each other very respectfully: they are the same, only the sphere of influence is different. Dikoy rules in the city, Kabanikha rules over her family.
Katerina's constant companion is Varvara, the sister of her husband Tikhon. She is the main opponent of the heroine. Her main rule: “Do whatever you want, as long as everything is sewn and covered.” Varvara cannot be denied intelligence and cunning; Before marriage, she wants to be everywhere, to try everything, because she knows that “the girls go out as they please, and father and mother don’t care. Only women are locked up.” Varvara perfectly understands the essence of the relationship between people in their house, but does not consider it necessary to fight her mother’s “thunderstorm”. Lying is the norm for her. In a conversation with Katerina, she speaks directly about this: “Well, you can’t do without it... Our whole house rests on this. And I wasn’t a liar, but I learned when it became necessary.” Varvara adapted to the dark kingdom, learned its laws and rules. She feels authority, strength, and a desire to deceive. She is, in fact, the future Kabanikha, because the apple doesn’t fall far from the tree.
Varvara's friend, Ivan Kudryash, is a match for her. He is the only one in the city of Kalinov who can answer Dikiy. “I am considered a rude person; Why is he holding me? Therefore, he needs me. Well, that means I’m not afraid of him, but let him be afraid of me...” says Kudryash. In conversation, he behaves cheekily, smartly, boldly, boasts of his prowess, red tape, and knowledge of the “merchant establishment.” He also adapted to the tyranny of the Wild. Moreover, one can even assume that Kudryash could become the second Wild.
At the end of the play, Varvara and Kudryash leave the “dark kingdom,” but does this escape mean that they have completely freed themselves from old traditions and laws and will become the source of new laws of life and honest rules? Hardly. They will most likely try to become masters of life themselves.
The couple also consists of two men with whom Katerina’s fate was connected. They can be confidently called the true victims of the “dark kingdom”. So Katerina’s husband Tikhon is a weak-willed, spineless creature. He obeys his mother in everything and obeys her. He doesn't have a clear life position, courage, boldness. His image fully corresponds to the name given to him - Tikhon (quiet). Young Kabanov not only does not respect himself, but also allows his mother to shamelessly treat his wife. This is especially evident in the farewell scene before leaving for the fair. Tikhon repeats word for word all his mother’s instructions and moral teachings. Kabanov could not resist his mother in anything, he only sought solace in wine and on those short trips when, at least for a while, he could escape from his mother’s oppression.
Of course, Katerina cannot love and respect such a husband, but her soul yearns for love. She falls in love with Dikiy's nephew, Boris. But Katerina fell in love with him, in the apt expression of A. N. Dobrolyubov, “in the wilderness,” because in essence Boris is not much different from Tikhon. Perhaps more educated, like Katerina, he did not spend his entire life in Kalinov. Boris's lack of will, his desire to receive his part of his grandmother's inheritance (and he will receive it only if he is respectful to his uncle) turned out to be stronger than love. Katerina bitterly says that Boris, unlike her, is free. But his freedom is only in the absence of his wife.
Kuligin and Feklusha also form a couple, but here it is appropriate to talk about an antithesis. The wanderer Feklusha can be called an “ideologist” of the “dark kingdom.” With her stories about lands where people with dog heads live, about thunderstorms, which are perceived as irrefutable information about the world, she helps “tyrants” keep people in constant fear. Kalinov for her is a land blessed by God. The self-taught mechanic Kuligin, who is looking for a perpetual motion machine, is the complete opposite of Feklusha. He is active, obsessed with a constant desire to do something useful for people. A condemnation of the “dark kingdom” is put into his mouth: “Cruel, sir, the morals in our city are cruel... Whoever has money, sir, tries to enslave the poor so that his labors will be free of more more money make money...” But all his good intentions run into a thick wall of misunderstanding, indifference, and ignorance. So, when he tries to install steel lightning rods on houses, he receives a furious rebuff from the Wild: “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.”
Kuligin is perhaps the only one who understands the main character; it is no coincidence that it is he who utters accusatory words at the end of the play, holding the body of the dead Katerina in his arms. But he is also incapable of fighting, since he too has adapted to the “dark kingdom” and has come to terms with such a life.
And finally, the last character - half-crazy lady, which at the very beginning of the play predicts the death of Katerina. She becomes the personification of those ideas about sin that live in the soul raised in a patriarchal family religious Catherine. True, in the finale of the play, Katerina manages to overcome her fear, for she understands that lying and humbling herself all her life is a greater sin than suicide.
The secondary characters, as already mentioned, are the background against which the tragedy of a desperate woman unfolds. Each actor in the play, each image is a detail that allows the author to convey as accurately as possible the situation of the “dark kingdom” and the unpreparedness of most people to fight.

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Role minor characters in the drama “The Thunderstorm” by A. N. Ostrovsky

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A. N. Ostrovsky is rightfully considered the father of Russian everyday drama and Russian theater. He opened up new horizons for the Russian theater, new heroes, a new type of human relations. He is the author of about 60 plays, of which the most famous are “The Dowry”, “Late Love”, “The Forest”, “Simplicity is Enough for Every Wise Man”, “We Are Our Own People” and, of course, “The Thunderstorm”.

The play “The Thunderstorm” was called by A. N. Dobrolyubov the most decisive work, since “the mutual relations of tyranny and voicelessness are brought to tragic consequences in it...”. Indeed, the play takes us to the small Volga town of Kalinov, which would not be anything remarkable if, in the depths of its patriarchy, problems had not arisen that can be attributed to a number of universal human problems. Stuffiness is the main thing that determines the atmosphere of the city. And the playwright very accurately conveys to us the state of mind of people forced to spend their lives in this atmosphere. The secondary characters in the play not only form the background against which the personal drama of Katerina, the main character of the work, unfolds.

They show us different types of people’s attitudes towards their lack of freedom. The system of images in the play is such that all the minor characters form conditional pairs, and only Katerina is alone in her true desire to escape from the yoke of the “tyrants.” Dikoy and Kabanov are people who keep those who are somehow dependent on them in constant fear. Dobrolyubov very aptly called them “tyrants,” since the main law for everyone is their will. It is no coincidence that they treat each other very respectfully: they are the same, only the sphere of influence is different.

Dikoy rules in the city, Kabanikha rules over her family. Katerina's constant companion is Varvara, the sister of her husband Tikhon. She is the main opponent of the heroine.

Her main rule: “Do whatever you want, as long as everything is sewn and covered.” Varvara cannot be denied intelligence and cunning; Before marriage, she wants to be everywhere, to try everything, because she knows that “the girls go out as they please, and father and mother don’t care. Only women are locked up.” Varvara perfectly understands the essence of the relationship between people in their house, but does not consider it necessary to fight her mother’s “thunderstorm”. Lying is the norm for her. In a conversation with Katerina, she speaks directly about this: “Well, you can’t do without it... Our whole house rests on this.

And I wasn’t a liar, but I learned when it became necessary.” Varvara adapted to the dark kingdom, learned its laws and rules. She feels authority, strength, and a desire to deceive.

She is, in fact, the future Kabanikha, because the apple doesn’t fall far from the tree. Varvara's friend, Ivan Kudryash, is a match for her. He is the only one in the city of Kalinov who can answer Dikiy. “I am considered a rude person; Why is he holding me? Therefore, he needs me. Well, that means I’m not afraid of him, but let him be afraid of me...

“- says Kudryash. In conversation, he behaves cheekily, smartly, boldly, boasts of his prowess, red tape, and knowledge of the “merchant establishment.” He also adapted to the tyranny of the Wild. Moreover, one can even assume that Kudryash could become the second Wild. At the end of the play, Varvara and Kudryash leave the “dark kingdom,” but does this escape mean that they have completely freed themselves from old traditions and laws and will become the source of new laws of life and honest rules? Hardly.

They will most likely try to become masters of life themselves. The couple also consists of two men with whom Katerina’s fate was connected. They can be confidently called the true victims of the “dark kingdom”. So Katerina’s husband Tikhon is a weak-willed, spineless creature. He obeys his mother in everything and obeys her. He does not have a clear position in life, courage, courage. His image fully corresponds to the name given to him - Tikhon (quiet).

Young Kabanov not only does not respect himself, but also allows his mother to shamelessly treat his wife. This is especially evident in the farewell scene before leaving for the fair. Tikhon repeats word for word all his mother’s instructions and moral teachings. Kabanov could not resist his mother in anything, he only sought solace in wine and on those short trips when, at least for a while, he could escape from his mother’s oppression.

Of course, Katerina cannot love and respect such a husband, but her soul yearns for love. She falls in love with Dikiy's nephew, Boris. But Katerina fell in love with him, in the apt expression of A. N. Dobrolyubov, “in the wilderness,” because in essence Boris is not much different from Tikhon.

Perhaps more educated, like Katerina, he did not spend his entire life in Kalinov. Boris's lack of will, his desire to receive his part of his grandmother's inheritance (and he will receive it only if he is respectful to his uncle) turned out to be stronger than love. Katerina bitterly says that Boris, unlike her, is free.

But his freedom is only in the absence of his wife. Kuligin and Feklusha also form a couple, but here it is appropriate to talk about an antithesis. The wanderer Feklusha can be called an “ideologist” of the “dark kingdom.” With her stories about lands where people with dog heads live, about thunderstorms, which are perceived as irrefutable information about the world, she helps “tyrants” keep people in constant fear. Kalinov for her is a land blessed by God. The self-taught mechanic Kuligin, who is looking for a perpetual motion machine, is the complete opposite of Feklusha.

He is active, obsessed with a constant desire to do something useful for people. In his mouth is a condemnation of the “dark kingdom”: “Cruel, sir, the morals in our city are cruel... Whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors...” But that’s all. his good intentions run into a thick wall of misunderstanding, indifference, and ignorance.

So, when he tries to install steel lightning rods on houses, he receives a furious rebuff from the Wild: “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.” Kuligin is perhaps the only one who understands the main character; it is no coincidence that it is he who utters accusatory words at the end of the play, holding the body of the dead Katerina in his arms. But he is also incapable of fighting, since he too has adapted to the “dark kingdom” and has come to terms with such a life. And finally, the last character is a half-crazed lady who, at the very beginning of the play, predicts the death of Katerina. She becomes the personification of those ideas about sin that live in the soul of the religious Katerina, raised in a patriarchal family. True, in the finale of the play, Katerina manages to overcome her fear, for she understands that lying and humbling herself all her life is a greater sin than suicide.

The secondary characters, as already mentioned, are the background against which the tragedy of a desperate woman unfolds. Every character in the play, every image is a detail that allows the author to convey as accurately as possible the situation of the “dark kingdom” and the unpreparedness of most people to fight.

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There are two types of people: one is people who are used to fighting for better life, people are decisive, strong, while others prefer to obey and adapt to the surrounding conditions. In the play by A. N. Ostrovsky, Katerina is the main character of A. N. Ostrovsky’s drama “The Thunderstorm”. N.A. Dobrolyubov defined her as the embodiment of a “strong Russian character”, called her “a ray of light in dark kingdom". But despite her Katerina and the boar are two opposite person from the same family. The boar is the mistress" dark kingdom". All the characters in this play are either victims of this kingdom, like Tikhon and Boris,
• The role of episodic characters in one of the works of Russian drama of the 19th century. A. N. Ostrovsky. "Storm"
It’s probably not entirely correct to call any of the characters in “The Thunderstorm” extra-narrative or episodic. Yes, they are mentioned sporadically, at first glance they serve as a background to the overall plot structure, they are, like Boris, a piece of furniture.
• Female images in A. N. Ostrovsky’s plays “The Thunderstorm” and “Dowry”
Two dramas by A. N. Ostrovsky are devoted to the same problem - the position of women in Russian society. Before us are the fates of three young women: Katerina, Varvara, Larisa. Three images, three destinies.
• Whose side is the playwright on? based on the play “The Thunderstorm” by A. Ostrovsky
A. N. Ostrovsky’s play “The Thunderstorm” was written based on materials from the author’s trip in 1856 along the Volga. The playwright decided to write a cycle of plays about the provincial merchants, which should have been called “Nights
• A ray of light in the dark kingdom based on the play “The Thunderstorm” by A. N. Ostrovsky
Why don't people fly? I say, why don’t people fly like birds? You know, sometimes I feel like I'm a bird. When you stand on a mountain, you feel the urge to fly. Here

He is rightfully considered the singer of the merchant milieu, the father of Russian everyday drama, Russian national theater. He is the author of about 60 plays, and one of the most famous is "". A. N. called Ostrovsky’s play “The Thunderstorm” the most decisive work, since “the mutual relations of tyranny and voicelessness are brought to tragic consequences in it... There is something refreshing and encouraging in “The Thunderstorm”. This something is, in our opinion, the background of the play.”

The background of the play is made up of minor characters. This is the constant companion of Katerina, the main character of the play, Varvara, the sister of Katerina’s husband, Tikhon Kabanova. She is the opposite of Katerina. Her main rule: “Do whatever you want, as long as everything is sewn and covered.” You can’t deny Varvara her intelligence and cunning, before marriage she wants to be everywhere, to try everything, because she knows that “girls go out as they please, father and mother don’t care. Only women are locked up.” Lying is the norm for her. Otsa directly tells Katerina that it is impossible without deception: “Our whole house rests on this. And I was not a liar, but I learned when it became necessary.”

Varvara adapted to the “dark kingdom” and studied its laws and rules. She feels authority, strength, readiness and even a desire to deceive. She is, in fact, the future Kabanikha, because the apple doesn’t fall far from the tree. Varvara's friend, Kudryash, is a match for her. He is the only one in the city of Kalinov who can repel the Wild One. “I am considered a rude person; Why is he holding me? Therefore, he needs me. Well, that means I’m not afraid of him, but let him be afraid of me...” says Kudryash. He behaves cheekily, smartly, boldly, boasts of his prowess and knowledge of the “merchant establishment.” Kudryash is the second, only still young.

In the end, Varvara and Kudryash leave the “dark kingdom,” but their escape does not mean at all that they have completely freed themselves from old traditions and laws and will accept new laws of life and fair rules. Once free, they will most likely try to become masters of life themselves.

The play also contains true victims of the “dark kingdom”. This is Katerina Kabanova’s husband, Tikhon, a weak-willed, spineless creature. He listens to his mother in everything and obeys her, does not have a clear position in life, courage, courage. His image fully corresponds to his name - Tikhon (quiet). Young Kabanov not only does not respect himself, but also allows his mother to shamelessly treat his wife. This is especially evident in the farewell scene before leaving for the fair. Tikhon repeats word for word all his mother’s instructions and moral teachings. Kabanov could not resist his mother in any way; he slowly drank himself to death, becoming even more weak-willed and quiet. Of course, Katerina cannot love and respect such a husband, but her soul yearns for love. She falls in love with Dikiy's nephew, Boris. But Katerina fell in love with him, in Dobrolyubov’s apt expression, “in the wilderness,” because in essence Boris is not much different from Tikhon. Maybe a little more educated. Boris's lack of will, his desire to receive his part of his grandmother's inheritance (and he will receive it only if he is respectful to his uncle) turned out to be stronger than love. .

In the “dark kingdom” the wanderer Feklusha enjoys great reverence and respect. Feklushi's stories about the lands where people with dog heads live are perceived as irrefutable information about the world. But not everything in it is so gloomy: there are also living, sympathetic souls. This is a self-taught mechanic, Kuligin, who invents a perpetual motion machine. He is kind and active, literally obsessed with a constant desire to do something useful for people. But all his good intentions run into a thick wall of misunderstanding, indifference, and ignorance. So, in response to an attempt to install steel lightning rods on houses, he receives a furious rebuff from the Dikiy: “The 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.”

Kuligin is essentially a sounding board in the play; a condemnation of the “dark kingdom” is put into his mouth: “Cruel, sir, the morals in our city are cruel... Whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors ..."

But Kuligin, like Tikhon, Boris, Varvara, Kudryash, adapted to the “dark kingdom” and came to terms with such a life. The secondary characters, as already mentioned, are the background against which the tragedy of a desperate woman unfolds. Every face in the play, every image was a step on the ladder that led Katerina to the banks of the Volga, to death.

Minor characters in the drama "The Thunderstorm"

A.N. Ostrovsky, the author of numerous plays about the merchants, is rightfully considered a “singer merchant life"and the father of the Russian national theater. He created about 60 plays, the most famous of which are “Dowry”, “Forest”, “We will be our own people”, “Thunderstorm” and many others.

The most striking and decisive, according to A. N. Dobrolyubov, was the play “The Thunderstorm”. In it, “the mutual relations of tyranny and combativeness are brought to tragic consequences... There is something refreshing and encouraging in The Thunderstorm. This something is, in our opinion, the background of the play.” The background or background of the play is made up of minor characters.

The most striking of them is the daughter of the mistress of the Kabanov house - “Varvara. She is the confidante and constant companion of Katerina, the main character of the play. Varvara is a smart, cunning, and mischievous girl. She is young and strives to be everywhere before she gets married, to try everything, because she knows that “girls go out as they please, father and mother don’t care. Only women sit locked up.” Adapting to the “Dark Kingdom”, Varvara learned its laws and rules. She became the embodiment of the morality of this kingdom: “Do what you want, as long as everything is sewn and covered.” For her, lying is the norm of life: “Our whole house rests on this,” it’s impossible without deception. Seeing nothing seditious in her lifestyle, Varvara strives to teach Katerina to be cunning and deceive. But honest, sincere Katerina cannot live in this oppressive atmosphere of lies and violence.

But Varvara’s friend, Kudryash, completely shares her views, because he is a typical inhabitant of the “dark kingdom”. Already now the features of the future Wild are visible in him. He is impudent, bold and free in conversation, boasts of his prowess, red tape, and knowledge of the “merchant establishment.” He is no stranger to ambition and the desire for power over people: “I am considered a brute; why are they keeping me? Therefore, he needs me. Well, that means I’m not afraid of him, let him be afraid of me...” Varvara and Kudryash, It would seem that they are leaving the “dark kingdom”, but not in order to give birth to new and honest laws of life, but, most likely, to live in the same “dark kingdom”, but as masters in it.

The true victim of the morals that reigned in the city of Kalinov is Katerina’s husband Tikhon Kabanov. This is a weak-willed, spineless creature. He obeys his mother in everything and obeys her. He does not have a clear position in life, courage, courage. His image fully corresponds to the name given to him - Tikhon (quiet). Young Kabanov not only does not respect himself, but also allows his mother to shamelessly treat his wife. This is especially evident in the farewell scene before leaving for the fair. Tikhon repeats word for word all his mother’s instructions and moral teachings. Tikhon could not resist his mother in anything, he slowly became an alcoholic and, thereby, became even more weak-willed and quiet.

Of course, Katerina cannot love and respect such a husband, but her soul yearns for love. She falls in love with Dikiy's nephew, Boris. But Katkrina fell in love with him, in Dobrolyubov’s apt expression, “in the wilderness,” because in essence, Boris is not much different from Tikhon. Perhaps a little more uneducated than him. Boris's servility to his uncle and the desire to receive his share of the inheritance turned out to be stronger than love.

Minor characters of wanderers and praying mantises also help create desired background play. With their fantastic fables they emphasize the ignorance and denseness of the inhabitants of the “dark kingdom”. Feklushi's stories about the lands where people with dog heads live are perceived by them as immutable facts about the universe. .

The only living and thinking soul in the city of Kalinov is the self-taught mechanic Kuligin, who is looking for a perpetual motion machine. He is kind and active, obsessed with a constant desire to help people, to create something necessary and useful. But all his good intentions run into a thick wall of misunderstanding and indifference. So, when he tries to install lightning rods on houses, he receives a furious rebuff from the Wild: “A thunderstorm is sent to us as punishment, so that we can feel it, but you want to defend yourself with poles and some kind of goads, God forgive me.” Kuligin gives a vivid and true description of the “dark kingdom”: “Cruel, sir, the morals in our city are cruel... Whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors...”

Condemning and disagreeing with laws Kalinovskaya life, Kuligin does not fight them. He reconciled and adjusted to her.

All the minor characters in the play created the background against which Katerina’s tragedy unfolds. Every face, every image in the play was a step in the ladder that led the heroine to her own death.

A. N. Ostrovsky is rightfully considered a singer of the merchant milieu, the father of Russian everyday drama, the Russian national theater. He is the author of about 60 plays, and one of the most famous is “The Thunderstorm”. A. N. Dobrolyubov called Ostrovsky’s play “The Thunderstorm” the most decisive work, since “the mutual relations of tyranny and voicelessness are brought to tragic consequences in it... There is something refreshing and encouraging in “The Thunderstorm”. This something is, in our opinion, the background of the play.”

The background of the play is made up of minor characters. This is the constant companion of Katerina, the main character of the play, Varvara, the sister of Katerina’s husband, Tikhon Kabanova. She is the opposite of Katerina. Her main rule: “Do whatever you want, as long as everything is sewn and covered.” You can’t deny Varvara her intelligence and cunning, before marriage she wants to be everywhere, to try everything, because she knows that “girls go out as they please, father and mother don’t care. Only women are locked up.” Lying is the norm for her. Otsa directly tells Katerina that it is impossible without deception: “Our whole house rests on this. And I was not a liar, but I learned when it became necessary.”

Varvara adapted to the “dark kingdom” and studied its laws and rules. She feels authority, strength, readiness and even a desire to deceive. She is, in fact, the future Kabanikha, because the apple doesn’t fall far from the tree. Varvara's friend, Kudryash, is a match for her. He is the only one in the city of Kalinov who can repel the Wild One. “I am considered a rude person; Why is he holding me? Therefore, he needs me. Well, that means I’m not afraid of him, but let him be afraid of me...” says Kudryash. He behaves cheekily, smartly, boldly, boasts of his prowess and knowledge of the “merchant establishment.” Kudryash is the second Wild, only still young.

In the end, Varvara and Kudryash leave the “dark kingdom,” but their escape does not mean at all that they have completely freed themselves from old traditions and laws and will accept new laws of life and honest rules. Once free, they will most likely try to become masters of life themselves.

The play also contains true victims of the “dark kingdom”. This is Katerina Kabanova’s husband, Tikhon, a weak-willed, spineless creature. He listens to his mother in everything and obeys her, does not have a clear position in life, courage, courage. His image fully corresponds to his name - Tikhon (quiet). Young Kabanov not only does not respect himself, but also allows his mother to shamelessly treat his wife. This is especially evident in the farewell scene before leaving for the fair. Tikhon repeats word for word all his mother’s instructions and moral teachings. Kabanov could not resist his mother in any way; he slowly drank himself to death, becoming even more weak-willed and quiet. Of course, she cannot love and respect such a husband, but her soul yearns for love. She falls in love with Dikiy's nephew, Boris. But Katerina fell in love with him, in Dobrolyubov’s apt expression, “in the wilderness,” because in essence Boris is not much different from Tikhon. Maybe a little more educated. Boris's lack of will, his desire to receive his part of his grandmother's inheritance (and he will receive it only if he is respectful to his uncle) turned out to be stronger than love. .

In the “dark kingdom” the wanderer Feklusha enjoys great reverence and respect. Feklushi's stories about the lands where people with dog heads live are perceived as irrefutable information about the world. But not everything in it is so gloomy: there are also living, sympathetic souls. This is a self-taught mechanic, Kuligin, who invents a perpetual motion machine. He is kind and active, literally obsessed with a constant desire to do something useful for people. But all his good intentions run into a thick wall of misunderstanding, indifference, and ignorance. So, in response to an attempt to install steel lightning rods on houses, he receives a furious rebuff from the Dikiy: “The 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.”

Kuligin is essentially the reasoner in the play; the condemnation of the “dark kingdom” is put into his mouth: “Cruel, sir, the morals in our city are cruel... Whoever has money, sir, tries to enslave the poor so that he can get even more free money for his labors.” make money..."

But Kuligin, like Tikhon, Boris, Varvara, Kudryash, adapted to the “dark kingdom” and came to terms with such a life. The secondary characters, as already mentioned, are the background against which the tragedy of a desperate woman unfolds. Every face in the play, every image was a step on the ladder that led Katerina to the banks of the Volga, to death.

THE ROLE AND IMPORTANCE OF MINIOR CHARACTERS IN THE DRAMA “THE STORM”.