The meaning of the name Boris in the play Thunderstorm. Discovering the meaning of names and surnames in the plays of A.N. Ostrovsky helps to comprehend both the plot and the main images. Although last names and first names are not allowed in this case. Historical origin of the word "surname"

From the point of view of the phenomenon of speaking names that we are considering, a lot of new, wonderful material can be found in the plays of this great playwright. Let us touch only on the most interesting aspects of the use of this literary device in Ostrovsky’s most famous plays.

For example, in the play “The Thunderstorm” there are no random first and last names. A quiet, weak-willed drunkard and mama's boy, Tikhon Kabanov fully lives up to his name. The nickname of his “mama” – Kabanikha – has long been rethought by readers as a name. It is not for nothing that the creator of “The Thunderstorm” already introduces this heroine in the poster: “Marfa Ignatievna Kabanova (Kabanikha), a rich merchant’s wife, widow.” By the way, her old, almost ominous name paired with Savel Prokofievich Dikiy quite definitely speaks about their characters, their way of life, and their morals. It is interesting that in translation from Aramaic the name Martha is translated as “mistress”.

The name Dikoy also contains a lot of interesting things. The fact is that the ending -ой in the corresponding words is now read as -й(-й). For example, Pushkin’s “freedom sower of the desert” (in the current pronunciation – “desert”) means “lonely.” Thus, Dikoy is nothing more than a “wild man”, simply a “savage”.

Names and surnames also have a symbolic meaning in the play “Dowry”. Larisa - translated from Greek - seagull. The surname Knurov comes from the dialect word knur - hog, boar, boar. Paratov is etymologically related to the adjective poratoy - lively, strong, stalwart, diligent. Vozhevatov comes from the phrase “vozhevaty people”, meaning cheeky, shameless. Everything in the first name, patronymic and last name of Larisa’s mother, Kharita Ignatievna Ogudalova, turns out to be significant. Charites (from the Greek kharis - grace, charm, beauty) were called gypsies from the choir, and every gypsy in Moscow was called Ignati. Hence the comparison of Larisa’s house with a gypsy camp. The surname comes from the word ogudat - to deceive, seduce, deceive. Julius Kapitonovich Karandyshev, by the contrast of his first and patronymic with his last name, already contains in the grain the image of this person. Julius is the name of the noble Roman emperor Caesar, Capito is from the Latin capitos - head, Karandyshev is from the word pencil - a runt, a short man, a person with exorbitant and unfounded claims. Thus, psychologically polyphonic human characters emerge from the very first pages of the play.

The play “Warm Heart” is also surprisingly interesting from the point of view of studying the semantics of speaking names, in which there is a whole constellation of the most interesting surnames, names and patronymics of the characters. Here, by the way, is how V. Lakshin writes about this in the article “Ostrovsky’s Poetic Satire”: “Perhaps the brightest and most caustic figure of comedy in the political sense is Serapion Mardarich Gradoboev. Well, Ostrovsky invented a name for him! Serapion is easily changed into “scorpion”, as the rude Matryona calls him, Mardariy sounds next to the dissonant word “muzzle”, and Gradoboev is a surname filled to the brim with ironic semantics: not only crops damaged by hail, but also a battle forced on the city.” . By the way, Gradoboev is none other than the mayor of the city of Kalinov (remember “The Thunderstorm”, “The Forest”), who is not very almond-shaped with the townsfolk.

In “A Warm Heart” there is also a merchant Kuroslepov, who, either from drunkenness or from a hangover, suffers from something like night blindness: he does not see what is happening under his nose. By the way, his clerk, Madame Kuroslepova’s favorite, has a characteristic name - Narkis.

If you look through the works of A.N. Ostrovsky, you can find many characters with meaningful names. This is Samson Silych Bolshov, a rich merchant, and Lazar Elizarich Podkhalyuzin, his clerk (the play “Our People - We Will Be Numbered”); Egor Dmitrievich Glumov from the drama “Simplicity is Enough for Every Wise Man,” who really mocks those around him; provincial theater actress Negina from “Talents and Admirers” and merchant Velikatov, who loves delicate treatment.

In the play “The Forest,” Ostrovsky persistently names the characters with names associated with the concepts of “happiness and unhappiness,” as well as “paradise, arcadia.” No wonder the name of the landowner Gurmyzhskaya is Raisa. And the root of Raisa Pavlovna’s surname suggests certain thoughts. A.V.Superanskaya and A.V.Suslova write about this: “The name of Raisa Gurmyzhskaya - a rich landowner - in Russian is consonant with the word “paradise”. The clue to her surname can be found in another play by Ostrovsky - “The Snow Maiden” - In the words of Mizgir, who talks about the wonderful island of Gurmyz in the middle of the warm sea, where there are a lot of pearls, where there is heavenly life.”

And about the stage names of provincial actors Schastlivtsev and Neschastlivtsev, the same authors write this: “Ostrovsky remains an unsurpassed master of names and surnames. So, in the play “Forest” he shows the provincial actors Schastlivtsev and Neschastlivtsev. Yes, not just Schastlivtseva, but Arcadia (cf. Arcadia is the legendary happy country inhabited by shepherdesses and shepherdesses). Gennady Neschastlivtsev (Gennady - Greek noble) is a noble tragic actor. And against the backdrop of these names, their common fate seems especially tragic.”

So, one of Ostrovsky’s methods of forming surnames is metaphorization (figurative meaning). Thus, the surname Berkutov (“Wolves and Sheep”) and Korshunov (“Poverty is not a vice”) are derived from the names of birds of prey: golden eagle – a strong mountain eagle, vigilant, bloodthirsty; The kite is a weaker predator, capable of capturing smaller prey. If the character with the surname Berkut is from the breed of “wolves” (which is emphasized by the title of the play) and “swallows” a whole large fortune, then Korshunov in the play dreams of stealing, like a chicken, from his father’s house a weak, fragile creature (Lyubov Gordeevna).

Many of Ostrovsky's surnames are formed from popular words (names of animals, birds, fish) with a pronounced negative meaning: they seem to characterize people by the properties that are inherent in animals. Baranchevsky and Pereyarkov are stupid as sheep; Lisavsky is as cunning as a fox; Kukushkina is selfish and heartless, like a cuckoo...

Ostrovsky’s surname may also indicate a person’s appearance: Puzatov, Wartkin, Pleshakov, Kurchaev, Belotelova; on behavior: Gnevyshev, Gromilov, Lyutov, Groznov; on lifestyle: Baklushin, Pogulyaev, Dosuzhaev; on social and financial status: Bolshov, Velikatov...And the surnames Goltsov, Mykin, Tugina, Kruchinina indicate the difficult life of their bearers, full of need and deprivation.

Almost a third of all surnames in the playwright’s works are of dialect origin: Velikatov (“Talents and Admirers”) from velikaty, that is, “stately, prominent, important, arrogant, proud, polite, able to treat people, inspiring respect”; Lynyaev (“Wolves and Sheep”) from lyat, that is, “to shirk, evade the matter” (V.I. Dahl’s Explanatory Dictionary, volume 2), Khlynov (“Warm Heart”) from khlyn - “fraudster, thief, deceiver in purchase and sale", Zhadov ("Profitable place") from zadat - in the ancient meaning: "to experience a strong desire."

Ostrovsky’s plays are rich in funny names: Razlyulyaev (“Poverty is not a vice”), Malomalsky (“Don’t sit in your own sleigh”), Nedonoskov and Nedorostkov (“Jokers”)…

As a “building material” for the formation of characters’ surnames, Ostrovsky does not often use distorted foreign words: Paratov (“Dowry”) from the French “parade” (does everything for show, likes to show off, show off. In the theater A.N. Ostrovsky's speaking names are so precise and significant that it is time to talk about the playwright's virtuoso, phenomenal mastery of this technique.

2.5. Parody names in the works of M.E. Saltykova - Shchedrin, Kozma Prutkova

It is well known that when some phenomenon or cultural phenomenon reaches a certain level, becomes universally known and popular, it begins to be parodied. So it is with speaking names. We have already partly touched upon the fact that Gogol parodied some noble families. By the way, M.E. also has many such surnames. Saltykov-Shchedrin: Intercept-Zalikhvatsky from “The History of a City”, Serpukhovsky-Dogonay, Uryupinsky-Doezhay from “Abroad”, Peresvet-Zhaba from “Satire in Prose”. However, in this case we were dealing with a phenomenon that was more social, political, and only then literary.

In the full sense, parodic names and, accordingly, heroes appear in the works of Kozma Prutkov, created through the friendly efforts of A.K. Tolstoy and the Zhemchuzhnikov brothers. Is it any wonder that the heroes of the comedy “Fantasia” wear completely parody names? Thus, the hero, whom the authors present as a “decent man,” bears the surname Kutilo-Zavaldaisky; “a shy person” is naturally called Shameless. “The man selling soap” in this comedy turns out to be Prince Kasyan Rodionovich Batog-Batyev. In this double surname, both Batu and the batogs found a place for themselves. A clear echo of the name of Manilov’s son is the name of Themistocles Miltiadovich Razorvaki. And in the drama “Love and Silin” Kozma Prutkov brings to the stage General’s wife Kislozvezdova, “a mute but voluptuous widow,” and Silva don Alonzo the Scoundrel,” “a visiting Spanish man.”

No less parodic and funny are the names of the comedy “Skullbreaker, that is, phrenologist.” Here is Shishkenholm, “a phrenologist, a cheerful old man, bald, with a knobby skull,” here is Vikhorin, “a civil official. Shaved face, bald, wearing a wig.” You know, that’s why he’s Vikhorin.

Parody always coexists in parallel with what it satirizes.

It can be assumed that among playwrights of later eras the speaking names of the characters had to change. The work of Anton Pavlovich Chekhov is a clear confirmation of this.

Speaking names. Katerina - Catherine - eternally pure (Greek) Varvara - from “barbarize” (joking) - celebrate, revel, walk (Dal). Savel Prkofyevich Dikoy - wild, according to Dahl’s dictionary, “stupid, crazy, crazy, half-witted, crazy.” Kuligin - the surname is projected onto a historical figure - the self-taught mechanic Ivan Petrovich Kulibin (1735 - 1818), originally from Nizhny Novgorod, who amazed his contemporaries with his inventions - a clock, a microscope, a telescope, a semaphore telegraph, etc.

Picture 18 from the presentation “Drama Thunderstorm” for literature lessons on the topic “Ostrovsky’s Plays”

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Ostrovsky's plays

“Biography of A.N. Ostrovsky” - During his student years he became a passionate theatergoer. During the period of work in the courts, he tried himself in various fields of literature: poems, essays, plays. He considered the play “Family Picture” (1846-47) to be his beginning. The play “His Own” brought him fame. people - we will be numbered" (1849) - police supervision. “You alone completed the building, at the foundation of which Fonvizin, Griboyedov, Gogol laid the cornerstones.

“Ostrovsky Thunderstorm Lesson” - Composition. Ideological and artistic originality of the drama “The Thunderstorm”. Varvara versus Kabanikha. Dikoy and Kabanikha against Kuligin. Curly versus Wild. “Dark Kingdom” (old social and everyday principles). The purpose of the lesson. Boris vs. Dikiy. - “Thunderstorm” is printed.

“Drama of the Thunderstorm” - 1856. I can’t stop looking!” And suddenly the song is interrupted... Pushkin Theater A. A. Brenko in Moscow. 1880. Moscow. Katerina. G. N. Fedotova as Katerina. Speaking names. Peace and quiet. Photo. 1866. Thunderstorm. Kuligin sings a Russian folk song. Fight at the rampart, cry and cry! Sketch of Varvara's costume for the production of A.N. Ostrovsky's drama "The Thunderstorm".

“The Thunderstorm Play” - S. Shevyrev. The meaning of the title of A. Ostrovsky’s play “The Thunderstorm”. Storm. Motive organization of drama. Find how the motives of sin and death are implemented in the text. Observe how the motives of sin and death are implemented in the text. Drama image system. How did you miss the thunderstorm in the poster? A.N. Ostrovsky.

“The Life and Work of Ostrovsky” - Ostrovsky among the members of the Society of Dramatic Writers. Ostrovsky's favorite genre is comedy. Dining room in the House Museum. I. Essay on the life of A.N. Ostrovsky: 1. Childhood and youth 2. First passion for theater 3. Training and service 4. First love. The plots of the plays have a simple structure; some character functions are preserved from play to play.

“The Works of Ostrovsky” - Do you know what education is!.. A scene from the play. In the 60s a hero-nobleman also appears in Ostrovsky’s works. A woman in Ostrovsky’s era is much more confined to the home circle than a man. “Our people - we will be numbered!” Ostrovsky was born in the old merchant and bureaucratic district of Zamoskvorechye.

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A. Ostrovsky's plays are full of various symbolism. First of all, these are symbols associated with the natural world: forest, thunderstorm, river, bird, flight. The names of the characters also play a very important role in the plays, most often names of ancient origin: ancient Greek and Roman. The motifs of the ancient theater in Ostrovsky's plays have not yet been sufficiently studied, so it is difficult to take into account all the semantic overtones of Greek and Roman names in Ostrovsky's plays. It is clear, however, that these names were not at all chosen by chance by the author; their sound composition, imagery and their meaning in the Russian language are very important. We will dwell on these points in more detail.

Yu. Olesha admired the names of Ostrovsky's heroes. Paratov is both a parade and a pirate. To Olesha’s observations we can add, of course, the obvious comparison of Paratov with a “paraty” beast, that is, powerful, predatory, strong and merciless. A seasoned leader, for example. His predatory behavior in the play is best characterized by this surname.

There is no need to comment on the names of Dikoy and Kabanov. But let’s not forget that Dikoy is not only the all-powerful Savel Prokofievich, but also his nephew, Boris. After all, Boris’s mother “couldn’t get along with her relatives,” “it seemed very wild to her.” This means that Boris is Dikoy on his father’s side. What does this mean? Yes, this means that he will not be able to defend his love and protect Katerina. After all, he is the flesh of his ancestors and knows that he is entirely in the power of the “dark kingdom.” And Tikhon - Kabanov, no matter how “quiet” he is. So Katerina rushes about in this dark forest among animal-like creatures. She chose Boris almost unconsciously, the only difference between him and Tikhon was his name (Boris is “fighter” in Bulgarian).

Wild, self-willed characters, except for the Wild One, are represented in the play by Varvara (she is a pagan, a “barbarian,” not a Christian and behaves accordingly) and Kudryash, to whom the corresponding Shapkin is, reasoning with him. Kuligin, in addition to the well-known associations with Kulibinsh, also evokes the impression of something small, defenseless: in this terrible swamp he is a sandpiper - a bird and nothing more. He praises Kalinov like a sandpiper praises his swamp.

Women's names in Ostrovsky's plays are very bizarre, but the name of the main character almost always extremely accurately characterizes her role in the plot and fate. Larisa means “seagull” in Greek, Katerina means “pure”. Larisa is a victim of Paratov's trade pirate deals: he sells “birds” - “Swallow” (steamboat) and then Larisa - a seagull. Katerina is a victim of her purity, her religiosity, she could not bear the splitting of her soul, because she loved not her husband, and cruelly punished herself for it. It is interesting that Kharita and Martha (in “The Dowry” and in “The Thunderstorm”) are both Ignatievna, that is, “ignorant” or, in scientific terms, “ignoring”. They stand, as it were, on the sidelines of the tragedy of Larisa and Katerina, although both of them are certainly to blame (not directly, but indirectly) for the death of their daughter and daughter-in-law.

Larisa in “Dowry” is not surrounded by “animals”. But these are people with huge ambitions, playing with it like a thing. Mokiy is “blasphemous”, Vasily is “king”, Julius is, of course, Julius Caesar, and also Kapitonich, that is, living with his head (kaput - head), and perhaps striving to be in charge. And everyone looks at Larisa as a stylish, fashionable, luxurious thing. It’s like being on an unprecedentedly high-speed ship, like being on a luxurious villa. Which of them, in modern terms, is “cooler”? And what Larisa thinks or feels is the tenth matter, not of interest to them at all. And Larisa’s chosen one, Paratov, Sergei Sergeevich - “highly revered”, from a family of arrogant Roman patricians, evokes associations with such a famous tyrant in history as Lucius Sergius Catilina.

And finally, Kharita - the mother of three daughters - is associated with the Kharites, the goddesses of youth and beauty, of which there were three, but she also destroys them (remember the terrible fate of the other two sisters - one married a sharper, the other was stabbed to death by her Caucasian husband).

In the play “The Forest,” Aksyusha is completely alien to this world of evil spirits. The forest can be understood as a new “dark kingdom”. Only it’s not merchants who live here, but kikimors like Gurmyzhskaya and Ulita. Aksyusha is a stranger because her name means “stranger”, “foreigner” in Greek. In light of this, the questions that Aksyusha and Peter ask each other are noteworthy: “Are you one of our own or someone else’s?” - “Whose are you? Is it yours?”

But the name Gurmyzhskaya (Raisa - in Greek “careless”, “frivolous”) is very suitable for her, but it seems like an overly delicate characteristic for this witch. Julitta (Julia) is again related to the Julian family, famous in Rome, but this name may hint more directly at her depraved nature. Indeed, in the ancient Russian story “On the Beginning of Moscow,” the name of the criminal wife of Prince Daniel, a traitor and a deceiver, is called Ulita.

The names of the actors Schastlivtsev and Neschastlivtsev (Arkady and Gennady) justify their pseudonyms and behavior. Arkady means happy, and Gennady means noble. Milonov, of course, has something in common with Manilov and Molchalin, and Bodaev, both in surname and in manners, is Sobakevich’s heir.

So, revealing the meaning of names and surnames in Ostrovsky’s plays helps to comprehend both the plot and the main images. Although surnames and names cannot be called “speaking” in this case, since this is a feature of the plays of classicism, they are speaking in the broad - symbolic - sense of the word.

Talking surnames in the drama “The Thunderstorm” The work was completed by a student of the 10th “A” class of KNG, Kutkina Vladislava “Talking” surnames in literature are surnames that are part of the characteristics of a character in a work of fiction, emphasizing the most striking character trait of the character

Kabanikha Marfa Ignatievna Kabanova (Kabanikha) Marfa Ignatievna Kabanova (Kabanikha) The heroine's nickname could be formed from two words that correspond to the essence of her character - a wild ferocious pig or boar. The cruelty, ferocity and coldness, indifference of this heroine are obvious. The heroine's nickname could be formed from two words that correspond to the essence of her character - a wild ferocious pig or boar. The cruelty, ferocity and coldness, indifference of this heroine are obvious. Martha is a “mentor.” It is interesting that in translation from Aramaic the name Martha is translated as “mistress”. Martha is a “mentor.” It is interesting that in translation from Aramaic the name Martha is translated as “mistress”. Ignatius - “unknown, self-produced” Ignatius – “unknown, self-produced” Varvara Osipovna Massalitino-Russian Soviet theater and film actress Dead Souls Korobochka Minor Prostakova Woe from Wit Khlestova Thunderstorm Kabanikha 1934 Thunderstorm

Dikoy Dikoy in the northern Russian regions meant “stupid, crazy, crazy, half-witted, crazy,” and dictating meant “fooling, fooling around, going crazy.” Dikoy in the northern Russian regions meant “stupid, crazy, crazy, half-witted, crazy,” and dictating meant “fooling, fooling around, going crazy.” Initially, Ostrovsky intended to give the hero the patronymic Petrovich (from Peter - “stone”), but there was no strength or firmness in this character and the playwright gave the patronymic Prokofievich (from Prokofy - “successful”). This was more suitable for a greedy, ignorant, cruel and rude man, who at the same time was one of the richest and most influential merchants of the city. Initially, Ostrovsky intended to give the hero the patronymic Petrovich (from Peter - “stone”), but there was no strength or firmness in this character and the playwright gave the patronymic Prokofievich (from Prokofy - “successful”). This was more suitable for a greedy, ignorant, cruel and rude man, who at the same time was one of the richest and most influential merchants of the city. Mikhail Mikhailovich Tarkhanov Russian and Soviet theater and film actor, director, teacher.Soviet “The Inspector General” Luka Lukich Khlopov “The Inspector General” “Woe from Wit” Platon Mikhailovich Gorich “Woe from Wit” “Dead Souls” Mikhail Semyonovich SobakevichDead Souls

Katerina and Varvara “Katerina” means “pure” in Greek. “Katerina” means “pure” in Greek. The name "Barbara" means "rude". This heroine is in many ways opposed to Katerina. Indeed, she is quite simple spiritually, rude. She knows how to lie when necessary. The name "Barbara" means "rude". This heroine is in many ways opposed to Katerina. Indeed, she is quite simple spiritually, rude. She knows how to lie when necessary. Polina Antipyevna Strepetova Shcherbinia Lyudmila Nikolaevna Pashkova Lyudmila Anatolyevna

Kuligin “Self-taught mechanic,” as the hero introduces himself. “A self-taught mechanic,” as the hero introduces himself. P.I. Melnikov wrote: “... To this man Mr. Ostrovsky very skillfully gave the famous name of Kulibin, who in the past century and at the beginning of this century brilliantly proved what an unlearned Russian man can do with the power of his genius and unyielding will.” P.I. Melnikov wrote: “... To this man Mr. Ostrovsky very skillfully gave the famous name of Kulibin, who in the past century and at the beginning of this century brilliantly proved what an unlearned Russian man can do with the power of his genius and unyielding will.” Ivan Petrovich Kulibin is a Nizhny Novgorod mechanic and inventor from the philistines. Nizhny Novgorod inventor

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The place of “speaking” surnames in the plays of A.N. Ostrovsky Completed by: student of the 10th “G” class Shishkina Ekaterina Municipal Educational Institution Gymnasium named after A.L. Kekina of the city of Rostov 2010

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Proper names and nicknames occupy an important place in the lexical composition of the language. Onomastic names introduced into the structure of a work of art, as one of the important elements of means of expression, are organically related to the content of the work. Fictitious names, nicknames, and titles provide invaluable assistance to writers. nominative-identifying function means of typing characters means of conveying the author's attitude vivid characteristics of characters The role of proper names in literature

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In Russian literature, proper names as a special lexical category first became an object of reflection in the artistic practice of classicists. In the 18th century, theatergoers knew before the start of the performance which characters they would see on stage. The playwright was instructed to give the characters “speaking” surnames. Having read “Skotinin, Prostakov and Vralman” or “Milon and Pravdin” in the list of characters, it was not difficult to guess what kind of characters the author brought out in the play. There are three types of speaking surnames: actual speaking ones, “which report one important feature of the hero” (Skotinin, Famusov, Tugoukhovsky, Molchalin); evaluators (Skalozub, Khryumina, Zagoretsky, Khlestova); associative (Chatsky, pointing to the prototype of the main character of the drama - Chaadaev). "Talking" surnames in the era of classicism

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What do the names in the works of A.N. say? Ostrovsky? Classicism with its strict rules is a thing of the past. But playwrights fell in love with “speaking” names. Ostrovsky also often used them. However, not all of them were invented by the author, as was the case in the era of classicism, but were taken from the language. In the early period, many real names appeared in Ostrovsky's plays. For example, in the 40s, the names Bolshov, Khorkov, and Kabanov were common among the Moscow merchants.

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Techniques for forming surnames by A.N. Ostrovsky 1) indicate the appearance of a person (Puzatov, Borodkin, Pleshakov) the manner of behavior (Lyutov, Groznov, Gromilov) the lifestyle (Baklushin, Pogulyaev, Dosuzhev) the social and financial situation (Bolshov, Velikatov) 2) formed from national words (names of animals, birds, fish) with a pronounced negative meaning (Baranchevsky, Lisavsky, Kukushkina) from dialect words (Lynyaev from lynyat - “to shirk, evade business”, Khlynov from hlyn - “fraudster, thief, deceiver”, Ogudalova from ogudat - “to seduce, deceive, deceive, deceive, deceive, entangle”) from distorted foreign words (Paratov, Negligentov) 3) metaphorization (Berkutov, Korshunov)

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“Talking” surnames in the play “The Thunderstorm” by Marfa Ignatievna Kabanova In “The Thunderstorm,” in the list of characters, the nickname of the main character is given along with the surname. In the main text of the play she is called Kabanikha, but not once by her last name: in the minds of the viewer she is Kabanikha. This emphasizes the “bestial” nature of her character. It is no coincidence that Kabanova bears the name Martha (Greek) - “mistress, mistress of the house”: she really holds the house completely in her hands, all household members are forced to obey her. Ignatievna, that is, “ignorant” or “ignoring.” She does not notice what is happening to close people, does not understand that their ideas about happiness are completely different. She is absolutely confident that she is right and forces those around her to live by her own rules. And thus she turns out to be indirectly to blame for Katerina’s tragedy and provokes Varvara to escape.

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Savel Prokofievich Dikoy The name Dikoy contains a lot of interesting things. The fact is that the ending -ой in the corresponding words is now read as -й(-й). Thus, Dikoy is nothing more than a “wild man”, simply a “savage”. The name Savel is reminiscent of the name of the Gospel character Saul, a persecutor of Christians, who, under the name of Paul, became a zealous preacher of their faith. But with the hero of "The Thunderstorm" such a transformation, alas, does not happen. Prokofy means “prosperous.” Boris Grigorievich Dikoy's nephew, the son of his brother, also Dikoy. But Boris's last name is never heard in the play - it is so incompatible with his character. But still, he is the flesh of his ancestors and knows that he is entirely in the power of the “dark kingdom”, therefore he will not be able to defend his love and protect Katerina. Boris means “fighter” in Bulgarian.

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Tikhon and Varvara Kabanov Varvara (Greek) – “who came from foreign lands”, i.e. ignorant, wild (neighboring peoples were backward in comparison with the Greeks). Indeed, Varvara easily oversteps morality: she meets with Kudryash, then, when her mother locks her up, she runs away with him. She does not obey the rules that forbid her to do what she wants without experiencing the slightest remorse. Her motto: “do what you want, as long as it’s sewn and covered.” Therefore, she does not understand Katerina’s torment; she does not feel guilty for pushing her to sin. In some cases, Ostrovsky focuses on the folk semantics of the name. For example, Tikhon is translated from Greek as successful, but it is difficult to call the life of the character in the play “The Thunderstorm” successful. But the connection with the word “quiet” is obvious. Tikhon is afraid to contradict his mother, he cannot even stand up for Katerina, protect her from unfair accusations.

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Katerina Katerina is translated from Greek as “pure”. Despite the fact that she commits two terrible sins: adultery and suicide, she remains morally pure, and therefore is opposed to all other characters. The heroine realizes her guilt, cannot hide it, and therefore confesses to Tikhon that she has committed a sin right on the street. She feels the need for punishment; he sincerely suffers that he cannot repent, cannot feel the sinfulness of his love. She silently endures Kabanikha’s reproaches, understanding their justice, and, according to Tikhon, “melts like wax.” Ostrovsky does not use the canonical form (Ekaterina), but the folk one, emphasizing the folk-poetic side of the character of the heroine, her folk worldview, which is expressed in the desire to fly, the idea of ​​​​a “grave”: “There’s a grave under the tree... how good!.. Her sunshine.” warms it, wets it with rain... in the spring the grass will grow on it, so soft... birds will fly to the tree, they will sing, they will bring out children, flowers will bloom: yellow, red, blue... all kinds.” A large number of words with diminutive suffixes are also characteristic of folklore.

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Kuligin The surname Kuligin is reminiscent of the famous Russian inventor of the 18th century Kulibin. The hero is the most advanced person in the city of Kalinov, who dreams of installing lightning rods, sundials and inventing a perpetual motion machine. Both Kuligin and Kulibin faced rejection of the ideas around them. But this is a real surname, derived from the widespread dialect word kuliga - “a type of sandpiper, snipe, as well as a piece of land in the forest, meadow or forest clearing cleared for agriculture.” He gives the impression of something small, defenseless: in this terrible swamp he is a sandpiper - a bird and nothing more. He praises Kalinov like a sandpiper praises his swamp. There are dialects in which a slow-witted, clumsy person is called a kulig. The surname hints that Kuligin’s ideas can be considered advanced only in the backward city of Kalinov.