The question of genres has always been quite resonant among literary scholars and critics. Disputes over which genre to attribute this or that work to gave rise to many points of view, sometimes completely unexpected. Most often, disagreements arise between the author's and the scientific designation of the genre.

For example, the poem by N. V. Gogol “ Dead Souls from a scientific point of view, should have been called a novel. In the case of dramaturgy, too, everything is not so simple. And this is not about a symbolist understanding of the drama or futuristic experiments,

And about the drama within the framework of the realistic method.

Speaking specifically, about the genre of "Thunderstorms" by Ostrovsky.

Ostrovsky wrote this play in 1859, at a time when theater reform was needed. Ostrovsky himself believed that the actors' play was much more important to the audience, and one could read the text of the play at home. The playwright was already beginning to prepare the public for the fact that plays for performances and plays for reading should be different. But the old traditions were still strong.

The author himself defined the genre of the work "Thunderstorm" as a drama.
First you need to understand the terminology. The drama is characterized by a serious, mostly everyday plot, the style is close to real life. At first glance, The Thunderstorm has a lot of dramatic elements. This, of course, is life.

The customs and way of life of the city of Kalinov are spelled out incredibly clearly. One gets a complete impression not only of a single city, but of all provincial towns. It is no coincidence that the author points to the conditionality of the scene: it is necessary to show that the existence of inhabitants is typical.

Social characteristics are also clear: the actions and character of each hero are largely determined by his social position.

The tragic beginning is associated with the image of Katerina and, in part, Kabanikh. Tragedy requires a strong ideological conflict, a struggle that can end in the death of the protagonist or several characters. The image of Katerina shows a strong, pure and honest person who strives for freedom and justice.

She was married early against her will, but she was able to some extent fall in love with her spineless husband. Katya often thinks that she could fly. She again wants to feel that inner lightness that she had before marriage.

The girl is cramped and stuffy in an atmosphere of constant scandals and quarrels. She can neither lie, even though Varvara says that the whole Kabanov family rests on a lie, nor hush up the truth. Katya falls in love with Boris, because initially both to her and to the readers he seems the same as her.

The girl had the last hope of saving herself from disappointment in life and in people - an escape with Boris, but the young man refused Katya, acting like other inhabitants of a strange world for Katerina.

Katerina's death shocks not only readers and viewers, but also other characters in the play. Tikhon says that his imperious mother, who killed the girl, is to blame for everything.
Tikhon himself was ready to forgive his wife's betrayal, but Kabanikha was against it.

The only character who can be compared with Katerina in strength of character is Marfa Ignatievna. Her desire to subjugate everything and everyone makes a woman a real dictator. Her difficult nature eventually led to her daughter running away from home, her daughter-in-law committing suicide, and her son blaming her for her failures.

Kabanikha can be called Katerina's antagonist to some extent.

The conflict of the play can also be viewed from two sides. From the point of view of tragedy, the conflict is revealed in the clash of two different worldviews: the old and the new. And from the point of view of the drama in the play, the contradictions of reality and characters collide.

The genre of the play "Thunderstorm" by Ostrovsky cannot be precisely defined. Some tend to the author's version - a social drama, others propose to reflect the characteristic elements of both tragedies and dramas, defining the Thunderstorm genre as an everyday tragedy. But one thing cannot be denied for sure: In this play there are both traits of tragedy and drama.


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Drama(from Greek drama - action) - one of the main genera fiction. In the broad sense of the word, drama is any literary work, written in the form of a conversation between characters, without the author's speech.

The author of a novel, story, story, essay, in order for the reader to imagine a life picture or the persons acting in it, tells about the environment in which they act, about their actions and experiences; author lyrical work conveys the experiences of a person, his thoughts and feelings; the author of a dramatic work shows all this in action, in the actions, speeches and experiences of his characters and, moreover, has the opportunity to show the characters of his work on stage. Dramaturgical works are for the most part intended for performance in the theatre.

Dramaturgic works are various kinds: tragedies, dramas, comedies, vaudeville, theater reviews, etc.

In the narrow sense of the word, drama, unlike other types of dramatic works, is a literary work depicting a complex and serious conflict, a tense struggle between characters.

Artistic features of the drama:

1. A dramatic work is intended to be staged.

2. The main idea is expressed by one of the characters.

3. The playwright is directly manifested in the work in remarks.

4. The speech of the characters is the main means of their characterization.

5. An important role in the drama is played by the artistic space, which is sometimes represented on the stage by scenery.

6. The artistic world of drama can be lifelike and fantastical.

7.Dramatic work has a special composition

8. In the drama as a kind, genres are distinguished: drama, comedy, tragedy, fairy tale play, extravaganza, etc.

9. Dramatic works are in verse and prose.

Test on the play "Thunderstorm"

1. Determine the genre of the work.

A) family drama

B) tragedy

B) comedy

D) an alloy of comedy, drama, lyrics and tragedy

D) psychological drama

2. Determine the type of conflict in The Storm

A) philosophical

B) social

B) ideological

D) internal

D) family

3. Correctly arrange the elements of the composition of the play

A) exposition 1) conversation between Boris and Kudryash

B) plot 2) the death of Katerina

C) climax 3) Katerina's monologue before death

D) denouement 4) conversation between Kuligin and Kudryash

4. What artistic means Is the motif of the isolation of the city of Kalinov conveyed in the play?

BUT) symbolic details- gate, fence

C) lack of communication with other cities

D) in the manner of Feklusha

5. What is the purpose of A.N. Ostrovsky introducing exposition into the play?

A) to emphasize the positive traits in the character of Kuligin

B) outline the conflict between youth and the older generation in the play

C) indicate the place of action and the situation in the city

D) describe the Volga coast

6. The system of images in the play is based on the principle of "pairing". Identify these pairs among the indicated characters, write down the pairs.

Katerina, Wild, Curly, Kabanikha, Boris, Barbara _____________________________________

___________________________________________________________________________________

7. Indicate the names of the heroes of the play, which, from the point of view of classical drama, can be called "superfluous characters"

A) barbarian

B) Curly

B) Kuligin

D) Shapkin

E) half-crazy lady

8. In the confrontation of which heroes did the main conflict of the play express itself most clearly?

A) Boar - Wild

B) Katerina - Barbara

C) Katerina - Kabanikha

D) Katerina - Tikhon

9) How the “dark kingdom” and its “victims” are represented at the level of characters. Indicate those and others in the list with the letters t, g.

Wild, Katerina, Tikhon, Feklusha, Boris, Kabanikha, Barbara, half-crazy lady, Curly.

10) A.N. Ostrovsky widely uses symbolic images in the play. Highlight them.

Path, perpetual motion machine, grave, thunderstorm, key, white scarf.

11) Which of the heroes of the play speaks of Kabanikh like that? “... hypocrite, sir! The beggars are clothed, and the household eats completely ... "

B) Kuligin

B) Katerina

12. Which of the Russian critics owns such an assessment of the image of Katerina: “Katerina's whole life consists of constant internal contradictions; every minute she rushes from one extreme to another ... "

A) N.A. Dobrolyubov

B) D.I. Pisarev

B) V. G. Belinsky

D) I.A. Goncharov

13. At what point does the main climax of the play take place?

A) Katerina's public confession of sinfulness

B) a date with Boris

C) in Katerina's monologue at the end

D) there is no climax in the play

14. Why A.N. Ostrovsky was called “the father of the Russian national theater»?

A) revived the traditions of A.S. Griboyedov, A.S. Pushkin, N.V. Gogol

B) he wrote 47 plays

C) with his work had a decisive influence on the subsequent development of Russian drama

D) built the building of the Maly Theater

3.A-4,B-1,C-3,G-2

6. Katerina-Kabanikha; Boar-Wild; Boat-Boris; Varvara-Kudryash; Katerina-Barbara

9. t: Wild, Feklusha, Kabanikha, half-crazy lady.

Well: Katerina, Tikhon, Boris, Varvara, Kudryash.

10. Grave, key, white handkerchief

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"Thunderstorm" stands out as the main, milestone work of the playwright. "Thunderstorm" was supposed to be included in the collection "Nights on the Volga", conceived by the author during a trip to Russia in 1856, organized by the Naval Ministry. True, Ostrovsky then changed his mind and did not unite, as he initially assumed, the cycle of “Volga” plays under a common title. The Thunderstorm was published as a separate book in 1859. During Ostrovsky's work on it, the play underwent great changes - the author introduced a number of new characters, but most importantly - Ostrovsky changed his original plan and decided to write not a comedy, but a drama. However, the strength social conflict in The Thunderstorm is so great that one can even speak of the play not as a drama, but as a tragedy. There are arguments in favor of both opinions, so the genre of the play is difficult to define unambiguously.

Of course, the play is written on a social and everyday theme: it is characterized by Special attention the author to depict the details of everyday life, the desire to accurately convey the atmosphere of the city of Kalinov, his “ cruel morals". The fictional city is described in detail, many-sidedly. An important role is played by the landscape beginning, but here a contradiction is immediately visible: Kuligin speaks of the beauty of the beyond the river, the high Volga cliff. “Something,” Kudryash objects to him. Pictures of night walks along the boulevard, songs, picturesque nature, Katerina's stories about childhood - this is the poetry of the Kalinov world, which is faced with the everyday cruelty of the inhabitants, stories about "naked poverty". About the past, the Kalinovites retained only vague legends - Lithuania “fell from the sky to us”, news from big world the wanderer Feklusha brings them. Undoubtedly, such attention of the author to the details of the life of the characters makes it possible to speak of the drama as a genre of the play “Thunderstorm”.

Another feature characteristic of the drama and present in the play is the presence of a chain of intra-family conflicts. First, this is a conflict between the daughter-in-law and the mother-in-law behind the locks of the gates of the house, then the whole city learns about this conflict, and from everyday life it develops into a social one. The expression of the co-conflict in the actions and words of the characters, characteristic of the drama, is most clearly shown in the monologues and dialogues of the characters. So, we learn about Katerina’s life before marriage from a conversation between young Kabanova and Varvara: Katerina lived, “didn’t grieve about anything”, like a “bird in the wild”, spending all day in pleasures and household chores. We know nothing about the first meeting of Katerina and Boris, about how their love was born. In his article, N. A. Dobrolyubov considered the insufficient “development of passion” to be a significant omission, he said that this is precisely why the “struggle of passion and duty” is designated for us “not quite clearly and strongly”. But this fact does not contradict the laws of drama.

The originality of the Thunderstorm genre is also manifested in the fact that, despite the gloomy, tragic general coloring, the play also contains comic, satirical scenes. The anecdotal and ignorant stories of Feklusha about the saltans, about the lands where all the people are “with dog heads” seem ridiculous to us. After the release of The Thunderstorm, A. D. Galakhov wrote in his review of the play that “the action and the catastrophe are tragic, although many places excite laughter.”

The author himself called his play a drama. But could it be otherwise? At that time, when speaking about the tragic genre, they were accustomed to dealing with a historical plot, with the main characters, outstanding not only in character, but also in position, placed in exceptional life situations. Tragedy was usually associated with images of historical figures, even legendary ones, such as Oedipus (Sophocles), Hamlet (Shakespeare), Boris Godunov (Pushkin). It seems to me that on Ostrovsky's part to call "Thunderstorm" a drama was only a tribute to tradition.

The innovation of A. N. Ostrovsky consisted in the fact that he wrote the tragedy on exclusively vital material, completely uncharacteristic of the tragic genre.

The tragedy of "Thunderstorm" is revealed by the conflict with the environment not only of the main character, Katerina, but also of other characters. Here “the living envy ... the dead” (N. A. Dobrolyubov). Thus, the fate of Tikhon, who is a weak-willed toy in the hands of his domineering and despotic mother, is tragic here. About final words Tikhon N. A. Dobrolyubov wrote that Tikhon’s “woe” is in his indecision. If life is sickening, what prevents him from rushing into the Volga? Tikhon can do absolutely nothing, even “in which he recognizes his good and salvation.” Tragic in its hopelessness is the situation of Kuligin, who dreams of the happiness of the working people, but is doomed to obey the will of a rude tyrant - Wild and repair small household utensils, earning only "their daily bread" "honest work".

A feature of the tragedy is the presence of a hero who is outstanding in his spiritual qualities, according to V. G. Belinsky, “a person of higher nature”, according to N. G. Chernyshevsky, a person “with a great, and not petty character.” Turning from this position to the “Thunderstorm” by A. N. Ostrovsky, we certainly see that this feature of the tragedy is clearly manifested in the character of the main character.

Katerina differs from Kalinov's "dark kingdom" in her morality and willpower. Her soul is constantly drawn to beauty, her dreams are full of fabulous visions. It seems that she fell in love with Boris not real, but created by her imagination. Katerina could well adapt to the morality of the city and continue to deceive her husband, but “she doesn’t know how to deceive, she can’t hide anything,” honesty does not allow Katerina to continue to pretend to her husband. As a deeply religious person, Katerina had to have great courage to overcome not only the fear of the physical end, but also the fear of “before the judge” for the sin of suicide. The spiritual strength of Katerina “...and the desire for freedom, mixed with religious prejudices, create a tragedy” (V. I. Nemirovich-Danchenko).

A feature of the tragic genre is the physical death of the protagonist. Thus, Katerina, according to V. G. Belinsky, “is a real tragic heroine". The fate of Katerina was determined by the collision of two historical eras. Not only her misfortune is that she commits suicide, it is a misfortune, a tragedy of society. She needs to free herself from the heavy oppression, from the fear that burdens the soul.

One more characteristic the tragic genre lies in the cleansing effect on the audience, which arouses noble, lofty aspirations in them. So, in The Thunderstorm, as N. A. Dobrolyubov said, “there is even something refreshing and encouraging.”

The overall color of the play is also tragic, with its gloominess, with every second feeling of an impending thunderstorm. Here, the parallelism of a social, social thunderstorm and a thunderstorm as a natural phenomenon is clearly emphasized.

In the presence of an undoubted tragic conflict, the play is imbued with optimism. The death of Katerina testifies to the rejection of the “dark kingdom”, about resistance, about the growth of forces called to replace the Boars and the Wild. Albeit still timidly, the Kuligins are already beginning to protest.

So, genre originality"Thunderstorms" lies in the fact that, without a doubt, it is a tragedy, the first Russian tragedy written on social and everyday material. This is not only a tragedy of Katerina, it is a tragedy of the entire Russian society, which is at a critical stage in its development, living on the eve of significant changes, in a revolutionary situation that contributed to the realization of self-esteem by the individual. One cannot but agree with the opinion of V. I. Nemirovich-Danchenko, who wrote: “If some merchant's wife cheated on her husband and hence all her misfortunes, then it would be a drama. But for Ostrovsky, this is only the basis for a high life theme... Here everything rises to tragedy.”

genre play thunderstorm Ostrovsky

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Without a doubt, The Thunderstorm (1859) is the pinnacle of Alexander Ostrovsky's dramaturgy. The author shows by example family relations the most important changes in the socio-political life of Russia. That is why his creation needs a detailed analysis.

The process of creating the play "Thunderstorm" is connected by many threads with past periods in Ostrovsky's work. The author is attracted by the same issues as in the “Moskvitian” plays, but the image of the family receives a different interpretation (the denial of the stagnation of patriarchal life and the oppression of Domostroy was new). The appearance of a bright, kind beginning, a natural heroine is an innovation in the author's work.

The first thoughts and sketches of The Thunderstorm appeared in the summer of 1859, and already in early October the writer had a clear idea of ​​the whole picture. The work was strongly influenced by the journey along the Volga. Under the patronage of the Naval Ministry, an ethnographic expedition was organized to study the customs and mores of the indigenous population of Russia. Ostrovsky also took part in it.

The city of Kalinov is a collective image of different Volga cities, at the same time similar to each other, but having their own distinctive features. Ostrovsky, as an experienced researcher, entered all his observations about the life of the Russian provinces and the specifics of the behavior of the inhabitants into a diary. Based on these recordings, the characters of "Thunderstorm" were later created.

The meaning of the name

A thunderstorm is not only a rampant element, but also a symbol of the collapse and purification of the stagnant atmosphere of a provincial town, where the medieval orders of Kabanikhi and Dikiy ruled. This is the meaning of the play's title. With the death of Katerina, which occurred during a thunderstorm, the patience of many people is exhausted: Tikhon rebels against the tyranny of his mother, Varvara escapes, Kuligin openly blames the inhabitants of the city for what happened.

For the first time, Tikhon spoke about a thunderstorm during the farewell ceremony: “... There will be no thunderstorm over me for two weeks.” By this word, he meant the oppressive atmosphere of his home, where the despotic mother rules the show. “The storm is sent to us as punishment,” says Dikoy Kuligin. The tyrant understands this phenomenon as a punishment for his sins, he is afraid to pay for an unfair attitude towards people. The boar is in solidarity with him. Katerina, whose conscience is also not clear, sees the punishment for sin in thunder and lightning. The righteous wrath of God - this is another role of a thunderstorm in Ostrovsky's play. And only Kuligin understands that only a flash of electricity can be found in this natural phenomenon, but his advanced views cannot yet get along in a city that needs to be cleansed. If you need more information about the role and meaning of thunderstorms, you can read on this topic.

Genre and direction

"Thunderstorm" is a drama, according to A. Ostrovsky. This genre defines a heavy, serious, often everyday plot, close to reality. Some reviewers have mentioned a more precise wording: domestic tragedy.

In terms of direction, this play is absolutely realistic. The main indicator of this, perhaps, is the description of the mores, habits and everyday aspects of the existence of the inhabitants of the provincial Volga cities (detailed description). The author attaches great importance to this, carefully describing the realities of the life of the characters and their images.

Composition

  1. Exposition: Ostrovsky paints an image of the city and even the world in which the characters live and future events unfold.
  2. This is followed by the beginning of the conflict between Katerina and new family and society as a whole and internal conflict(dialogue between Katerina and Barbara).
  3. After the plot, we see the development of the action, during which the characters seek to resolve the conflict.
  4. Closer to the final, the conflict comes to the point where problems require urgent resolution. The climax is Katerina's last monologue in act 5.
  5. Following her is the denouement, which shows the insolubility of the conflict on the example of the death of Katerina.

Conflict

There are several conflicts in The Thunderstorm:

  1. Firstly, this is a confrontation between tyrants (Dikay, Kabanikha) and victims (Katerina, Tikhon, Boris, etc.). This is a conflict between two worldviews - the old and the new, obsolete and freedom-loving characters. This conflict is illuminated.
  2. On the other hand, the action exists due to the psychological conflict, that is, internal - in the soul of Katerina.
  3. The social conflict gave rise to all the previous ones: Ostrovsky begins his work with the marriage of an impoverished noblewoman and a merchant. This trend has spread widely in the time of the author. The ruling aristocratic class began to lose power, becoming poorer and ruined due to idleness, extravagance and commercial illiteracy. But the merchants gained momentum due to unscrupulousness, assertiveness, business acumen and nepotism. Then some decided to improve things at the expense of others: the nobles gave out refined and educated daughters for rude, ignorant, but rich sons from the merchant guild. Because of this discrepancy, the marriage of Katerina and Tikhon is initially doomed to failure.

essence

Brought up in the best traditions of aristocracy, the noblewoman Katerina, at the insistence of her parents, married the uncouth and soft-bodied drunkard Tikhon, who belonged to a wealthy merchant family. His mother oppresses her daughter-in-law, imposing on her the false and ridiculous orders of Domostroy: crying for show before her husband leaves, humiliating herself in front of us in public, etc. The young heroine finds sympathy with Kabanikh's daughter, Varvara, who teaches her new relative to hide her thoughts and feelings, secretly acquiring the joys of life. During her husband's departure, Katerina falls in love and begins dating Diky's nephew, Boris. But their dates end in separation, because the woman does not want to hide, she wants to run away with her beloved to Siberia. But the hero cannot risk taking her with him. As a result, she still repents of her sins to her husband and mother-in-law, and receives severe punishment from Kabanikha. Realizing that her conscience and domestic oppression do not allow her to live on, she rushes into the Volga. After her death, the younger generation rebels: Tikhon reproaches his mother, Varvara runs away with Kudryash, etc.

Ostrovsky's play combines features and contradictions, all the pros and cons of serfdom. Russia XIX century. The town of Kalinov is a collective image, a simplified model Russian society described in detail. Looking at this model, we see "the necessary need for active and energetic people." The author shows that an outdated worldview only interferes. It first spoils relationships in the family, and later it does not allow cities and the whole country to develop.

Main characters and their characteristics

The work has a clear system of characters, which fit the images of the characters.

  1. First, they are oppressors. Wild is a typical petty tyrant and a rich merchant. From his insults, relatives scatter in the corners. The servants of the Wild are cruel. Everyone knows that it is impossible to please him. Kabanova is the embodiment patriarchal way of life life, obsolete Domostroy. A rich merchant's wife, a widow, she constantly insists on observing all the traditions of her ancestors and follows them clearly herself. We have described them in more detail in this.
  2. Secondly, adapt. Tikhon is a weak man who loves his wife, but cannot find the strength to protect her from her mother's oppression. He does not support the old orders and traditions, but sees no reason to go against the system. Such is Boris, who endures the intrigues of his rich uncle. This article is devoted to the disclosure of their images. Varvara is the daughter of Kabanikhi. She takes her deceit by living a double life. During the day, she formally obeys the conventions, at night she walks with Kudryash. Falsity, resourcefulness and cunning do not spoil her cheerful, adventurous disposition: she is also kind and responsive to Katerina, gentle and caring towards her beloved. A whole is devoted to the characterization of this girl.
  3. Katerina stands apart, the characterization of the heroine is different from everyone else. This is a young intelligent noblewoman, whom her parents surrounded with understanding, care and attention. Therefore, the girl got used to freedom of thought and speech. But in marriage, she faced cruelty, rudeness and humiliation. At first she tried to come to terms, to love Tikhon and his family, but nothing came of it: Katerina's nature opposed this unnatural union. Then she tried on the role of a hypocritical mask that has a secret life. It didn’t suit her either, because the heroine is distinguished by directness, conscience and honesty. As a result, out of hopelessness, she decided to rebel, admitting her sin and then committing a more terrible one - suicide. We wrote more about the image of Katerina in dedicated to her.
  4. Kuligin - too special hero. He expresses author's position, introducing a bit of progressiveness into the archaic world. The hero is a self-taught mechanic, he is educated and smart, unlike the superstitious inhabitants of Kalinov. We also wrote a short story about his role in the play and character.

Themes

  • The main theme of the work is the life and customs of Kalinov (we dedicated a separate section to it). The author describes a remote province in order to show people that one should not cling to the remnants of the past, one should understand the present and think about the future. And the inhabitants of the Volga town are frozen out of time, their life is monotonous, false and empty. It is spoiled and hindered in the development of superstition, conservatism, as well as the unwillingness of petty tyrants to change for the better. Such a Russia will continue to vegetate in poverty and ignorance.
  • Love and family are also important themes here, as in the course of the story the problems of upbringing and the conflict of generations are raised. The influence of the family on certain characters is very important (Katerina is a reflection of her parents' upbringing, and Tikhon grew up so spineless because of his mother's tyranny).
  • The theme of sin and repentance. The heroine stumbled, but in time she realized her mistake, deciding to correct herself and repent of her deed. From the point of view of Christian philosophy, this is a highly moral decision that elevates and justifies Katerina. If you are interested in this topic, read our about it.

Issues

Social conflict entails social and personal problems.

  1. Ostrovsky, firstly, denounces tyranny as a psychological phenomenon in the images of Dikoy and Kabanova. These people played with the fate of their subordinates, trampling down the manifestations of their individuality and freedom. And because of their ignorance and despotism, the younger generation becomes as vicious and useless as the one that has already outlived its own.
  2. Secondly, the author condemns weakness, obedience and selfishness with the help of images of Tikhon, Boris and Barbara. By their behavior, they only condone the tyranny of the owners of life, although they could together turn the tide in their favor.
  3. The problem of the controversial Russian character, conveyed in the image of Katerina, can be called personal, albeit inspired by global upheavals. A deeply religious woman, in search and finding herself, commits adultery, and then commits suicide, which is contrary to all Christian canons.
  4. moral issues associated with love and devotion, education and tyranny, sin and repentance. The characters cannot distinguish one from the other, these concepts are intricately intertwined. Katerina, for example, is forced to choose between fidelity and love, and Kabanikha does not see the difference between the role of a mother and the power of a dogmatist, she is driven by good intentions, but she embodies them to the detriment of everyone.
  5. Tragedy of conscience a lot is important. For example, Tikhon had to make a decision whether to protect his wife from his mother's attacks or not. Katerina also made a deal with her conscience when she got close to Boris. You can find out more about this.
  6. Ignorance. The inhabitants of Kalinovo are stupid and uneducated, they trust fortune-tellers and wanderers, and not scientists and professionals in their field. Their worldview is turned to the past, they do not strive for a better life, therefore, there is nothing to be surprised at the savagery of morals and the ostentatious hypocrisy of the main persons of the city.

Meaning

The author is convinced that the desire for freedom is natural, despite certain failures in life, and tyranny and hypocrisy are ruining the country and talented people in her. Therefore, it is necessary to defend one's independence, craving for knowledge, beauty and spirituality, otherwise the old order will not go anywhere, their falsity will simply embrace the new generation and force them to play by their own rules. This idea is reflected in the position of Kuligin, Ostrovsky's original voice.

The author's position in the play is clearly expressed. We understand that Kabanikha, although she preserves traditions, is not right, just like the rebellious Katerina is not right. However, Katerina had potential, she had a mind, she had a purity of thoughts, and the great people personified in her will still be able to be reborn, throwing off the shackles of ignorance and tyranny. You can find out more about the meaning of drama in this topic.

Criticism

The Thunderstorm became the subject of fierce debate among critics in both the 19th and 20th centuries. In the 19th century, Nikolai Dobrolyubov (the article “A Ray of Light in the Dark Kingdom”), Dmitry Pisarev (the article “Motives of Russian Drama”) and Apollon Grigoriev wrote about it from opposite positions.

I. A. Goncharov highly appreciated the play and expressed his opinion in the critical article of the same name:

In the same drama, a broad picture of national life and customs subsided, with unparalleled artistic fullness and fidelity. Every face in a drama is a typical character snatched straight from the milieu of folk life.

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Artwork test

The question of genres has always been quite resonant among literary scholars and critics. Disputes over which genre to attribute this or that work to gave rise to many points of view, sometimes completely unexpected. Most often, disagreements arise between the author's and the scientific designation of the genre. For example, N. V. Gogol's poem "Dead Souls" from a scientific point of view should have been called a novel. In the case of dramaturgy, too, everything is not so clear. And this is not about a symbolist understanding of drama or futuristic experiments, but about drama within the framework of a realistic method. Speaking specifically, about the genre of "Thunderstorms" by Ostrovsky.

Ostrovsky wrote this play in 1859, at a time when theater reform was needed. Ostrovsky himself believed that the performance of actors was much more important to the audience, and you could read the text of the play at home. The playwright was already beginning to prepare the public for the fact that plays for performances and plays for reading should be different. But the old traditions were still strong. The author himself defined the genre of the work "Thunderstorm" as a drama. First you need to understand the terminology. The drama is characterized by a serious, mostly everyday plot, the style is close to real life. At first glance, The Thunderstorm has a lot of dramatic elements. This, of course, is life. The customs and way of life of the city of Kalinov are spelled out incredibly clearly. One gets a complete impression not only of a single city, but of all provincial towns. It is no coincidence that the author points to the conditionality of the scene: it is necessary to show that the existence of inhabitants is typical. Social characteristics are also clear: the actions and character of each hero are largely determined by his social position.

The tragic beginning is associated with the image of Katerina and, in part, Kabanikh. Tragedy requires a strong ideological conflict, a struggle that can end in the death of the protagonist or several characters. The image of Katerina shows a strong, pure and honest person who strives for freedom and justice. She was married early against her will, but she was able to some extent fall in love with her spineless husband. Katya often thinks that she could fly. She again wants to feel that inner lightness that she had before marriage. The girl is cramped and stuffy in an atmosphere of constant scandals and quarrels. She can neither lie, even though Varvara says that the whole Kabanov family rests on a lie, nor hush up the truth. Katya falls in love with Boris, because initially both to her and to the readers he seems the same as her. The girl had the last hope of saving herself from disappointment in life and in people - an escape with Boris, but the young man refused Katya, acting like other inhabitants of a strange world for Katerina.

Katerina's death shocks not only readers and viewers, but also other characters in the play. Tikhon says that his imperious mother, who killed the girl, is to blame for everything. Tikhon himself was ready to forgive his wife's betrayal, but Kabanikha was against it.

The only character who can be compared with Katerina in strength of character is Marfa Ignatievna. Her desire to subjugate everything and everyone makes a woman a real dictator. Her difficult nature eventually led to her daughter running away from home, her daughter-in-law committing suicide, and her son blaming her for her failures. Kabanikha can be called Katerina's antagonist to some extent.

The conflict of the play can also be viewed from two sides. From the point of view of tragedy, the conflict is revealed in the clash of two different worldviews: the old and the new. And from the point of view of the drama in the play, the contradictions of reality and characters collide.

The genre of the play "Thunderstorm" by Ostrovsky cannot be precisely defined. Some tend to the author's version - a social drama, others propose to reflect the characteristic elements of both tragedies and dramas, defining the genre of "Thunderstorms" as an everyday tragedy. But one thing cannot be denied for sure: in this play there are both traits of tragedy and drama.

Artwork test

The work of the Russian playwright Alexander Nikolayevich Ostrovsky is widely known to many readers since their school years. He lived a long life. Born in 1823 and died in 1886. And on his life path there was one very important date.

This is one thousand eight hundred and fifty-six. In the indicated year, Alexander Nikolaevich moved from Moscow to St. Petersburg, where the literary life. The most popular Russian magazines were published, and here Ostrovsky consolidated his fame as a playwright, which he had won back in Moscow.

Features of the era in which the work was written

by the most famous work this remarkable author was A. N. Ostrovsky wrote it in 1859. And first of all, it is necessary to say what kind of era it was in Russian life. Only two years remain before the great reform, the abolition of serfdom. It was a period when topics and problems were raised that were previously preferred to remain silent.

attention to folk theme at that time it was attracted everywhere. And in newspapers, and in literature, and in the theater. The play in question was awarded the Uvarov Prize. In 1859, a drama written by Ostrovsky, The Thunderstorm, was first staged on the stage of the Maly Theater. The content and images of the play have been delighting many viewers for one hundred and fifty years.

Its plot is quite simple. It shows the life of ordinary people of the merchant class and the inner experiences of the main character Katerina. Her peculiar love for her husband. Subsequent relationship with her lover Tikhon. And most importantly, respect for traditions and God, which prompted Katya to commit suicide in tragic ending works.

Special class. Genre of the work

In his play, Alexander Nikolaevich continued the theme, an expert on which he had established himself back in the Moscow years. Russian merchants - estates with their own special traditions. These are people who are not inclined to change in their lives. They live a fairly simple life, and the main thing for them is the observance of traditions. And behind this lies a whole philosophy, which Alexander Nikolayevich knew very well.

Ostrovsky designated the genre of the play "Thunderstorm" as a drama. Readers know that at the end of the work main character Catherine dies without overcoming the difficult circumstances of her personal life. But then this play should belong to the genre of tragedy. How to correctly determine the ownership of a work, based on storyline and problems in the drama "Thunderstorm"?

The values ​​of merchant families. The complex construction of the work

The virtue of a merchant family is to multiply the fortune, not for the sake of luxury, but in the name of observing a special moral code. This is a very vicious circle, where everyone obeys the traditions. The son must necessarily continue the work of his father, and not go to enter the university or the service. And the daughter must be boundlessly submissive to the will of her parents.

The city of Kalinov, located on the banks of the Volga, in which the action of the play takes place, is also a kind of closed world. And news from the big world gets there with great difficulty. Kalinov is separated from him by many barriers.

It is transmitted using a complex scheme for constructing a work. It has a lower level - a ravine and a whirlpool, the middle one, where the houses of the inhabitants are located, and the upper one - the high bank of the Volga. For the townsfolk, going down into the ravine is like going to hell, and going up to the shore is like going to heaven.

The main character is Katerina. "Thunderstorm": transition from old to new

But there is a main character in the work, in which the opposite is true. When Katerina descends into the ravine, she overcomes herself, reaches a heavenly state of freedom. And if she rises to a high bank, it means that she has come close to death. Because top and bottom are connected. To the whirlpool is only one jump.

Life in the city of Kalinov seemed to have stopped. The image of the inventor Kulibin is very indicative. And at Ostrovsky's, he invents things either invented long ago, like a lightning rod, or completely impossible - like a perpetual motion machine. All the fates of the inhabitants of the city personify the fates of the inhabitants of the then Russia. All the characters are at the crossroads between the old way of life and the new one, including Katerina.

"Thunderstorm" is a play that shows the transition from the traditional merchant world, where a person does not have an individual destiny, private will, but only obedience to what is accepted, to a new world based on the activity of each individual. This is what lies behind the simple events of this work. But what is the meaning of the title of the drama "Thunderstorm"? What role does this phenomenon play in the composition of the play?

Natural phenomenon as a character

Thunderstorm is not only a symbol of the work, but also a participant in the main actions of the drama. A common natural phenomenon has a significant impact on the behavior of many characters. Reveals their characters. And first of all, the meaning of the name of the drama "Thunderstorm" is very closely connected with the main character Katerina.

Even her very personality resembles this natural phenomenon. Inside Katya's character, two irreconcilable extremes cannot converge. She is both a person of tradition and a person who lives in the spirit of the new time, according to her own emotions. The most important thing is that no one exposes her, there were no witnesses to their meetings with Tikhon. She herself admits this.

Katerina, on the one hand, even threatens to throw herself into the Volga, and in the end she does. On the other hand, she is very pious. She experiences moments of extraordinary uplift in the church. And love for God in this play sounds very clear and voluminous. And, like many believers at that time, the main character considers this natural phenomenon a punishment from heaven. It is during a thunderstorm that Katya confesses her sin.

Bright but tragic consequences

The more the reader thinks about not only the meaning of the title of the drama "Thunderstorm", but also the storyline of the play, the more clearly he understands that Katerina is not opposed to any particular person. Not Kabanikha, not Boris, not Wild, but the whole world order. Some forces that are far superior to the world in which she lives.

And Katya's main enemy is inside her mind. She observes traditions, the concept of sin is significant for her, and at the same time she wants to act at the behest of her soul, love and other feelings. This is a dramatic confrontation between man and the elements. And it has not only very bright, but also tragic consequences.