Essays. Essay on a wild boar and a wild boar, similarities and differences How different characters characterize a wild boar

“The Thunderstorm” by A. N. Ostrovsky made a strong and deep impression on his contemporaries. Many critics were inspired by this work. However, even in our time it has not ceased to be interesting and topical. Elevated to the category of classical drama, it still arouses interest.

The tyranny of the “older” generation lasts for many years, but some event must occur that could break the patriarchal tyranny. Such an event turns out to be the protest and death of Katerina, which awakened other representatives of the younger generation.

Let's take a closer look at the characteristics of the main characters.

A. N. Ostrovsky's play “The Thunderstorm” was written in 1859. However, interest in it does not decrease even today. What makes this little work so relevant? What problems does the playwright raise in the work?

At the center of the story is a social conflict, reflecting the confrontation between old and new forces. Vivid personifications of the old world are Savel Prokofievich Dikoy and Marfa Ignatievna Kabanova.
These are typical representatives of society, which the critic Dobrolyubov rightly and aptly called the “dark kingdom.” The despotism of these people knows no bounds. They, like an octopus spreading its tentacles, strive to extend their power to those around them.

The wealthy merchant Dikoy cannot but arouse angry rejection. He has sufficient influence in Kalinov. He is known to the townspeople as a brawler and a stingy guy. Swearing became an integral part of it. Savel Prokofievich cannot live a day without moralizing speeches. He will always find an object of attack, be it his relatives, nephew or employees. He is very strict towards all members of the household, does not allow anyone to breathe freely.

In his tone one can always recognize menacing notes of instructiveness.

Dikoy is obscenely greedy. He puts his own nephews in a humiliating position, not wanting to give them the inheritance bequeathed by his grandmother. In an effort to gain his own benefit, he stipulates conditions. So, Boris, in order not to anger his uncle, should behave respectfully, carry out all his instructions, and endure his tyranny. The wild one will always find something to complain about. Dejected Boris does not really believe that his uncle will fulfill his grandmother’s will.

Marfa Ignatievna Kabanova is not inferior to Dikiy in ignorance and rudeness. Everyone in the house groans from her.

Kabanikha keeps everyone in complete submission.

Obedience became the norm for her son. His mother's control turns Tikhon into a wordless shadow that has nothing to do with the concept of “man.” He cannot even protect his wife from his mother’s despotism.

Varvara Kabanikha’s daughter drove her to the point that she was forced to lie to her all the time, because she did not want to live according to the laws established by her mother.

Katerina becomes the real victim of Kabanikha’s despotism.

The mother-in-law believes that the daughter-in-law should unquestioningly obey her husband in everything. Manifestation of one's own will is unacceptable. Moreover, it is punishable! Her savagery, ignorance and despotism persistently formed in her mind the idea that the husband should “educate” his wife by beating. There should be no warm, human relations between them. Kindness to your wife is, according to Marfa Ignatievna, a manifestation of weakness. The daughter-in-law is obliged to subserviently to her husband, to serve him and his mother.

Thus, " cruel morals“The cities of Kalinov have their own inspirers, who are represented by the images of the Wild and Kabanikha.

Option 2

A.N. Ostrovsky reflects in The Thunderstorm the world of tyranny, tyranny and stupidity. And also the reality of people who do not resist this evil. All this literary critic Dobrolyubov called it “the dark kingdom.” And this concept stuck.

The play takes place in the Volga city of Kalinov. The name is fictitious. What is described in prose was the reality of all Russian cities of that time. A locality, fenced off from the outside world by a large river, is even more closed and conservative. Therefore, residents learn about everything from holy fools. And they believe that rulers with dog heads live somewhere, and the people are even more oppressed. This means they themselves are still living well. And we must pray for local “benefactors.”

Kalinov’s “Dark Kingdom” rests on two people: Dikiy and Kabanikha. Self-will, selfishness, unlimited rudeness, rigidity, love of power are common traits of these two personalities. These are stupid and tyrannical people. They are the strength and power in this city. Even the mayor will not contradict them. Savel Prokofievich is a wealthy merchant, “whose whole life is based on swearing.” Every day he tyrannizes, humiliates, scolds someone. And if he comes across a person over whom the Wild has no power and they answer him with the same abuse, then he takes out all his anger on his family. They will not answer, the family is defenseless against him. The merchant's wife, his children and his nephew Boris, who gets the most, suffer and are afraid.

The hero is also despotic in relation to his workers. Dikoy is very greedy. He does not tolerate it at all when people talk to him about money. Even if he himself understands that he must pay the person or repay the debt. Rarely does a master pay what is due to men. And I'm happy with that. He even explains to the mayor what profit he has if each employee is not paid extra. And he punishes his nephew to work. And the salary will be in a year, as much as the uncle wants to give. Selfishness is his main thing distinguishing feature. This man only respects the rich. He cruelly humiliates everyone who is lower than him in material terms.

The boar, on the contrary, cannot be called greedy. Marfa Ignatieva is generous in public and even kind to some extent. He welcomes wanderers and praying mantises into his home. He feeds them and gives them alms. All so that these old men praise her publicly, this pleases her pride. Tikhon's mother is no less willful and selfish than Dikoy. And he also likes to assert himself by belittling the dignity of others. She shows self-will and outrages only in the family. She is kind to strangers, but she is “stuffed up with food” at home. Whereas Savel Prokofievich does not make exceptions for anyone. But Kabanova’s emotional torture is much more sophisticated. She even turned her own son into a weak-willed creature. And the worst thing is that she is confident that she is right. She is older, wiser and knows everything better. Who else will teach the youth? They have no mind of their own, they must live by the mind of their parents. This means that what she does is not tyranny and tyranny. And the manifestation mother's love and worries.

Dikoy and Kabanikha differ only in their approach to humiliating others. They understand that they are, in fact, weak and may lose power. That's why they put people in a vice. So that no one would have the thought of opposing them.

Wild and Kabanikha in the story Groz Ostrovsky

The play “The Thunderstorm” by Alexander Nikolaevich Ostrovsky shows the main characters and the clash between them, associated with their different views on the world, dissimilar ideas and values. The work proves that with the passage of time, the principles of life are constantly changing. Representatives " dark kingdom", the merchant Dikoy and Kabanikha, live according to the Domostroevsky order, which dictates patriarchal norms and old traditions to the new generation, which leads to the emergence of interpersonal conflict in the work.

Kabanikha, the merchant widow Marfa Kabanova, appears to the reader as a tyrant and a bigot. Being a conservative due to his illiteracy, he does not know and does not even think that it is possible to live in any other way, he actively preaches his ideals, since he believes that the eldest in the family is the boss (based on the norms of patriarchy). Kabanova understands that the patriarchal structure is collapsing, so she enforces it even more harshly, this further serves as the cause of the collapse of the family.

Kabanikha tries to hold on to the old, because of which she absolutely does not see real feelings and does not experience them, suppresses them in others. She is ashamed that Katerina openly shows feelings for her son, since she considers it unacceptable to “hang” on her husband’s neck, forcing her to bow at his feet. She speaks in a commanding tone with rude expressions, believing that she has the right to indicate because she is the eldest, the head of the house. A maximalist, she never makes concessions, does not tolerate will, believing in the customs of antiquity.

Merchant Dikoy is also a representative of the “dark kingdom”, a supporter of Kabanikha. But his image has several differences from the image of Kabanikha. The tyranny of the Wild lies in the worship of money. A stingy egoist who seeks profit in everything, when he suffers losses, he loses his temper, gets irritated, and perceives it as punishment.

A. N. Ostrovsky shows Dikoy’s lack of education in the scene of his dialogue with Kuligin, a self-taught mechanic, who proposes to install a lightning rod, but Dikoy, who believes that the thunderstorm is sent as punishment, begins to shout at Kuligin. The abuse of this hero is his kind of defense. Dikoy is used to intimidating everyone, suppressing others, the feeling of power over others brings him confidence and pleasure.

It should be noted that A. N. Ostrovsky endowed the heroes with “talking” surnames, which reveal the essence of their rude, absurd characters.

Thus, the problem of the existence of representatives of the “dark kingdom” who try to hold on to fossilized forms of life finds a place in Russian classical literature, affects not only everyday life in the work, but covers other areas of life and develops into a larger-scale conflict.

Sample 4

The provincial town of Kalinov, in which the play “The Thunderstorm” takes place, is located on the high bank of the Volga. It would seem that the life of the city's inhabitants against the backdrop beautiful landscape should have proceeded calmly and smoothly. But that's not true. Behind the external calm lie cruel morals. Kuligin, a self-taught mechanic, telling Boris about the difficult situation of ordinary residents of the city, says: “What are the rich doing?.. Do you think they are doing work or praying to God? No, sir! And they don’t lock themselves away from thieves, but so that people don’t see how they eat their own family and tyrannize their family!..”

Depicting the life and customs of the city, A.N. Ostrovsky denounces the masters of life in the person of the merchants Dikiy and Kabanikha.

Savel Profyich Dikoy is a despot, ignorant, rude. He demands unquestioning obedience from everyone. His family suffers: they hide from the wrath of the Wild One so as not to catch his eye. The hardest time is for Boris, Dikiy’s nephew, who depends on him financially. Dikoy holds the entire city in his hands, mocking people. He humiliates Kuligin when he asks him for money for a sundial for the city. Money is everything for Dikiy; he cannot part with it. For the sake of money, he is ready to commit deception and fraud. He underpays his employees. It is useless to complain about Dikiy; he is on friendly terms with the mayor himself. For his rudeness and swearing, the clerk Kudryash calls Diky “a shrill man.”

Marfa Ignatievna Kabanova is the head of the Kabanov house, a tyrant and despot. In the house, everything always happens only according to her will. She completely controls the family and keeps the entire house in fear. Kabanikha is an ardent supporter of the old principles of life, customs and rituals. She says that Domostroy should be observed, but she herself takes from there only the most cruel norms that justify her despotism. Kabanikha is superstitious, attends all church services, gives money to the poor, and receives strangers in her house. But this is ostentatious piety. And the worst thing is that Kabanikha does not doubt that she is right.

Kabanikha tortures and pursues her victims day after day, eroding them “like rusting iron.” Her son Tikhon grew up to be a weak-willed and spineless man. He loves his wife and tries to calm her down after her mother’s attacks, but he is unable to change anything and advises Katerina not to pay attention to her mother. Whenever possible, Tikhon tries to get out of the house and get drunk. Kabanikha brought Katerina to the grave. Varvara, Tikhon's sister, adapted to such a life; she learned to hide the truth from her mother. But Varvara can’t stand it either and leaves home after Katerina’s death. The morals of this house are capable of destroying every person who ends up there.

The patriarchal world, of which Dikoy and Kabanikha are representatives, is strong and merciless, but it is already on the verge of collapse.

Several interesting essays

• Essay based on Shishkin's painting Winter (description) 3rd, 7th grade

  Having met the work, Ivan Ivan Shishkin’s “Winter” in exhibition hall or on the pages of a textbook you immediately feel the full depth of the image.

• Essay on the story The Old Man and the Sea by Hemingway

  The Old Man and the Sea is one of the final works in the author's work. Hemingway wrote almost no completed works after that. major works, however, it is the Old Man and the Sea

There are probably few people left in our time who blindly believe in miracles and hope to receive treasured gifts or fulfillment of desires with the wave of a magic wand or the kindness of a wizard.

• Essay on the Tale of Peter and Fevronia of Murom analysis

  There are a lot of saints in Russia, whose names are perhaps known not only in our country. The famous Russian saints Peter and Fevronia of Murom will not be an exception.

Some teachers leave their mark on our lives forever. They make us think, work on ourselves, master something new, sometimes difficult and incomprehensible.

The action of Ostrovsky's drama takes place in the fictitious city of Kalinov on the banks of the Volga, where a traditional way of life reigns. The city has beautiful nature, but callousness and ignorance, anger, drunkenness and debauchery reign among the inhabitants of this area. And the worst thing is that people are used to it. They had such a way of life, and if a normal person came to them, he could not stay there for a long time. As in every literary work, in Ostrovsky’s play “The Thunderstorm” there are positive and negative heroes. The negative ones primarily include the mother-in-law main character Katerina - Marfa Ignatievna Kabanova and uncle Boris, Katerina’s beloved man, Savel Prokofievich Dikoy.

In the play, these characters are rarely called by their patronymic names; they are more often called and. What these characters have in common is that they are both cruel and heartless people, but they are united by their love of money. People's relationships, according to their worldview, are based only on wealth. They abuse their family as they please, forcing them to live in constant fear.

Dikoy has put himself above everyone around him, but they are afraid of him and do not even try to resist this. He shows permissiveness because there is no one in Kalinin who could resist him. Dikoy is convinced of his impunity and considers himself the master of life.

Kabanikha covers up her disrespectful behavior with a mask of virtue. She is a strong and powerful person, she has little interest in emotions and feelings. As a person of the old formation, Kabanova is interested in earthly affairs and interests. Its requirements are unquestioning adherence to order and rank.

Dikiy, like Kabanova, can be considered representatives of a certain part of the merchant class who behaved inappropriately. Such people cannot be called pious. But it cannot be said that the Russian merchants of the 19th century were the prototype of Kabanikha and Dikiy. In the same drama, Ostrovsky shows that Boris's father was Dikiy's brother, but being brought up in the same family, he was different from the merchant Dikiy. Boris's father was married to a girl of noble origin, and he had a completely different life than his despotic brother.

Kabanova is also shown as a typical representative of the merchant class. Being the head of the family, the mother of Tikhon, Varvara and mother-in-law of Katerina, she constantly torments her closest people with her behavior. She may have loved her children in her own way, but can a normal mother behave like that? Probably not. The drama contains a description of Katerina's story about her childhood. Katerina's parents were also from the merchant class, but Katerina's mother was a sensitive, kind and sympathetic woman. She loved and cared for her daughter very much.

Ostrovsky took the plot for his play from real life, but the city was given the fictitious name Kalinov. Many Volga cities believed that the play “The Thunderstorm” was written based on events that happened in their city. Now for some reason they believe that this is the city of Kostroma.

Dikoy is depicted in only three scenes, but the playwright created a complete image, a type of tyrant. Ostrovsky not only introduced the word “tyrant” into literature, but also artistically developed the phenomenon of tyranny itself, revealing on what basis it arises and develops.

Dikoy swaggers in front of his nephew, in front of his family, but retreats in front of those who are able to fight back. Rude and unceremonious, he can no longer be different. His speech cannot be confused with the language of the other characters in “The Thunderstorm”. Already the first appearance of the Wild One on stage reveals his nature. He takes advantage of the fact that his nephew is financially dependent on him. Savel Prokofievich's vocabulary is replete with swear words and rude expressions. This is how he talks to Boris: “What the hell, I came here to beat you up!” Parasite! You'll be lost." The reason for this attitude towards people is the awareness of their superiority and complete impunity.

Dikoy behaves differently with Kabanova, although he is also rude to her out of habit. It’s interesting how they call each other: “kum”, “kuma”. This is how people usually addressed old people they knew well, were on friendly terms. There are almost no stage directions in this scene; the dialogue is conducted calmly and peacefully. It is from Kabanova that Dikaya seeks peace after having fought at home: “Talk to me so that my heart will go away. You’re the only one in the whole city who knows how to make me talk.” Stinginess and unbridledness are, of course, not purely individual qualities of the Wild. These are typical features of patriarchal merchants. But it stood out from the people's environment. But, breaking away from folk culture, this part of the merchants has lost the best aspects of their national character.

In the Wild there are features inherent in the people. Thus, he perceives natural phenomena in purely religious traditions. To Kuligin’s request to give money for the construction of a lightning rod, Dikoy proudly replies: “What a fuss.” In general, Kuligin’s words - in Dikoy’s view - are already a crime against something that even he, Dikoy, respects.

Marfa Ignatievna Kabanova is perceived as a strong and powerful character. She is the antipode of Katerina. True, both of them are united by the most serious attitude towards Domostroevsky orders and uncompromisingness. She seems genuinely saddened by the decline in morality among younger generation, disrespectful attitude to the laws to which she herself obeyed unconditionally. She stands up for a strong, lasting family, for order in the house, which, in her opinion, is possible only if the rules prescribed by the house-building are observed. She is concerned about the future of her children - Tikhon and Varvara.

The playwright motivates Kabanova’s actions by the characteristics of her character, the conditions of social and domestic life, and purely maternal feelings. That is why the image turned out to be so convincing and impressive. Kabanikha's son Tikhon is married. Until now, he lived only with her, his mother, with his mind, was her property, and never contradicted her in anything. As a result, he grew into a person deprived of independence, firmness, and the ability to stand up for himself. He loves his wife Katerina, cannot and does not want to keep her in fear, does not demand respect from her. The mother feels how her son is gradually leaving her power, that he has his own life, that he does not treat his wife as a master, but is drawn to her in his own way. Ostrovsky showed maternal jealousy in Kabanova and explained her active dislike for Katerina. Marfa Ignatievna is convinced that she is right and that her laws are necessary. Loving mother, she is also a very powerful woman. Only a strong personality can resist it.

The confrontation is shown in “The Thunderstorm” already at the very beginning of the action, where the irreconcilability of the two is felt different worlds, the world of Kabanova and the world of Katerina. The family scene on the boulevard, although it does not take place behind a high fence, immerses us in the atmosphere of the Kabanovs’ house. The first remark of the head of the family is an order: “If you want to listen to your mother, then when you get there, do as I ordered you.” This is followed by Tikhon’s humble answer: “How can I, Mama, disobey you!” The family scene is one of the leading ones in the play, but the events mainly take place on the street, in the world - Ostrovsky correctly grasped and conveyed that the life of the merchant class, which had not yet broken with traditions folk life, despite high fences and strong bolts, has an open character, in which it is impossible to hide what is happening in this or that family.

Let’s listen to Kabanikha’s remarks: “They don’t really respect elders these days”; “If only they remembered how many illnesses mothers suffer from their children”; “What a mother doesn’t see with her eyes, her heart is a prophet; she can feel with her heart. Or maybe your wife is taking you away from me, I don’t know.” It seems that there is nothing offensive, nothing unpleasant in Kabanikha’s complaints. But the conversation is structured by the playwright in such a way that no sympathy arises for Marfa Ignatievna, she does not evoke sympathy. Kabanova is present in many scenes; she is given much more time in the work than Dikiy: she is one of those who actively moves the action, bringing it closer to the tragic denouement. She takes into account what is accepted, what order requires, and honors the traditions and rituals that have developed in her class. In her deep conviction, a wife must submit to her husband and live in fear of him. Kabanikha admonishes Tikhon, who does not understand why Katerina should be afraid of him: “Why be afraid! Are you crazy, or what? He won’t be afraid of you, and he won’t be afraid of me either. What kind of order will there be in the house?” Kabanova holds tightly to order and adherence to form. This is especially evident in the scene of farewell to Tikhon. The mother demands that the son give his wife instructions for order: not to be rude to the mother-in-law, not to sit idle, not to look at other people’s men. The savagery and absurdity of this “order” are obvious. The main thing for Kabanikha is to say, to observe the ritual. She is convinced: if the Domostroev laws are not observed, human life will lose support, the family will collapse.

It turns out that “stopping” the Wild One is not so difficult: he humbles himself at the slightest resistance; and the trouble is that he encounters almost no resistance from anyone. However, this inner weakness of his, this cowardice indicates that Dikoy, like Kabanikha, is short-lived, that the reign of the Wild is coming to an end.

The events of “The Thunderstorm”, the characters, the course of the dramatic action are not only addressed to the tragic sides of Russian patriarchal life, with its darkness, limitations, savagery, but also open up the prospect of renewal of life. With the entire structure of the play, Ostrovsky conveyed how tense the stuffy atmosphere of Kalinov was. The demand for uncomplaining obedience, absolute submission is already meeting with spontaneous resistance. Other times are coming, when the voice of protest is heard among weak people, when other principles penetrate into the world of the dark kingdom.

Kabanikha is very rich. This can be judged because her trade affairs extend beyond Kalinov (on her instructions, Tikhon traveled to Moscow), and that Dikoy respects her. But the affairs of Kabanikha are of little interest to the playwright: she is assigned a different role in the play. If Dikiy shows the brute force of tyranny, then Kabanikha is the exponent of the ideas and principles of the “dark kingdom”. She understands that money alone does not give the authorities, another indispensable condition is the obedience of those who do not have money. And she sees her main concern in suppressing any possibility of disobedience. She “eats” her family in order to kill their will, any ability to resist. With Jesuitical sophistication, she drains the soul out of them, insults their human dignity with unfounded suspicions. She skillfully uses various techniques to assert her will.

Kabanikha can speak in a friendly and instructive way (“I know, I know that you don’t like my words, but what can I do, I’m not a stranger to you, my heart aches for you”), and hypocritically become poor (“Mother is old , stupid; well, you, young people, smart, should not exact from us, fools”), and command imperiously (“Look, remember! Cut your nose!”, “Bow at your feet!”). Kabanikha is trying to show her religiosity. Words: “Oh, a grave sin! How long will it take to sin!”, “Only one sin!” - constantly accompany her speech. She supports superstitions and prejudices and strictly observes ancient customs. It is not known whether Kabanikha believes in Feklushi’s absurd fairy tales and the signs of the townspeople; she herself says nothing of the kind. But it resolutely suppresses any manifestations of free thought. She condemns Kuligin’s statements against prejudices and superstitions, and she supports the superstitious prophecies of the townspeople that “this storm will not pass in vain” and edifyingly tells her son: “Don’t judge your older self! They know more than you. Old people have signs for everything. an old man he won’t say a word to the wind.” She sees both religion and ancient customs as the main goal: to push a person away, to keep him in eternal fear. She understands that only fear can keep people in subjection and prolong the shaky reign of tyrants. In response to Tikhon’s words, why should his wife be afraid of him, Kabanova exclaims in horror: “Why, why be afraid! How, why be afraid! Are you crazy, or what? He won’t be afraid of you, and he won’t be afraid of me either. What kind of order will there be in the house? After all, you, tea, live with her in law. Ali, do you think the law means nothing?” She defends the law according to which the weak should fear the strong, according to which a person should not have his own will. As a faithful guardian of this order, she teaches her household in full view of the crowd of townspeople. After Katerina’s confession, she loudly and triumphantly says to Tikhon: “What, son! Where will the will lead? I spoke, but you didn’t want to listen. That’s what I’ve been waiting for!” In Kabanikha’s son, Tikhon, we see the living embodiment of the goal that the rulers of the “dark kingdom” strive for. They would be completely calm if they could make all people just as downtrodden and weak-willed. Thanks to the efforts of “mama,” Tikhon is so saturated with fear and humility that he does not even dare to think about living with his own mind and his own will. “Yes, Mama, I don’t want to live by my own will. Where can I live by my own will!” - he assures his mother.

But Tikhon is by nature a good person. He is kind, sympathetic, sincerely loves and pities Katerina, and is alien to any selfish aspirations. But everything human is suppressed in him by the despotism of his mother, he becomes a submissive executor of her will. However, Katerina’s tragedy forces even the submissive Tikhon to raise his voice of protest. If Tikhon’s first words in the play are: “How can I, Mama, disobey you!”, then at the end of it he desperately throws a passionate, angry accusation into his mother’s face: “You ruined her! You! You!" The unbearable life under the yoke of Kabanikha, the longing for freedom, the desire for love and devotion - all this, which did not find a response in Tikhon, was the reason for the emergence of Katerina’s feelings for Boris. Boris is not like the other inhabitants of Kalinov. He is educated and seems to be from another world. Like Katerina, he is also oppressed, and this gives the young woman hope of finding in him a kindred spirit who can respond to her ardent feelings. But Katerina was bitterly deceived in Boris. Boris only outwardly seems better than Tikhon, but in reality he is worse than him. Like Tikhon, Boris does not have his own will and obeys without complaint.

“And they don’t lock themselves away from thieves, but so that people don’t see
how they eat their own family and tyrannize their families.”

As Dobrolyubov correctly noted, Ostrovsky in one of his plays truly depicts dark kingdom"- a world of tyranny, betrayal and stupidity. The drama takes place in the city of Kalinov, which stands on the banks of the Volga. There is a certain symbolic parallelism in the location of the city: the rapid flow of the river is contrasted with an atmosphere of stagnation, lawlessness and oppression. It seems as if the city is isolated from the outside world. Residents learn news thanks to the stories of wanderers. Moreover, this news is of very dubious and sometimes completely absurd content. The Kalinovites blindly believe the stories of crazy old people about unrighteous countries, lands that have fallen from heaven and rulers with dog heads. People are accustomed to living in fear not only of the world, but also of the rulers of the “dark kingdom”. This is their comfort zone that no one intends to leave. If, in principle, everything is clear with ordinary people, then what about the above-mentioned rulers?

In “The Thunderstorm,” Dikoy and Kabanikha represent the “dark kingdom.” They are both the masters and creators of this world. The tyranny of the Wild and Kabani knows no bounds.

In the city, power does not belong to the mayor, but to the merchants, who, thanks to their connections and profits, were able to receive support from higher authorities. They mock the bourgeoisie and deceive ordinary people. In the text of the work, this image is embodied in Savl Prokofievich Diky, a middle-aged merchant who keeps everyone in fear, lends money at huge interest rates and deceives other merchants. In Kalinov there are legends about his cruelty. No one except Kudryashch can answer the Wild One appropriately, and the merchant actively takes advantage of this. He asserts himself through humiliation and mockery, and the feeling of impunity only increases the degree of cruelty. “Look for another scolder like ours, Savel Prokofich! He will never cut off a person,” this is what the residents themselves say about Dikiy. It is interesting that Dikoy takes out his anger only on those he knows, or on the residents of the city - the weak-willed and downtrodden. This is evidenced by the episode of Dikiy’s quarrel with the hussar: the hussar scolded Saul Prokofievich so much that he did not say a word, but then everyone at home “hid in attics and basements” for two weeks.

Enlightenment and new technologies simply cannot penetrate Kalinov. Residents are distrustful of all innovations. So, in one of the last appearances, Kuligin tells Diky about the benefits of a lightning rod, but he doesn’t want to listen. Dikoy is only rude to Kuligin and says that it is impossible to earn money honestly, which once again proves that he did not receive his wealth through daily efforts. Negative attitude towards change – common feature Wild and Kabanikha. Marfa Ignatievna advocates for observing old traditions. It is important to her how they enter the house, how they express feelings, how they go for walks. At the same time, neither the internal content of such actions nor other problems (for example, her son’s alcoholism) bother her. Tikhon’s words that his wife’s embrace is enough for him seem unconvincing to Marfa Ignatievna: Katerina must “howl” when she says goodbye to her husband and throw herself at his feet. By the way, external ritualism and attribution are characteristic of life position Marfa Ignatievna in general. A woman treats religion in exactly the same way, forgetting that in addition to weekly trips to church, faith must come from the heart. In addition, Christianity in the minds of these people was mixed with pagan superstitions, which can be seen in the scene with the thunderstorm.

Kabanikha believes that the whole world rests on those who follow the old laws: “something will happen when the old people die, how the light will remain, I don’t even know.” She also convinces the merchant of this. From the dialogue between Wild and Kabanikha, one can see a certain hierarchy in their relationship. Savl Prokofievich recognizes Kabanikha’s unspoken leadership, her strength of character and intelligence. Dikoy understands that he is incapable of such manipulative hysterics as Marfa Ignatievna throws at her family every day.

The comparative characterization of the Wild and Kabanikha from the play “The Thunderstorm” is also quite interesting. Dikiy’s despotism is aimed more at the outside world - at the residents of the city, only relatives suffer from Marfa Ignatievna’s tyranny, and in society the woman maintains the image of a respectable mother and housewife. Marfa Ignatievna, like Dikiy, is not at all embarrassed by gossip and conversations, because both are confident that they are right. Neither one nor the other cares about the happiness of loved ones. Family relationships for each of these characters must be built on fear and oppression. This can be seen especially clearly in Kabanova’s behavior.

As can be seen from the examples above, Kabanikha and Dikiy have similarities and differences. But most of all, they are united by a sense of permissiveness and an unshakable confidence that this is exactly how everything should be.

Work test