Features of the drama and tragedy in the play A.N. Ostrovsky "Thunderstorm"

4.2 The features of classicism in the play of the Ostrovsky "Thunderstorm" (Article P. Vyal and A. Geenis)

Researchers are peculiar to their article about the play of the Ostrovsky "Thunderstorm". In the Russian folk drama, they write, the hero, appearing in Balagan, immediately announced the audience: "I am a lousy dog, Tsar Maximilian!" With the same certainty, the characters of the Ostrovsky "Thunderstorm" are stated. Already from the first replicas, they consider critics, you can say a lot about the heroes of the play. For example, Kabanikha seems like this: "If you want a mother to listen, ... do the way I ordered" 1. And the first of his replica Tikhon answers her "Yes, how can I, Mama, disobey you!" 2. Culigin is immediately recommended by a self-mechanic mechanic and a fan of poetry.

Researchers evaluate the "thunderstorm" as the "classic tragedy". Her characters appear from the very beginning complete types - carriers of one or another nature - and no longer change to the end. The classicism of the play is emphasized not only

traditional tragic conflict between debt and feeling, but most of all - type-types.

"Thunderstorm" stands out noticeably from other places of Ostrovsky, full humor and

household, specifically Russian, details. Waile and Genis believe that the heroes of the play could fit not only on Wednesday of the Volga merchants, but also at such a conditional Spanish Cornel Passion or the antique collisions of Rasin.

In front of the reader, they write researchers, pass the exalted Katerina, a devout kabaniha, a manty feculus, whisk of a lady. Faith, religion - hardly the main topic of "thunderstorms", and more specifically is the topic of sin and punishment. Researchers note the fact that Katerina is not at all against the Swamp Meshchang, and she challenges at the highest level, drinking laws are not human, but God's own: "If I was not afraid of sin for you, would I be afraid of a human court?" 3.

In the marital treason, Katerina is confessed, brought to the limit of the consciousness of his sinfulness, and the public repentance occurs when she sees the image of the geren of the fiery on the wall under the architects of the city walking gallery. Talking about the religious ecstasy of Katerina, the researchers turn to the motive of the Annunciation. The hysterical holiness of Katerina predetermines her fate. The researchers emphasize that she has no place - neither in the city of Kalinov, nor in the family of Kabani - she has no place at all on earth. For pool, in which she rushed - Paradise. Where is the hell? In the impassable provincial merchant? No, this is a neutral place. In extreme cases, it is purgatory. Hell in the play betrays an unexpected turn of the plot. First of all - abroad.

Researchers draw their attention to the fact that the ominous ghost of distant hostile overseas countries is vigoring over the deep Russian province. And not just hostile, but in the context of the general religious ecstaticness - it is the devilish, underworld, hellish.

There is no special preference for any ingenic country or nation: they are equally disgusting everything, because all are strangers. Lithuania, for example, notes researchers, not accidentally depicted on the gallery wall right next to the fire, and local residents do not see anything strange in this neighborhood, they don't even know what it is. Feklusha talks about the Zamar Sultans, and the wild protesting against the intentions of Kuligina will call it "Tatarin".

Ostrovsky himself, come to the conclusion researchers, the abroad treated, apparently, critically. From his way impressions it can be seen how His nature of Europe admired, architecture,

museums, order, but by people in most cases it was resolutely dissatisfied (at the same time, often almost literally repeating the phonon foundation).

The topic of the hostile abroad could be considered by the side in the "thunderstorm", they consider Vail and Genis, but, but it is important in the play. The fact is that "thunderstorm" - a gramchair, nominated criticism hypothesis.

In 1857, the Roman Flaubert "Mrs. Bovari" came out in France, and in 1858 he was transferred and published in Russia, making a huge impression on the Russian reading public. Even before that, Russian newspapers, write about the history of the French novel researchers, discussed the trial in Paris on the charges of Flaubert in the "insulting of public morality, religion and good morals." In the summer of 1859, Ostrovsky began and ended the "thunderstorm" in the fall.

Comparing these two works, critics detect their extraordinary

similarity. Just a coincidence of a general topic is not so significant: an attempt of emotional nature to escape from the Meshchansky medium through a love passion - and the collapse ending with suicide. But

private parallels in the "Mrs. Bovari" and "thunderstorm" are very eloquent.

1) Emma is as exalted religiously as Katerina, researchers say, is just as exposed to the rite. The image of the fire of fire on the wall appears in front of the shocked Normanka just as before the volzhanka.

2) both persecuted, invented devotionless, identical dreams. Both girls are noted by critics compare themselves with a plie, dream of flight.

3) And Emma, \u200b\u200band Katerina with Otrada recall childhood and youth, drawing this time the "golden age of their life." Both in your thoughts only serenity of pure faith and innocent classes. Classes, pay attention to the authors, similar: embroidery of the pads from Emma and embroidery

velvet in Katerina.

4) The family situation is similar to: Researchers: hostility of mother-in-law and mildness of husbands. Both Charles, and Tikhon are bad sons and submissive wound-country spouses. Tompting in the "moldy existence of a wetting", (Flaubert's expression), both heroines begging lovers to take them. But with lovers is not lucky, they both refuse to girls.

4) even identifying love with a thunderstorm - so bright at the island -

revealed and Flaubert, come to the withdrawal of the Wil and Genis

The researchers write something that Russian classicists occupy in the play of Ostrovsky, Flaubert's novel is assigned to their classicists, French. Norman Kuligin is a pharmacist Ome, who is also passionate about the sciences, preaching the benefits of electricity and constantly remembers Voltaire and Racina. This is not by chance, the authors note this fact: and in the "Mrs." Bovari "images (except Emma himself) are the essence of the types. Fat,

ambitious provincial, stretch-husband, resonant, despotic mother,

chudak-inventor, Provincial Hardead, the same husband cuckold. AND

Katerina (as opposed to EMME) is static as antigone.

But with all the similarity of the work of Flaubert and Ostrovsky essentially

different and even antagonistic, consider critics. They express their guess that the "thunderstorm" is a grammeal in relation to the "Mrs.". The main difference can be determined by a simple word - money.

Boris, Katerina's lover, dependent because it is poor, but the author shows Boris not poor, but weak. Not money, and the strength of spirit is not

enough, come to the conclusion researchers to protect their love. As for Katerina, it does not fit at all in the material context.

Very different from the European Flaubert. In "Mrs." Bovari "money - hardly

not the protagonist. Money is a conflict between mother-in-law and daughter-in-law; money -

the flawed development of Charles forced in the first marriage to marry the attachment, the money - the torment of Emma, \u200b\u200bwhich in wealth sees a way to escape from the Meshchansky world, money - finally, the cause of suicide entangled in the heroine debts: the actual, genuine reason, without allegories, consider critics. The topic of religion, presented in the "Mrs. Bovari", and the topic of social conventions are receded by the topic of money. Emme seems that money is freedom, and Katerina does not need money, she does not know them and does not associate with freedom.

Therefore, researchers come to the conclusion that this difference is fundamental, decisive between heroines. Critics celebrate antithesis rationalism and spirituality, that is, the tragedy of Emma can be calculated, to express in specific values, to count with an accuracy of the franc, and the tragedy of Katerina irrational, is unseen, incomprehensible.

Thus, it is impossible, as critics consider, without actual reason, it is necessary to believe that Ostrovsky created a "thunderstorm" under the impression of Mrs. Bovari - although the dates and plot lines are appropriate. But for readers and viewers, the reason is not important, but the result is important, because it turned out that the Ostrovsky wrote the Volga "Mrs. Bovari", so according to Vial and Genis Pieces, it became a new argument in a long dispute

westerners and Slavophiles.

Katerina Here more than a century puzzles the reader and the viewer with the dramatic inadequacy of feelings and actions, since the stage embodiment is inevitably turns around either a highly baunity, or not justified with warming. The researchers believe that Katerina arose in the inappropriate time to her: the time of Emma was the era of psychological heroines, which will reach their vertices in Anna Karenina.

So, critics come to the conclusion that Katerina Kabanova was not in time and was not convincing enough. Volzhskaya Mrs. Bovarie turned out to be not so reliable and understood as Norman, but much more poetic and sublime. Inferior to foreigners in intelligence and education, Katerina got up with her in the slope of passion and

surpassed in the overallity and purity of dreams. Researchers note the similarity of heroines, both in a marital status and habits and qualities of character. Only in one criticism see the differences from the heroine - this is the financial situation and money dependence.

5. Piezov A.N. Ostrovsky "Thunderstorm" in modern school lideonces

The perception of the image of the heroine in the textbook "in the world of literature" is ed. A.G.Kutuzova

Ostrovsky in his drama universally realizes the metaphor of thunderstorms. "Thunderstorm" - a play from modern life, the author believes, but it is written in prose based on domestic material. The name is an image that symbolizing not only the natural strength of nature, but also the thunderstorm state of society, thunderstorm in the souls of people. Nature, according to the authors - the personification of harmony, which is opposed to the world, fulfilled contradictions. The first remark creates a special attitude in the perception of the play, the critic: the beauty of the Volga landscape is presented, and the free and multi-water river - the metaphor of the power of the Russian Spirit. Replica Kuligina complements and comments on this picture. He sings the song "Among the valley is flat on a smooth height ...": "Miracles, it is truly necessary to say that miracles! Kudryash! Here, the brother you are mine, fifty years I look at the Volga every day and I can't look everything. "1. The authors noted the fact that these words of the hero and songs on the poems of Merzlyakov predetermine the appearance of the main character - Katerina - and the conflict associated with her personal tragedy.

Before the eyes of the audience, it is not a private life of one family, but the "cruel morals" of the city of Kalinov. Ostrovsky shows how different people's natural strengths belong to the natural strength of nature. The authors emphasize that for such "hot" hearts, like Kuligin, the thunderstorms of God grace, and for Kabani and Wild - Kara Heaven, for Feklushi - Ilya Prophet rolls around the sky, for Katerina Retribution for sins.

So thunderstorms are associated with all important points of the plot. In the soul of Katerina under the influence of a feeling of love for Boris begins confusion. The authors believe that it feels as if some kind of trouble is coming, terrible and inevitable. After the townspeople say that this thunderstorm will be a deplorable, Katerina will recognize everyone in his sin in the culmination scene of the play.

Thunderstorm is this threat to leaving, internally wrong, but also an externally strong world of the "Dark Kingdom", critics are considered. At the same time, the thunderstorm is and the benefit of the news of the new forces designed to clear the wedge air of the oppressive despoty for Katerina.

The creator of the Russian National Theater A. N. Ostrovsky has developed significantly and enriched actually the art of drama, the techniques of creating a character in drama. This applies to the exposure of the textbook, and the director's authors, and the director's director, and the fact that even before the appearance of the hero on the stage, the assessment is given to him other characters that the first replica detects the first replica immediately, with which it comes into effect. To understand the design of the Creator, it is also important how this or that character is referred to in the list: by the name of the patronymic and surname or abbreviated.

So in the "thunderstorm" only three heroes are named completely: Council Prokopyevich Wild, Marfa Ignatievna Kabanova and Tikhon Ivanovich Kabanov - They are major faces in the city. Katerina - also the name is not accidental. In Greek, it means "clean", that is, again, characterizes the heroine, they write critics.

Thunderstorm for Kalovens, and for Katerina among them - not a stupid fear, says critic, and is a reminder to a person about responsibility to the highest forces of good and truth. That is why the thunderstorm scares the Katerina so much, the author sums up: for her, since the heavenly thunderstorm only harmonizes with a thunderstorm of morally, even more terrible. And mother-in-law - thunderstorm and crime consciousness - thunderstorm

So, the authors of the textbook "in the world of literature", analyzing the images of the play, pay attention primarily on the image of a thunderstorm, the elements that they consider symbolic in the play. Thunderstorm, in their opinion, means care, collapse of the old world and the emergence of a new one - the world of freedom of personality

Perception of the image of the heroine in the textbook "Russian literatureXIX. century "ed. A.N. Arkhangelsky

It is no coincidence that a woman is delivered to the center of events in the "thunderstorm", the authors say. The point is not only that the main theme of Ostrovsky is the life of a family, a merchant house - assumed a special role of female images, their increased storyline. The authors note that men surrounding Katerina are weak and are submissive, they take the circumstances of life.

Katerina, which the mother-in-law "tormented ... locks", opposite that, striving to the will. And not her fault that she, as between the hammer and anvil, is clamped between the old morality and the freedom, which she dreams about, justify the heroine researchers. Katerina is not emancipated at all, does not seek outside the patriarchal world, does not want to free himself from his ideals; Moreover, in her childhood memories, the old harmony of Russian life comes to life. She speaks with tenderness about the Mamienkin House, the authors are considered, about the quiet provincial summer, about the pages, about the flickering light of the lamp. And, most importantly, about caressing, which surrounded it in childhood.

In fact, according to researchers, even in childhood, Katerina was not so simple. Katerina seems to be accidentally pronounced in the 2nd phenomenon of the 2nd action: somehow, when she was six years old, they offended her in the parent house, she ran to the Volga, got into the boat, and went and went, only found her . But in her mind there is a completely different image of Russia for her childhood. According to the researchers, this is a paradise image.

The authors point out the fact that it is very important to understand that Katerina does not protest against the old rules and morals, against patriarchalness, and on the contrary, in his own way, fights for them, dreams of restoring the "former" with his beauty, love, peace and peace. Interestingly, Katerina professes the same ideas that the Ostrovsky himself adhered to the early period of his work. If you carefully read the work, the authors say, then you can see that Katerina changes her husband not "in protest" against Kalinovsky morals, and not for the sake of "emancipation". Before leaving Tikhon, she almost begs her husband to leave or asks to take her with him, or take an oath from her. But the husband does not do this, he grips the hopes of Katerina on his home affection, crashes the dreams of the "real" patriarchalness, and almost "pushes" Katerina in the embrace of Boris, researchers consider. Yes, and love, the real feeling, the true loyalty from Katerina, no one waits and does not require.

The conflict of Katerina and Kabani, according to the authors, is the conflict between the new consciousness of the young woman and the old consciousness of the supporter of the previous orders. Before Katerina, the choice is: to obey lifeless patriarchalness, kneading with her, or to go to releasing the traditions to all, challenge the nrules of the beloved vintage, die. The choice of Katerina is known to everyone, the researchers summarize.

So, the authors of the textbook edited by Arkhangelsky deny the opinion that established under the influence of Dobrolyubov, that Katerina protests against patriarchal morals. In their opinion, Katerina, on the contrary, wants to restore them, and it protests against the death of the world Kalinov.

If you summarize the analysis of modern studies of the image of Katerina, it can be noted that with all the disabilities of the authors in them there are generals - this is the perception of the image as associated with the folk song, mythology, with popular consciousness.

6. By changing the image of Katerina in the perception of researchers. Conclusion

Summing up our work, we can conclude that the image of Katerina is one of the most ambiguous and contradictory images of Russian literature. Until now, many literary critic and researchers are eleged about the isoine. Some consider A.N.ostrovsky great artist, others blame him in contradictory attitude towards their heroes. Katerina Kabanova is the most successful image created by A.N. Ostrovsky, you can not disagree with this.

The difference in the views of critics about Katerina is due to both the features of their worldview and a change in the overall situation in society. For example, critic - Domokrat N.A. Dobrolyubov believed that in Katerina, a protest was visited against the Kabanovsky concepts of morality, protest, brought to the end, to suicide. D.Pisarev disputes the opinion of Dobrolyubov. He believes that the suicide of Katerina is a host of the most empty circumstances with which she could not cope, and no protest. But both criticism perceived the heroine as a social type, seen a social conflict in the play and negatively treated religiosity of the heroine.

The Soviet literary critic Revyakin expressed the views close to the views of Dobrolyubov. And in modern studies, first of all, Katerina is perceived by the embodiment of the People's Soul, folk religiosity, in many ways symbolically, indicating the brushing of the world of non-vitality, hypocrisy and fear.

Bibliography:

1.Attage N.A. Dobrojubova "Light of Light in the Dark Kingdom" (N.A. Dobrozubov Favorites: School Library. Publishing House "Children's Literature", Moscow, 1970).

2. Article D.Pisareva "Motifs of the Russian Drama" (D. I. Pisarev. Literary criticism in three volumes. Volume One Article 1859-1864 L., "Fiction", 1981)

3. Banniga Revyakina A.I. Art of Dramaturgia A.N.ostrovsky ed. 2nd, copy. and add. M., "Enlightenment", 1974.

4. Academic manual for students of grade 10 High School Lebedev Yu.V. (M., "Enlightenment", 1991).

Piez A. N. Ostrovsky "Thunderstorm" was written in 1859. In the same year, she was put in the theaters of Moscow and St. Petersburg and for many years no longer comes with scenes of all theaters of the world. Such popularity and relevance of the play is due to the fact that the "thunderstorm" combines the features of a socially domestic drama and a high tragedy.

In the center of the plot of the play - the conflict of feelings and debt in the soul of the main character, Katerina Kabanova. This conflict is a sign of a classic tragedy.

Katerina is a very devout and religious nature. She dreamed of a strong family, loving husband and children, but fell into the family of Kabanih. Marfa Ignatievna above all sets Domostroevsky order and lines. Naturally, everyone in his family Kabaniha forced her to follow her statute. But Katerina, a bright and free person, could not accept the close and stuffy world of Domostrous. She sought to completely to another life. This desire led a woman to sin - treason to her husband. Going on a date with Boris, Katerina already knew that after that she could not live. Sin treason with a grave stone lay down on the soul of the heroine, with whom she simply could not exist. Thunderstorm in the city accelerated the national recognition of Katerina - she repented in his treason.

About sin, Snohy recognized Kabaniha. She ordered to keep Katerina locked up. What expected heroine? In any case, death: Sooner or later, the woman would bring his woman to the grave with their reproach and instructions.

But the worst thing for Katerina was not this. The worst for heroine is her internally punishment, her inner court. She herself could not forgive her betrayal, her terrible sin. Therefore, the conflict in the play is solved in the traditions of the classic tragedy: the heroine perishes.

But still Dobrolyubov indicated that throughout the play, readers think "not about love intrigue, and about all life." This means that the accusatory notes of the work concerned the most different aspects of Russian life. The action of the play occurs in the provincial merchant city of Kalinov, located on the banks of the Volga River. In this place, everything is so monotonous and stable that even news from other cities and from the capital here do not reach. Residents in the city are closed, incredulous, hate everything new and blindly follow the Domostroevsky text of life, which has long been outlined.

Wild and Kabaniy personify the "fathers of the city" who use the authorities and authority. Wildly depicted as finished Samodor. He rushes in front of the nephew, before domestic, but retreats before those who can give him back. Kuligin notes that all atrocities in the city occur behind the high walls of merchant houses. Here they deceive, rubbing, suppress, cripples of life and fate. In general, Kuligin's replicas often expose the "Dark Kingdom", bring him a sentence, even to some extent, reflect the position of the author.

Other minor characters play a big role in the play. So, for example, Feklusha's wanderers reveals all the ignorance and backwardness of the "Dark Kingdom", as well as his nearest death, because society, orienting to such views, cannot exist. An important role in the play is also played by the image of a half-handed Baryni, which voiced the idea of \u200b\u200bsinfulness and inevitable punish as Katerina and the whole "Dark Kingdom."

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The problem of the Ostrovsky "Thunderstorm" rises the problem of the fracture of public life, changing public men. The author cannot be absolutely impartial, his position is revealed in remarks, which are not very much, and they are not expressive enough. One option remains: the author's position is presented through a certain hero, through the composition, symbolism.

Very symbolic in the play names. "Talking Names" used in the "thunderstorm" is the echo of the classic theater, the features of which are preserved and at the end of the sixties of the XIX century.

The name of Kabanova is vividly draws us a cargo, severe woman, and the nickname "Kabaniha" complements this unpleasant picture. Wildly the author characterizes as a wild, unrestrained person. The name of Kuligin is meaningful. On the one hand, it is consonant with the name Kulibin - self-taught mechanic. On the other hand, "Kuliga" is a swamp. There is a saying: "Any Kulik praises his swamp". This saying can be explained by the sublime praise of Kuligin Volga. His name relates it to the "swamp" of the city of Kalinov, he is a natural inhabitant of the city. Women's Greek names are also important. Katerina denotes "clean", and indeed, all the play is tormented by the problem of purification. Barbarbarka's opposability) does not deepen into his soul, lives naturally and does not think over his sinfulness. She believes that every sin is praying for.

Dobrolyubov called Katerina "Light Light in the Dark Kingdom", and later, after a few years, the Ostrovsky himself gave people like her, the name is "hot hearts". The play shows the conflict of the "hot heart" with the surrounding icy medium. And the thunderstorm is trying to melt this ice. Another meaning attached by the author to the word "thunderstorm" symbolizes the wrath of God. All who are afraid of thunderstorms are not ready to take death and appear before God's court. The author invests his words in the mouth of Kuligina. "Sudda is merciful than you," he says. Thus, he characterizes his attitude to this society.

The motive of the rise passes through the entire play, leaning on the words of Katerina about the field of those on the landscape. The author managed to transfer the landscape with limited means: the view of the expanses of the Volga region, opening from the cliff, creates the feeling that Kalinov is not the only place suitable for a person, as Kalinovtsy think. The length of Katerina is a city of thunderstorms, a retribution city. It is worth off, and you are in a new one, one with God and the nature of the world - on the Volga, the greatest river of Russia. 11o on the Volga can only come at night when it is not visible to their own or other sins. Another way to freedom is through a break, through death. Ostrovsky is aware that swamp, "Kuliga" - the city of Kalinov - delays and does not let go.

In remarks, that is, at the beginning of the play, Boris named the only person who wears a European costume. And his name is Boris - "Woolesh". But he first descends to a relationship with a married woman, and then, who is not capable of fighting, leaving sent by wild. If at first he said that he lived in Kali Ion only because of the inheritance left by his grandmother, now, even when he perfectly understands that he will not give him money, it remains here because this environment has absorbed.

When Katerina talks about his home, she describes the ideal of a patriarchal Christian family. But in this ideal there are already changes. And it is the initial inconsistency of the canons lead to a spiritual and social conflict. All life, Katerina dreamed of flying. It is the desire of the flight to fall Katerina to the abyss.

A feature of the composition, which also expresses the copyright position, are two possible variants of climax and junction. If we assume that the culmination occurs when Katerina goes to walk on the Volga, then the disconnement will be repentance, that is, the drama of a free woman comes to the fore. But repentance is not at the very end. Then what is the death of Katerina? There is another option - the spiritual struggle of Katerina, the culmination of which becomes repentance, and the disconnection is death.

In this regard, the problem arises the problem of determining the genre of the play. Ostrovsky himself called it drama, because after the greatest tragedies, the antigona or Fedra called the tragedy, the story of a simple checkpone would be unthinkable. By definition, the tragedy is an internal conflict of the hero, in which the hero himself pushes himself to death. This definition approaches the second version of the composition. If we consider social conflict, then this is drama.

The question of the meaning of the name is just as ambiguous. Thunderstorms work on two levels - external and internal. All action takes place under the sounds of grommets, and each of the heroes is characterized by attitude towards a thunderstorm. Kabaniha says that you have to be ready for death, wild, - that it is impossible and sinful to confront lightning, Kuligin speaks about the process of mechanization and suggests to escape from the thunderstorm, and Katerina is madly afraid that she shows her spiritual confusion. Inner, no one visible thunderstorm occurs in the soul of Katerina. While the thunderstorm exterior brings relief and cleansing, the thunderstorm in Katerina introduces it into a terrible sin - suicide.

Wild speech characterizes it as an extremely gross and ignorant person. He does not want to know anything about science, culture, inventions that improve life. The proposal of Kuligina to put the threshing leads it into rabies. He fully justifies this name to him. "How the chain fell out!" characterizes his kudryash. But Wild warlight only with those who are afraid of him or completely in his hands. The cowardice as a characteristic feature of the samotor of Dobrolyubov was noted in the article "Dark Kingdom": "Only show somewhere strong and decisive reversal, the power of a self-director falls, he begins to break and get lost." And indeed, the wildly without stopping Boris scolds, his home, men, even a completely unauthorized meek Kuligina, but from his Cudrychik Kudryash receives a decent fire. "... he is a word, and I am ten; Plus, and go. No, I will not worry in front of him, "Susorit Kudryash. It turns out that the limit of the self-director depends on the degree of humility of others. This was well understood by the other Ladyman of the Dark Kingdom - Kabaniha.

In the guise of wild, despite all his warliness, there are features of comic: it looks too ridiculous to the contradiction of his behavior of the mind, painful reluctance to part with money. Kabaniha, with her cunning, hypocrisy, cold, inexorable cruelty, is terrible to truly. She is externally calm, speaks well. Dimensively, monotonously, without increasing the voices, it isolating homemade with its infinite morals. If the wild seeks roughly to approve his power, then the Kabaniha is acting under the lichnios. She does not get tired of repeating, which takes care of not about himself, but about the children: "After all, the parents and strict lovers come to you, from love you and the wretched, everyone thinks good to teach. Well, I don't like it now. " But her "love" is only a hypocritical mask for the approval of personal power. From her "care" comes to a complete intervention of Tikhon, runs from the house of Varvara. Its methodical, constant. Tirany vulled Katerina, led her to death. "Kaby is not a mother-in-law! ..- says Katerina." She crushed me ... From her and the house was appealing; The walls are even disappeared. " Kabaniha - cruel, heartless executioner. Even at the sight of the Katerina body pulled out of the Volga, she keeps ice calm

1. The image of thunderstorms. Plays time.
2. Katerina dreams and symbolic images of the end of the world.
3. Heroes characters: wild and kabani.

Already the name of the play by A. N. Ostrovsky "Thunderstorm" is symbolic. Thunderstorm is not only an atmospheric phenomenon, it is an allegorical designation of relationships between older and younger, having power and dependent. "... two weeks there will be no thunderstorms to me, there are no shackles of these on the legs ..." - Tikhon Kabanov is glad at least to break out of the house, where the mother "gives orders, one of the other is terrible."

The image of thunderstorms is closely related to a sense of fear. "Well, what are you afraid, tell me for mercy! Each now herb, every flower rejoices, and we hide, fear, exactly what! Thunderstorm will kill! Not a thunderstorm it, but grace! Yes, grace! You have a thunderstorm! " - Shames Kuligin fellow citizens, trembling with the sounds of thunder. Indeed, thunderstorm as a phenomenon of nature is also needed, like sunny weather. The rain washes off the dirt, cleans the earth, contributes to the better growth of plants. A person who sees in a thunderstorm phenomenon natural in the cycle of life, and not the sign of the divine anger, does not feel fear. The attitude to the thunderstorm characterizes the heroes of the play in a certain way. A fatalistic superstition associated with a thunderstorm and common in the people, voiced by Samodor Wild and a woman hidden from a thunderstorm: "Thunderstorms are sent to us in punishment so that we feel ..."; "Yes, like neither hiding! If someone is written on the family, you can't leave anywhere. " But in the perception of wild, kabani and many other fear of thunderstorms is something familiar and not too bright experience. "That's something, it is necessary to live so to always be ready for everything; I would not have been such a fear, "Kabaniha notices coolly. She does not doubt that the thunderstorm is the sign of God's wrath. But the heroine is so convinced that it leads the right way of life that there is no alarming.

The lively trembling in front of the thunderstorm in the play is experiencing only Katerina. It can be said that this fear clearly demonstrates her spiritual disorder. On the one hand, Katerina is eager to challenge a senior existence, go to meet her love. On the other hand, it is not able to dreamed of ideas, inspired by the environment in which she grown and continues to live. Fear, according to Katerina, is an integral element of life, and this is not so much fear of death as such as the fear of the coming punishment, before its spiritual failure: "Everyone must be afraid. Not that scary that kills you, but the fact that death will suddenly find you, as you are, with all your sins, with all the thoughts of Lukavi. "

In the play we find both the attitude towards the thunderstorm, to the fear that it seems to be unlikely to call. "I'm not afraid here," say Barbara and the inventor of Kuligin. Attitude towards thunderstorm characterizes and the interaction of a particular play of the play with time. Wild, kabani and those who share their eyes on a thunderstorm as a manifestation of heaven displeasure, of course, are inextricably linked with the past. The internal conflict of Katerina comes from the fact that it is unable to break with ideas that go into the past, nor keep the "Domostrola" covenants in inviolable purity. Thus, it is located at the point of the present, in contradictory, the turning point when a person must choose how to do it. Barbara and Kuligin are directed to the future. In the fate of Barbara, this is emphasized due to the fact that it leaves the native home is unknown where, almost like Heroes of Folklore, traveling in search of happiness, and Kuligin is constantly in scientific searches.

The image of the time is also slipping into the play. Time does not move evenly: it is compressed up to several moments, then it is incredibly long. These transformations symbolize various sensations and changes, depending on the context. "For sure, it happened, in the paradise of the trick, and I do not see anyone, and I don't remember time, and I do not hear when the service will end. Just like all this in one second was "- so Katerina characterizes the special state of the spiritual flight, which she worried in childhood, visiting the church.

"Last times ... for all signs the last. You still have in the city of Paradise and silence, and on other cities so just Sodom, Mother: noise, running, riding indifferent! The people are so sinking, one there, the other here. " Acceleration of the pace of life The Feklusha Stranger treats as an approach to the end of the world. Interestingly, the subjective feeling of compression of time is experiencing in different ways to Katerina and FEclushy. If for Katerina quickly the flying time of the church service is associated with the feeling of indescribable happiness, then for the fecuschi "diminution" of time is an apocalyptic symbol: "... the time is shorter becomes. It happened, summer or winter is stretching, pull, you will not wait, when you end, but now you will not see how to fly. The days and the clock are all the same as if left; And the time is, for our sins, everything is shorter and shorter is done. "

No less symbolic images from the children's dreams of Katerina and fantastic images in the stories story. Supplemental gardens and palaces, singing of angelic votes, a flight in a dream - all these are the symbols of a clean soul that has not yet known contradictions and doubt. But the unrestrained movement of time finds the expression and in the dreams of Katerina: "I'm not going to -MN, cooking, as before, the paradise trees and the mountains; And for sure, someone hugs me so hot and hotly and leads me somewhere, and I go behind him, I go ... ". So the experiences of Katerina are reflected in dreams. That she tries to suppress in itself, rises from the depths of the unconscious.

The motives are "bustlers", "Fiery Zmia", which arise in the story of Feklushi - this is not just the result of the fantastic perception of reality with a simple person, ignorant and superstitious. The topics sounding in the story of the stranger are closely connected with folklore, and with biblical motives. If the fiery sniped is just a train, then the bustle in the view of the fecuschi - the capacious and multivalued image. How often do people hurry to do something, not always correctly appreciating the real meaning of their affairs and aspirations: "He seems to him that he is running for business; hurry, poor, people will not know, it seems to him that his manita is someone; And it will come to the place, the en empty, there is nothing, the dream is one. "

But in the play "Thunderstorm" are symbolic not only phenomena and concepts. Symbolic and figures of characters play. In particular, this applies to the merchant of Wild and Marf Ignatievna Kabanova, ninnable in the city of Kabaniy. Symbolic nickname, and the surname of the venerable Savel Prokofyuch with full right can be called talking. It is not by chance, because it is in the images of these people that thunderstorms, not mystical heavenly anger, but quite real tyranny power, firmly strengthened on sinful land.