Dramatic conflict in thunderstorm. The main conflict of the drama "Thunderstorm"

Piez A.N. Ostrovsky "Thunderstorm" was published in 1860, on the eve of the abolition of serfdom. In this difficult time, the climax of the revolutionary situation of the 60s in Russia is observed. Already then, the foundations of the autocracy of the system were collapsed, but new, progressive forces that could shift the country from routine positions were not yet ripe. The Ostrovsky drama is very bright and fully reflected public contradictions of that era.

At the base of "thunderstorms" lies deep social conflict, resulting from an irreconcilable hostility of two types of worldview: to the old and emerging new, "dark kingdom" of self-loving and proud protester, freedom-loving nature.

Consider first the first type of worldview, very typical for the 50s of the XIX century and embodied in wild and kabani images.

These characters are influential merchants - personify the power of wealth that applies to almost all residents provincial town. During the creation of the play, the alignment of political and economic Forces russian society It was such that wealth, privileges gave the opportunity to people like wild and bubbanis, to pour the rights and freedom of those who stood below them by origin and social Regulations. And the heroes are not without success using this opportunity, which is clearly confirmed by "tears visible and invisible", which abundantly flow "behind the castles and constipation." These folk tears shed at all throughout Russia, in all cities where the power of "self-made" acquired such terrifying forms. Yes, and wild r kabanihs existed then in that brutal time almost in all provincial Russian towns. Therefore, these characters can be considered generalized images of tyranny and ignorance that flourished in the country.

The position of wild and kabani, people of the near-mind mind, ignorant and spiritually limited, prescribed them to keep in the same darkness of the difficultness of the rest of Kalinov, so as not to lose their influence supported mainly on the uneducation, ignorance. Therefore, it was beneficial to them so that Kalinovtsy listened to the stories of the wanders of the Wanderer about people with the pests and the "Fire Snake"; In order to compare another life with its own existence, life in Kalinov is the best and fair.

Pupils in century-old routine, Kabaniha and wild, are opponents of all new, progressive. Any attempt to retreat from the old, long-range traditions is found by them in the bayonets. "Samora themselves ... virtuous and even smart in their own way, within the limits prescribed by Rutiny and supported by them; But the situation is such that it is impossible in it full, healthy human development, "wrote N.A. Dobrolyubs.

It would seem that being full owners of his "Dark Kingdom", wild and kabaniha should feel in absolute security. But in fact it is far away. An alternative character appears - Katerina, which Dobrolyubov called the "new type created by Russian life." Indeed, the worldview of Katerina is something new, completely different from those installations, views, traditions that the pillars of the Dark Kingdom are held. This is a person of a completely different warehouse of the mind, the character that has already begun to be formed in the folk environment in the 50s of the XIX century.

Brought up on religious foundations, Katerina lived in a narrow, separate Mirka, partly invented by her souls and partly reflecting the patriarchal estimation of the provincial town. But, unlike the closed and stationary space, fell apart from the external cycling of life, what was Kalinov, the World of Katerina was a kind of ideal fair society, in which there is no violence against a person's personality, no humiliated and sublime.

Once on Wednesday of self-masted, Katerina protests in its own way against the captivity, violence, cruelty, cosiness. She is closely in the four walls of the man's house, and therefore she is bitterly asking: "Why do people do not fly like birds?" The heroine is torn to the will, breaking the century-old bonds of routine traditions, on which all the power of the "Dark Kingdom" is based. It is its protest, non-violence for cruelty and terrible Katerina for wild, kabani and them like, unlike other residents of Kalinov's town - Kuligina, Shapkin, Boris, who are badly demolished by any tributes.

Sports feel that the end of their "kingdom" comes that new forces are born, capable of resolving them. The inner, spiritual power of Katerina is a real threat to the very existence and prosperity of wild and bubbies. In this sense of the name of the drama "Thunderstorm" and the essence of the social conflict of the play.

The psychological drama of Katerina is directly due to social contradictions. After all, Kabaniha is not just her mother-in-law, she is a representative of a different world, a carrier of opposing moral and public beliefs. On the example of Katerina Ostrovsky shows how human drama Reveal social contradictions. Therefore, it can be said that the essence of the conflict of "thunderstorms" lies not only in the collision of the old world with the world of nascent, but also in a collision of personal beliefs with a public opinion, which pushed Katerina Kabanov to suicide.

Thus, in the plays of the island, an unusually accurate and capacious generalization is made characteristic features And the contradictions are serf Russia XIX. century. Kalinov's town is a reduced and simplified model of the Russian society of the pre-reform period, looking at which we see the main feature of the Russian life of the time - "the necessary need for people of active and energetic."

Conflict - Main driving force dramatic work. Conflict unfolds thanks to the plot and can be implemented on several different levels. Whether confronting interests, characters or ideas, the conflict is permitted in the final of the work. The essence of the conflict can also be determined and literary epoch (For realism and postmodernism, for example, various types of conflicts are characterized). In the realism, the conflict will be hidden in the image of social turmoil and the chief of the vices of society. For example, the article will consider the main conflict in the play of the island "thunderstorm".
The work was written in 1859, a few years before the cancellation of serfdom. Ostrovsky wanted to show how much the society is corrosive itself from the inside just because the way of life remains the same. Patriarchal orders inhibit progress, and corruption and chinopocularity destroy the human beginning in man. In the description of such an atmosphere, the main conflict "Thunderstorms" lies.

So, as a rule, the conflict is implemented at the level of characters. For this, pairs or groups of characters must be revealed. Start follows from the brightest confrontation: Cathi-kabani couple. These women had to live together the will of circumstances. Family of Kabanov is pretty rich, Marfa Ignatievna's widow itself. She brought his son and daughter. Kabaniha constantly manipulates his son, suits scandals and hysterics. A woman believes that only her opinion has the right to exist, so everything must meet its ideas. She humiliates, offends the rest of the family. The least goes to barbarian, because the daughter is lying his mother.

Katya early issued married Tikhon Kabanov, son of Kabanih. Katya naively believed that her life before marriage would not be very different from her new life, but the girl was mistaken. Pure Katya It is not able to understand how to lie the mother, how it makes it a barbarian, how to hide your thoughts and feelings from someone, as you can not protect the right to your own opinion. She is alien to the order of this family, but because of the patriarchal oblasts reigned at the time, the girl had no choice.

Here the conflict is implemented at the internal level. These characters are too different, but at the same time both women equally strong character. Katerina resists the integral influence of the Kabani. Marfa Ignatievna understands that he encountered a strong rival, which can "set up" Tikhon against the mother, and this is not part of her plans.

Parabe Boris - Katerina is implemented love conflict. Girl falls in love with the city young man. Boris seems to Kate, as she herself, unlike the rest. Boris, like Katerina, annoying the atmosphere of the city. And both do not like that everything is built here at fear and money. The feelings of young people flas out pretty quickly: they had enough one meeting to fall in front of each other. Departure Tikhon allows you to secretly meet and spend time together. Katya says that the sake of Boris makes sin, but, since she was not afraid of sin, then the condemnation of people is not scary to her. The girl does not understand why to hide their meetings. She wanted to admit to her husband in everything, to honestly be with Boris, but the young man dissuads from such a act. Boris is more convenient to meet secretly and not take responsibility. Of course, they could not be together. Their love is tragic and fleet. The situation takes an unexpected turn when Katya understands that Boris is actually the same as all other residents: a pitiful and petty. And Boris does not try to deny it. After all, he came to the city only then to establish relationships with uncle (only in this case he could get the inheritance).

To determine the main conflict of the drama "Thunderstorm" is a pair of Kuligin - wild. Self-taught inventor and merchant. All power in the city seems to focus in the hands of wild. He is rich, but thinks only about the increase in capital. He is not afraid of the threat from Governing, he deceives ordinary residents, steals from other merchants, drinks a lot. Wild is constantly swears. In every replica there was a place insults. He believes that people who are lower than His social staircase are unworthy of talking to him, they deserve their Nishchensky existence. Kuligin seeks to help people, all of its inventions would have to benefit society. But he is poor, and there is no opportunity to earn honest work. Kuligin knows about everything is happening in the city. " Brutal morals in our city". To resist or deal with this, Kuligin cannot.

The main conflict of the drama "Thunderstorm" unfolds inside the main character. Katya understands how strong the gap between ideas and reality. Katerina wants to be his own, loose, easy and clean. But in Kalinov, it is impossible to live like that. In this struggle, it risks losing themselves, surrender, not to withstand the onslaught of circumstances. Katya chooses between black and white, gray It does not exist for it. The girl understands that he can live either as she wants, or not to live at all. The conflict ends the death of the heroine. She could not commit violence, kill himself in favor of public orders.

In the "Thunderstorm" play several conflicts. The main confrontation between man and society is. Conflict of generations, the conflict of old and new is added to this conflict. It suggests that the conclusion that fair man Can not survive in the society of Lgunov and Hangey.

The definition of the main conflict of the play and the description of its participants can be used by students of 10 classes in writings on the topic "The main conflict in the" Thunderstorm "play."

Test on the work

this is a collision or several sides, which do not match the views, minigors. In the play of the island thunderstorm several conflicts, but how to decide which one is the main one? In epochusociologist in literature, it was believed that the social conflict was the most important play. Of course, if you see in the image of Katerina, the reflection of the spontaneous protesting masses against the syllable conditions of the Dark Kingdom and perceiving Katerina as a result of a collision with her mother-in-law, you should the genre of the play as a socio-domestic drama. The drama is a work, which is a public and personal aspirations of people, and sometimes themselves are lying on the threat of death on the part of the external forces that do not depend on them. In the plays, the present of the conflict of generations between Katerina and the Kabanchi, the new one always comes on the Pyatkistar, the old one does not want to give up a new one . But the play is much deeper than the stratum seem at first glance. After all, Katerina is primarily fighting the south itself, and not with the boa, the conflict is not developing around it, but in it. Therefore, the storm can be defined as a tragedy.

The tragedy is a work that there is a unresolved conflict between the personal aspirations of the hero of the ISRstor's laws, which occur in the consciousness of the main character. In general, the play is very similar to antique tragedy The choir is replaced by some heroes, the junction ends with the death of the main character, as well as the vehicle tragedy besides the immortal Prometheus. Katerina - the collision of two collisions historical epochs.

Some heroes of the play as a time to have time to which they live. For example, Kuligin is a manXVIII century, he wants to invent the sundial who have been known for more vesticity, or perpetuum mobile, which is a distinctive feature-free, or thunder. He commemorates his mind to the fact that they thought for a long time, and he only dreams about it. He quotes Lomonosov and Derzhavina - It's like a person's damn

13. The image of the "Dark Kingdom" in the play A.N. Ostrovsky "Thunderstorm".

In order to show the contradictions between rudeness and honor, between ignorance and dignity, two generations are shown in the play: the older people, the so-called "Dark Kingdom", and people of new trends, are more progressive who do not want to live in old laws and customs.

Wild and Kabanova - typical representatives of the "Dark Kingdom". It is in these images that the Ostrovsky wanted to show the dominant class in Russia of that time.

Wild and Kabanova - this is the most "dark kingdom", remnants, supporters of the mains of this "Dark Kingdom". That's who they are, these wild and kabanov, stupid, ignorant, hypocritical, rough. The same world and order they preach. This is the world of money, malice, envy and hostility. They hate all new and progressive.

The idea of \u200b\u200bA. N. Ostrovsky was the exposure of the "Dark Kingdom", using wild and kabanova images. He reigned all rich people in confusion and meanness. Basically B. secular society Russia of the XIX century was such wild and boars, which showed us the author in his drama "Thunderstorm".

The conflict is the main driving force of a dramatic work. The conflict unfolds due to the plot and can be implemented at several different levels. Whether confronting interests, characters or ideas, the conflict is permitted in the final of the work. The essence of the conflict can also be determined by the literary epoch (for realism and postmodernism, for example, various types of conflicts are characterized). In the realism, the conflict will be hidden in the image of social turmoil and the chief of the vices of society. For example, the article will consider the main conflict in the play of the island "thunderstorm".

The work was written in 1859, a few years before the cancellation of serfdom. Ostrovsky wanted to show how much the society is corrosive itself from the inside just because the way of life remains the same. Patriarchal orders inhibit progress, and corruption and chinopocularity destroy the human beginning in man. In the description of such an atmosphere, the main conflict "Thunderstorms" lies.

So, as a rule, the conflict is implemented at the level of characters.
For this, pairs or groups of characters must be revealed. Start follows from the brightest confrontation: Cathi-kabani couple. These women had to live together the will of circumstances. Family of Kabanov is pretty rich, Marfa Ignatievna's widow itself. She brought his son and daughter. Kabaniha constantly manipulates his son, suits scandals and hysterics. A woman believes that only her opinion has the right to exist, so everything must meet its ideas. She humiliates, offends the rest of the family. The least goes to barbarian, because the daughter is lying his mother.

Katya early issued married Tikhon Kabanov, son of Kabanih. Katya naively believed that her life before marriage would not be very different from her new life, but the girl was mistaken. Net Katya is not able to understand how you can lie mother, how it makes it a barbarian, how to hide your thoughts and feelings from someone, as you can not protect the right to your own opinion. She is alien to the order of this family, but because of the patriarchal oblasts reigned at the time, the girl had no choice.

Here the conflict is implemented at the inner level. These characters are too different, but at the same time both women are equally strong. Katerina resists the integral influence of the Kabani. Marfa Ignatievna understands that he encountered a strong rival, which can "set up" Tikhon against the mother, and this is not part of her plans.

A love conflict is implemented in Pare Boris - Katerina. The girl falls in love with the young man who arrived in the city. Boris seems to Kate, as she herself, unlike the rest. Boris, like Katerina, annoying the atmosphere of the city. And both do not like that everything is built here at fear and money. The feelings of young people flas out pretty quickly: they had enough one meeting to fall in front of each other.
Departure Tikhon allows you to secretly meet and spend time together. Katya says that the sake of Boris makes sin, but, since she was not afraid of sin, then the condemnation of people is not scary to her. The girl does not understand why to hide their meetings. She wanted to admit to her husband in everything, to honestly be with Boris, but the young man dissuads from such a act. Boris is more convenient to meet secretly and not take responsibility. Of course, they could not be together. Their love is tragic and fleet. The situation takes an unexpected turn when Katya understands that Boris is actually the same as all other residents: a pitiful and petty. And Boris does not try to deny it. After all, he came to the city only then to establish relationships with uncle (only in this case he could get the inheritance).

To determine the main conflict of the drama "Thunderstorm" is a pair of Kuligin - wild. Self-taught inventor and merchant. All power in the city seems to focus in the hands of wild. He is rich, but thinks only about the increase in capital. He is not afraid of the threat from Governing, he deceives ordinary residents, steals from other merchants, drinks a lot. Wild is constantly swears. In every replica there was a place insults. He believes that people who are lower than His social staircase are unworthy of talking to him, they deserve their Nishchensky existence. Kuligin seeks to help people, all of its inventions would have to benefit society. But he is poor, and there is no opportunity to earn honest work. Kuligin knows about everything is happening in the city. "Brutal Mragi in our city." To resist or deal with this, Kuligin cannot.

The main conflict of the drama "Thunderstorm" unfolds inside the main character. Katya understands how strong the gap between ideas and reality. Katerina wants to be his own, loose, easy and clean. But in Kalinov, it is impossible to live like that. In this struggle, it risks losing themselves, surrender, not to withstand the onslaught of circumstances. Katya chooses between black and white, gray for it does not exist. The girl understands that he can live either as she wants, or not to live at all. The conflict ends the death of the heroine. She could not commit violence, kill himself in favor of public orders.

In the "Thunderstorm" play several conflicts. The main confrontation between man and society is. Conflict of generations, the conflict of old and new is added to this conflict. It suggests that an honest person cannot survive in the society of Lgunov and Hangey.

The definition of the main conflict of the play and the description of its participants can be used by students of 10 classes in writings on the topic "The main conflict in the" Thunderstorm "play."

Main conflict in the play "Thunderstorm" Ostrovsky essay on the topic |

In the "thunderstorm" island, operating with a minor number of characters, managed to reveal several problems at once. First, it is, of course, the social conflict, the collision of "fathers" and "children", their point of view (and if they resort to generalization, then two historical eras). To the elder generation, actively expressing his opinion, belongs to Kabanova and wild, to the youngest - Katerina, Tikhon, Varvara, Kudryash and Boris. Kabanova is confident that order in the house, control over everything that is happening in it is the guarantee of the right life. Right life The same, according to her concepts, is to follow Domostroevsky orders and unquestioned to obey the eldest (in this case, she does not see another suitable candidate). Seeing that not all of its demands are performed, it is afraid for the future, both his own children, because her world collapses, but what should come to shift, it seems to her chaos. She is trying to keep old order by all means, because In a different way, it simply cannot live; Therefore, the figure of Kabanova acquires a tragic shade. At the wild, on the contrary, there is no hint of tragic. He is confident in his right thing and that everyone surrounding only depends on him, therefore, it allows himself to be unthinkable, adhered actions, which is a typical self-person.

The younger generation looks at things a little different. All of them, with the exception of Boris, who is unknown why tolerate the uncle, in one degree or another protested against oppression by the elders. Kudryash is scolding with wild, not giving himself offense. Barbara Thai from Mother walks to walk at night, and then runs away with Kudryash. Boris, as already mentioned, takes out the mockery of wild and thereby deals with some kind of inability to independent life. Such and Tikhon. Its absolute dependence on the mother is due to the fact that it has grown in such an environment where someone necessarily commands, and someone submits.

More difficult and tragic fate-protest Katerina. Not realizing clearly what she needs, she knows one thing: it is impossible to live like that. Of course, she is part of the Patriarchal Kalinov and lives according to his laws, but at some point she becomes unbearably. The "Dark Kingdom" gives a crack, and through it, from the very depths of it, "light beam" breaks through. Unclear Katerina's desire to escape from this stale world somewhere (it is a maximist, like Kabanov, only one option is possible for it: or everything, or nothing) led her to the river, but thereby she resolved the conflict with his own destiny in their favor: Instead of the fate of existence in the four walls, eternally popped by mother-in-law and husband, she chose freedom, even if even life costs.