Idean the thematic basis of the product of the thunderstorm literature. The main idea of \u200b\u200bthe work "Thunderstorm

"Thunderstorm" was created in the third period of creativity of the playwright, covering the preforming years (1856-1860). If in the first period (1847-1851) the Ost-Rovsky occupies a critical position in relation to the shown in its early Pieces "Dark Kigar", and at the time of proximity to Slavophilas in the Moskvatvian period (1852-1855), on the contrary, it is inclined to idealize the patriarchal merchant world, then in the predetermined period, when the playwright has become close to the Sovpea-Mennik, it is adjacent to the "accusatory" Direction in literature. He no longer idealizes merchants, but it is in this environment that hero is looking for a hero that embodies national character. Thus, the Ostrovsky spoke with his very peculiar way in solving the problem positive herowhich has become leading for the literature of this period.

The action "Thunderstorm" takes place in the city of Kalinov on the Volga, which collectively turn into the Volga cities as a focus of the Russian lifestyle. In the center of the play lies family conflict - Pockening of the young Katerina Kabanova with a mother-in-law, respected in the Goro de Puchikhai Marta Ignatievna Kabanova. But this family dramawho ended with the suicide of Katerina reflected the state of the company in the predhormerary era. Marfa Ignatievna and the merchant Saveel Pro-Kofievich Wildly personify the patriarchal structure. They will step by their apologists and uncompromising defenders. They are opposed by those who want change, who is unhappy with the old stands of life. But only Katerina goes to the end in his protest, not wanting to put up with his lifestyle imposed on it. At the same time, heroine is struggle not with a specific person, but with the whole building of life, under-holding the old way, with the "Dark Kingdom". The innovation of the Ost-Rovsky consists in the fact that the play written on the socio-household material permeates deep philosophical idea, deepening and clarifying the author's thought. He does not want to represent Ka-Terrine as a ideological fighter with the "Dark Kingdom".

Such her tried to outlide some critics. ON THE. Good-love in the article "Light Light in dark kingdom"(1860) gives an assessment of the play as the" the most decisive "work of the Ostrovsky, which is the closest" close end of the Samodorism ", and its main character is called" Light Light ", in kind of sincere, seeking good, kra-cell, justice, Freedom of feelings that joins the fight with the "Dark Kingdom" and with me.

A few later appears the article D.I. Pisareva "Motifs of Rus-Drama" (1864), in many ways the rethinking assessment of the Dobra-Bovy Piez "Thunderstorm", especially its main character. Pisarev considers it in kind of not solid, a developed mind, not to promote the cessation or relief of suffering, which means that it is not a distant one to consider the phenomenon "light", heroic personality.

With the entire polarity of estimates of critics, they are united by the fact that they misunderstand the moral and philosophical aspect of the play, having crucial importance for its author. Connected with him whole group Symbols that give "thunderstorms" generalized-philosophical meaning. They surround the image of Katerina (the heroine "not on the world of this") and represent images of flight (walker, ang-lies), a fairy-tale garden (the smell of cypress), death (from the point of view of the vehicle - another life, transition to another world) , and death is not just a separate personality, but also the former sensation - the "dark kingdom", something new should come to replace something. Material from site.

It was in this crisis point that Russia really stood on the threshold of cardinal changes associated with the abolition of serfdom, the Ostrovsky writes a play on the waking personally, and through a purely personal feeling - love, and such a process is always complicated and tragic. Personality, dropping away from the collective, is one on one to one with the world. Ostrovsky finely caught that in Russia this moment coincided with the process of becoming Russian on-witted self-consciousness, when a person, part of the nationwide "world", the peasant community, begins to realize himself to personally, independent in his views and actions, but also carrying the full fullness responsibility for them. This was the main meaning of the "thunderstorms" of Ostrovsky for Russian society. From these positions and it is necessary to consider the system of plays.

Drama A.N.ostrovsky "Thunderstorm" one of the most famous works Writer. There are many topics in it: both love and freedom, and serfdom. And of course, the main ideawhich passes through the red thread through all the work is reflected in the name of the plays.

Thunderstorm is and a natural phenomenon, and hanging the danger over the city, and the symbol of the era.

From the very beginning of the narrative, in the first action, we hear the conversation of two heroes about the nravas Kalinov. Kudryash and Kuligin are secondary charactersbut despite this they carry important semantic load. Their conversation is tied around wild. This hero is gifted by the author of the speaking surname, indeed, it's as if human concepts are alien. This hero is a peculiar thunderstorm for all home, as well as for the courtyards, sudden his anger keeps the entire district in fear.

Another episode in which a wild and one of the heroes are present, which first appear on stage, Kuligin. In this episode, Kuligin asks for money from the wild for the construction of watches and a bullet, the hero wants to do something useful and good, at least somehow move an institutional society. But he receives a refusal, it turns out the stupidity and short-sightedness of wild even deeper than we may seem, he is categorically against the structure, because the thunderstorm, in his opinion, is sent to people in punishment, and the clock is not needed at all (the author is probably emphasized at all (the absence of hours The fact that the development of Kalinov is lagging behind, the formation is absent and the coarse fortress orders still reign).

The main heroine of the works of Katerina lives with her husband in his mother's house Kabanih. Kabanovy, such speaking surnameAnd it does not require extra clarification. Freedom-loving Katerina languishes under the nest of this brutal woman, a real thunderstorm for the whole of his house. Only goodness and wisdom of Katerina allowed her for a long time to hold out under her power, but only outwardly, the internally heroine always remains free.

Much in the life of Katerina is associated with a thunderstorm. She is afraid of this natural phenomenon, faints, her intuition tells her that something should happen that she solves her fate. And she confesses to his act with Boris, and understands: she cannot live in the house of Kabanov. After all, Kabaniha became a thunderstorm not only for her, but also for a son. He runs out of the house to spend on freedom for several days.

As for Katerina, it can be called a thunderstorm for obsolete owners of Kalinovists. In the final, she seemed to challenge to slavery and oppression, which reigns in the city. Throughout the entire action, tension feels, the thunderstorm hung over Kalinov's self-director.

Much indicates that the authorities of the Kabani and the wilderness threatens the danger. Kudryash refuses to obey them, and at the end disappears together with Barbaroos, which also creates visibility to the Kabanchi submissal, but in fact it does it considers it necessary.

And, of course, the words of Kuligina at the end of the play affirm the thoughts that the power of wild and kabanic, the thunderstorm comes to them. Kuligin reminds them that the body of Katerina can belong to them, but it is free to the soul.

The meaning of the name of this play is very meaningful. Many times it is found as a natural phenomenon, is reflected in the images and characters of the characters and herself seems to be acting person. The entire atmosphere of the work is reflected in the name of the wonderful and still popular and beloved play by A.N. Ostrovsky "Thunderstorm".

The meaning of the title, the names of the plays of the island

A.N. Ostrovsky is one of the most outstanding writers The XIX century, his works tell us about the struggle of humanity, kindness, responsiveness with meanness, greediness and angry. The author in each of his book shows good, naive heroes encountered with brutal reality The world, which leads them to a complete disappointment in life, kills everything good that they have.

"Thunderstorm" - the top of creative playwright quest. After all, this play marked the beginning of such a monumental theme, which, later, more than once the main writers of contemporaries and subsequent centuries used in his works. What is so impressive readers for three centuries?

Katerina translated from Greek means "clean", Ostrovsky tells us about how people who rotted the bones around the bones oppress it and drive into the corner, because they feel the power and understand it, it is the beginning of the end for them.
This fragile, naive girl will not call volitional or strong, she did not make the feat, on the contrary, its act can perceive, as weakness, but the death of the heroine became a protest against the existing order, she unleashed his hands to all oppressed. Her image is the "Lucky of Light", the symbol of the fight against cruel, selfish people breaking the lives of everyone around, that is, with the "Dark Kingdom."

IN the last days, the weeks of their lives, Katerina terribly afraid of thunder, believing that it was losing to her head god's punishment For sins, she was so immanent that he did not understand, the thunderstorm came to kill her not, lightning and thunder split into parts of those who offended her, the darkness came to the dark.

Katerina played the role of a soldier who runs ahead of everyone with the flag, calling to fight, the role of a soldier who awakens the strength and resistance in souls. After all, after her death, all silent and endured before that were protested. Kabanov finally realized and understood that his mother Tyrant was to blame, but his conscience is not calm, because he could not prevent tragedies. Kudryash and Varvara decide to escape, leave behind the wild and bubble, whose life will become unbearable if it will be some kind of oppressing and someone will pour out their dirt.

The thunderstorm, which bears the death of the dark kingdom, the former terrible stands - this is the main meaning and meaning of the Ostrovsky's play.

Alexandra Nikolayevich, a beaten and banal theme of the struggle of good with evil is shown in a completely unique light and is perceived enough. I think it is very important workwhich is worth reading everyone.

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The author transfers us to the provincial merchant town of Kalinov, the inhabitants of which stubbornly hold over the centuries of the established lifestyle. But at the beginning of the play, it becomes clear that those universal values \u200b\u200bfor which the Domostroy stealing, have long lost their meaning for ignorant inhabitants Kalinov. It is important for them not the essence of human relations, but only a form, compliance with decency. Not in vain in one of the first actions "Mother Marfa Ignatievna" - Kabaniha, mother-in-law Katerina - received a deadly characteristic: "Hange, sir. Beggars wonders, and home eats home. And for Katerina, the main heroine of drama, patriarchal values \u200b\u200bare full deep meaning. She is, married woman, loved. And struggling to fight with his feeling, sincerely consider that it scary sin. But Katerina sees that there is no one in the world and the world to the true essence of those moral valuesFor which she tries to cling, like drowning for the straw. Around everything is collapsed, the world of the "Dark Kingdom" dies in flour, and everything that she is trying to rely on, turns out to be an empty shell. Under Feather Ostrovsky, the conceived drama from the life of merchants will grow into a tragedy.

The main idea of \u200b\u200bthe work is a conflict of a young woman with the "Dark Kingdom", the kingdom of self-masted, despot and ignoramus. To find out why this conflict arose and why the end of the drama is so tragic, you can, looking into the soul of Katerina, realizing her ideas about life. And it is possible to do, thanks to the skill of A. N. Ostrovsky.

For the external tranquility of life, dark thoughts lies, the dark life of self-masses who do not recognize human dignity. Representatives of the "Dark Kingdom" are wild and kabani. The first is the complete type of self-sales merchant, the meaning of which is to put capital to led themselves with any means. The powerful and harsh cabaniha is even more sinistering and gloomy representative of the housework. She strictly observes all the customs and orders of patriarchal antiquity, eat home, manifests a chanting, giving a beggar, does not tolerate the development of action in the "thunderstorm" gradually exposes the conflict of drama. Still great power of kabani and wild over the surrounding. "But a wonderful thing, - writes Dobrolyubov in the article" Light of Light in the Dark Kingdom ", - Savior of Russian life begin, however, to feel some kind of discontent and fear, not knowing before and why another life has grown, with other principles, And although it is, it is also not visible good, but already gives himself to predicate and sends bad visions to the dark arbitrariness of self-masses. " This is "Dark Kingdom" - the incarnation of the whole life of life tsarist Russia: Watch the people, arbitrariness, oppression human dignity manifestations of personal will. Katerina is a poetic, dreamy, freedom-loving. The world of her feelings and sentiment was formed in parental Housewhere she was surrounded by caring and mother of mother. In the atmosphere of the chandeliness and annoyance, the petty guardianship conflict between the "dark kingdom" and the soul world of Katerina gradually gradually. Katerina suffers only to the pore. Without finding an oklock in the heart of a clogged and scored husband, her feelings appeal to a person who can dislike all others. Love for Boris flashed with a force, characteristic of such an impressionable nature, like Katerina, she became the meaning of the life of the heroine. Katerina enters the conflict not only with environmental, but also yourself. In this tragedy of the position of the heroine.

For his time when Russia survived a period of huge public lifting to the peasant reform, the drama "Thunderstorm" had important. The image of Katerina belongs to best Images Women not only in the works of Ostrovsky, but also in all Russian artistic literature.

The method is realism. A) "Thunderstorm" as a work of the 60s. XIX century. B) Typical characters in typical circumstances, social types. C) distinctive features of the realism of Ostrovsky:

One of the first in Russian Dramaturgia is an island landscape, which is not just a background, but embodies the natural element that opposes the "dark kingdom" (at the beginning of the work, scenes on the Volga, the death of Katerina).

Ostrovsky uses the traditions of folklore when creating the image of Katerina, Kuligina, curly, and some fabulous traits are trapped in wild and kabani images. The speech of the characters is replete with spacious. Use of symbols: Thunderstorm - the symbol of the disorder in the soul of Katerina; The threshold offered by Kulugin is a symbol of enlightenment, etc.

Genre - Dram The drama is characterized by the fact that it is based on a conflict, a separate person and surrounding society. The tragedy is characterized by a sense of tragic guilt, which pursues the main character, leading it to death; The idea of \u200b\u200brock, Fatum; Qatarsis (a sense of spiritual cleansing, which arises from the viewer, contemplating the death of the main character). "Thunderstorm", despite the fact that main character It dies, it is considered to be drama, since the work is based on the conflict of Katerina and the "Dark Kingdom". Comedy traditions at the island: satirical image of the morals of the patriarchal mercen.

Innovation of the playwright manifests itself in the play appears true heroine From the folk medium, and it is the description of its character that the world's world is paid, and the conflict itself is described more generalized.

Katerina image creation: Type of folk, natural principle, integrity of character, desire for freedom, to spiritual liberation.

In the play, a repeated image is repeated, helping to understand the main thing in Har-Rea Katerina - the image of the bird. In folk poetry, the bird is a symbol of will. Katerina suffers until time. Catherine penetrated speech high poetryShe speaks to the immaculately right popular language, the speech is musical, singing.

Katerina is struggling not only with the environment, but also with himself. She poisoned with religious prejudices. Religiousness of Katerina is not a hypocrisy, but rather a children's faith in magic fairy tales. Religion makes Katerina perceive the bright human mercy of love as evil, mortal sin.

The drama is completed by the moral victory of Katerina over the dark kingdom, who fought her will and mind. Suicide is a protest expression in this extreme case for Katerina, when other forms of struggle are impossible.

Ostrovsky created in Russia a drama genre (play of life). The drama is characterized by interest in conflicts of everyday reality, behind which the viewer catches the deep contradictions of the era. An artistic thought of Ostrovsky found in everyday life a bizarre combination of tragic and comic, and this also became one of their signs of Russian drama, a cat. Fall. Received in TV-ve Chekhov.

24. Basic motives Lyrics N.A. Nekrasov, her artistic peculiarity. Studies on the work of the poet. Periodization of creativity

Do not have two large creative periods in nonsense:

The first: from 1845 to 1856,in which his poetry can be called "Museum of Sorrow and Sadness"; The main mood of the poems of this time is despondency; The main psychological feature of heroes from the people is eternal patience, passivity; The main characters are the peasant and urban poor, the workers, the differences, the people of tragic social destinies, the poor, disadvantaged and powerless; The main attitude towards its heroes is compassionating love and pity; Nekrasov himself in this period acts as "sophisticated" of grief of people, formulated by his poetic and civil challenge; "I was called upon to pick up your sufferer, patience of the amazing people."

The social essence of lyrics of this period was democracy and compassionate humanism.

Among the poems of these 10-11 years, two groups are allocated. In the poems of the first group - sorrow and protection of the disadvantaged and disadvantaged: "On the road", "Ogorodnik", "Troika", "Do I go through the dark street", "in the village", "uncompressed strip", "Vlas", "Forgotten Village ", etc. Their leitmotif is love-grief. The second group includes the satirical verses of open contempt "to the unlawful, idle-talking hands in the blood:" Lullaby song "," moral person "," Modern Oda ", etc.; All this poetic satire will later enter the major satirical poem "Contemporaries", who wrote in the 70s in parallel with the poem "Who lives well in Russia?"

If in the first group of poems of Nekrasov psychologically close to Dostoevsky, then in the second group he is close to Gogol and generous.

The second period of Nekrasov: from 1857 to 1877.

This second period begins with a public thaw in the country, after the death of Nicholas I, after the defeat in the Crimean War and with the beginning of the preparation and conduct of the peasant reform by King Alexander II.

New heroic notes are beginning to sound in Nekrasov poetry. It develops and grows revolutionary-democratic optimism, the intensive search for a positive hero, a conscious expresser of advanced ideas, a fighter enlightenment, seeking to throw the "Light of Consciousness" into the element of the people, i.e., the Hero of civil resistance, awakening people to civil activity.

If Griboedov raised the problem of "grief from the mind" in the Russian literature, then Nekrasov, how the firstplan put forward the problem of happiness from the mind, "that is, happiness from the knowledge of what needs to be done for a common good. The idea of \u200b\u200bunity of the heroes of civil resistance with the people is becoming the leading ideological and psychological line. Poetry penetrates revolutionary music and struggle. In this atmosphere of "big expectations", which were felt in both Turgenev in the "fathers and children", and Ostrovsky in "Thunderstorm", and Chernyshevsky in "What to do?", Nekrasov's mood has changed: from sorrow and compassion, he together with Chernyshevsky and Dobrolyubov It goes to the avant-garde of the revolutionary lift, turning into a peasant revolution to the petrel, or, according to Dobrolyubov, becoming "Garibaldi in his business."

During this period, two groups of poems are also highlighted. The first group includes, firstly, poems about a poet citizen: "Poet and citizen", "Elegy; Secondly, poems on the hero of the people, his work and fate: "Reflections from the Paradinary Porch", "Corobeinists", "Railway", "Arina - Soldiers' Mother" and the poem "Frost-Red Nose".

Third, poems that glorify a civil feat and moral purity The devotees and fighters for the people who are contemporaries of the poet: "Memory of a Friend" (about Belinsky), "On the death of Shevchenko", "Memory Dobrolyubov", "Memory Pisarev" and "Prophet" (about Chernyshevsky); Interesting is the ascending triad image or the idea of \u200b\u200bthe hero in verses about the wrestlers: a friend ("Memory of a Friend" - Belinsky) - a citizen ("Poets Citizen", "Blessed Elegant Poet") - Prophet ("Prophet" -Chernyshevsky).

The second group of verses includes confessional-love verses, the main topic of which is thermal tragic guilt and personal responsibility to the people, before the dead and arrested comrades in the struggle, before their conscience, before unrealized poetic capabilities.

This is a mourning, suffer, tragic theme of its own sin and repentance (partly caused by a severe physical disease of the poet) was embodied by him in the collection of poems of the last two years of life, named by Nekrasov's "latest songs" and representing the "Chronicle of Unfortunate Being" of the poet himself. In these verses, the dying Nekrasov expressed suffering from the insufficient activity of his people, insufficient revolutionism, and the poverty of the consciousness of the people and his civil immaturity, the poet perceives as a result of personal guilt and its own sinfulness, which causes patos of self-dissemination, self-crisp, self-sought.

Thus, poetry becomes self-criticism, fearlessly exposing copyright weaknesses, breakdowns, retreats, oscillations. In these verses, Nekrasov because suffered and grieving, which could not be constantly uncompromising, persistent and monolithic as Chernyshevsky and Dobrolyubs.

By swaying herself, Nekrasov appeared in front of the reader as a high-level nature, and at the same time he developed an artificial myth about the superhumanity of the Hero of Civil Resistance, that is, the Hero-citizen, who allegedly, alien human weaknesses (verses: "I am deeply despised for myself", "Literature with Trescchi phrases", "Knight for an hour", "the enemy bulls, is silent, in feasible", "I will die soon. A miserable inheritance ...", "I will soon become the extraction of nonsense", etc.). The entire collection "The latest songs" is permeated with frank sobs. Note that Nekrasov is a poet who has most of all in the Russian poetry of poems about death.

All these topics and aspects of Nekrasov poetry, collected together, are made, firstly, his poetry of the "Encyclopedia of Russian Life", and secondly, they represent him not only by the agitator poet, but above all the community poet for which ethical maximalism is characterized, The Russian poet of the soul wound, who publicly recognizing himself with a sinner, and in this fearless recognition of the turning on the righteous.

In the poetry Nekrasov, two hard-moving extreme trends are contaminated and conjugate: on the one hand, the prosaic mercency of self-analysis, on the other - the song sobbing crying. This compound is the uniqueness of the Nekrasova-poet to this day.

There was a traditional idea of \u200b\u200bN. A.Nekrasov as a "singer of the peasant lobe", "female destiny." At the same time, the poetic heritage of the poet is distinguished by thematic and genre manifold.

Nekrasov Poetry did not close to solve social problems. His Peru belongs to the heartfelt words of love confessions, wonderful messages to friends, subtle landscape sketches, striking the psychologist of the scene of urban and rustic life. The poet's lyrics reflected not only the sides of the life of the time, but also the philosophical meditation of the poet about the fate of the people, their country, the meaning of life and the appointment of a person in it, his own intimate feelings and experiences were transferred. The works of N. A.Nekrasov at the beginning of the twentieth century sound no less relevant than at the time when they were created, because the main motives of the poet's creativity were such moral concepts as conscience, sympathy, empathy, compassion.

25. Development of the poem genre in the work of N.A. Nekrasov. A wide panorama of the pre-reform and postrelformal life of the peasants in the poem "Who lives well in Russia." The skill of the poet in the image of the Russian national nature

Nekrasov's poise: "Sasha", "Corobeinists", "Frost, Red Nose", "Grandfather", "Russian women", satyrian poem "Contemporaries"

The poem "Who in Russia live well" occupies a central place in the work of Nekrasov. She became a kind of artistic result of more than thirty-year-old work of the author.

All motifs of Lyrics Nekrasov are developed in the poem; Associate all the worried problems; Used the highest artistic achievements.

Nekrasov not only created special genre socio-philosophical poem. He subjugated him with his superbate: show a developing picture of Russia in its past, present and future. Starting writing "hottime", that is, immediately after the reform of 1862, the poem about the liberated, reviving the people, Nekrasov infinitely expanded the initial intent.

The search for the "lucky" in Russia took him out of modernity to the origins: the poet seeks to realize not only the results of the cancellation of serfdom, but also the philosophical nature of concepts of happiness, freedom, honor, peace, because outside this philosophical understanding it is impossible to understand the essence of the present moment and see the future People.

The principal novelty of the genre explains the fragmentation of the poem built from the internally open chapters. The combined way of the road, the poem disintegrates on history, fate of tens of people. Each episode itself could be a plot of songs or a story, legends or novel. All together, in unity, they constitute the fate of the Russian people, his historical path from slavery to freedom. That is why only in the last chapter appears the image of the "folk intercessor" Grisha Dobrosaklon - the one who behaves people to the will.

Only by this time the author himself completely saw a composite and artistic decision of his poem and, dying, regretted that he did not have time to realize him: "The only thing I regret," he said, "he said that he didn't have time to finish" who in Russia ... "Now I see that this is such a thing that will only have its meaning." The author's task determined not only the genre innovation, but also all the originality of the poetics of the work.

Nekrasov turned repeatedly in the lyrics to folklore reasons and images. Poem O. people's Life It is entirely building on a folk basis. In "Who in Russia live well" in one degree or another "involved" all the main genres of folklore: a fairy tale, song, epics, tale.

Place and value of folklore in the poem

Folklore has its own special ideas, style, techniques, its own system, your laws and their artistic means. The most important difference between folklore from fiction - the absence of authorship in it: the people are foggy, the people tell, the people listen.

Nekrasov turned repeatedly in the lyrics to folklore reasons and images. The poem about the people's life is entirely building on a folk basis. In "Who in Russia live well?" In one degree or another, all the main genres of folklore are involved: a fairy tale, song, epics, tale.

The author's literature appeals to the folklore, when it is necessary to penetrate into the essence of nationwide morality; When the work itself is drawn not only to the intelligentsia (the main part of the readers of the 19th century), but also to the people. Both of these tasks put in front of Nekrasov in the poem "Who lives well in Russia?"

And one more the most important aspect Distinguished by the author's literature from Folklore. Isusful creativity does not know the concept of "canonical text": each listener becomes co-author of the work, in his own way retelling him. To such active mattitics of the author and reader and sought Nekrasov. That is why his poem is written by "a free language, as close as possible to common speech.

"The verse of the poem researchers call the" brilliant find "Nekrasov. Free and flexible poetic size, independence from rhymes opened the opportunity:

Generously convey the peculiarity of the folk language, while maintaining all its accuracy, aphoristic and special proven turnover; organically wept in the cloth of the poems rustic songs, sayings, due, elements of the folk fairy tale (the magic tablecloth-self-primary lots of wanderers);

Skillfully reproduce the perky speeches of the men at the Fair, and the expressive monologues of the peasant speakers, and the uncomfortable arguments of the self-director, colorful folk scenes, full lives and movement, set characteristic faces And the figures ... "All this creates a unique polyphony of the Nekrasovskaya poem, in which the voice of the author himself disappears, and instead of it, voices and speeches of countless characters are heard."

Idean-artistic peculiarity:

1. Problems are built on the correlation of folkphic images and the CONKR-X historical realities. The problem of people's happiness is the ideological center of the prome. Images of 7 men's men - the symbolic image of Russia, who tried from the spot

2. The poem reflected the contradictions of Russian reality in the pureform period:

a) class contradictions (the landower Obolt-Owli does not understand why he needs to learn, work, because he is not a peasant-laprinknik, and God's mercy is a Russian nobleman ")

b) contradictions in the peasant consciousness (on the one hand, the people are a great worker, with others - drunk ignorant mass)

c) contradictions m / in high spiritual spiritual people and ignorance, illiteracy and a burden (the dream of Nekrasov about the time when the man of "Belinsky and Gogol from the bazaar will suffer")

d) contradictions of m / in force, the Bunlet spirit of the people and humility, long-suffering, humility (sovereign images - the hero of Syatororus and Yakov faithful, of the cost of approximate)

3. The reflection of the revolutionary-democratic ideas is associated with the image of the folk intercessor Grisha Dobroblon (prototype Dobrolyubov)

4. Reflection of the evolution of popular consciousness associated with images of 7 peasants

5. This is the critics of realism, because

a) historicism (the image of the contradictions of the life of peasants in the Boreframe Russia)

b) depicting of typical characters in typical circumstances (collective image of 7 men, typical images of the ass, landlord, peasants)

c) the distinctive features of the realism of Nekrasov - Span folklore traditions, in the cat. He was a follower of Lermontov and Ostrovsky

For the poem Har-but, the use of the genres of folklore:

Magic Tale - Prolog

Epics - Savely - Bogatyr

Ritual Song (Wedding, Cleaning Harvest, Song-Placement) and Labor Song

Legend (about two great sinners)

Proverbs, sayings, riddles

The main character of the drama island "thunderstorm." The main idea of \u200b\u200bthe work is the conflict of this girl with the "Dark Kingdom", the kingdom of self-rigging, despot and ignorance. To find out why this conflict arose and why the end of the drama is so tragic, you can, looking into the soul of Katerina, realizing her ideas about life. And it is possible to do, thanks to the skill of the playwright is Ostrovsky. From the words of Katerina, we learn about her childhood and adolescence. The girl did not receive good education. She lived with her mother in the village. Katerina's childhood was joyful, cloudless. Mother in her "Souls did not chayal," did not force to work on the housework.

Katya lived freely: got up early, washed spring water, crawled flowers, went with the mother to the church, then sat for some kind of work and listened to the strangers and mantis, whom was a lot in their house. Katerina dreamed of magic dreams in which she flew under the clouds. And how strongly contrasts with so quiet, happy life The act of a six-year-old girl, when Katya, offended by something, ran away from the house on the Volga in the evening, got into the boat and pushed out of the coast! ... We see that Katerina grew a happy, romantic, but limited to the girl. She was very devout and passionately loving. She loved everything around themselves: nature, sun, church, their home with the wanders, the poor, which she helped. But the most important thing in Kate is that she lived in his dreams, apart from the rest of the world. Of all the existing, she chose only what did not contradict her nature, the rest she did not want to notice and did not notice. Therefore, I saw the girl of the angels in the sky, and there was a church for her not oppressive and gone by force, but the place where everything is light, where you can dream. It can be said that Katerina was naive and kind, brought up in a very religious spirit. But if she met on its path what contradicted her ideals, he turned into a recalcitrant and stubborn nature and defended himself from that outsiders, someone else's, which boldly disturb her soul. So it was in the case of a boat. After marriage, Kati has changed a lot. Of the free, joyful, sublime world, in which she felt his merger with nature, the girl fell into life, complete deception, cruelty and omitting.

The point is not even that Katerina came out for Tikhon not in his will: she didn't love anyone at all and she was still for whom to leave. The fact is that the girl took her former life she created for himself. Katerina no longer feels such a delight from the visit of the Church, she can not do their usual things. Sad, disturbing thoughts do not give her calmly admire nature. Kate stays tolerate, while waiting, and dream, but she can no longer live with their thoughts, because the cruel reality returns it to the ground, where the humiliation and suffering. Katerina is trying to find his happiness in love for Tikhon: "I will love my husband. Tisch, my dove, I will not exchange you anymore. " But sincere manifestations of this love are hampered by Kabanchi: "What you hang on the neck, shamelessness with the lover is forgiven." In Katerina, a very feeling of external humility and debt, so she makes himself love to love the unloved her husband. Tikhon and himself because of his mother's self-smuggling can not love his wife truly, although, probably, and wants. And when he, leaving for a while, leaves Katya to ride into vaga, the girl (already a woman) becomes completely lonely. Why Katerina loved Borisoven, he did not exhibit his male qualities as the Parats, did not even talk to her. Probably the reason is that she lacked something clean in the stuffy atmosphere of the house of Kabanih. And the love of Boris was this clean, did not give Katerina to finally burn, somehow supported her. She went on a date with Boris because he felt like a person who had pride, elementary rights. It was a riot against submission to fate, against the cure. Katerina knew that she would make sin, but she knew that she was still impossible to continue to live.

She brought the cleanliness of his sacrifice free and Boris. In my opinion, going to this step, Katya already felt the approaching end and, probably, thought: "Now or never." She wanted to make love, knowing that there would be no other case. On the first date, Katerina told Boris: "You ruined me." Boris - the reason for the defamation of her soul, and for Kati it is equivalent to death. Sin hangs on her heart with a grave stone. Katerina is terribly afraid of the impending thunderstorm, considering her punishment for the perfect. Katerina was afraid of thunderstorms since he began to think about Boris. For her pure soul Even the thought of love for an outside person is sin. Katya can not live on with his sin, and the only way at least partially get rid of him to get rid of she considers repentance she admits in all her husband and boa. Such an act in our time seems very strange, naive. "I don't know how to deceive something; I can't hide nothing. "Such is Katerina. Tikhon forgave his wife, but she forgave himself self-well very religious. Katya is afraid of God, and her God lives in her, God is her conscience. The girl is tormented by two questions: how she will return home and will look into the eyes of her husband, which changed, and how she will live with a stain on their conscience.

The only way out of this situation, Katerina sees death: "No, I am that home, that in the grave is still ... in the grave it is better ... I live again, no, no need ... Not good" persecuted with your sin, Katerina leaves Life to save your soul. Dobrolyubov defined the character of Katerina as "decisive, solid, Russian." Decisive, because she decided on the last step, to death for the sake of saving himself from shame and remorse. One piece, because in the nature of Kati everything is harmonious, one, nothing contradicts each other, because Katya is one with nature, with God. Russian, because who, like either a Russian person, is able to love so much, is able to sacrifice it so much, so it seems to submore all the deprivation, remaining with it myself, free, not a slave.

Piez "Thunderstorm" wrote in 1859 during the period when in Russia there is a change of public ruins, on the eve of the peasant reform. Therefore, the play was perceived as an expression of the spontaneous revolutionary sentiment of the masses. Ostrovsky not in vain gave his own play "Thunderstorm". It happens not only as a natural phenomenon, the action unfolds under the sounds of thunder, but also as an inner phenomenon - the heroes are characterized by attitude towards the thunderstorm. For each hero, the thunderstorm is a special symbol, for some - this is a harbinger of storms, for other cleansing, the beginning of a new life, for the third - this is the "voice over", which predicts some important events Or warns against any actions.

In the soul, Katerina takes place, to anyone, an invisible thunderstorm, a thunderstorm for her - this is Kara Heavenly, "The Hand of the Lord", which should show her for treason to her husband: "It's not that scared that kills you, but the fact that death will suddenly be worn away by everyone Thoughts are flaws. " Katerina is afraid and waiting for a thunderstorm. She loves Boris, but it oppresses her. She believes that he will burn in "Geenna Fire" for his sinful feeling.

For the mechanic Kuligina Thunderstorm - Rough Manifestation natural Forces, consonant with human ignorance, with whom it should be struggling. Kuligin believes that making the mechanization and enlightenment, you can achieve power over the "Thunder", which carries the meaning of rudeness, cruelty and immorality: "I tele the body in the praha, I command the whole thunder." Kuligin dreams to build a rapid ride to save people from fear over a thunderstorm.

For Tikhon, the thunderstorm is an evil, oppressing from the mother. He is afraid of her, but as the son must obey her. Leaving from the house on business, Tikhon says: "Yes, I know Taperitsa, that there will be no weeks for two weeks for two weeks, there are no shaft on my feet."

Wild believes that it is impossible and sinful to confront lightning. For him, the thunderstorm is humility. Despite his wild and evil temper, he persogesly subordinate to the boa.

Boris Human thunderstorms fear more than natural. Therefore, he leaves, throws Katerina one none with human molva. "It's terrible here!" - Says Boris, running away from the mission of the whole city.

Thunderstorm in the Ostrovsky play symbolizes as ignorance and anger, heavenly punishment and retribution and cleansing, insight, beginning of a new life. This is evidenced by the conversation of two citizens Kalinov, the inhabitants began to occur in the worldview of the inhabitants, the evaluation of the whole occurrence began to change. Perhaps people will have a desire to overcome their fear of thunderstorms, get rid of the oppression of the Evil and ignorance, reigning in the city. After the terrible rollers of thunder and lightning strikes, the sun will again shine over the heads.

N. A. Dobrolyubov in the article "Light of Light in the Dark Kingdom" The image of Katerina interpreted as a "spontaneous protest, brought to the end", and suicide - as a strength of a volin-loving nature: "Gorky is such a liberation; But what to do when there is no other. "

I believe that the play of the island "thunderstorm" was timely and contributed to the fight against oppressors.