What features of the classic drama in the play of thunderstorm. Abstract: The image of Katerina in a thunderstorm
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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A number of lessons are presented accompanied by presentations. Lesson number 1, 2. Piez A.N. Ostrovsky "Thunderstorm" (1859). Traditions and morals of Kalinov. Lesson number 3, 4. Katerina in the struggle for his human rights.
Lesson number 1, 2. Piez A.N. Ostrovsky "Thunderstorm" (1859). Traditions and morals of Kalinov.
Objective: trace the reflection of the epoch in the play, her life and morals; Determine the moral problem of the play and its universal value.
Tasks:
Acquaintance with the history of the creation of the Pieza "Thunderstorm", in force, the definition of the topic, ideas, the main conflict of the play.
Development of dramatic work skills, the ability to determine the author's position in the work.
Equipment: Multimedia Projector, Screen, Tutorials, Notebooks, Pieces Texts, Presentation for lesson.
Structure occupation
1. Organizational moment.
The history of writing a play (Presentation No. 1 "History of creating a play").
The play was started by Alexander Ostrovsky in July, and was completed on October 9, 1859. On October 9, the playwright graduated from the "thunderstorm", and on October 14, he already sent a play to Censorsure to St. Petersburg. The manuscript is kept in the Russian State Library.
With the writing of the play "Thunderstorm" also a personal drama writer. In the manuscript of the play, next to the famous monologue of Katerina: "And what dreams I dreamed, Volya, what dreams! Or the temples are gold, or some unusual gardens, and everyone sing invisible voices ... ", there is an Ostrovsky record:" I heard from L. P. about the same sleep ... " L. P. - This is the actress Lyubov Pavlovna Kositskaya, with which the young playwright had a very difficult personal relationship: both had families. Her husband actresses was an artist of the Small Theater I. M. Nikulin. And Alexander Nikolaevich also had a family: he lived in a civil marriage with Proshirotina Agafej Ivanovna, with which there had common children (they all died more children). With Agafia Ivanovna Ostrovsky lived without a small twenty years.
It was the love of Pavlovna Kositskaya that served as the prototype of the image of the heroine of the play of Katerina, she became the first executive role.
In 1848, Alexander Ostrovsky went with his family to Kostroma, in the Manor Schelikovo. The natural beauty of the Volga region struck the playwright, and then he thought about the play. For a long time it was believed that the plot of the drama "Thunderstorm" was taken by island from the life of Kostroma merchants. Kostromic at the beginning of the 20th century could accurately indicate the suicide site of Katerina.
In his play, Ostrovsky raises the problem of the fracture of public life, which occurred in the 1850s, the problem of changing public obscures.
2. The genre features of the Piez "Thunderstorm".
Thunderstorm rattles in Moscow, notice how smart it is said, and surprise.
Epigraph to the lesson presents the words Actress L.P. Kositskaya-Nikulina, who played the main heroine of the play of Katerina, who became the wife of the playwright.
Today we will start the acquaintance with the play A.N. Ostrovsky "Thunderstorm". You have different points of view to the appearance of this play and the definition of the genre. Analyze the choice of the authors of these quotes and highlight the features that the author accent does.
November 16, 1859 was the premiere.<...> The play made fees, because in addition to the subtle connoisseurs and experts of elegant on performances, the Moscow audience flowed on the play attracted by the name of the playwright and disputes around the play. There were a lot of viewers in the "wolf fur coats", the most simple, immediate, and therefore the most expensive heart of the author.<...> As for the people of old aesthetic concepts, whose tastes and morality lived their century, they could no longer noticeably damage the success of the drama. "Thunderstorm" was a turning point for this public. It was still grumbling on it, but after success decided, the new countdown of the fame of the author went precisely from this drama. And already following his works "Thunderstorm", they were given as the measure of the "elegant", and the new plays whispered with the advantages of the former, obesely met of the masterpiece. So the literary story moves.
From the day of the first submission of "thunderstorms" in literary and theatrical criticism, until today, disputes are being conducted about the genre of this play and the originality of its main conflict. The author himself, giving tribute to traditions, as well as a number of critics and literary critics have seen a socio-domestic drama in the "thunderstorm", since it is characterized by special attention to everyday life. In addition, the whole story of the preceding Ostrovsky drama did not know such a tragedy, in which the heroes were individuals, and not historical or legendary.
S. P. Shevyrev, who turned out to be at one of the first ideas, considered the "thunderstorm" of the Meshchansky comedy.
The Ostrovsky recorded the Russian comedy into the merchant guild, began with the first, brought it to the third - and now she, went bankrupt, is discharged with tears in the mesh. Here is the result of "thunderstorms", which I have seen last week ... It seems to me that Kositsk should be walked, and not drowned. The last is too old ... It would be a modern way.S. P. Shevyrev - A. N. Verst. October 25, 1859.
You never revealed so much poetic forces as in this play ... In the "thunderstorm" you took such a plot that was filled with poetry, the plot is impossible for the one who does not possess poetic creativity ... Katerina's love belongs to the same The phenomena of moral nature, to which world cataclysms in nature are physical ... simplicity, naturalness and some kind of meek horizon, who lifters all this drama, along which heavy and sinister clouds pass from time to time, even more enhances the impressions of an imminent catastrophe.
The impression is strong, deep and mainly positively generally produced was not the second action of a drama, which, although with some difficulty, but still can be attracted to the punishing and accusatory nature of the literature, and the end of the third, in which (end) is decidedly nothing more , except for the poetry of people's life, - boldly, widely and freely captured by the artist in one of its essential moments, not allowing not only crushing, but even critics and analysis, so this moment fell and transferred poetically directly ... The name for this writer, For such a big, despite its flaws, disadvantages, writer is not satirik, but a folk poet. The word for the attenuation of his activity is not "Samodoria", but "Nature". Only this word can be the key to understanding its works.
"Thunderstorm" is, no doubt, the most decisive work of Ostrovsky; The mutual relationship of self-smuggling and fraud is brought to the most tragic consequences ... There is even something refreshing and encouraging. This is "something" and there is, in our opinion, the background of the play specified by us and the detectors and the close end of the samotor. Then the very character of Katerina, drawing on this background, also blows on us a new life, which opens in her death itself ... Russian life has finally reached the fact that virtuous and respectable, but weak and impersonal creatures do not satisfy the public consciousness and recognize Not anywhere. It was felt in the unknown need for people, at least less beautiful, but more active and energetic.
If you understand the death of Katerina as a result of a collision with mother-in-law, see the sacrifice of the family oppression in it, then the scale of the heroes will indeed become small for the tragedy. But if you see that the fate of Katerina determined the collision of two historical eras, then the "heroic" interpretation of her character proposed by Dobrolyubov will be quite legitimate.
"Thunderstorm" is a 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 by the traditional tragic conflict between the debt and feeling, but most of all - the type of type-types.<...> It is not by chance that the resonter of the play Kuligin without the end declares classic poems. Lomonosov lines and Derzhavin are designed to play a role as if a positive start in the hopeless atmosphere "Thunderstorms".<...>
Kuligin reads the verses of a high calm to the place and not to the place, and the Ostrovsky subtly invests in his mouth are not the main, not solving the words of great poets. But the author, and the educated connoisseur of the play knew what rows follow the hooligan declaration. Eternal doubts: "I am a king - I am a slave - I am a worm - I am God!", Recent questions: "But where is, Natura, your law?" And "tell me that we are so mint?".
These insoluble problems solve the "thunderstorm". Therefore, so persistently island appeals to classicism, which seeks to give the consideration of the Meshchansky drama. The level of approach is overestimated, just as the remarks are installed on the city of Kalinov - from top to bottom, from the "high bank of the Volga".As a result, the Meshchansky drama turns into a meshchang tragedy.P. L. Wail, A. A. Genis. Native speech. 1991.
♦ What is your impression after independent reading "thunderstorms"? Whose point of view about the play genre seems to be convincing?
3. Re-read the play
Exercise 1
Alexander Ostrovsky
Storm
Drama in five actions
The drama as a genre of literature is one of the main genres (species) of the drama as a kind of literature along with the tragedy and comedy. The drama reproduces predominantly the privacy of people, however its main goal is not ridicule of morals, but an image of a person in her dramatic relations with society.
At the same time, like the tragedy, the drama is to recreate the sharp contradictions, but at the same time these contradictions are not so tense and allow for prosperous permission.
The concept of drama as a genre was in the second half of the 18th century. In the enlighteners. Drama 19-20 V.V. is predominantly psychological. Separate types of drama are closed with adjacent genres, using their means of expressiveness, such as tragicomedy, farce, theater, masks.
Task 2.
The list of actors (poster) of the play is a very significant part of its exposure and gives the first idea of \u200b\u200bthe city of Kalinov and its inhabitants. What ideas can the viewer get, opening this poster? Note: a) the procedure for the location of the characters in the list (social and family plans); b) the nature of the names and surnames; c) setting in the city; d) place and time of action.
Note: The disclosure of the names and surnames in the Pieces of A.N. Ostrovsky helps to comprehend and the plot, and the main images. Although the names and names cannot be called "speaking" in this case, since this is the feature of classicism, but they are speaking in a wide - symbolic meaning of the word.
Persons:
Savel Prokofievich Wild, merchant, a significant face in the city.
Boris Grigorievich, his nephew, a young man, decently educated.
Marfa Ignatievna Kabanova (Kabaniha), Rich Kupovikha, widow.
Tikhon Ivanovich Kabanov, her son.
Katerina, his wife.
Varvara, sister Tikhon.
Kuligin, Trashman, wurster self-taught, looking for perpetum mobile.
Vanya Kudryash, young man, Dikova's office.
Shapkin, tradesman.
Feclusha, Stranger.
Head, girl in Kabanova's house.
Baryna with two lackeys, old woman 70 years old, half-handed.
City inhabitants of both sexes.
The action takes place in the city of Kalinovo, on the bank of the Volga, in the summer.
Between 3 and 4 actions take 10 days.
Task 3.
E. G. Kholodov speaks of the amazing ability of A. N. Ostrovsky to find such names, patronymic and surname for their heroes, which are so organic and natural that they seem only possible. He cites the opinions of various literary criticism that the names indicate the author's attitude to their characters that they reflect their essential moral aspirations or internal qualities, which, using significant names and surnames in order to characterize the actors, the Ostrovsky strictly followed the traditions of classicism.
♦ What do you think, did the island classic tradition in choosing names and surnames for their characters? Explanation of the task. To prove the thesis on following the island rules of classicism, researchers put such assumptions: Katerina translated from Greek means "eternally clean", for the patronymic she is Petrovna, which is translated as "stone" - its name and patronyutics of the playwright allegedly emphasizes high morality, strength, determination, Heroine character hardness. The patronymic of the wild "Prokofich" in translation from Greek means "successful", Barbara - "Rough", the Head - "Smooth", that is, the intelligent, judiciary.
Task 4.
Please note that in the list of actors, some characters are presented in full - by the name, patronymic, last name - others - only by the name and patronymic, third - only by name or only inmathy. Does this happen? Try to explain why.
4. Checking homework: Performance of students on the topic "Curly Heroes Analysis" (individual messages).
1. Savel Prokofievich Wild, merchant, a significant face in the city.
Wild in the northern Russian regions marked "stupid, crazy, crazy, little, crazy", and to dick - "fool, blaming, go crazy." Initially, the Ostrovsky assumed to give the hero of Petrovich (from Peter - "Stone"), but there was no fortress, hardness in this nature, and the playwright gave the patronymic of Prokofievich (from proofition - "successive"). This was more suitable for the greedy, ignorant, cruel and gross person, who at the same time was one of the richest and influential merchants of the city.
Principles of naming characters, i.e. The use of a single, twisted and three-membered anthroponym is directly related to the social status of the character. The three-member is found not only from the heads of families (i.e. emphasizes a family role), but also at the nobles, rich merchants, i.e. People with high social status. At the same time, it does not matter what its place in the system of characters, role in the plot. For example, in the play "Thunderstorm", three-membered anthroponym has Savel Prokofievich Wild, an episodic character participating in three phenomena.
2. Boris Grigorievich, his nephew, a young man, decently educated.
Boris Grigorievich - Wild nephew. He is one of the most relaxed heroes of the play. Boris himself says about himself: "I'm completely killed ... I'm driving, scored ..."
After all, Boris's mother "could not get along with the relatives", "I really seemed wildly to her." So, Boris - wild on his father. What follows from this? Yes, it follows that he failed to defend his love and protect Katerina. After all, he is the flesh from the flesh of his ancestors and knows that entirely in the power of the "Dark Kingdom".
Boris - kind, well-educated person. It stands out sharply against the background of the merchant medium. But he is a weak man in his nature. Boris is forced to humiliate in front of his uncle, wild, for the sake of hope for the inheritance that he will leave him. Although the hero himself knows that it will never be, he, nevertheless, looks in front of Samodur, suffering his antics. Boris is unable to protect either Himself nor his favorite Katerina. In misfortune, he only dares and crying: "Ah, those people knew these people, what can I say goodbye to me! Oh my God! Give God, so that they sometime as sweetly was, as I now ... Vedoda you! Monsters! Eh, kaba strength! " But Boris's forces do not have forces, so he is unable to ease the sufferings of Katerina and support her choice, taking off with him.
Katerina can not love and respect such her husband, and her soul craves her love. She falls in love with wild, Boris's nephew. But he loved his Katerina, according to the expression of Dobrolyubov, "on a deserted", because, in essence, Boris is not much different from Tikhon, except for a little bit more converted it. Boris, she chose almost unconsciously, only the difference from his Tikhon, that the name (Boris in Bulgarian "Wrestler").
Burning Boris, his desire to get his part of the grandmother's inheritance (and he will receive it only if he is respectful with the uncle) turned out to be stronger than love.
3. Marfa Ignatievna Kabanova (Kabaniha), Rich Kupovka, Widow.
Kabanova - a cargo, heavy character. Kabanova is no coincidence that Martha's name is "Mrs., housewife at home": she really holds the house completely in her hands, all households are forced to obey her. In the New Testament of Marfa - Sister Mary and Lazar, in the house of which Christ stopped. When Christ comes to them, both sisters tried to revere a high guest. Marfa, distinguished live and active temper, immediately began to take care of the preparation of treats. Her sister Maria, a man is quiet and contemplative, in the deep humility sat at the foot of the Savior and listened to his words. The different nature of the sisters - practical Martha and Contemplative Mary - became a symbol of various installations in the life of Christians. These two installations can be seen in the Ostrovsky's play: Kabaniha perceives mostly the formal side of the patriarchal world, which has established the centuries of a lifeguard, so it tries to preserve the long-haired customs, the meaning of which she no longer understands. Katerina, like Mary, embodies a different approach to life: She sees the poetry of the patriarchal world, it is no coincidence that the ideal patriarchal relations based on mutual love are recreated: "I will stand, it happened, early; If in the summer, so I go to the keys, I wonder, I will bring with myself water and everything, all the flowers in the house of Polle. I had a lot of colors. Then let's go with Mama to the church, all the strangers, - we were full of the house, I had a strangers; Yes, the mantis. And come from the church, sit for some work, more on the velvet gold, and the harass will tell: where they were that they saw, lives are different, or poems sing. So before dinner time and passes. Here the old women fall asleep, and I walk in the garden. Then to the evening, and in the evening there are again the stories and singing. That is good! " The difference in Kabani and Katerina in views of life is clearly manifested in the scene of Tikhon's departure.
Kabanova. You're praise that you love your husband; I see now your love is. Another good wife, having done her husband, the hour and a half hundred and a half, lies on the porch; And you can see nothing.
Katerina. Not something! Yes, and I do not know how. What people are mixed!
Kabanova. The trick is small. Kaby loved, so would have learned. If we do not know how to do, you even did this example; Still, more decent; And then, it can be seen, in words only.
In fact, Katerina is very worried about, accomplishing Tikhon: it is no coincidence that she rushes towards her neck, asks to take her with him, wants him to take a terrible oath of loyalty to him. But Kabaniha turns her actions, "What is hanging on the neck, shameless! Not with a lover forgive! He is your husband - chapter! Al Order Do you know? On the legs bow! " The teachings of the Kabani echoes the words Martha, which is dissatisfied with the fact that Maria does not help her, but he listens to Christ.
Interestingly, Ignatievna, that is, "unfamiliar" or "ignoring". They do not notice what happens with people close to them, do not understand that their ideas about happiness are completely different. Both are absolutely confident in their rightness, make others live according to their rules. And thus, they find themselves indirectly to blame the tragedy of Larisa and Katerina, Kabaniha provokes Barbar to escape.
Its speech is a mixture of rudeness, cold lap tone with pretended humility and sophisticated sighs. From her words you can see the attitude to the home: she despises Tikhon, cold to Varvar and hates Katerina.
The widows in the plays of Ostrovsky, as a rule, regardless of social status have three-member anthroponyms: these are independent women who have to raise children, arrange their fate. In the analyzed plays, both widows also have a high social situation.
4. Tikhon Ivanovich Kabanov, her son.
The relationship with the word "quiet" is obvious. Tikhon is afraid to reap mothers, can not even stand up for Katerina, protect him from her unfair accusations.
Kabanov Tikhon Ivanovich is one of the main characters, the son of Kabani, Katerina's husband. The list of actors should be directly behind Kabanova, and it says about it - "Her Son." This is the actual position of Tikhon in the city of Kalinov and in the family. It believed, like a number of other characters play (Varvara, Kudryash, Shapkin), for the younger generation of Kalinovans, T, in its own way marks the end of the patriarchal gender. Youth Kalinov no longer wants to adhere to old orders in everyday life. However, Tikhon, Varvar, Kudrish, alien to the maximalism of Katerina, and unlike the central heroines of the play, Katerina and Kabani, all these characters are standing on the position of everyday compromises. Of course, they are severely oppressed by the elders, but they learned to bypass it every according to their character. Formally recognizing the authorities of the elders and the power of customs, they will come to them against them. But precisely against the background of their unconscious and compromise position, Katerina looks significant and morally high.
Tikhon in no way corresponds to the role of a husband in a patriarchal family: to be the lord, but also a support and protection of the wife. The kind and weak man, he is taking place between the harsh requirements of the mother and compassion to his wife. He loves Katerina, but not like the norms of patriarchal morality should love her husband, and the feeling for Him Katerina is not as it should feed to him by her own ideas: "No, how not to love! I feel sorry for him! " - She says Varvar. "If it is a pity, not love. And not for what, you need to say the truth, "Barbara answers. For Tikhon, break out from under the guardianship of the mother to the will means to hit the roast. "Yes, I, Mama, and I don't want to live my will. Where can I live your will! " - He answers the endless reproaches and instructions of the Kabani. The humiliated mother-humiliated man, he is ready to disrupt his annoyance in Katerina, and only the intercession of the sister of Varvara, who sails him with the secret of mother to drink away, stops the scene.
However, Tikhon loves Katerina, trying to teach her to live in his own way ("what to listen to her! After all, something should be said to! Well, she says, and you pass the ears of your ears!" He comforts his wife Opened mother-in-laws). And yet to sacrifice two weeks "Without thunderstorms", he does not want to take the Katerina on a trip. He does not understand too clearly what happens to her. When the mother makes him pronounce the ritual order to his wife, how to live without him, how to behave in the absence of a husband, nor Kabaniha, nor he, uttering: "Don't look at the guys," they do not suspect how close it is close to the situation in their family. And yet the attitude of Tikhon to his wife is humane, it has a personal shade. After all, this is he objects his mother: "Why should she be afraid of? With me, quite pretty that she loves me. " Finally, when Katerina asks to take terrible oaths from her, T. frightened: "What are you! What are you! What sin something! I do not want to listen! " But, as it is neither paradoxically, it is the softness of T. in the eyes of Katerina not so much dignity as the flaw. He can't help her when she struggles with a sinful passion, nor after her public repentance. And the reaction of it on treason is not at all such a dictator of the patriarchal morality in a similar situation: "Here Mama says that it must be buried in the ground so that she collapses! And I love her, I'm sorry to touch her finger. " He cannot fulfill the Council of Kuligin, can not protect Katerina from the Mother's wrath, from mocking households. He "then affectionate, then angry, but drink everything." And only over the body of the dead wife, T. is solved on the riot against the mother, publicly accusing it in the death of Katerina and precisely this public attitude to the Kabanchi.
Young Kabanov not only does not respect himself, but also allows his mammy to roughly handle his wife. This is especially brightly manifested in the farewell scene, before leaving for the fair. Tikhon word for word repeats all the instructions and morals of the mother. Kabanov could not withstand his mother, slowly spawned and thus became even more silent and quiet.
Tikhon is kindly, but a weak man, he is moving between fear of mother and compassion to his wife. The hero loves Katerina, but not the case, asking Kabaniha - Surovo, "Male." He does not want to prove his wife his power, he needs warmth and caress: "Why should she be afraid of? With me, quite pretty that she loves me. " But this in the house of Kabani Tikhon does not receive. At home, he is forced to play the role of obedient son: "Yes, I, Mama, and I don't want to live my will! Where can I live your will! " His only sweat is trips to affairs, where he forgets all his humiliation, they are soaring them in fault. Despite the fact that Tikhon loves Katerina, he does not understand what is happening with his wife, what spiritual flour is experiencing. Softness of the Tikhon is one of its negative qualities. It is because of her, he cannot help his wife in her fight with passion to Boris, he cannot alleviate the fate of Katerina and after her public repentance. Although he himself reacted to the treason of his wife gently, not angry at her: "Here Mama says that it must be buried her living in Earth so that she collapses! And I love her, I'm sorry to touch her finger. " Only over the body of a dead wife, Tikhon is solved on the riot against the mother, publicly accusing it in the death of Katerina. It is this riot for people who causes the most terrible blow to the Kabanchi.
It is significant that Tikhon, the married son of Kabani, is indicated as her son: he could not free himself from the Mother's power, to become truly independent.
5. Katerina, his wife.
Katerina is translated from Greek as "clean." Despite the fact that it makes two terrible sins: adultery and suicide, it remains morally clean, therefore is opposed to all other characters. The heroine is aware of his guilt, can not hide it, therefore it is recognized to Tikhon in perfect sin right on the street. She feels the need for punishment; I sincerely suffers that it cannot repent, it cannot feel the sinfulness of his love. It silently suffers the reproaches of the Kabani, understanding their justice (he did not want to listen to the heroine unexpected reproach), and, according to Tikhon, "melts, like wax." An important role in the fate of Katerina was played by Varvara, who herself arranged her date with Boris. The Ostrovsky uses not a canonical form (Catherine), and the folk, emphasizing the people's poetic side of the character of the heroine, its folklore worldview, which is expressed in the desire to fly, representation of the "grain": "Under the Turing the grave ... How good! .. Her sunshine Heats, it drags her with a rain ... in the spring on her, the grass will grow, soft one ... Birds will fly to the tree, will sing, children will be removed, the flowers will bloom: yellow, red, bluish ... all sorts. " A large number of words with diminitious suffixes are also characteristic of folklore.
This image in its own way indicates the end of the patriarchal gender. T. no longer considers it necessary to adhere to the old orders. But, by virtue of his character, he cannot act, as he considers it necessary, and go against the mother. His choice is everyday compromises: "What to listen to it! After all, something needs to talk! Well, and let her say, and you pass by your ears! "
Katerina, all the characters are called only by name, by name-patronymic calls Boris once, when she comes to him on a date. The appeal is also due to the situation of communication: Boris is surprised by the fact that Katerina itself prescribed a date, it is afraid to approach her, start a conversation.
A. N. Ostrovsky "Thunderstorm". The drama of the Ostrovsky "Thunderstorm" was written in the 50s and 1960s of the XIX century. This is the time when serfdom existed in Russia, but it has already clearly seen the arrival of the new force - the intellectual differences. A new topic appeared in the literature - the position of a woman in the family and society. The central place in the drama is the image of Katerina. Relationship with the rest of the heroes of the play and defines its fate. Many events in drama occur under the grinding rollers. On the one hand, this is a natural phenomenon, on the other - a symbol of the mental state, so each of the heroes is characterized by attitude towards the thunderstorm. Katerina is madly afraid of thunderstorms, which shows her mental confusion. Inner, no one visible thunderstorms raging and in the soul of the heroine itself.
To understand the tragic destiny of Katerina, consider what is this girl. Its childhood passed to the patriarchal-Domostroevsky time, which imposed a fingerprint on the character of the heroine and on her views on life. Children's years, Katerina were happy and cloudless. Mother loved her very much, according to the expression of Ostrovsky, "the soul in her did not chayal." The girl cared for flowers, which was in the house a lot, embroidered "on the velvet gold," listened to the stories of the mantis, walked with his mother to church. Katerina is a dreamer, but its peace is far from always corresponds to reality. The girl does not seek to understand the actual life, she can give up everything that does not suit her, and again plunge into his world, where she sees angels. Education gave her religious color to her dreams. This girl, such inconspicuous at first glance, has a strong will, pride and independence, which appeared in childhood. While being a six-year-old girl, Katerina, offended by something, ran into the Volga in the evening. It was a kind of child protest. And later, in a conversation with Varai, she will indicate another side of her character: "Such I originated hot." Its free and independent nature reveals through the desire to fly. "Why do people do not fly like birds?" - These at first glance strange words emphasize the independence of the character of Katerina.
Katerina appears in front of us in two angles. On the one hand, it is a strong, proud, independent personality, on the other - quiet, religious and submissive fate and parental will girl. Katerina's mother was convinced that her daughter "will love every husband," and, having hugged to a profitable marriage, issued her to marry Tikhon Kabanov. Katerina did not like her future husband, but the will of the mother was badly obeyed. Moreover, it, by virtue of his religiosity, believes that the husband is given by God, and trying to love him: "I will love her husband. Tisch, my dove, I will not exchange you anymore. " Coming out married Kabanov, Katerina fell quite into another, alien to her. But it is impossible to leave it, she is a married woman, the concept of sinful binds her. Cruel, closed world Kalinov is fenced off by an invisible wall from the external "unrestrainedly huge" world. We understand why Katerina wants to escape from the city and fly over the Volga, above the meadows: "Would fly out in the field and fly from cornflower on cornflower in the wind, like a butterfly."
Conclosed in the "Dark Kingdom" of ignorant wild and kabanov, faced with rough and despotic mother-in-law, an inert husband in which he does not see support and support, Katerina protests. Her protest pours out in love for Boris. Boris is not much different from her husband, except for education. He studied in Moscow, at the Commercial Academy, he has a wider outlook in comparison with other representatives of the city of Kalinov. He, as well as Katerina, is difficult to get along in Wild and Kabanov's environment, but it is the same inert and blessing, like Tikhon. Boris can not do anything for Katerina, he understands her tragedy, but advises her to conquer his fate and his most betrays her. Desperate Katerina reproaches him in that he spoiled it. But Boris is only an indirect reason. After all, Katerina is not afraid of human condemnation, she is afraid of God's wrath. The main tragedy occurs in her soul. Being religious, she understands that to change her husband - sin, but the strong side of her nature cannot accept the Wednesday of Kabanov. Katerina is tormented by terrible meal of conscience. It breaks between legitimate husband and Boris, between righteous life and fall. She cannot be forbidden to love Boris, but herself executes himself in his soul, believing that God rejects his act. These suffering brought it to the fact that she, without preparing the flour of conscience and fearing the karas of God, rushes to her feet to her husband and confesses to him in everything, giving his life in his hands. Catherine's spiritual flour strengthens the thunderstorm.
Not in vain Wild says that the thunderstorm sends the punishment. "I didn't know that you were afraid of thunderstorms," \u200b\u200bsays Varvara. "Like a girl, not afraid! - Catherine answers. - Everyone must be afraid. It's not that scary that kills you, but the fact that death will suddenly find you, as you are, with all your sins ... "Thunder blow was the last straw, overwhelming the cup of the suffering of Katerina. For her recognition, everyone reacts every one in its own way. Kabanova proposes to burn her alive, Tikhon, on the contrary, forgives Katerina. Husband forgave, Katerina, as it were, he received his vacation of sins.
But it remained a hectic conscience, and she did not gain the desired freedom and again forced to live in the "Dark Kingdom". Flour of conscience and fear forever stay among the bounys and turn into one of them lead Katerina to thoughts about suicide. How could a devout woman decide on suicide? To demolish the torment and then evil, which is here, on earth, is, or to get away from all this in your will? Katerina is brought to despair by a soulless attitude towards her and the flour of conscience, so she rejects the opportunity to stay live. Her death was inevitable.
In the image of its heroine, Ostrovsky drew a new type of original, whole, dedicated Russian girl who quit the kingdom of wild and kabanov. Dobrolyubov fairly called Katerina with a bright beam in the dark kingdom. "
6. Varvara, sister Tikhon.
Wild, self-width characters, except wild, are presented in the play by Barbara (it is a pagan, "barbage", not a Christian and behaves accordingly).
Her name denotes when transferring from Greek "coarse".
This heroine is really pretty simple spiritually, rude. She knows how to lie when necessary. Her principle is "do what you want, only Shito, it was." Varvara in his own way, loves Katerina, she helps her, as it seems to find love, suits a date, but not thinking about what consequences can be in all this. This heroine is largely opposed to Katerina - on the principle of contrast, the scenes are built by the scenes of Kudryash and Barbara, on the one hand, and Katerina and Boris on the other.
Varvara with Greek as "who came from land", i.e. ignorant wild (neighboring peoples were backward in comparison with the Greeks). Indeed, Varbara easily crosses through Morality: it meets with Kudryash, then, when the mother locks her, runs away with him. It does not obey the rules that forbid her to do what you want, without experiencing the slightest conscience. Her motto: "Do what you want, if only Shito yes, it was." Therefore, Katerina Trozania is incomprehensible to her, she does not feel guilty that he pushed her to sin.
Varvar will not refuse his mind, tricks and ease; Before marriage, she wants to do everywhere, try everything, as she knows that "the girls walk to themselves, as they want, there is no father with his mother. Only women are locked up. " Lies for her - the norm of life. In a conversation with Katerina, she speaks directly about it:
"Katerina. I do not know how to deceive, I can not hide anything.
Barbarian. Well, without it, it is impossible ... we have the whole house on that. And I was not a literature, but I learned when I needed. "
Varvara adapted to the "Dark Kingdom", learn his laws and rules. It is powerful, power, desire to deceive. She, in fact, future kabani, because the apple from the apple tree falls.
7. Kuligin, Trashman, wurster self-taught, looking for perpetum mobile.
"Self-taught mechanic", as the hero itself is. Kuligin, in addition to famous associations with Kulibin, causes the impression of something small, defenseless: in this terrible swamp he - a kulik - a bird and nothing else. He praises Kalinov, like a kulik - his swamp.
P.I. Melnikov-Pechersky in the reviews on the "thunderstorm" wrote: "... this person is the Ostrovsky very skillfully gave the famous name Kulibin, in the past century and at the beginning of the current worldly proven that it can make an unaccounted Russian man by the strength of his genius and adamant will."
But not everything is so gloomy, found in the "Dark Kingdom" and living, finely felt souls. This is a self-taught coolagin mechanic, looking for an eternal engine. He is kind and actors, obsessed with a constant desire to do something useful for people. However, all its good intentions are encountered on the thick wall of misunderstanding, indifference, ignorance. So, on an attempt to put steel thunders on the houses, he gets a fierce confusion of Wild: "The thunderstorm is sent to us in a punishment, so that we feel, and you want sixtes, some kind of soles, forgive God, defend."
Kuligin is in the play by the resonant, the condemnation of the "Dark Kingdom" is invested in his value: "Brutal, sir, morals in our city, cruel ... who has money, sir, he tries to ribble a poor order, so that on his works give birth even more money ... "
But Kuligin, as well as Tikhon, Boris, Barbara, Kudryash, adapted to the "Dark Kingdom", was resigned with such a life, he is just one of the inhabitants of the Dark Kingdom.
8. Vanya Kudryash, a young man, a Dikova's office.
It is indicative of the use of the diminutive form of the name: not Ivan, and Vanya, it is still not in all independent: serves as a wilderness, although he can afford to rush to him, knowing that he needs it.
It is unclear, is the Anthropony of Kudryash the surname or nickname. Such a surname exists in the same name with the surname Kudryashov. Most likely, the anthropony reflects the transition process of the nickname in the surname, which corresponds to the anthroponymic situation in the second half of the XIX century. The use of anthroponym in the play is close to the use of the surname: in the list of actors, it is indicated as Vanya Kudryash, and Tikhon says that Barbara "with Kudryash with Vanya fled."
The wilderness of the wild, but unlike other employees of the merchant, can stand up for himself. He is intelled to Oster in the tongue, its characteristics of other characters, judgments about life are accurate and shaped. The image of Kudryash has analogies in Koltsov's poetry. You can, for example, establish a connection with the Likhach Kudryavić ("First Song of Likhach Kudryavich"), which is said:
With joy-fun
Khmel Kudri go on;
No care
They do not fly ...
In time
Honey river flow;
And from morning to night
Songs come across ...
The friend of Varvara, Ivan Kudryash, her to become. He is the only one in the city of Kalinov, who can answer the wilderness. "I am Grubian I am meant; Why does he keep me? It became, I need me. Well, it means that I am not afraid of him, but the forests are afraid of me ... "," Kudryash says. In a conversation, he behaves unclosed, Boyko, boldly, boasts his delety, the fiber, knowledge of the "merchant establishment". Kudryash - the second wild, only he is still young.
In the end, Varbara and Kudryash leave the "Dark Kingdom", but does this escape mean that they completely freed from the old traditions and laws and become a source of new laws of life and honest rules? Unlikely. Update at freedom, they will most likely try to become owners of life.
9. Shapkin, the tradesman.
Messengers are often named by last name: Kuligin, Shapkin.
10. Feclusha, Stranger.
Feklusha tells residents of the city about other countries. They listen to her, sharpen their attention only on it. At the same time, she is unnoticed for others, tells the truth about people. But they do not hear it because they do not want to hear. Feclusha praises the city of Kalinov, quiet life in it. People rejoice in the fact that their city is so magnificent, nothing more is needed. They only support the fecus of the leans, which she achieves
Everyone is called Frequisha, they are called a folk decrease in the name, which reflects the real use of names in speech (let's remember, for example, the Fedosyushka Stranger in the Roman L.N. Tolstoy "War and Peace").
In the "Dark Kingdom", the wanderess of the fecles is enjoyed and respect. The stories of fecles about the lands where people live with pest heads are perceived as irrefutable information about the world.
11. Head, girl in Kabanova's house.
The servants, cuzzers in the playwright of Ostrovsky are named, as a rule, only by name: It is often used a smooth form: Head.
Here, it is satirical female images that were one of the expressions of the comedy start. Here you can attribute the Stranger of Feklush and "Girl". Both images can be safely called grotesque comedy. Feklusha is presented by a narrower of folk legends and legends, causing those around them with their stories about how "Saltans of the Earth rule" and "that they are not judged, everything is wrong," yes about the lands, "where all people are with leafy heads." The head is a typical reflection of ordinary "Kalinovsev", with the reverence of such fecles, confident that "It is also good that good people are; No, no Yes, and you hear that it is done on white light, but it would be so fools and died. " And fecles, and the head belong to the "Dark Kingdom", making this world to "his" and "strangers", on the patriarchal "virtue", where everything is "cool and apartely", and on the external bustle, from which old orders and time begin "To the derivation of coming." The Ostrovsky is introduced by the problem of absurd ignorance and no indispensability of the old conservative lifestyle, its inconsistencies with modern trends.
12. The lady with two lackers, the old woman of 70 years old, half-handed.
13. City inhabitants of both sexes.
Secondary characters are a background that the tragedy of desperate woman unfolds. Each face in the play, each image was a step of a staircase, which led Katerina to the coast of the Volga, to tragic death.
Make a story using listened material, on the topic "Traditions and morals of the city of Klovov."
Traditions and morals of Klovov.
Reading the works of Ostrovsky, we involuntarily fall into the atmosphere that reigns in this society, and become the direct participants in those events that occur on the stage. We merge with the crowd and as if by watching the life of the heroes.
So, being in the Volga city of Kalinov, we can observe the life and morals of its inhabitants. The main mass is merchants, whose life with such skill and knowledge showed the playwright in his plays. It is precisely that the "dark kingdom" that rules the ball in such quiet provincial Volga cities as Kalinov.
Get acquainted with representatives of this society. At the very beginning of the work, we learn about the wilderness, "significant face" in the city, the merchant. This is how Shapkin talks about him: "There is a crucian, as we have Savel Prokofich, look yet. I will cut a person for anything. Immediately we hear about the boa and understand that they are with the wild "one berry field."
"View unusual! Beauty! The soul is rejoiced, "Kuligin exclaims, but against the background of this beautiful landscape, a non-good picture of life is drawn, which appears in front of us in the" thunderstorm ". It is Kuligin that gives an accurate and clear characteristic of life, morals and customs, reigning in the city of Kalinov. He is one of the few aware of that atmosphere that has developed in the city. He directly talks about the uneducation and ignorance of the masses, about the impossibility of honest labor to make money, get out of people from the cable of notable and important individuals in the city. They live away from civilization and are not very striving for her. The preservation of old men, the fear of all new, the absence of any law and power of force is the law and the norm of their life, that's what these people live and be satisfied. They subordinate to themselves all who surround them, suppress all protest, any manifestation of the person.
Ostrovsky shows us typical representatives of this society - Kabanchi and Wild. These individuals occupy a special position in society, they are afraid and therefore respected, they have capital, and therefore - power. There are no general laws for them, they created their own and force the rest to live in accordance with them. They strive to subjugate to those who are weaker, and "devastate" those who are stronger. They are despota both in life and in the family. We see this unquestionless subordination of Tikhon's mother, and Boris - to his uncle. But if Kabaniha bragit "under the guise of piety," then the wild swears so, "how the chain fell out." Neither one nor another wants to recognize anything new, but wants to live in Domostroevsky orders. Their ignorance in combination with the misfortune causes us not only laughter, but also a bitter smile. Remember the reasoning of the wild: "What an electricity is still there! .. The thunderstorm is sent to us in punishment, so that we felt, and you want to be soles and some kind of soles, forgive Lord, defend."
We are striking their heartlessness towards people dependent on them, the unwillingness to part with the money, deceive when calculating the workers. Recall that he tells Wild: "On the post somehow, about the great, I gove, and here is not easy and drowning a man; For the money came, the firewood drove ... I sinned, I: Izrupal, so Icerup ... I almost nailed. "
These rulers have both those who involuntarily help them carry out their domination. This is Tikhon, who is silence and weavor only contributes to the strengthening of the Mama's power. This is a fecusha, uneducated, stupid writer of all sorts of unprecedented world, this is the citizens living in this city and rescued with such orders. All of them together are the "dark kingdom", which is presented in the play.
Ostrovsky, using various artistic agents, showed us a typical provincial city with his customs and nravami, the city where the arbitrariness reigns, violence, complete ignorance, where any manifestation of freedom, freedom of spirit is suppressed. "
This is the cruel morals of the city of Kalina. Residents can be divided into representatives of the "Dark Kingdom" and representatives of a new life. How do they live together?
Which of the heroes managed to challenge the cruel world of the "Dark Kingdom"? Yes, it's Katerina. Why chooses the author?
5. Working with a textbook on the page
The main heroine of the play is a young macker Katerina Kabanova. But in order to understand her character, the reasons for her actions, you need to know, among which people she lives who surrounds her. Acquaintance with characters occurs in the first action of the play. 1-4 The phenomenon of the first action is the exposure, and in the fifth-ninth action there is actually the lattice of the action of the drama.
Here, Katerina is rushing in this dark forest among the animal creatures. Women's names in the plays of Ostrovsky are very bunciful, but the name of the main character almost always extremely accurately characterizes its role in the plot and fate. Katerina - "Clean". Katerina - the victim of his purity, his religiousness, she did not bring the split soul, because she loved - not her husband, and cruelly punished herself for it. Interestingly, Marfa Ignatievna, that is, "ignoring" or, by scientific, "ignoring" stands as it were, as it were, as it were, Katerina, but, of course, is to blame (not directly, but indirectly) in the death of a barley.
6. Let's summarize the drama "Thunderstorm"
|
Theme of the Piece "Thunderstorm" |
The collision between new trends and old traditions, between those who oppresses and those who oppress themselves between the desire for the free manifestation of their feelings, human rights, spiritual needs and dominated in the predhormerary Russian public and family-household orders. |
|
Idea play |
Looking social orders. Nature in which people live is beautiful, but public orders are ugly. With these orders, the majority of the population is in material and spiritual dependence on a rich minority. |
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Conflicts |
The main one between the old, already outlined by authoritarian social and household principles, which rely on feudal-serpentine relations, and new, progressive aspirations to equality, the freedom of the human person. The main conflict combines a conflict node: reveal these conflicts and fill in the table in the following lessons. |
6. Homework:in actions. Tasks number 6, 8, 9, 12, 13, 16, 20, 21, 22, 25, 26.
Individual task: Prepare a presentation on the topic
1) "Symbols of Piez" Thunderstorm ";
2) "The image of Katerina in the evaluation of critics" (according to the articles of Dobrolyubov and Pisarev).
Lesson number 3, 4. Piez A.N. Ostrovsky "Thunderstorm" (1859). Katerina in the struggle for his human rights.
Objective: Trace the reflection of the epoch in the play; identify the meaning of the name of the drama; Determine the moral problem of the play and its universal value.
Tasks:
Determination of the composite structure of the play and artistic analysis of leading scenes; Acquaintance with critical articles to Drama A.N. Ostrovsky "Thunderstorm", analysis of the symbolism of the play;
Developing the skills of analyzing a dramatic work and ability to determine the copyright position in the work;
Education of the moral reader's position of students, interest in Russian classical literature, history and culture.
Equipment: Multimedia projector, screen, textbooks, notebooks, plays texts, presentation to the lesson.
1. Organizational moment.
2. Composition of the play(Presentation "To the Play").
In the "thunderstorm" as in dramatic work the basis of the plot is the development of conflict. The drama consists of five actions, each of which depicts a certain step of the struggle.
1 action - socio-household background conflict, the inevitability (premonition) of the conflict;
2 Action - the intransigence of contradictions and the acuteness of the conflict of Katerina with the "Dark Kingdom"
3 Action - Freedom, acquired by Katerina, is a step towards the tragic death of the heroine;
4 Action - the spiritual confusion of Katerina - a consequence of freedom found by her;
5 Action - Katerina's suicide as a challenge to Samors.
Each action disintegrates into separate scenes, i.e. For such segments of the text in which the development of the conflict is depicted in any one perspective, see the eyes of any one character. The conflict in the "thunderstorm" develops quickly and tensely, which is achieved by a special location of the scenes: with each new scene, ranging from the conclusion of the conflict, the tension (dramatic heat) of the struggle is growing.
3. Shooting the pages of the play.
First action
The first action. Public garden on the high bank of the Volga; Behind the Volga Rural View. On stage two benches and several bushes.
Social and household conflict background, the inevitability (premonition) of the conflict - exposition.
Task 5.
Some researchers (A. I. Revyakin, A. A. Anastasyev, A. I. Zhuravleva, etc.) noted the presence in the play "leisurely", the deployed exposition hosting "deeply effective", that is, combining preliminary information on the prehistory of action With the image of the main characters in action itself, dialogues, etc. Some consider the entire first act as an exposure, others limit it with the first three phenomena.
Find in the first action "thunderstorms" of the exposure boundaries and justify your opinion. What is the effectiveness of the exposition "thunderstorms", what is its importance for understanding the conflict of the play? What moment takes the action of the action? Justify your point of view.
Task 6.
Checking homework: Deployed description on the topic "Landscape of the city of Kalinova", using remarks, monologues of Kuligin, character replicas (action I - remark, phenomenon 1; action III - phenomenon 3; action IV - remark).
What do you think the role of the landscape in the play?
- What picture appears in front of the viewer when the curtain opens? Why does the author draw this pictorial picture before us? (The beauty of nature emphasizes the disgrace, the tragedy of what is happening in the world of people). Ostrovsky for more than one reason chose a social garden, and the time of action - after the service in the church - it is so easier and natural to acquaint with the characters, the path of which lies through the boulevard.
Task 7.
Please note that immediately for the accusatory monologue of Kuligin "Brutal Mragi, Sudar, in our city, cruel" follows the replica of the fecles, facing the interlocutor: "Blava'e, sweet, blalepiece! .. In the promised land you live! And merchants all the people are pious, virtues decorated with many! .. "(action I - phenomenon 3).
Why, in your opinion, is the Ostrovsky set a number of assessment statements of Kuligin and Feklushi? What role do they play in the first action, being set nearby?
Task 8.
Checking homework: what do they say with their young relatives of Wild and Kabaniha?
Match the features of their language. What vocabulary prevails in their speech? Give examples (action I - phenomenon 2, 5).
Task 9.
Checking homework: Katerina's story about her life before marriage in the native home (action I - phenomenon 7).
Think why the world in which her childhood passed and early adolescence seems to her so joyful, free and happy, and in the house of Kabanani "everything is as if from under the capture", although, according to Varvara, "and we have the same The most.
What does the word "order" mean in the lips of the kabani?
How motivated the occurrence of a frank conversation between Katerina and Barbaroi?
Analyze the speech of Katerina. How does the speech of the heroine reveals her inner world?
♦ Is it possible to find an explanation for this in the following excerpts from the book of the XVI century "Domostroy" (Monument of Old Russian literature on the 1st half of the XVI century), which often refer to critics and literary criticism when considering the conflict "Thunderstorms"? Is "Domostroy" to blame in the tragic destiny of Katerina in the house of Kabanov?
I bless, the sinner of his name, and I will say, and I have been instructed, and I have been experiencing my son my name, and his wife, and their children, and households: to follow all Christian laws and live with a clean conscience and in truth, with the faith of creating the will of God and observing the commandments His, and claiming himself in fear of God, in righteous life, and the wife of God, the same and the households put their own, not violence, not beat, not slavery, but as children, so that they are always calmed, feste and dressed, and in warm House, and always in order.<...>
<...> Yes, Mr., Mr., and his wife, and children, and households - do not steal, do not bloc, do not lie, do not slander, do not envy, not to offend, not to be headed, not to encroach, do not condemn, do not brave, do not make fun, Do not remember evil, no one is to be angry, to the eldest to be obedient and submissive, to the middle - friendly, to the stamps and poor - friendly and gracious, all the matter is to rule without red tapes and especially not to offend the employee's payment, anybody with gratitude to undergo For God's sake: and the urban, and ukrizna, if the pione is donated and reinforced, to avoid with love and such a recklessness, and in response, not to revenge.<...>
It follows the husbands to teach their wives with love and an exemplary instruction; The wives of their husbands ask their own about a strict order, about how to save the soul, God and her husband and the house is good to arrange their good, and in everything to subjugate her husband; And that the husband will punish, with those willingly agree and fulfill its instruction: and first of all, to have fear of God and stay in bodily clean ... Lee will come, a simple guest - always used and herself over her needlework: for her herself and Glory, and her husband praise, I would never have a hostess a servant, but the mistress herself walked servants and, lay down, after work, would always pray.<...>
<...> Clerks, and beggars, and low-power, and poor, and suffering, and wanderers invite their own to the house and, as you can, foam, drink, and sogray, and gracious, come from the righteous works of yours, for both in the house and in the market, and In the way, the sins are cleared: after all, they are in front of God for our sins.
Domostroy. Monument of the ancient Russian literature of the first half of the XVI century
♦ What kind of Domostroevsky standards are observed and what violating the characters "thunderstorms" in their daily life? How does this affect the development of the main conflict of the play?
Task 10.
Get acquainted with the point of view of modern literary criticism on the monologue of Katerina. Do you agree with her? If so, let the development of this thought by attracting the text of the entire play.
It is very important that Katerina ... not from somewhere from the expanses of another life, another historical time (after all, patriarchal Kalins and modern Moscow, where the bustle boils, or the railway, which Feklusha tells, is a different historical time), And born, formed in the same "Kalinovsky" conditions. The Ostrovsky speaks in detail about this already in the exposition of the play, when Katerina tells Varvar about his life in Major. This is one of the most poetic monologues of Katerina. A perfect version of the patriarchal relations and the patriarchal world is drawn here. The main motive of this story is the motive of all penetrating mutual love ... But it was "will", at all conflict with the established way of a closed life with the centuries, the entire circle of which is limited to their homework and religious dreams. This is a world in which a person does not occur to oppose himself to generally, since he still does not separate himself from this community. Therefore, there is no violence, coercion. Idyllic harmony of patriarchal family life remained in a very distant past.<...>
Katerina lives in an era, when the spirit of this morality is the harmony between a private person and moral representation of the medium - disappeared and the infinite form of relations is kept on violence and coercion. Sensitive Katerina caught it ...
A. I. Zhuravleva. Millennary monument to Russia. 1995.
Second action
Action second. Room in the house of Kabanov.
Inspace the contradictions and the acuteness of the conflict of Katerina with the "Dark Kingdom" - the tie.
Task 11.
Some critics, contemporaries of Ostrovsky, reproached him in retreat from the laws of scenic art, in particular in the abundance of characters and scenes, completely unnecessary, not related to the basis of the play. This persons include fecles and heel, Kuligin and Wild, Kudryash and Shapkin, a lake with two lackers. These reproaches addressed to the drama refuted N. A. Dobrolyubov:
In the "thunderstorm", it is especially visible to the need for so-called "unnecessary persons": without them we cannot understand the face of the heroine and can easily distort the meaning of the whole play, which happened to more often critics.N. A. Dobrolyubov. Light of light in the dark kingdom. 1860.
Try to figure out what value the phenomenon of the second action is in the play, the dialogue of the fecles and iron, very far, it would seem, from the events depicted in the "thunderstorm". (If this task will be difficult for you, find one of the possible answers in the article N. A. Dobrolyubov "Light Light in the Dark Kingdom" (2nd part)).
Task 12.
Checking homework: It is believed that the Tikhon departure scene is one of the most important in the play and for the disclosure of the characters of heroes, and according to its function in the development of intrigues (phenomenon 3).
Determine the role of this scene in the development of "thunderstorms". Does Katerina's attitude to her husband change at the time of farewell?
What feelings are faced by Katerina and Kabaniha? Write to their replicas directorial remarks, helping to understand their emotional state.
Why Kabaniha is limited only to the remark, discontent that Katerina does not work on the porch after leaving her husband, but does not insist, does not decide to make a daughter-in-law fulfill this custom?
Task 13.
Let's return to the conversation of Katerina and Tikhon before his departure:
"Kabanov. After all, you are not alone, you will stay with mammy.
Katerina. Do not tell me about her, not the tyrant you are my heart! Ah, my trouble, trouble! (Crying.) Where to me, poor, going? Who should I grasp? My father, I die! "
Before this, Katerina talks about the boa: "She offended me!", And Tikhon replies: "Everyone to the heart is to take, so you will come to the CHAGOR. What to listen to her! After all, something needs to talk! Well, she says, and you miss the ears past. "
What is the insult of Katerina? Why doesn't the words of Tikhon, his advice do not pay attention to the mother-in-law? Can Katerina, what we know it on the first two actions, do not take to heart, pretend that it is subject to the ridiculous demands of the Kabani and thereby ensure relatively calm existence in the house?
What is the meaning of the word "heart" in this dialog?
Is this fragment of the Katerina and Tikhon dialogue associated with the final decision with it, and if so, then to what extent?
Task 14.
Re-read the final monologue of Katerina about the key in the second action and trace how in your reflections, it gradually approaches the decision to meet with Boris (from the words "throw it away, throwing away into the river, so as not to find never" before "Ah, kaba night Quick! .. ") What phrases of this monologue do you consider decisive and why?
Task 15.
It is interesting to testify the contemporary about how one of the famous actresses played Kabanov: In the first act, she went on a strong, powerful, "flint-baba", Grozno uttered his instructions to the son and daughter-in-law, then, remaining on stage alone, suddenly all changed and changed and It became good-natured. It was clear that the formidable appearance is only a mask that she wears in order to "support order in the house." Kabanova herself knows that the future is not for her: "Well, even though it is good that I will not see anything." (By the book: M. P. Blobanov.Ostrovsky. 1979.)
Is such a stage interpretation of the image of the Kabani? What is the reason for a very indisputable relationship of Kabani to the behavior of the barbarium and uncompromising rigor to Katerina?
Do you agree with the statement that Marfa Ignatievna is far from insensitive as a mother?
Third action
Action third. Scene 1st. Street. Kabanov's house gate, bench before gates.
Freedom gained by Katerina is a step towards the tragic death of the heroine - development.
Task 16.
Checking homework: Expressively read the Kabani and Floor Dialogue from Phenomena I.
What is its main subtext? Determine the mood of the interlocutor. What intonation means can you express it?
What is more - comic or dramatic in the scene? Is it possible to say that she is cool and today?
Task 17.
Checking homework: What do you think, why did the wilderness need to "confess" in front of the cabinet (phenomenon II)?
Why does he, self-making, full lord of his home, do not want to go back home ("I have a war there")? What is so concerned about wild?
Task 18.
In a conversation with the boa Wild, the word "heart" is constantly consumed: "... Why do you order me to do with me when I have a heart!", "Here it is, what heart is I!", "That's up What my heart brings me ... "; In parallel, the words "angry", "angry", "get angry". Kabaniha asks: "Why do you specify yourself in my heart?"
What is the meaning of the island and his heroes in the word "heart"?
Task 19.
Read the enthusiastic assessment of the scene in the ravine.
You know this magnificent moment in its poetry - this unprecedented dating night of a friend in the ravine, the whole breathing closeness of the Volga, all the fragrant herbs with wide meadows, all sounding free songs, "funny", secret speeches, the full charm of the passion of deep and tragic fatal. It was created as if it was not an artist, and the whole people created here.A. A. Grigoriev - I. S. Turgenev. 1860.
Is it really a key scene to determine the direction of the play?
What do you think to entail Katerina to Boris?
Task 20.
Building the scene in the ravine according to the laws of music, the Ostrovsky leads two contrasting, but to the final of the topic merging in the general chord: alarming, difficult love of Katerina and Boris and free, the coachable love of Varvara and Kudryash. It is these two faces - Varvara and Kudryash - with the greatest force personify the will, which is unable to suppress even Kabaniha and Wild.
A. N. Anastasjev. "Thunderstorm" Ostrovsky. 1975.
Do you agree with such a point of view of the literary critic? Are other assessments of the characters "thunderstorms" in this scene and in its composition itself?
Checking homework: What role in these scenes perform the songs of Kudryash and Varvara?
Fourth
The fourth action. In the foreground, a narrow gallery with vintage arches, starting to collapse the construction; which is the grass and bushes; Over the arches coast and view of the Volga.
The spiritual confusion of Katerina is a consequence of freedom found by it - climax.
Task 21.
Checking homework: What's new in the nravas of the "Dark Kingdom" we will find out from the Dialogue of Kuligin and Boris? How does the theme of this dialogue relate to the preceding date of the conversation of Kudryash and Boris? How are these dialogues related to the main event of the third action?
Task 22.
Read the second phenomenon of the fourth action, analyze the author's remarks and, on the basis of this, write to the dialog of the wild and Kuligin directorial remarks that reveal the internal state of speaking. They will help you determine your interpretations of these characters play.
Sample assignment
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Directoristic remarks |
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Kuligin. Yes, at least for you, your degree, Savel Prokofich. That's, sir, on the boulevard, in a clean place and put. And what is the expense? Empty consumption: Stone column (shows gestures of each thing), copper plate, such a round, and the straightened straight (shows gesture), simple. I'll give it all, and I'll cut the numbers all myself. Now you are your degree when I find a walk, or others who are walking, now come up and see what time it is. And then the sick place is beautiful, and the view, and everything, but as if empty. We, too, your degree, and there are happening, go there our species look, still decoration - it is pleasant for the eyes. |
option: persistently, with dignity, with bitterness, restrained, quiet, etc. option: loud, worried, hurried, respectfully, etc. (Options for your choice.) |
♦ Checking homework: Why is the Ostrovsky much more often accompanied by copyright spearcom spectacles, rather than Kuligina?
Why did the poems citized the poems of Derzhanin accepted wild? Why did he promise to send Kuligina to love? What did he see in verses? ("Hey, respectable, Listen, what he says!")
Task 23.
In criticism and literary studies, Kuligina was usually assessed either as an advanced person, an intellectual from the people, they were associated with the surname of the inventor of Kulibin, or as a person, all understanding, but a kind of sacrifice of the "Dark Kingdom".
Get acquainted with another point of view belonging to the modern literary review:
Not only the dark Kalinovian manons, but also the Kuligin, performing some functions of the resonance hero, is still also flesh from the flesh of the Kalinovsky world. The image of it is sequentially painted in archaic tones ... The technical ideas of Kuligina - explicit anachronism. The sundial, which he dreams about, came from antiquity, the threshold - the technical discovery of the XVIII century. Kuligin is a dreamer and poet, but he writes "aged old," like Lomonosov and Derzhavin. And his stories about the nrules of Kalinovsky ordinary people are withstanding in even more old stylistic traditions, reminding vintage moral stories and apocryphal. Good and delicate, dreaming of changing the life of his countrymen, having received a reward for the opening of the eternal engine, he seems to be something like the urban yurody.
A. I. Zhuravleva. Millennary monument to Russia. 1995.
Task 24.
Get acquainted with the penis of Katerina's penitz below.
Harding the production of "thunderstorms" in the Small Theater (1962), E. G. Kholodov notes that in the scene of repentance Rufin Nifontova, who played Katerina, rises to a truly tragic force.
No, not a thunderstorm, not the prophecy of the crazy old women, not the fear of the GEAN Fiery prompted this Katerina to recognize. For her honest and solid nature, the false position in which it turned out to be unbearable. How humane, with what deep pity I say to Katerina, looking into the eyes of Tikhon: "My dove!" At this moment, it seems, she forgotten not only Boris, but also himself. And it is in this state of selflessness shouting that it is words of recognition, without thinking about the consequences. And when Kabaniha disappears: "With whom ... Well, with someone?", She firmly and proudly, without a challenge, but with dignity answers: "With Boris Grigorievich."
E. G. Kholodov. "Storm". Small theater. A. N. Ostrovsky on the Soviet scene. 1974.
If Katerina lies to Boris to Katerina, then why in the fourth action she was publicly repaid in his sin? After all, he knew, could not not know what it would entail a shame, abstraction, not to mention the crash of love. However, in this, the most difficult and risky scene, the Ostrovsky created a psychologically indisputable situation in which Katerina could not do otherwise if she remained herself. Not "host of empty circumstances", and the greatest, cruel, insurmountable for a clean and believing soul, the test met Katerina in a destroyed church gallery. Consequently - in complete agreement with the vital truth, with the reality of the situation, and at the same time, with great dramatic arts - the writer shakes his blow to his blow to his hero.
In the series of these blows - both in music - the contrast is felt, the rise of the action, the foreskins of the thunderstorm and the thunderstorm itself. First, the remark of the woman was abandoned in passing by passion: "By someone who is written, so you can not leave anywhere." Then, this seemingly inappropriate in this tense atmosphere of Tikhon: "Katya, Kay, brother, if something is sinful." Further - the unexpected appearance of Boris is a living reminder of glood love. In a difference of conversation, he can hear that the thunderstorm will kill someone today - "Therefore, look, what color is the scarce!". A sharp note of increasing stress makes a lady with its prophecies. But this is not enough! Hiding at the wall, Katerina sees the image of "Geenna Fire" and no longer withstands - tells everything ...
In the drama "Thunderstorm" there is absolutely no concept of "rock", the tragic guilt of the hero and retribution for it as a structural element. Moreover, the author's efforts are aimed at criticizing the idea of \u200b\u200bthe tragic hero's fault. Ostrovsky convincingly shows that modern society is destroyed by the best, most gifted and pure nature, but such observations make it conclude that the relations that dominate modern society are subject to change.L. M. Lotman. A. N. Ostrovsky and Russian dramatic of his time. 1961.
Compare the proposed interpretations. Which one, in your opinion, helps to understand the motives of the behavior of Katerina deeper?
Task 25.
A. N. Anastasyev. "Thunderstorm" Ostrovsky. 1975.It is important that it is here, in Kalinov, in the shower of an outstanding, a poetic Kalinovsk woman is born a new attitude to the world, a new feeling, unclear more heroine ... This is a vague feeling that Katerina cannot, of course, explain rationalist, - a wreaking sense of personality . In the soul of the heroine, it, of course, does not take the form of a civilian, social protest - it would be unlikely with the warehouse of the concepts and the whole sphere of life of a merchant wife, and the form of individual, personal love.A. I. Zhuravleva. Millennary monument to Russia. 1995.
Why did Katerina suicide proved to be the only way out of the situation created?
4. The main characters of the play.
Task 29.
The world of patriarchal relations dies, and the soul of this world leaves life in flour and suffering, crushed by Oaksenlae, lost the meaning of the form of everyday relations and by itself the moral sentence itself, because the patriarchal ideal lives in her pristine meaning. That is why there are no any of the heroes of the "love triangle" in the center of the "Thunderstorm" next to Katerina, not Boris or Tikhon, the heroes of a completely different, everyday, domestic scale, and Kabanikha ... both of them are maximalists, both will never reconcile with Human weaknesses and do not go on a compromise. Both of them finally believe the same, their religion of their Surov and merciless, sin there is no forgiveness, and they do not remember about mercy. Only Kabaniha is all chained to the ground, all the forces are aimed at keeping, picking up, defending gestures, she is a form of form. And Katerina embodies the spirit of this world, his dream, his impulse. Ostrovsky showed that in the ouss of the world of the city of Kalinov, the people's character of amazing beauty and power may arise, the faith of which is truly Kalinovskaya - still based on love, on a free dream of justice, beauty, some kind of higher truth.
A. I. Zhuravleva. Millennary monument to Russia. 1995.
Who do you think, along with Katerina, can be called the main characters of the play and why?
Is it possible to agree with the crane and take Katerina and the Kabanchi for two poles of the Kalinovsky world? If so, then argue examples from the text of the play.
Task 30.
The fact is that the character of Katerina, as he is executed in the "thunderstorm", makes a step forward not only in the dramatic activity of Ostrovsky, but in the whole of our literature. It corresponds to the new phase of our folk life, he has long demanded his implementation in the literature, our best writers are spinning about him; But they only knew how to understand his need and could not have been safely and feel his essence; It was able to make an island ...
In Katerina, we see the protest against the Kabanovsky concepts about morality, protest, brought to the end, proclaimed and under home torture, and over the abyss, in which a poor woman rushed.N. A. Dobrolyubov. Light of light in the dark kingdom. 1860.
All life of Katerina consists of constant internal contradictions; She commemorated every minute from one extreme to another; She today repents what she did yesterday, and meanwhile herself does not know what will do tomorrow; She at every step confuses his own life and the life of other people; Finally, confused everything that was at her hands, she destroys the protracted knots with the most stupid, suicide, and even such suicide, which is completely unexpected for her.D. I. Pisarev. Motifs of Russian drama. 1864.
As it, at first glance, it may seem paradoxical, it seems to us that both critics in this case were still right. Each of his position, albeit within the same idea of \u200b\u200bthe worldview and socio-political tradition. The character of Katerina is objectively, as can be seen, contained such elements that opened the opportunity for a known duality in its assessment: at some conditions "Katerina" could "unsubstate the dark kingdom" and become an element of an updated society - such an opportunity objectively was laid in history in their character; Under other historical circumstances, "Katerina" obeyed the social routine of this kingdom and they themselves appeared an element of this kingdom of silly. Dobrolyubov, rating Katerina only on the one hand, concentrated all his attention to criticism only on the spontaneous rebar side of her nature; Pisarev rushed into the eyes of an exceptional darkness of Katerina, the addition of her public consciousness, her peculiar social "dilution", political uncompatory.
A. A. Lebedev. The playwright in the face of criticism. 1974.
♦ Can this point of view of modern literary waters serve as an explanation of the reasons for Dobrolyubov's disagreements and Pisarev in the assessment of Katerina?
5. Symbolism "Thunderstorm" (presentation of "Symbols of Plays").
1. The names of the heroes (see above). Eating own names define two main trends. Really existing (or existing) names and toponyms are used, although unusual (widespread surnames Ostrovsky does not give their heroes, often chooses rare names); Surnames can be invented, but necessarily taking into account the anthroponymic norms of the second half of the XIX century. At the same time, Ostrovsky sought to make the names and surnames "speaking", he often "revived" semantics even the most ordinary name.
The semantics of the surname in many cases turns out to be veiled, names and patronymic may be neutral.
The semantics of anthroponym can be at all connected with the character of the character: Ostrovsky, most likely, sought to ensure that the viewer did not have the desire to always relate the name and character.
At the same time, the playwright took into account the use of the name in one or another social environment. And here the principles of naming are especially important (single-wing, twin, three-membered). The functioning of anthroponyms in the work is determined primarily by social and family roles.
2. Expressive toponyms in the plays of Ostrovsky.
In the "thunderstorm" the action takes place in the city of Kalinov. There are two cities of Kalinov, perhaps during the times of Ostrovsky, these were villages. Kalina is often mentioned in proverbs and sayings, and in folk songs is a steady parallelism to the girl.
All settlements mentioned by the heroes really exist: Moscow, Paris, Tyakhta, a place where Boris sends a wilderness - a village in the Altai Territory.
It is unlikely that the Ostrovsky hoped that the audience was known to this village, so he concretizes that Boris goes to the "Chinese", which is not far from the truth, takes into account the phonosmantics toponym: so can only be called a very deaf place.
3. One of the important characters is the Volga River and a rural view of another shore.
The river as the border between the dependent, unbearable for many lives on the shore, on which the patriarchal kalins stand, and a free, fun life there, on the other side. The opposite coast of the Volga is associated by Katerina, the main character of the play, with childhood, with life to marriage: "What I was harsh! I got at all. " Katerina wants to be free from a haired husband and despotic mother-in-law, "fly away" from the family with Domostroevsky principles. "I say: why people do not fly like birds? You know, I sometimes think that I am a bird. When you stand on Torah, so you pull you to fly, "says Katerina Varvar. About the birds as a symbol of freedom remembers Katerina before rushing from the cliff in the Volga: "In the grave it is better ... under the church of the grave ... how good! ... The sun warms it, it drags her ... In the spring, the grass grows up, soft one ... birds will arrive On the tree, they will sing, children will bring ... "
The river symbolizes even escape towards freedom, and it turns out that this is escape towards death.
And in the words of Baryni, the polushum-headed old woman, the Volga is an outer, who has been tightened by beauty: "Here is the beauty where it leads. Here, here, in the most pool! "
4. Bird and flight symbol in Katerina's dreams. 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 rampant movement of time finds the expression and in the dreams of Katerina: "I'm not going to me, 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.
5. Some motives in the monologues of the heroes also have a symbolic meaning.
In the 3rd Action, Kuligin suggests that the domestic life of the city's rich people is very different from public. Castles and closed gates, followed by "homemade eating a feder yes, the Tiranny family," are a symbol of secrecy and hypocrisy.
In this monologue, Kuligin denounces the "Dark Kingdom" of self-masted tiranans, the symbol of which is the castle on the closed gate, so that no one can see and condemn them for bullying family members.
In the monologues of Kuligin and Fercushi sounds the motive of the court. Feklusha speaks of court who is unfair, although Orthodox. Kuligin speaks about the court between merchants in Kalinov, but this court can not be considered fair, since the main reason for the emergence of court cases is envy, and because of the bureaucracy in the judiciary, the case is delayed, and every merchant is only pleased with the fact that "yes already And he will be in a penny. " The motive of the court in the play symbolizes the injustice that reign in the "Dark Kingdom".
A certain meaning has pictures on the walls of the gallery, where everyone run during a thunderstorm. Pictures symbolize humility in society, and "Geenna Fire" - hell, who is afraid of Katerina, who has been afraid of happiness and independence, and is not afraid of Kabani, since it is out of home, it is a good Christian and she is not afraid of God's judgment.
Another sense and the last words of Tikhon are carried: "Good to you, Katya! And I needed to live in the world and suffer! " The meaning is that Katerina through death gained freedom in an unknown world, and Tikhon will never have enough spirit strength and character forces, neither to fight his mother, nor commit to life, as it is pestless and weakly accuracy.
6. Symbol of thunderstorms. The meaning of the name of the play "Thunderstorm".
Thunderstorm in the play of Multicolia. The heroes perceive in different ways.
Thunderstorm in society - the feeling of people tasty for the invariability of the world, something incomprehensible, amazed because someone went to the opposite.
For example, Wild believes that the thunderstorm is sent by God to the punishment so that people remember about God, that is, speaks pairly in a thunderstorm. Kuligin says that the thunderstorm is electricity, but this is a very simplified understanding of the symbol. But then, calling a thunderstorm grace, Kulugin, thereby reveals the highest pathos of Christianity.
- To reveal the meaning of the title "Thunderstorm", the symbolic meaning of this image, should be remembered (or write down in the notebook) fragments of text, remarks, in which the thunderstorm and perception of its inhabitants of Kalinova are mentioned. Name the possible interpretation options for this symbol in the play. Prepare the answer to this question will be helped by an excerpt from the book V. Ya. Lakshin "Ostrovsky". Choose from it the materials necessary for your analysis:
This is the image of fear: punishment, sin, pet authority, human court. "There will be no thunderstorms of the two weeks," it rejoices, leaving to Moscow, Tikhon. Rosskazni Feklushi - this Kalinovsky oral newspaper, ready to condemn foreign and praising her native this, with his mention of "waut-salted" and "fourth judges" open another literary source of thunderstorms in the play. This is the "Tale of Mahmete-Saltan" Ivan Perestelov. The image of a thunderstorm as fear - through the composition of this ancient writer who wants to support and instruct their sovereign - Ivan the Terrible. The Turkish king Mahmet-Saltan, according to the story of Peresipet, brought order in his kingdom with the help of the "Great Thunderstorm". Judges of those who are unrighteous, he ordered "to cherish", and write on their skin: "Without such a thunderstorm, the truth in the kingdom does not mischibly ... as a horse under the king without a zesta, so the kingdom without a thunderstorm."
Of course, this is only one face of the image, and the thunderstorm in the play lives with all the natural dispens's naturalness: moving heavy clouds, thickened with a realistic foolishness, it worms up with thunder and lightning and a refreshing rain - and with all this in the way there is a state of depression, a minute of horror of public remorse and Then tragic liberation, relief in the soul of Katerina.V. Ya. Lakshin. Ostrovsky. 1976.
Thunderstorm as a natural (? Physical) phenomenon.
There is another interpretation of the main play symbol:
A particular symbolism is endowed with the image of a thunderstorm, closing the general meaning of the play: this is a reminder of the presence in the world of the highest strength, and therefore, and the highest ultra-dry meaning of being, in front of which truly comical, externally such sublime desires for freedom, to approval of their will. Before God's thunderstorms are all the Katerina and Martha Kabanov, Boris and Savel Wild, Kuligin and Kudryashi. And nothing can better convey this ancient and the eternal presence of the Whaw's will, which a person must comprehend and with which it is pointless to compete.
A. A. Anikin. To reading the play by A. N. Ostrovsky "Thunderstorm". 1988.
For the first time, the lady appears before the first thunderstorm and scares the Katerina in his own words about the disastrous beauty. These words and thunder in the minds of Katerina become prophetic. Katerina wants to escape to the house from the thunderstorm, as he sees God's kara in her, but at the same time she is not afraid of death, but it is afraid to appear before God after conversation with Barbarabe about Boris, considering these thoughts to sinners. Katerina is very religious, but such a thunderstorm perception is more pagan than Christian.
Thunderstorm - image of a spiritual coup.
- How do you react to the present point of view of modern literary criticism? Does she reflect, in your opinion, the plan of the playwright?
- Summing up this, we can say that the role of symbols is very important in the play. Having done the phenomena, objects, landscape, the words of heroes are another, deeper meaning, the Ostrovsky wanted to show how serious the conflict existed at that time not only between, but also inside each of them.
6. Criticism about the play "Thunderstorm" (Presentation "Criticia to the drama" Thunderstorm ").
"Thunderstorm" became the subject of fierce disputes of critics both the XIX and XX century. In the 19th century, Dobrolyubov wrote about it from opposite positions (the article "Light of Light in the Dark Kingdom") and Apollo Grigoriev. In the 20th century, Mikhail Lobanov (in the book "Ostrovsky", released in the "Zhzl" series) and Lakshin.
In the drama "Thunderstorm", the most advanced, progressive aspirations of Ostrovsky appeared especially brightly. Collision of Katerina with a terrible world of wild, bounical, with his animal laws, based on cruelty, lies, deception, mockery and humiliation of a person, is shown in it with stunning power.
"Thunderstorm" is written by Ostrovsky in the years, when the topic of "freedom of feelings", "the liberation of women", "family men" was very popular and topical. In literature and drama, she was devoted to a number of works. All these works united, however, the fact that they slid on the surface of the phenomena did not penetrate into the depths of modern life. The authors did not see them in the surrounding reality of hopeless conflicts. They thought that with the era of change for Russia, a new era opens, which is close and inevitable by a fracture in all spheres and areas of life.
Liberal illusions and hopes were alien to Ostrovsky. Therefore, "thunderstorm" against the background of such literature turned out to be a phenomenon completely unusual. It sounded among the works about the "liberation of a woman" with an obvious dissonance.
Thanks to the penetration of the island in the most essence of the contradictions of the modern life, the suffering and death of Katerina acquire the importance of the genuine public tragedy. The topic of "liberation of a woman" is organically connected with Ostrovsky with criticism of the entire social system; The tragic death of Katerina is shown by the playwright as a direct consequence of its hopeless position in the "Dark Kingdom". The despotism of the Kabani grows not only from her way of her character. Her views and acts are determined by the original laws of the housework. Kabaniha is an active and merciless guardian and the keeper of all "Ostiva" of his world. Kabaniha, as the Dobrolyubs pointed out, "created a whole world of special rules and superstitious customs, for which it stands with all the stupidity of the Samoram."
In accordance with the ideological intent of the drama, the Ostrovsky distinguishes in the image of Katerina those traits that do not allow it to reconcile with the "laws" of the environment, based on lies and deception. The main in the nature of Katerina is its integrity, winsitivity and sincerity. Katerina - a heroic sublime image raised above the trifles, everyday weekdays of life. Her feelings are full, immediate and deeply humane.
Ostrovsky shows at the same time the internal stiffness of Katerina with the norms of Christian morality. The consequence of this is a peculiar interlacing in the image of Katerina of elements of "religious exaltation" with the desire for the will, with the desire to defend their identity, break the dead narrowness of the family order protected by the boa.
7. Reflection.
- Imagine that you have to put a "thunderstorm" by A. N. Ostrovsky on the stage of the modern theater.
- What genre would you put this play, what would you allocate as the main conflict?
Questions on the play. What is the similarity and distinction of Tikhon and Boris characters? How do they relate to Katerina? Presentation
Download Material1. 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.
Plan:
1. An innovation of the image of Katerina, the heroine of the play A.N.ostrovsky "Thunderstorm". Formulation of the problem
2. The image of Katerina in the assessment of the critics of "Natural School"
1.Inaty N.A. Dobrozubova "Light of Light in the Dark Kingdom"
1. Article D.Pisareva "Motifs of the Russian Drama"
3. Like Katerina in Soviet literary
1. The image of Katerina in the perception of A.I.revyakina
4. The modern interpretations of the image of Katerina
1. Conflict of the lifeless religiosity and harsh Domostroevskaya morality (Interpretation of Yu.Lebedeva)
2. The features of classicism in the play of the Ostrovsky "Thunderstorm" (Article P. Vyal and A. Geenis)
5. Piezov A.N. Ostrovsky "Thunderstorm" in modern school lideonces
1. Perception of the image of the heroine in the textbook "in the world of literature" ed. A.G.Kutuzov
2. Perception of the image of the heroine in the textbook "Russian literature of the XIX century" ed. A.N. Arkhangelsky
6. By changing the image of Katerina in the perception of researchers. Conclusion
1. Animation of the image of Katerina, the heroine of the play A.N.ostrovsky "Thunderstorm". Formulation of the problem.
The play of the famous Russian playwright A.N. Ostrovsky "Thunderstorm", written in 1859, entered the history of Russian literature due to the image of the main character - Katerina Kabanova. Unusual female character and tragic fate attracted both readers and literary critics. No wonder the first articles about the play "Thunderstorm" were actually about the image of Katerina. Ostrovsky, as it were, continued the tradition of A.S. Pushkin in creating an extraordinary Russian female character. Of course, Tatiana Larina and Katerina are completely different heroines, and according to social status, and in the environment in which they have formed, and in world view. But the general in them is an incredible sincerity and the power of feelings. As one of the researchers of Russian literature wrote, "a woman in the Russian society of the second half of the XIX century - the creature is simultaneously dependent (from the family, from life, from tradition), and a strong, capable of decisive acts that have the most decisive impact on the world of men. Such is the Katerina from the "thunderstorms". .. "
Turning to studies of the literary critics of the XIX and the twentieth century, it can be seen that the image of the main heroine of the "Thunderstorm" play is perceived in different ways. So was formulated by the purpose of the abstract: to identify how the perception of the image of Katerina from the play by A.N. Ostrovsky "Thunderstorm" in the studies of critics of different eras.
To achieve the goal, the following tasks were delivered:
1. Examine critical articles and literary studies dedicated to the image of Katerina.
2. Make conclusions about changing the interpretation of the image of the main character.
When working on the abstract, the following sources were used:
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). This article of the famous criticism of the "Natural School" is one of the very first tests of the play - became the basis for the perception of the image of the main character in Soviet literary criticism.
2. D.Pisareva "Motifs of the Russian Drama" (D. I. Pisarev. Literary criticism in three volumes. Tom First Article 1859-1864, "Fiction", 1981) The author of the article is elected with N. Dobrobyov, Lowing at the same time on the positions of criticism of the "Natural School" 3. Jungle Revyakina A.I. Art of Dramaturgia A.N.ostrovsky ed. 2nd, copy. and add. M., "Enlightenment", 1974. The book is devoted to the characterization of the creative path of the playwright, the analysis of the ideological and aesthetic peculiarity of his plays, their innovative role in the development of domestic drama and scenic art. 4. Departure allowance for students of 10th grade of high school Lebedev Yu.V. (M., "Enlightenment", 1991). The manual overcomes the limited views inherent in the Soviet literature, and the newest material of researchers of Russian literature 5. Bnis P. Wail, A. Genis "Native speech. Lessons of elegant literature "(" Independent Gazeta ", 1991, Moscow) The book is an original ironic study of works in the school curriculum. The purpose of the authors is to get rid of the stamps in the perception of the Russian classics imposed by Soviet literature. 6. Publishing "in the world of literature" under ed. A.G.Kutuzova. 7. Textbook "Russian literature of the XIX century" ed. A.N.Arhangelsky. These textbooks present the modern look of school literature on the classic works of Russian literature.
2. Like Katerina in the assessment of the critics of "Natural School"
The critics of "Natural School" is made to call a number of democratic critics who worked in famous literary magazines of the 60s. XIX century. The main feature of their work was the refusal to literary analysis of works and the interpretation of them as samples of social, indictment, critical arts
2.1 Article N.A. Dobrozubova "Light of Light in the Dark Kingdom"
The Dobrolyubov article "Light of Light in the Dark Kingdom" was first printed in the "contemporary" in 1860. In it, the author writes that the island has a deep understanding of Russian life and the great reduction to portray sharply and vividly the most essential parties. "Thunderstorm" served as a good proof of this. "Thunderstorm" is, no doubt, the most resolute work of Ostrovsky. The mutual relationship of self-smuggling and fraud is brought to the most tragic consequences. The subject of the drama, the author considers the struggle of passion and debt, - with the accidents of the victory of passion or happy, when the debt wins. And, indeed, the author writes that the subject of the drama represents the struggle in Katerina between the sense of debt of married loyalty and passion to the young Boris Grigorievich. Katerina, this immoral, shameless (on the expression of N.F. Pavlova) Woman closing at night to her lover, as soon as the husband went out of the house, this criminal appears to us in the drama not only not in a rather gloomy light, but even with some kind The glow of martyrdom around the chela. "She speaks so well, suffering so complaints, everything is so bad around her that there is no indignation against her, but unfortunately and justifying her vice." The character of Katerina, the author believes, is a step forward not only in the dramatic activity of Ostrovsky, but also in all Russian literature. Many authors have long wanted to show their heroine just such, but for the first time it made Ostrovsky. The nature of the isoine is, first of all, according to Dobrolyubov, is striking by the opposite of all kinds of commendments. This image, according to the author, is concentrated, decisive, is steadily faithful by the Face of Natural Truth, filled with faith in new ideals and selfless, in the sense that he is better than death, rather than life with the principles that he disappeared. It is found not distracted by principles, not practical considerations, not instant pathos, but simply Naturo, with all the merits of his own. In this integrity and harmony of character is his strength and the essential necessity of it at a time when old, wild relationships, having lost all inner strength, continue to keep an external, mechanical connection.
Further, the author writes that a decisive, solid Russian character acting in the Wild and Kabanov environments is the island in the women's type, and this is not devoid of its serious meaning. It is known that the extremes are reflected by the extremes and that the strongest protest is the one that rises, finally, from the breast of the weakest and patient. The field, on which Ostrovsky observes and shows us Russian life, does not concern the relations of purely public and state, but is limited to the family; In the family, most of all is withstanding the oppression of a woman's immunity.
Thus, the emergence of a female energetic nature is quite consistent with the situation that the Samoramon is brought in the island drama. But the image of Katerina, contrary to all this torn to the new life with the price of death. "What is her death? Anyway - she does not consider life and then stagnation, which fell to her share in the family of Kabanov. " First of all, according to the author, the extraordinary peculiarity of this character is striking. There is nothing in him someone else's, everything comes out somehow from the inside of him. Every external dissonance she tries to agree with the harmony of his soul, every lack covers from the completeness of their inner forces. Rough, superstitious stories and meaningless Bedni Strangers turn into golden, poetic dreams of imagination, not frightening, and clear, kind. Determining the main feature of the character of the heroine of Ostrovsky, Dobrolyubov notes that she is a personality immediate, living, everything is done in her way, without a distinct consciousness, logic and analysis does not play a major role in her life. "In the dry monotonous life of his youth, she constantly knew how to take what he agreed with her natural aspirations to beauty, harmony, satisfaction, happiness." In the conversations of the pages, in the earth's bows and inhibitants, she saw not a dead shape, but something else, which was constantly sought her heart. While she lives at the mother, in full freedom, without any everyday freedom, have not yet been designated in it the needs and passions of an adult man, she does not know how to even distinguish their own dreams, their inner world - from external impressions.
The last path fell to the share of Katerina, as he falls out to the share of the most part of the people in the "dark kingdom" of wild and kabanic. In the gloomy setting of a new family began to feel Katerina, the insufficiency of appearance, which was considered to be content before. The author is very sharply depicting the patriarchal world, in which Katerina falls after marriage: "There is no prostitute with a light visions under heavy hand, as there is no freedom to her feelings. In a rustling of tenderness to her husband, she wants to hug him, "the old woman shouts:" What is hanging on the neck, shamelessness? Go to the legs! " She wants to stay alone and sink quietly, and mother-in-law shouts: "Why don't you eat?" . She is looking for lights and air, wants to dream and cut down, pour their flowers, look at the sun, on the Volga, send her greetings to everything alive, - and they are kept in captivity, they are constantly suspected of unclean, depraved plans. Everything is gloomy, scary in the circle of her, it all blows cold and some irresistible threat: and the licks of the saints are so strict, and church readings are so terrible, and the strangers are so monstrous ... they are all the same in essence, they changed them, but she changed Itself: There is no hunt to build air visions in it, yes, it does not satisfy her the indefinite imagination of bliss, which she enjoyed before. She indulted, other desires woke up in it, more real; Not knowing a different field, except for the family, of another world, in addition, it was for her in the society of her town, she, of course, begins to conscious of all human aspirations, which is inevitable and only closer to her, - the desire of love and devotion .
In the old time, her heart was too full with dreams, she did not pay attention to young people who looked at her, but only laughed. Going married to Tikhon Kabanova, she did not love him, she also did not understand this feeling; They told her that he had to marry any girl, showed Tikhon as a future husband, she went for him, remaining completely indifferent to this step. And here also manifests a feature of character: according to the usual our concept, it would be opposed, if it has a decisive character; But she does not think about resistance, because it does not have enough reason for this. "She has no special hunt to marry, but there is no disgust from marriage; No love for Tikhon, but no love and anyone else. "
The author notes the power of the character of Katerina, believing that when she would understand what she needed, and would want to achieve something, he would achieve his own. Her desire to initially accept the orders of the house of Kabanov, he explains what he first, in congenital kindness and nobility of his soul, she did all possible efforts to not disturb the world and the rights of others to get the desired with perhaps the greatest compliance with all the requirements for her imposed by people; And if they are able to take advantage of this initial mood and resolve to give it complete satisfaction - well then to her. But if not, - it does not stop before. Such a way out seems to be Katerina, and the other could not be expected among the situation, among which it is located.
Dobrolyubov explains the motives of the actions of Katerina: "The feeling of love for a person, the desire to find a kinded review in another heart, the need for gentle pleasures naturally opened in a young girl and changed her former, uncertain and disembodied dreams." Immediately after the wedding, he writes a critic, she decided to turn them on the one who was closer to her - to her husband. In the play, which Call Katerina already with the beginning of love for Boris Grigorievich, still visible the last, desperate efforts of Katerina - make themselves a cute her husband.
Determining the nature of Katerina, Dobrolyubov allocates such qualities:
1) Already a mature, from the depth of the whole body, the emergence of the right and exposure of life. "She does not capricious, does not kill his discontent and anger, this is not in her nature; She does not want to impression on others, put up and boast. On the contrary, she lives very peacefully and is ready to obey everything that only not disgusting her nature; Recognizing and respecting the aspirations of others, it requires the same respect and to themselves, and any violence, every constraint perters her blood, deeply. "
2) Warness, inability to endure injustice. "About your character, Katerina informs Vare one line from childhood:" Such I originated hot! I was still six years old, no more - so I did! They offended me with something at home, and the case was in the evening, it was dark - I ran out on the Volga, got into the boat, and he paused her from the coast. On the morning they found, the vert for ten ... ".
Here is the true strength of the character for which, in any case, you can rely!
3) Her acts are in harmony with her kind, they are natural for her, it is necessary, she cannot refuse them from them, at least it had the most disastrous consequences. The author believes that all the "ideas", inspired by Katerina since childhood, revolve against her natural aspirations and actions. In his opinion, Katerina is raised in concepts that are the same with the concepts of the medium in which he lives, and cannot be renounced from them without any theoretical education. "Everything against Katerina is even her own concepts about good and evil; Everything should force it - to drown out their impulses and get plant in the cold and gloomy formalism of family shamelessness and humility, without any living aspirations, without will, without love, - or to teach the deceit of people and conscience. "
Describing the love of Katerina to Boris, Dobrolyubov argues that his whole life is in this passion; All the power of nature, all her living aspirations merge here. You can agree with the opinion of the author, who believes that it is not one thing that he likes that he likes, he looks like and does not like the rest surrounding it on speeches; To him entails her and the need of love, not finding a review in the husband, and an offended feeling of his wife and women, and the deadly longing of her monotonous life, and the desire of will, expanses, hot, loan freedom. At the same time, not quite exactly the following statement of criticism: "Fear of doubt, the thought of sin and a human court - all this comes to her mind, but no longer has the strength; This is so formalities, for cleaning conscience. " In fact, the fear of sin largely identified the fate of Katerina.
The author with sympathy refers to the power of Katerina's feelings. He writes that such love, such a feeling is not seated in the walls of the Kabanovsky house, with pretense and deception. Critic notes that she is not afraid of anything, besides deprivation of the opportunity to see his chosen, talking to him, enjoy these new feelings for it. Explaining why Katerina is consistent with his sin, Dobrolyubov writes: "The husband came and it was necessary to be afraid, sick, hide, and her life was not in life. Such a position was unbearably for Katerina, she did not suffer - with all the people, crowded in the gallery of the ancient church, repented in her husband. With the "criminal" took action: the husband broke her a little, and the mother-in-law locked it on the castle and began to eat ... the will of the will and peace of Katerina. " The critic so determines the reasons for the suicide of Katerina: it cannot conquer these rules for their new life can not return to their former life. If she can not enjoy his feeling, his will, then she does not want anything in life, she does not want her life. In Katerina's monologues, according to Criticism, it is clear that it is fully subordinate to his nature, and not asked solutions, because all the principles that it is given for theoretical reasoning, is resolutely disappeared by its natural attractions. She decided to die, but her the thought was scared, that this is a sin, and it seems to be trying to prove to everyone that it can be forgiven, since it is very hard. The critic correctly notes that there is no malice, contempt, what the heroes are scrupted, comingily leaving the light. But she can no longer live, and only. The thought of suicide is tormented by Katerina, which turns it into a half-megue state. And the case is over: she will not be a longer sacrifice of soulless mother-in-law, will not be more tricking, with a silent and nasty husband. She is released! ..
The main idea of \u200b\u200bthe Dobrolyubov article "Light of Light in the Dark Kingdom" is that in Katerina, a protest against Kabanovsky concepts about morality is visible, protest, brought to the end. Katerina in the perception of Dobrolyubov - a woman who does not want to put up, does not want to use a pathetic stagnation that she is given in exchange for her living soul. "Her destruction is an exercised song of the prisoner of the Babylonian ..." - so poetically formulates a critic.
Thus, the Dobrolybov assesses the image of Katerina, firstly, as a concentrated-decisive image, which is better than death, rather than life with the principles that he disappeared and alien. Secondly, Katerina is the identity of the immediate, alive, everything is done in her injecting nature, without a distinct consciousness, in her life the logic and analysis does not play a major role. Thirdly, the critic celebrates the most powerfulness of Katerina, if she wants to achieve his goal, she will achieve it in order, then it has become. He admires Katerina by truth, considering this image the strongest, smart and brave in the play.
2.2 D. I. Pisarev "Motifs of the Russian Drama" Article D.I. Pisareva was written in 1864. In it, the author sharply condemns the position of his opponent - N.A Dobrolyubov, indicates the article "Light of Light in the Dark Kingdom" as its "error". That is why this article expanded and deepened the controversy between the "Russian Word" and "Contemporary", which began earlier. Pisarev sharply challenges the interpretation of Katerina from the "Thunderstorm" of the Ostrovsky, given in this article, Dobrolyubov, believing that Katerina cannot be considered as a "decisive whole Russian character", but is just one of the generations, the passive product of the "Dark Kingdom". Thus, the Dobrolyube is attributed to the idealization of this image, and its debate is represented by the true task of "real criticism". "It's sad to part with a light illusion," Pisarev notes, "there would have nothing to do, and this time would have to satisfy the dark reality." Unlike Dobrolyubov Pisarev showed a naked list of such facts that may seem too sharp, incoherent and in the total aggregate even implausible. "What is this love arising from the exchange of several views? What is this harsh virtue, surrendering at the first convenient case? Finally, what kind of suicide caused by such small troubles, which are carried out completely safely by all members of all Russian families? "- asks the question of critic. And, of course, he himself answers him:" I conveyed the facts quite right, but, of course , I could not convey in several lines those shades in the development of action, which, softening the external sharpness of the outlines, force the reader or the viewer to see in Katerina not the author of the author, but a living person really capable of doing all the above eccentricity. " Reading the "thunderstorm" or looking at her stage, says Pisarev, nobody doubted that Katerina had to do in reality exactly as she did in the drama, because each reader or the audience looks at Katerina from his point of view , assesses it as perceives and sees. "In each of the actions of Katerina, you can find an attractive side; Dobrolyubov found these parties, folded them together, made up of them the perfect image, as a result of this "Light of Light in the Dark Kingdom" and, as a man, full of love, delighted this ray, clean and holy by the poet's joy, "writes critic. To compile the correct image of Katerina, Pisarev believes, you need to trace the life of Katerina since childhood. The first thing that statements claims: upbringing and life could not give Katerina or a firm character, nor the developed mind. Pisarev believes that in all actions and sensations, Katerina is noticeable, first of all, a sharp disproportion between the causes and consequences. "Every external impression will shock her entire body; The most insignificant event, the most empty conversation is produced in its thoughts, feelings and actions whole coups. " The critic considers Katerina a frivolous girl who takes everything that happens, close to the heart: Kabanikha grumbling, and Katerina is languishing from this; Boris Grigorievich throws tender views, and Katerina falls in love; Varvara says in passing a few words about Boris, and Katerina considers himself a false woman in advance, although she didn't even talk to her future lover until then; Tikhon takes away from the house for a few days, and Katerina falls in front of him on his knees and wants him to take a terrible oath in his marital loyalty. Pisarev cites another example: Barbara gives Katerina the key from the wicket, Katerina, Holding for this key in the continuation of five minutes, decides that she will certainly see Boris, and cums his monologue with the words: "Ah, kababy night sooner!" Meanwhile, even the key was given to her mainly for the love interests of the Barbara itself, and at the beginning of his monologue, Katerina even found that the key would burn her hands and that it would certainly be thrown. According to Criticism, resorting to small tricks and precautions, it would be possible to see and enjoy life, but Katerina walks like a lost, and Barbara is very thoroughly afraid that she will enhance her husband in his feet, and he will tell him everything in order " . Pisarev believes that the catastrophe is made by the intention of the most empty circumstances. The way he describes the feelings of Katerina is designed to confirm his perception of the image: "Thunder rushed - Katerina lost the last rest of his mind, and then a polulm lathe with two lackers passed along the stage and said a nationwide sermon about eternal torment, besides on the wall, In the covered gallery, the hellish flame is drawn - and all this one to one - well, sudden yourself, how, in fact, Katerina does not tell her husband immediately, with the boa and with the whole city public, as she spent during the absence of Tikhon, all ten nights? ". The final catastrophe, suicide, in the same way occurs, the critic claims. He believes that when Katerina runs out of the house with an uncertain hope to see his Boris, she still unlists about suicide. She finds uncomfortable that death is not, "You, says, click her, and she does not come." It was clear that there was no suicide solution yet, the critic believes, because in contrast there was nothing to be interpreted. Next, analyzing the last monologue of Katerina, the critic is looking for evidence of its inconsistency in it. "But here, while KaterinaRawns in this way, Boris is, a tender date. As it turns out, Boris leaves for Siberia and cannot take Katerina with him, despite the fact that she asks him. After that, the conversation becomes less interesting and goes into exchange of mutual tenderness. Then, when Katerina remains alone, she asks themselves: "Where now? Home to go? " And replies: "No, I am something that in the grave is still." Then the word "grave" leads her to a new series of thoughts, and she begins to consider the grave from a purely aesthetic point of view, with which, however, people have so far managed to watch only in other people's graves. "In the grave, he says, better ... under the church of the grave ... how good! .. The sun is warm, it wins it with a rain ... in the spring it grows herbal, soft one ... Birds will fly to the tree, will sing, Children will be removed, the flowers will bloom: yellow, red, bluish ... all sorts of, all sorts. " This poetic description of the grave completely fascinates Katerina, and she says that he does not want to live in the world. At the same time, fonding an aesthetic feeling, she even completely overlooking Geenna fiery, and meanwhile it is not indifferent to this last thought, because otherwise there would be no scene of public repentance in sins, there would be no departure of Boris to Siberia, And the whole story about night walks would remain wide and covered. " But in the last minutes, the Pisarev argues, Katerina forgets to such an extent about the afterlife, which even folds the hands of the cross, how in the coffin, and, making it a movement with their hands, she even here does not bring the ideas about suicide with the idea about Geenna fiery. Thus, a jump in the Volga is made, and the drama ends. The whole life of Katerina consists of constant internal contradictions, the critic believes, she every minute throws from one extreme to another; Today it repents what I did yesterday, and meanwhile, he doesn't know what to do tomorrow, she confuses her own life and lives of other people at every turn; Finally, confused everything that was at her hands, she destroys the protracted knots with the most stupid, suicide, and even such suicide, which is completely unexpected for her. Arguing further about the article Dobrolyubov, Pisarev argues that he called the contradictions and absurdity of her character, saying that they were expressed by passionate, tender and sincere nature. And because of the beautiful words there is no reason to declare Katerina with a light phenomenon and come from it to delight, as Dobrolyubov does. So, we can argue that Pisarev disassembles this drama in order to prove that the critic of Dobrolyubs was mistaken in the assessment of one female image. The critic wants to contribute to the assessment of the character of Katerina, reveal its image from its point of view. Pisarev believes that the viewer should not sympathize with Katerina or Kabanchi, because otherwise the lyrical element is burst into the analysis, which confuses all reasoning. In the play "Thunderstorm", the author endings his article, Katerina, making many nonsense, rushes into the water and does thus the last and greatest absurdity. Summing up the study of the article by D.Pisareva "The motives of the Russian Drama", you can allocate the following features of the perception of the critical image of the chief heroine: 1. Katerina is just one of the generations, the passive product of the "Dark Kingdom" 2. Education and life could not give Katerina or a firm character nor a developed mind3. In all actions and sensations, Katerina is noticeable, first of all, sharp disproportion between causes and consequences4. A catastrophe - the suicide of Katerina - produces a confluence of the most empty circumstances5. Katerina's suicide is completely unexpectedly for her SamoIA, we see that the goal of criticism was to prove the fallacy of the look at the Heroine in the articles of Dobrolyubov, with whom he absolutely disagree. To prove that the heroine of Ostrovsky is not at all a "decisive whole Russian character", he interprets her image is overnight straightly, completely ignoring the depth and poeticity that the author gave him.3. Like Katerina in Soviet literary
Critics of this period are trying to analyze ideologous - aesthetic peculiarity of the plays, as well as the role of writers in domestic drama. In the Soviet literature, the image of Katerina is treated quite typical and equally.
3.1 The image of Katerina in the perception of A.I.revyakina (from the book "Art of Dramaturgia A.N.OSTROSTROVSKOM)
The peculiarity of the Ostrovsky's playwright, its innovation, considers critic, especially clearly manifests itself in typing. If ideas, themes and plots reveal the originality and innovation of the content of the island drama, the principles of typical of characters concern also its artistic pictoriality, its shape. The Ostrovsky, says the rivyakin, attracted, as a rule, not exceptional individuals, but the usual, ordinary social characters of greater or less typical. The originality of the typical images of Ostrovsky is in their social - historical concreteness. The playwright painted highly finished and expressive types of a certain social status, time and place. The peculiarity of the typical of the Ostrovsky images is in their socio-historical concreteness. The playwright, according to the critic, painted highly finished and expressive types of a certain social status, time and place. He and with the greatest art draws tragedy experiences of Katerina Kabanova. "She covered the first sense of love for the first time in her," writes Revyakin, thereby opposing her feelings for Tikhon. Her husband in the departure. All this time, Katerina meets with his beloved. Upon returning a husband from Moscow, she arises a sense of guilt to him and exacerbate meditation about the sinfulness of his act. "And this is convincing, it's hard and finely motivating the playwright this culminating episode of the play" - the critic admires. Crystal clear, truthful, conscientious Katerina hard to hone his act in front of her husband. According to Barbara, she "trembles all, precisely her fever beats; A pale such, dares around the house, exactly looking for. Eyes like amusing! Live in the morning I was crying, so shifts. " Knowing the character of Katerina, Barbara is afraid that she "will be covered with her husband, and everyone will tell." The confusion of Katerina is aggravated by the approach of thunderstorm, which she is not afraid of, tells the critic. It seems to her that this thunderstorm is punished with her sins. And here and Kabanikha serves it with his suspicions and teachings. Revyakin pretty compassion tells the tragic history of Katerina, he sympathizes her. Tikhon, although joking, calls her, and here Boris goes out of the crowd and crumpled with her husband. At this time, the people are going awesome conversation about the thunderstorm: "You're remembering my word that this thunderstorm will not pass for a gift. ... or will kill someone, or the house burns ... Therefore, see which color is extraordinary." Even stronger than these words, Katerina says to her husband: "Tisch, I know who kills ... I will kill me. Pray then for me! " This most she makes for himself a sentence to death, for suicide. At the same time, as if a half-handed lady appears by chance. Turning to the hiding frightened Katerina, she shines stencils and also fateful words about beauty - the temptation and died: "In the pool is better with beauty - then! Yes, more likely! Where are hiding, stupid! From God - you will not leave! All on fire will burn in the restless! " The nerves of the exhausted Katerina straighten up to the facing, writes a critic. In complete exhaustion, Katerina speaks of his death. Trying to calm her, Barbara advises her to move to the sidelines and pray. Katerina obediently goes down to the wall of the gallery, descended to his knees to pray, and instantly jumps out. It turns out that she was in front of the wall painting a terrible court. This painting with the image of hell explains the critic, and the sinners shall be punishable for their crimes became the last straw for the westing Katerina. All the restraining forces were left, and she utters the words of repentance: "The whole heart was broken! I can not tolerate more! Mother! Tikhon! Sinfast I am before God and before you! .. "Thunder blows interrupts her confession, and she falls without feelings on her husband's hands. The motivation of repentance of Katerina may seem, at first glance, excessively detailed and tightened, researcher believes. But the Ostrovsky shows in the soul of the heroine to the painful struggle of two began: bending from the hearty depths of the spontaneous protest and dying her prejudices of the "Dark Kingdom". We defeat the prejudices of the mesh and merchant environment. But, as can be seen from the subsequent development of the play, Katerina finds the strength not to accept, not to submit the requirement of the kingdom, at least the price of his life.
So, composed of chains of religion, Katerina rises in many ways that it was in her life a manifestation of the most joyful, light, truly human, such a conclusion about the image of Katerina critic Revyakin. From his article, it can be concluded that the image of Katerina he perceives as a positive, compassionates and sympathizes him. According to the criticism, the conflict of the play is a conflict of human feelings and prejudice of the mesh and merchant medium, and the play itself is a realistic image of typical merchant morals. The fateful role in the fate of Katerina, according to the researcher, plays her religiosity, which brings it to suicide. This perception of the image of the main heroine of the Piez "Thunderstorm" is characteristic of Soviet literary studies.
4. The modern interpretations of the image of Katerina
4.1 Conflict of the vitality of religiosity and harsh Domostroevskaya morality (Interpretation of Y. Lebedeva)
The unusual of the perception of the play by the researcher affects the fact that he immediately notes its main artistic feature - the song opens the "thunderstorm" and immediately makes the content on the nationwide song spacious. For the fate of Katerina, the researcher believes, the fate of the heroine of a folk song. The main idea of \u200b\u200bthe researcher - in the merchant Kalinov Ostrovsky sees the world that rushes with the moral traditions of the folk life. Only Katerina was given to keep all the completeness of viable began in the culture of people, it considers critic, and also to preserve a sense of moral responsibility in the face of those tests as this culture is exposed in Kalinov.
It is easy to see in the "thunderstorm" the tragic confrontation of the Religious Cathedral of Katerina Domostroevsky Kabanihi culture - so determines the critic of the conflict of the play ("Domostroy" - a medieval Russian book about the strict patriarchal family structure).
In the worldview of Katerina, the Slavic pagan antiquity will grow harmonically, with democratic trends of Christian culture. "Religiousness of Katerina drivens sunrises and sunsets, rusted herbs on blooming meadows, birds flying, fluttering butterflies from a flower on a flower. The beauty of the rural temple, and the beauty of the Volga, and the Zavolzhsky meadow Scripture, and the Zavolzhsky meadow, is so poetically, with admiration describes the heroine critic.
The emitting spiritual light of the isoine is far from the harsh asceticism of Domostroevskaya morality. Favoring the kind of religiousness of Katerina from the harsh prescriptions of Domostroevskaya morality, concludes a critic.
In a difficult minute of life, Katerina will challenge: "I'm a little died, it would be better. I would have looked from the sky to the ground, I was happy to all. And then it would be invisible, where she wanted. Would fly out in the field and flew from cornflower on cornflower in the wind, like a butterfly. " "Why do people do not fly! .. I say: why do people do not fly like birds? You know, I sometimes think that I am a bird. When you stand on Mount, so you pull you to fly. That would be fused, raised her hands and flew ... ". How to understand these fantastic desires of Katerina? What is it, the fruit of painful imagination, the whim of the sophisticated nature? No, it believes the critic, in the minds of Katerina, the ancient pagan myths come to life, the deep layers of Slavic culture are moving.
Wolno-loving gusts of Katerina even in the children's memories are not spontaneous: "Such I originated hot! I was still six years old, no more, so I did! They offended me with something at home, and it was in the evening, it was dark, I ran out on the Volga, got into the boat, and I packed her from the shore. " After all, this act is quite consistent with her soul. In Russian fairy tales, the girl appeals to the river with a request to save her from evil pursuers, writes Lebedev. The feeling of Divine Forces is inseparable in Katerina about the forces of nature. So it prays therefore the dawn of the morning, the sun is red, seeing in them and the eyes of God. And in a minute of despair, it turns to the "wind winds", to bring it to her beloved "sadness - sadness". Indeed, in the nature of Katerina there are folk origins, without which her character fades like a ragged grass.
In the soul, Katerina face each other two isometric and equilibrium motives. In the Kabanovsky kingdom, where all the lively, the Katerina is overwhelmed, the author of the article believes that the author of the article believes. The love of Boris, of course, is not quenched. Is it because the island increases the contrast between the high love flight of Katerina and the woundless passion of Boris? Fate drives each other people, incommensurable in depth and moral sensitivity, writes Lebedev.
The spiritual debris of the hero and the moral generosity of the heroine are most obvious, according to the author, in the scene of their last date. Katerina's hopes are in vain: "I still live with him, maybe you would have seen some joy." "Kaba", "maybe", "some" ... weak consolation! But here she finds not thinking about himself. This Katerina asks her husband for forgiveness for the alarms caused to him, but I can't come to Boris.
Katerina is equally heroichna both in passionate and coachable love enthusiasm and deeply conscientious nationwide repentance. Katerina dies as amazingly, says critic. Her death is the last outbreak of spiritual love for God's world, to trees, birds, colors and herbs.
Leaving, Katerina retains all the signs that, according to the popular belief, was distinguished by Saint: She and Dead, like a lively. "And for sure, guys, like a living! Only on the temple a small wound, and only one, as there is one, blood drip. "
Thus, we see that in Lebedev's study, much attention is paid to the folk, folk origins of the image of Katerina. It is traced to her connection with folk mythology, songs, peculiar folk religiosity. The critic perceives the heroine as a woman with a lively and poetic soul capable of a strong feeling. In his opinion, she inherits the moral traditions of the people's life, from which the residents of Kalinov refused to be detained by the brutal ideal of the housework. So, Katerina in the interpretation of Lebedev is the embodiment of a folk life, a popular ideal. This suggests that in the literary criticism of the last third of the twentieth century, the views of democratic critics (Dobrolyubov, Pisarev) rethink and rejected.
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, Kabaniy seems like this: "If you want a mother to listen, ... do the way I ordered." And the first of his replica Tikhon answers her "Yes, how can I, Mama, disobey you!" Culigin is immediately recommended by a self-tape 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 by the only traditional tragic conflict between the debt and feeling, but most of all - the type of type-types. "Thunderstorm" is noticeably allocated from other places of Ostrovsky, full of my humor, 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?" 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, the abroad. The investors 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, architecture, museums, order admired, but in most cases he was resolutely dissatisfied (while it is often almost literally repeating the phonon name of hundreds of statures). 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". Composing these two works, critics reveal their extraordinitiveness. 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. Night-time parallels in the "Mrs. Bovari" and "thunderstorm" are very eloquent.1) Emma is just as expected religiously as Katerina, the researchers say, is just as exposed to the rite. The image of the fire of the fire on the wall appears in front of the shocked Normanca in the same way as in front of the Volzhanka.2) both persecuted, the devotions are unknown, identical dreams. Both girls, as 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 his 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 to the wake of 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, they are not lucky, they both refuse to girls.4) Even the identification of love with a thunderstorm - so bright from the island, and the Flaubert come to the withdrawal of the Weil and the geniusers write something that Russian classicists occupy in the Ostrovsky play, in the novel of Flaubert It is assigned to the classicists to their 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, stretchable-husband, resonant, despotic mother, eccentric inventor, provincial heart, the same husband cuckold. ICATERINA (as opposed to EMME) is static as antigone. But with all the similarity of the work of Flaubert and Ostrovsky, critics are significantly different, and even antagonistic. 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 the Spirit lacks him, come to the conclusion researchers to protect their love. As for Katerina, she does not fit into the material context at all. Flaubert is different from Europeans. In the "Mrs. Bovari" money - barely Line the main character. Money is a conflict between mother-in-law and daughter-in-law; Money -Arted development of Charles, forced in the first marriage to marry dowry, money - Emma's torment, which in wealth sees a way to break out of the Meshchansky world, money - finally, the reason for 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 Ostrovsky wrote the Volga "Mrs. Bovari", so in the opinion of the Vial and Genis of the play became a new argument in a long-time sporepadnikov and Slavophiles. Katerina, for more century, puzzles reader and viewer The dramatic inadequacy of feelings and actions, since the stage embodiment is inevitably turns around either a highly baunity or not justified by the 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
5.1 The perception of the image of the heroine in the textbook "in the world of literature" is ed. A.G.Kutuzov
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 every day, I can't look all out. " 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
5.1 Perception of the image of the heroine in the textbook "Russian literature XIX. 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).
5. Labor P. Waile, A. Genis "Native speech. Lessons of elegant literature "(" Independent Gazeta ", 1991, Moscow).
Ostrovsky A.N. Decree. Op. P. 87.
Ostrovsky A.N. Decree. Op. With 38
Ostrovsky A.N. Decree. Op. P.31