The conflict in the play is a thunderstorm. Family and social conflict in the drama Thunderstorm

Grade 10. A. N. OSTROVSKY. "STORM"

1. Determine the genre of the work.

a) family and household drama

b) tragedy

c) comedy

d) fusion of comedy, drama, lyrics and tragedy

e) psychological drama

2. Determine the type of conflict in the drama "Thunderstorm".

a) philosophical

b) social

c) ideological

d) internal

e) family

3. Correctly arrange the elements of the composition of the drama "Thunderstorm".

a) exposition 1) conversation between Boris and Kudryash

b) connection 2) the death of Katerina

c) culmination 3) Katerina's monologue before her death

d) denouement 4) conversation between Kuligin and Kudryash

4. What artistic means is the motive of the isolation of the city of Kalinov conveyed in the play?

a) symbolic details - a gate, a fence

c) lack of communication with other cities

d) in the manner of Feklusha

5. For what purpose does A. N. Ostrovsky introduce an exposition into the play?

a) to emphasize positive features in the character of Kuligin

b) outline the conflict between young people and the older generation in the play

c) to designate the place of action and the situation in the city

d) describe the Volga coast

6. The system of images in the play "The Thunderstorm" is built on the principle of "pairing". Identify these pairs among the indicated characters.

Katerina; Wild; Curly; Boar; Boris; Barbara.

7. List the names of the characters in the play who, from the point of view of classical drama, can be called “extra characters”.

a) Barbarian

b) Curly

c) Kuligin.

d) Feklusha

e) half-crazy lady

f) Shapkin

g) Glasha

8. In the confrontation of which heroes was the main conflict of the play expressed most vividly?

a) Boar - Wild

b) Katerina - Varvara

c) Katerina - Kabanikha

d) Katerina - Tikhon

9. How is the “dark kingdom” and its “victims” represented at the character level? Highlight those and others from the list.

Wild; Katerina; Tikhon; Feklusha; Boris; Boar; Barbara; half-mad lady; Curly.

10. A. N. Ostrovsky widely uses images-symbols in the play. Select them from the listed ones.

Path; white scarf; meadow across the river; perpetual motion machine; grave; poems by Derzhavin; storm; key.

11. Who of the heroes of the play speaks so about Kabanikh?
“- A bigot, sir! She dresses up the beggars, but she has eaten all her family members ... "

a) Boris

b) Kuligin

c) Katerina

d) Wild

12. Who of the Russian critics belongs to this assessment of the image of Katerina: “Katerina's whole life consists of constant internal contradictions; she rushes from one extreme to another every minute; today she regrets what she did yesterday ... "?

a) N.A.Dobrolyubov

b) D.I. Pisarev

c) V.G.Belinsky

d) I.A.Goncharov

13. At what point does the play's main climax take place?

a) public confession of Katerina in her sinfulness

b) a date with Boris

c) in Katerina's monologue at the end of the play

d) there is no climax in the play

14. Why A. N. Ostrovsky was called "the father of the Russian national theater»?

a) revived the traditions of A.S. Griboyedov, A.S. Pushkin, N.V. Gogol

b) forty-seven plays belong to him

c) his work had a decisive influence on the subsequent development of progressive Russian drama

d) built the building of the Maly Theater

Answers to the test " A. N. OSTROVSKY. "STORM"

1.g

2.d, d

3.a - 4, b - 1, c - 3, d - 2

4.g

5.in

6. Katerina - Kabanikha; Kabanikha - Wild; Katerina - Boris; Varvara - Curly; Katerina - Barbara

7.e, f, g

8.in

9. "Dark kingdom": Wild, Kabanikha, Feklusha, a half-mad lady;

"victims": Katerina, Tikhon, Boris, Varvara, Kudryash

10.white handkerchief, grave, thunderstorm, key

11.b

12.b

13.in

14.in

A.N. Ostrovsky uses in this work:

• a plot traditional for literature (based on love triangle- Tikhon - Katerina - Boris)
• a traditional conflict (a conflict of generations, which reflects the replacement of the old with the new), however, both the plot and the conflict reflect the national specifics of the Russian character and that historical setting, in which the playwright worked.

The traditional solution to the plot and conflict of the play "The Thunderstorm"

It develops in a standard way: Katerina Tikhon's husband leaves, Katerina asks to take her with him, but Tikhon cannot disobey his mother, and he himself is glad to escape from the house. Katerina confesses to Varvara that she likes Boris. Varvara arranges dates for lovers. The husband returns. Tormented by the consciousness of what she had done, Katerina publicly confesses her sin. Tikhon's mother, Kabanikha, is triumphant: she warned. Driven to despair, Katerina rushes to Boris, but he cannot protect her, then the heroine commits suicide, rushes into the Volga, preferring death to life with her unloved husband and terrible mother-in-law.

Traditionally, Russian literature has depicted social conflicts reflected in people's personal lives. The main conflict of the play "The Thunderstorm" is the struggle between the old and the new in life, a protest against oppression and humiliation.

The subject of the play and its heroes

- Dikoy and Kabanikha are faithful to the old dogmas that order the changing world. The semantics of the names of the heroes emphasizes their commitment to the old world - the world of tyrants. calls this old world in Ostrovsky's plays

"Dark kingdom".

The theme of the protest is interpreted in different ways by the playwright: Kudryash and Varvara flee the city, Tikhon opposes the mother’s despotism only after the death of Katerina

"You killed her, mamma!"

The apotheosis of protest becomes. Maiden life heroine, her religiosity, poetry, rich imagination

"Why don't people fly like birds?"

faces the harsh reality of Kabanikha's orders based on suppression of sincere feelings, hypocrisy, oppression, humiliation.

Development of the conflict line of the play "Thunderstorm"

The development of the conflict in the drama follows several storylines This allows us to draw a conclusion about the universality of the ongoing processes: the desire of the younger generation to escape from the oppressive power of the elders and live their own life, which has changed and, accordingly, requires a change in relations between people.

In solving the confrontation, not only the main characters participate, but also the secondary ones, who emphasize the inertia of the old world, as, for example, the image of Feklushi embodies absurdity.

The external conflict of generations, old and new, is intensified by the internal confusion in Katerina's soul. Katerina does not love and cannot love the downtrodden Tikhon, although she seeks to remain faithful to her husband. But love for Boris is, according to Dobrolyubov, not only love for a person who is not like those around him, but also the need to be loved, the offended feeling of a woman and wife, a desire for will, space, ardent, unrestricted freedom. The awareness of the sinfulness of such love is clear both for Katerina and for those around her. The heroine's religiosity does not allow her to hide her feelings and deceive

“I don’t know how to cheat”.

But even living after a confession of sin, in a family where her husband beats her at the command of her mother, where her mother-in-law will reproach and torment her forever, is impossible for Katerina. From the point of view of Christian morality, suicide is a sin, which is why her reflections before death are so painful.

"Sin! Will they not pray? He who loves will pray ... ”.

The heroine herself perceives death as a deliverance from oppression. And for other characters this is not a sin, but a challenge to the world of Kabanikha and the Wild. Dobrolyubov named Katerina's suicide

"A protest brought to an end."

The conflict of generations, resolved in Ostrovsky's play with such acuteness, reveals the desire of all classes of Russia to change life, which arose in the post-reform era for the country.

Materials are published with the personal permission of the author - Ph.D. OA Mazneva (see "Our Library")

Conflict is the main driving force dramatic work... The conflict unfolds thanks to the plot and can be realized in several different levels... Whether it is a confrontation of interests, characters or ideas, the conflict is resolved in the finale of the work. The essence of the conflict can also be determined and literary era(for realism and postmodernism, for example, different types of conflicts are characteristic). In realism, the conflict will be hidden in the image of social turmoil and exposure of the vices of society. For example, the article will consider the main conflict in Ostrovsky's play "The Thunderstorm".

The work was written in 1859, several years before the abolition of serfdom. Ostrovsky wanted to show how much society eats away at itself from the inside just because the way of life remains the same. Patriarchal orders impede progress, and corruption and worship of rank destroy the human principle in a person. The description of such an atmosphere is the main conflict of the "Thunderstorm".

So, as a rule, the conflict is realized at the level of the characters.
For this, pairs or groups of characters must be identified. We should start with the most striking confrontation: the Katya - Kabanikha pair. These women had to live together by the will of circumstances. The Kabanov family is quite rich, Marfa Ignatievna herself is a widow. She raised a son and daughter. The boar constantly manipulates her son, arranges scandals and tantrums. A woman believes that only her opinion has the right to exist, so everything should correspond to her ideas. She humiliates, insults the rest of the family. Varvara gets the least of all, because her daughter is lying to her mother.

Katya was early married to Tikhon Kabanov, the son of Kabanikha. Katya naively believed that her life before marriage would not be very different from her new life, but the girl was wrong. Pure Katya she is not able to understand how you can lie to your mother, how Varvara does it, how you can hide your thoughts and feelings from someone, how you can not defend the right to your own opinion. The order of this family is alien to her, but because of the patriarchal foundations prevailing at that time, the girl had no choice.

Here the conflict is realized at the internal level. These characters are too different, but at the same time, both women have the same a strong character... Katerina opposes the pernicious influence of Kabanikha. Marfa Ignatievna realizes that she is faced with a strong rival who can “set up” Tikhon against his mother, and this is not part of her plans.

In a pair Boris - Katerina is realized love conflict... A girl falls in love with a newcomer to the city young man... Boris seems to Katya the same as herself, unlike the others. Boris, like Katerina, is irritated by the atmosphere of the city. Both of them don't like that everything here is built on fear and money. The feelings of young people flare up pretty quickly: one meeting was enough for them to fall in love with each other.
Tikhon's departure allows the lovers to secretly meet and spend time together. Katya says that for the sake of Boris she commits a sin, but since she was not afraid of sin, then she is not afraid of condemnation from people. The girl does not understand why they should hide their meetings. She wanted to confess everything to her husband in order to be honest with Boris later, but the young man discourages her from such an act. It is more convenient for Boris to meet in secret and not take responsibility. Of course, they could not be together. Their love is tragic and fleeting. The situation takes an unexpected turn when Katya realizes that Boris is actually the same as the rest of the residents: pathetic and petty. And Boris does not try to deny it. After all, he came to the city only to improve relations with his uncle (only in this case he could receive an inheritance).

The couple Kuligin - Dikoy will help determine the main conflict in Ostrovsky's The Thunderstorm. Self-taught inventor and merchant. All power in the city seems to be concentrated in the hands of the Wild One. He is rich, but he only thinks about increasing capital. He is not afraid of threats from the mayor, he deceives ordinary residents, steals from other merchants, drinks a lot. Dikoy constantly swears. In each of his remarks there was a place for insults. He believes that people who are below him on the social ladder are unworthy to talk to him, they deserve their beggarly existence. Kuligin seeks to help people, all his inventions should have benefited society. But he is poor, and there is no way to earn by honest labor. Kuligin knows about everything that happens in the city. " Cruel manners in our city". Kuligin cannot resist or fight this.

The main conflict of the drama "The Thunderstorm" unfolds within the main character... Katya understands how strong the gap between ideas and reality is. Katerina wants to be herself, free, light and clean. But in Kalinov it is impossible to live like that. In this struggle, she risks losing herself, surrendering, and not withstanding the onslaught of circumstances. Katya chooses between black and white, gray does not exist for her. The girl understands that she can either live the way she wants, or not live at all. The conflict ends with the death of the heroine. She could not commit violence against herself, kill herself in herself for the sake of public order.

There are several conflicts in the play "The Thunderstorm". The main one is the confrontation between man and society. Added to this conflict is the conflict of generations, the conflict of the old and the new. The conclusion suggests itself that fair man cannot survive in a society of liars and bigots.

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

The main conflict in the play "The Thunderstorm" by Ostrovsky essay on the topic |

­ Conflict of old and new

Respect for elders has been revered at all times. The wisdom and experience of elders are meant to help young generation, and not subjugate it to yourself. In the play by A. N. Ostrovsky "The Thunderstorm" we see how the remnants of the "old" patriarchal way of life complicate the life of the "new", young generation. This topic has always been relevant, but it was not always an acute problem. The author simply conveyed the public sentiment of the second half of the 19th century, when old foundations were painfully and slowly replaced by new ones.

The drama "The Thunderstorm" describes a small provincial town, whose residents consider money to be the main value in life and unquestioningly obey those who have it. The city is ruled by such wealthy merchants as Dikoy and Kabanikha. They are representatives of the older generation and are represented from the very the worst side... The author showed how their cruelty and despotism affected those around them. Savel Prokofievich loved to underpay his subordinates, oppress his relatives and simply rampage, for which he was called a tyrant in the city. A man is like a worm to him: "he wanted - he crushed, he wanted - he had mercy."

The image of Kabanikha (Kabanova Marfa Ignatievna) is depicted even worse. This is a rich widow who, with her authoritarianism, has long suppressed not only the workers, but also her own children. She is only interested in unquestioning obedience. For the sake of achieving her goals, she is ready to put on a mask of virtue and pretend to be pious. As a result, intolerance, anger and cruelty are hidden under the visible piety and observance of old traditions. Most of the characters described in the drama are afraid to contradict these "masters of the world." They also prefer to pretend and be hypocritical, just not to show strength of character.

The only one strong man in that " dark kingdom»Shows the daughter-in-law of Kabanikha - Katerina. She is the representative of the "new" in the work and the very guide that will shake the position of despots in their patriarchal environment. Even Boris, who is not stupid and educated, allows his uncle to tyrannize himself. In the merchant world, cruel, misanthropic relations are becoming the norm. No one can break out of this vicious circle, and Katerina succeeds in this in the most sad way. Unable to withstand the condemnation of the household and the removal of Boris, she rushes into the Volga. Her suicide becomes a protest against the established morals of the patriarchal city.

In fact, the drama shows the conflict of the outdated old with the new, young trend and the desire for freedom. Upon learning of Katerina's love for Boris, Kabanikha tells his son: "Where will the will lead!" For her, the manifestation of any sincere feelings is shamelessness, but publicly bowing to her husband at the feet and showing fake tears is the ideal to which one should strive. Kabanikha did not want and could not realize the doom of her views. Deep down, both she and Dikoy understood that their time had already passed, but they did not want to give up their positions. However, the death of Katerina shook their authority in society, thus laying the foundation for a new order.