Conflict in the work of the island island. The main conflict of the drama "Thunderstorm"

A. N. Ostrovsky was the successor and the successor of realistic traditions in Russian literature. In his works, the playwright reflected the current reality, characteristic of that time types, images, showed existing orders, their crisis and arising from this contradiction in society. One of the brightest works of the island - the tragedy of "Thunderstorm", in which the author raised the problem of the existence of a free person in the context of the patriarchal Domostroevsky society.

Dramatic works are always built on the conflict, and in such a distinctive, multifaceted play, like "thunderstorm", the nature of the problem raised, the abundance of the actors and the complexity of the image system determines the presence of several conflicts. The tragedy describes the life of the provincial Volga Town Kalinov, who lives on not the best provisions of the "Domostroja". Kalinovskoe society is outdated and experiencing a crisis, breaking, as a result of which in itself conflict: the older generation (Wild, Kabaniha) hesitates the younger (Boris, Tikhon, Varvara, Katerina), and it does it in such an obvious, unacted form that the whole city knows about Relationships in their families, although, for example, Kabanova prefers to tirabore nearly people, but at home (as Kudryash says: "Well, yes, even though, in extremes, everything is under the guise of piety, and this (wild) as the chain fell out!" ). The conflict "fathers and children" is not the only one: disagreements arise both between representatives of the older generation (the conversation of wild and kabani, the action of the third, phenomenon is the second) and in the youth environment - for example, Barbar is annoying the trouble and humility of Tikhon ("I am bored for me to look then on you, "she says). These minor contradictions support society in a state of tension and irritation; Conflicts in the Kalinovsky world are in principle static and do not have such pronounced development, as the main conflict of the tragedy - the conflict of the main character, Katerina, and Kalinovsky society.

The string of this conflict can be considered the wedding of Katerina and its move to the house of Kabanov. Of the usual environment of universal love, harmony, religiosity, the main character enters the atmosphere of falsehood, deception, tyranny. Katerina is not like one of the members of this society: its mental straightness and undescenence is opposed to the coarse-simple variableness of the barbarium, latitude, the passion of nature - weakness and submission of Tikhon; Restlessness, subtlety, the liveliness of the perception of the surrounding world - dull dogmatism of the Kabani. Not accustomed to be in something limited, Katerina is eager for inner freedom, but freedom here does not act as a conscious need, but as a spontaneous, non-influxlessness of the thirst for independence, the opportunity to give the exit of his passion, and Katerina finds the way to find his feelings in love for Boris. In the soul of the main character there is a conflict of feelings and debt: on the one hand, love captures it completely and requires spiritual food for development; On the other hand, Katerina, since childhood, the scourge of Christian teachings, it is strange to even think about the possibility of changing her husband.

In essence, the internal conflict is a consequence of public: the contradictions in the soul of Katerina are caused by the inconsistency of its moral requests for the inability of the surrounding world to satisfy them. A sharp impetus to the development of an internal conflict gives Tikhon's departure: Katerina feels that the absence of a husband can serve as a reason for treason, she is afraid of her weakness and asks her husband to stay. In a conversation with Barbara, she describes her condition: "I'm just standing over the precipice, and someone pushes me there, but I don't care for me." But Tikhon leaves, and the Kalinovsky world with a new force begins to pull the Katerina in the Puchin of Lies and Deception. Barbara transfers "to her key - a symbol of sin, and Katerina already feels herself involved in this dirty world, but does not find the strength of it to get out of it. Ten days walks with Boris fly, and the returned Tikhon cares to his wife changed:" Sharp all, exactly her fever beats ; the pale such, the house is looking at the house, as if looking for. "Katerina torments conscience: externally accepting the laws of Kalinovsky society, changing her husband, licking him and mother-in-law, she was internally changed, while maintaining moral foundations, self-esteem. Culmination and internal and the public conflict is the scene in the garden when Katerina is consistent with the treason, no longer restrained, ready for anything. The scene is accompanied by a thunderstorm, the natural elements, the harbinger of the tragedy, but at the same time carrying the cleansing, getting rid of the spiritual cargo. However, Recognition and repentance in the eyes of Kalinov residents do not serve as mitigating factor, and Kabaniha with a new diligence is taken to tyranny not only cat Jerin, but also Tikhon (for improper handicap with his wife). The inability to remain in this world, complete misunderstandings and cruelty, terrible remorse, departure to her beloved pushing Katerina to a terrible step, and the union of both conflicts was the suicide of the main character. The final can be interpreted in different ways: N. A. Dobrolyubov, who called Katerina, "Light Light in the Dark Kingdom", saw in her death the denial of the Domostroevsky laws of Kalinovsky society who seek any manifestations of a sincere feeling. With, the other side, suicide is always the highest form of egoism, because by religious standards it is possible to redeem sin only through a long suffering, prayer, humility. Then, Katerina was supposed to stay in the Kabanov's house, submold to take all the tights and insults. But if you take into account the deep spiritual tragedy of the heroine, if you try to enter her position, it becomes clear that another release of the cruel society of the city of Kalinov did not leave her suicide - a natural disunity of tormenting the Katerina of spiritual contradictions, internal conflict, as well as social - impossibility coexistence of thirsty freedom of personality and a deaf patriarchal Domostroevsky society.

The contribution of A. N. Ostrovsky to Russian playwright is invaluable: following the traditions of realism, he not only created a number of bright, colorful images, not only captured the characteristic paintings, but also investigated the psychological origins of conflicts in the Russian society of the middle of the XIX century, and was also an innovator in the scenic Solving the play: spread the framework of the action (in the "thunderstorm" - a garden, ravine, street, square, etc.), the landscape and mass scenes widely used. The greatest creations of Ostrovsky, original and innovative, enter the treasury not only Russian, but also world literature.

Starne comes end!

A. Ostrovsky

The drama "Thunderstorm" is based on Katerina's protest against the age-old traditions and the old-fashioned lifestyle of the "Dark Kingdom" life. The author shows a deep inner drama of Katerina: a passionate rush to freedom and happiness faces her own ideas about morality, which have developed under the influence of the same "dark kingdom" against which she "rebelled".

The action of the play occurs in a very beautiful place on the banks of the Volga. Landscape creates a specific attitude,

Which allows you to feel sharper in contrast to feel the stuffy atmosphere of Kalinovsev's life. Ignorance and full mental stasis are characteristic of the life of the city of Kalinov.

For the external tranquility of life, harsh, gloomy morals. "Brutal morals, sir, in our city, cruel!" - says Kuligin. Live here on the principle: "Who has money, he tries to rolling down the poor." And although the "thunderstorm" focuses on family relations, from individual replicas of heroes a picture of coarse arbitrariness, robbery and styaling is made.

Wildly frankly calculates men, when they complain to him in love, cynically declares: "Whether we should, your wellness, with you about such trifles!" This despot is with his home: in the attic yes in Chulans hiding from his anger. Members of the family, he threw the nephew.

But even harder in the home everyday life of Kabanih. Wildly smoky, quarrels, herso will even begue, but immediately cool. Kabaniha is tortured and pursues his sacrifice every day, eats like, "like RJ iron".

She does not tolerate contradictions in any other, forcing everyone, forcing it to live according to the laws of "old life." This is the powerful, harsh, adamer obstile guardian of the "Dark Kingdom".

But with a false and cruel atmosphere of the house, Kabanova does not want and can not put together Katerina. The main conflict is planned: the unwillingness of the bright personality to put up with the "Dark Kingdom".

Katerina could not learn to lie, hypocrite. From the very beginning of the play, we feel the rejection of the life that she imposes. She is deeply offended by the instructions of the mother-in-law, which wants to bring her to complete humility.

During the departure of Katerina's husband, it is as if in a stupor ". She understands that her husband did not want to offend her that he acted against his will, and is not angry with him. But love and respect him can not.

The more Katerina humiliates, the stronger in her soul awakens the desire for freedom, love, happiness. Katerina considers this desire for sinful, afraid of himself, it is afraid to stay alone with his thoughts and feelings. Despair and doomes are heard in her words: "Where to me, poor, going?

Who should I grasp? My father, I die! " Katerina makes a desperate attempt to warn trouble, make himself love her husband. But Tikhon is not able to understand its condition.

Katerina cannot live in deception, she considers his love to be a great sin. Having loved Boris, she "definitely live again" begins. It has inner strength, determination: "So I originated, hot!" She is ready to defend her freedom, at least the price of death: "If I am very happy here, it will not keep me any force.

I'll finish the window, throwing into the Volga. I do not want to live here, and I will not become, even though you cut me! "

The position of Katerina is hard, it is raised on the same Domostroevsky nrav. She is "a husband's wife" and there is nowhere to go. Two outlets remained: return home and submit or leave life.

She chose the last. The principles of Domostroevian morality rejects his behavior of Katerina, rushes to a new life and prefers the death of life in captivity.

Under the influence of Katerina and its tragic fate in one form or another, protested against the despotism of self-masses and other drama heroes. Varvara and Kudryash run from Kalinov, Kuligin first drawn with bitter reproach to self-director and, finally, a bad thyakhon, who still did not leave the mother's obedience, throws her harsh accusation: "You took her away! You! You!"

In the death of Katerina, everything is guilty of all that so fanatically protects the Kabaniha, all those established public relations, which lead to a person to the tragedy. But in the "Dark Kingdom" personality capable of protest is possible. Dobrolyubov wrote about the death of Katerina: "This end thinks to us ... In it, there is a terrible challenge for Samogovny strength ... In Katerina, we see a protest against Kabanovsky concepts about morality, protest, brought to the end ..."

The death of Katerina confirmed the gloomy premonitions of Kabani and Wild: comes the end of their strength, new times are coming.

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Piece A.N. Oostrovsky "Thunderstorm" was written on the materials of the trip in 1856 along the Volga. Having met in one of the cities, the family in which the girl lived, the fate of which is taken for Katerina, the island inspired and wrote a play. And by the will of the case, the Ostrovsky spoke as a prophet, writing the tragic end of the play, because after it turned out that the same fate waited for the girl who met the playwright in real life.

A lot of heroes are involved in the play, but the main thing is Katerina, having a different character from all other characters.

Throughout the play, the conflict developed precisely around her and had two sides - external and internal.

In the "thunderstorm" the author showed primarily the life of a merchant family and was told on the example of Katerina, as a woman lives in his husband's family. Remembering your childhood and youth, Katerina told: "I lived, I didn't heal anything, exactly the bird in the wild. Mama in my souls did not care, dressed me like a doll, did not force what I wanted, I happened, I did it." And after the Ostrovsky shows how the free bird falls into the iron cage, in the house of Kabanova, where she was twisted by the wings in misfortune of his wife's wives. Everything disappeared from her life, he delivered joy, and endless reproaches and instructions, a bad and afraid mother, and solid sweeps of mother-in-law came.

With my husband, Katerina was not lucky. He was frivolous and outstanding, and his proper respect did not show and did not try to help her. Perhaps he loved her, but not that loyal love that could not be in his soul because of the desire of freedom from the family.

Relationship with mother-in-law is very tense. They constantly beat conflicts, they do not find a common language. Kabaniha forever reproaches something and disgraces his daughter. Even when Marfa Ignatievna makes Katerina to throw out and fall into his feet with her husband's wires, you can feel how Katerina suffers.

And Katerina does not want to put up with such a life. Here and the internal conflict of the girl flares. Katerina Torzania is especially great because she has no freedom, which she is so appreciated, and there is no love for which she has rejected. And when she meets Boris, she is given to love, even though he did not cost her souls and spirituality. And during the lack of her husband, she is all given to this feeling. But there is something preventing the expression of feelings and actions - religion, faith in God's punishment. She often mentions sins, she is afraid of them. Religion acts for her as debt and law. Going towards love and at the same time considering it forbidden, Katerina faces an internal confrontation that cannot come to the balance sheet.

But Katerina has to fight not only with this imbalance, she will also be struggling with rock, which is the Ostrovsky presented in the play in the form of a thunderstorm. For the first time, the thunderstorm over the city broke out in the first act, as the foresight of the tragedy and the expression of the tormented soul of the heroine. Katerina told Varvar about what was going on with her heart and told the cherished words: "I'll die soon." Further, the fourth act begins with the words: "The rain boils, as if the thunderstorm is not going." The motive of the thunderstorm acquires the meaning of the mind with the "Dark Kingdom". Katerina torments, but there are thunder strikes associated with the mental state of Katerina at the moment when she removes heavy load. Thunderstorm, the prophecy of the Baryni, the picture of the terrible court in the gallery - everything brings it to the frenzy, and Katerina admits her husband in sin.

It makes honest and sincere repentance, but here it retains loyalty to freedom. There could be no reconciliation with the surrounding and inner world, which led to the tragic death. And the topic of her inevitability passed through the whole play. Words that she will die, Kudryosh's song about the death of his wife, a crazy lady, breaking her death. And even having met Boris, she called him a ruin and praying to "he ruined her at all." And the last act leads us to the banks of the Volga, the closure circle of these incidents. So the tragic conflict of the plays is revealed, and it lies not only in the collision of Katerina with mother-in-law and her husband, but also with himself.

(327 words) Alexander Ostrovsky was the father-founder of the Russian dramatic theater. He, as anyone, managed to portray a conflict, tearing real life on different sides of the barricades, so his plays always hurt for living. The drama "Thunderstorm" is one and such amazing works where contradictions are reflected related to the whole society today.

Ostrovsky opposed an uncompromising in his aspirations, a bold heroine of the oblique, fossil representative of the older generation. In the scale of one family, various women were fundamentally different: Katerina personified the development and supremacy of a natural feeling, Kabaniha - loyalty to the tradition and all-facing rationalism. The drama of the collision of the two of these worlds is not invented by the author. He used life material and depicted the fate of the real inhabitants of Zamoskvorechye. It is no coincidence that the main antagonists are women, it gives additional sharpness to the plot and again immerses the reader in reality. Quarrels and labels of daughter-in-law and mother-in-law find a response in the soul of every family person. However, in the play of the heroine - only the flesh and the blood of two worldviews, which still underlie the conflict of fathers and children.

If the age and family contradictions of the Heroin are clear and natural, their social confrontation is much deeper. Kabaniha - a representative of an old patriarchal merchant with his prejudices, ignorant and mesh conventions. Her world relies on age-old traditions, trick and calculation. Her morality is a hypocrite. Such is the collective image of a provincial council - a class representative, which gradually pushed out less cohesive and more wasteful nobles. While the aristocracy sought to bird flight (she spent hereditary wealth, and I didn't know how to get new ones), the entrepreneurs were copied and fastened, becoming a new financial elite, which was not enough of one - authority. He was acquired by Mesallians: bought noble honors, entering into marriages. Tikhon also entered. However, Katerina could not integrate the social reality of Kalinov, and this is quite expected: it rebelled her origin. She saw the world, leaning on ideals, the real family life in the coarse and ignorant environment disappointed the sophisticated nobility, accustomed to refinement and grace in everything he was surrounded. In her image against the merchants, he rebelled to know, who does not want to take positions with rich, but limited and reference guans, who pull the country back.

Thus, the diverse conflict in the drama of the island "thunderstorm" affects a wide range of social problems that do not have decisions to this day.

Ostrovsky wrote his play "Thunderstorm" in 1859, even before the serfdom was canceled. In his work, the author shows how society eats himself from the inside, living on the established way of life and affects several conflicts.

Drama thunderstorm conflict and alignment of actors

In the drama "Thunderstorm", where the conflicts of different nature affect, the car made an alignment of acting persons, dividing them on those who live with pleasure in Patriarchal Kalinov and those who disagree with its implications and laws. To the first we refer to boa and wild, which by nature are despoty, self-directions, representatives of the "Dark Kingdom. The second group includes the younger generation, where Barbara leaves the house, Tikhon becomes cramless, and Katerina, contrary to everything, despite despotism, is solved for suicide, just to not live according to the rules that will reprove it as personalities. The heroine with new views on life does not want to take Domodedovsky morals. So, with the help of a small number of heroes who live in Kalinov on the banks of the Volga, the author reveals several peculiar conflicts of the drama "Thunderstorm", among them a family conflict, which is manifested by Caterina with his mother-in-law.

Social conflict in drama thunderstorm

The author also affected the social conflict in the drama "Thunderstorm", which is represented by a clash of different worldviews, where the old struggling with a new one, where the merchant and Kupchikha are generalized images of tyranny and ignorance, which flourished in those times. They are opponents of progress, all new perceived in the bayonets. They want to keep everyone on a short leash so that their "Dark Kingdom" was not collapsed. However, a new worldview that is available in Katerina is an alternative to the old one. It is different from the views, obstacles, traditions that adhere to the dark kingdom. Katerina is a generalized character of a different warehouse of the mind, with a different character, which is already beginning to be born in rotting society and becomes a ray of light in this dark world.

What is the main conflict of drama thunderstorm

Among the social and family conflict, the main conflict can be allocated. What is the main conflict of the drama "thunderstorm"? I believe that the main thing here is the conflict that unfolds inside the heroine itself. This is the confrontation of personality and society. Here we see that Katerina wants to be free, it is unacceptable to her life among violence, but only in Kalinov is different in a different way. Here either so, or in any way. But, the heroine does not put up with such a layout, and if it is impossible to live, as I want, it is better to die. She could not kill the freedom-loving person in favor of the established orders.

Why did this name chose the author for his work? Probably because the depicted life in Kalinov is in the prejudgement state, in the state when the catastrophe is coming. This is a thunderstorm, as a forerunner of future changes, a thunderstorm, like a spontaneous feeling that arose between Katerina and Boris, the thunderstorm is disagreement with strangers. And to emphasize the dead life of Kalinovsev, the author uses the image and description of the beautiful nature.