Speech characteristics of the heroes of the thunderstorm of the first action. Topic: "Speech Characteristics of Katerina

Federal Agency for the Education of the Russian Federation

Gymnasium № 123.

on literature

Speech characteristic of heroes in Drama A.N.ostrovsky

Work completed:

student 10 class "A"

Khomenko Evgenia Sergeevna

………………………………

Teacher:

Olga Vasilyevna Olga

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Evaluation ........................

Barnaul-2005.

Introduction .............................................................................

Chapter 1. Biography A. N. Oostrovsky ........................ ..

Chapter 2. History of the Condormance "Thunderstorm" .....................

Chapter 3. Katerina's Speech Characteristics .................. ..

Chapter 4. Comparative characteristics of wild and kabani .................................................................

Conclusion ..............................................................

The list of used with the price ..............................

Introduction

The drama of the Ostrovsky "Thunderstorm" is a self-darling work of the famous man. It was written in the period of public lifting, when the rusty serfdom, and in a stuffy atmosphere, a thunderstorm was really gathered. The Ostrovsky carries us into a merchant environment, where Domostroevsky orders were most stubborn. Residents of the provincial city live with a closed story of the social interests of life, in the ignorance of what is happening in the world, statelessness and indifference.

We appeal to this drama now. Very important for us are those problems that the author affects it. OstrovskySimates the problem of a public life fracture that occurred in the 50s, a change of public obscures.

After reading the novel, I set my goal, see the feature of the characteristics of the heroes and find out how the speech of the heroes helps to understand the Mishakter. After all, the image of the hero is created with the help of a portrait, through the help of the artistic means, using the characteristics of actions, and speech-accompical. For the first time seeing a person, according to his speech, intonation, behavior, can be understood by his inner world, some vital interests and, most importantly, his character. Speech characteristic is very important for dramatic performance, because it is through it that it is possible to see the essence of one or the inogoheroy.

In order to better understand the characteristics, kabani and wild, it is necessary to solve the following tasks.

I decided to start with the biographies' works and the history of the creation of "thunderstorms" to understand how the talent master of the speech characteristic of the characters was honed, because the author is very clearly the entire global difference between positive and negative heroes. Then I will consider the speech characteristic of Katerina and the making characteristic of wild and kabani. After all this, I will try to find a certain conclusion about the speech characteristics of the heroes and its role in the drama "Thunderstorm"

Working on the topic, I got acquainted with Articles I. A. Goncharov "Feedback on the drama" Thunderstorm "Ostrovsky" and N. A. Deboomrubov "Light of Light in the Dark Kingdom". Moreover, I studied Article A.I.Värvyakin "Features of Katerina's speech", where the main sources of language skaters are well shown. I found a diverse material about the biography of Ostrovsky and about the history of the Condormance in the textbook Russian literature of the XIH century V. Yu. Lebedev.

To deal with theoretical symbols (hero, characteristic, speech, author), I was helped by an encyclopedic seller of terms, published under the leadership of Y. Boreev.

Despite the fact that the drama of the island "thunderstorm" is devoted to multi-artistic articles, responses of literary criticism, the speech characteristic of the heroes is not completely, therefore it is of interest to research.

Chapter 1. Biography A. N. Ostrovsky

Alexander Nikolayevich is Ostiving on March 31, 1823 in Zamoskvorechye, in the very center of Moscow, in the Kolylislavnaya Russian history, which everyone said around, even the names of the Zamoskvoretsky streets.

Ostrovsky graduated from the first Moscow gymnasium in 1840, at the request of the Father, enters the Faculty of Faculty of Moskovskyovitis. But study at the university did not like him, conflicts arose by one of the professors, and at the end of the second course, the Ostrovsky quit "truly circumstances."

In 1843, his father identified him to the Moscow Communication Court. Quantity playwright it was an unexpected gift of fate. In court, considered fathers on unpleasant sons, property and other home disputes. The judgeaglubokok delved into the case, carefully listened to the arguing parties, and Pisovekostrovsky led records. The plaintiffs and the defendants during the investigation displaced, which is usually hiding and hidden from prying eyes. It was the present of the knowledge of dramatic supported life. In 1845, Ostrovsky moved to the Moscow commercial Sudicasener official of the table "for the cases of verbal violence." Here, he was numb with the industrial trafficking in the peasants, urban mothers, merchants, small nobility. Judged "according to conscience" of brothers and sisters, arguing onassey, insolvent debtors. In front of us, a whole molded conflict was revealed, all the different wealth of a living Great Russian language sounded. I had to guess the character of a person in his speech walla, the withoxinations of intonation. The talent of the future "realista-rumor", as is the Ostrovsky - playwright, master speech quality characteristics in his plays called himself, was brought up.

Having worked for the Russian scene of the unlimited forty years, Ostrovsky created a whole repertoire, about fifty pieces. Is Ostrovsky and still remain on stage. And after a plan, it is difficult to see the heroes of his plays near the heroes.

Ostrovsky died in 1886 in a sobly-free Volzhivanian estate, that in the Kostroma dense forests: the naughty shores of small winding rivers. The life of the writer for the most part of the event in these core places of Russia: where he could observe the original, who were still touched by the modern urban civilization of the customs and morals, to hear a fundamental Russian speech.

CHAPTER 2. HISTORY OF CONDRAMMES "Thunderstorm"

The creation of "thunderstorms" of the precedingment of the playwright on the upper Volga, undertaken on the task of Moscow, in 1856-1857. She revived and resurrected in the memory of youth adoption when in 1848 the Ostrovsky for the first time went with the household a popular journey to his father's homeland, in the Volga city of Kostroma and further, filled with the father of the Father Schelikovo. The result of this trip was Dietaryostrovsky, a lot to drive in his perception of the provincial Volga region.

During quite a long time, it took the plot of the "thunderstorms" the Ostrovsky to take the lives of KostromskOhOPA, which was the basis of it that was found in Kostroma on the outcome of 1859. Up to the beginning of the twentieth century Kostromichi, they pointed to the place of murderers - a gazebo at the end of a small boulevard, in those years a literal confusion over the Volga. Showed the house where she lived - next to the church. And when the "thunderstorm" first walked on the stage of the Kostroma Theater, artistimed "under the fangs".

Kostroma local historians set up later in the archive "Klyukovsky case" and with the documents in the hands they came to be kissing that this story was used by Ostrovsky in work on the "Thunderstorm". The coincidences were almost literal. A. P. Klyovkova was issued sixteen years old Vugrymnaya noticeable merchant family, which consisted of old people of parents, the son of an insieved daughter. The hostess of the house, harsh and raging, devoted to her husband and children. She forced the young Snow to do any blackwork, provided her to see her to see her relatives.

At the time of the Drama, the Klyova was nineteen years. In the past she was brought up in love and in the soul outflower in her, who was not a gambling grandmother, was a cheerful, living, cheerful. Now she was in the family unfaithfully hard. The young husband of her, fangs, carefree man, could not protect the wife of sweatshirts of mother-in-law and treated her indifferent. There were no children in the canine. Item on the way of a young woman stood up another person, Maryn, serving in a chief fleet. Suspicions began, scenes of jealousy. It ended in that on November 10, 1859, the body A. P. Klyukov was found in the Volga. A long trial began, who received a wide publicity, even outside the Kostroma province, and no one doubtedly doubted that Ostrovsky took advantage of this Materials by making "thunderstorms".

Many decades have passed before the researchers accurately found that the "thunderstorm" was written before the Kostroma Kuchakha Klykov rushed to the Volga. Working on the "Thunderstorm" Ostrovsky began in June-July 1859 and graduated from October 9 of the same year. For the first time, it was published in the January issue of the Library for Reading Library for reading the magazine. The first representation of the "thunderstorm" on the scene was held on November 16, 1859 by the Small Theater, in Benefis S. V. Vasilyev with L. P. Nikulina-Kositskaya in Rollerina. The version of the Kostroma source "Thunderstorm" was contrived. However, the fact of an amazing coincidence speaks of many ways: he testifies to the conjugation of the national playwright, causing the conflict increasing in the merchant and the conflict, in which Dobrolyzov was not designed "that refreshing and encouraging", and the famous theatrical figure S. A. Yuryev said: "Thunderstorm "Not Ostrovsky wrote ..." Thunderstorm "Volga wrote."

Chapter 3. Speech CharacteristicsCaterries

The main sources of the language of Katerina - folk spaciousness, folk oral poetry and church-literature.

The deep connection of its language with population is also affected in vocabulary, and imagery, and in syntax.

She spent his speech with verbal expressions, idioms of the folk spaciousness: "So as not to see me, neither father nor mother"; "Souls did not chayal"; "Sochole, you are Midudush"; "How long will fall in trouble"; "Be sin", in the sense of misfortune. But these animal phraseologisms are generally commonly commonly used. Only in the video instance in its speech there are morphologically incorrect education: "I don't know with my character"; "After that conversation,".

The image of her language is manifested by the villium of verbal-visual funds, in particular comparisons. So, in its speech more than twenty comparisons, and in all other actors of the play, blessing, a little more than this quantity. At the same time, its comparisons are widely prostrated, people's character: "It's exactly pigeon me," "exactly pigeons", "" exactly the mountain from the shoulders fell apart, "" I will burn hands, exactly coal. "

In the speech, Katerina often sounds the words of the and revolutions, motifs and echoes of folk poetry.

Turning to Varvar, the Caterible: "Why do people do not fly like birds? .." - etc.

Thank you about Boris, Katerina has long since the monologue says: "For what I now live, well, why? Nothing does not need, nothing is nice to me, and the light of God is not nice! "

There is a phraseological reference to a folk spacious and peace-song character. For example, the coup of folk songs, published by Sobolevsky, read:

In no way, it is impossible without a nice friend to live ...

I remember, I remember about the kind, not a milky light,

Not nice, not twigted white light ... I will go from the mountain into the dark forest ...

Going out on a date to Boris, Katerlyanovitsy: "Why did you come, my train?". In the people's wedding commander, the groom meets the words: "Here is my train."

In the final monologue, the cataterrial lead: "In the grave is better ... Under the Tver, the grave ... How good ... The sun is warm, it wins it ... In the spring, herbal grows, soft one ... Birds will be on the tree, will sing, children will bring the flowers, the flowers will bloom: Yellow, red , bluish ... ".

Here everything from folk poetry: dimensional-suffixes, phraseological turns, images.

For this part of the monologue, orally elacts are in abundance and direct textile compliance. For example:

... oak board will cover

Yes in the grave will be empty

And raw land will fall asleep.

Zarai, my grave,

You are a grass of ant

Still alay flowers!

Along with the folk spaciousness and international poetry, the language of Katerina, as already noted, the great influence of the maintenance of the Macericant literature.

"We have," she says, "there was a harass of a mantist. And come from the church, sit for anybody ... And the harass will tell you where they were that they saw, lively, or poems sing "(d. 1, Yavl. 7).

Owning is relatively rich, Katerina speaks freely, attracting a variety of psychological deeper comparisons. Her speech is pouring. So, her not alien words of the phrases of the literary language, like: a dream, thoughts, of course, exactly all this a second was, something in me is such an extraordinary.

In the first monologue, KaterinaRAskat about their dreams: "And what dreams I dreamed, Varnyka, what dreams! The orcrames are golden, or some extraordinary gardens, and everyone sing invisible voices, Ikiparis smells, and mountains and trees, as if not as usual, but how the definitions are written "

These dreams and in content, and on the forefamilous expression are inspired, undoubtedly, spiritual verses.

The speech of Katerina is non-tolcakexic-phraseological, but also syntactically. It consists mainly of the isflared and complex sentences, with the formulation of the phrases being tamed at the end: "It will take time to lunch. Here the old women will fall asleep, and I walk in the garden ... it was good "(d. 1, Yavl 7).

Most often, as is characteristic of the Princess of People's Speech, Katerina has proposals through unions and Ida. "And come from the church ... And the harass will tell ... And that as if I fly ... Akaky dreams were dreaming."

The floating speech of Katerina sometimes becomes the nature of the people in due: "Ah, my trouble, trouble! (Crying) Cuddle, poor, going? For whom I grab? "

Speech Katerina is deeply emotional, lyribically sincere, poetic. To give her speech emotionally poetical, the dimensions are both decreasing suffixes, so inherent in people's speech (keystones, water, children, grain, rain, grass), and amplifier particles ("How did he regret me? What words did you say?") , and interjections ("Oh, how I am bored!").

Lyric incessia, the poetry of Katerina give epithets going after the defined words (the temples are gold, unusual gardens, miseles), and repetitions, so characteristic oral pectoys.

Ostrovsky reveals not only her passionate, gentle-poetic nature, but also a volitional force. The wives of Katerina shade out the syntactic design of the asserting or negative nature.

Chapter 4. Comparative speech characteristic of wild and

Kabanii

In the drama of the Ostrovsky "Thunderstorm" Wild and Kabaniha - representatives of the "darkness". It seems that Kalinov is hardened off from all the rest, the highest fence lives and lives some special, closed life. The Ostrovsky concentrated on the most important, showing the wretchedness, the wildness of the Russian patriarchal life, because all this life is only worth the overall, outdated laws that, Obviously, completely ridiculous. "Domesticity" is tented for its old, well-established. This is standing on a single one. And such standing is possible if it is supported by people who have strength and power.

A more complete, in my opinion, the idea of \u200b\u200ba person can give Egorchchch, that is, the usual and specific expressions inherent in this genera. We see how wildly, as if nothing had happened, it can be offended. He does not put anything not only around, but even his relatives. His pet live in constant fear before his anger. Wildly mocks his nephew. It is enough to remember his words: "The raspberry said, two you told you"; "Do not dare to meet me"; You will have a dream! Do you have little place? Wherever the Paddy, here you are. Ugh you, damned! What are you as a pillar cost something! Are you talking al no? ". Wildly frankly shows that his nephew does not respect completely. He puts himself higher than all-free. And no one has the slightest resistance. He Ruigaewitwestech, who feels his power over whom, but if someone wars himself, he can not answer, then keep all the home! On them, the wilderness and will disappear.

Wild - "significant face" in the city, merchant. This is how Shapkin says about him: "There is a cursor, as we have Savelprocofych, look more. For nothing will tear up. "

"View unusual! Beauty! The soul is rejoicing! "Kuligin exclaims, but against the background of an etco -prised landscape, a non-good picture of life is drawn, which appears the front in the" thunderstorm ". It is Kuligin that gives an accurate and clear characteristic of life, moralizing customs reigning in the city of Kalinov.

So, like wild, kabanihasted by egoistic inclinations, she only thinks about himself. Zealigorod Kalinov speaks about wild and bubbanis very often, and it makes it possible to get rich material about them. In conversations with Kudryash, Shapkin calls a wild "crouther", Kudryash calls him a "piercing man." Kabaniha Reasonable "Warrior". All this speaks about the griminess and nervousness of his character. About the boat and not too flattering. Kuligin calls her "Hangeh", it is ignited that she is "begging wonders, but at all at all." It is characterized by a bitch with a bad side.

We are amazed by their heartlessness to people dependent from them, the unwillingness to part with the money of the bastards with the workers. Recall that he tells the wild: "On the post somehow, Ovellik, I gove, and here it was not easy and drowning with a man, I came for money, I fed up ... I sinned the same: Izrupal, so Izrupal ... I almost nailed." All relationships in people, in their opinion, are built on wealth.

Kabaniha is richer wild, and therefore administered by the only man in the city, in communicating with which the wild should be. "Well, you're not very throatless! You find me cheaper! And I tebnedorog! "

Another feature that thems have been religious. But they perceive God, not like someone, CToproins, but as someone who can punish them.

Kabaniha, like no one, reflects the whole of this city to the old traditions. (She teaches Katerina, Tikhon, how to live in general and how to behave in a concrete case.) Kabanova trying to good, sincerely, and the most importantly unfortunate woman, trying to justify the actions of age: "The mother is old, stupid; Well, you, young people, smart, briefly with us, fools, and collect. " But these statements are more likely to reliably than on sincere recognition. Kabanova considers himself a center of attention, onna can imagine what will be with the whole world after her death. Kabaniha Jedo's absurdity is blindly predicted with his old traditions, forcing everyone to sleep on his dull. It forces Tikhon to say goodbye to the inadequate, causing laughter and a sense of regret by others.

On the one hand, it seems that the wilderbore is stronger and, therefore, worse. But, looking around, we see, it is capable only to shout and rushing. She managed to subordinate to themselves, keeps everything under control, she even tries to manage the relationship between people, which leads to Katerina to death. Kabaniha Schitra and smart, unlike wild, Ieto makes her more terrible. In the speech of the Kabani, the duality of speech is very clearly manifested. She is very bold and rudely talking with drill, but at the same time, during communication, he wants to seem good, sensitive, sincere, and the most importantly unfortunate woman.

We can say that wild is committed. He tells Boris: "You got! I'm with you and I do not want to say a season. " Wildly uses in his speech "with Yezuitis" instead of "with Jesuit". Takon also accompanies his speech by splashes, which finally shows EDCCULTURE. In general, throughout the drama, we see it with a shocking torture. "You're still something here! What else is Chour of Water! "What a man is extremely rude and uncompatible man.

Wild rich and straightline in his aggressiveness, he performs actions, sometimes causing bewilderment and surprise among others. He is able to offend and beat a man, not a surrender of money, and then in front of everyone to stand in front of him in the mud, asking for forgiveness. She is able to throw thunder and lightning on his home, embelgery hiding from him.

Therefore, it can be concluded that the wild and bubble cannot be considered typical representatives of mercenary. These characters of the island drama are very similar and distinguished by essential inclinations, they only think about themselves. And even their own degree of any degree seems to them. Such an attitude cannot decorate people, that is why wild and kabani cause persistent negative emotions from readers.

Conclusion

Speaking about Ostrovsky, in my opinion, we can with full right to name an unsurpassed Word Master, an artist. Characters in the play "Thunderstorm" appear before us as living, with bright embossed characters. Each word, said by the hero, reveals some new facet of his character, shown on the other side. The character of man, his mood, the attachment relationship, even if he does not want it, manifest themselves in speech, and the island, the real master of the speech characteristic, notes these screenshots. Warehouse speech, remembering the author, can very much tell the reader about the character. Thus, each acting person acquires its individuality, a unique-sink. This is especially important for the drama.

In the "thunderstorm" of Ostrovsky, we can a clearly highlighting Hero of Katerina and two negative Hero of Wild and Kabanchi. It is found, they are representatives of the "Dark Kingdom". And Katerina is a solid person who is trying to deal with them. The image of katerina is bright and alive. The main character speaks beautifully, figuratively. Its speech is replete with subtle semantic shades. In Katerina monologues, as in a drop of water, the entire rich inner world is reflected. In the speech of the Character, the attitude of the author to him appears. With what love, sympathetic industry belongs to Katerina, and how sharply he condemns the self-smuggling of the Kabani Idiky.

He paints the Kabanchu as a conviction officer of the mains of the "Dark Kingdom". It strictly observes all the diaracierry of the antiquity, does not tolerate in any manifestation of personal will, possessing power over the surrounding.

As for the wild, the island can be able to all anger and anger that boils in his soul. Wildly afraid of an example, including the nephew Boris. He is open, rude and unceremonen. Noboba possessing the power of the hero is unhappy: they do not know what to do with a silent character.

In the drama of Ostrovsky "Thunderstorm", with help, the writer managed to characterize the heroes and create brightcardine of that time. "Thunderstorm" is very strong on the impact on the reader, the viewer. The heroes do not leave indifferent hearts and the minds of people, which is manifested by a detached writer. Only a true artist can create such magnificent, eloquent images, only such a master of speech characteristics can be able to reader about heroes only with the help of their own words, intonations, non-commissioning to any other additional characteristics.

List of used

1.

A. N. Ostrovsky "Thunderstorm". Moscow "Moscow Worker", 1974.

2.

Yu. V. Lebedev "Russian Literature of the Hih Century", part2. Enlightenment », 2000.

3.

I. E. Kaplin, M.T. Pinaev "Russian literature". Moscow "Enlightenment", 1993.

4.

Y. Borev. Easthetics. Theory. Literature. Encyclopedic Dictionary of Terms, 2003.

In the drama of the Ostrovsky "Thunderstorm" wild and kabaniha - representatives of the "Dark Kingdom". It seems that Kalinov is fenced off from the rest of the world with the highest fence and lives some kind of special, closed life. The Ostrovsky focused on the most important thing, showing the wretchedness, the wildness of the morals of the Russian patriarchal life, because all this life is only worth the usual, outdated laws that are obviously completely ridiculous. The "Dark Kingdom" is tenacious for its old, established. This is standing in one place. And such standing is possible if it is supported by people who have strength and power.

A more complete, in my opinion, the idea of \u200b\u200ba person can give his speech, that is, the usual and specific expressions inherent in only this hero. We see how wild, as if nothing had happened, just can offend a person. He does not put anything not only around, but even his relatives and relatives. His pet live in constant fear before his anger. Wildly in every way mocks his nephew. It is enough to remember his words: "Time I told you, you told you two"; "Do not dare to meet me"; All hire you! Do you have little place? Wherever the Paddy, here you are. Ugh you, damned! What are you as a pillar cost something! Are you talking al no? ". Wildly frankly shows that his nephew does not respect completely. He puts himself above all others. And no one has the slightest resistance. He scolds everyone, who feels his strength on whom, but if someone wars himself, he will not be able to answer, then keep all your home! On them, the wild and ruins all his anger.

Wild - "significant face" in the city, merchant. This is how Shapkin says about him: "There is also a cursor, as we have Savel Prokofich, look more. For nothing will tear up. "

"View unusual! Beauty! The soul is rejoiced! "- Kuligin exclaims, but against the background of this beautiful landscape there is a wasteless picture of life, 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.

So, like wild, Kabaniha is distinguished by selfish inclinations, she only thinks about himself. Residents of the city of Kalinov speak about wild and bubbanis very often, and it makes it possible to get rich material about them. In conversations with Kudryash, Shapkin calls a wild "crouther", Kudryash calls him a "piercing man." Kabaniha calls wild "warrior". All this indicates the griming and nervousness of its character. Reviews of the boat are also not too flattering. Kuligin calls her "Hangehog" and says that she is "beggars wandering, but at all the home and home." It characterizes the checkout from a bad side.

We are amazed by their heartlessness in relation to people dependent from them, reluctance to part with money when calculating with workers. Recall that he says Wild: "On the post somehow, about great, I gove, and here it is not easy and drowning a man, I came for money, I drove it ... I sinned the same: I stole me, so I stupid ... I didn't come sick." All relations between people, in their opinion, are built on wealth.

Kabaniha is richer wild, and therefore she is the only person in the city, in communicating with which the wild should be polite. "Well, you're not very throatless! You find me cheaper! And I'm the road! ".

Another feature that unites them is religiousness. But they perceive God, not as someone who forgives, but as someone who can punish them.

Kabaniha, like no one, reflects all the commitment of this city to the old traditions. (She teaches Katerina, Tikhon, how to live at all and how to behave in a concrete case.) Kabanova is trying to seem good, sincerely, and the main thing is the unfortunate woman, trying to justify his actions by age: "The mother is old, stupid; Well, you, young people, smart, should not be with us, fools, and collect. " But these statements are more like irony than sincere recognition. Kabanova considers himself a center of attention, she cannot imagine what will be with the whole world after her death. Kabaniha, until the absurdity, is blindly predicted with his old traditions, forcing everyone home to dance under her dull. She forces Tikhon to say goodbye to his wife in ancient times, causing laughter and a sense of regret by others.

On the one hand, it seems that wild rougher, stronger and, therefore, worse. But, looking around, we see that wildly capable of screaming and rushing. She managed to subordinate to themselves, keeps everything under control, she even tries to manage the relationship between people, which leads to Katerina to death. Kabaniha Schitra and smart, unlike wild, and it makes her more terrible. In the speech of the Kabani, the hypocrisy is very clearly manifested, duality of speech. She is very bold and rudely talking to people, but at the same time, during communication, he wants to seem good, sensitive, sincere, and the main miserable woman.

We can say that wild is completely unlimited. He tells Boris: "You got! I'm with you and I do not want to talk with Yezuita. " Wildly uses in his speech "with Yezuitis" instead of "with Jesuit". So he also accompanies his speech by spitting, which finally shows him blessing. In general, throughout the drama, we see his speaking of their speech by Branj. "You're still something here! What else is Chour of Water! ", What shows him the man is extremely rude and uncompatible.

Wild rich and straightline in his aggressiveness, he performs actions, sometimes causing bewilderment and surprise among others. He is able to offend and beat the man, without giving the money, and then in front of everyone to stand in front of him in the mud, asking for forgiveness. He Buyan, and in a beep, it is capable of throwing thunder and lightning on his home, in fear of hiding from him.

Therefore, it can be concluded that the wild and bubble cannot be considered typical representatives of the merchant class. These characters of the island drama are very similar and distinguished by selfish inclinations, they only think about themselves. And even their own children to some extent seem to be hindered. Such an attitude cannot decorate people, that is why wild and kabani cause persistent negative emotions from readers.

Reading the plays of Alexander Nikolayevich Ostrovsky, note that they are inherent in the immutable clarity of the author's position, which is achieved primarily through speech characteristics. In 1845, Ostrovsky worked at the Moscow Commercial Court by the stationery official of the table "for the cases of verbal violence." In front of him, the whole world of dramatic conflicts was revealed, it sounded all the different wealth of a living Great Russian language. I had to guess the character of a person in his speech warehouse, according to the features of intonation. So was brought up and the talent of the future master of the speech characteristics of the characters in his plays was reappeared.
Ostrovsky in the drama "Thunderstorm" very clearly distinguishes the positive and negative heroes of his work. All the most important features of characters are clearly visible, their place in the story of therapy.
Consider a speech characteristic as part of the image of Katerina. The epigraph of the play serves as a song about the tragicity of good and beauty: the richer the man is spiritually and more sensitive, the more dramatic to its existence. The song anticipates the fate of the heroine with her human accuracy ("Where can I relax with the heart when the thunderstorm goes?"), With her vain aspirations to find support and support in the surrounding world ("Where to me, poor, to go?" For whom I have to grasp? ") . In a difficult minute of life, Katerina will challenge: "It's little dead, it would be better if it would fly from cornflower on cornflower in the wind, like a butterfly."
"What I was harsh! - Katerina is drawn to Varvar, but immediately, decoch, adds: - I got at all at all. " Katerina's soul really fades wild and wild and kabani world.
Treason Katerina is undoubtedly a crime, and she understands the whole severity of his act, but can not live without love she found in Boris. And, as if justifying in front of me, Katterina says: "Well, I still ruin my soul, I will destroy my soul." The heroine is extremely conscientious and religious. "It's not terrible that kills you, but the fact that death will suddenly find you, as you are, with all your sins." "Fear" has always been understood by the Russian people as an exacerbated moral self-consciousness.
Katerina suffers too hard to transfers spiritual flour in this terrible society: the mockery of the Kabani, the cold attitude of her husband and disappointment in love. Katerina hopes that God will forgive her sins as a martyr.
The ratio of Katerina to the family and the Ostrovsky society expresses in the words: "And people are disgusting to me, and the house I am fighting and the walls are disgusting! I will not go there! No, no, I will not go! Come to them, they go, they say, but what am I talking to me? " Ostrovsky clearly shows that Katerina without hesitation agrees to death: "So quiet! so good. And I don't want to think about life. Again to live? No, no, no need ... Not good! "
Her death is a challenge to all the inhabitants of the "Dark Kingdom". Katerina is not just tired of terrible life in this light. She does not want to put up, does not want to condemn her live soul on miserable stagnation. Katerina protests against Kabanov's concepts about morality. And Tikhon only in the final of this terrible tragedy demonstrates something similar to the protest: "Mama, you wanted her! You, you, you ... "

Other abstracts on the subject literature

»Evaya Power, Katerina's decisiveness shall be drawn by syntactic structures of a sharply approving or negative nature.

Chapter 4. Comparative Speech Characteristics Wild and

Kabanii

In the drama of the island of Wild and Kabani, representatives of the Dark Kingdom. It seems that Kalinov is fenced off from the rest of the world with the highest fence and lives some kind of special, closed life. The Ostrovsky focused on the most important thing, showing the wretchedness, the wildness of the morals of the Russian patriarchal life, because all this life is only worth the usual, outdated laws that are obviously completely ridiculous. The Dark Kingdom is tenacious for its old, well-established. This is standing in one place. And such standing is possible if it is supported by people who have strength and power.

A more complete, in my opinion, the idea of \u200b\u200ba person can give his speech, that is, the usual and specific expressions inherent in only this hero. We see how wild, as if nothing had happened, just can offend a person. He does not put anything not only around, but even his relatives and relatives. His pet live in constant fear before his anger. Wildly in every way mocks his nephew. It is enough to remember his words: since I told you, two you told you; Do not dare to meet me; All hire you! Do you have little place? Wherever the Paddy, here you are. Ugh you, damned! What are you as a pillar cost something! Are you talking al no? Wildly frankly shows that his nephew does not respect completely. He puts himself above all others. And no one has the slightest resistance. He scolds everyone, who feels his strength on whom, but if someone wars himself, he will not be able to answer, then keep all your home! On them, the wild and ruins all his anger.

Wildly significant face in the city, merchant. This is how Shapkin says about him: there is such a crossover, as we have Savel Prokofich, look more. For nothing will tear.

The view is unusual! Beauty! The soul rejoices! - Kuligin exclaims, but against the background of this beautiful landscape there is a noticeable picture of life, which appears in front of us in a thunderstorm. It is Kuligin that gives an accurate and clear characteristic of life, morals and customs reigning in the city of Kalinov.

So, like wild, Kabaniha is distinguished by selfish inclinations, she only thinks about himself. Residents of the city of Kalinov speak about wild and bubbanis very often, and it makes it possible to get rich material about them. In conversations with Kudryash, Shapkin calls a wild croutine, Kudryash calls him a piercing man. Kabaniha calls wild warrior. All this indicates the griming and nervousness of its character. Reviews of the boat are also not too flattering. Kuligin calls her Hangeh and says that she will wrap up, and homemade lies at all. It characterizes the checkout from a bad side.

We are amazed by their heartlessness in relation to people dependent from them, reluctance to part with money when calculating with workers. Recall that he tells wild: about the post somehow, about the great, I gove, and here it was not easy and drowning with a man, I came for the money, I drove ... I sinned the same: Izrupal, so Idrupal ... I almost nailed. All relations between people, in their opinion, are built on wealth.

Kabaniha is richer wild, and therefore she is the only person in the city, in communicating with which the wild should be polite. Well, you are not very throat, then dissolve! You find me cheaper! And I'm the road!.

Another feature that brings them together is religiosity. But they perceive God, not as someone who forgives, but as someone who can punish them.

Kabaniha, like no one, reflects all the commitment of this city to the old traditions. (She teaches Katerina, Tikhon, how to live at all and how to behave in a concrete case.) Kabanova is trying to seem good, sincerely, and the most importantly unhappy woman is trying to justify his actions by age: the mother is old, stupid; Well, you, young people, smart, should not be with us, fools, and collect. But these statements are more like irony than sincere recognition. Kabanova considers himself a center of attention, she cannot imagine what will be with the whole world after her death. Kabaniha, until the absurdity, is blindly predicted with his old traditions, forcing everyone home to dance under her dull. She forces Tikhon to say goodbye to his wife in ancient times, causing laughter and a sense of regret by others.

Homework

1. Collect a quote material for the characteristics of Katerina.
2. Read II and III actions. Note in the monologues of Katerina phrases, testifying to the poetry of her nature.
3. What is the speech of Katerina?
4. What is the difference between life in the house of parents from life in the house of her husband?
5. What is the inevitability of Katerina's conflict with the world of the "Dark Kingdom", with the world of Kabanova and Wild?
6. Why next to Katerina Varvara?
7. Does Katerina Tikhon love?
8. Happiness or misfortune on the life path of Katerina Boris?
9. Is it possible to consider the Katerina suicide protest against the "Dark Kingdom"? Maybe the protest is in love for Boris?

The task

Using the material cooked at home, characterize Katerina. What features of her character appear in the first remarks?

Answer

DI, Yavl. V, p.232: Inability to hire, lie, straight. The conflict is scheduled immediately: Kabaniha does not tolerate self-esteem in people, Katerina does not know how to fit and subjugate. In Katerina, there is a hardness, volitional determination, who is heard and in her story about sailing onto the boat, and in its own deeds, and its deceleration, and in its subsection of Petrovna, a rock". D.II, Yavl. II, p. 242-243, 244.

Therefore, Katerina fails to put on his knees, and this significantly complicates the conflict opposition of two women. There is a situation when, according to the proverb, Kosa found on a stone.

Question

What else differs Katerina from the inhabitants of the city of Kalinov? Find areas in the text where Katerina's poeticity is emphasized.

Answer

Katerina - a poetic nature. Unlike coarse Kalinovans, she feels the beauty of nature and loves her. By the morning Ranhonko I got up ... oh, yes, I lived in the mother, like a flower bloom ...

"I got up, I happened, early; if in the summer, so I'm going to the key, I wonder, I will bring the water to myself and everything, all the flowers in the house of Poland. I had a lot of flowers, a lot," she tells about her childhood. (D.I, Yavl. VII, p. 236)

Her soul constantly stretches to beauty. Its were filled with wonderful, fabulous visions. It often dreamed of her that she flies like a bird. She speaks about wanting to fly several times. (D.I, Yavl. VII, p. 235). These repetitions of the playwright emphasize the romantic elevation of the soul of Katerina, her freedom-loving aspirations. Issued early married, she tries to get along with mother-in-law, love her husband, but in the house of Kabanov, sincere feelings are not needed.

Katerina Religino. With her impressionability, religious feelings, grafted in childhood, were firmly mastered her soul.

"To death, I loved to go to the church! Exactly, I happened, I'm in a paradise enter, and I do not see anyone, and I don't remember time, and I don't hear when the service will end," she recalls. (D.I, Yavl. VII, p. 236)

Question

And how do you describe the speech of the heroine?

Answer

In the speech, Katerina reflects all the wealth of its inner world: the power of feelings, human dignity, moral purity, truthfulness of nature. The power of feelings, the depth and sincerity of the experiences of Katerina find the expression and in the syntactic structure of its speech: rhetorical questions, exclamations, unfinished proposals. And in particularly intense moments, it acquires it the features of the Russian folk song, becomes smooth, rhythmic, singers. In her speech there are spacious, the words of a church-religious nature (live, angels, the temples are golden, the image), expressive funds of the national poetic language ("The wind of the buoy, transfer to him my sadness-longing"). We are rich in intonation - joyful, sad, enthusiastic, sad, disturbing. Intonation express the ratio of Katerina to others.

Question

Where did these features come from? Tell me how Katerina lived to marriage? What is the difference between life in the house of parents from life in her husband's house?

Answer

P.235 D.I, Yavl. VII ("Whether I was!")

Output

Externally, the living conditions in Kalinov do not differ from the setting of Katerina's childhood. The same prayers, the same rites, the same classes, but "here", notes the heroine, "everything is as if from under the capture." And the brick is incompatible with its freedom-loving soul.

Question

What is the protest of Katerina against the "Dark Kingdom"? Why can't we call her "victim", nor an "hostess"?

Answer

Katerina differs in a warehouse of character from all actors "Thunderstorms". One-meter, honest, sincere, it is unable to lie and false, so in a cruel world, where wild and kabanovs reign, her life is tragic. She does not want to adapt to the world of the "Dark Kingdom", but also it is impossible to call it. She protests. Her protest is love for Boris. This is freedom of choice.

Question

Does Katerina Tikhon love?

Answer

Having married, apparently, not in his will, she initially ready to become an exemplary wife. D.II, Yavl. II, p. 243. But such a rich nature as Katerina cannot love a primitive, limited person.

D. V, Yavl. III, C.279 "Yes, he pushed me, pushed, caressing his worse me worse."

Already at the beginning of the play, we learn about her love for Boris. D. I, YAVL.VII, p.237.

Question

Happiness or misfortune on the life path of Katerina Boris?

Answer

Love for Boris itself is a tragedy. D.V, Yavl. Iii, p. 280 "On trouble I saw you." It is even not far from Kudryash, warning it up with anxiety: "Eh, Boris Grigoryvich! (...) After all, it means that you really want her, Boris Grigorich! (...) And here what kind of people are here! You know. Eat In the coffin, they are thrown. (...) Only you look - do not make a trouble, but don't enter her in trouble! We put it, even at her husband and fool, and the mother-in-law is painful.

Question

What is the complexity of the internal state of Katerina?

Answer

Love for Boris is: free choice, dictated by heart; Cheating, which puts Katerina in one row with barbara; Failure to love is subordination to the world of Kabani. Love-choice is circumscribed by Katerina on torment.

Question

How in the scene with the key and scenes of a date and goodbye with Boris showing the torment of the heroine, the struggle, her strength? Analyze the vocabulary, the construction of proposals, folk elements, links with folk song.

Answer

D.III, scene II, Yavl. III. p. 261-262, 263

D.V, Yavl. III, p. 279.

Scene with the key: "What am I saying, what am I cheating? I even die, but see him. " Scene of a date: "Let everyone know, let everyone see what I do! If I was not afraid of sin for you, would I fight a human court? " Scene Farewell: "My friend! My joy! Goodbye!" All three scenes show the determination of the heroine. She did not change themselves anywhere: he decided on love at the lawyer of the heart, confessed to treason on the inner feeling of freedom (a lie always insecluded), came to say goodbye to Boris not only because of the sense of love, but also because of the sense of guilt: he suffered for her. She rushed into the Volga at the request of his free nature.

Question

So what is the basis of protest Katerina against the "Dark Kingdom"?

Answer

At the heart of Katerina's protest against the oppression of the Dark Kingdom, there is a natural desire to defend the freedom of his personality. Unwearing is the name of its main enemy. All his being, Katerina felt that live in the "Dark Kingdom" worse death. And she chose the death of captivity.

Question

Prove that the death of Katerina is a protest.

Answer

The death of Katerina is a protest, rebellion, calling for action. Barbara escaped from the house, Tikhon accused her mother in his wife's death. Kuligin threw reproach in a mercouch.

Question

Can the city of Kalinov live in old age?

Answer

Most probably not.

The fate of Katerina acquires a symbolic meaning in the play. Not only the heroine of the play dies - the Patriarchal Russia, patriarchal morality goes away and goes into the past. Ostrovsky's drama as it were to capture People's Russia on a fracture, on the threshold of a new historical era.

For imprisonment

Piece to this day sets many questions. First of all, it is necessary to understand the genre nature, the main conflict "Thunderstorms" and understand why N.A. Dorobrubov in the article "Light of Light in the Dark Kingdom" wrote: "Thunderstorm" is, no doubt, the most resolute work of Ostrovsky. The author himself called his work drama. Over time, the researchers have increasingly called the "thunderstorm" of the tragedy, based on the specifics of the conflict (clearly tragedy) and the nature of Katerina, which raised the focus on society somewhere on the periphery of society. Why did Katerina died? Because she got a cruel mother-in-law? Because she, being a man's wife, did a sin and could not stand the flour of conscience? If you restrict ourselves to these problems, the content of the work is significantly depleted, comes down to a separate, private episode from the life of such a family and deprived of high trageda.

At first glance it seems that the main conflict of the play is a clash of Katerina with Kabanova. If Marfa Ignatievna kinder, softer, humane, hardly a tragedy would happen to Katerina. But the tragedy could not be, if Katerina knew how to lie, adapt, if it had not judged herself so strictly, if it was easier and calmer looked at life. But Kabaniha remains rude, and Katerina - Katerina. And each of them reflects a certain life position, each of them comes in accordance with its principles.

The main thing in the play is the inner life of the heroine, the emergence of something new in it, still unclear her. "Something in me is such an extraordinary, I definitely start to live again, or ... I don't know," she admits her husband's sister Varvar.