The composition "Problems of the Piez" Thunderstorm "island. Moral problems in the play A.N

Without a doubt, the "thunderstorm" (1859) is the top of the drama of Alexander Ostrovsky. The author shows the example of family relations the most important changes in the socio-political life of Russia. That is why his creation needs a detailed analysis.

The process of creating a "thunderstorm" play by many threads is associated with past periods in the works of Ostrovsky. The author attracts the same problem as in the "Muscovite" plays, but the image of the family receives another interpretation (in the novelty there was a denial of the stagnation of patriarchal life and the Move of Domostrous). The appearance of a light, good start, natural heroine is an innovation in the author's work.

The first thoughts and sketches of the "thunderstorms" appeared in the summer of 1859, and in early October the writer had a clear idea of \u200b\u200bthe whole picture. The work has greatly influenced the journey along the Volga. Under the patronage of the maritime ministry, an ethnographic expedition was organized to study the customs and morals of the indigenous population of Russia. Ostrovsky also participated in it.

The city of Kalinov is a collective image of various Volga cities, simultaneously similar to each other, but having their distinctive features. Ostrovsky, as an experienced researcher, all his observations about the life of the Russian province and the specifics of the behavior of the inhabitants contributed to the diary. On the basis of these records, the characters "thunderstorm" were created later.

Meaning of the name

Thunderstorm is not only a rampant of the elements, but also a symbol of collapse and cleansing the stagnant atmosphere of the provincial town, where the medieval orders of Kabani and Wildlife ruled. This is the meaning of the title of the plays. With the death of Katerina, which occurred during a thunderstorm, the patience of many people is exhausted: Tikhon rises against the tyranny of the mother, Barbara runs away, Kuligin openly blames the inhabitants of the city in what has happened.

For the first time, Tikhon spoke to the thief during the farewell ceremony: "... two weeks there will be no thunderstorm." Under this word, he meant the oppressive atmosphere of his house, where the ball is ruled by a despotic mother. "Thunderstorms are sent to us in punishment," says Wild Culgin. Samodor understands this phenomenon as a kara for his sins, he is afraid to pay for an unfair attitude towards people. Kabaniha solidar with him. The punishment for sin in thunder and zipper sees Katerina, whose conscience is also not cleaned. Righteous God's Right is such another role of thunderstorms in the play of Ostrovsky. And only Kuligin understands that in this natural phenomenon you can only find an outbreak of electricity, but its advanced glances are not yet served in the city in need of purification. If you need more information about the role and thunderstorm value, you can read on this topic.

Genre and direction

"Thunderstorm" is a drama, according to A. Ostrovsky. This genre defines a heavy, serious, often household plot approached by reality. Some reviewers mentioned more accurate wording: household tragedy.

If we talk about the direction, then this play is absolutely realistic. The main indicator of this, perhaps, is a description of the morals, hagging and household aspects of the existence of residents of provincial Volga cities (a detailed description). The author gives this great importance, carefully outlining the realities of the life of heroes and their images.

Composition

1. Exposure: Ostrovsky draws the image of the city and even the world in which the heroes live and future events unfold.
2. Next, the Katerina conflict tie with a new family and society as a whole and internal conflict (Katerina and Barbara dialogue).
3. After the strings, we see the development of action, during which the heroes seek to resolve the conflict.
4. Closer to the final conflict comes to the moment when problems require urgent permission. Culmination is the last monologue of Katerina in 5 action.
5. Following it, the isolation that shows the intractability of the conflict on the example of the death of Katerina.

Conflict

In the "Thunderstorm" you can allocate several conflicts:

1. First, this is the confrontation between self-directions (wild, kabaniha) and victims (Katerina, Tikhon, Boris, etc.). This is a conflict between two worldviews - old and new, thorough and freedom-loving characters. This conflict is lit.
2. On the other hand, the action exists due to the conflict psychological, that is, internal - in the soul of Katerina.
3. Social conflict gave the beginning of the previous one: Ostrovsky begins his work from marriage of the impoverished nobility and merchant. This trend spread widely during the author. The ruling aristocratic estate began to lose power, the poor and ruining due to idleness, wastefulness and commercial illiteracy. But merchants gained momentum due to unprincipledness, assertion, business grip and couch. Then, some decided to fix things at the expense of others: nobles were given sophisticated and educated daughters for rude, ignorant, but rich sons from the merchant guild. Because of this inconsistency, the marriage of Katerina and Tikhon is initially doomed to failure.

Essence

Brought up in the best traditions of aristocracy, the nobleman of Katerina at the insistence of parents married the unwanted and mild drunkard of Tikhon, who belonged to a rich merchant race. His mother oppresses the daughter-in-law, imposing the fake and ridiculous orders of Domostroye: to cry out the husband before leaving her husband, to humiliate in front of us in humans, etc. A young heroine finds sympathy from the daughter of Kabani, Barbara, who teaches a new relative to hide their thoughts and feelings, secretly acquiring the joy of life. During the departure of her husband, Katerina falls in love and begins to meet with the wildheard of Wild, Boris. But their dates end in separation, because the woman does not want to hide, she wants to escape with his beloved in Siberia. But the hero can not risk taking it with him. As a result, she still rises to her husband and mother-in-law in sins, gets a harsh punishment from the Kabani. Understanding that conscience and homely neuts do not allow her to live on, she rushes into the Volga. After her death, the young generation Bunutuet: Tikhon reproaches the mother, Barbara runs away with Kudryash, etc.

In the play of Ostrovsky, features and contradictions are combined, all the advantages and cons of destroying Russia of the XIX century. The town of Kalinov is a collective image, a simplified model of the Russian society, described in detail. Looking at this model, we see the "needed need for people of active and energetic." The author shows that the outdated worldview prevents only. It spoils first the relationship in the family, and later does not give the cities and the whole country to develop.

Main characters and their characteristics

In the work there is a clear system of characters into which the images of heroes fit.

1. First, these are oppressors. Wildly is a typical samotor and a rich merchant. From his insults, relatives run through the corners. The servants wild treats cruelly. Everyone knows that it is impossible to please him. Kabanova is an embodiment of the patriarchal lifestyle, outdated housework. Rich Kupchikha, widow, she constantly insists on compliance with all the traditions of ancestors and herself clearly. We described them in more detail in this.
2. Secondly, adapted. Tikhon is a weak man who loves his wife, but cannot find her strength to protect her from the mother's oppression. He does not support old orders and traditions, but does not see the meaning to go against the system. That and Boris, who tolerates his rich uncle. The disclosure of their images is devoted to this. Varvara - daughter Kabanihi. She takes her deception, living double life. In the afternoon, it formally obeys convention, at night walks with Kudryash. False, dodgy and cunning do not spoil her cheerful, adventurous ingredients: she is also good and responsive to Katerina, gentle and caring towards her beloved. The characteristic of this girl is devoted to the whole.
3. Katerina is a mansion, the characteristic of the heroine is different from all. This is a young intelligent nobleman that parents surrounded understanding, care and attention. Therefore, the girl is accustomed to freedom of thought and words. But in marriage, she faced cruelty, rudeness and humiliation. At first she tried to accept, love Tikhon and his family, but nothing came out: Nature of Katerina resisted this unnatural union. Then she tried the role of a hypocritical mask, which has a secret life. She also did not fit, because the heroine is distinguished by direct, conscience and honesty. As a result, she decided to go to the riot, acknowledging sin and then committed more terrible - suicide. For details about the image of Katerina, we wrote in dedicated to her.
4. Kuligin is also a special hero. He expresses a copyright position, bringing progressiveness to the archaic world. Hero - self-taught mechanic, it is educated and smart, unlike the superstitious inhabitants Kalinov. About his role in the play and character we also composed a brief.

Topics

• The main topic of the work - life and morals Kalinova (we were dedicated separately). The author describes the stubble province to show people that it is not necessary to cling to the remnants of the past, you need to understand the present and think about the future. And the inhabitants of the Volga Town froze out of time, their life is unitable, fake and empty. It is spoiled and inhibited in the development of superstition, conservatism, as well as the reluctance of self-rigs to change for the better. Such Russia will be labeled in poverty and ignorance.
• Also important topics are love and family here, since the problems of education and the conflict of generations rise during the narration. The influence of the family on certain heroes is very important (Katerina is a reflection of the upbringing of her parents, and Tikhon grew up so soft due to the tyranny of the mother).
• Theme of sin and repentance. The heroine stumbled, but in time realized his mistake, deciding to correct and repent in the deed. From the point of view of Christian philosophy, this is a high-level decision that elevates and justifies Katerina. If you are interested in this topic, read our about it.

Problems

Social conflict entails public and personal problems.

1. Ostrovsky, first, denounces samodorum As a psychological phenomenon in wild and kabanova images. These people played with the fate of subordinates, hopping the manifestations of their individuality and freedom. And for their ignorance and despotism, the younger generation becomes the same vicious and useless, like what has already emerged.
2. Secondly, the author condemns weakness, obedience and egoism Using the images of Tikhon, Boris and Barbara. By their behavior, they only indulge the tyranny of the owners of life, although they could tell the situation in their favor.
3. The problem of contradictory Russian characterTransferred in the image of Katerina can be called personal, though inspired by global shocks. A deeply religious woman in the search and acquiring itself is treason, and then on suicide, which is contrary to all Christian canons.
4. Moral problems Associated with love and devotion, education and tyranny, sin and repentance. Heroes can not distinguish one of the other, these concepts are bizarrely intertwined. Katerina, for example, is forced to choose between loyalty and love, and Kabaniha does not see the difference between the role of the mother and the power of Dogmatik, it is moving good intentions, but she embodies them to harm everyone.
5. Tragedy conscience Much is important. For example, Tikhon had to make a decision - to defend his wife from the attacks of the mother or not. Katerina also went on a deal with conscience when he climbed with Boris. You can learn more about this.
6. Ignorance. The inhabitants of Kalinov are stupid and are not educated, believe the fortune tellers and wanders, and not scientists and professionals of their case. Their worldview is drawn into the past, they do not seek to be a better life, therefore there is nothing to be surprised by the wildness of the morals and the displacement of the chief persons of the city.

Meaning

The author is convinced that the desire for freedom naturally, despite certain failures in life, and Samodoria and the Head and the Country and Talented People in it. Therefore, its independence, craving for knowledge, beauty and spirituality needs to be defended, otherwise the old orders will not go anywhere, their falsefield will simply cover a new generation and will force them to play in their rules. This idea is reflected in the position of Kuligin, a peculiar voice of Ostrovsky.

The copyright position in the play is clearly expressed. We understand that Kabaniha, although it retains traditions, not the right, just like the right and the rusting Katerina. However, Katerina had the potential, there was a mind, there was purity of thoughts, and the great people, personified in it, can still be revived, dropping the shackles of ignorance and self-smuggling. Even more about the meaning of the drama you can learn in this topic.

Criticism

"Thunderstorm" became the subject of fierce disputes of critics both the XIX and XX century. In the XIX century, Nikolai Dobrolyubov wrote about it from opposite positions (the article "Light of Light in the Dark Kingdom"), Dmitry Pisarev (Article "Motifs of the Russian Drama") and Apollo Grigoriev.

I. A. Goncharov highly appreciated the play and expressed his opinion in the same critical article:

In the same drama, a wide picture of national life and morals was easier, with unparalleled artistic, completeness and loyalty. Any person in the drama is a typical character, snapped directly from the national life environment.

In the tragedy of the island "thunderstorm" problems of morality were widely set. On the example of the provincial city of Kali-Nova, he showed the reigning morals there. He portrayed the cruelty of people living in the old manner, according to the "house-building" and the injection of the younger generation. All tragedy characters are grouped into two parts. Those who believe that you can get forgiveness for any sin, if you repent, and the other part believes that the sin should be punished and no salvation from him. Here arises one of the most important problems of man in general and "thunderstorms" in particular.

Repentance as a problem has appeared for a long time. Then, when a person believed that there is a big strength, and was afraid of her. He began to try to behave in such a way to die by his behavior of God. People gradually developed ways to the context of God through certain actions or actions. All violations of this Code were considered unmarried God - sin. First, people simply brought victims to the gods, sharing with them what they had. The apogee of these relations becomes a human sacrifice. In contrast, the religions of monotheistic arise, that is, recognizing one God. These religions abandoned the sacrifice and created codes that determine the norms of human behavior. These codes became shrines, as it is believed that they are inscribed by the forces of the gods. Examples of such books are the Bible Christians and the Quran Muslims.

Violation of oral or written norms is a sin and should fight. If at first a man was afraid to be killed on the spot, then after he begins to be afraid of his afterlife. A person begins to worry about where his soul will fall after death: in eternal bliss or eternal suffering. In the blissful places it was possible to get for righteous behavior, that is, compliance with the norms, and the sinners get there, where they will suffer forever. It is here that repentance arises, since a rare person could live, without making sins, and crossed his life because of several sins was scared for everyone. Therefore, there is an opportunity to escape from punishment, pouring forgiveness from God. Thus, anyone, even the last sinner, gets hope for salvation, if shown.

In the "thunderstorm", the problem of repentance is the most acutely set. The main heroine of the tragedy - Katerina is in terrible flour of conscience. She rushes between legitimate husband and Boris, righteous life and fall. She cannot forbid himself to love Boris, but she herself executes himself in the soul, believing that she rejects God, as her husband for his wife is like God for the Church. Therefore, changing her husband, she betrays God, which means that he loses all the possibility of salvation. She considers this sin to be unforgivable and therefore denies the possibility of repentance. Katerina is a very pious woman, since childhood she is used to praying to God and even saw the angels, that's why her torment is so strong. These sufferings bring it to the fact that she, fearing the karas of God, personifying in the form of a thunderstorm, rushes into her legs to her husband and confesses to him in everything, giving his life in his hands. People react to this recognition in different ways, detecting their attitude towards repentance. Kabanova offers to burn it into the ground alive, that is, he believes that it is not possible to forgive her. Tikhon, on the contrary, forgives Katerina, that is, believes that she will receive forgiveness from God.

Katerina believes in repentance, since it is afraid that he will die suddenly because her life will interrupt, but because it is afraid to appear before God unspected, with all his sins.

The attitude of people to the possibility of repentance is manifested during a thunderstorm. The thunderstorm personifies the wrath of God, and therefore people at the sight of a thunderstorm try to avoid it. Some behave differently. For example, Kuligin wants to build thundering and save from the thunderstorms of people, so he believes that people can escape from the Kara of God, if they shown, then the wrath of God will disappear through repentance, as lightning go to the ground through a threshold. Wild believes that from the wrath of God can not be hidden, that is, he does not believe in the possibility of repentance. Although it should be noted that he can repent, as he throws into his feet to the man and asks for forgiveness from him for the fact that he was cut.

Flour conscience bring Katerina to the point that she begins to think about suicide. Suicide in Christianity is one of the greatest sins. The man as if rejected God, so suicide had no hope for salvation. The question arises:

how could such a devout Katerina commit suicide, knowing that she ruins her soul? Maybe she was at all and did not believe in God really? But this can be opposed to the fact that she considered his soul to be afraid and simply did not want to live on in such torment, without hope for salvation. Gamletovsky question arises before it - to be or not to be? Remove torment on earth and know the evil that is here, or commit suicide and stop their torment on Earth. But no one knows exactly what is after death and will not be worse. Katerina is brought to despair with the attitude towards her and the flour of conscience, so it rejects the possibility of salvation. But in the junction it turns out that it has hope for salvation, since it does not sink in water, but is divided into anchor. Anchor looks like a part of the cross, where the base indicates the Holy Grail is a bowl with the blood of the Lord. Holy Grail symbolizes salvation. And Katerina has blood flowing from the head. Thus, there is hope that it was forgiven and saved.

The pies "thunderstorm" was written by Ostrovsky during the summer and autumn of 1859, in the same year it was put in the theaters of Moscow and St. Petersburg, it was printed in 1860. The success of the play and performances was so great that the playwright was awarded the Uvarov Prize (the highest award for the dramatic work).

The scene was based on the impressions of the literary expedition on the Volga in 1856-1857. In order to study the life and morals of the Volga settlements. The plot is taken from life. It is no secret that many Volga cities challenged the right to the fact that the action of the play occurred in their city (Domostroy, Samoram, rudeness and humiliation were dominated in many cities of Russia of the time).

The period in which the drama is valid, can be safely called a period of public lift against serfdom.

The name of the play is "thunderstorm" - multivalial.

Thunderstorm is the natural strength of nature, terrible and not fully studied.

Thunderstorm is the "thunderstorm state of society", a thunderstorm in the souls of the inhabitants of the city of Kalinov.

Thunderstorm is a threat to the leaving, but also the strong world of Kabanov and wild.

Thunderstorm is the benefit of the news of the new forces designed to free the Society from Despotia.

For Kuligina, the thunderstorm is God's grace. For wild and kabani - Heavenly Kara, for FEKLOSH - Ilya, the prophet is rolling across the sky, for Katerina - Retribution for sins. But after all, heroine herself, her last step, from which the Kalinovsky world was stupid, is also a thunderstorm.

Thus, the thunderstorm in the play island, as in nature, combines destructive and creative forces.

The peculiarity of this image is that, symbolically expressed the main idea of \u200b\u200bthe play, he at the same time directly participates in the actions of the drama as a completely real phenomenon of nature, in many respects defining the actions of the main character.

Thunderstorm over Kalinov broke out in the act. She caused confusion in the soul of Katerina.

In IV action, the motive of thunderstorm no longer cleans. ("The rain is painting, how would the thunderstorm gathered? .."; "The thunderstorms we will be sent in punishment so that we feel ..."; "Thunderstorm will kill! Not a thunderstorm it, but grace ..."; " that this thunderstorm will not pass in gift ... ")

Thunderstorm becomes the background, on which the final stage of the play is unfolded. The broken thunderstorm scares all fear of retaliation for sins.

Very symbolic in the play names. Speaking names used in the "Thunderstorm" is the echo of the classic theater, the features of which are preserved and in the late 60s of the XIX century.
The name of Kabanova is vividly draws us a cargo, severe woman, and the nickname "Kabaniha" complements this unpleasant picture.
Wildly the author characterizes as a wild, unrestrained person.
The name of Kuligin is meaningful. On the one hand, it is consonant with Kulibin - self-taught mechanic. On the other hand, "Kuliga" is a swamp.

In the general formulation, the main theme of "thunderstorms" can be determined as a clash between new trends and old traditions, between the impaired and rocks, between the desire of people to the free manifestation of their human rights, spiritual needs and dominated in the predhormed Russian public and family-household orders.

The topic "Thunderstorm" is organically related to its conflicts. The conflict constituting the basis of the plot of drama is the conflict between old socio-household principles and new, progressive aspirations to equality, to the freedom of a human person. According to Yu. V. Lebedev, this is a conflict between the "Dark Kingdom" and a new person living under the laws of conscience.

The main conflict is Katerina and Boris with the environment surrounding them - combines all the others. Culinine conflicts with wild and ribs, kudryash with wild, Boris with wild, barbarians with ribs, tachone with ribs are joined to him. The play is the truthful reflection of public relations, interests and struggle of their time.

The action of the drama occurs in the provincial city of Kalinov, located on the banks of the Volga. "The kind of extraordinary! Beauty! The soul rejoices! .. Fifty years I looked for the Volga every day and I can not see everything, "Kulgin says with delight, forcing us and admire the extraordinary scenery.

In the center of Kalinov - the marketplace with trading rows, nearby the old church for the parishioners. It seems that everything is peacefully and calmly in the city. But it is not. For high fences in merchant houses "Tin other life", ugly and repulsive. "Brutal morals, sir, in our city, cruel!" - says Kuligin. Lawlessness and disgrace work in Kalinov. The owners of the city differ in rudeness and cruelty, they mock their households. These are real self-masses, they are ignorant, information about life is obtained from the little strangers.

Kuligin: "And not from thieves they are locked up, and so that people did not see how they eat their home eaten yes, the family is tyranny! And that the tears pours over these constipation, invisible and non-hearing! "

It seems that the inhabitants of the city of Kalinov are fenced off from the whole world. Some dominate and tiranny, others - suffer.

A. N. Ostrovsky carefully "paints" the whole way of closed in four walls of patriarchal and merchant life. At the same time, the playwright acts as a lyrics: depicting the Volga landscape, gives to feel the beauty and attraction of the world of nature, naturalness and initial freedom.

Choosing a venue of the Public Garden of Kalina, Ostrovsky made a natural appearance of all acting Pieces. The Kabanov family appeared when everything became known about the city, and about its inhabitants.

In the drama there are two groups of residents of the provincial city of Kalinov. One of them personifies the power of the "Dark Kingdom". It is Kabanova Marfa Ignatievna and Wild Sawa Prokofich - rude, despotic and ignorant, the enemies of all new.

The other group includes the "victims" of the "Dark Kingdom". This is Katerina, Boris, Kuligin, Barbara, Kudryash, Tikhon, humiliated and oppressed, but still capable of protests and in different ways expressing it.

The general topic of "thunderstorms" entails and a number of private topics:

a) the stories of Kuligin, the replicas of Kudryash and Boris, the actions of Wild and Kabani Ostrovsky gives a detailed description of the material and legal status of all sections of the Society of the Epoch;

c) drawing life, interests, hobbies and experiences of existing persons "Thunderstorms", the author from different parties reproduces public and family-households of merchants and burghers. Thereby covers the problem of social and family-household relations. The position of the woman in the mesh and merchant medium is bright outlined;

d) a life background and problems of that time are displayed. Heroes talk about important public events for their pores: about the emergence of the first railways, on cholera epidemics, on the development of trade and industrial activities in Moscow, etc.;

e) Along with the socio-economic and living conditions, the author of the master painted and the surrounding nature, a different attitude towards her actors.

So, in the words of Goncharov, in the "thunderstorm", "there was a wide picture of national life and morals." The predhormerary Russia is represented in it and its socio-economic, and cultural and moral, and family-domestic appearance.

"Columbus Zamoskvorechye". A. N. Ostrovsky knew the merchant Wednesday well and saw the national life in it. Here are widely represented, according to playwright, all types of characters. Writing the drama "Thunderstorm" was the premissed by the expedition of A. N. Ostrovsky in the upper Volga in 1856-1857. "Volga gave the Ostrovsky abundant food, pointed to him new topics for the drama and comedy and inspired him to those of them that constitute the honor and pride of the feed-in-law literature" (Maksimov S. V.). The plot of the drama "thunderstorm" did not become a consequence of the real history of the family of Klyuko from Kostroma, as fored a long time. The play was on-writing before the tragedy occurred in Kostroma. This fact testifies to the typical of the conflict between the hundred-ry and new, louder declared itself in a merchant environment. The problems of the play are quite multifaceted.

Central problem - The confrontation of the person and the environment (and as a special case - the powerful position of the wife, about which N. A. Dobrolyubov said: "... The most stronger protest is the one that rises, finally, from the breast of the weakest and patient"). The problem of the opposition of the individual and the environment is revealed on the basis of the central conflict of the play: there is a clash of the "hot-hearth-ka" and the deadly lifestyle of a merchant society. Libea Katerina Kabanova, Romantic, Freedom-Biting, Hot, is not able to endure the "cruel morals" of the city of Kalinov, about which in the 3rd yav. The 1st action will publish Kuligin: "And who has money, sir, he tries to hardarly rolling, so that there are even more money to find more money on his work ... a friend is undermined from each other, and not so much of the rustle, how much of the envy. Enjoy each other; In addition to their high churrices of drunken ordinary ... "All lawlessness and cruelty are committed under the guise of adolescence. To put up with hypocrisy and samotor, among whom the sublime soul of Katerina suffocates, the heroine is not in co-standing. And it is absolutely impossible for young kabani, nature honest and solid, the principle of "survival" of the Var-Vary: "Do what you want, if only Shito, it was." The confrontation of the "hot heart" of cosmia and the hypocrisy, even if the fee for such a riot will be the life, critic N. A. Good-love will call "Light Light in the Dark Kingdom."

The tragic mind of the mind and progress in the world of unbearable and self-employment. This complex question is revealed in the play by the introduction of the image of Kulygina, taking about the general good and progress, but encountered on the Nepo-Nimania from the wild: "... I would have all money for the company and used, to support. Works should be given by the Meshchesto Wu. And then there are hands, but there is nothing to work. " But those who have money, such as wild, is in no hurry to part with them, and also signs in their inappropriateness: "What an elastnia is there! Well, how are you not a robber! A thunderstorm is sent to us in punishment, so that we feel, and you want sixtes, I have some kind of wrong, forgive me, to defend. " Ignorance of FEKLUSH finds deep "in the nine way" in Kabanova: "Here in the story you have a wonderful velach rarely who will come to sit at the gateway; And in Moscow, now Gulbishchi da is playing, and the streets of Indo roar goes, the moan stands. Why, Mother Marfa Ignatievna, Zemiya began to harvest: everyone, you see, for the sake of speed. "

Substitution of life in fertile Christian assignment on the blind, fanatical, "Domostroevskoe" Orthodoxy, bordering the obscurantism. The re-ligiosis of the Katerina nature appears completely different, on the one hand, and the piousness of the cabani and fecles, on the other. The faith of a young caaba new carries the creative beginning, performed by Rados-Ty, Light and Unattended: "And you know: On a sunny day, such a bright post goes down, and in this post smoke, for sure the clouds, and I see, happened As if the angels in this post fly and sing ... or early in the morning in the garden I will leave. Also, only the sun rises, drop onto the knee, pray and the placo, and I don't know why I so cry; So will find me. And what I prayed then what I asked, I do not know; I don't need anything to me, but I had enough of everything. " Hard religious and moral postulates and severe asceticism, so honored by Ka-Banja, help her justify their despotism and gesture.

The problem of sin. With a religious issue, it is closely related to and the theme of sin, which arises in the play is not one. A marriage treason becomes a challenge for conscience of Katerina, and therefore a woman finds the only possible output for it - a fit repentance. But the most complex problem is to solve the issue of sin. A great sin than suicide, Katerina considers life among the "Dark Kingdom": "I don't care that death will come that herself ... And it is impossible to live! Sin! Will not pray? Who loves, he will pray ... " Material from site.

The problem of human dignity. The solution to this problem is directly related to the main problem of the play. Only the main character in his decision to leave this world defends his own dignity and the right to respect. The youth of the city of Kalinov decided to protest not in storm. Their moral "strength" only enough for the secret "outstands", which everyone finds himself: Varvara Thai goes to walk with Kudryash, Tikhon is drinking, as soon as it comes out from under the watchful maternal guardianship. And other characters have a small selection. "The dignity" can afford only the one who has solid capital and as a result - the authorities can be attributed to the rest of the co-vet Kuligina: "What to do, sir! We must try to go-give somehow! "

H. A. Ostrovsky covers a wide range of moral problems, acutely stood in the modern counseling society, and the interpretation and understanding them goes beyond the scope of a particular historical period and receives some kind of peeling sound.

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• problem of rudeness from the play thunderstorm
• composition Ostrovsky Thunderstorm With Plan

People "Thunderstorms" live in a special state of the world: crisis, catastrophic. The supports that restrain the old order were shaken, and the treasured life went in a chance. The first action introduces us to the prejudgement atmosphere of life. Externally, while everything is safely, but the deterrent forces are too fragile: their temporary celebration only enhances tensions. It is thickened by the end of the first action: even nature, as in a folk song, responds to this thunderstorm impending on Kalinov. Kabaniha- The man of the crisis era, like other heroes of the tragedy. This is a one-sided jealous of the worst sides of the old morality. Believing that everywhere and in all the booths there are rules "Domostroja", that she is knights true to its formalrements, we give up a deception, suggesting the power of her character. In fact, it easily retreats not only from the Spirit, but also from the letter of Domostroevsky regulations . "... if you are offended - do not count, if housing, pray, do not pay evil for evil, sinless do not condemn, remember both our sins, take care of them, rejecting the advice of evil people, equal to those who live in the truth, their acts write down in his heart and do the same, "- It says old moral law. "You need to forgive enemies, sir!" - exhorted Tikhon Kuligin. What does he hear in response? "Will talk to mama, that she will tell you this ".. Detail is meaningful! Kabaniha is terrible not by inferiority of the old days, but by Samoram "Under the guise of piety." Old morality here is largely denied: the formulas are extracted from the "Domostrous" the most rigid, justifying despotism. Selfish Wild Unlike the self-smuggling of Kabani - no longer strengthened, no rules are justified. The moral foundations in his soul are thoroughly loosened. This "warrior" is not happy himself, the victim of his own way or own. He is the richest and noble man in the city. Capital unleashes his hands, makes it possible to rest over the poor and materially dependent on him. The more wildly riches, the unceremonious it becomes. "What are you, to sue, if you, will you be with me? - he says Kuligin .- So you know that you worm. I want to survive, I will want to give up ". Boris's aunt, leaving the will, in harmony, with custom, put the main condition for obtaining the inheritance respectfulnessnephew to Uncle. While the moral laws stood unshakable, everything was in favor of Boris. But their foundations were shaken, the opportunity to be loosened by law and Syak, according to the famous proverb: "The law is that breathing: where turned, there and came out". "What to do something, sir! - says Kuligin Boris.- We must try to please somehow. " "Who cares- reasonably objects knowing Soul of Wild Kudryash, - if he has all life based on curses? .. " "Again, at least you were respectful to him, it's not, who will forbid him say that you are no distemper?".But strong financially, Savel Prokofievich Wildly weak spiritually. It can sometimes be saved before who in law is stronger than him, because the dull light of moral truth still flickers in his soul: "On the post somehow, about great, I gove, and here is not easy and drowning a man; For money came, the firewood drove. And he brought him to sin something at such a time! I was sinless: Izrupal, so Izrupal, that it is impossible to demand better, I almost nailed. Here it is, what heart I have! After forgiveness, he asked, he lay on his feet, right, so. True telling you, the peasant on the legs bowed. With all he was bowed. "Of course, this is an "insight" of wild only a whim, akin to his Samodur fad. It's not repentance rena, born sense of guilt and painful moral torment. Alignfathers cities are rewinding young forces of life. This is Tikhon and Barbara, Kudryash and Katerina.Poole Tikhon is born by the Dark Kingdom of bravery and fearbefore Mama. Essentially he does not share its despotic claims andwhat she does not believe. In the depths of the soul of Tikhon rolled upon a lumpkind and generous man who loves Katerina who can forgive her anyoneinsult. He tries to support his wife at the moment of repentance and even wants hug her. Tikhon is much thinner and morally permeable, which at this moment, guidedweight "Shito-indoor" comes outfrom the crowd I. turns out with Kabanov, exacerbating the sufferingKaterina. But the humanity of the Tikhon is tootimid and inactive. Only in the finals of the tragedywakes up in it something similar toprotest: "Mama, you wanted her!you, you., You ... ". From the oppressive Samoramon Tikhon allat times but in these dodgers there are no freedom.I raged and drunkenness is akin to selflessness. As I correctly notices Katerina, "and on the will-ton exactly connected."