Message about a wild thunderstorm. Characteristics and image of the wild in the play Thunderstorm Ostrovsky essay

"Entirely belongs to the" dark kingdom ". A wealthy merchant, the most respected and influential person in the city. But at the same time terribly ignorant and cruel. The characterization of Wild in the play "Thunderstorm" is inextricably linked with the description of the manners and habits of the city's inhabitants. Kalinov himself is a fictional space, so the vices spread to the scale of the whole of Russia. Having identified the character traits of Wild, one can easily understand the sad social situation that has developed in Russia XIX century.

The author of Wild in "Thunderstorm" gives a meager characterization: a merchant, significant person in the town. Almost nothing is said about appearance. Nevertheless, it is a colorful image. The name of the character speaks for itself. The semantic field of "wildness" is mentioned more than once in the text of the work. In the description of the life of the city of Kalinov, drunkenness, swearing and assault, in other words, savagery, are constantly mentioned. The unmotivated fear of a thunderstorm only strengthens the belief that the residents have settled on some primitive stage development.
The name Saul is also speaking. It belongs Christian tradition. This biblical character is known as the persecutor of Christians.

The image of the Wild in the play "Thunderstorm" by Ostrovsky is quite unambiguous. There is not a single scene or episode where this character would show his positive traits. Yes, and to show, in fact, there is nothing. The entire Wild seems to consist of bile, dirt and swearing. Almost all of his remarks contain swear words: “Fail you! I don’t want to talk to you, with a Jesuit”, “Get away from me! Leave me alone! Stupid person!”, “Yes, you damned ones, you will lead anyone into sin!”

Thoughtless submission to those who have more money, created a certain legend about Diky as the main person in the city. And the wild behaves in accordance with this conditional status. He is rude to the mayor, steals from ordinary peasants, threatens Kuligin: “Send you to the mayor for these words, so he will ask you!”, “So you know that you are a worm. If I want - I will have mercy, if I want - I will crush. Wild uneducated. He does not know history, does not know the present. The names of Derzhavin and Lomonosov, and even more so the lines from their writings, look like the most insulting abuse to Diky. Inner world the hero is so poor that the reader has no reason to sympathize with him. Wild is not even a hero, but rather a character. It has no internal filling. Several qualities are taken as the basis of the character of Saul Prokofievich: greed, selfishness and cruelty. There is absolutely nothing else in the Wild and a priori cannot appear.

Almost imperceptible to readers is one scene from the life of Wild. Curly says that once a man was rude to Dikoy and put him in an awkward position, because of which they laughed at the merchant for another two weeks. That is, Wild is actually not at all what he wants to seem.
It is laughter that is an indicator of his insignificance and inappropriate pathos.

In one of the actions, the intoxicated merchant "confesses" with Marfa Ignatievna. Kabanikha speaks with him on an equal footing, from her point of view, Savl Prokofievich would be less arrogant if there was a richer man in Kalinovo. But Dikoy does not agree, remembering how he scolded the peasant, and then apologized, bowing at his feet. It can be said that in his speeches typical feature Russian mentality: “I know what I’m doing badly, but I can’t do anything with myself.” Wild admits: “I will give, give, but scold. Therefore, just give me a hint about money, my whole interior will be kindled; it kindles the whole interior, and that’s all; well, and in those days I will not scold a person for anything. Kabanikha notices that often Savl Prokofievich deliberately tries to provoke aggression in himself when they come to him to ask for loans. But Dikoy retorts - “Who does not feel sorry for his own good!” Although the merchant is used to taking out his anger on women, he is cautious with Kabanikha: she is more cunning and stronger than him. Perhaps it is in her that he sees a much stronger tyrant than himself.

The role of Wild in Ostrovsky's The Thunderstorm is clear. It is in this character that such a thing as tyranny is embodied. A wild greedy worthless man who imagines himself the arbiter of destinies. He is capricious and irresponsible, like Tikhon, just likes to miss a glass of vodka. However, behind all this tyranny, rudeness and ignorance lies ordinary human cowardice. He is even afraid of wild thunderstorms. In it, he sees supernatural power, the punishment of the Lord, so he tries to hide from the storm as soon as possible.

Thanks to such a concentrated image, many social flaws can be identified. For example, servility, bribery, stupidity, narrow-mindedness. Along with this, one can also speak of egoism, the fall moral principles and violence.

Characteristics of the image of Wild in the play "Thunderstorm" by Ostrovsky |

“Until recently, people were very wild”
(L. Dobychin)

Wild in Ostrovsky's play "Thunderstorm" completely belongs to the "dark kingdom". A wealthy merchant, the most respected and influential person in the city. But at the same time terribly ignorant and cruel. The characterization of Wild in the play "Thunderstorm" is inextricably linked with the description of the manners and habits of the city's inhabitants. Kalinov himself is a fictional space, so the vices spread to the scale of the whole of Russia. Having identified the character traits of Wild, one can easily understand the sad social situation that developed in Russia in the 19th century.

The author of Wild in "Thunderstorm" gives a meager characterization: a merchant, a significant person in the city. Almost nothing is said about appearance. Nevertheless, it is a colorful image. The name of the character speaks for itself. The semantic field of "wildness" is mentioned more than once in the text of the work. In the description of the life of the city of Kalinov, drunkenness, swearing and assault, in other words, savagery, are constantly mentioned. The unmotivated fear of a thunderstorm only strengthens the belief that the inhabitants have stopped at some primitive stage of development. The name Saul is also speaking. It belongs to the Christian tradition. This biblical character is known as the persecutor of Christians.

The image of the Wild in the play "Thunderstorm" by Ostrovsky is quite unambiguous. There is not a single scene or episode where this character would show his positive qualities. Yes, and to show, in fact, there is nothing. The entire Wild seems to consist of bile, dirt and swearing. Almost all of his remarks contain swear words: “Fail you! I don’t want to talk to you, with a Jesuit”, “Get away from me! Leave me alone! Stupid person!”, “Yes, you damned ones, you will lead anyone into sin!”

Thoughtless subjugation to those with more money has created a kind of legend about Diky as the main man in the city. And the wild behaves in accordance with this conditional status. He is rude to the mayor, steals from ordinary peasants, threatens Kuligin: “Send you to the mayor for these words, so he will ask you!”, “So you know that you are a worm. If I want - I will have mercy, if I want - I will crush. Wild uneducated. He does not know history, does not know the present. The names of Derzhavin and Lomonosov, and even more so the lines from their writings, look like the most insulting abuse to Diky. The inner world of the hero is so poor that the reader has no reason to sympathize with him. Wild is not even a hero, but rather a character. It has no internal filling. Several qualities are taken as the basis of the character of Saul Prokofievich: greed, selfishness and cruelty. There is absolutely nothing else in the Wild and a priori cannot appear.

Almost imperceptible to readers is one scene from the life of Wild. Curly says that once a man was rude to Dikoy and put him in an awkward position, because of which they laughed at the merchant for another two weeks. That is, Wild is actually not at all what he wants to seem. It is laughter that is an indicator of his insignificance and inappropriate pathos.

In one of the actions, the intoxicated merchant "confesses" with Marfa Ignatievna. Kabanikha speaks with him on an equal footing, from her point of view, Savl Prokofievich would be less arrogant if there was a richer man in Kalinovo. But Dikoy does not agree, remembering how he scolded the peasant, and then apologized, bowing at his feet. We can say that in his speeches a typical feature of the Russian mentality is realized: “I know that I am doing badly, but I can’t do anything with myself.” Wild admits: “I will give, give, but scold. Therefore, just give me a hint about money, my whole interior will be kindled; it kindles the whole interior, and that’s all; well, and in those days I will not scold a person for anything. Kabanikha notices that often Savl Prokofievich deliberately tries to provoke aggression in himself when they come to him to ask for loans. But Dikoy retorts - “Who does not feel sorry for his own good!” Although the merchant is used to taking out his anger on women, he is cautious with Kabanikha: she is more cunning and stronger than him. Perhaps it is in her that he sees a much stronger tyrant than himself.

The role of Wild in Ostrovsky's The Thunderstorm is clear. It is in this character that such a thing as tyranny is embodied. A wild greedy worthless man who imagines himself the arbiter of destinies. He is capricious and irresponsible, like Tikhon, just likes to miss a glass of vodka. However, behind all this tyranny, rudeness and ignorance lies ordinary human cowardice. He is even afraid of wild thunderstorms. In it, he sees supernatural power, the punishment of the Lord, so he tries to hide from the storm as soon as possible.

Thanks to such a concentrated image, many social flaws can be identified. For example, servility, bribery, stupidity, narrow-mindedness. Along with this, one can also talk about selfishness, the fall of moral principles and violence.

Artwork test

June 20 2010

Dikoy's speech characterizes him as an extremely rude and ignorant person. He does not want to know anything about science, culture, inventions that improve. The suggestion to install a lightning rod infuriates him. His behavior fully justifies the surname given to him. "How off the chain!" characterizes him Curly. But Wild fights only with those who are afraid of him or who are completely in his hands. cowardice like feature tyranny Dobrolyubov noted in the article “ dark kingdom":" Just show up somewhere strong and decisive rebuff, the strength of the tyrant falls, he begins to coward and get lost. And indeed, Dikoi constantly scolds Boris, his household, peasants, even the meek Kuligin, who is completely foreign to him, but Kudryash receives a worthy rebuff from his clerk. “... He is the word, and I am ten; spit, and go. No, I won’t become a slave to him, ”says Yuvorit Kudryash. It turns out that the limit of the power of a tyrant depends on the degree of obedience of others. This was well understood by the other mistress of the "dark kingdom" -.

In the guise of the Wild, despite all his militancy, there are features of the comic: the contradiction of his behavior to reason, the painful unwillingness to part with money looks too ridiculous. The boar, with its cunning, hypocrisy, cold, inexorable cruelty, is truly terrible. She is outwardly calm, well in control of herself. Measured, monotonous, without raising her voice, she exhausts her family with her endless moralizing. If Wild seeks to rudely assert his power, then Kabanikha acts under the guise of piety. She does not get tired of repeating that she cares not about herself, but about her children: “After all, out of love, parents are strict with you, out of love they scold you, everyone thinks to teach good. Well, I don't like it now." But her "love" is only a hypocritical mask for asserting personal power. From her "care" comes to complete stupefaction Tikhon, runs away from the house of Varvara. Her methodical, constant. tyranny tormented Katerina, led her to death. “If it weren’t for the mother-in-law! .. - she says. - She crushed me ... from her I was disgusted with the house; the walls are even disgusting.” The boar is a cruel, heartless executioner. Even at the sight of the body pulled out of the Volga, she remains icy calm.

But if Tikhon is accustomed to unquestioning obedience from childhood and does not suspect the possibility of another life, then Boris, who received an education, lived in cultural environment, deliberately submits to a tyrant for the sake of a faint hope of receiving at least an insignificant share of the inheritance due to him. Selfish calculation makes Boris endure humiliation, is the reason for his cowardice. Even during his last meeting with Katerina, when he clearly sees that the woman he loves is dying, Boris cannot get rid of the cowardly thought: “We shouldn’t have been found here!” This prudent caution completely reveals the insignificance of Boris. He, like Tikhon, actually becomes an accomplice of tyrants, an accomplice in their crimes; but this is more unforgivable to Boris, since he understands the whole criminality of despotism.

In the character of Curly there are features that make him related to a dashing Russian robber folk epics and songs. They also appear in the style of his speech: "... I won't sell my head cheaply"; "Let's go, Shapkin, in revelry!" Especially dashing Russian character Kudryash. is revealed in his songs, harmoniously combined with the Volga landscape and giving a poetic sound to the scene of Katerina's first meeting with Boris. “It’s like I’m dreaming! This night, songs, goodbye! X

Bold and resolute, to match Kudryash, Barbara. She is not superstitious, she is not afraid of thunderstorms, which was rare for a woman of that time. Not considered mandatory strict observance established customs. In his own way. position, she cannot openly come out in defense of her rights and is forced to cunning and deceiving. In words:! Katerina that she does not know how to hide anything. Varvara replies: “Well, you can’t fucking do that! You remember where. you live! Our whole house is based on that. And I was not a liar, but I learned when it became necessary. Brought up on a deceitful, ostentatious morality. Barbara adheres to the rule: "Do whatever you want, as long as it is sewn and covered." She sympathizes with Katerina, despises her brother's spinelessness, and resents her mother's heartlessness. But Katerina's spiritual impulses are incomprehensible to her.

There are two groups of city dwellers. One of them personifies the oppressive power " dark kingdom". These are Wild and, oppressors and enemies of everything living and new. The other group includes , . Tikhon, Boris, Kudryash and Varvara. These are the victims of the “dark kingdom”, the oppressed, who equally feel the brute force of the “dark kingdom”, but express their protest against this force in different ways. Wild: In someone else's feast, a hangover ”the meaning of the word tyrant is defined this way:“ A tyrant is called if he doesn’t listen to anyone: you at least have a stake on his head, and he’s all his own ... This is a domineering person, tough at heart.

Such a tyrant, whose behavior is guided only by unbridled arbitrariness and stupid obstinacy, is Savel Prokofich Dikoy. Wild requires the unquestioning obedience of those around him, who will do anything to somehow not anger him. It is especially difficult for his family: at home, Wild unbelts without any restraint, and family members, fleeing from his fury, hide all day in attics and closets. He finally hunted down his nephew Wild! Boris Grigoryevich, knowing that he was completely financially dependent on him.

He is not at all shy about Wild and with strangers, over whom you can “show off” with impunity. Thanks to money, he holds in his hands the entire disenfranchised mass of the townsfolk and mocks them. The features of tyranny are especially pronounced in him in a conversation with Kuligin.

Kuligin turned to Diky with a request to give ten rubles for the installation of a sundial for the city.

Wild. Or maybe you want to steal; who knows you!

Kuligin. Why, sir, Savel Prokofievich, do you want to offend an honest man?

Wild. Will I give you a report? I don’t report to anyone more important than you. I want to think about you that way, and I think so. For others you fair man and I think you're a robber, that's all. Would you like to hear it from me? So listen! I say that the robber, and horses! What are you going to sue, or something, you will be with me So, you know that you are a worm. If I want - I'll have mercy, if I want - I'll crush.

Wild feels his strength and power - the power of capital. "Moneybags" were then revered by "eminent people", before whom the poor were forced to curry favor and grovel. Money is his passion. To part with them, if they have already fallen into his pocket, is painful for him. “In his house, no one even dare to utter a word about salary: he will scold what the world is worth.” Best of all, Dikoy himself speaks about this: “Yes, what do you order me to do with myself when my heart is like that! After all, I already know what I need to give, but I can’t do everything with kindness! .. I will give, give, but curse. Therefore, just give me a hint about money, "I will kindle the whole interior: it kindles the whole interior, and that's all"; well, and in those days I will not scold a person for anything. “A piercing man,” is how Kudryash characterizes Diky for his rudeness and cursing.

Passes Wild only to those who are able to repulse him. Once on the ferry, on the Volga, he did not dare to contact a passing hussar, and after that he again took out his offense at home, dispersing everyone to attics and closets. He restrains his temper in front of the Kabanikha, seeing in her his equal.

The power of money was, however, not the only reason that created the ground for unbridled arbitrariness. Another reason that helped tyranny to flourish was ignorance. Dikoy's ignorance is especially evident in the scene of his conversation with Kuligin regarding the lightning rod device.

Wild. Yes, a thunderstorm, what do you think, huh? Well speaking!

Kulagin. Electricity.

Wild (stomping his foot). What else there elgstrichestvo? Well, how are you not a robber! A thunderstorm is sent to us so that we feel, and you want to defend yourself with some kind of poles and horns, God forgive me. What are you, a Tatar, or what?

A person's language, manner of speaking, and the very intonation of speech usually correspond to the character of a person. This is fully confirmed in the language of the Wild. His speech is always rude and saturated with swearing, insulting expressions and epithets: a robber, a worm, a parasite, a fool, a damned one, etc. And his distortion foreign words(Jesuit, elestrichestvo) only emphasizes his ignorance.

Despotism, unbridled arbitrariness, ignorance, rudeness - these are the features that characterize the image of the tyrant Wild, a typical representative of the "dark kingdom".

The play "Thunderstorm" occupies a special place in the work of Ostrovsky. In this play, the playwright most vividly described the "world of the dark kingdom", the world of tyrant merchants, the world of ignorance, arbitrariness and despotism, domestic tyranny.

The action in the play takes place in a small town on the Volga - Kalinov. Life here, at first glance, is a kind of patriarchal idyll. The whole city is immersed in greenery, beyond the Volga there is an “unusual view”, on its high banks there is a public garden, where the inhabitants of the town often stroll. Life in Kalinovo flows quietly and unhurriedly, there are no upheavals, no exceptional events. News from big world the wanderer Feklusha brings to the town, telling tales to the Kalinovites about people with dog heads.

However, in reality, not everything is so safe in this small, abandoned world. This idyll is already destroyed by Kuligin in a conversation with Boris Grigoryevich, Dikiy's nephew: “Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and naked poverty ... And whoever has money, ... he tries to enslave the poor, so that he can make even more money for his gratuitous labors. However, there is no agreement between the rich either: they “feud with each other”, “scribble malicious slander”, “sue”, “undermine trade”. Everyone lives behind oak gates, behind strong locks. “And they don’t lock themselves up from thieves, but so that people don’t see how they eat their own home and tyrannize their family. And what tears flow behind these locks, invisible and inaudible!.. And what, sir, behind these locks is the debauchery of dark and drunkenness!” exclaims Kuligin.

One of the richest influential people in the city is a merchant Savel Prokofievich Wild. The main features of the Wild are rudeness, ignorance, irascibility and absurdity of character. “Look for such and such a scolding, like Savel Prokofich with us, to look for more! For no reason will a person be cut off, ”Shapkin says about him. The whole life of Wild is based on "cursing". Neither cash settlements, nor trips to the market - "he does nothing without scolding." Most of all, he gets from Wild to his family and his nephew Boris, who came from Moscow.

Savel Prokofievich is stingy. “...Just give me a hint about money, it will start to kindle my whole interior,” he says to Kabanova. Boris came to his uncle hoping to receive an inheritance, but actually fell into bondage to him. Savel Prokofievich does not pay him a salary, constantly insults and scolds his nephew, reproaching him for laziness and parasitism.

Repeatedly quarrels with Dika and Kuligin, local self-taught mechanic. Kuligin is trying to find a reasonable reason for Savel Prokofievich's rudeness: "Why, sir Savel Prokofievich, would you like to offend an honest man?" To which Dikoy replies: “A report, or something, I will give you! I don't report to anyone more important than you. I want to think about you like that, I think so! For others, you are an honest person, but I think that you are a robber, that's all ... I say that you are a robber, and that's the end. Well, are you going to sue, or what, will you be with me? So you know that you are a worm. If I want, I will have mercy, if I want, I will crush.

“What theoretical reasoning can stand where life is based on such principles! The absence of any law, any logic is the law and logic of this life. This is not anarchy, but something even much worse ... ”, Dobrolyubov wrote about the tyranny of Wild.

Like most Kalinovites, Savel Prokofievich is hopelessly ignorant. When Kuligin asks him for money to install a lightning rod, Dikoi declares: “The storm is sent to us as a punishment, so that we feel, and you want to defend yourself with poles and horns.”

Wild represents the "natural type" of the petty tyrant in the play. His rudeness, rudeness, mockery of people are based, first of all, on an absurd, unbridled character, stupidity and lack of opposition from other people. And only then already on wealth.

It is characteristic that practically no one offers Wild active resistance. Although it is not so difficult to calm him down: an unfamiliar hussar “cursed” him on the ferry, and Kabanikha is not shy in front of him. “There are no elders above you, so you are swaggering,” Marfa Ignatyevna bluntly declares to him. It is characteristic that here she is trying to fit Wild to her vision of the world order. Kabanikha explains the constant anger, irascibility of Wild by his greed, but Savel Prokofievich himself does not think to deny her conclusions. "Who does not feel sorry for his own good!" he exclaims.

Much more complex in the play is the image of Kabanikha. This is an exponent of the "ideology of the dark kingdom", which "created for itself a whole world of special rules and superstitious customs."

Marfa Ignatievna Kabanova is a wealthy merchant's wife, a widow who cultivates the customs and traditions of antiquity. She is grouchy, constantly dissatisfied with others. It gets from her, first of all, at home: she "eats" her son Tikhon, reads endless moralizing to her daughter-in-law, tries to control her daughter's behavior.

The boar zealously defends all the laws and customs of Domostroy. A wife, in her opinion, should be afraid of her husband, be silent and submissive. Children should honor their parents, unquestioningly follow all their instructions, follow their advice, respect them. None of these requirements, according to Kabanova, is fulfilled in her family. Marfa Ignatievna is dissatisfied with the behavior of her son and daughter-in-law: “They don’t know anything, there is no order,” she argues alone. She reproaches Katerina with the fact that she does not know how to see off her husband "in the old way" - therefore, she does not love him enough. "Another good wife, after seeing off her husband, she howls for an hour and a half, lies on the porch ... ”, she instructs her daughter-in-law. Tikhon, according to Kabanova, is too soft in dealing with his wife, not respectful enough in relation to his mother. “They don’t really respect elders nowadays,” says Marfa Ignatievna, reading instructions to her son.

The boar is fanatically religious: she constantly remembers God, sin and retribution, and there are often wanderers in her house. However, the religiosity of Marfa Ignatievna is nothing but hypocrisy: “The hypocrite ... She clothes the poor, but completely ate the household,” Kuligin remarks about her. In her faith, Marfa Ignatievna is severe and adamant, there is no place for love, mercy, forgiveness in her. So, at the end of the play, she does not even think about forgiving Katerina her sin. On the contrary, she advises Tikhon to bury his wife alive in the ground so that she is executed.

Religion, ancient rites, pharisaical complaints about his life, playing on filial feelings - Kabanikha uses everything to assert his absolute power in the family. And she "gets her way": in the harsh, overwhelming atmosphere of domestic tyranny, Tikhon's personality is mutilated. “Tikhon himself loved his wife and would be ready to do everything for her; but the oppression under which he grew up has so disfigured him that no strong feeling, no resolute striving can develop in him. He has a conscience, there is a desire for good, but he constantly acts against himself and serves as a submissive tool of his mother, even in his relationship with his wife, ”dobrolyubov writes.

The simple-hearted, gentle Tikhon lost the integrity of his feelings, the opportunity to show the best features of his nature. Family happiness was closed to him from the very beginning: in the family where he grew up, this happiness was replaced by “Chinese ceremonies”. He cannot show his love for his wife, and not because “the wife should be afraid of her husband”, but because he simply “does not know how” to show his feelings, which have been cruelly suppressed since childhood. All this led Tikhon to a certain emotional deafness: he often does not understand Katerina's condition.

Depriving her son of any initiative, Kabanikha constantly suppressed him masculinity and at the same time reproached him for his lack of masculinity. Subconsciously, he seeks to make up for this "lack of masculinity" in drinking and rare "partying" "in the wild." Tikhon cannot realize himself in some business - probably, his mother does not allow him to manage affairs, considering his son unsuitable for this. Kabanova can only send her son on an assignment, but everything else is under her strict control. It turns out that Tikhon is deprived of both his own opinion and his own feelings. It is characteristic that Marfa Ignatievna herself is to some extent dissatisfied with her son's infantilism. It slips through her intonation. However, she probably does not realize the extent of her involvement in this.

The life philosophy of Varvara was also formed in the Kabanov family. Her rule is simple: “do whatever you want, as long as it’s sewn and covered.” Varvara is far from Katerina's religiosity, from her poetry, exaltation. She quickly learned to lie and dodge. We can say that Varvara, in her own way, "learned" the "Chinese ceremonies", having perceived their very essence. The heroine still retains immediacy of feelings, kindness, but her lie is nothing more than reconciliation with Kalinov's morality.

It is characteristic that in the finale of the play both Tikhon and Varvara, each in their own way, rebel against the "power of mother". Varvara runs away from home with Kuryash, while Tikhon expresses his opinion openly for the first time, reproaching his mother for the death of his wife.

Dobrolyubov noted that “some critics even wanted to see in Ostrovsky a singer of broad natures”, “they wanted to assign arbitrariness to a Russian person as a special, natural quality of his nature - under the name“ breadth of nature ”; they also wanted to legitimize cheating and cunning in the Russian people under the name of sharpness and deceit". In the play "Thunderstorm" Ostrovsky debunks both that and another phenomenon. Arbitrariness turns out to be "heavy, ugly, lawless", he sees in it nothing more than tyranny. Roguery and cunning turn into not sharpness, but vulgarity , reverse side tyranny.