Genrow composite originality of the play of the thunderstorm. Genre peculiarity of the drama "Thunderstorm

Genre peculiarity of the drama "thunderstorm"

"Thunderstorm" - a national social tragedy.

N. A. Dobrolyubov

"Thunderstorm" stands out as the main, staged product of the playwright. "Thunderstorm" was supposed to enter the Night Collection on the Volga, conceived by the author during a trip to Russia of 1856, organized by the Maritime Ministry. True, Ostrovsky then changed its decision and did not combine, as he expected at the beginning, the cycle of "Volzhsky" play with a general title. "Thunderstorm" published a separate book in 1859. During the work on it, an island play has undergone great changes - the author introduced a number of new actors, but the main thing - the Ostrovsky changed its original idea and decided to write not comedy, and drama. However, the strength of the social conflict in the "thunderstorm" is so great that you can even talk about the play, but as a tragedy. There are arguments in defense of both opinions, therefore the genre of the play is difficult to determine unambiguously.

Of course, the play is written on a socially household topic: it is characterized by the author's special attention to the image of the details of the life, the desire to accurately change the atmosphere of the city of Kalinov, his "brutal morals". Fictional city is described in detail, multilateral. An important role is played by landscape stains, but here immediately seen a contradiction: Ku-Ligin speaks of the beauty of Zarechnaya Dale, a high Volga cliff. "Neshto," Kudryash objects to him. Pictures of the nightly walk in the boulevard, songs, picturesque nature, Katerina's stories about childhood - this is the poetry of the Kalinovsky world, which faces the daily cruelty of residents, the stories about the "poverty of the naked". On the past, Kalinovtsy retained only the vague legends - Lithuania "to us from the sky fell", news from the big world to them brings the Wantern of Feklush. Undoubtedly, the author's attention to the details of the life of the characters makes it possible to talk about drama as about the genre of the song "Thunderstorm".

Another feature characteristic of the drama and present in the play is the presence of a chain of intra-day conflicts. At first, this conflict between the daughter-in-law and mother-in-law for constipation of the gate of the house, then the entire city recognizes about this conflict, and he develops into social. Inherent in the drama, the expression of Codiflict in the actions and the words of heroes is brighter, in the monologues and dialogues of the actors. So, about the life of Katerina to marriage, we learn from the conversation with a young kabanova with Barbara: Katerina lived, "I didn't heal anything," like the "bird on the will", spending all day in pleasure and home affairs. We do not know anything about the first meeting of Katerina and Boris, about how their love originated. In his article, N. A. Dobrolyubov considered the insufficient "Development of Passion" by a significant omission, said that this is why "the struggle of passion and debt" is denoted for us "not quite clearly and strongly." But this fact does not contradict the drama laws.

The originality of the genre "thunderstorms" manifests itself in the fact that, despite the gloomy, tragic common flavor, there are also comic, satirical scenes in the play. We seem ridiculous anecdotic-ignorant stories of fecles about Saltan, about the lands, where all people are "with the pests." After the output of the "thunderstorms", A. D. Galakhov in the revocation of the play wrote that "the action and catastrophe tragic, although many places excite laughter."

The author himself called his play drama. But could it be otherwise? At that time, speaking of the tragedy genre, they were accustomed to dealing with the story of historical, with the main characters outstanding not only in nature, but also on the provision put in exceptional life situations. The tragedy is usually associated with the images of historical figures, at least legendary, like EDIP (Sofokla), Gamlet (Shakespeare), Boris Godunova (Pushkin). It seems to me that from the Ostrovsky called "thunderstorm" the drama was only a tribute to tradition.

An innovation of A. N. Ostrovsky was that he wrote a tragedy on an exceptionally vital, absolutely not characteristic of the tragedy genre.

The tragedy of "thunderstorms" is revealed by the conflict with the medium not only the main character, Katerina, but also other actors. Here, "lively envy ... deceased" (N. A. Dobrolyubov). So, tragic here the fate of Tikhon, who is a haired toy in the hands of his powerful-despotic mother. Regarding the final words of Tikhon N. A. Dobrolyubov, he wrote that the "grief" of Tikhon in his indecision. If you live sick, what prevents him from rush to the Volga? Tikhon absolutely can not do anything, even that, "what recognizes its benefit and salvation." Tragic According to its hopelessness, the position of Kuli-Guin, dreaming of the happiness of the labor people, but the doomed to obey the will of the coarse self-playing and repairing small homemade utensils, earning only "on the bread of urgent" honest labor ".

The feature of the tragedy is the presence of a hero, outstanding in its spiritual qualities, according to V. G. Belinsky, "Man of Higher Nature", according to N. G. Chernyshevsky, a man "with great, and not a petty character." By contacting this position to the "thunderstorm" A. N. Ostrovsky, we, of course, see that this tragedy feature is pronounced in the nature of the main character.

Katerina differs from the "Dark Kingdom" Kalinov for its morality and the power of will. Her soul constantly stretches to beauty, her dreams are full of fabulous visions. It seems that Boris, she loved not in love with a real, but created by his imagination. Katerina could well adapt to the morality of the city and continue to deceive his husband, but "deceive something ... can not, he can't hide anything," honesty does not allow Katerina further to pretend to her husband. As a person deeply believes, Katerina should have had a huge courage to defeat not only the fear of the physical end, but also the fear of "before the judgment" for the sin of suicide. The spiritual power of Katerina "... and the desire for freedom, mixed with religious prejudices, create a tragedy" (V. I. Nemirovich-Danchenko).

A feature of the tragedy genre is the physical death of the main character. Thus, Katerina, according to V. G. Belinsky, "Real Tragic Heroine". The fate of Katerina determined the collision of two historical eras. Not only her trouble is that she finishes the life of suicide, it is trouble, the tragedy of society. She needs to be freed from a serious oppression, from fear, a soul.

Another characteristic feature of the tragedy genre is the cleansing effect on the audience, which excites noble, sublime aspirations. So, in the "thunderstorm", as N. A. Dobrolyubov said, "there is even something refreshing and encouraging."

Tragic and the overall flavor of the play with her dimmediness, with a monthly feeling of impending thunderstorms. This is clearly emphasized by the parallelism of the thunderstorms of social, social and thunderstorms as the phenomena of nature.

In the presence of an undoubted tragic conflict, the play is imbued with optimism. The death of Katerina testifies to the rejection of the "Dark Kingdom", about resistance, about the growth of the forces designed to change Kabaniham and wild. Let even timidly, but already begin to protest Kuligin.

So, the genre peculiarity of "thunderstorms" is that it, no doubt, is the tragedy, the first Russian tragedy written on socially-domestic material. This is the tragedy of not only Katerina, it is the tragedy of the entire Russian society, which is at the turning point of its development, living on the eve of significant changes, in the context of a revolutionary situation, which contributed to the identity of self-esteem. It is impossible to disagree with the opinion of V. I. Nemirovich-Danchenko, who wrote: "If some merchant wife changed her husband and from here all her misfortunes, then it would be a drama. But the island is only the basis for a high life topic ... everything goes up to the tragedy. "

Bibliography

To prepare this work, materials from the site http://www.ostrovskiy.org.ru/ were used

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"Thunderstorm" is a national social tragedy. N. A. Dobrolyubov "Thunderstorm" stands out as the main, staged product of the playwright. "Thunderstorm" was supposed to enter the collection "Nights on the Volga", conceived by the author during a trip to Russia of 1856, organized by the maritime ministry. True, Ostrovsky then changed his decision and did not unite, as he expected at the beginning, the cycle of "Volzhsky" play with a common title. "Thunderstorm" published a separate book in 1859. During the work on it, an island play has undergone great changes - the author introduced a number of new actors, but the main thing - the Ostrovsky changed its original idea and decided to write not comedy, and drama. However, the strength of social conflict in the "thunderstorm" is so great that you can even talk about the play, but as a tragedy.

There are arguments in defense of both opinions, therefore the genre of the play is difficult to determine unambiguously. Of course, the play is written on a social and domestic topic: it is characterized by the author's special attention to the image of the details of life, the desire to accurately change the atmosphere of the city of Kalinov, his "cruel morals". Fictional city is described in detail, multilateral. An important role is played by landscape stains, but here immediately seen a contradiction: Kuligin speaks of the beauty of the zareny far, a high Volga cliff. "Neshto," Kudryash objects to him. Pictures of the night walk along the boulevard, songs, picturesque nature, Katerina's stories about childhood - this is the poetry of the Kalinovsky world, which faces the daily cruelty of residents, the stories about the "poverty of the naked".

On the past, Kalinovtsy retained only vague legends - Lithuania "to us from the sky fell", news from the big world brings a Wantern of Feklush. Undoubtedly, such attention of the author to the details of the life of the characters makes it possible to talk about drama as about the genre of the song "Thunderstorm". Another feature characteristic of the drama and present in the play is the presence of a chain of intra-day conflicts. At first, this conflict between the daughter-in-law and mother-in-law for constipation of the gate of the house, then the entire city recognizes about this conflict, and he develops into social. Inherent in the drama, the expression of the conflict in the actions and the words of the heroes is brighter is shown in monologues and the dialogues of the actors.

So, about the life of Katerina to marriage, we learn from the conversation with a young kabanova with Barbaroi: Katerina lived, "I didn't heal anything," like the "bird on the will", spending all day in pleasure and home affairs. We do not know anything about the first meeting of Katerina and Boris, about how their love originated. In his article, N. A. Dobrolyubov considered insufficient "development of passion" by a significant omission, said that that is why the "struggle of passion and debt" is denoted for us "not quite clearly and strongly."

But this fact does not contradict the drama laws. The originality of the "thunderstorm" genre is also manifested in that despite the gloomy, tragic common flavor, there are comic, satirical scenes in the play. We seem ridiculous anecdotic-ignorant stories of fecles about Saltan, about the lands, where all people are "with leaps."

After the output of the "thunderstorms", A. D. Galakhov, in the revocation of the play, wrote that "the action and catastrophe tragic, although many places excite laughter." The author himself called his play drama. But could it be otherwise? At that time, speaking of the tragedy genre, they were accustomed to dealing with the story of historical, with the main characters outstanding not only in nature, but also on the provision put in exceptional life situations.

The tragedy is usually associated with the images of historical figures, at least legendary, like Edip, Gamlet, Boris Godunova. It seems to me that from the Ostrovsky called "thunderstorm" the drama was only a tribute to tradition. An innovation of A. N. Ostrovsky was that he wrote a tragedy on an exceptionally vital, absolutely not characteristic of the tragedy genre.

The Thunderstorm tragedy is revealed by the conflict with the medium not only the main character, Katerina, but also other persons. Here, "lively envy ... deceased." So, tragic here the fate of Tikhon, who is a haired toy in the hands of his powerful-despotic mother. Regarding the final words of Tikhon N. A. Dobrolyubov, he wrote that Tikhon's Mountain in his indecision.

If you live sick, what prevents him from rush to the Volga? Tikhon can absolutely can do anything, even one, "What recognizes its benefit and salvation." The position of Kuli-Guine, who dreams of the happiness of the labor people, is tragic, who dreams of the happiness of the labor nation, but the doomed to obey the will of the coarse scrubber - wild and repair small homemade utensils, earning only "on the urgent bread" "honest labor."

A feature of the tragedy is the presence of a hero, outstanding in its spiritual qualities, according to V. G. Belinsky, "Human High Nature", according to N. G. Chernyshevsky, a man "With the Great, and not a petty character." By contacting this position to the "thunderstorm" A. N. Ostrovsky, we certainly see that this tragedy feature is pronounced in the character of the main character. Katerina differs from the "Dark Kingdom" Kalinov with its morality and the power of will.

Her soul constantly stretches to beauty, her dreams are full of fabulous visions. It seems that Boris, she loved not in love with a real, but created by his imagination. Katerina could well adapt to the morality of the city and continue to deceive his husband, but "deceive something ... I can not, he could not hide anything," honesty does not allow Katerina further to pretend to her husband.

As a deeply believer man, Katerina should have had a huge courage to defeat not only the fear of the physical end, but also the fear of "before the judgment" for the sin of suicide. The spiritual power of Katerina "... and the desire for freedom, mixed with religious prejudices, create a tragedy."

A feature of the tragedy genre is the physical death of the main character. Thus, Katerina, according to V. G. Belinsky, "Real Tragic Heroine". The fate of Katerina determined the collision of two historical eras. Not only her trouble is that she finishes the life of suicide, it is trouble, the tragedy of society.

She needs to be freed from a serious oppression, from fear, a soul. Another characteristic feature of the tragedy genre is the cleansing effect on the audience, which excites noble, sublime aspirations. So, in the "thunderstorm", as N. A. Dobrolyubov said, "there is even something refreshing and encouraging."

Tragic and the overall flavor of the play with her dimmediness, with a monthly feeling of impending thunderstorms. This is clearly emphasized by the parallelism of the thunderstorms of social, social and thunderstorms as the phenomena of nature. In the presence of an undoubted tragic conflict, the play is imbued with optimism. The death of Katerina testifies to the rejection of the "Dark Kingdom", about the resistance, about the growth of the forces designed to change Kabaniham and wild.

Let even timidly, but already begin to protest Kuligin. So, the genre peculiarity of "thunderstorms" is that it, without a doubt, is a tragedy, the first Russian tragedy written on socially-domestic material. This is the tragedy of not only Katerina, it is the tragedy of the entire Russian society, which is at the turning point of its development, living on the eve of significant changes, in the context of a revolutionary situation, which contributed to the identity of self-esteem. It is impossible to disagree with the opinion of V. I. Nemirovich-Danchenko, who wrote: "If some merchant wife changed her husband and from here all her misfortunes, then it would be a drama.

But the island is only the basis for a high life topic ... Here everything rises to the tragedy. "

Genre peculiarity of the drama "thunderstorm"

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"Thunderstorm" - a national social tragedy.
N. A. Dobrolyubov
"Thunderstorm" stands out as the main, staged product of the playwright. "Thunderstorm" was supposed to enter the Night Collection on the Volga, conceived by the author during a trip to Russia of 1856, organized by the Maritime Ministry. True, Ostrovsky then changed its decision and did not combine, as he expected at the beginning, the cycle of "Volzhsky" play with a general title. "Thunderstorm" published a separate book in 1859. During the time of working on it, the island play has undergone large

Changes - the author introduced a number of new actors, but the main thing - the Ostrovsky changed its original idea and decided to write not comedy, and drama. However, the strength of the social conflict in the "thunderstorm" is so great that you can even talk about the play, but as a tragedy. There are arguments in defense of both opinions, therefore the genre of the play is difficult to determine unambiguously.
Of course, the play is written on a socially household topic: it is characterized by the author's special attention to the image of the details of the life, the desire to accurately change the atmosphere of the city of Kalinov, his "brutal morals". Fictional city is described in detail, multilateral. An important role is played by landscape stains, but here immediately seen a contradiction: Kuligin speaks of the beauty of the zareny far, a high Volga cliff. "Neshto," Kudryash objects to him. Pictures of the nightly walk in the boulevard, songs, picturesque nature, Katerina's stories about childhood - this is the poetry of the Kalinovsky world, which faces the daily cruelty of residents, the stories about the "poverty of the naked". On the past, Kalinovtsy retained only the vague legends - Lithuania "to us from the sky fell", news from the big world to them brings the Wantern of Feklush. Undoubtedly, the author's attention to the details of the life of the characters makes it possible to talk about drama as about the genre of the song "Thunderstorm".
Another feature characteristic of the drama and present in the play is the presence of a chain of intra-day conflicts. At first, this conflict between the daughter-in-law and mother-in-law for constipation of the gate of the house, then the entire city recognizes about this conflict, and he develops into social. Inherent in the drama, the expression of the conflict in the actions and the words of the heroes is brighter is shown in monologues and the dialogues of the actors. So, about the life of Katerina to marriage, we learn from the conversation with a young kabanova with Barbara: Katerina lived, "I didn't heal anything," like the "bird on the will", spending all day in pleasure and home affairs. We do not know anything about the first meeting of Katerina and Boris, about how their love originated. In his article, N. A. Dobrolyubov considered the insufficient "Development of Passion" by a significant omission, said that this is why "the struggle of passion and debt" is denoted for us "not quite clearly and strongly." But this fact does not contradict the drama laws.
The originality of the genre "thunderstorms" manifests itself in the fact that, despite the gloomy, tragic common flavor, there are also comic, satirical scenes in the play. We seem ridiculous anecdotic-ignorant stories of fecles about Saltan, about the lands, where all people are "with the pests." After the output of the "thunderstorms", A. D. Galakhov in the revocation of the play wrote that "the action and catastrophe tragic, although many places excite laughter."
The author himself called his play drama. But could it be otherwise? At that time, speaking of the tragedy genre, they were accustomed to dealing with the story of historical, with the main characters outstanding not only in nature, but also on the provision put in exceptional life situations. The tragedy is usually associated with the images of historical figures, at least legendary, like EDIP (Sofokla), Gamlet (Shakespeare), Boris Godunova (Pushkin). It seems to me that from the Ostrovsky called "thunderstorm" the drama was only a tribute to tradition.
An innovation of A. N. Ostrovsky was that he wrote a tragedy on an exceptionally vital, absolutely not characteristic of the tragedy genre.
The tragedy of "thunderstorms" is revealed by the conflict with the medium not only the main character, Katerina, but also other actors. Here, "lively envy ... deceased" (N. A. Dobrolyubov). So, tragic here the fate of Tikhon, who is a haired toy in the hands of his powerful-despotic mother. Regarding the final words of Tikhon N. A. Dobrolyubov, he wrote that the "grief" of Tikhon in his indecision. If you live sick, what prevents him from rush to the Volga? Tikhon absolutely can not do anything, even that, "what recognizes its benefit and salvation." In terms of his despair, the position of Kuligina, dreaming of the happiness of the labor people, but the doomed to obey the will of the coarse self-playing and repairing small household utensils, earning only "on the bread of urgent" "honest labor".
The feature of the tragedy is the presence of a hero, outstanding in its spiritual qualities, according to V. G. Belinsky, "Man of Higher Nature", according to N. G. Chernyshevsky, a man "with great, and not a petty character." By contacting this position to the "thunderstorm" A. N. Ostrovsky, we, of course, see that this tragedy feature is pronounced in the nature of the main character.
Katerina differs from the "Dark Kingdom" Kalinov for its morality and the power of will. Her soul constantly stretches to beauty, her dreams are full of fabulous visions. It seems that Boris, she loved not in love with a real, but created by his imagination. Katerina could well adapt to the morality of the city and continue to deceive his husband, but "deceive something ... can not, he can't hide anything," honesty does not allow Katerina further to pretend to her husband. As a person deeply believes, Katerina should have had a huge courage to defeat not only the fear of the physical end, but also the fear of "before the judgment" for the sin of suicide. The spiritual power of Katerina "... and the desire for freedom, mixed with religious prejudices, create a tragedy" (V. I. Nemirovich-Danchenko).
A feature of the tragedy genre is the physical death of the main character. Thus, Katerina, according to V. G. Belinsky, "Real Tragic Heroine". The fate of Katerina determined the collision of two historical eras. Not only her trouble is that she finishes the life of suicide, it is trouble, the tragedy of society. She needs to be freed from a serious oppression, from fear, a soul.
Another characteristic feature of the tragedy genre is the cleansing effect on the audience, which excites noble, sublime aspirations. So, in the "thunderstorm", as N. A. Dobrolyubov said, "there is even something refreshing and encouraging."
Tragic and the overall flavor of the play with her dimmediness, with a monthly feeling of impending thunderstorms. This is clearly emphasized by the parallelism of the thunderstorms of social, social and thunderstorms as the phenomena of nature.
In the presence of an undoubted tragic conflict, the play is imbued with optimism. The death of Katerina testifies to the rejection of the "Dark Kingdom", about resistance, about the growth of the forces designed to change Kabaniham and wild. Let even timidly, but already begin to protest Kuligin.
So, the genre peculiarity of "thunderstorms" is that it, no doubt, is the tragedy, the first Russian tragedy written on socially-domestic material. This is the tragedy of not only Katerina, it is the tragedy of the entire Russian society, which is at the turning point of its development, living on the eve of significant changes, in the context of a revolutionary situation, which contributed to the identity of self-esteem. It is impossible to disagree with the opinion of V. I. Nemirovich-Danchenko, who wrote: "If some merchant wife changed her husband and from here all her misfortunes, then it would be a drama. But the island is only the basis for a high life topic ... everything goes up to the tragedy. "

Listening to the "thunderstorm" in reading the author, Turgenev wrote in 1859, that this play is "the most expensive, the most magnificent work of Russian, mighty, quite mastered talent." Time confirmed the justice of such a high marks. None of the preceding play of the playwright, Russian life was still shown so widely as in the "thunderstorm". It was reflected even in its construction. The action of the play is not closed within one house or one family. It, as it were, turned on, was made on the universal review - on the boulevard, the area, the embankment.

It is enough to remember that out of five acts of the play only one happens in the house of Kabanov. Nature is directly incorporated into the plot as one of the important elements. The charm of the summer night, tragically premonitions of the inevitable thunderstorm - all this contributes to the creation of a tense emotional atmosphere, in which they develop, action. One of the main characters of the play becomes a Volga, free and indomitable force with which Katerina compares!

"Thunderstorm" is essentially a new genre, Dotol is unknown in Russian drama. It is a tragedy, built not on historical, but on modern material. The issue of genre is very important: the genre suggests, in which one should understand and interpret the artistic work. Throughout the XIX century. "Thunderstorm" was considered as a household drama, which predetermined increased attention to everyday life, to the details of a certain historical era. Meanwhile, the "thunderstorm" is a phenomenon of a larger aesthetic scale. Katerina is not just a victim of a family oppression, the conflict in the play is of a more general character, which is precisely marked in the title of Dobrolyubov. The tragedy differs from a domestic or psychological drama not only an objective-tragic conflict (including an insoluble contradiction between the ideal and reality), but also a special artistic way of reflection of life, the special poetic structure of the narration. In this regard, it is impossible not to take into account the people's poetic basis "thunderstorms".

"Thunderstorm" - a national social tragedy.

N. A. Dobrolyubov
"Thunderstorm" stands out as the main, staged product of the playwright. "Thunderstorm" was supposed to look into the collection "Nights on the Volga", conceived by the author in the time of the ride in the Russian Federation of 1856, organized by the Maritime Ministry. True, Ostrovsky then changed his decision and did not unite, as it was imposed initially, the cycle of "Volzhsky" play with a common title. "Thunderstorm" published a separate book in 1859. In order to work on her, an island play has undergone great changes - the author introduced a number of new actors, but the main thing is the Ostrovsky changed its original project and decided to write not comedy, and drama. However, the strength of the social conflict in the "thunderstorm" is so great that the play can be broadcast so much as a drama, but as a tragedy. There are arguments in defense of both opinions, therefore the genre of the play is difficult to determine unambiguously.

Of course, the play is written on a socio-household topic: it is characterized by a special readiness of the author to the image of the details of the life, the desire to accurately change the atmosphere of the city of Kalinov, his "brutal morals". Fictional city is described in detail, multilateral. An important role is played by landscape stained, but here immediately seen a contradiction: Ku-Ligin speaks of the beauty of zarenny far, a high Volga cliff. "Neshto," Kudryash objects to him. Pictures of the night walk along the boulevard, songs, picturesque nature, Katerina's stories about childhood - this is the poetry of the Kalinovsky world, which faces the daily cruelty of the inhabitants, the stories about the "poverty of the naked". On the past, Kalinovtsy retained only the vague legends - Lithuania "to us from the sky fell", news from the big world to them brings the Wantern of Feklush. Undoubtedly, such a sensitivity of the author to the details of life of the characters gives the likelihood to broadcast about drama as about the genre of the play "Thunderstorm".

Another feature characteristic of the drama and present in the play is the presence of a chain of intra-day conflicts. At first, this conflict between the daughter-in-law and mother-in-law for constipation of the gate of the house, then the entire city recognizes about this conflict, and he develops into social. Inherent in the drama, the expression of Codiflict in the actions and the words of heroes is brighter, in the monologues and dialogues of the actors. So, about the life of Katerina to marriage, we learn from the conversation with a young kabanova with Barbara: Katerina lived, "I didn't heal anything," like the "bird on the will", spending all day in pleasure and home affairs. We do not know anything about the first meeting of Katerina and Boris, about how their love originated. In his article, N. A. Dobrolyubov considered the insufficient "development of the passion" by significant omission, said that the accuracy is therefore "the struggle of passion and debt" is denoted for us "not fully clearly and strongly." But the fact of the fact does not contradict the laws of the drama.

The originality of the genre "thunderstorms" manifests itself in the fact that, despite the gloomy, tragic common flavor, there are also comic, satirical scenes in the play. We seem ridiculous anecdotic-ignorant stories of fecles about Saltan, about the lands, where all people are "with the pests." After the release of "thunderstorms", A. D. Galakhov in the revocation of the play wrote that "Action and tragedy tragedy, although many places excite laughter."

The author himself called his play drama. But could it be otherwise? At the time, speaking of the tragedy genre, accustomed to the case with the plot historical, with the main characters outstanding not only in nature, but also on the situation set in exceptional life situations. The tragedy is usually associated with the images of historical figures, at least legendary, as if Edip (Sofokla), Gamlet (Shakespeare), Boris Godunova (Pushkin). It seems to me that from the Ostrovsky called "thunderstorm" the drama was only a tribute to tradition.

An innovation of A. N. Ostrovsky was that he wrote a tragedy on only a vital, absolutely not characteristic of the tragedy genre.

The tragedy of "thunderstorms" is revealed by the conflict with the medium not only the main character, Katerina, but also other actors. Here, "lively envy ... deceased" (N. A. Dobrolyubov). So, tragic here is the fate of Tikhon, who is a failed toy in the hands of his powerful-despotic mother. Regarding the final words of Tikhon N. A. Dobrolyubov, he wrote that the "grief" of Tikhon in his indecision. If you exist sick, what prevents him from rush to the Volga? Tikhon can absolutely can do anything, moreover, "what recognizes its benefit and salvation." Tragic According to its hopelessness, the position of Kuli-Guin, dreaming of the happiness of the labor people, but the doomed to obey the will of the coarse self-playing and repairing small homemade utensils, earning only "on the bread of urgent" honest labor ".

The feature of the tragedy is the presence of a hero, outstanding in its spiritual qualities, according to V. G. Belinsky, "Man of Higher Nature", according to N. G. Chernyshevsky, a man "with great, and not a petty character." By contacting this position to the "thunderstorm" A. N. Ostrovsky, we, of course, see that this tragedy feature is dazzling in the nature of the main heroine.

Katerina differs from the "Dark Kingdom" Kalinov for its morality and the power of will. Its essence of human constantly stretches to beauty, her dreams are full of fabulous visions. It seems that Boris, she loved not in love with a real, but created by his imagination. Katerina could fully adapt to the morality of the city and continue to deceive his husband, but "deceive something ... I can not, he could not hide anything," honesty does not allow Katerina further to pretend to her husband. As a person strongly believes, Katerina had to possess great courage to defeat not only the fear of the physical end, but also the fear of "before the judgment" for the offense of suicide. The spiritual power of Katerina "... and the desire for freedom, mixed with religious prejudices, create a tragedy" (V. I. Nemirovich-Danchenko).

A feature of the tragedy genre is the physical destruction of the main character. Thus, Katerina, according to V. G. Belinsky, "Real Tragic Heroine". The fate of Katerina determined the collision of two historical eras. Not only her trouble is that she finishes the life of suicide, it is trouble, the tragedy of society. She is needed to free themselves from the grievous oppression, from fear, a soul.

Another characteristic feature of the tragedy genre is contained in the cleansing effect on the viewers, which excites the noble, sublime aspirations. So, in the "thunderstorm", as N. A. Dobrolyubov said, "there is more than something refreshing and encouraging."

Tragic and the overall flavor of the play with her dimmediness, with a monthly feeling of impending thunderstorms. Here, the parallelism of thunderstorms of social, social and thunderstorms as the phenomena of nature will obviously emphasize.

In the presence of an undoubted tragic conflict, the play is imbued with optimism. The death of Katerina testifies to the rejection of the "Dark Kingdom", about resistance, about the growth of the forces designed to change Kabaniham and wild. Let even timidly, but already begin to protest Kuligin.

So, the genre peculiarity of "thunderstorms" is that it, no doubt, is a tragedy, the first Russian tragedy written on socially-domestic material. This is the tragedy of not only Katerina, it is the tragedy of the entire Russian society, which is at the turning point of its development, living on the eve of significant changes, in the context of a revolutionary situation, which contributed to the identity of self-esteem. It is impossible to disagree with the opinion of V. I. Nemirovich-Danchenko, who wrote: "If some merchant spouse changed her husband and hence all her misfortunes, - that would be a drama. But the island is only the basis for a high life topic. ... Here everything rises to the tragedy. "