Work of fiction only then becomes relevant and close, if it fully and vividly reflects the problems of reality. These are the plays of A.N. Ostrovsky. The characters of his characters are holistic and realistic, their actions are not spontaneous, they become the result of life circumstances. The basis for the intrigue of many of the playwright's plays was the confrontation between "right and wrong." What is virtue and what is sin? Where is the line between freedom of choice and violation of social norms?

A person, according to Ostrovsky, lives, as it were, in two dimensions: everyday life, family,

Where outsiders do not see him, and public life, where illusions are created.

This is the way of life of Kabanikha (play "The Thunderstorm"). The tyranny of a callous fanatic who firmly holds the fate of all household members in her hands knows no bounds. Old foundations (and they are called to observe morality!) Only stifle the younger generation. The mother makes her son's life dull and miserable by constant moralizing. The daughter deliberately violates the norms of morality, without feeling any remorse.

The mother from the play "Dowry" loves a bright, cheerful life. She trades in her daughters, trying to marry them off profitably, not caring about feelings at all.

Landowner

Raisa Gurmyzhskaya (the play "The Forest"), trying to maintain external decency, leads an immoral lifestyle: she spends her fortune on her lovers, but at the same time she is callous and stingy with regard to relatives.

And what about the new generation? Where does his protest against obsolete norms lead him? In The Thunderstorm, Katerina dies. What is this - the punishment for adultery or the unwillingness of society to accept new trends? In this context, the problem of sin is acute. Katerina's soul, freedom-loving, creative, irrepressible, cannot live in captivity. She strives for forbidden happiness, feeling and understanding the wrongness of her act. How to live, punishing yourself for treason, seeing the censure of others? And is it possible to build happiness on the misfortune of the same Tikhon?

But Karandyshev (play "Dowry") does not hesitate to assert himself at the expense of others. His feelings are devoid of warmth, they are destructive, because they are based on profit. Dowry Larisa, entangled in her desire to marry for love, but who loves a beautiful life, like Katerina, dies.

What do all these people have in common: so different in their impulses? The era unites them with its false ideals, outdated rules, obsolete foundations. And the fate of a confused person trying to live in harmony with social norms, his desires and his own conscience. The human problems raised by A. Ostrovsky make his plays acute and relevant even today.

The people of the "Groza" live in a special state of the world: crisis, catastrophic. The supports holding back the old order shook, and the agitated life began to shake. The first action introduces us to the pre-storm atmosphere of life. Outwardly, so far everything is all right, but the restraining forces are too fragile: their temporary triumph only increases the tension. It thickens towards the end of the first act: even nature, as in a folk song, responds to this with a thunderstorm approaching Kalinov. Kabanikha- a man of a crisis era, like other heroes of the tragedy. He is a one-sided adherent of the worst aspects of the old morality. Assuming that everywhere and in everything Kabanikha observes the rules of "house building", that she is chivalrously faithful to his formal regulations, we succumb to deception inspired by the strength of her character. In fact, she easily deviates not only from the spirit, but also from the letter of the Domostroy prescriptions. ... “... If they offend - do not take revenge, if they blaspheme, pray, do not repay evil for evil, do not condemn those who sin, remember your sins, take care of them first of all, reject the advice of evil people, look up to those living in truth, their deeds write in your heart and do the same yourself, " says the old moral law. "The enemies must forgive, sir!" - exhorts Tikhon Kuligin. And what does he hear in response? “Come talk to mamma, what will she tell you about that. " The detail is significant! The boar is terrible not for loyalty to antiquity, but for petty tyranny "Under the guise of piety." Old morality is largely denied here: the most rigid formulas are extracted from the "house building", justifying despotism. Willfulness Wild in contrast to the tyranny of Kabanikha, it is not reinforced on anything, it is not justified by any rules. The moral foundations in his soul are thoroughly shaken. This "warrior" is not happy with himself, a victim of his own self-will. He is the richest and most distinguished person in the city. Capital unties his hands, makes it possible to swagger freely over the poor and financially dependent people. The more Wild he gets richer, the more unceremonious he becomes. “Why are you going to sue, or what, you will be with me? - he declares to Kuligin. So you know that you are a worm. I want to have mercy, if I want - I will crush ”... Boris's aunt, leaving a will, in accordance with custom, made it the main condition for receiving an inheritance respectfulnessnephew to uncle. As long as the moral laws were unshakable, everything was in favor of Boris. But their foundations were shaken, it became possible to turn the law this way and that, according to the well-known proverb: "The law is that the tongue: where you turned, there it went". “What can we do, sir! - says Kuligin to Boris. We must try to please somehow. " "Who will please him, - the knowing one reasonably objects the soul of the Wild Curly, - if his whole life is based on swearing? .. " "Again, even if you were respectful to him, is there anyone who would forbid him to say something that you are disrespectful?"But he is strong financially, Savel Prokofievich Dikoy is weak spiritually. He can sometimes give a pass before someone who is stronger in law than him, because the dim light of moral truth still flickers in his soul: “Somehow about fasting, about great things, I was fasting, and here it’s not easy and slip a peasant; I came for the money, carried firewood. And he brought him to sin at a time like this! He did sin: he scolded him, he scolded him so much that it was impossible to demand better, he almost nailed him. Here it is, what a heart I have! After he asked for forgiveness, he bowed at his feet, really, so. Truly I tell you, I bowed to the peasant's feet. I bowed to him in front of everyone. "Of course, this "insight" of the Wild is just a whim, akin to his tyrannical whims. This is not repentance to Katya rina, born of guilt and excruciating moral torment.fathers cities revolt young forces of life. These are Tikhon and Varvara, Kudryash and Katerina.Trouble Tikhon is born of the dark kingdom lack of will and fearin front of mama. In fact, he does not share her despotic claims and neitherthan she does not believe. Deep in his soul, Tikhon curled up into a ballkind and generous person who loves Katerina, able to forgive her anyresentment. He tries to support his wife in the moment of repentance and even wants hug her. Tikhon is much more subtle and morally discerning than Boris, who at this moment, guided byweak-hearted nym "shit-covered", comes outout of the crowd and bows to Kabanov, thereby aggravating the sufferingKaterina. But Tikhon's humanity is tootimid and inactive. Only at the end of the tragedywakes up it has something likeprotest: “Mamma, you ruined her!you, you., you ... ". Tikhon was dodged from the oppressive tyrannyat times, but even in these evasions there is no freedom.Revelry and drunkenness are akin to self-forgetfulness. As Katerina correctly notes, "and at will, he is definitely bound."

(on the example of one work).

2. The theme of the poet and poetry in the lyrics of AA Akhmatova. Reading one of the poems by heart.

1. The drama "The Thunderstorm" is based on the image of the awakening sense of personality and a new attitude towards the world.

Ostrovsky showed that in the ossified little world of Kalinov, a character of striking beauty and strength can arise. It is very important that Katerina was born and formed in the same Kalinov conditions. In the exposition of the play, Katerina tells Varvara about her life as a girl. The main motive of her story is all pervading mutual love and will. But it was a "will" that did not at all contradict the centuries-old way of the closed life of a woman, whose entire range of ideas was limited to domestic work and religious dreams.

This is a world in which it does not occur to a person to oppose himself to the general, since he does not yet separate himself from this community, and therefore there is no violence or compulsion here. But Katerina lives in an era when the very spirit of this morality - the harmony between the individual and the ideas of the environment - has disappeared and the ossified form of relations rests on violence and coercion. Katerina's sensitive soul caught it. "Yes, everything here seems to be out of bondage."

It is very important that it is here, in Kalinov, that a new attitude to the world is born in the soul of the heroine, new feelings that are not yet clear to the heroine herself: “Something in me is so extraordinary. As if I'm starting to live again, or. I really don't know. "

This vague feeling is an awakening sense of personality. In the soul of the heroine, it is embodied in love. Passion is born and grows in Katherine.

The awakened feeling of love is perceived by Katerina as a terrible sin, because love for a stranger for her, a married woman, is a violation of moral duty. Katerina has no doubts about the fidelity of her moral ideas, she only sees that none of those around her cares about true essence this morality.

She does not see the end of her torment, except death, and it is the complete absence of hope for forgiveness that pushes her to commit suicide - a sin even more serious from the Christian point of view. "All the same, I have ruined my soul."

Ticket number 12

1. The image of Bazarov in the novel by I. S. Turgenev "Fathers and Sons", his author's assessment.

2. The theme of the Motherland and nature in the lyrics of S. A. Yesenin.

1. I. S. Turgenev wrote to A. A. Fet: “Did I want to curse Bazarov or to extol him? I do not know this myself, for I do not know whether I love him or hate him. " The novel "Fathers and Sons" depicts the era of the 50s of the XIX century. Two camps: noblemen and commoners. Sharp ideological struggle replacing each other

social forces. By his convictions, Turgenev was a supporter of the reformist transformation of Russia. But as a great artist, he could not help painting a portrait of the emerging social type in Russia.

DI Pisarev: "Turgenev himself will never be Bazarov, but he thought about this type and understood him in a way that none of our realists will understand." Turgenev: “I dreamed of a gloomy, wild, large figure, half grown from the soil, strong, vicious, honest, and yet doomed to perish”. Bazarov is a bright personality, captivating those around him with his originality. Despite the feigned swagger, he has an energetic, courageous and at the same time sincere and kind character. Against the background of the inactive Pavel Petrovich, the impractical Nikolai Petrovich and the "sybaric" Arkady Bazarov stands out for his love of work, perseverance in achieving goals, and the desire to bring real benefits to Russia.

But on the other hand, Turgenev endowed Bazarov with features that reduce his image. Bazarov is cynical about women, love, marriage, family. He speaks of Madame Odintsova: "a woman with a brain" and "a rich body." Bazarov does not accept art. In his opinion, "Raphael is not worth a dime," and any art is "the art of making money." He recognizes only natural sciences by virtue of their usefulness for the present Russia.

Bazarov deviates from many of his convictions. A meeting with Madame Odintsova reveals in Bazarov "romanticism", the ability to love. The hero begins to doubt whether Russia really needs him. In the face of death, Bazarov begins to understand the value of such manifestations of life as poetry and beauty.

Bazarov's story illustrates philosophical idea Turgenev: no matter what people come into the world, no matter how passionately they want to turn life around, no matter how they deny the spiritual principle of life, they leave, disappear, and what remains is that which is eternal - love, children, earth, heaven. “No matter how passionate, sinful, rebellious heart is hidden in the grave

the flowers growing on it look at us serenely with their innocent eyes. they speak. about eternal reconciliation and about endless life. "

“Drawing the figure of Bazarov, I excluded everything artistic from the circle of his sympathies, I gave him a harsh and unceremonious tone - not out of an absurd desire to offend the younger generation (!!!), but simply as a result of observations of my acquaintance, Dr. D. and similar persons

“This life has evolved like this,” experience told me again, “maybe erroneous, but, I repeat, conscientious; I had nothing to think about - and I had to draw his figure just like that. probably many of my readers will be surprised if I tell them that, with the exception of his views on art, I share almost all of his beliefs.

And they assure me that I am on the side of the “fathers”. I, who, in the figure of Pavel Kirsanov, even sinned against artistic truth and salted, brought his shortcomings to a caricature, made him funny!

The whole reason for the misunderstandings, the whole "trouble," as they say, was that the Bazarov type I reproduced did not manage to pass through the gradual phases through which literary types usually pass.

At the very moment of the emergence of a new person - Bazarov - the author was critical of him. objectively. This has confused many. " (I.S.Turgenev).

2. Yesenin's poetry is distinguished by its extraordinary integrity, for everything in it is about Russia. “My lyrics are alive with one great love, love for the homeland. The feeling of homeland is the main thing in my work ”. In the poem of 1914 "Goy you, Russia, my dear." Yesenin asserted: “If the holy army shouts: /“ Throw you Rus, live in paradise! ”/ I will say:“ No need for paradise, / Give me my homeland ”, but even 10 years later in“ Sovetskaya Rus ”he stands his ground: “I will sing / With all my being in a poet / Sixth of the earth / With a short title“ Rus ”. The blood connection with the land that gave birth to him was the main condition thanks to which Yesenin was able to bring

· The problem of fathers and children

· Self-realization problem

· Power problem

· Love problem

· Conflict of old and new

The problematic of a work in literary criticism is called a range of problems that are somehow touched upon in the text. This can be one or several aspects on which the author focuses.

The play was received ambiguously by critics. Dobrolyubov saw in Katerina hope for new life, Ap. Grigoriev noticed the emerging protest against the existing order, and L. Tolstoy did not accept the play at all. The story of "The Thunderstorms", at first glance, is quite simple: everything is based on a love conflict. Katerina secretly meets with a young man while her husband left for another city on business. Unable to cope with the pangs of conscience, the girl confesses to treason, and then rushes into the Volga. However, behind all this mundane, everyday life, lies much more ambitious things that threaten to grow to the scale of space. Dobrolyubov calls the situation described in the text "Dark Kingdom". An atmosphere of lies and betrayal. In Kalinov, people are so used to moral filth that their resigned consent only aggravates the situation. It becomes scary from the realization that this was not a place that made people like that, that people independently turned the city into a kind of accumulation of vices. And now the "dark kingdom" is beginning to influence the inhabitants. After a detailed acquaintance with the text, you can see how widely the problems of the work "The Thunderstorm" are developed. Problems in Ostrovsky's "Thunderstorm" are diverse, but they have no hierarchy. Each problem taken separately is important in itself.

The problem of fathers and children

Here we are not talking about misunderstanding, but about total control, about patriarchal orders. The play shows the life of the Kabanov family. At that time, the opinion of the eldest man in the family was undeniable, and wives and daughters were practically deprived of their rights. The family is headed by Marfa Ignatievna, a widow. She took over male functions. This is a powerful and calculating woman. Kabanikha believes that she takes care of her children, ordering them to do as she wants. This behavior led to quite logical consequences. Her son, Tikhon, is a weak and spineless person. Mother, it seems, wanted to see him like that, because in this case it is easier to control a person. Tikhon is afraid to say anything, to express his opinion; in one of the scenes he admits that he does not have his own point of view at all. Tikhon cannot protect himself or his wife from mother's hysterics and cruelty. Kabanikha's daughter, Varvara, on the contrary, managed to adapt to this lifestyle. She easily lies to her mother, the girl even changed the lock on the gate in the garden in order to freely go on dates with Kudryash. Tikhon is not capable of any rebellion, while Varvara escapes from her parents' house with her lover in the finale of the play.

Self-realization problem

When talking about the Thunderstorm problems, one cannot but mention this aspect. The problem is implemented in the image of Kuligin. This self-taught inventor dreams of doing something useful for everyone in the city. His plans include assembling a perpetual mobile, building a lightning rod, and getting electricity. But this entire dark, semi-pagan world needs neither light nor enlightenment. Dikoy laughs at Kuligin's plans to find an honest job, openly mocks him. After talking with Kuligin, Boris understands that the inventor will never invent a single thing. Perhaps Kuligin himself understands this. He could be called naive, but he knows what manners prevail in Kalinov, what happens behind closed doors, what are those in whose hands the power is concentrated. Kuligin learned to live in this world without losing himself. But he is not able to feel the conflict between reality and dreams as keenly as Katerina did.

Power problem

In the city of Kalinovo, power is not in the hands of the relevant authorities, but in those who have money. The proof of this is the dialogue between the Wild merchant and the mayor. The mayor tells the merchant that there are complaints about the latter. To this Savl Prokofievich answers rudely. Dikoy does not hide the fact that he is cheating ordinary men, he speaks of deception as a normal phenomenon: if merchants steal from each other, then you can steal from ordinary residents. In Kalinov, nominal power decides absolutely nothing, and this is fundamentally wrong. After all, it turns out that it is simply impossible to live in such a city without money. Dikoy imagines himself to be almost a priest-king, deciding who to lend money and who does not. “So know that you are a worm. If I want - I will have mercy, if I want - I will crush ”- this is how Dikoy Kuligin answers.

Love problem

In The Thunderstorm, the problem of love is realized in the pairs Katerina - Tikhon and Katerina - Boris. The girl is forced to live with her husband, although she does not feel any feelings except pity for him. Katya rushes from one extreme to another: she thinks between the option of staying with her husband and learning to love him or leaving Tikhon. Katya's feelings for Boris flare up instantly. This passion pushes the girl to a decisive step: Katya goes against public opinion and Christian morality. Her feelings were mutual, but for Boris this love meant much less. Katya believed that Boris, like her, was incapable of living in a frozen city and lying for profit. Katerina often compared herself to a bird, she wanted to fly away, to escape from that metaphorical cage, and in Boris Katya saw that air, that freedom that she so lacked. Unfortunately, the girl was mistaken about Boris. The young man turned out to be the same as the inhabitants of Kalinov. He wanted to improve relations with the Dikim for the sake of receiving money, talked with Varvara that feelings for Katya are best kept secret as long as possible.

Alexander Nikolaevich highlighted the most important and especially urgent problem of human dignity at that time. The arguments that allow us to consider it as such are very convincing. The author proves that his play is really important, if only because the issues raised in it continue to excite the current generation after many years. Drama is addressed, studied and analyzed, and interest in it has not waned to this day.

In the 50-60s of the 19th century, the following three topics attracted special attention of writers and poets: the emergence of a diverse intelligentsia, serfdom and the position of women in society and the family. In addition, there was another topic - the tyranny of money, tyranny and the Old Testament authority among the merchants, under the yoke of which were all family members, and especially women. A. N. Ostrovsky in his drama "The Thunderstorm" set the task of exposing the spiritual and economic tyranny in the so-called " dark kingdom".

Who can be considered the bearer of human dignity?

The problem of human dignity in the drama "The Thunderstorm" is the most important in this work. It should be noted that there are very few characters in the play about whom one could speak: "This is the Majority actors - either unconditionally negative characters, or inexpressive, neutral. Wild and Kabanikha - idols devoid of elementary human feelings; Boris and Tikhon are spineless creatures capable only of obeying; Kudryash and Varvara are reckless people, drawn to momentary pleasures, incapable of serious feelings and reflections. Only Kuligin, an eccentric inventor, and main character Katerina are out of this row. The problem of human dignity in the drama "The Thunderstorm" can be briefly described as the opposition of these two heroes to society.

Inventor Kuligin

Kuligin is a rather attractive person with considerable talents, sharp mind, a poetic soul, a desire to disinterestedly serve people. He is honest and kind. It is no coincidence that Ostrovsky trusts him to assess the backward, limited, smug Kalinov society, which does not recognize the rest of the world. However, although Kuligin evokes sympathy, he is still unable to stand up for himself, so he calmly endures rudeness, endless ridicule and insults. He is an educated, enlightened person, but these best qualities in Kalinov are considered only a whim. The inventor is disparagingly referred to as an alchemist. He longs for the common good, wants to install a lightning rod, a clock in the city, but an inert society does not want to accept any innovations. The boar, who is the embodiment of the patriarchal world, will not take the train, even if the whole world has long been using the railway. Dikoy will never understand that lightning is actually electricity. He doesn't even know that word. The problem of human dignity in the drama "The Thunderstorm", the epigraph to which can be Kuligin's remark " Cruel manners, sir, cruel in our city! ", thanks to the introduction of this character gets deeper coverage.

Kuligin, seeing all the vices of society, is silent. Only Katerina protests. Despite its weakness, it is still a strong nature. The plot basis of the play is tragic conflict between the way of life and the real feeling of the main character. The problem of human dignity in the drama "The Thunderstorm" is revealed in the contrast between the "dark kingdom" and the "ray" - Katerina.

"Dark Kingdom" and its victims

The inhabitants of Kalinov are divided into two groups. One of them is made up of representatives of the "dark kingdom" who personify power. This is Kabanikha and Wild. The other includes Kuligin, Katerina, Kudryash, Tikhon, Boris and Varvara. They are victims of the "dark realm" who sense its brutal power, but protest against it in different ways. Through their actions or inaction, the problem of human dignity is revealed in the drama "The Thunderstorm". Ostrovsky's plan was to show from different angles the influence of the "dark kingdom" with its suffocating atmosphere.

Katerina's character

Interests and strongly stands out against the background of the environment in which she unwittingly found herself. The reason for life's drama lies precisely in its special, exceptional character.

This girl is a dreamy and poetic nature. She was brought up by a mother who pampered and loved her. The heroine's daily activities in childhood consisted of caring for flowers, going to church, embroidering, walking, stories of praying mongrels and pilgrims. Under the influence of this lifestyle, the girls were formed. Sometimes she sank into waking dreams, fabulous dreams. Katerina's speech is emotional and imaginative. And this poetically-minded and impressionable girl, after marriage, finds herself in Kabanova's house, in an atmosphere of annoying guardianship and hypocrisy. The atmosphere of this world is cold and soulless. Naturally, the conflict between the light world of Katerina and the situation in this "dark kingdom" ends tragically.

The relationship between Katerina and Tikhon

The situation is further complicated by the fact that she married a man whom she could not love and did not know, although she was striving with all her might to become Tikhon's faithful and loving wife. The heroine's attempts to get closer to her husband are broken by his narrow-mindedness, slavish humiliation and rudeness. Since childhood, he was used to obeying his mother in everything, he is afraid to say a word across to her. Tikhon meekly endures the tyranny of Kabanikha, not daring to object to her and protest. His only desire is to break free from the care of this woman, at least for a short time, to go on a spree, to drink. This weak-willed man, being one of the many victims of the "dark kingdom", not only could not somehow help Katerina, but also just humanly understand her, because inner world the heroine is too tall, difficult and inaccessible for him. He could not predict the drama brewing in the heart of his wife.

Katerina and Boris

Dikiy's nephew, Boris, is also a victim of a sanctimonious, dark environment. In terms of his inner qualities, he is significantly higher than the "benefactors" surrounding him. The education he received in the capital at a commercial academy developed his cultural needs and views, so it is difficult for this character to survive among the Wild and Kabanovs. The problem of human dignity in the play "The Thunderstorm" also arises before this hero. However, he lacks the character to escape from their tyranny. He is the only one who managed to understand Katerina, but was unable to help her: he lacks the determination to fight for the girl's love, so he advises her to reconcile, submit to fate and leaves her, anticipating the death of Katerina. The inability to fight for happiness doomed Boris and Tikhon not to live, but to suffer. Only Katherine was able to challenge this tyranny. The problem of human dignity in the play is thus also a problem of character. Only strong people can challenge the "dark kingdom". Only the main character belonged to them.

Dobrolyubov's opinion

The problem of human dignity in the drama "The Thunderstorm" was revealed in an article by Dobrolyubov, who called Katerina "a ray of light in the dark kingdom." The death of a gifted young woman of a strong, passionate nature illuminated for a moment the sleeping "kingdom" like a ray of sun against the background of gloomy dark clouds. Dobrolyubov sees the suicide of Katerina as a challenge not only to the Wild and Kabanovs, but to the entire way of life in a gloomy, despotic feudal-serf country.

The inevitable ending

It was an inevitable ending, despite the fact that the main character so worshiped God. It was easier for Katerina Kabanova to leave this life than to endure her mother-in-law's reproaches, gossip and remorse. She publicly pleaded guilty because she could not lie. Suicide and public repentance should be regarded as acts that elevated her human dignity.

Katerina could be despised, humiliated, even beaten, but she never humiliated herself, did not commit unworthy, base deeds, they only went against the morality of this society. Although what kind of moral can there be among such limited, stupid people? The problem of human dignity in the drama The Thunderstorm is the problem of the tragic choice between accepting or challenging society. At the same time, the protest threatens with grave consequences, up to the need to lose one's life.