The problem of power in the work of a thunderstorm. Moral problems in the play A.N. Ostrovsky "Thunderstorm"

The Piez "Thunderstorm" was written in the second half of the 50th GP XIX century, when the country stood on the threshold of social and political and social changes. Naturally, Alexander Nikolaevich Ostrovsky could not but respond to these shifts. In this difficult period, in addition to the "thunderstorms", the playwright wrote the play "Naddannica", "profitable place" and others, which reflected their gaze on what is happening. In the "thunderstorm" A. N. Ostrovsky raises not so much social as moral problems. The playwright shows us how in person a suddenly wake up not yet known to this feeling and how her attitude to the surrounding reality changes. The conflict between Katerina and the Dark Kingdom, shown by the playwright, is the opposition to the laws of the housework and the desire for freedom and happiness. The thunderstorm in the play is not just a natural phenomenon, but a symbol of the mental state of the heroine. Katerina grew and formed as a personality in the terrible conditions of the housework, but this did not prevent her to resist Kalinovsky society. It was important for Ostrovsky to show that where any manifestation of freedom would lie, the emergence of a strong character seeking to his happiness. Katerina, with all his heart, seeks the will. This is especially brightly seen due to her story of Varvar about his childhood, when she lived in an atmosphere of love and understanding. But Katerina still does not fully understand that new relationship to the world, which will lead it to the tragic end: "Something in me is such an extraordinary. For sure I begin to live again. " Having loved Boris, she considers her feelings of sinful. Katerina sees a moral crime in this and says that the soul "has already ruined." But somewhere inside it understands that there is nothing immoral in the desire for happiness and love. However, Kabaniha, wild and to them, the act of Katerina are like this: After all, she, a married woman, violated moral norms, having loved Boris and starting to meet him secretly with him. However, what pushed her to this act? Since childhood, Katerina was an independent, freedom-loving nature. In the mother's mother, she lived like a bird in the wild. But it enters the house of her husband, where a completely different atmosphere reigns. She says: "Yes, here everything is as if from under the capture." In the words, the mother-in-law is committed to observing moral obstacles, and in fact "homemade houses at all." Kabaniha does not recognize anything new, does not give Tikhon to live by his mind, he opposes the daughter-in-law. It does not matter that in the soul of Katerina, customs would be observed. "She is strange, crazy, from the point of view of others, but this is because she cannot accept their views and inclinations in any way," writing about Katerina Dobrolyov in his article "Luch of Light in the Dark Kingdom." Tikhon also does not understand the soul of Katerina. This is a haired person who is in complete submission from his mother. Its only his joy - break out of the house and take a walk for several days. The daughter of Kabanova Varvara does not argue with her mother, but deceives her, running at night to walk with Kudryash. Thus, the cruelty, false, immorality is hidden for external piety. And do not alone wild boars. "Brutal morals in our city," says Kuligin. Katerina is striving for freedom and happiness. She could love her husband, but he is completely indifferent to her spiritual requests, her feelings. He loves her in his own way, but can not understand. He does not see the whole depth of despair Katerina, when she, having loved Boris, rushes to him, to Tikhon, asks to take her with him. Tikhon pushes his wife, dreaming to walk freely, and Katerina remains alone. There is a painful moral struggle in it. Brought up in a religious family, she considers great sin to change her husband. But the desire to live a full life, the desire to solve your destiny itself, be happy to take over the moral principles. However, the moral suffering of Katerina begins with the arrival of Tikhon. No, she does not repent in the fact that she loved, she suffers that it is forced to lie. Lies are opposed to her honest, sincere nature. Even earlier, she is recognized by Varvar: "I can't deceive something, I can not hide anything." That is why she recognizes Kabanchi and Tikhon in his love for Boris. But the moral problem is not solved. Katerina remains in the house of her husband, but for her it is equivalent to death: "What is home, that in the grave is still ... in the grave is better." Boris, who turned out to be a weak person, subordinate to his uncle Dick, refuses to take her with him to Siberia. Her life becomes unbearable. So what is immoral? Live with an unloved husband, lie, pretend or openly protest against the pinnacle and violence? Katerina - "Human Wife", according to the laws of society, it does not have the right to solve his fate herself. There is no exit for her. And she is solved on a terrible step. "But if I very much is happy here, so do not keep me any force. I will finish the window, I will throw it into the Volga, "Katerina Varvaror says earlier. So happened, she could not stand the oppression and oppression in the house of Kabani. According to Christian laws, suicide is a terrible sin. But, according to Katerina, even greater sin, live in lies and pretendation. Kuligin, shocked by the death of Katerina, throws her oppressors in the face: "Here is your Katerina. Make with her what you want! The body is here, and the soul is no longer yours: she is now before the judgment, which is mercifully! "In these words, the justification of its suicide. God will be merciful to the unfortunate woman, because in all of the happened it is not her, but an unfair, immoral structure of society. The soul of Katerina is clean and sinless. Before his death, she thinks only about his love - the only joy in her bitter life. And therefore, despite the tragic final, in the "thunderstorm", according to Dobrolyubov, "there is something refreshing and encouraging", and the very character of Katerina "blows on us a new life, which opens in her deception itself," no wonder critic Her "Luch of Light in the Dark Kingdom."

And N. Ostrovsky, after the emergence of his first major play, he received literary recognition. Ostrovsky's drama has become the necessary element of the culture of his time, he kept the position of the best playwright of the era, the head of the Russian dramatic school, despite the fact that A. V. Sukhovo-Kobylin was created at the same time in this genre. M. E. Saltykov-Shchedrin, A. F. Pisemsky, A. K. Tolstoy and L. N. Tolstoy. The most popular critics viewed his works as a faithful and deep mapping of modern reality. Meanwhile, Ostrovsky, going to his original creative way, often put in a dead end and critics, and readers.

So, the play "Thunderstorm" became a surprise for many. L. N. Tolstoy did not accept the play. The tragedy of this work forced and critics to reconsider their views on Ostrovsky's playwriter. A.P. Grigoriev noticed that the "thunderstorm" sounds a protest against the "existing", which is terrible to his adherents. Dobrolyubov in the article "Light of Light in the Dark Kingdom" argued that from the image of Katerina in the "thunderstorm" buzzing on us with a new life. "

Perhaps, for the first time with such a fine force, the scenes of family, "private" life were shown, that arbitrariness and displacement that they were accustomed to hidden behind the thick doors of mansions and mansions. And at the same time, it was not just a household sketch. The author showed the unenviable position of the Russian woman in a merchant family. The huge strength of the tragedy was attached to the special truthfulness, the art of the author, as D. I. Pisarev said true: "Thunderstorm" - a picture from nature, because she breathes the truth. "

The action of the tragedy takes place in the city of Kalinov, who spread out among the greenery of the gardens on the cool bank of the Volga. "Fifty years I'm looking at the Volga every day - I can't look at everything. The view is extraordinary! Beauty! The soul is rejoiced," Kuligin admires. It would seem that. And the lives of people of this city should be beautiful and joyful. However, life and morals of rich merchants created the "world of prison and coffin silence." Savel Wild and Marfa Kabanova is the personification of cruelty and self-immortion. The orders in the merchant house are based on household religious dogmas. Dobrolyubov speaks of the Kabanchi that his sacrifice she "gnaws, long and relentlessly." She makes his daughter-in-law in Katerina to put her husband with his departure, scolding her for the fact that she "does not work" in humans, without a spouse.

Kabaniha is very rich, this can be judged by the fact that the interests of her cases go far beyond the limits of Kalinov, on her instructions Tikhon goes to Moscow respects her wild, for which the main thing in life is money. But Kupchikha understands that the government also gives the humility of the environment. She seeks to kill in their homework any manifestation of the resistance of her power. Kabaniha hypocrite, it is only hollows by virtue and piousness, in the family she is an inhuman despot and tyrant. Tikhon does not contradict her anybody learned to lie, hide and remove.

The main heroine of the play of Katerina is marked by a strong character, it is not accustomed to humiliation and insults and therefore conflicts with a brutal old mother-in-law. In the house of Mother, Katerina lived freely and easily. In the house of Kabanov, she feels like a bird in a cage. She quickly realizes that here she cannot live for a long time.

Marry Tikhon Katerina came out without love. In the house of Kabani, everything trembles with one of the authorities of the checkpone. Life in this home of the day is young. And the Katerina meets a completely different person and falls in love. For the first time in life, she learns a deep personal feeling. Some at night she goes on a date to Boris. Which side of the playwright? He is on the side of Katerina, because it is impossible to destroy the natural aspirations of a person. Life in the family of Kabanov is unnatural. And Katerina does not accept the inclination of those people to which she fell. Hearing the offer of the barbarians to lie and pretend. Katerina responds: "I can't deceive something, I can not hide anything."

The directness and sincerity of Katerina causes respect to the author, and the reader, and the viewer, she decides that he cannot be a victim of silent motherless mother-in-law, can not languish. She is free! But she saw the yield only in his death. And with this one could argue. Critics also differed in her opinion, was it worth paying Katerina for freedom of life. So, Pisarev, in contrast to Dobrolyubov, considers the act of Katerina meaningless. He believes that after the Katerina suicide, everything will come back into circles, life will go to their guy, and is not worth the "dark kingdom" of such a victim. Of course, Katerina brought to the death of Kabaniha. As a result, her daughter of Varbara runs away from the house, and Son Tikhon regrets that he did not die with his wife.

Interestingly, one of the main, active images of this play is the image of the thunderstorm itself. Expressing the symbolically idea of \u200b\u200bthe work, this image directly participates in the action of drama as a real phenomenon of nature, comes into effect in its decisive moments, largely determines the actions of the heroine. This image is very multivarid, it covers almost all sides of the drama.

So. Already in the first action, the thunderstorm broke out over the city of Kalinov, as the foresight of the tragedy. Already sounded in Katerina: "I will die soon," she confessed to Varvar in sinful love. Already connected in her representation, the prediction of a crazy lady that the thunderstorm is not underway, and the feeling of one's own sin with a real blow of thunder. Katerina rushes home: "Still, it is better, everything is calmer, I'm at home - to the images yes God to pray!".

After that, the thunderstorm is silent for a short time. Only in the grumble of Kabani, her echoes are heard. Thunderstorms did not happen and that night, when Katerina, for the first time after marriage, felt free and happy.

But the fourth, climax, begins in words: "The rain is painted, how would the thunderstorm gathered?" And after that, the motive of the thunderstorm no longer cleans.

Interesting the dialogue of Kuligin and Wild. Kuligin speaks about the thunderns ("We have frequent thunderstorms") and causes wild anger: "What else there is electricity? Well, how are you not a robber? Thunderstorms are sent to us in punishment, so that we feel, and you want to poles That, forgive the Lord, defend. What are you, Tatar, or what? ". And on a quote from Derzhavin, which Kuligin leads to his defense: "I tele the body in the praha, I spent the whole thunder," the merchant does not find anything, except: "And for these words to send you to the city, so he Welcome! "

Undoubtedly, in the play, the thunderstorm image acquires particular importance: this is a refreshing, revolutionary principle however, the mind was convicted in the dark kingdom, he met with impenetrable ignorance, reinforced by misfortune. But still a zipper, cutting the sky over the Volga, crushed a long time silent Tikhon, flayed over the fates of Varvara and Kudryash. Thunderstorm thoroughly smashed. Inhuman do not even or later come to an end. The fight against the old began and continues. This is the meaning of the work of the Great Russian playwright.

"Columbus Zamoskvorechye". A. N. Ostrovsky knew the merchant Wednesday well and saw the national life in it. Here are widely represented, according to playwright, all types of characters. Writing the drama "Thunderstorm" was preceded by an expedition A. N. Ostrovsky on the upper Volga in 1856-1857. "Volga gave the Ostrovsky abundant food, pointed to him new topics for the drama and comedy and inspired him to those of them that constitute the honor and pride of domestic literature" (Maksimov S. V.). The plot of the drama "Thunderstorm" did not turn on the real history of the family of canine from Kostroma, as he thought for a long time. The play was written earlier in Kostroma tragedy. This fact testifies to the typical of the conflict between the old and new, louderly declared itself in a merchant environment. The problems of the play are quite multifaceted.

The central problem is the confrontation of the person and the environment (and as a special case - the abuse of a woman, about which N. A. Dobrolyubov said: "... the most powerful protest is the one that rises, finally, from the breast of the weakest and patient"). The problem of the confrontation of the personality and the environment is revealed on the basis of the central conflict of the play: there is a clash of the "hot heart" and the deadly mistake of the life of a merchant society. Katerina Kabanova, romantic, freedom, hot, is not able to endure the "cruel morals" of Kalinov, about which in the 3rd yawa. The 1st action tells Kuligin: "And who has money, sir, he tries the poor to descend, so that on his works there are even more money to find money ... trading is undermined by a friend, and not so much of the rustle, how much of the envy. Enjoy each other; He lied in their high churrices of drunken ordinary ... "All lawlessness and cruelty are committed under the guise of piety. To put up with hypocrisy and samotor, among whom the sublime soul of Katerina suffocates, the heroine is unable. And it is absolutely impossible for young kabanova, the nature of the honest and one-piece, the principle of "survival" of the barbarians: "Do what you want, if only Shito, it was." The confrontation of the "hot heart" of cosmia and the hypocrisy, even if the fee for such a riot will be the life, critic N. A. Dobrolyubov will call "Light Light in the Dark Kingdom."

The tragic mind and progress in the world of ignorance and self-use. This complex question is revealed in the play by the introduction of the image of Kulin, taking care of the general good and progress, but encountered on misunderstanding from the wild: "... I would have all money for society and used to support. Works should be given by the mesh. And then there are hands, but there is nothing to work. " But those who have money, such as wild, is in no hurry to part with them, and also signs in their inappropriateness: "What an elastnia is there! Well, how are you not a robber! A thunderstorm is sent to us in punishment, so that we feel, and you want sixtes, I have some kind of wrong, forgive me, to defend. " Ignorance FEKLUSH finds a deep "understanding" in Kabanova: "Here you have a wonderful evening, someone else, who will come to sit at the gateway; And in Moscow, now Gulbishchi da is playing, and the streets of Indo roar goes, the moan stands. Why, Mother Marf Ignatievna, Fiery Zmia began to bargain: everyone, you see, for a speed. "

Life substitution for fertile Christian commandments on the blind, fanatical, "Domostroevskoye" Orthodoxy, bordering the obscurantic. Completely different appears the religiosity of the nature of Katerina, on the one hand, and the piousness of the kabani and the fecles, on the other. The faith of young kabanova carries the creative beginning, performed by joy, light and unconscious: "And you know: on a sunny day, such a bright post goes down, and in this post smoke, for sure the clouds, and I see, I happened that angels in This post is flying and singing ... or early in the morning in the garden I will leave. Also only the sun rises, fall to the knee, pray and cry, and I do not know myself, about what we cry; So will find me. And what I prayed then what I asked, I do not know; I'm not needed to me, I have enough of everything. " Strict religious and moral postulates and severe asceticism, so honored by boa, help her justify their despotism and cruelty.

The problem of sin. With a religious issue, the topic of sin, arising in the play, not once, is closely connected. Sophisticated treason becomes an unbearable wear for the conscience of Katerina, and therefore a woman finds the only possible way out for it - a pleasant repentance. But the most difficult problem is to resolve the issue of sin. A great sin than suicide, Katerina considers life among the "Dark Kingdom": "I don't care that death will come that herself ... And it is impossible to live! Sin! Will not pray? Who loves, he will pray ... "

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

· The problem of fathers and children

· The problem of self-realization

· The problem of power

· The problem of love

· Conflict of old and new

The problems of the work in literature call a circle of problems that are somehow affected in the text. This may be one or more aspects on which the author focuses.

The play was ambiguously perceived by critics. Dobrolyubov saw in Katerina hope for a new life, an up. Grigoriev noted the outlined protest against the existing orders, and L. Tolstoy did not at all accept the play. Fabul "Thunderstorms", at first glance, is quite simple: everything is based on the love collision. Katerina secretly meets with a young man while her husband went to another city in cases. I failed to cope with the flour of conscience, the girl confesses in treason, after which it rushes into the Volga. However, behind all these everyday, domestic, lies much more large-scale things that threaten to develop to the scale of space. The "Dark Kingdom" of Dobrolyubov calls the situation that is described in the text. The atmosphere of lies and betrayal. In Kalinov, people are so accustomed to moral mud, that their noble consent only aggravates the situation. It becomes scary from awareness that this is not a place made people like this, these people independently turned the city into a certain accumulation of vices. And now the "Dark Kingdom" begins to influence the inhabitants. After a detailed acquaintance with the text, you can see how wide the problem of the product "Thunderstorm". Problems in the "thunderstorm" of Ostrovsky diverse, but at the same time they do not have hierarchies. Each separate problem 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 is shown the life of the Kabanov family. At that time, the opinion of the older man in the family was indisputable, and the wives and daughters were practically devoid of rights. At the head of the family stands Marfa Ignatievna, the widow. She took on men's functions. This is a powerful and calculating woman. Kabaniha believes that she cares about his children, ordering them to act as she wants. Such behavior led to quite logical consequences. Her son, Tikhon, a weak and non-fraction man. Mother seems to be so wanted to see him, because in this case, the person is easier to manage. Tikhon is afraid to say anything, express your opinion; In one of the scenes, he confesses that his point of view is not at all. Tikhon cannot protect against the hysterics and cruelty of the mother or his wife. Daughter Kabanihi, Varvara, on the contrary, managed to adapt to such a lifestyle. She is easily lying his mother, the girl even changed the castle on a gate in the garden to walk freely with Kudryash. Tikhon is not capable of any riot, Barbara in the final of the play runs away from the parental house with the beloved.

The problem of self-realization

When talking about the problem of "thunderstorms" it is impossible not to mention this aspect. The problem is implemented in the image of Kuligin. This self-taught inventor dreams of making something useful for all residents of the city. His plans enters collect perpetuum-mobile, to build a grossival, receive electricity. But all this dark, the semi-speaking world does not need a light nor the enlightenment. Wild laughs over the planes of Kuligin find honest earnings, openly mocks him. Boris after a conversation with Kuligin understands that the inventor is so never invented by any thing. Perhaps it understands Kuligin himself. It could be called naive, but he knows which morals reign in Kalinov, which is happening behind the closed doors, which are those in whose hands the power is concentrated. Kuligin learned to live in this world without losing himself. But he is not capable of feeling so acute conflict between reality and dreams, as Katerina did.

The problem of power

In the city of Kalinov, the authorities are not in the hands of the relevant authorities, but those who have money. The proof of this is the dialogue of the merchant wild and city. Gingerbile says the merchant that complaints come on the latter. Sawl Prokofievich is robbed. Wild does not hide, which makes it necessary for ordinary men, he speaks of deception as a normal phenomenon: if the merchants steal each other, then the ordinary residents can be stealing. In Kalinov, the nominal power does not solve absolutely nothing, and this is rooted incorrectly. After all, it turns out that without money in such a city it is simply impossible to live. Wildlocks himself almost a father-king, deciding who to give money to debt, and who does not. "So know that you worm. I want to eat, I will want to give up, "so corresponds to Wild Culgin.

The problem of love

In the "thunderstorm", the problem of love is implemented in pairs of Katerina - Tikhon and Katerina - Boris. The girl is forced to live with her husband, even if she does not feel any feelings other than pity. Katya rushes from extreme to extreme: she thinks between the option to stay with her husband and learn to love him or leave Tikhon. Feelings to Borisu from Kati flasl instantly. This passion pushes the girl for a decisive step: Katya goes to public opinion and Christian morality. Her feelings were mutual, but for Boris, this love meant is much less. Katya believed that Boris just as she was not able to live in the frozen city and lie for the sake of benefit. Katerina often compared himself with a bird, she wanted to fly away, escape from that metaphorical cell, and in Boris Katya, he saw that air, that freedom that she was so lacking. Unfortunately, the girl was mistaken in Boris. The young man turned out to be the same as the residents of Kalinov. He wanted to establish relationships with the wild for the receipt of money, spoke with Barbara that the feelings for Kate would better save secret as long as possible.

At the heart of the drama "Thunderstorm" - an image of a wakeful sense of personality and a new relationship to the world.

Ostrovsky showed that in Ouschenly Mirka Kalinov, the character of amazing beauty and strength may arise. It is very important that Katerina was born and formed in the same Kalinovsky conditions. In the exposition of the play, Katerina tells Varvar about his life in Maiden. The main motive of her story is all penetrating mutual love and will. But it was "will", at all conflict with the established way of the closed life of a woman, the whole range of representations of which is limited by their homework and religious dreams.

This is a world in which a person does not come to mind opposing himself to general, since he also does not separate himself from this community, and therefore there is no violence, coercion. But Katerina lives in an era, when the spirit of this morality: the harmony between a private person and the views of the medium - disappeared and the infinite form of relations is kept on violence and coercion. The sensitive soul of Katerina caught it. "Yes, everything seems to be from under the captivity."

It is very important that it is here, in Kalinov, in the soul of the heroine a new attitude to the world, new feelings, unclear still the most heroine: "Something in me is so extraordinary. For sure I start to live again, or ... I don't know. "

This is a vague feeling - a waking sense of person. In the soul of the heroine, it is embodied in love. In Katerina is born and the passion is growing. The wokeering sense of love is perceived by Katerina as a terrible sin, because the love of someone else's person for her, a married woman, there is a violation of moral debt. In loyalty of their moral representations, Katerina does not doubt, she only sees that no one from the surrounding things is not up to the true essence of this morality.

She does not see the outcome of his flour, except for death, and it is the complete lack of hope for forgiveness pushing her for suicide - sin is even more serious from a Christian point of view. "I still ruin my soul."

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