A. N. Ostrovsky's play “The Thunderstorm” was written in 1859. However, interest in it does not decrease even today. What makes this little work so relevant? What problems does the playwright raise in the work?

At the center of the story is a social conflict, reflecting the confrontation between old and new forces. Vivid personifications of the old world are Savel Prokofievich Dikoy and Marfa Ignatievna Kabanova.
This typical representatives society, which the critic Dobrolyubov rightly and aptly called the “dark kingdom.” The despotism of these people knows no bounds. They, like an octopus spreading its tentacles, strive to extend their power to those around them.

The wealthy merchant Dikoy cannot but arouse angry rejection. He has sufficient influence in Kalinov. He is known to the townspeople as a brawler and a stingy guy. Swearing became an integral part of it. Savel Prokofievich cannot live a day without moralizing speeches. He will always find an object of attack, be it relatives, nephew or employees. He is very strict towards all members of the household, does not allow anyone to breathe freely.

In his tone one can always recognize menacing notes of instructiveness.

Dikoy is obscenely greedy. He puts his own nephews in a humiliating position, not wanting to give them the inheritance bequeathed by his grandmother. In an effort to gain his own benefit, he stipulates conditions. So, Boris, in order not to anger his uncle, should behave respectfully, carry out all his instructions, and endure his tyranny. The wild one will always find something to complain about. Dejected Boris does not really believe that his uncle will fulfill his grandmother’s will.

Marfa Ignatievna Kabanova is not inferior to Dikiy in ignorance and rudeness. Everyone in the house groans from her.

Kabanikha keeps everyone in complete submission.

Obedience became the norm for her son. His mother’s control turns Tikhon into a wordless shadow that has nothing to do with the concept of “man.” He cannot even protect his wife from his mother’s despotism.

Varvara Kabanikha’s daughter drove her to the point where she was forced to lie to her all the time, because she did not want to live according to the laws established by her mother.

Katerina becomes the real victim of Kabanikha’s despotism.

The mother-in-law believes that the daughter-in-law should unquestioningly obey her husband in everything. Manifestation of one's own will is unacceptable. Moreover, it is punishable! Her savagery, ignorance and despotism persistently formed in her mind the idea that the husband should “educate” his wife by beating. There should be no warm, human relations between them. Kindness to your wife is, according to Marfa Ignatievna, a manifestation of weakness. The daughter-in-law is obliged to subserviently to her husband, to serve him and his mother.

Thus, " cruel morals“The cities of Kalinov have their own inspirers, who are represented by the images of the Wild and Kabanikha.

Option 2

A.N. Ostrovsky reflects in The Thunderstorm the world of tyranny, tyranny and stupidity. And also the reality of people who do not resist this evil. All this literary critic Dobrolyubov called it “the dark kingdom.” And this concept stuck.

The play takes place in the Volga city of Kalinov. The name is fictitious. What is described in prose was the reality of all Russian cities of that time. And a populated area, fenced off from the outside world by a large river, is even more closed and conservative. Therefore, residents learn about everything from holy fools. And they believe that rulers with dog heads live somewhere, and the people are even more oppressed. This means they themselves are still living well. And we must pray for local “benefactors.”

Kalinov’s “Dark Kingdom” rests on two people: Dikiy and Kabanikha. Self-will, selfishness, unlimited rudeness, rigidity, love of power are common traits of these two personalities. These are stupid and tyrannical people. They are the strength and power in this city. Even the mayor will not contradict them. Savel Prokofievich is a wealthy merchant, “whose whole life is based on swearing.” Every day he tyrannizes, humiliates, scolds someone. And if he comes across a person over whom the Wild has no power and they answer him with the same abuse, then he takes out all his anger on his family. They will not answer, the family is defenseless against him. The merchant's wife, his children and his nephew Boris, who gets the most, suffer and are afraid.

The hero is also despotic in relation to his workers. Dikoy is very greedy. He does not tolerate it at all when people talk to him about money. Even if he himself understands that he owes the person money or repays the debt. Rarely does a master pay what is due to men. And I'm happy with that. He even explains to the mayor what profit he has if each employee is not paid extra. And he punishes his nephew to work. And the salary will be in a year, as much as the uncle wants to give. Selfishness is his main thing distinguishing feature. This man only respects the rich. He cruelly humiliates everyone who is lower than him in material terms.

The boar, on the contrary, cannot be called greedy. Marfa Ignatieva is generous in public and even kind to some extent. He welcomes wanderers and praying mantises into his home. He feeds them and gives them alms. All so that these old men praise her publicly, this pleases her pride. Tikhon's mother is no less willful and selfish than Dikoy. And he also likes to assert himself by belittling the dignity of others. She shows self-will and excesses only in the family. She is kind to strangers, but she is “stuffed up with food” at home. Whereas Savel Prokofievich does not make exceptions for anyone. But Kabanova’s emotional torture is much more sophisticated. She even turned her own son into a weak-willed creature. And the worst thing is that she is confident that she is right. She is older, wiser and knows everything better. Who else will teach the youth? They have no mind of their own, they must live by the mind of their parents. This means that what she does is not tyranny and tyranny. And the manifestation mother's love and worries.

Dikoy and Kabanikha differ only in their approach to humiliating others. They understand that they are, in fact, weak and may lose power. That's why they put people in a vice. So that no one would have the thought of opposing them.

Wild and Kabanikha in the story Groz Ostrovsky

The play “The Thunderstorm” by Alexander Nikolaevich Ostrovsky shows the main characters and the clash between them, associated with their different views on the world, dissimilar ideas and values. The work proves that with the passage of time, the principles of life are constantly changing. Representatives " dark kingdom", the merchant Dikoy and Kabanikha, live according to the Domostroevsky order, which dictates patriarchal norms and old traditions to the new generation, which leads to the emergence of interpersonal conflict in the work.

Kabanikha, the merchant widow Marfa Kabanova, appears to the reader as a tyrant and a bigot. Being a conservative due to his illiteracy, he does not know and does not even think that it is possible to live in any other way, he actively preaches his ideals, since he believes that the eldest in the family is the boss (based on the norms of patriarchy). Kabanova understands that the patriarchal structure is collapsing, so she enforces it even more harshly, this further serves as the cause of the collapse of the family.

Kabanikha tries to hold on to the old, because of which she absolutely does not see real feelings and does not experience them, suppresses them in others. She is ashamed that Katerina openly shows feelings for her son, since she considers it unacceptable to “hang” on her husband’s neck, forcing her to bow at his feet. She speaks in a commanding tone with rude expressions, believing that she has the right to indicate because she is the eldest, the head of the house. A maximalist, she never makes concessions, does not tolerate will, believing in the customs of antiquity.

Merchant Dikoy is also a representative of the “dark kingdom”, a supporter of Kabanikha. But his image has several differences from the image of Kabanikha. The tyranny of the Wild lies in the worship of money. A stingy egoist who seeks profit in everything, when he suffers losses, he loses his temper, gets irritated, and perceives it as punishment.

A. N. Ostrovsky shows Dikoy’s lack of education in the scene of his dialogue with Kuligin, a self-taught mechanic, who proposes to install a lightning rod, but Dikoy, who believes that the thunderstorm is sent as punishment, begins to shout at Kuligin. The abuse of this hero is his kind of defense. Dikoy is used to intimidating everyone, suppressing others, the feeling of power over others brings him confidence and pleasure.

It should be noted that A. N. Ostrovsky endowed the heroes with “talking” surnames, which reveal the essence of their rude, absurd characters.

Thus, the problem of the existence of representatives of the “dark kingdom” who try to hold on to fossilized forms of life finds a place in Russian classical literature, affects not only everyday life in the work, but covers other areas of life and develops into a larger-scale conflict.

Sample 4

The provincial town of Kalinov, in which the play “The Thunderstorm” takes place, is located on the high bank of the Volga. It would seem that the life of the inhabitants of the city against the backdrop of a beautiful landscape should have flowed calmly and smoothly. But that's not true. Behind the external calm lie cruel morals. Kuligin, a self-taught mechanic, telling Boris about the difficult situation of ordinary residents of the city, says: “What are the rich doing?.. Do you think they are doing work or praying to God? No, sir! And they don’t lock themselves away from thieves, but so that people don’t see how they eat their own family and tyrannize their family!..”

Depicting the life and customs of the city, A.N. Ostrovsky denounces the masters of life in the person of the merchants Dikiy and Kabanikha.

Savel Profyich Dikoy is a despot, ignorant, rude. He demands unquestioning obedience from everyone. His family suffers: they hide from the wrath of the Wild One so as not to catch his eye. The hardest time is for Boris, Dikiy’s nephew, who depends on him financially. Dikoy holds the entire city in his hands, mocking people. He humiliates Kuligin when he asks him for money for a sundial for the city. Money is everything for Dikiy; he cannot part with it. For the sake of money, he is ready to commit deception and fraud. He underpays his employees. It is useless to complain about Dikiy; he is on friendly terms with the mayor himself. For his rudeness and curses, the clerk Kudryash calls Diky “a shrill man.”

Marfa Ignatievna Kabanova is the head of the Kabanov house, a tyrant and despot. In the house, everything always happens only according to her will. She completely controls the family and keeps the entire house in fear. Kabanikha is an ardent supporter of the old principles of life, customs and rituals. She says that Domostroy should be observed, but she herself takes from there only the most cruel norms that justify her despotism. Kabanikha is superstitious, attends all church services, gives money to the poor, and receives strangers in her house. But this is ostentatious piety. And the worst thing is that Kabanikha does not doubt that she is right.

Kabanikha tortures and pursues her victims day after day, eroding them “like rusting iron.” Her son Tikhon grew up to be a weak-willed and spineless man. He loves his wife and tries to calm her down after her mother’s attacks, but he is unable to change anything and advises Katerina not to pay attention to her mother. Whenever possible, Tikhon tries to get out of the house and get drunk. Kabanikha brought Katerina to the grave. Varvara, Tikhon's sister, adapted to such a life; she learned to hide the truth from her mother. But Varvara can’t stand it either and leaves home after Katerina’s death. The morals of this house are capable of destroying every person who ends up there.

The patriarchal world, of which Dikoy and Kabanikha are representatives, is strong and merciless, but it is already on the verge of collapse.

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The image of Kabanikha in the play “The Thunderstorm” is one of the main negative ones that forms the plot. Hence the depth of his portrayal by playwright Ostrovsky. The play itself shows how, in the depths of an outdated but still strong patriarchal society, the champions of the “dark kingdom” in the very bud stifle the barely emerging shoots of the new. At the same time, the author of the work depicts two types that support the foundations of the Old Testament society based on dogmas. This is the widowed wealthy merchant Marfa Ignatievna Kabanova, as well as the wealthy merchant Savel Prokofich Dikoy. No wonder they call each other godfathers.

Merchant's wife Kabanova as an ideologist of the “dark kingdom”

It should be recognized that the image of Kabanikha in the play “The Thunderstorm” occupies a more significant position in the gradation of negative images than the character of the merchant Dikiy. Unlike her godfather, who oppresses those around him in the most primitive ways (with the help of swearing, almost reaching the point of beatings and humiliation), Marfa Ignatievna understands perfectly well what “old times” are and how they should be protected. Her influence on others is more subtle. After all, as the reader reads the drama, she sees not only scenes where she peremptorily lectures her family, but also moments where she pretends to be “old and stupid.” Moreover, the merchant Kabanova acts as an apologist for double morality and hypocrisy in the manipulation of her neighbors. And in this sense, the image of Kabanikha in the play “The Thunderstorm” is truly classic in Russian literature.

The merchant's desire is to subjugate her neighbors

The playwright Ostrovsky managed to show at the same time, deeply and clearly for the reader, how in the merchant Kabanova, ostentatious, insincere religiosity coexists with an absolutely unchristian, immoral and selfish desire - to subjugate people to himself. Marfa Ignatievna really breaks the will and characters of her neighbors, their life aspirations, crushes real, genuine spirituality. She is opposed by the image of Katerina in Ostrovsky’s play “The Thunderstorm,” her daughter-in-law.

Different understanding of antiquity by Kabanikha and Katerina

To be precise, Katerina is also a representative of a patriarchal society. This idea was expressed by the actor and literary critic Pisarev in response to famous article Nikolai Dobrolyubov “A Ray of Light in a Dark Kingdom.”

However, if her mother-in-law represents the “old times”, gloomy, dogmatic, subjugating people and killing their aspirations with meaningless “don’ts” and teachings “how it should be,” then Katerina, in contrast to her, has completely different views on the “old times”.

For her, there are also centuries-old traditions, but they are expressed in completely different ways: in love for others and care for them, in a childishly enthusiastic attitude towards the world around us, in the ability to see and perceive all the good things around, in the instinctive rejection of gloomy dogmatism, in mercy . “Old time” for Katerina is colorful, romantic, poetic, joyful. Thus, Katerina and Kabanikha personalize two opposing aspects of Russian patriarchal serf society - dark and light.

Psychological pressure from Kabanikha on Katerina

The tragic image of Katerina in Ostrovsky's play "The Thunderstorm" invariably evokes the reader's sympathy and sympathy. The girl ends up in the Kabanov family by marrying Tikhon, the son of a merchant's wife. Before Katerina appeared in the house, her future mother-in-law completely imposed her will on everyone at home: her son and daughter Varvara. Moreover, if Tikhon is completely morally broken and is only able to follow the instructions of “mama,” then Varvara only pretends to agree, but always acts in her own way. However, under the influence of her mother, her personality was also deformed - the girl became insincere and double-minded.

The image of Kabanikha in the play “The Thunderstorm” is antagonistic to the image of Katerina throughout the entire play. It’s not for nothing that the daughter-in-law reproaches that her mother-in-law “eats her.” Kabanikha constantly insults her with far-fetched suspicions. It exhausts the soul with senseless compulsions to “bow to your husband” and “cut your nose.” Moreover, the merchant's wife appeals to quite plausible principles: maintaining order in the family; harmonious (as is customary in the Russian tradition) relationships between relatives; foundations of the Christian faith. In fact, Marfa Ignatievna’s influence on Katerina comes down to compulsion - to blindly follow her orders. Kabanikha wants to turn her into another subject of her home “dark kingdom”.

Unmercifulness is a common trait between Kabanikha and Wild

The characterization of the image of Kabanikha in the play “The Thunderstorm” by Ostrovsky shows her common feature with the image of the merchant Wild, despite their obvious characteristic differences. This is unmerciful towards people. Both of them treat their neighbors and fellow citizens in a non-Christian, consumerist way.

True, Savel Prokofich does this openly, and Marfa Ignatievna resorts to mimicry, imitating Christian beliefs. In conversations with her neighbors, she prefers the tactic “the best defense is attack,” accusing them of non-existent “sins.” She doesn’t even hear the opposite arguments from her children and daughter-in-law. “I would believe... if I hadn’t heard with my own ears... what veneration is like...” Isn’t it a very convenient, almost “impenetrable” position?

The characterization and image of Kabanikha from the play “The Thunderstorm” by A. Ostrovsky combines hypocrisy and cruelty. After all, in fact, Kabanikha, who regularly goes to church and does not spare alms to the poor, turns out to be cruel and unable to forgive Katerina, who has repented and admitted cheating on her husband. Moreover, she instructs her son Tikhon, who is deprived of his own point of view, to beat her, which he does. They motivate this, again, by tradition.

Kabanikha contributed to Katerina’s suicide

It is the image of Katerina Kabanova in Ostrovsky’s play “The Thunderstorm,” constantly bullied by her mother-in-law, deprived of all rights and intercession, that gives tragedy to Ostrovsky’s play. None of the readers doubt that her suicide is the result of the unfavorable influence of her mother-in-law, constant humiliation, threats, and cruel treatment.

The situation is aggravated by the fact that Katerina had already previously stated that she would settle scores with her unhappy life. Marfa Ignatievna, who was well aware of everything that was going on in the house, could not help but know this. Was there any direct intent on the part of the mother-in-law to drive her daughter-in-law to suicide? Hardly. Rather, Kabanikha thought of “breaking” her, completely, as she had already done with her son. As a result, the merchant's family collapses: her daughter Varvara accuses her of directly contributing to the tragedy and leaves home. Tikhon goes on a drinking binge...

However, the hard-hearted Marfa Ignatievna does not repent even after this. For her " dark kingdom", manipulating people is more important than family, more important than morality. This conclusion can be drawn from the episode of Kabanikha’s revealed hypocrisy even in this tragic situation. The merchant's wife publicly bows and thanks the people who retrieved the body of the late Katerina from the Volga. However, then he declares that she cannot be forgiven. What could be more anti-Christian than not forgiving a dead person? This, perhaps, can only be done by a real apostate.

Instead of a conclusion

The negative character - the merchant Kabanova - is revealed gradually as the action progresses. Does the image of Katerina in A. N. Ostrovsky’s play “The Thunderstorm” fully oppose him? Probably no. The girl has nothing to oppose to the suffocating atmosphere around her; she only begs for understanding. She's making a mistake. The imaginary liberation from the domestic “dark kingdom” of the Kabanovs - an affair with Boris - turns out to be a mirage. Katerina repents. It would seem that Kabanikha’s morality has won... It costs the merchant’s wife nothing to turn the girl into her ally. To do this, you just need to show mercy. However, as they say, habit is second nature. Kabanikha, “offended,” bullies the already unrequited, humiliated Katerina with redoubled force.

The daughter-in-law's suicide brings devastating consequences for Marfa Ignatievna's family. We are now seeing a crisis in the obedient (before Katerina’s appearance) family of the merchant’s wife, which is falling apart. Kabanikha can no longer effectively defend the “old times.” From the above, the conclusion suggests itself that at the turn of the 19th century, the way of life of Russian society was steadily changing.

In fact, society even then demanded a liberation decree abolishing serfdom, allowing commoners to raise the role of education and social freedoms.

“The Thunderstorm” by A. N. Ostrovsky made a strong and deep impression on his contemporaries. Many critics were inspired by this work. However, even in our time it has not ceased to be interesting and topical. Elevated to the category of classical drama, it still arouses interest.

The tyranny of the “older” generation lasts for many years, but some event must occur that could break the patriarchal tyranny. Such an event turns out to be the protest and death of Katerina, which awakened other representatives of the younger generation.

Let's take a closer look at the characteristics of the main characters.

Characters	Characteristic	Examples from the text
"Older generation.
Kabanikha (Kabanova Marfa Ignatievna)	A wealthy merchant widow imbued with Old Believer beliefs. “Everything is under the guise of piety,” according to Kudryash. Forces you to honor rituals and blindly follow old customs in everything. Domestic tyrant, head of the family. At the same time, he understands that the patriarchal structure is collapsing, covenants are not being kept - and therefore he enforces his authority in the family even more harshly. “Prude,” according to Kuligin. He believes that one must pretend to be decent in front of people at all costs. Her despotism is main reason family breakdown.	Action 1, phenomenon 5; Action 2, phenomenon 3, 5; Act 2, phenomenon 6; Act 2, phenomenon 7.
Dikoy Savel Prokofievich	Merchant, tyrant. I’m used to intimidating everyone, taking them unceremoniously. Scolding is what brings him true pleasure; there is no greater joy for him than humiliating people. Trampling human dignity, experiences incomparable pleasure. If this “scolder” encounters someone whom he does not dare scold, he takes it out on his family. Rudeness is an integral part of his nature: “he can’t breathe without scolding someone.” Swearing is also a kind of defense for him as soon as it comes to money. He is stingy and unfair, as evidenced by his behavior towards his nephew and niece.	Act 1, phenomenon 1 - conversation between Kuligin and Kudryash; Act 1, scene 2 - conversation between Dikiy and Boris; Act 1, phenomenon 3 - words about it by Kudryash and Boris; Action 3, phenomenon 2; Action 3, phenomenon 2.
Younger generation.
Katerina	Tikhon's wife does not contradict her husband and treats him kindly. Initially, traditional humility and obedience to her husband and elders in the family are alive in her, but acute feeling injustice allows one to step towards “sin”. She says about herself that she is “unchangeable in character both in public and without them.” As a girl, Katerina lived freely; her mother spoiled her. He fervently believes in God, which is why he is very worried about his sinful love outside of marriage for Boris. She is dreamy, but her worldview is tragic: she anticipates her death. “Hot”, fearless since childhood, she challenges Domostroevsky morals with both her love and her death. Passionate, having fallen in love, gives her heart without a trace. He lives by emotions rather than by reason. She cannot live in sin, hiding and hiding like Varvara. That’s why he confesses his connection to Boris to his husband. She shows courage, which not everyone is capable of, defeating herself and throwing herself into the pool.	Act 1, phenomenon 6; Action 1, phenomenon 5; Act 1, phenomenon 7; Action 2, phenomenon 3, 8; Action 4, phenomenon 5; Action 2, phenomenon 2; Act 3, scene 2, scene 3; Act 4, phenomenon 6; Action 5, phenomenon 4, 6.
Tikhon Ivanovich Kabanov.	Kabanikha's son, Katerina's husband. Quiet, timid, submissive to his mother in everything. Because of this, he is often unfair to his wife. I’m glad to get out from under my mother’s heel at least for a while, to get rid of the constantly consuming fear, for which I go to the city to get drunk. In his own way, he loves Katerina, but cannot resist his mother in anything. As a weak nature, devoid of any will, he envies Katerina’s determination, remaining “to live and suffer,” but at the same time he shows a kind of protest, blaming his mother for Katerina’s death.	Act 1, phenomenon 6; Action 2, phenomenon 4; Action 2, phenomenon 2, 3; Action 5, phenomenon 1; Action 5, phenomenon 7.
Boris Grigorievich.	Dikiy's nephew, Katerina's lover. A well-mannered young man, an orphan. For the sake of the inheritance left by his grandmother to him and his sister, he involuntarily endures the scolding of the Wild. " Good man“According to Kuligin, he is not capable of decisive action.	Action 1, phenomenon 2; Action 5, phenomenon 1, 3.
Varvara.	Sister Tikhon. The character is more lively than his brother. But, just like him, he does not openly protest against arbitrariness. Prefers to condemn his mother quietly. Practical, down to earth, doesn't have her head in the clouds. She secretly meets with Kudryash and sees nothing wrong in bringing Boris and Katerina together: “do whatever you want, as long as it’s done well and covered.” But she also does not tolerate arbitrariness over herself and runs away from home with her beloved, despite all the outward humility.	Action 1, phenomenon 5; Action 2, phenomenon 2; Action 5, phenomenon 1.
Curly Vanya.	Wild's clerk has a reputation as a rude man, in his own words. For Varvara’s sake he is ready to do anything, but he believes that married women should stay at home.	Action 1, phenomenon 1; Act 3, scene 2, phenomenon 2.
Other heroes.
Kuligin.	A tradesman, a self-taught mechanic, is looking for a perpetuum mobile. Original, sincere. Preaches common sense, enlightenment, reason. Versatile. As an artist, he enjoys the natural beauty of nature, looking at the Volga. He writes poetry, in his own words. Stands up for progress for the benefit of society.	Action 1, phenomenon 4; Action 1, phenomenon 1; Action 3, phenomenon 3; Action 1, phenomenon 3; Action 4, phenomenon 2, 4.
Feklusha	A wanderer who adapts to Kabanikha’s concepts and seeks to frighten those around her with a description of an unrighteous way of life outside the city, suggesting that they can live happily and in virtue only “in the promised land” of Kalinov. A hanger-on and a gossip.	Action 1, phenomenon 3; Action 3, phenomenon 1.

• Katerina Varvara Character Sincere, sociable, kind, honest, pious, but superstitious. Tender, soft, and at the same time, decisive. Rough, cheerful, but taciturn: “... I don’t like to talk a lot.” Decisive, can fight back. Temperament Passionate, freedom-loving, courageous, impetuous and unpredictable. She says about herself, “I was born so hot!” Freedom-loving, intelligent, prudent, courageous and rebellious, she is not afraid of either parental or heavenly punishment. Upbringing, […]
• In “The Thunderstorm,” Ostrovsky shows the life of a Russian merchant family and the position of women in it. Katerina’s character was formed in a simple merchant family, where love reigned and the daughter was given complete freedom. She acquired and retained all the wonderful traits of the Russian character. This is pure open soul, who cannot lie. “I don’t know how to deceive; I can’t hide anything,” she tells Varvara. In religion, Katerina found the highest truth and beauty. Her desire for the beautiful and the good was expressed in prayers. Coming out […]
• In The Thunderstorm, Ostrovsky, using a small number of characters, managed to reveal several problems at once. Firstly, this is, of course, a social conflict, a clash between “fathers” and “children”, their points of view (and if we resort to generalization, then two historical eras). Kabanova and Dikoy belong to the older generation, who actively express their opinions, and Katerina, Tikhon, Varvara, Kudryash and Boris to the younger generation. Kabanova is sure that order in the house, control over everything that happens in it, is the key to a healthy life. Correct […]
• “The Thunderstorm” was published in 1859 (on the eve of the revolutionary situation in Russia, in the “pre-storm” era). Its historicism lies in the conflict itself, the irreconcilable contradictions reflected in the play. It responds to the spirit of the times. "The Thunderstorm" represents the idyll of the "dark kingdom". Tyranny and silence are brought to the extreme in her. A real heroine from the people’s environment appears in the play, and it is the description of her character that receives the main attention, while the little world of the city of Kalinov and the conflict itself are described in a more general way. "Their life […]
• The play “The Thunderstorm” by Alexander Nikolaevich Ostrovsky is historical for us, as it shows the life of the philistinism. "The Thunderstorm" was written in 1859. It is the only work of the “Nights on the Volga” series conceived but not realized by the writer. The main theme of the work is a description of the conflict that arose between two generations. The Kabanikha family is typical. The merchants cling to their old morals, not wanting to understand the younger generation. And since young people do not want to follow traditions, they are suppressed. I'm sure, […]
• Let's start with Katerina. In the play "The Thunderstorm" this lady - main character. What is the problem? of this work? The problematic is the main question that the author asks in his work. So the question here is who will win? The dark kingdom, which is represented by the bureaucrats of a provincial town, or the bright beginning, which is represented by our heroine. Katerina is pure in soul, she has a tender, sensitive, loving heart. The heroine herself is deeply hostile to this dark swamp, but is not fully aware of it. Katerina was born […]
• A conflict is a clash between two or more parties that do not coincide in their views and worldviews. There are several conflicts in Ostrovsky’s play “The Thunderstorm,” but how can you decide which one is the main one? In the era of sociology in literary criticism, it was believed that social conflict was the most important in the play. Of course, if we see in the image of Katerina a reflection of the spontaneous protest of the masses against the constraining conditions of the “dark kingdom” and perceive Katerina’s death as the result of her collision with her tyrant mother-in-law, one should […]
• Dramatic events of the play by A.N. Ostrovsky's "The Thunderstorm" takes place in the city of Kalinov. This town is located on the picturesque bank of the Volga, from the high cliff of which the vast Russian expanses and boundless distances open up to the eye. “The view is extraordinary! Beauty! The soul rejoices,” delights local mechanic self-taught Kuligin. Pictures of endless distances, echoed in a lyrical song. Among the flat valleys,” which he hums, have great importance to convey a sense of the immense possibilities of Russian […]
• Katerina – main character Ostrovsky's drama "The Thunderstorm", Tikhon's wife, Kabanikha's daughter-in-law. The main idea of ​​the work is the conflict of this girl with the “dark kingdom”, the kingdom of tyrants, despots and ignoramuses. You can find out why this conflict arose and why the end of the drama is so tragic by understanding Katerina’s ideas about life. The author showed the origins of the heroine's character. From Katerina's words we learn about her childhood and adolescence. Here is an ideal version of patriarchal relations and the patriarchal world in general: “I lived, not about [...]
• In general, the history of the creation and concept of the play “The Thunderstorm” is very interesting. For some time there was speculation that this work was based on real events which occurred in the Russian city of Kostroma in 1859. “In the early morning of November 10, 1859, Kostroma bourgeois Alexandra Pavlovna Klykova disappeared from her home and either rushed into the Volga herself, or was strangled and thrown there. The investigation revealed the silent drama that played out in an unsociable family living narrowly with commercial interests: […]
• In the drama “The Thunderstorm,” Ostrovsky created a very psychologically complex image - the image of Katerina Kabanova. This young woman charms the viewer with her huge, pure soul, childish sincerity and kindness. But she lives in the musty atmosphere of the “dark kingdom” of merchant morals. Ostrovsky managed to create a bright and poetic image of a Russian woman from the people. Main story line The plays are a tragic conflict between the living, feeling soul of Katerina and the dead way of life of the “dark kingdom.” Honest and [...]
• Alexander Nikolaevich Ostrovsky was endowed with great talent as a playwright. He is deservedly considered the founder of the Russian national theater. His plays, varied in theme, glorified Russian literature. Ostrovsky's creativity had a democratic character. He created plays that showed hatred of the autocratic serfdom regime. The writer called for the protection of the oppressed and humiliated citizens of Russia and longed for social change. Ostrovsky’s enormous merit is that he opened the enlightened [...]
• Critical history"Thunderstorms" begins even before she appears. To argue about “a ray of light in a dark kingdom,” it was necessary to open the “Dark Kingdom.” An article under this title appeared in the July and September issues of Sovremennik for 1859. It was signed with the usual pseudonym of N. A. Dobrolyubova - N. - bov. The reason for this work was extremely significant. In 1859, Ostrovsky sums up the interim results literary activity: his two-volume collected works appear. "We consider it the most [...]
• Whole, honest, sincere, she is incapable of lies and falsehood, which is why in a cruel world where wild and wild boars reign, her life turns out so tragically. Katerina's protest against Kabanikha's despotism is a struggle of the bright, pure, human against the darkness, lies and cruelty of the “dark kingdom”. No wonder Ostrovsky, who paid great attention to the selection of names and surnames characters, gave this name to the heroine of “Thunderstorms”: translated from Greek “Ekaterina” means “eternally pure”. Katerina is a poetic person. IN […]
• When turning to thinking about the topics in this area, first of all, remember all our lessons in which we discussed the problem of “fathers and sons.” This problem is multifaceted. 1. Perhaps the topic will be formulated in such a way as to force you to talk about family values. Then you should remember works in which fathers and children are blood relatives. In this case, we will have to consider the psychological and moral foundations of family relationships, the role family traditions, disagreements and […]
• The novel was written from the end of 1862 to April 1863, that is, written in 3.5 months in the 35th year of the author’s life. The novel divided readers into two opposing camps. Supporters of the book were Pisarev, Shchedrin, Plekhanov, Lenin. But such artists as Turgenev, Tolstoy, Dostoevsky, Leskov believed that the novel was devoid of true artistry. To answer the question “What to do?” Chernyshevsky raises and resolves the following burning problems from a revolutionary and socialist position: 1. The socio-political problem […]
• How I wash the floors In order to wash the floors clean, and not pour water and smear the dirt, I do this: I take a bucket from the pantry that my mother uses for this, as well as a mop. I pour hot water into a basin and add a tablespoon of salt to it (to kill germs). I rinse the mop in the basin and squeeze it thoroughly. I wash the floors in each room, starting from the far wall towards the door. I look into all the corners, under the beds and tables, this is where the most crumbs, dust and other evil spirits accumulate. Having washed each […]
• At the ball After the ball The hero’s feelings He is “very much” in love; admired by the girl, life, the ball, the beauty and grace of the surrounding world (including interiors); notices all the details on a wave of joy and love, is ready to be moved and cry at any trifle. Without wine - drunk - with love. He admires Varya, hopes, trembles, happy to be chosen by her. Light, does not feel his own body, “floats”. Delight and gratitude (for the feather from the fan), “cheerful and contented,” happy, “blessed,” kind, “an unearthly creature.” WITH […]
• I've never had my own dog. We live in the city, the apartment is small, the budget is limited and we are too lazy to change our habits, adapting to the dog’s “walking” regime... As a child, I dreamed of a dog. She asked me to buy a puppy or take anyone from the street. I was ready to look after, give love and time. Parents kept promising: “When you grow up...”, “When you go to fifth grade...”. I went through the 5th and 6th, then I grew up and realized that no one would ever let a dog into the house. We agreed on cats. Since then […]
• The love story of clerk Mitya and Lyuba Tortsova unfolds against the backdrop of life in a merchant's house. Ostrovsky once again delighted his fans with his remarkable knowledge of the world and amazingly vivid language. Unlike the earlier plays, this comedy contains not only the soulless manufacturer Korshunov and Gordey Tortsov, who boasts of his wealth and power. They are contrasted with simple and sincere people dear to the hearts of the Pochvenniks - the kind and loving Mitya and the squandered drunkard Lyubim Tortsov, who remained, despite his fall, […]

Such and such a scolder like ours
Savel Prokofich, look again!
A. N. Ostrovsky
Drama by Alexander Nikolaevich Ostrovsky “The Thunderstorm” long years has become a textbook work depicting the “dark kingdom” that suppresses the best human feelings and aspirations, trying to force everyone to live by his rough laws. No free-thinking - unconditional and complete submission to elders. The bearers of this “ideology” are Dikoy and Kabanikha. Internally they are very similar, but there is some external difference in their characters.
The boar is a prude and a hypocrite. Under the guise of piety, she, “like rusting iron,” eats her household members, completely suppressing their will. Kabanikha raised a weak-willed son and wants to control his every step. She hates the very idea that Tikhon can make his own decisions without looking back at his mother. “I would believe you, my friend,” she says to Tikhon, “if I had not seen with my own eyes and heard with my own ears what kind of respect for parents from children has now become! If only they remembered how many illnesses mothers suffer from their children.”
Kabanikha not only humiliates the children herself, she teaches Tikhon this too, forcing him to torture his wife. This old woman is suspicious of everything. If she had not been so fierce, Katerina would not have rushed first into the arms of Boris, and then into the Volga. The wild one just pounces on everyone like a chain. Kudryash, however, is sure that “...we don’t have many guys like me, otherwise we would have taught him not to be naughty.” This is absolutely true. Dikoy does not meet adequate resistance, and therefore suppresses everyone. The capital behind him is the basis of his excesses, which is why he behaves this way. For the Wild there is one law - money. With them he determines the “value” of a person. Swearing is a normal state for him. They say about him: “We can’t look for another scolder like our Savel Prokofich. There’s no way he’ll cut someone off.”
Kabanikha and Dikoy are “pillars of society”, spiritual mentors in the city of Kalinov. They have established unbearable orders, from which one rushes into the Volga, others run wherever they want, and still others become drunkards.
Kabanikha is quite confident that she is right; she alone knows the ultimate truth. That is why he behaves so unceremoniously. She is the enemy of everything new, young, fresh. “That’s how the old man comes out. I don’t even want to go to another house. And if you get up, you’ll spit, but get out quickly. What will happen, how the old people will die, how the light will remain, I don’t know. Well, at least it’s good that I won’t see anything.”
Dikiy has a pathological love of money. In them he sees the basis of his unlimited power over people. Moreover, for him, all means are good in making money: he cheats the townspeople, “he won’t cheat a single one,” he makes up “thousands” from unpaid kopecks, and quite calmly appropriates the inheritance of his nephews. Dikoy is not scrupulous in his choice of funds.
Under the yoke of the Wild and Boars, not only their households groan, but the entire city. “Fat is powerful” opens up for them the unlimited possibility of arbitrariness and tyranny. “The absence of any law, any logic - this is the law and logic of this life,” writes Dobrolyubov about the life of the city of Kalinov, and, consequently, of any other city in Tsarist Russia.
In the play “The Thunderstorm,” Ostrovsky gives a true picture of the musty atmosphere of the provincial city. The reader and viewer get a terrifying impression, but why is the drama still relevant 140 years after its creation? Little has changed in human psychology. Whoever is rich and in power is right, unfortunately to this day.