The scene of Tikhon's departure is one of the most important in the play, both in the sense of revealing the psychology and characters of the characters and in its function in the development of intrigue: on the ONE hand, Tikhon's departure removes the insurmountable external obstacle to meeting Boris, and on the other, all Katerina's hopes are destroyed find inner support in your husband’s love. In terms of depth and subtlety of psychological development, this scene is not only the first of its kind in Ostrovsky, but generally one of the best in Russian classical drama.

Essentially speaking, in this scene Tikhon, refusing to take an oath from his wife, behaves humanely. And his whole attitude towards Katerina is not at all Domostroevsky, it has a personal, even humane connotation. After all, it is he who says to Kabanikha in response to her threat that his wife will not be afraid of him: “Why should she be afraid? It’s enough for me that she loves me.” Paradoxically, it is Tikhon’s gentleness (combined, however, with a general weakness of character), in Katerina’s eyes, that is not so much an advantage as a disadvantage. He doesn't answer her moral ideal, her ideas about what a husband should be. And indeed, he cannot help her and protect her either when she is struggling with “sinful passion” or after her public repentance. Tikhon’s reaction to Katerina’s “crime” is also completely different from what would be dictated by authoritarian morality in such a situation. She is individual, personal: he “is sometimes affectionate, sometimes angry, and drinks everything,” according to Katerina.

The fact is that the youth of Kalinov no longer want to adhere to patriarchal orders in everyday life. However, Varvara, Tikhon, and Kudryash are alien to the moral maximalism of Katerina, for whom both the collapse of traditional moral norms in the world around her and her own violation of these covenants are a terrible tragedy. Unlike Katerina, it is true tragic heroine, they all stand on the position of everyday compromises and do not see any drama in this. Of course, the oppression of their elders is hard for them, but they have learned to get around it, each to the best of their character. Ostrovsky paints them objectively and clearly not without sympathy. The scale of their personalities in the play is clearly established: these are ordinary, ordinary people, not too picky about their means, who no longer want to live in the old way. Formally recognizing the power of their elders and the power of customs over themselves, they constantly go against them in practice and thus they also undermine and little by little destroy Kalinov’s world. But it is against the background of their unconscious and compromising position that the suffering heroine of “The Thunderstorm” looks large and significant, morally high.

“The Thunderstorm” is not a tragedy of love, but a tragedy of conscience. When Katerina’s “fall” has taken place, caught in a whirlwind of liberated passion, merging for her with the concept of will, she becomes bold to the point of insolence, having decided - she does not retreat, does not feel sorry for herself, does not want to hide anything, “I wasn’t afraid of sin for you, am I afraid?” human court! - she says to Boris, “But she was not afraid of sin /, which just foreshadows the further development of the tragedy, the death of Katerina. The consciousness of sin persists even in the rapture of happiness and takes possession of it with enormous power as soon as this short-lived happiness, this life in freedom, ends. It is all the more painful because... Katerina’s faith somehow excludes the concepts of forgiveness and mercy.

She sees no outcome to her torment other than death, and it is the complete lack of hope for forgiveness that pushes her to suicide - a sin even more serious from the point of view of Christian morality. “I’ve already ruined my soul anyway,” Katerina says when the thought of the possibility of living her life with Boris occurs to her. How different this is from a dream of happiness! Katerina’s death is predetermined and inevitable, no matter how the people on whom she depends behave. It is inevitable because neither her self-awareness nor the entire way of life in which she exists allows the personal feeling that has awakened in her to be embodied in everyday forms.
“Mama, you ruined her! You, you, you...” Tikhon shouts in despair and in response to her menacing cry he repeats again: “You ruined her! You! You!" But this is a measure of understanding of Tikhon, who loves and suffers, over the corpse of his wife, who decided to fight against his mother. But it would be a mistake to think that this is “a certain conclusion of the play and that Tikhon is entrusted with expressing the author’s point of view, the author’s assessment of events and the share of guilt of the characters.
In The Thunderstorm, in general, all cause-and-effect relationships are extremely complicated, and this distinguishes it from Ostrovsky’s previous plays. The degree of generalization of the analyzed life phenomena outgrows that which was achieved in Muscovite comedies with their clear moralistic tendency. There, the connection between the act and its inevitable consequences was always drawn very clearly, and therefore the immediate, direct guilt was clear negative characters in all the troubles and misadventures of the heroes. In "The Thunderstorm" everything is much more complicated.

“The Play “Dowry”” - Final scene. Women's images. Larisa's world contains both a gypsy song and a Russian romance. The heroine of “The Dowry” does not have the will to commit suicide. But in essence, Katerina and Larisa’s characters are rather antipodes. It is said about Paratov: “A brilliant gentleman.” The relationship between Larisa and Paratov resembles the relationship between a predator and a victim.

“The Plays of A.N. Ostrovsky” - Baratynsky managed to embody the richness and complexity of Larisa’s emotional world. What is music? “Mother Dove” Words by Nirkomsky Music by A. Gurilev. folk song in Ostrovsky's plays. Is music the language of the soul and the melody of gentle breezes that vibrate the strings of feelings? An art form that combines tones into euphonious groups of sounds?

“Ostrovsky “Our people - we will be numbered”” - Russian national theater. Ostrovsky A.N. Features of the play's poetics. Creative path Ostrovsky. Traits of a merchant. Ostrovsky Alexander Nikolaevich. Life in Zamoskvorechye. The use of “speaking names” in the play. Security Question. Ostrovsky's plays are the “model” of Russia. Lecture material. Portrait of a writer.

“Ostrovsky’s play “The Thunderstorm”” - What role does the thunderstorm scene play in the play? Why did Katerina decide to publicly repent of her sin? Read expressively last words Katerina. Dikoy Savel Prokofich - typical representative"dark kingdom" Under what conditions? Rudeness, ignorance, swearing, and swearing are common to the Wild One. Give examples.

“The Snow Maiden in Music” - Travel along the Volga. Prove your point. Folklore basis of the fairy tale. 6. What underlies the moral criteria of the Berendeys? - Proverbs. Nowadays. Shchelykovo estate. Is it possible to talk about the modernity of Ostrovsky’s fairy tale? Ilya Sergeevich Glazunov. - Conspiracies. At the age of 20 he entered the Academy of Arts in St. Petersburg, where he met the Itinerant artists.

“Ostrovsky Groza lesson” - The fight against progressive aspirations for equality human personality. - “The Thunderstorm” was written and staged. Dikoy and Kabanikha against Kuligin. The second climax is Katerina’s monologue, farewell to love. To publish "The Thunderstorm", the author had to present the play as... Composition. Varvara versus Kabanikha.

1. How did Tolstoy show the importance of the common collective principle in the military life of soldiers?
2. Why was there confusion and disorder in the movement of the Russian army?
3. Why did Tolstoy describe the foggy morning in detail?
4. How did the image of Napoleon develop (details), who looked after the Russian army?
5. What does Prince Andrey dream of?
6. Why did Kutuzov sharply answer the emperor?
7. How does Kutuzov behave during the battle?
8. Can Bolkonsky’s behavior be considered a feat?

Volume 2
1. What attracted Pierre to Freemasonry?
2. What underlies the fears of Pierre and Prince Andrei?
3. Analysis of the trip to Bogucharovo.
4. Analysis of the trip to Otradnoye.
5. For what purpose does Tolstoy give the ball (name day) scene? Did Natasha remain “ugly, but alive”?
6. Natasha's dance. A property of nature that delighted the author.
7. Why did Natasha become interested in Anatole?
8. What is the basis of Anatole’s friendship with Dolokhov?
9. How does the author feel about Natasha after betraying Bolkonsky?

Volume 3
1. Tolstoy’s assessment of the role of personality in history.
2. How does Tolstoy reveal his attitude towards Napoleonism?
3. Why is Pierre dissatisfied with himself?
4. Analysis of the episode “retreat from Smolensk”. Why do the soldiers call Andrei “our prince”?
5. Bogucharovsky revolt (analysis). What is the purpose of the episode? How is Nikolai Rostov shown?
6. How to understand Kutuzov’s words “your road, Andrey, is the road of honor”?
7. How to understand Andrei’s words about Kutuzov “he is Russian, despite the French sayings”?
8. Why is Shengraben given through the eyes of Rostov, Austerlitz - Bolkonsky, Borodino - Pierre?
9. How to understand Andrei’s words “as long as Russia is healthy, anyone could serve it”?
10. How does the scene with the portrait of his son characterize Napoleon: “The chess is set, the game will begin tomorrow”?
11. Battery Raevsky - important episode Borodin. Why?
12. Why does Tolstoy compare Napoleon to darkness? Does the author see the mind of Napoleon, the wisdom of Kutuzov, positive traits heroes?
13. Why did Tolstoy depict the council in Fili through the perception of a six-year-old girl?
14. Departure of residents from Moscow. What is the general mood?
15. Scene of a meeting with the dying Bolkonsky. How is the connection between the fates of the novel’s heroes and the fate of Russia emphasized?

Volume 4
1. Why did the meeting with Platon Karataev return Pierre’s sense of the beauty of the world? Analysis of the meeting.
2. How the author explained the meaning guerrilla warfare?
3. What is the significance of the image of Tikhon Shcherbatov?
4. What thoughts and feelings does the death of Petya Rostov give rise to in the reader?
5. What does Tolstoy see as the main significance of the War of 1812 and what is the role of Kutuzov in it according to Tolstoy?
6. Determine the ideological and compositional meaning of the meeting between Pierre and Natasha. Could there have been a different ending?

Epilogue
1. What conclusions does the author come to?
2. What are Pierre's true interests?
3. What underlies Nikolenka’s relationship with Pierre and Nikolai Rostov?
4. Analysis of Nikolai Bolkonsky's sleep.
5. Why does the novel end with this scene?

Please answer the questions in the novel "Fathers and Sons"

1.Who else besides Bazarov considers him a niglist?
2. How Bazarov’s personality is told in the following episodes:
1) Duels with Pavel Petrovich.
2) During Odintsova’s confession. What is the significance of Bazarov’s love for Odintsova?
3) Scene before death

Plan in photo

Attached images

composition: Cruel morals the city of Kalinov 6250 "Cruel morals" of the city of Kalinov Sample text essays on the drama "The Thunderstorm" by NOSTrovsky The talented self-taught mechanic Kuligin calls his morals "cruel." How does he see this manifested? First of all, in the poverty and rudeness that reigns in the middle class. The reason is very clear - the dependence of the working population on the power of money concentrated in the hands of the rich merchants of the city. But, continuing the story about Kalinov’s morals, Kuligin by no means idealizes the relationship between the merchant class, which, according to him, undermines each other’s trade, writes “malicious slander.” The only educated person, Kalinova, draws attention to one important detail, which clearly appears in the funny story about how Dikoy explained to the mayor about the peasants’ complaint against him. Let us remember Gogol's "The Inspector General", in which the merchants did not dare to say a word in front of the mayor, but meekly put up with his tyranny and endless extortions. And in “The Thunderstorm”, in response to the remark of the city’s main official about his dishonest act, Dikoy only condescendingly pats the government representative on the shoulder, not even considering it necessary to justify himself. This means that money and power have become synonymous here. Therefore, there is no justice for the Wild One, who insults the entire city. No one can please him, no one is immune from his frantic abuse. Dikoy is self-willed and tyrannical because he does not meet resistance and is confident in his impunity. This hero, with his rudeness, greed and ignorance, personifies the main features of Kalinov’s “dark kingdom”. Moreover, his anger and irritation especially increase in cases when we're talking about or about money that needs to be returned, or about something beyond his understanding. That is why he scolds his nephew Boris so much, because his very appearance reminds him of the inheritance that, according to the will, must be divided with him. That’s why he attacks Kuligin, who is trying to explain to him the principle of the lightning rod’s operation. Wild is outraged by the idea of ​​a thunderstorm as an electrical discharge. He, like all Kalinovites, is convinced that a thunderstorm is sent to people as a reminder of responsibility for their actions. This is not just ignorance and superstition, it is folk mythology passed down from generation to generation, before which the language of logical reason falls silent. This means that even in the violent, uncontrollable tyrant Dikiy this moral truth lives, forcing him to publicly bow at the feet of the peasant whom he scolded during Lent. Even if Dikiy has bouts of repentance, at first the rich merchant widow Marfa Ignatievna Kabanova seems even more religious and pious. Unlike the Wild One, she will never raise her voice or rush at people like a chained dog. But the despotism of her nature is not at all a secret for the Kalinovites. Even before this heroine appears on stage, we hear biting and apt remarks from the townspeople addressed to her. “A hypocrite, sir. She favors the poor, but completely eats up her family,” Kuligin says about her to Boris. And the very first meeting with Kabanikha convinces us of the correctness of this characterization. Her tyranny is limited to the sphere of the family, which she mercilessly tyrannizes. Kabanikha crippled her own son, turning him into a pathetic, weak-willed man who does nothing but justify himself to her for non-existent sins. The cruel, despotic Kabanikha turned the life of her children and daughter-in-law into hell, constantly torturing them, tormenting them with reproaches, complaints and suspicions. Therefore, her daughter Varvara, a brave, strong-willed girl, is forced to live by the principle: “... do whatever you want, as long as it’s sewn and covered.” Therefore, Tikhon and Katerina cannot be happy. For Katerina, such a feeling as love is incompatible with the hateful walls of the Kabanovsky house, with its oppressive, stuffy atmosphere. silent extra.