Dramaturgy by A. Ostrovsky
Tests on the drama "Thunderstorm". 1 option
1) To which literary direction should the drama "Thunderstorm" be attributed?
classicism
sentimentalism
romanticism
2) The action of the drama "Thunderstorm" takes place
in Moscow
in Kalinov
In Petersburg
In Nizhniy Novgorod
3). Determine the climax of the drama "Thunderstorm"
scene with key
Katerina's meeting with Boris at the gate
Katerina's remorse before the inhabitants of the city
farewell to Tikhon and Katerina before his trip
4). What invention did the self-taught mechanic Kuligin want to introduce into the life of his city?
telegraph
lightning rod
microscope
printing press
5). What was the name of Katherine's husband?
6). Determine the main conflict of the drama "Thunderstorm"
love story of Katerina and Boris
love story of Tikhon and Katerina
clash of tyrants and their victims
description of the friendly relations between Kabanikhi and Dikiy
7). Which of the heroes of the drama "Thunderstorm" "envy" the deceased Katerina, considering his own life the forthcoming torment?
9) What type of literary characters did Kabanikha belong to?
1. hero-reasoner
2. "tyrant"
3. "extra person"
4. "little man"
10. What character are we talking about?
He has such an establishment. With us, no one even dare to utter a word about salaries, they will scold what the world is worth. “You,” he says, “how do you know what I have in mind? Can you know my soul somehow? Or maybe I will come to such an arrangement that five thousand ladies will be given to you. So you talk to him! Only he had never in his entire life come to such and such an arrangement.
3. To bring the play to life
12) What character are we talking about?
13) A.N. Ostrovsky reveals the socio-typical and individual properties of the characters of a certain social environment, which one:
1. Manor-noble
2. Merchant
3. Aristocratic
4. Folk
14) Who owns the words
Everyone should be afraid! It’s not that it’s scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts.
Kabanikhe
Katerina
Option 2
1) What was the name of Katerina's lover?
1. Kuligin
2) Who arranged the meeting between Katerina and Boris, having stolen the key from Kabanikh?
2. Kuligin
3. Barbara
3) Who owns the phrase: “Do whatever you want, if only it was sewn and covered”?
Katerina
Kabanikhe
4) What did the self-taught mechanic Kuligin invent?
telegraph
lightning rod
sundial
perpetuum mobile
5) What phrase ends the drama "Thunderstorm"?
Mother, you ruined her, you, you, you...
Thank you, good people, for your service!
Good for you, Katya! And why did I stay in the world and suffer!
Do with her what you want! Her body is here, take it; and the soul is no longer yours: it is now before a judge who is more merciful than you!
6) What character are we talking about?
He will first break upon us, abuse us in every possible way, as his heart desires, but all the same will end up giving us nothing, or just a little. Moreover, he will begin to tell that he gave out of mercy, that this should not have been.
7) Who said:
“My parents raised us well in Moscow, they spared nothing for us. I was sent to the Commercial Academy, and my sister was sent to a boarding school, but both suddenly died of cholera, and my sister and I remained orphans. Then we hear that my grandmother also died here and left a will so that our uncle would pay us the part that should be paid when we come of age, only with the condition ... "
8) Who said:
“Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and bare poverty. And we, sir, will never get out of this bark.
Boris Grigorievich
9) The play "Thunderstorm" shows the life of the patriarchal merchant class, wild, limited, ignorant. Is there a person in Kalinov capable of resisting the laws of this life? Name it:
1.Kuligin
3. Barbara
5.Katerina
11) Katerina confesses her “sin” to Tikhon in public. What made her do it?
1. Feeling of shame
2. Fear of the mother-in-law
4. Desire to leave with Boris
12) A.N. Ostrovsky reveals the socio-typical and individual properties of the characters of a certain social environment, which one:
1. Manor-noble
2. Merchant
3. Aristocratic
4. Folk
13) The play "Thunderstorm" was written in
14) The city in which the action of "Thunderstorm" takes place is called
Nizhny Novgorod
Kostroma
3 option
1) A.N. Ostrovsky reveals the socio-typical and individual properties of the characters of a certain social environment, which one:
1. Manor-noble
2. Merchant
3. Aristocratic
4. Folk
2) What literary genre can the play "Thunderstorm" be attributed to (as defined by the author):
1. Comedy
3. Tragedy
4. Lyrical comedy
5. Tragicomedy
3) What is the main conflict in the play "Thunderstorm" (according to Dobrolyubov):
1. This is a conflict between generations (Tikhon and Marfa Ignatievna)
2. This is an intra-family conflict between a despotic mother-in-law and a recalcitrant daughter-in-law.
3. This is a clash of tyrants of life and their victims
4. This is a conflict between Tikhon and Katerina
4) The play "Thunderstorm" begins with a lengthy, somewhat drawn-out exposition in order to:
1. Intrigue the reader
2. Introduce the heroes directly involved in the intrigue
3.Create an image of the world in which the characters live
4.Slow down stage time
5) The action of the play “Thunderstorm takes place in the city of Kalinov. Do all the heroes belong (by birth and upbringing) to the Kalinov world? Name a character that is not one of them:
1.Kuligin
5. Barbara
6) Which characters are (in terms of conflict) central in the play:
1. Boris and Katerina
2. Katerina and Tikhon
3. Wild and Boar
4. Marfa Ignatievna Kabanova and Katerina
5. Boris and Tikhon
7) N.A. Dobrolyubov in the article “A Ray of Light in the Dark Kingdom” called Boris “an educated Tikhon” because:
1. Boris and Tikhon belong to the same estate
2. Boris only outwardly differs from Tikhon
3. Boris is very different from Tikhon
8) The play "Thunderstorm" shows the life of the patriarchal merchant class, wild, limited, ignorant. Is there a person in Kalinov capable of resisting the laws of this life? Name it:
1.Kuligin
3. Barbara
1. Feklusha
2.Kuligin
5.Katerina
10) Why do the events in the play "Thunderstorm" take place in a fictional city?
11) Savel Prokofievich Dikoy does not participate in the main conflict of the play "Thunderstorm". Why did Ostrovsky introduce this character?
1. To oppose Marfa Ignatievna Kabanova
2.To create a holistic image of the "dark kingdom"
3. To bring the play to life
4.To emphasize the prowess and scope of the Russian merchants
12) What class did Katerina Kabanova's parents belong to?
1. Nobles
3.Peasants
5. Raznochintsy
13) Katerina confesses her "sin" to Tikhon in public. What made her do it?
1. Feeling of shame
2. Fear of the mother-in-law
3. Desire to atone for guilt before God and pangs of conscience by recognition
4. Desire to leave with Boris
14) N.A. Dobrolyubov called one of the heroes of the play "Thunderstorm" "a ray of light in the dark kingdom." This:
1.Kuligin
2. Marfa Ignatievna
3.Katerina
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3 option
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Option No. 371064
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At the beginning of the above fragment, the characters communicate with each other, exchanging remarks. What is the name of this type of speech?
Here we are at home,” said Nikolai Petrovich, taking off his cap and shaking his hair. - The main thing is now to have dinner and rest.
It’s really not bad to eat, ”Bazarov noticed, stretching, and sank onto the sofa.
Yes, yes, let's have dinner, have dinner quickly. - Nikolai Petrovich stamped his feet for no apparent reason. - By the way, and Prokofich.
A man of about sixty entered, white-haired, thin and swarthy, in a brown tailcoat with copper buttons and a pink handkerchief around his neck. He grinned, went up to the handle to Arkady and, bowing to the guest, stepped back to the door and put his hands behind his back.
Here he is, Prokofich,” began Nikolai Petrovich, “he has come to us at last... What? how do you find it?
In the best possible way, sir," the old man said and grinned again, but immediately knitted his thick eyebrows. - Would you like to set the table? he spoke impressively.
Yes, yes, please. But won't you first go to your room, Evgeny Vassilitch?
No thanks, no need. Just order my little suitcase to be dragged there and this clothes, ”he added, taking off his overalls.
Very good. Prokofich, take their overcoat. (Prokofich, as if in bewilderment, took Bazarov's "clothes" with both hands and, raising it high above his head, retired on tiptoe.) And you, Arkady, will you go to your place for a minute?
Yes, you need to clean yourself up, ”Arkady answered and was heading for the door, but at that moment a man of medium height, dressed in a dark English suit, a fashionable low tie and patent leather half boots, Pavel Petrovich Kirsanov, entered the living room. He looked to be about forty-five years old: his short-cropped gray hair shone with a dark sheen, like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if drawn by a thin and light chisel, showed traces of remarkable beauty; the light, black, oblong eyes were especially good. The whole appearance of Arkadiev's uncle, elegant and thoroughbred, retained youthful harmony and that aspiration upwards, away from the earth, which for the most part disappears after the twenties.
Pavel Petrovich took out of the pocket of his trousers his beautiful hand with long pink nails—a hand that seemed even more beautiful from the snowy whiteness of the sleeve fastened with a single large opal—and gave it to his nephew. Having made the preliminary European “shake hands”, he kissed him three times, in Russian, that is, he touched his cheeks with his fragrant mustache three times, and said: “Welcome.”
Nikolai Petrovich introduced him to Bazarov: Pavel Petrovich slightly inclined his flexible waist and smiled slightly, but he did not give his hand and even put it back in his pocket.
I already thought you weren't coming today,” he said in a pleasant voice, swaying graciously, shrugging his shoulders and showing his fine white teeth. - What happened on the road?
Nothing happened, - answered Arkady, - so, they hesitated a little.
I. S. Turgenev "Fathers and Sons"
Answer:
Name the literary movement whose principles are embodied in Dead Souls.
Read the fragment of the work below and complete tasks B1-B7; C1, C2.
The nobleman, as usual, comes out: “Why are you? Why do you? A! - he says, seeing Kopeikin, - after all, I have already announced to you that you should expect a decision. - “Forgive me, Your Excellency, I don’t have, so to speak, a piece of bread ...” - “What should I do? I can do nothing for you: try to help yourself for the time being, look for the means yourself. “But, Your Excellency, you yourself can, in a way, judge what means I can find without having either an arm or a leg.” - “But,” says the dignitary, “you must agree: I cannot support you, in some way, at my own expense: I have many wounded, they all have an equal right ... Arm yourself with patience. The sovereign will arrive, I can give you my word of honor that his royal grace will not leave you. “But, Your Excellency, I can't wait,” says Kopeikin, and he speaks, in some respects, rudely. The nobleman, you understand, was already annoyed. In fact: here, from all sides, the generals are waiting for decisions, orders: matters, so to speak, important, state, requiring self-speedy execution - a minute of omission can be important - and then an obsessive devil has attached himself to the side. “Sorry, he says, I have no time ... I have things more important than yours waiting for me.” Reminds in a way, in a subtle way, that it's time to finally get out. And my Kopeikin - hunger, you know, spurred him on: "As you wish, Your Excellency, he says, I will not leave my place until you give a resolution." Well ... you can imagine: to answer in this way to a nobleman, who only needs a word - and so the tarts flew up, so that the devil will not find you ... Here, if an official tells our brother, one rank less, like that, so and rudeness. Well, and there is the size, what size: the general-in-chief and some captain Kopeikin! Ninety rubles and zero! The general, you understand, nothing more, as soon as he looked, and the look is a firearm: there is no soul anymore - it has already gone to the heels. And my Kopeikin, you can imagine, from a place, stands rooted to the spot. "What are you?" - says the general and took him, as they say, in the shoulder blades. However, to tell the truth, he managed quite mercifully: another would have frightened so that for three days after that the street would have turned upside down, and he only said: “It’s good, he says, if it’s expensive for you to live here and you can’t expect peace in the capital decisions of your fate, so I will send you to the public account. Call the courier! escort him to his place of residence! And the courier is already there, you understand, and is standing: some three-yard-old man, with his hands, you can imagine, by nature he is arranged for coachmen - in a word, a kind of dentist. .. Here, a servant of God, they seized him, my sir, and in a cart, with a courier. “Well,” Kopeikin thinks, “at least you don’t have to pay for runs, thanks for that too.” Here he is, my sir, riding a courier, yes, riding a courier, in a way, so to speak, he argues to himself: facilities!" Well, as soon as he was delivered to the place and where exactly they were brought, none of this is known. So, you understand, and the rumors about Captain Kopeikin have sunk into the river of oblivion, into some sort of oblivion, as the poets call it. But, excuse me, gentlemen, this is where, one might say, the thread, the plot of the novel, begins. So, where Kopeikin went is unknown; but two months had not passed, you can imagine, when a gang of robbers appeared in the Ryazan forests, and the ataman of this gang was, my sir, no one else ... ".
N.V. Gogol "Dead Souls"
Answer:
Indicate the term that denotes the image of the inner, spiritual life of the characters, including - with the help of external "cues" ("he exclaimed impatiently", "interrupted again", "looked frowningly").
Read the fragment of the work below and complete tasks B1-B7; C1, C2.
This is how you and I, Nikolai Petrovich said to his brother after dinner that same day, sitting in his office, - we ended up in retired people, our song is sung. Well? Maybe Bazarov is right; but, I confess, one thing hurts me: I was hoping just now to get close and friendly with Arkady, but it turns out that I have remained behind, he has gone forward, and we cannot understand each other.
Why did he go ahead? And why is he so different from us? exclaimed Pavel Petrovich impatiently. - It's all in his head this signor drove, this nihilist. I hate this doctor; I think he's just a charlatan; I am sure that with all his frogs, he did not go far in physics either.
No, brother, don't say that: Bazarov is smart and knowledgeable.
And what a disgusting self-love," Pavel Petrovich interrupted again.
Yes, - Nikolai Petrovich remarked, - he is proud. But without this, apparently, it is impossible; Here's what I just don't get. It seems that I am doing everything to keep up with the times: I arranged for the peasants, started a farm, so that even in the whole province they call me red; I read, study, in general I try to become up to date with modern requirements - and they say that my song is sung. Why, brother, I myself begin to think that it is definitely sung.
Why?
Here's why. Today I'm sitting and reading Pushkin... I remember I came across The Gypsies... Suddenly Arkady came up to me and silently, with a kind of tender regret on his face, quietly, like a child's, took the book from me and put another one in front of me, German ... he smiled, and left, and carried Pushkin away.
That's how! What book did he give you?
This one.
And Nikolai Petrovich took out from the back pocket of his coat the notorious Buchner pamphlet, ninth edition. Pavel Petrovich turned it over in his hands.
Hm! he mumbled. - Arkady Nikolaevich takes care of your upbringing. Well, have you tried reading?
Tried.
So what?
Either I'm stupid or it's all nonsense. I must be stupid.
Have you forgotten German? asked Pavel Petrovich.
I understand German.
Pavel Petrovich again turned the book over in his hands and looked frowningly at his brother. Both were silent.
I. S. Turgenev "Fathers and Sons"
Answer:
The relationship of the Wild with the people around him often has the character of a collision, an irreconcilable confrontation. Specify the term by which it is designated.
Read the fragment of the work below and complete tasks B1-B7; C1, C2.
Kabanova. Go, Feklusha, tell me to cook something to eat.
Feklusha leaves.
Let's go to rest!
Wild. No, I won't go to the chambers, I'm worse in the chambers.
Kabanova. What made you angry?
Wild. Even in the morning, from the very beginning. Kabanova. They must have asked for money.
Wild. Precisely agreed, damned; either one or the other sticks all day long.
Kabanova. It must be, if they come.
Wild. I understand this; what are you going to tell me to do with myself when my heart is like that! After all, I already know what I need to give, but I can’t do everything good. You are my friend, and I must give it back to you, but if you come and ask me, I will scold you. I will give, I will give, but I will scold. Therefore - just give me a hint about money, I will start to kindle my whole interior; it kindles the whole interior, and that’s all; well, and in those days I would not scold a person for anything.
Kabanova. There are no elders above you, so you are swaggering.
Wild. No, you, godfather, shut up! You listen! Here are the stories that happened to me. About the post somehow, about the great, I was talking, and here it’s not easy and palm off the little man; he came for money, he carried firewood. And brought him to sin at such a time! He sinned after all: he scolded, so scolded that it was impossible to demand better, almost nailed him. Here it is, what a heart I have! After forgiveness, he asked, bowed at his feet, right, so. Truly I tell you, I bowed at the peasant's feet. This is what my heart brings me to: here in the yard, in the mud, I bowed to him; bowed to him in front of everyone.
Kabanova. Why are you bringing yourself into your heart on purpose? This, mate, is not good.
Wild. How so on purpose?
Kabanova. I saw it, I know. If you see that they want to ask you for something, you will take one of your own on purpose and attack someone to get angry; because you know that no one will go to you angry. That's it, godfather!
Wild. Well, what is it? Who does not feel sorry for their own good!
Glasha enters.
Kabanova. Marfa Ignatyevna, it's time to have a bite to eat, please!
Kabanova. Well, godfather, come in! Eat what God sent!
Wild. Perhaps.
Kabanova. Welcome! (He lets Diky go ahead and goes after him.)
A.N. Ostrovsky "Thunderstorm"
Answer:
At the end of the fragment, there is a question that does not require a specific answer: “And what passions and enterprises could excite them?” What is the name of this question?
A poet and a dreamer would not be satisfied even with the general appearance of this modest and unpretentious area. They would not have been able to see there some evening in the Swiss or Scottish taste, when all nature - and the forest, and the water, and the walls of the huts, and the sandy hills - everything burns like a crimson glow; when this crimson background is sharply set off by a cavalcade of men riding along a sandy winding road, accompanying some lady on walks to a gloomy ruin and hastening to a strong castle, where an episode about the war of two roses awaits them, told by their grandfather, a wild goat for dinner and sung by a young miss to the sounds of the lute ballad - paintings,
with which the pen of Walter Scott so richly populated our imagination.
No, this was not the case in our region.
How quiet everything is, everything is sleepy in the three or four villages that make up this corner! They lay not far from each other and were as if accidentally thrown by a giant hand and scattered in different directions, and have remained so since then.
As one hut fell on the cliff of a ravine, it has been hanging there since time immemorial, standing with one half in the air and propped up by three poles. Three or four generations quietly and happily lived in it.
It seems that a chicken would be afraid to enter it, and there lives with his wife Onisim Suslov, a respectable man who does not stare at full height in his dwelling. Not everyone will be able to enter the hut to Onesimus; unless the visitor asks her to stand with her back to the forest, and in front of him.
The porch hung over the ravine, and in order to get on the porch with your foot, you had to grab the grass with one hand, the roof of the hut with the other, and then step straight onto the porch.
Another hut clung to a hillock like a swallow's nest; there three found themselves by chance nearby, and two stand at the very bottom of the ravine.
Everything is quiet and sleepy in the village: the silent huts are wide open; not a soul is visible; only flies fly in clouds and buzz in stuffiness. Entering the hut, in vain you will begin to call loudly: dead silence will be the answer; in a rare hut, an old woman living out her life on the stove will respond with a painful groan or a dull cough, or a barefoot, long-haired three-year-old child will appear from behind the partition, in one shirt, silently, gaze intently at the newcomer and timidly hide again.
The same deep silence and peace lie in the fields; only in some places, like an ant, a plowman, scorched by the heat, hovering on a black field, leaning on a plow and sweating.
Silence and imperturbable calm also reign in the morals of people in that region. There were no robberies, no murders, no terrible accidents; neither strong passions nor daring undertakings excited them.
And what passions and enterprises might excite them? Everyone knew himself there. The inhabitants of this region lived far away from other people. The nearest villages and the county town were twenty-five and thirty versts away.
Peasants at a certain time carried grain to the nearest pier to the Volga, which was their Colchis and the Pillars of Hercules, and once a year some went to the fair, and had no further contact with anyone.
Their interests were focused on themselves, did not intersect and did not come into contact with anyone else.
(I.A. Goncharov. "Oblomov")
Answer:
Read the passage below and complete tasks B1-B7; C1, C2.
| XVII Arriving home, pistols He examined, then put Again them in a box and, undressed, By candlelight, Schiller opened; But thought alone embraces him; In it, a sad heart does not sleep: With indescribable beauty He sees Olga in front of him. Vladimir closes the book Takes a pen; his poetry, Full of love nonsense They sound and flow. Reads them He is out loud, in lyrical heat, Like Delvig drunk at a feast. XVIII Poems in case preserved, I have them; here they are: "Where, where did you go, My golden days of spring? What does the coming day have in store for me? My gaze catches him in vain, He lurks in deep darkness. No need; the law of fate. Will I fall, pierced by an arrow, Or she will fly by, All goodness: wakefulness and sleep A certain hour comes; Blessed is the day of worries, Blessed is the arrival of darkness! XIX "The ray of morning light will shine in the morning And the bright day will play; And I, maybe I'm the tomb I will descend into the mysterious canopy, And the memory of the young poet Swallow the slow Leta, The world will forget me; notes Will you come, maiden of beauty, Shed a tear over an early urn And think: he loved me, He dedicated one to me The dawn of a sad stormy life! .. Dear friend, dear friend, Come, come: I am your husband!..” XIX So he wrote dark and sluggish (What we call romanticism, Although there is no romanticism here I don't see; what's in it for us?) And finally before dawn Bowing your weary head On the buzzword ideal Quietly Lensky dozed off; But only sleepy charm He forgot, already a neighbor The office enters the silent And wakes up Lensky with an appeal: “It’s time to get up: it’s already seven o’clock. Onegin, surely, is waiting for us.” |
Answer:
What is the name of the stanza used by the author in this work?
Read the text fragment below and complete tasks B1-B7; C1-C2.
| XXXVI But that's close. In front of them Already white-stone Moscow. Like heat, with golden crosses Old chapters are burning. Ah, brothers, how pleased I was, When churches and bell towers Gardens, halls semicircle Opened before me suddenly! How often in sorrowful separation, In my wandering destiny Moscow, I thought about you! Moscow... how much in this sound Merged for the Russian heart! How much resonated in it! XXXVII Here, surrounded by its oak forest, Petrovsky castle. He is gloomy Proud of recent glory. Napoleon waited in vain Intoxicated with last happiness, Moscow kneeling With the keys of the old Kremlin: No, my Moscow did not go To him with a guilty head. Not a holiday, not an accepting gift, She was preparing a fire An impatient hero. From here, immersed in thought, He looked at the terrible flame. XXXVIII Farewell, witness of fallen glory, Petrovsky castle. Well! don't stand Let's go! Already the pillars of the outpost Turn white; here on Tverskaya The wagon rushes through the potholes. Flickering past the booth, women, Boys, benches, lanterns, Palaces, gardens, monasteries, Bukharians, sleighs, vegetable gardens, Merchants, shacks, men, Boulevards, towers, Cossacks, Pharmacies, fashion stores, Balconies, lions on the gates And flocks of jackdaws on crosses. XXXIX On this weary journey An hour or two passes, and then At Kharitonya in the alley Carriage in front of the house at the gate Has stopped... |
A. S. Pushkin "Eugene Onegin"
Answer:
Read the text fragment below and complete tasks B1-B7; C1-C2.
Wild. Look, you've soaked everything. (Kuligin.) Get away from me! Leave me alone! (With heart.) Foolish man!
Kuligin. Savel Prokofich, after all, this, your degree, is of benefit to all the townsfolk in general.
Wild. Go away! What a use! Who needs this benefit?
Kuligin. Yes, at least for you, your degree, Savel Prokofich. That would be, sir, on the boulevard, in a clean place, and put it. And what is the expense? Empty consumption: stone column (shows the size of each item with gestures), a copper plate, so round, and a hairpin, here is a straight hairpin (gestures), the simplest one. I'll fit it all in, and I'll cut out the numbers myself. Now you, your degree, when you deign to walk, or others who are walking, now come up and see<...>And that sort of place is beautiful, and the view, and everything, but it seems to be empty. With us, too, your degree, there are passers-by, they go there to look at our views, after all, an ornament - it is more pleasant for the eyes.
Wild. What are you doing to me with all sorts of nonsense! Maybe I don't want to talk to you. You should have known first whether I was in the mood to listen to you, fool, or not. What am I to you - even, or what? Look, what an important case you have found! So right with the snout something and climbs to talk.
Kuligin. If I had climbed with my business, well, then it would be my fault. And then I am for the common good, your degree. Well, what does ten rubles mean for society! More, sir, is not needed.
Wild. Or maybe you want to steal; who knows you.
Kuligin. If I want to give away my labors for nothing, what can I steal, your degree? Yes, everyone here knows me; no one will say bad things about me.
Wild. Well, let them know, but I don't want to know you.
Kuligin. Why, sir, Savel Prokofich, do you want to offend an honest man?
Wild. Report, or something, I'll give you! I don't report to anyone more important than you. I want to think about you that way, and I think so. For others, you are an honest person, but I think that you are a robber, that's all. Would you like to hear it from me? So listen! I say that the robber, and the end! What are you going to sue, or what, will you be with me? So you know that you are a worm. If I want - I'll have mercy, if I want - I'll crush.
Kuligin. God be with you, Savel Prokofich! I, sir, am a small man; it will not be long to offend me. And I’ll tell you this, your degree: “Virtue is honored in rags!”
Wild. Don't you dare be rude to me! Do you hear!
Kuligin. I'm not doing you any rudeness, sir, but I'm telling you because, perhaps, you will take it into your head to do something for the city sometime. You have strength, your degree, of another; there would only be a will for a good deed. Let’s just take it now: we have frequent thunderstorms, and we won’t start lightning rods.
wild (proudly). All is vanity!
Kuligin. Yes, what a fuss when the experiments were.
Wild. What kind of lightning rods do you have there?
Kuligin. Steel.
wild (with anger). Well, what else?
Kuligin. Steel poles.
wild (more and more angry). I heard that the poles, you sort of asp; yes, what else? Adjusted: poles! Well, what else?
Kuligin. Nothing more.
Wild. Yes, a thunderstorm, what do you think, huh? Well, speak!
Kuligin. Electricity.
wild (stomping foot). What else there elestrichestvo! Well, how are you not a robber! A thunderstorm is sent to us as a punishment so that we feel, and you want to defend yourself with poles and some kind of goads, God forgive me. What are you, a Tatar, or what? Are you Tatar? A? speak! Tatar?
Kuligin. Savel Prokofich, your degree, Derzhavin said:
I'm rotting in the ashes,
I command thunder with my mind.
Wild. And for these words, send you to the mayor, so he will ask you! Hey honorable ones! listen to what he says!
Kuligin. Nothing to do, you have to submit! But when I have a million, then I'll talk. (Waving his hand, he leaves.)
A. N. Ostrovsky "Thunderstorm"
Answer:
What term denotes an expressive detail in a work of art (for example, a pink ribbon with which a list of peasants is tied)?
Read the fragment of the work below and complete tasks B1-B7; C1, C2.
Before he had time to go out into the street, thinking about all this and at the same time dragging a bear covered with brown cloth on his shoulders, when at the very turn into the alley he ran into a gentleman also in bears covered with brown cloth and in a warm cap with ears. The gentleman cried out, it was Manilov. They immediately embraced each other and remained on the street in this position for about five minutes. The kisses on both sides were so strong that both front teeth almost hurt all day. Manilov was left with joy only his nose and lips on his face, his eyes completely disappeared. For a quarter of an hour he held Chichikov's hand with both hands and heated it terribly. In turns of the most subtle and pleasant, he told how he flew to hug Pavel Ivanovich; the speech was concluded with such a compliment, which is only appropriate for one girl with whom they go to dance. Chichikov opened his mouth, still not knowing how to thank himself, when suddenly Manilov took out from under his fur coat a piece of paper folded into a tube and tied with a pink ribbon, and handed it very deftly with two fingers.
What's this?
Guys.
A! - he immediately unfolded it, ran his eyes and marveled at the purity and beauty of the handwriting. “Nicely written,” he said, “no need to rewrite. More and a border around! who made the border so skillfully?
Well, don't ask," said Manilov.
Oh my god! I'm really ashamed that I caused so many difficulties.
For Pavel Ivanovich there are no difficulties.
Chichikov bowed with gratitude. Upon learning that he was going to the chamber to complete the bill of sale, Manilov expressed his readiness to accompany him. Friends joined hands and walked together. At every slight rise, or hill, or step, Manilov supported Chichikov and almost lifted him with his hand, adding with a pleasant smile that he would not allow Pavel Ivanovich to bruise his legs in any way. Chichikov felt ashamed, not knowing how to thank him, for he felt that he was somewhat heavy. In similar mutual services, they finally reached the square where the offices were located; a large three-story stone house, all white as chalk, probably to depict the purity of the souls of the posts placed in it; the other buildings on the square did not match the immensity of the stone house. These were: a guardhouse, near which a soldier stood with a gun, two or three cabs, and finally long fences with famous fence inscriptions and drawings scratched with charcoal and chalk; there was nothing else in this secluded, or, as we say, beautiful square. From the windows of the second and third floors, the incorruptible heads of the priests of Themis sometimes protruded and at the same moment hid again: probably at that time the chief entered the room. The friends did not go up, but ran up the stairs, because Chichikov, trying to avoid being supported by Manilov's arms, quickened his pace, and Manilov, for his part, also flew forward, trying not to let Chichikov get tired, and therefore both were very out of breath when entered a dark corridor. Neither in the corridors, nor in the rooms, their eyes were struck by cleanliness. They didn't care about her back then; and that which was dirty, remained dirty, without taking on an attractive appearance. Themis just what it is, in a negligee and a dressing gown received guests. It would be necessary to describe the office rooms through which our heroes passed, but the author has a strong timidity towards all public places. If he happened to pass them even in a brilliant and ennobled form, with lacquered floors and tables, he tried to run as quickly as possible, humbly lowering and lowering his eyes to the ground, and therefore he does not know at all how everything prospers and flourishes there. Our heroes saw a lot of paper, both rough and white, bent heads, wide necks, tailcoats, coats of provincial cut, and even just some kind of light gray jacket, which came off very abruptly, which, turning its head to one side and laying it almost on the very paper, wrote out glibly and boldly some protocol about taking away land or a description of an estate seized by some peaceful landowner, peacefully living out his life under the court, having made himself and children and grandchildren under his protection, and short expressions were heard in fits and starts, uttered in a hoarse voice: “Lend , Fedosey Fedoseevich, business for N 368! » «You will always drag the cork from the state-owned ink bottle somewhere!» Sometimes a more majestic voice, no doubt that of one of the bosses, was heard imperatively: “Here, rewrite! otherwise they will take off their boots and you will sit with me for six days without eating. The noise from the feathers was great and looked like several wagons with brushwood were passing through a forest littered a quarter of an arshin with withered leaves.
Katerina. I say: why don't people fly like birds? You know, sometimes I feel like I'm a bird. When you stand on a mountain, you are drawn to fly. That's how it would have run up, raised its hands and flew. Try something now? Wants to run.
Barbara. What are you inventing?
Katerina. (sighing). How frisky I was! I completely screwed up with you.
Barbara. Do you think I can't see?
Katerina. Was I like that! I lived, did not grieve about anything, like a bird in the wild. Mother did not have a soul in me, dressed me up like a doll, did not force me to work; Whatever I want, I do it. Do you know how I lived in girls? Now I'll tell you. I used to get up early; if it’s summer, I’ll go to the spring, wash myself, bring water with me and that’s it, water all the flowers in the house. I had many, many flowers. Then we’ll go to church with my mother, all of them wanderers - our house was full of wanderers and pilgrims. And we will come from the church, sit down for some work, more like gold velvet, and the wanderers will begin to tell: where they were, what they saw, different lives, or they sing poetry. So the time will pass before lunch. Here the old women lie down to sleep, and I walk in the garden. Then to vespers, and in the evening again stories and singing. That was good!
Barbara. Yes, we have the same thing.
Katerina. Yes, everything here seems to be out of captivity. And I loved going to church to death! For sure, it used to happen that I would enter paradise, and I didn’t see anyone, and I didn’t remember the time, and I didn’t hear when the service was over. Exactly how it all happened in one second. Mom said that everyone used to look at me, what was happening to me! And you know: on a sunny day, such a bright pillar goes down from the dome, and smoke moves in this pillar, like clouds, and I see, it used to be that angels in this pillar fly and sing. And then, it happened, a girl, I would get up at night - we also had lamps burning everywhere - but somewhere in a corner and pray until the morning. Or early in the morning I’ll go to the garden, the sun is just rising, I’ll fall on my knees, pray and cry, and I myself don’t know what I’m praying about and what I’m crying about; so they will find me. And what I prayed for then, what I asked for - I don’t know; I don't need anything, I've had enough of everything. And what dreams I had, Varenka, what dreams! Or golden temples, or some kind of extraordinary gardens, and invisible voices sing all the time, and the smell of cypress, and the mountains and trees seem not to be the same as usual, but as they are written on the images. And it's like I'm flying, and I'm flying through the air. And now sometimes I dream, but rarely, and not that.
A. N. Ostrovsky "Thunderstorm"
Answer:
Finish testing, check answers, see solutions.
Test material on literature on the topic
“Drama A.N. Ostrovsky "Thunderstorm"
The target audience: 1st year students
1. Choose the definition of the concept of "remark".
A) Part of the act in which the composition of the characters does not change or a new character appears.
B) A text containing the words of one of the characters.
C) Presentation of the characters, which tells about their age, social status, etc.
D) Most of the dramatic work.
2. To which literary direction should the drama "Thunderstorm" be attributed?
A) romanticism
B) realism
B) classicism
D) sentimentalism
3. What character are we talking about?
He has such an establishment. With us, no one even dare to utter a word about salaries, they will scold what the world is worth. “You,” he says, “how do you know what I have in mind? Can you know my soul somehow? Or maybe I will come to such an arrangement that five thousand ladies will be given to you. So you talk to him! Only he had never in his entire life come to such and such an arrangement.
Answer: ______________.
4. Mark the characters that A.N. Ostrovsky refers to the "dark kingdom".
A) Katherine
B) Boris
B) wild
D) Boar
D) Kuligin
5. Determine who each actor is.
barbarian
A) Tikhon's wife
Feklusha
B) a merchant
Katerina
C) sister Tikhon
wild
D) self-taught watchmaker
Kuligin
D) wanderer
Answer: 1 - ______, 2 - ______, 3 - ______, 4 - ______, 5 - ______.
6. Which character does the author “instruct” to characterize the “dark kingdom” (“ Cruel manners, sir, in our city, cruel!"):
Answer: _________________.
Who owns the phrase: “Do whatever you want, if only it was sewn and covered”?
A) Curly
B) Katerina
B) barbarian
D) Kabanikhe
8. What literary critic most fully described "tyranny" as a social phenomenon in the article "The Dark Kingdom"?
Answer:___________________________.
9. Who said?
“My parents raised us well in Moscow, they spared nothing for us. I was sent to the Commercial Academy, and my sister was sent to a boarding school, but both suddenly died of cholera, and my sister and I remained orphans. Then we hear that my grandmother also died here and left a will so that our uncle would pay us the part that should be paid when we come of age, only with the condition ... "
A) Kuligin
Everyone should be afraid! It’s not that it’s scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts.
B) Katerina
The poor have no time to walk, they work day and night. And they only sleep three hours a day
B) Boris
Answer: 1 - ____, 2 - _____, 3 - ______.
10. Choose multiple answers. After the betrayal of the daughter-in-law, Kabanova “began to lock it up” ...
a) Catherine
b) I call
c) barbarian
d) Feklusha
11. Restore the sequence of events.
A) Katherine's suicide.
B) Tikhon is returning from Moscow.
C) Katerina's conversation with Varvara about childhood.
D) Acquaintance with the inhabitants of the city of Kalinov and a description of their customs.
D) Boris leaves the city.
12. Define the term.
Drama is ________________________________________________________________________
________________________________________________________________________________________
_________________________________________________________________________________________.
13. Match the hero of the drama with his dream.
1. “When you stand on a mountain, you are drawn to fly. That's how it would have run up, raised its hands and flew. Try something now?
A) an old lady
2. “Everything in the fire will burn unquenchable. Everything in resin will boil unquenchable!”
B) Katerina
3 ". As Tikhon leaves, let's sleep in the garden, in the arbor."
B) Boar
4. “If you don’t know how to do it, at least you made this example; still more decent, otherwise, apparently, in words only "
D) Barbara
Answer: 1 - _____, 2 - _____, 3 - _____, 4 - ______.
14. Which of the characters in the play criticizes the nature of the "dark kingdom"? ( select multiple answers )
A) Katherine
B) Kuligin
B) Boris
D) Barbara
D) Tikhon
15. Fill in the missing word. " And then there is the land, - says Feklusha, - where all the people with _______ heads ».
16. What is the main conflict in the play "Thunderstorm" ( according to Dobrolyubov ):
A) This is a conflict between generations (Tikhon and Marfa Ignatievna)
B) This is an intra-family conflict between a despotic mother-in-law and a recalcitrant daughter-in-law
C) This is a clash of tyrants of life and their victims
D) This is a conflict between Tikhon and Katerina
17. The climactic scene in the drama "Thunderstorm" is the _________ scene.
18. Why do the events in the play "Thunderstorm" take place in a fictional city?
19) Katerina confesses her “sin” to Tikhon in public. What made her do it?
A) feelings of shame
B) Fear of the mother-in-law
C) The desire to atone for guilt before God and pangs of conscience by confession
D) Desire to leave with Boris
20. N.A. Dobrolyubov called one of the heroes of the play "Thunderstorm" "a ray of light in the dark kingdom." This_______________.
Keys:
wild
in, Mr.
1-c, 2-e, 3-a, 4-b, 5-d.
Kuligin
ON THE. Dobrolyubov
1-c, 2-b, 3-a.
a, in
– d, c, b, e, a.
12. - Drama is
13. 1-b, 2-a, 3-d, 4-c.
14 –b, d
15. - dog
16 - in
17. - with a key.
18. in
19. in
20. Katerina.
Alexander Nikolaevich Ostrovsky* (1823-1886)
... only after you, we Russians can proudly say: we have our own Russian national theatre. It, in fairness, should be called "Ostrovsky's theatre". I.A. Goncharov*Attention! In Russian literature, two writers named Ostrovsky: Alexander Nikolaevich, Russian playwright of the 19th century, and Nikolai Alekseevich, Soviet prose writer of the 1920s and 30s, author of the novel How the Steel Was Tempered. Do not confuse, please!
| Plays by A.N. Ostrovsky |
|
The uniqueness of Ostrovsky's talent was that he combined the talent of a writer and the ability of a theater figure. For the first time in the history of Russian culture, a man appeared who managed not only to say a new word in dramaturgy, but also to lay the foundation for the Russian national theater. Until the middle of the 19th century, Russian dramaturgy was represented by only a few works, among which 2 comedies by Fonvizin, 1 comedy by Griboyedov, 5 tragedies by Pushkin, 3 comedies by Gogol can be distinguished. A.N. Ostrovsky, on the other hand, wrote 52 plays (of which 47 were original), having single-handedly created the repertoire of the Russian theater.
Ostrovsky's childhood born April 12, 1823 in Moscow on st. Malaya Ordynka did not portend him a great future. The Ostrovsky family belonged to the clergy. The grandfather of the future writer was an archpriest, and then a schemer of the Donskoy Monastery in Moscow. Father, Nikolai Fedorovich, having graduated from the seminary in Kostroma and the Moscow Theological Academy, he preferred to serve in the civilian sector and settled in Zamoskoreche. Mother, Lyubov Ivanovna Savina, by the time of her marriage to the father of the future playwright, she was the widow of a sexton. By the end of the 1830s, Ostrovsky's father had served his ranks, received a title of nobility and made a decent fortune. His mother died in 1831, and five years later his father married the daughter of a Swedish nobleman. Emilia Andreevna von Tessin. According to various sources, the family had from 4 to 10 children, and the father paid close attention to their upbringing and education.
Ostrovsky's childhood and youth were spent in Zamoskvorechye. Description of the manners and way of life of this ancient Moscow region will cause Ostrovsky to be called "Columbus of Zamoskorechye".
Panorama of Zamoskvorechie in the 19th century from the Kremlin (source: Wikipedia). The names of the main temples of Zamoskvorechye are indicated
Having received a home and gymnasium (1835-1840) education, Ostrovsky felt an interest in literature and theater, but at the insistence of his father, who dreamed of making his son an official, he was forced to enter the Faculty of Law. Having no interest in the imposed profession, he leaves his second year and enters the service of the Moscow court, where he will serve for 8 years (during this time the salary of a young official will increase from 4 to 16 rubles). As it turned out later, the future playwright did not so much deal with the affairs of the service as he collected material for his as yet unwritten plays.
At the same time, Ostrovsky is a regular spectator of the Maly Theater, with which he will soon be connected by dramaturgy. The impressions from the performances were reinforced by the impressions from working in court, where Ostrovsky had to deal with the everyday side of human relations. It is no coincidence that subsequently Ostrovsky will compare his writer's work with the work of a judge: the writer creates his own judgment on life. The choice in favor of drama was due to the fact that the theater, in comparison with ordinary literature, is closer to the people.
By the mid 1840s. Ostrovsky defines his literary credo, in connection with which the first period of his work is called "moral accusatory". Already having experience in the genre of a physiological essay ("Notes of a Zamoskvoretsky Resident"), he begins work on the first two comedies. The first is called "Family Picture" , the second was renamed twice: first "Insolvent debtor", then "Bankrupt", finally, "Own people - let's count" . Both comedies were read at literary evenings at M.P. Pogodin: the first - in 1847, the second - in 1849.
The comedy "Own People - Let's Settle" receives a positive review from N.V. Gogol, and in general was perceived as a new word in Russian dramaturgy. The comedy will make a strong impression on the Decembrist, Pushkin's friend V.F. Raevsky, who will put "Own people - let's count" on a par with "Undergrowth", "Woe from Wit" and "Inspector General". The comedy was published in the unpopular magazine "Moskvityanin", but banned from staging: " It was printed in vain, it is forbidden to play"- such was the resolution of Nicholas the First. This play destroyed the myth of the patriarchal customs of the Russian merchant class, showing a world where man is a wolf to man, and relationships are built on greed.
In 1853, Ostrovsky admits that his view of reality was too harsh. Thus begins the second period of his work, called Slavophile. At this time, together with Apollon Grigoriev and Lev Mei, Ostrovsky edited the literary and artistic section of the Slavophile magazine Moskvityanin and published his plays there. "Do not get into your sleigh" (1852) - this is the first play by Ostrovsky, which hits the stage, and even the main drama theater of the country - Alexandrinsky, "Poverty is not a vice" (1853), "Don't Live the Way You Want" (1854). All these plays reflected the concept of Apollon Grigoriev about the patriarchy and spirituality of the middle classes, in which "the guarantee of the future of Russia." And if in the first play by Ostrovsky "Our people - let's settle" there were no positive characters, then in the plays of the 50s. negative characters are miraculously "corrected".
In 1856, the Moskvityanin magazine ceased to exist. Collaboration with Sovremennik marked the third period of Ostrovsky's work - revolutionary democratic. The themes of the playwright's plays expand, conflicts become sharper and deeper. Among the plays of the beginning of this period, it is worth highlighting the comedy "Plum" (1856) and the first play from the trilogy about Balzaminov "Holiday nap before dinner" (1857). In total, Nekrasov will publish 30 of his plays: 8 in Sovremennik and 22 in Otechestvennye Zapiski. Over the years, a tradition has even developed: the first issue of the year has always opened with a play by Ostrovsky.
In April-August 1856 and in May-August 1857, Ostrovsky traveled along the Volga. This happened thanks to the expedition "for gifted writers" organized by the Grand Duke Konstantin Nikolayevich. It is from the Volga observations and impressions that the most famous dramas of Ostrovsky - "Thunderstorm" and "Dowry" - will be born.
Drama "Thunderstorm"
In 1859, a two-volume collected works of Ostrovsky was published, in connection with which the critic Nikolai Dobrolyubov devotes the article "The Dark Kingdom" to Ostrovsky's work, in which he calls the playwright an "objective talent" that reflected the key vices of our time. The article also asked the question: “Who will throw a ray of light into the ugly darkness of the dark kingdom?”, To which the playwright answered in 1860 with his most famous play "Storm", which has become the first (except for Lermontov's "Masquerade") in Russian literature a work in the genre of drama.
Bank of the Volga. Sketch of the scenery for the play based on the play "Thunderstorm"
The play was conceived in July 1859, and in January 1860 it was published in the Library for Reading magazine. In the center of the play is the life of the provincial town of Kalinov, where "cruel morals" reign and obscurantism flourishes, supported by the richest and most influential residents (the merchant Dikaya and the widow Kabanikh). Some Kalinovites adapt to the existing order (such, for example, is the daughter of Kabanikh Varvara), others are characterized by spinelessness and spinelessness (Tikhon and Boris). Kuligin could boast of education and outlook, but he lacks the will to resist the brute force of the Wild.
Among all the characters in the play, the author singles out Katerina Kabanova, Tikhon's wife and Kabanikh's daughter-in-law. She is sincere, lives not in fear, like others, but at the behest of her heart. She knows she should love her husband, but she can't bring herself to feel something that isn't there. In addition, Tikhon does not dare to show his tender feelings for his wife in front of his mother. The outset of the conflict is Tikhon's departure to Moscow and Katerina's confession of secret love for Boris. It is love that provokes Katerina to openly oppose the tyranny of the Kabanikh. The moral throwing of the heroine on the one hand and open confrontation with the imperious mother-in-law form the basis of the play. The spiritual drama of Katerina is symbolically intertwined with the elements of a thunderstorm, foreshadowing a tragic denouement. The image of a thunderstorm covers everything that happens in Kalinovo and grows into a complex dramatic symbol: the thunderstorm is thought of by the characters of the play as God's punishment, a punishment for sins, but Katerina's love and her struggle are a thunderstorm for Kalinov's patriarchal world. Lightning during a thunderstorm illuminates the city plunged into darkness.
The prototype of the image of Katerina Kabanova was Ostrovsky's mistress, actress Lyubov Pavlovna Kositskaya (Nikulina). Kositskaya also became the first performer of her role. Both had families: Kositskaya was married to the actor I. Nikulin, and Ostrovsky from 1848 to 1867. lived in an unregistered marriage with a commoner Agafya Ivanovna. All their illegitimate children died at an early age. In 1869, the writer married Maria Vasilievna Bakhmeteva. who will become the mother of Ostrovsky's six children.
Ostrovsky's innovation manifested itself in connection of social, family conflict with the internal conflict of the heroine, and in combination of the dramaturgy of the landscape with the dramaturgy of human relations. In general, the conflict of the drama consists of several components:
1) tyranny of the rich: the "cruel morals" of the city are associated with the unlimited power of the tyrant Savel Prokofievich Wild, a dark, uneducated, rude, but well-to-do man; no one can resist him: neither the most educated person in the city of Kuligin, nor the policeman;
2) family tyranny: Katerina's conflict with her mother-in-law, Marfa Ignatievna Kabanova, who "has completely ate at home";
3) the conflict of the past and the present in Katerina's mind, the contradiction between Katerina's former free life in her parents' house and the current life "from captivity" in the mother-in-law's house;
4) the internal conflict of the heroine due to the inability to combine a feeling of love and marital relations with Tikhon;
5) the conflict associated with Katerina's feeling of her own uselessness to either her husband or her beloved Boris.
The play caused a great public outcry and controversy in criticism.
Nikolai Dobrolyubov in the article "A ray of light in a dark kingdom" called "Thunderstorm" the most decisive work of Ostrovsky, in which "an encouraging and refreshing impression is achieved by the character of Katerina." The critic considers the suicide of the heroine to be a manifestation of the decisiveness of her character and a challenge to "tyrant force."
From an article by Dobrolyubov
The point is that the character of Katerina, as portrayed in The Thunderstorm, constitutes a step forward not only in Ostrovsky's dramatic activity, but in all of our literature.
The resolute, integral Russian character, acting among the Dikikhs and Kabanovs, appears in Ostrovsky in the female type, and this is not without its serious significance.
When she married Tikhon Kabanov, she did not love him either; she did not yet understand this feeling; they told her that every girl should get married, showed Tikhon as her future husband, and she went for him, remaining completely indifferent to this step. And here, too, a peculiarity of character is manifested: according to our usual concepts, she should be resisted if she has a decisive character; but she does not think of resistance, because she does not have sufficient grounds for this. She has no special desire to get married, but there is no aversion from marriage either; there is no love in her for Tikhon, but there is no love for anyone else either. You can’t see either impotence or apathy in this, but you can only find a lack of experience ... But when she understands what she needs and wants to achieve something, she will achieve her goal at all costs: then quite the strength of her character, not wasted in petty antics.
Katerina ... not only does not take heroic poses and does not utter sayings that prove her strength of character, but on the contrary, she appears in the form of a weak woman who cannot resist her desires, and tries to justify the heroism that is manifested in her actions. She complains about no one, blames no one, and nothing like that even comes to her mind. There is no malice, no contempt in it, nothing that usually flaunts disappointed heroes who arbitrarily leave the world.
... At the last moment, all domestic horrors flash especially vividly in her imagination. She cries out: “They will catch me and bring me back home by force! .. Hurry, hurry ...” And the matter is over: she will no longer be a victim of a soulless mother-in-law, she will no longer languish locked up with her spineless and disgusting husband. She's released!
Sad, bitter is such a liberation; But what to do when there is no other way out. It's good that the poor woman found determination at least for this terrible exit. That is the strength of her character, which is why The Thunderstorm makes a refreshing impression on us.
We have already said that this end seems to us gratifying; it is easy to understand why: in it a terrible challenge is given to the tyrannical force, he tells it that it is no longer possible to go further, it is impossible to live any longer with its violent, deadening principles. In Katerina we see a protest against Kabanov's notions of morality, a protest carried to the end, proclaimed both under domestic torture and over the abyss into which the poor woman threw herself.
Another critic, Dmitry Pisarev, published an article in 1864 "Motives of Russian drama" , where he gave a generally negative description of Katerina, whose life "consists of constant internal contradictions."
From an article by Pisarev
"... where Dobrolyubov succumbed to an impulse of aesthetic feeling, we will try to reason in cold blood and see that our family patriarchy suppresses any healthy development. Ostrovsky's drama "Thunderstorm" caused a critical article from Dobrolyubov entitled "A ray of light in a dark kingdom." This article was a mistake on the part of Dobrolyubov; he was carried away by sympathy for the character of Katerina and took her personality for a bright phenomenon.
[Boris] looks at Katerina. Katerina falls in love with him, but wants to keep her virtue intact. What kind of love arises from the exchange of several glances? What kind of harsh virtue that gives up at the first opportunity? Finally, what kind of suicide caused by such petty troubles, which are tolerated quite safely by all members of all Russian families?
In each of Katerina's actions one can find an attractive feature; Dobrolyubov found these sides, put them together, made up an ideal image from them, as a result he saw “a ray of light in a dark kingdom”, rejoiced at this ray with the pure and holy joy of a citizen and poet. If he looked calmly and attentively at his precious find, then the simplest question would immediately arise in his mind, which would lead to the destruction of an attractive illusion. Dobrolyubov would have asked himself: how could this bright image have been formed? he would have seen that upbringing and life could not give Katerina either a firm character or a developed mind.
Every external impression shakes her whole organism; the most insignificant event, the most empty conversation, produces whole upheavals in her thoughts, feelings and actions. The boar grumbles, Katerina languishes from this; Boris Grigorievich casts tender glances, Katerina falls in love; Varvara says a few words in passing about Boris, Katerina considers herself a lost woman in advance. Varvara gives Katerina the key to the gate, Katerina, holding on to this key for five minutes, decides that she will certainly see Boris, and ends her monologue with the words: “Oh, if only the night would come sooner!” Meanwhile, at the beginning of her monologue, she even found that the key was burning her hands and that she should definitely throw it away. When meeting with Boris, of course, the same story is repeated; first, “go away, damned man!”, and after that it throws itself on the neck. While the dates continue, Katerina thinks only that we will “take a walk”; as soon as Tikhon arrives, he begins to be tormented by remorse and reaches half-madness in this direction. Thunder struck - Katerina lost the last remnant of her mind. The final catastrophe, suicide, just like that happens impromptu. Katerina runs away from home with the vague hope of seeing her Boris; she does not think about suicide; she regrets that before they killed, but now they do not kill; she finds it uncomfortable that death is not; is Boris; when Katerina is left alone, she asks herself: “Where to now? go home?" and answers: “No, it’s all the same to me whether it’s home or in the grave.” Then the word "grave" leads her to a new series of thoughts, and she begins to consider the grave from a purely aesthetic point of view, from which people have so far managed to look only at other people's graves. At the same time, she completely loses sight of the fiery Gehenna, and yet she is not at all indifferent to this last thought.
Katerina's whole life consists of constant internal contradictions; every minute she rushes from one extreme to another; today she repents of what she did yesterday; she does not know what she will do tomorrow; she confuses her own life and the lives of other people at every step; finally, having mixed up everything that was at her fingertips, she cuts the tightened knots by the most stupid means, suicide, and even such suicide, which is completely unexpected for herself.
After "Thunderstorm"
Among the satirical works of Ostrovsky in the 1860s. attention-grabbing comedy "Sufficient simplicity for every wise man" , the plot of which is a rethinking of the plot of Griboedov's comedy "Woe from Wit". Its main character, Yegor Glumov, is distinguished, like Chatsky, with a sharp mind, insight, and the ability to give people accurate characteristics. However, unlike Chatsky, Glumov does not openly fight the stupidity and vulgarity of those around him, but takes advantage of their weaknesses, thanks to which he receives both a profitable position and a promising bride. He trusts all his real thoughts only to the diary, which he calls "Notes of a scoundrel written by himself."
Glumov easily wins the favor of his wealthy relative Mamaev, who loves to give advice and guidance; literary works on Krutitsky's treatise "On the Harm of Reforms in General"; writes a "speech" to the important Mr. Gorodulin; at the request of Mamaev himself, he takes care of his wife Cleopatra Lvovna. The hero is convinced that one should take advantage of someone else's abomination, and it turns out to be right: even after being exposed, he turns out to be needed by those "masters" whom he caustically ridiculed in his diary.
The 1870s are considered the heyday of Ostrovsky's work. He creates his best plays: "Forest", "Snow Maiden", "Wolves and Sheep", "Dowry".
Fairy tale play " Snow Maiden "was born from the plot described by the Russian folklorist A.N. Afanasiev in the work" Poetic views of the Slavs on nature ": the peasants Ivan and Marya loved each other, but they had no children, and then they made Snezhevinochka from the snow (they called her Snegurka ), and she came to life, but melted in the spring. In Ostrovsky's play, the Snow Maiden is the fifteen-year-old daughter of Morozko (Father Frost) and Spring-Krasna. The Yarilo-sun is going to light the fire of love in the heart of the Snow Maiden, and before that the earth will be immersed in frost and a long winter "Mizgir, Kupava's fiancé, falls in love with the Snow Maiden. After a while, the fire of love ignites in the cold heart of the Snow Maiden. She dies, but thanks her mother Spring-Krasna for knowing the feeling of love. The play-tale will be so unexpected (the realist-satirist Ostrovsky is used to see the author of comedies and dramas), that readers will not accept it at first, and Nekrasov will refuse to publish it in Fatherland Notes as empty and fantastic.
As traditional New Year's characters Ded Moroz and Snegurochka (now for some reason in the status of a granddaughter) will first appear in the Moscow House of Unions at a meeting of the new year, 1937. Moreover, Veliky Ustyug is considered the birthplace of Santa Claus, and Kostroma is considered the birthplace of the Snow Maiden. However, New Year's traditions are not directly related to the content of Ostrovsky's fairy tale play.
Drama "Dowry"
I have already read my play in Moscow five times, among the listeners there were people who were hostile to me, and everyone unanimously recognized The Dowry as the best of all my works.
A.N. Ostrovsky
The most significant psychological drama of the 19th century was created within four years and was completed in the fall of 1878. The source of the plot was the case of Ivan Konovalov, who killed his young wife out of jealousy, a resident of the Volga city of Kineshma, where Ostrovsky served as an honorary justice of the peace. The drama was a success with readers, but the premiere screenings at the Maly and Alexandrinsky theaters failed, which caused a number of negative reviews in criticism. However, in reality, the play required a new approach to acting and in this sense anticipated, as the critic Alexander Skabichevsky pointed out, the poetics of Chekhov's dramaturgy.
In the drama "Dowry", as in "Thunderstorm", the life of the provincial Volga city of Bryakhimov is shown. It is as if patriarchy and house-building orders are a thing of the past, and merchants have become educated masters of life who do not communicate with fellow countrymen, but go to Paris to “talk”. However, the laws established by them, according to which everything is sold and bought, lead to tragedy the talented and beautiful girl Larisa Ogudalova, who becomes the subject of bargaining for influential people, a thing in the hands of wealthy merchants Knurov and Vozhevatov on the one hand and the poor but proud official Karandyshev, each of whom Larisa seeks to use to satisfy her own ambitions.
In essence, no one really loves Larisa, who "searched for love and did not find it." Her friend Vozhevatov calmly perceives his loss to Knurov, who should now "get" Larisa. Knurov, in turn, is prudently waiting for Paratov to play his role: the “brilliant master” will take her away from under the nose of her fiancé Karandyshev, seduce and leave her, and even then, the broken Larisa Knurov is ready to take to Paris as his kept mistress . The petty official Karandyshev, it would seem, is as poor as Larisa, and compared to rich merchants, he looks like a "little man" who, for the time being, is offended and humiliated with impunity by the "big" people of the city of Bryakhimov. However, Karandyshev is not a victim, but the same part of the "cruel world" as Paratov, Knurov and Vozhevatov: for him, the upcoming marriage to Larisa is a reason to get even with his offenders, an attempt to demonstrate his "moral superiority". In this sense, Julius Kapitonych Karandyshev is very far from the "little people" of Pushkin, Gogol and early Dostoevsky.
Ostrovsky has been writing plays in recent years. "Talents and Admirers", "Handsome Man", "Guilty Without Guilt". By this time, Ostrovsky is the most respected Russian writer. In 1883, Emperor Alexander the Third granted the playwright, who by that time was chairman of the Society of Dramatic Writers and Opera Composers, an annual pension of 3,000 rubles. After playwright's death on June 14, 1886 in the village of Shchelykovo, Kostroma province, the emperor allocated considerable sums for burial, to support the widow of the writer Maria Bakhmetyeva and their four children.
Testing on the work of Ostrovsky
1 OPTION
1) Ostrovsky's name
a) Nikolai Alekseevich
b) Alexey Nikolaevich
c) Alexander Nikolaevich
d) Nikolai Alexandrovich
2) Ostrovsky was nicknamed
a) Columbus Zamoskvorechye
b) "a man without a spleen"
c) "comrade Konstantin"
3) Ostrovsky studied
a) at the Tsarskoye Selo Lyceum
b) in the Nizhyn gymnasium
c) at Moscow University
d) at Simbirsk University
4) The work "Thunderstorm"
a) comedy
b) tragedy
a) "Snow Maiden"
b) Wolves and sheep
c) "Oblomov"
d) "Our people - we will count"
6) The drama "Thunderstorm" was first published in
7) What invention did the self-taught mechanic Kuligin want to introduce into the life of his city?
a) telegraph
b) printing press
c) lightning rod
d) microscope
8) Determine the climax of the drama "Thunderstorm"
a) farewell to Tikhon and Katerina before his trip
b) the scene with the key
c) Katerina's meeting with Boris at the gate
d) repentance of Katerina before the inhabitants of the city
a) realism
b) romanticism
c) classicism
d) sentimentalism
10) The action of the drama "Thunderstorm" takes place
a) in Moscow
b) in Nizhny Novgorod
c) in Kalinov
d) in Petersburg
11) What was the name of Katerina's husband?
c) Curly
d) Akaki
12) Determine the main conflict of the drama "Thunderstorm"
a) the love story of Katerina and Boris
b) clash of tyrants and their victims
c) the love story of Tikhon and Katerina
d) a description of the friendly relations between Kabanikhi and Dikiy
13) Which of the heroes of the drama "Thunderstorm" "envyed" the deceased Katerina, considering his own life to be the forthcoming torment?
b) Kuligin
a) footnote
b) remark
c) explanation
d) escort
a) Kuligin
d) Curly
16) What type of literary heroes did Kabanikha belong to?
a) "extra person"
b) hero-reasoner
c) little man
d) "tyrant"
17) Who wrote the critical article "Motives of Russian Drama" about "Thunderstorm"?
a) V. G. Belinsky
b) N. G. Chernyshevsky
c) N. A. Dobrolyubov
d) D. I. Pisarev
He has such an establishment. With us, no one even dare to utter a word about salaries, they will scold what the world is worth. "You," he says
Why do you know what I have in mind? Can you know my soul somehow? Or maybe I'll come to such a position,
that you five thousand ladies. "So you talk to him! Only he has never been in such and such a
location did not come.
c) Curly
19) Who said:
“Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and bare poverty. And we, sir, will never get out of this bark.
a) Curly
b) Kuligin
c) Boris Grigorievich
20) To whom do the words addressed to the main character of the play "Dowry" belong?
"Your friends are good! What respect for you! They do not look at you as a woman, as a person - a person controls his own destiny, they look at you as a thing.
a) Knurov
b) Paratov
c) Vozhevatov
d) Karandyshev
Test on the work of Ostrovsky. "Thunderstorm", "Dowry"
OPTION 2
1) Years of life of A. Ostrovsky:
2 Ostrovsky studied
a) at the Tsarskoye Selo Lyceum
b) in the Nizhyn gymnasium
c) at Moscow University
d) at Simbirsk University
3) Ostrovsky was nicknamed
a) Columbus Zamoskvorechye
b) "a man without a spleen"
c) "comrade Konstantin"
d) "a ray of light in a dark kingdom"
4) The drama "Thunderstorm" was first published in
5) Which work does not belong to Ostrovsky:
a) "Snow Maiden"
b) "Poverty is not a vice"
c) "Oblomov"
d) "Our people - we will count"
6) The work "Thunderstorm"
a) comedy
b) tragedy
d) story
7) What estate did Kabanikha belong to?
b) tradesmen
c) noblemen
d) commoners
8) Who arranged the meeting between Katerina and Boris, stealing the key from Kabanikh?
a) Curly
b) Kuligin
c) Barbara
9) To which literary direction should the drama "Thunderstorm" be attributed?
a) realism
b) sentimentalism
c) classicism
d) romanticism
10) What was the name of Katerina's lover
a) Kuligin
d) Curly
11) In which city does the play take place?
a) in Nizhny Novgorod
b) in Torzhok
c) in Moscow
d) in Kalinov
12) Who owns the phrase: “Do whatever you want, if only it was sewn and covered”?
a) Curly
b) Katerina
c) Barbara
d) Kabanikhe
13) What did the self-taught mechanic Kuligin invent?
a) telegraph
b) perpetuum mobile
c) sundial
a) footnote
b) remark
c) explanation
d) escort
15) What phrase ends the drama "Thunderstorm"?
a) Mom, you ruined her, you, you, you ...
b) Do with it what you want! Her body is here, take it; and the soul is now not yours: it is now before the judge,
who is more merciful than you!
c) Thank you, good people, for your service!
d) Good for you, Katya! And why did I stay in the world and suffer!
16) What type of literary characters did Dikoy belong to?
a) "extra person"
b) "tyrant"
c) little man
d) hero-lover
17) Who wrote the critical article "A Ray of Light in the Dark Realm" about "Thunderstorm"?
a) V. G. Belinsky
b) N. G. Chernyshevsky
c) N. A. Dobrolyubov
d) D. I. Pisarev
18) What character are we talking about?
He first breaks down on us, abuses us in every possible way, as his soul pleases, and ends up
all the same, by the fact that it will not give anything or so, some little. Yes, it will become
to tell that out of mercy he gave, that this should not have been.
c) Curly
19) Who said:
“My parents raised us well in Moscow, they spared nothing for us. Me
sent to the Commercial Academy, and my sister to a boarding school, but both suddenly died of cholera,
my sister and I were left orphans. Then we hear that the grandmother also died here and
left a will so that my uncle will pay us the part that is due when we arrive
in adulthood, only with the condition ... "
d) Curly
20) To whom do the words from A. Ostrovsky's play "The Dowry" belong?
“Thing... yes, thing! They are right, I am a thing, not a person. I am now convinced that I
tested myself ... I am a thing! (With vehemence.) At last the word has been found for me, you
found him. Go away! Please leave me!"
a) Larisa Dmitrievna Ogudalova
b) Agrofena Kondratyevna Bolshova
c) Anna Pavlovna Vyshnevskaya
d) Harita Ignatievna Ogudalova
1 option
1-c, 2-a, 3-c, 4-c, 5-c, 6-b, 7-c, 8-d, 9-a, 10-c, 11-a, 12-b, 13- d, 14-b, 15-c, 16-d, 17-d, 18-a, 19-b, 20-d
Option 2
1-a, 2-c, 3-a, 4-b, 5-c, 6-c, 7-a, 8-c, 9-a, 10-c, 11-d, 12-c, 13- b, 14-b, 15-d, 16-b, 17-c, 18-a, 19-b, 20-a
