The heroine of the work is a thunderstorm. Characteristics of Katerina from the play “The Thunderstorm”
He opened the “constipations” of two rich merchant houses in the city of Kalinov - the houses of Kabanova and Savel Dikgo.
Kabanikha. Powerful and cruel, the old woman Kabanova is a living personification of the rules of false, sanctimonious “piety”: she knows them well, she herself fulfilled them and steadily demands their fulfillment from others. These rules are as follows: the younger ones in the family must obey the elder; they have no right to have yours opinion, their desires, mine world - they must be “depersonalized”, they must be mannequins. Then they must “be afraid,” live in fear.” If there is no fear in life, then, according to her conviction, the world will cease to stand. When Kabanova convinces her son, Tikhon, to act on his wife with “fear,” he says that he does not want Katerina to be “afraid” of him - it is enough for him if she “loves” him. “Why be afraid? - she exclaims, - Why be afraid? Are you crazy, or what? He won’t be afraid of you, and even less so of me! What kind of order will there be in the house? After all, you, tea, live with her in law? Ali, do you think the law means nothing?” Finally, the third rule is not to bring anything “new” into life, to stand for the old in everything - in outlook on life, in human relations, customs and rituals. She laments that “the old stuff is getting out.” “What will happen when the old people die? I don’t even know how the light will stay there!” – she says completely sincerely.
A. N. Ostrovsky. Storm. Play
These are Kabanova’s views, and her cruel nature is reflected in the way they are implemented. She crushes everyone with her lust for power; she knows no pity or condescension towards anyone. She not only “watches” for the implementation of her rules, she invades someone else’s soul with them, finds fault with people, “sharpenes” them for no reason or reason... And all this is done with full consciousness of her “right”, with a consciousness of “necessity” and with constant concerns about external decorum...
The despotism and tyranny of Kabanikha is much worse than that shown by Gordey Tortsov in the play “Poverty is not a vice”, or Wild. Those who do not have any support outside themselves, and therefore it is still possible, although rarely, by skillfully playing on their psychology, to force them to temporarily become ordinary people, as he does We love Tortsov with his brother. But there is no force that would bring Kabanova down: in addition to her despotic nature, she will always find support and support for herself in those foundations of life, which she considers an inviolable shrine.
Savel Dikoy. Not so the other “tyrant” of this drama - the merchant Savel Dikoy. This is Gordey Tortsov’s brother: rude, always drunk, who considers himself entitled to scold everyone because he is rich, Dikoy is despotic not “on principle,” like Kabanova, but out of caprice, out of whim. There are no reasonable grounds for his actions - this is unbridled arbitrariness, devoid of any logical basis. Dikoy, according to the apt definition of the Kalinovites, is a “warrior”: in his own words, “there is always a war going on at home.” “You are a worm! If I want, I’ll have mercy, if I want, I’ll crush!” - this is the basis of his relations with those people who are weaker or poorer than him. One feature of him had a characteristic echo of antiquity - having scolded a peasant during his shit - he “bowed to him in the yard, in the mud - in front of everyone... bowed!”... In this “national repentance” a glimmer of respect for to some higher moral order of things established by antiquity.
Tikhon Kabanov. In the Kabanova family, the younger generation is represented by her son Tikhon, daughter-in-law Katerina and daughter Varvara. All three of these faces were affected differently by the influence of old woman Kabanova.
Tikhon is a completely weak-willed, weak creature, depersonalized by his mother... He, an adult man, obeys her like a boy, and, fearing to disobey her, is ready to humiliate and insult his beloved wife. His desire for freedom is expressed by pathetic, cowardly drunkenness on the side and the same cowardly hatred of his home...
Varvara Kabanova. Varvara is a braver person than her brother. But she is not capable of an open fight with her mother, face to face. And she wins her freedom through deception and cunning. She covers up her wild life with “deanery” and hypocrisy. Oddly enough, girls in the city of Kalinov turned a blind eye to such a life: “when can we go for a walk, if not among the girls!” – says Kabanova herself. “Sin is not a problem, rumor is not good!” - they said in Famusov’s circle. The same point of view is here: publicity, according to Kabanova, is the worst thing of all.
Varvara tried to arrange for Katerina the same “fraudulent happiness” that she herself enjoyed with a clear conscience. And this led to a terrible tragedy.
Feklusha. The praying pilgrim Feklusha represents in “The Thunderstorm” the complete opposite of the inquisitive mechanic Kuligin. A stupid and cunning, ignorant old woman, she pronounces an accusation against the entire new cultural life, glimpses of which disturb the “dark kingdom” with their novelty. The whole world, with its vanity, seems to her to be the “kingdom of the flesh,” the “kingdom of the Antichrist.” He who serves the “world” serves the devil and destroys his soul. From this point of view, she agrees with Kabanikha and with many other inhabitants of Kalinov and the entire “dark kingdom” depicted by Ostrovsky.
In Moscow, life is teeming, people are fussing, in a hurry, as if they are looking for something, says Feklusha, and contrasts this “vanity” with the peace and silence of Kalinov, who plunged into sleep at sunset. Feklusha, in the old way, explains the reasons for the “city bustle”: the devil invisibly scattered “the seeds of tares” into human hearts, and people moved away from God and serve him. Any novelty frightens Feklusha into her like-minded people - she considers the locomotive a “fire-breathing snake”, and the old woman Kabanova agrees with her... And at this time, here, in Kalinov, Kuligin dreams of a perpetuum mobile... What an incompatible contradiction of interests and worldviews !
Boris. Boris Grigorievich is Dikiy’s nephew, an educated young man who listens to Kuligin’s enthusiastic speeches with a light, polite smile, because he does not believe in perpetuum mobile. But, despite his education, culturally, he is lower than Kuligin, who is armed with both faith and strength. Boris does not apply his education to anything, and he has no strength to fight life! He, without fighting with conscience, carries away Katerina and without fighting with people, leaves her to the mercy of her fate. He is a weak man, and Katerina became interested in him simply because “in the wilderness, even Thomas is a nobleman.” A certain veneer of culture, cleanliness and decency in manners is what made Katerina idealize Boris. And she couldn’t bear to live if Boris didn’t exist—she would idealize someone else.
The play “The Thunderstorm” is the most famous creation of Alexander Nikolaevich Ostrovsky. Each hero of this work is a unique personality who takes his place in the system of characters. Notable in this regard is the characterization of Tikhon. “The Thunderstorm,” a play whose main conflict is built on the confrontation between the strong and the weak, is interesting for its oppressed heroes, our character being one of them.
The play "The Thunderstorm"
The play was written in 1859. The scene is the fictional city of Kalinov, which stands on the banks of the Volga. The action time is summer, the entire work covers 12 days.
In terms of its genre, “The Thunderstorm” belongs to the social and everyday drama. Ostrovsky paid a lot of attention to describing the everyday life of the city; the characters in the work come into conflict with established orders that have long since become obsolete, and the despotism of the older generation. Of course, the main protest is expressed by Katerina (the main character), but her husband also occupies an important place in the rebellion, which is confirmed by Tikhon’s characterization.
“The Thunderstorm” is a work that talks about human freedom, about the desire to break out of the shackles of outdated dogmas and religious authoritarianism. And all this is depicted against the backdrop of the main character’s failed love.
Image system
The system of images in the play is built on the opposition of tyrants who are accustomed to commanding everyone (Kabanikha, Dikoy), and young people who want to finally gain freedom and live by their own mind. The second camp is headed by Katerina, only she has the courage for open confrontation. However, other young characters also strive to get rid of the yoke of dilapidated and meaningless rules. But there are those who have resigned themselves, and not the least of them is Katerina’s husband (a detailed description of Tikhon is presented below).
“The Thunderstorm” depicts the world of the “dark kingdom”, only the heroes themselves can destroy it or die, like Katerina, misunderstood and rejected. It turns out that the tyrants who seized power and their laws are too strong, and any rebellion against them leads to tragedy.
Tikhon: characteristics
“The Thunderstorm” is a work where there are no strong male characters (with the exception of the Wild One). Thus, Tikhon Kabanov appears only as a weak-willed, weak and intimidated man by his mother, unable to protect the woman he loves. The characterization of Tikhon from the play “The Thunderstorm” shows that this hero is a victim of the “dark kingdom”; he lacks the determination to live by his own mind. Whatever he does and wherever he goes, everything happens according to the will of his mother.
Even as a child, Tikhon was accustomed to following Kabanikha’s orders, and this habit remained in him into adulthood. Moreover, this need to obey is so ingrained that even the thought of disobedience plunges him into horror. This is what he himself says about this: “Yes, Mama, I don’t want to live by my own will.”
The characterization of Tikhon (“The Thunderstorm”) speaks of this character as a person who is ready to endure all the mockery and rudeness of his mother. And the only thing he dares to do is the desire to get out of the house to go on a spree. This is the only freedom and liberation available to him.
Katerina and Tikhon: characteristics
“The Thunderstorm” is a play where one of the main plot lines is love, but how close is it to our hero? Yes, Tikhon loves his wife, but in his own way, not the way Kabanikha would like. He is affectionate with her, does not want to dominate the girl, intimidate her. However, Tikhon does not understand Katerina and her mental suffering at all. His softness has a detrimental effect on the heroine. If Tikhon had been a little more courageous and had at least some will and ability to fight, Katerina would not have needed to look for all this on the side - in Boris.
The characterization of Tikhon from the play “The Thunderstorm” shows him in a completely unattractive light. Despite the fact that he reacted calmly to his wife’s betrayal, he is unable to protect her either from her mother or from other representatives of the “dark kingdom.” He leaves Katerina alone, despite his love for her. The non-intervention of this character was largely the reason for the final tragedy. Only after realizing that he had lost his beloved did Tikhon dare to openly revolt against his mother. He blames her for the death of the girl, no longer fearing her tyranny and power over him.
Images of Tikhon and Boris
A comparative description of Boris and Tikhon (“The Thunderstorm”) allows us to conclude that they are similar in many ways; some literary scholars even call them double heroes. So, what do they have in common, and how are they different?
Not finding the necessary support and understanding from Tikhon, Katerina turns to Boris. What was it about him that attracted the heroine so much? First of all, he differs from other residents of the city: he is educated, graduated from the academy, and dresses in a European manner. But this is only the outside, what's inside? During the course of the story, it turns out that he depends on Dikiy in the same way as Tikhon depends on Kabanikha. Boris is weak-willed and spineless. He says that he is only holding on to his inheritance, without which his sister will become a dowry. But all this seems like an excuse: he endures all his uncle’s humiliations too meekly. Boris sincerely falls in love with Katerina, but he does not care that this love will destroy the married woman. He, like Tikhon, worries only about himself. In words, both of these heroes sympathize with the main character, but they do not have enough fortitude to help her and protect her.
The action of the play "The Thunderstorm" takes place in the fictional town of Kalinov, which is a collective image of all provincial towns of that time.
There are not so many main characters in the play “The Thunderstorm”; each one needs to be discussed separately.
Katerina is a young woman, married without love, “to someone else’s side,” God-fearing and pious. In her parents' home, Katerina grew up in love and care, prayed and enjoyed life. Marriage for her turned out to be a difficult test, which her meek soul resists. But, despite outward timidity and humility, passions boil in Katerina’s soul when she falls in love with someone else’s man.
Tikhon is Katerina’s husband, a kind and gentle man, he loves his wife, feels sorry for her, but, like everyone else at home, he obeys his mother. He does not dare to go against the will of “mama” throughout the play, just as he does not dare to openly tell his wife about his love, since his mother forbids this, so as not to spoil his wife.
Kabanikha is the widow of the landowner Kabanov, mother of Tikhon, mother-in-law of Katerina. A despotic woman, in whose power the whole house is, no one dares to take a step without her knowledge, fearing a curse. According to one of the characters in the play, Kudryash, Kabanikha is “a hypocrite, he gives to the poor and eats his family.” It is she who shows Tikhon and Katerina how to build their family life in the best traditions of Domostroy.
Varvara is Tikhon’s sister, an unmarried girl. Unlike his brother, he obeys his mother only for appearances; she herself secretly goes on dates at night, inciting Katerina to do the same. Her principle is that you can sin if no one sees, otherwise you will spend your whole life next to your mother.
Landowner Dikoy is an episodic character, but personifies the image of a “tyrant”, i.e. a person in power who is confident that money gives him the right to do whatever his heart desires.
Boris, Dikiy’s nephew, who came in the hope of getting his share of the inheritance, falls in love with Katerina, but cowardly runs away, abandoning the woman he seduced.
In addition, Kudryash, Dikiy’s clerk, takes part. Kuligin is a self-taught inventor, constantly trying to introduce something new into the life of a sleepy town, but is forced to ask Dikiy for money for inventions. The same, in turn, being a representative of the “fathers”, is confident in the uselessness of Kuligin’s undertakings.
All the names and surnames in the play are “talking”; they tell about the character of their “owners” better than any actions.
She herself vividly shows the confrontation between the “old people” and the “young people”. The first actively resist all kinds of innovations, complaining that young people have forgotten the orders of their ancestors and do not want to live “as they should.” The latter, in turn, are trying to free themselves from the oppression of parental orders, they understand that life moves forward and changes.
But not everyone decides to go against their parents’ will, some for fear of losing their inheritance. Some people are used to obeying their parents in everything.
Against the backdrop of blossoming tyranny and Domostroev’s covenants, the forbidden love of Katerina and Boris blossoms. The young people are drawn to each other, but Katerina is married, and Boris depends on his uncle for everything.
The difficult atmosphere of the city of Kalinov, the pressure of an evil mother-in-law, and the onset of a thunderstorm force Katerina, tormented by remorse for cheating on her husband, to confess everything publicly. Kabanikha is rejoicing - she turned out to be right when she advised Tikhon to keep his wife “strict.” Tikhon is afraid of his mother, but her advice to beat his wife so that she knows is unthinkable for him.
The explanation of Boris and Katerina further aggravates the situation of the unfortunate woman. Now she has to live away from her beloved, with a husband who knows about her betrayal, with his mother, who will now definitely harass her daughter-in-law. Katerina’s fear of God leads her to the idea that there is no point in living anymore, the woman throws herself off a cliff into the river.
Only after losing his beloved woman does Tikhon realize how much she meant to him. Now he will have to live his whole life with the understanding that his callousness and submission to his tyrant mother led to such an ending. The last words of the play are the words of Tikhon, spoken over the body of his dead wife: “Good for you, Katya! Why did I stay in the world to live and suffer!”
Federal Agency for Education of the Russian Federation
Gymnasium No. 123
in Literature
Speech characteristics of the characters in the drama by A.N. Ostrovsky
"Storm".
Work completed:
10th grade student "A"
Khomenko Evgenia Sergeevna
………………………………
Teacher:
Orekhova Olga Vasilievna
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Grade…………………….
Barnaul-2005
Introduction………………………………………………………
Chapter 1. Biography of A. N. Ostrovsky……………………..
Chapter 2. The history of the creation of the drama “The Thunderstorm”…………………
Chapter 3. Speech characteristics of Katerina………………..
Chapter 4. Comparative speech characteristics of Wild and Kabanikha……………………………………………………………
Conclusion……………………………………………………
List of used literature……………………….
Introduction
Ostrovsky's drama "The Thunderstorm" is the most significant work of the famous playwright. It was written during a period of social upsurge, when the foundations of serfdom were cracking, and a thunderstorm was really brewing in the stuffy atmosphere. Ostrovsky's play takes us to the merchant environment, where the Domostroev order was most persistently maintained. Residents of a provincial town live a closed life alien to public interests, in ignorance of what is happening in the world, in ignorance and indifference.
We turn to this drama now. The problems that the author touches on in it are very important for us. Ostrovsky raises the problem of the turning point in social life that occurred in the 50s, the change in social foundations.
After reading the novel, I set a goal for myself to see the peculiarities of the speech characteristics of the heroes and find out how the speech of the heroes helps to understand their character. After all, the image of a hero is created with the help of a portrait, with the help of artistic means, with the help of characterization of actions, speech characteristics. Seeing a person for the first time, by his speech, intonation, behavior, we can understand his inner world, some vital interests and, most importantly, his character. Speech characteristics are very important for a dramatic work, because it is through it that one can see the essence of a particular character.
In order to better understand the character of Katerina, Kabanikha and Wild, it is necessary to solve the following problems.
I decided to start with the biography of Ostrovsky and the history of the creation of “The Thunderstorm” in order to understand how the talent of the future master of speech characterization of characters was honed, because the author very clearly shows the global difference between the positive and negative heroes of his work. Then I will consider the speech characteristics of Katerina and make the same characteristics of the Wild and Kabanikha. After all this, I will try to draw a definite conclusion about the speech characteristics of the characters and its role in the drama “The Thunderstorm”
While working on the topic, I became acquainted with the articles by I. A. Goncharov “Review of the drama “The Thunderstorm” by Ostrovsky” and N. A. Dobrolyubov “A Ray of Light in the Dark Kingdom.” Moreover, I studied the article by A.I. Revyakin “Features of Katerina’s speech”, where the main sources of Katerina’s language are well shown. I found a variety of material about the biography of Ostrovsky and the history of the creation of the drama in the textbook Russian Literature of the 19th Century by V. Yu. Lebedev.
An encyclopedic dictionary of terms, published under the leadership of Yu. Boreev, helped me understand theoretical concepts (hero, characterization, speech, author).
Despite the fact that many critical articles and responses from literary scholars are devoted to Ostrovsky’s drama “The Thunderstorm,” the speech characteristics of the characters have not been fully studied, and therefore are of interest for research.
Chapter 1. Biography of A. N. Ostrovsky
Alexander Nikolaevich Ostrovsky was born on March 31, 1823 in Zamoskvorechye, in the very center of Moscow, in the cradle of glorious Russian history, which everyone around was talking about, even the names of Zamoskvoretsky streets.
Ostrovsky graduated from the First Moscow Gymnasium and in 1840, at the request of his father, he entered the Faculty of Law of Moscow University. But studying at the university was not to his liking, a conflict arose with one of the professors, and at the end of his second year Ostrovsky quit “due to domestic circumstances.”
In 1843, his father assigned him to serve in the Moscow Conscientious Court. For the future playwright, this was an unexpected gift of fate. The court considered complaints from fathers about unlucky sons, property and other domestic disputes. The judge delved deeply into the case, listened carefully to the disputing parties, and the scribe Ostrovsky kept records of the cases. During the investigation, the plaintiffs and defendants said things that are usually hidden and hidden from prying eyes. It was a real school for learning the dramatic aspects of merchant life. In 1845, Ostrovsky moved to the Moscow Commercial Court as a clerical official of the desk “for cases of verbal violence.” Here he encountered peasants, city bourgeois, merchants, and petty nobility who traded in trade. Brothers and sisters arguing about inheritance and insolvent debtors were judged “according to their conscience.” A whole world of dramatic conflicts unfolded before us, and all the diverse richness of the living Great Russian language sounded. I had to guess the character of a person by his speech pattern, by the peculiarities of intonation. The talent of the future “auditory realist,” as Ostrovsky called himself, a playwright and master of speech characterization of characters in his plays, was nurtured and honed.
Having worked for the Russian stage for almost forty years, Ostrovsky created a whole repertoire of about fifty plays. Ostrovsky's works still remain on stage. And after a hundred and fifty years it is not difficult to see the heroes of his plays nearby.
Ostrovsky died in 1886 in his beloved Trans-Volga estate Shchelykovo, in the Kostroma dense forests: on the hilly banks of small winding rivers. The writer’s life for the most part took place in these core places of Russia: where from a young age he could observe the primordial customs and mores, still little affected by the urban civilization of his day, and hear the indigenous Russian speech.
Chapter 2. The history of the creation of the drama “The Thunderstorm”
The creation of “The Thunderstorm” was preceded by the playwright’s expedition to the Upper Volga, undertaken on instructions from the Moscow Ministry in 1856-1857. She revived and revived his youthful impressions, when in 1848 Ostrovsky first went with his household on an exciting journey to his father’s homeland, to the Volga city of Kostroma and further, to the Shchelykovo estate acquired by his father. The result of this trip was Ostrovsky’s diary, which reveals much in his perception of provincial Volga Russia.
For quite a long time, it was believed that Ostrovsky took the plot of “The Thunderstorm” from the life of the Kostroma merchants, and that it was based on the Klykov case, which was sensational in Kostroma at the end of 1859. Until the beginning of the twentieth century, Kostroma residents pointed to the site of Katerina’s murder - a gazebo at the end of a small boulevard, which in those years literally hung over the Volga. They also showed the house where she lived, next to the Church of the Assumption. And when “The Thunderstorm” was first performed on the stage of the Kostroma Theater, the artists made themselves up “to look like the Klykovs.”
Kostroma local historians then thoroughly examined the “Klykovo Case” in the archives and, with documents in hand, came to the conclusion that it was this story that Ostrovsky used in his work on “The Thunderstorm.” The coincidences were almost literal. A.P. Klykova was extradited at the age of sixteen to a gloomy, unsociable merchant family, consisting of old parents, a son and an unmarried daughter. The mistress of the house, stern and obstinate, depersonalized her husband and children with her despotism. She forced her young daughter-in-law to do any menial work and begged her to see her family.
At the time of the drama, Klykova was nineteen years old. In the past, she was brought up in love and in the comfort of her soul, by a doting grandmother, she was cheerful, lively, cheerful. Now she found herself unkind and alien in the family. Her young husband, Klykov, a carefree man, could not protect his wife from the oppression of her mother-in-law and treated her indifferently. The Klykovs had no children. And then another man stood in the way of the young woman, Maryin, an employee at the post office. Suspicions and scenes of jealousy began. It ended with the fact that on November 10, 1859, the body of A.P. Klykova was found in the Volga. A long trial began, which received wide publicity even outside the Kostroma province, and none of the Kostroma residents doubted that Ostrovsky had used the materials of this case in “The Thunderstorm.”
Many decades passed before researchers established for sure that “The Thunderstorm” was written before the Kostroma merchant Klykova rushed into the Volga. Ostrovsky began working on “The Thunderstorm” in June-July 1859 and finished on October 9 of the same year. The play was first published in the January issue of the magazine “Library for Reading” for 1860. The first performance of “The Thunderstorm” on stage took place on November 16, 1859 at the Maly Theater, during a benefit performance by S.V. Vasilyev with L.P. Nikulina-Kositskaya in the role of Katerina. The version about the Kostroma source of the “Thunderstorm” turned out to be far-fetched. However, the very fact of an amazing coincidence speaks volumes: it testifies to the perspicacity of the national playwright, who caught the growing conflict in merchant life between the old and the new, a conflict in which Dobrolyubov saw “what is refreshing and encouraging” for a reason, and the famous theater figure S. A. Yuryev said: “The Thunderstorm” was not written by Ostrovsky... “The Thunderstorm” was written by Volga.”
Chapter 3. Speech characteristics of Katerina
The main sources of Katerina's language are folk vernacular, folk oral poetry and church-everyday literature.
The deep connection of her language with popular vernacular is reflected in vocabulary, imagery, and syntax.
Her speech is replete with verbal expressions, idioms of popular vernacular: “So that I don’t see either my father or my mother”; “doted on my soul”; “calm my soul”; “how long does it take to get into trouble”; “to be a sin”, in the sense of misfortune. But these and similar phraseological units are generally understandable, commonly used, and clear. Only as an exception are morphologically incorrect formations found in her speech: “you don’t know my character”; “After this we’ll talk.”
The imagery of her language is manifested in the abundance of verbal and visual means, in particular comparisons. So, in her speech there are more than twenty comparisons, and all the other characters in the play, taken together, have a little more than this number. At the same time, her comparisons are of a wide-spread, folk nature: “as if he were calling me blue,” “as if a dove was cooing,” “as if a mountain had been lifted from my shoulders,” “my hands were burning like coal.”
Katerina’s speech often contains words and phrases, motifs and echoes of folk poetry.
Addressing Varvara, Katerina says: “Why don’t people fly like birds?..” - etc.
Longing for Boris, Katerina says in her penultimate monologue: “Why should I live now, well, why? I don’t need anything, nothing is nice to me, and God’s light is not nice!”
Here there are phraseological turns of a folk-colloquial and folk-song nature. So, for example, in the collection of folk songs published by Sobolevsky, we read:
It’s absolutely impossible to live without a dear friend...
I’ll remember, I’ll remember about the dear one, the white light is not nice to the girl,
The white light is not nice, not nice... I’ll go from the mountain into the dark forest...
Going out on a date with Boris, Katerina exclaims: “Why did you come, my destroyer?” In a folk wedding ceremony, the bride greets the groom with the words: “Here comes my destroyer.”
In the final monologue, Katerina says: “It’s better in the grave... There’s a grave under the tree... how good... The sun warms it, the rain wets it... in the spring the grass grows on it, it’s so soft... birds will fly to the tree, they will sing, they will bring out children, the flowers will bloom: yellow , little red ones, little blue ones...”
Everything here comes from folk poetry: diminutive-suffixal vocabulary, phraseological units, images.
For this part of the monologue, direct textile correspondences are abundant in oral poetry. For example:
...They will cover it with an oak board
Yes, they will lower you into the grave
And they will cover it with damp earth.
You're an ant in the grass,
More scarlet flowers!
Along with popular vernacular and folk poetry, the language of Katerina, as already noted, was greatly influenced by church literature.
“Our house,” she says, “was full of pilgrims and praying mantises. And we’ll come from church, sit down to do some work... and the wanderers will begin to tell where they have been, what they have seen, different lives, or sing poetry” (D. 1, Rev. 7).
Possessing a relatively rich vocabulary, Katerina speaks freely, drawing on diverse and psychologically very deep comparisons. Her speech flows. So, she is not alien to such words and expressions of literary language as: dreams, thoughts, of course, as if all this happened in one second, there is something so extraordinary in me.
In the first monologue, Katerina talks about her dreams: “And what dreams I had, Varenka, what dreams! Or golden temples, or some extraordinary gardens, and everyone is singing invisible voices, and there is a smell of cypress, and the mountains and trees, as if not the same as usual, but as if they were written in images.”
These dreams, both in content and in the form of verbal expression, are undoubtedly inspired by spiritual poems.
Katerina’s speech is unique not only lexico-phraseologically, but also syntactically. It consists mainly of simple and complex sentences, with predicates placed at the end of the phrase: “So time will pass until lunch. Here the old women will fall asleep, and I will walk in the garden... It was so good” (D. 1, Rev. 7).
Most often, as is typical for the syntax of folk speech, Katerina connects sentences through the conjunctions a and yes. “And we’ll come from church... and the wanderers will start telling... It’s like I’m flying... And what dreams did I have.”
Katerina’s floating speech sometimes takes on the character of a folk lament: “Oh, my misfortune, my misfortune! (Crying) Where can I, poor thing, go? Who should I grab hold of?
Katerina’s speech is deeply emotional, lyrically sincere, and poetic. To give her speech emotional and poetic expressiveness, diminutive suffixes are used, so inherent in folk speech (key, water, children, grave, rain, grass), and intensifying particles (“How did he feel sorry for me? What words did he say?” ), and interjections (“Oh, how I miss him!”).
The lyrical sincerity and poetry of Katerina’s speech are given by the epithets that come after the defined words (golden temples, extraordinary gardens, with evil thoughts), and repetitions, so characteristic of the oral poetry of the people.
Ostrovsky reveals in Katerina’s speech not only her passionate, tenderly poetic nature, but also her strong-willed strength. Katerina’s willpower and determination are shaded by syntactic constructions of a sharply affirming or negative nature.
Chapter 4. Comparative speech characteristics of Wild and
Kabanikha
In Ostrovsky’s drama “The Thunderstorm,” Dikoy and Kabanikha are representatives of the “Dark Kingdom.” It seems as if Kalinov is fenced off from the rest of the world by a high fence and lives some kind of special, closed life. Ostrovsky focused on the most important things, showing the wretchedness and savagery of the morals of Russian patriarchal life, because all this life is based solely on familiar, outdated laws, which are obviously completely ridiculous. The “Dark Kingdom” tenaciously clings to its old, established. This is standing in one place. And such standing is possible if it is supported by people who have strength and authority.
A more complete, in my opinion, idea of a person can be given by his speech, that is, by habitual and specific expressions inherent only to a given hero. We see how Dikoy, as if nothing had happened, can just offend a person. He doesn’t regard not only those around him, but even his family and friends. His family lives in constant fear of his wrath. Dikoy mocks his nephew in every possible way. It is enough to remember his words: “I told you once, I told you twice”; “Don’t you dare come across me”; you'll find everything! Not enough space for you? Wherever you fall, here you are. Ugh, damn you! Why are you standing like a pillar! Are they telling you no?” Dikoy openly shows that he does not respect his nephew at all. He puts himself above everyone around him. And no one offers him the slightest resistance. He scolds everyone over whom he feels his power, but if someone scolds him himself, he cannot answer, then stay strong, everyone at home! It’s on them that Dikoy will take out all his anger.
Dikoy is a “significant person” in the city, a merchant. This is how Shapkin says about him: “We should look for another scolder like ours, Savel Prokofich. There’s no way he’ll cut someone off.”
“The view is unusual! Beauty! The soul rejoices!” exclaims Kuligin, but against the backdrop of this beautiful landscape a bleak picture of life is painted, which appears before us in “The Thunderstorm”. It is Kuligin who gives an accurate and clear description of the life, morals and customs that reign in the city of Kalinov.
Just like Dikoy, Kabanikha is distinguished by selfish inclinations; she thinks only of herself. Residents of the city of Kalinov talk about Dikiy and Kabanikha very often, and this makes it possible to obtain rich material about them. In conversations with Kudryash, Shapkin calls Diky “a scolder,” while Kudryash calls him a “shrill man.” Kabanikha calls Dikiy a “warrior.” All this speaks of the grumpiness and nervousness of his character. Reviews about Kabanikha are also not very flattering. Kuligin calls her a “hypocrite” and says that she “behaves the poor, but has completely eaten up her family.” This characterizes the merchant's wife from the bad side.
We are struck by their callousness towards people dependent on them, their reluctance to part with money when paying workers. Let us remember what Dikoy says: “Once I was fasting about a great fast, and then it was not easy and I slipped a little man in, I came for money, carried firewood... I did sin: I scolded him, I scolded him... I almost killed him.” All relationships between people, in their opinion, are built on wealth.
Kabanikha is richer than Dikoy, and therefore she is the only person in the city with whom Dikoy must be polite. “Well, don’t let your throat loose! Find me cheaper! And I’m dear to you!”
Another feature that unites them is religiosity. But they perceive God not as someone who forgives, but as someone who can punish them.
Kabanikha, like no one else, reflects this city’s commitment to old traditions. (She teaches Katerina and Tikhon how to live in general and how to behave in a specific case.) Kabanova tries to seem like a kind, sincere, and most importantly unhappy woman, tries to justify her actions by her age: “The mother is old, stupid; Well, you, young people, smart ones, shouldn’t exact it from us fools.” But these statements sound more like irony than sincere recognition. Kabanova considers herself the center of attention; she cannot imagine what will happen to the whole world after her death. Kabanikha is absurdly blindly devoted to her old traditions, forcing everyone at home to dance to her tune. She forces Tikhon to say goodbye to his wife in the old-fashioned way, causing laughter and a feeling of regret among those around him.
On the one hand, it seems that Dikoy is ruder, stronger and, therefore, scarier. But, looking closer, we see that Dikoy is only capable of screaming and rampaging. She managed to subjugate everyone, keeps everything under control, she even tries to manage people’s relationships, which leads Katerina to death. The Pig is cunning and smart, unlike the Wild One, and this makes her more terrible. In Kabanikha’s speech, hypocrisy and duality of speech are very clearly manifested. She speaks very impudently and rudely to people, but at the same time, while communicating with him, she wants to seem like a kind, sensitive, sincere, and most importantly, unhappy woman.
We can say that Dikoy is completely illiterate. He says to Boris: “Get lost! I don’t even want to talk to you, a Jesuit.” Dikoy uses “with a Jesuit” instead of “with a Jesuit” in his speech. So he also accompanies his speech with spitting, which completely shows his lack of culture. In general, throughout the entire drama we see him peppering his speech with abuse. “Why are you still here! What the hell else is there here!”, which shows him to be an extremely rude and ill-mannered person.
Dikoy is rude and straightforward in his aggressiveness; he commits actions that sometimes cause bewilderment and surprise among others. He is capable of offending and beating a man without giving him money, and then in front of everyone standing in the dirt in front of him, asking for forgiveness. He is a brawler, and in his violence he is capable of throwing thunder and lightning at his family, who are hiding from him in fear.
Therefore, we can conclude that Dikiy and Kabanikha cannot be considered typical representatives of the merchant class. These characters in Ostrovsky's drama are very similar and differ in their selfish inclinations; they think only about themselves. And even their own children seem to them to be a hindrance to some extent. Such an attitude cannot decorate people, which is why Dikoy and Kabanikha evoke persistent negative emotions in readers.
Conclusion
Speaking about Ostrovsky, in my opinion, we can rightfully call him an unsurpassed master of words, an artist. The characters in the play “The Thunderstorm” appear before us as alive, with bright, embossed characters. Every word spoken by the hero reveals some new facet of his character, shows him from the other side. A person’s character, his mood, his attitude towards others, even if he doesn’t want it, are revealed in his speech, and Ostrovsky, a true master of speech characterization, notices these features. The manner of speech, according to the author, can tell the reader a lot about the character. Thus, each character acquires its own individuality and unique flavor. This is especially important for drama.
In Ostrovsky's "The Thunderstorm" we can clearly distinguish the positive hero Katerina and the two negative heroes Dikiy and Kabanikha. Of course, they are representatives of the “dark kingdom”. And Katerina is the only person who is trying to fight them. The image of Katerina is drawn brightly and vividly. The main character speaks beautifully, in figurative folk language. Her speech is replete with subtle shades of meaning. Katerina’s monologues, like a drop of water, reflect her entire rich inner world. The author's attitude towards him even appears in the character's speech. With what love and sympathy Ostrovsky treats Katerina, and how sharply he condemns the tyranny of Kabanikha and Dikiy.
He portrays Kabanikha as a staunch defender of the foundations of the “dark kingdom.” She strictly observes all the rules of patriarchal antiquity, does not tolerate manifestations of personal will in anyone, and has great power over those around her.
As for Dikiy, Ostrovsky was able to convey all the anger and anger that boils in his soul. All members of the household are afraid of the wild one, including nephew Boris. He is open, rude and unceremonious. But both powerful heroes are unhappy: they don’t know what to do with their uncontrollable character.
In Ostrovsky’s drama “The Thunderstorm”, with the help of artistic means, the writer was able to characterize the characters and create a vivid picture of that time. “The Thunderstorm” has a very strong impact on the reader and viewer. The dramas of the heroes do not leave the hearts and minds of people indifferent, which is not possible for every writer. Only a true artist can create such magnificent, eloquent images; only such a master of speech characterization is able to tell the reader about the characters only with the help of their own words and intonations, without resorting to any other additional characteristics.
List of used literature
1. A. N. Ostrovsky “Thunderstorm”. Moscow “Moscow Worker”, 1974.
2. Yu. V. Lebedev “Russian literature of the 19th century”, part 2. Enlightenment, 2000.
3. I. E. Kaplin, M. T. Pinaev “Russian literature”. Moscow "Enlightenment", 1993.
4. Yu. Borev. Aesthetics. Theory. Literature. Encyclopedic Dictionary of Terms, 2003.
We bring to your attention a list of the main characters of Ostrovsky’s play “The Thunderstorm”.
Savel Prokofievich Dick O th – merchant, a significant person in the city. A scolding, shrill man, this is how those who personally know him characterize him. He really doesn't like giving money. Whoever asks him for money, he certainly tries to scold him. He tyrannizes his nephew Boris, and is not going to pay him and his sister money from the inheritance.
Boris Grigorievich, his nephew, a young man, decently educated. He loves Katerina sincerely, with all his soul. But he is not able to decide anything on his own. There is no male initiative or strength in him. Goes with the flow. They sent him to Siberia, and he went, although in principle he could have refused. Boris admitted to Kuligin that he tolerated his uncle’s quirks for the sake of his sister, hoping that he would pay at least something from his grandmother’s will for her dowry.
Marfa Ignatievna Kabanova(Kabanikha), a rich merchant's wife, a widow - a tough, even cruel woman. He keeps the whole family under his thumb. He behaves piously in front of the people. Adheres to Domostroevsky customs in a form distorted in its concepts. But he tyrannizes his family for no reason.
Tikhon Ivanovich Kabanov, her son is a mama's boy. A quiet, downtrodden little man, unable to decide anything on his own. Tikhon loves his wife, but is afraid to show his feelings for her, so as not to anger his mother again. Living at home with his mother was unbearable for him, and he was glad to leave for 2 weeks. When Katerina repented, he asked for a wife, just not with her mother. He understood that for her sin, her mother would peck not only Katerina, but also him himself. He himself is ready to forgive his wife for this feeling for another. He beat her lightly, but only because his mother ordered him to. And only over the corpse of his wife does the mother reproach that it was she who ruined Katerina.
Katerina - Tikhon's wife. The main character of "Thunderstorm". She received a good, pious upbringing. God-fearing. Even the townspeople noticed that when she prayed, it was as if light emanated from her, she became so peaceful at the moment of prayer. Katerina admitted to Varvara that she secretly loved another man. Varvara arranged a date for Katerina, and for the entire 10 days while Tikhon was away, she met with her lover. Katerina understood that this was a grave sin, and therefore, at the first laziness upon arrival, she repented to her husband. She was pushed to repentance by a thunderstorm, an old half-crazed lady who frightened everyone and everything with fiery hell. She feels sorry for Boris and Tikhon, and blames only herself for everything that happened. At the end of the play, she throws herself into the pool and dies, although suicide is the most serious sin in Christianity.
Varvara – Tikhon's sister. A lively and cunning girl, unlike Tikhon, she does not bend before her mother. Her life credo: do whatever you want, as long as it’s safe and covered. Secretly from his mother, he meets with Kudryash at night. She also arranged a date between Katerina and Boris. At the end, when they began to lock her up, she runs away from the house with Kudryash.
Kuligin – tradesman, watchmaker, self-taught mechanic, looking for a perpetuum mobile. It is no coincidence that Ostrovsky gave this hero a surname similar to the famous mechanic Kulibin.
Vanya Kudryash, - a young man, Dikov’s clerk, Varvara’s friend, a cheerful guy, cheerful, loves to sing.
Minor characters of "The Thunderstorm":
Shapkin, tradesman.
Feklusha, wanderer.
Glasha, the girl in Kabanova’s house, Glasha, hid all of Varvara’s tricks and supported her.
Lady with two footmen, an old woman of 70 years old, half-crazy - scares all the townspeople with the Last Judgment.
City dwellers of both sexes.
