Depiction of the life of a merchant's house. Depiction of merchant life and morals in the drama

In Ostrovsky's drama "The Thunderstorm" the problems of morality are widely raised. Using the example provincial town Kalinov the playwright showed the truly reigning cruel morals. The embodiment of these morals is the Kabanovs' house.

Let's meet its representatives.

Marfa Ignatievna Kabanova is a champion of the old world. The name itself paints a picture of an overweight woman with a difficult character, and the nickname “Kabanikha” complements this unpleasant picture. Kabanikha lives the old fashioned way, in accordance with strict order. But she only observes the appearance of this order, which she supports in public: a kind son, an obedient daughter-in-law. He even complains: “They don’t know anything, no order... What will happen, how the old people will die, how the light will remain, I don’t know. Well, at least it’s good that I won’t see anything.” There is real arbitrariness in the house. The boar is despotic, rude to the peasants, “eats” the family and does not tolerate objections. Her son is completely subordinate to her will, and she expects this from her daughter-in-law.

Next to Kabanikha, who day after day “sharpenes all her household like rusting iron,” stands the merchant Dikoy, whose name is associated with wild power. Dikoy not only “sharpenes and saws” his family members.

The men whom he deceives during payments suffer from it, and, of course, the customers, as well as his clerk Kudryash, a rebellious and impudent guy, ready to teach a “scold” a lesson in a dark alley with his fists.

Ostrovsky described the character of the Wild One very accurately. For the Wild, the main thing is money, in which he sees everything: power, glory, worship. This is especially striking in the small town where he lives. He can easily “pat on the shoulder” the mayor himself.

The images of Tikhon and Boris are slightly developed. Dobrolyubov in a well-known article says that Boris can be attributed more to the setting than to the heroes. In the remark, Boris stands out only by his clothes: “All faces, except Boris, are dressed in Russian.” This is the first difference between him and the residents of Kalinov. The second difference is that he studied at a commercial academy in Moscow. But Ostrovsky made him Dikiy’s nephew, and this suggests that, despite some differences, he belongs to the people of the “dark kingdom.” This is also confirmed by the fact that he is not able to fight this kingdom. Instead of lending a helping hand to Katerina, he advises her to submit to her fate. Tikhon is the same. Already on the list characters it is said about him that he is “her son,” that is, the son of Kabanikha. He really is more likely just Kabanikha’s son than a person. Tikhon has no willpower. This person’s only desire is to escape from his mother’s care so that he can take a break for the whole year. Tikhon is also unable to help Katerina. Both Boris and Tikhon leave her alone with their inner experiences.

If Kabanikha and Dikoy belong to the old way of life, Kuligin carries the ideas of enlightenment, then Katerina is at a crossroads. Having grown up and brought up in a patriarchal spirit, Katerina fully follows this way of life. Cheating here is considered unforgivable, and having cheated on her husband, Katerina sees this as a sin before God. But her character is naturally proud, independent and free. Her dream of flying means breaking free from the power of her oppressive mother-in-law and from the stuffy world of the Kabanovs' house. As a child, she once, offended by something, went to the Volga in the evening. The same protest can be heard in her words addressed to Varya: “And if I’m really tired of being here, they won’t hold me back by any force. I’ll throw myself out the window, throw myself into the Volga. I don’t want to live here, I won’t do this, even if you cut me!” In Katerina’s soul there is a struggle between the pangs of conscience and the desire for freedom. She does not know how to adapt to life, to be a hypocrite and pretend, as Kabanikha does, she does not know how to look at the world as easily as Varya.

The morals of the Kabanov house drive Katerina to suicide.

Nov 22 2014

The play “The Thunderstorm”, written by Alexander Nikolaevich Ostrovsky in 1859, is the only one of the series “Nights on the Volga” conceived by the writer. The main theme of the drama is the conflict in the merchant family, first of all, the despotic attitude of representatives of the older generation (Kabanikha) towards the younger generation subordinate to him. Thus, “The Thunderstorm” is based on a description of the life, foundations, and morals of a merchant family. The owners of life in the city of Kalinov, wealthy merchants, defend their views regarding family norms and rules.

The conservative morals that reign in the Kabanov family and are common for a family living in a small provincial town dictate that a “good wife,” “having seen off her husband,” howl while lying on the porch; the husband regularly beats his wife, and both of them unquestioningly obey the will of the elders in the house. The model that Marfa Kabanova chose for herself is an old Russian family, which is characterized by complete lack of rights younger generation, and especially women. No wonder “all the faces, except Boris, are dressed in Russian.” The fact that appearance The residents of Kalinov are far from the appearance of modern (of course, for that time) people; Ostrovsky emphasizes the reluctance of provincial Russian residents and, above all, the merchant class to move forward themselves or at least not to interfere with the younger, more energetic generation from doing this. Ostrovsky, describing merchant life and customs, draws attention not only to the shortcomings of relationships in one or two individual families.

We have the opportunity to notice that the majority of the inhabitants of Kalinov cannot boast of practically any education. Suffice it to recall the townspeople’s discussions about the “Lithuanian ruin” near the painted walls of the gallery. The situation in the Kabanov family, the relationship between Katerina and her mother-in-law does not cause any reaction from society. This suggests that such situations are common, typical for this circle; it is not without reason that the writer took the conflict in the Kabanov family from life. Another important aspect of the life of the merchants described by Ostrovsky is everyday life. This is a calm, measured existence, devoid of events.

News about metropolitan life or distant countries the inhabitants of Kalinov are informed by “feklushi”, even darker, ignorant wanderers, distrustful of everything. This text is intended only for private use 2005 new and unusual, like the one who will not get into the car, “even if you shower it with gold.” But time takes its toll, and older generation forced to reluctantly give way to young people. And even the cruel old Kabanova feels this, and the wanderer Feklusha agrees with her: “ Last times, Mother Marfa Ignatievna, the last, by all accounts the last.” Thus, Ostrovsky in his

Depiction of merchant life and morals in the drama by A.N. Ostrovsky "Thunderstorm"

The play “The Thunderstorm”, written by Alexander Nikolaevich Ostrovsky in 1859, is the only one of the series “Nights on the Volga” conceived by the writer. The main theme of the drama is the conflict in the merchant family, first of all, the despotic attitude of representatives of the older generation (Kabanikha, Wild) towards the younger generation subordinate to him. Thus, the drama “The Thunderstorm” is based on a description of the life, foundations, and morals of a merchant family.

The owners of life in the city of Kalinov - rich merchants - defend their views regarding family norms and rules. The conservative morals that reign in the Kabanov family and are common for a family living in a small provincial town dictate that a “good wife,” “having seen off her husband,” howl while lying on the porch; the husband regularly beats his wife, and both of them unquestioningly obey the will of the elders in the house. The model that Marfa Kabanova chose for herself is an old Russian family, which is characterized by complete lack of rights for the younger generation, and especially women. No wonder “all the faces, except Boris, are dressed in Russian.” By the fact that the appearance of the residents of Kalinov is far from the appearance of modern (of course, for that time) people, Ostrovsky emphasizes the reluctance of provincial Russian residents and, above all, the merchant class to move forward themselves or at least not to interfere with the younger, more energetic generation from doing this.

Ostrovsky, describing merchant life and customs, draws attention not only to the shortcomings of relationships in one or two individual families. We have the opportunity to notice that the majority of the inhabitants of Kalinov cannot boast of practically any education. Suffice it to recall the townspeople’s discussions about the “Lithuanian ruin” near the painted walls of the gallery. The situation in the Kabanov family, the relationship between Katerina and her mother-in-law does not cause any reaction from society. This suggests that such situations are common, typical for this circle, and it is not for nothing that the writer took the story of the conflict in the Kabanov family from life.

Another important aspect of the life of the merchants described by Ostrovsky is everyday life. This is a calm, measured existence, devoid of events. News about metropolitan life or distant countries is brought to the inhabitants of Kalinov by “feklushi”, even darker, ignorant wanderers, distrustful of everything new and unusual, like Kabanikha, who will not get into the car, “even if you shower her with gold.”

But time takes its toll, and the older generation is forced to reluctantly give way to the younger ones. And even the cruel old Kabanova feels this, and the wanderer Feklusha agrees with her: “The last times, Mother Marfa Ignatievna, the last, by all accounts the last.”

Thus, Ostrovsky in his play describes the crisis of the provincial merchants, the impossibility of their continued existence while maintaining their old ideology.

References

To prepare this work, materials were used from the site http://www.ostrovskiy.org.ru/

Depiction of merchant life and morals in the drama by A.N. Ostrovsky's "Thunderstorm" The play "Thunderstorm", written by Alexander Nikolaevich Ostrovsky in 1859, is one

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Collection of essays: Depiction of merchant life and customs in A. N. Ostrovsky’s drama “The Thunderstorm”

The play "The Thunderstorm", written by Alexander Nikolaevich Ostrovsky in 1859, is the only one of the series "Nights on the Volga" conceived by the writer. The main theme of the drama is the conflict in the merchant family, first of all, the despotic attitude of representatives of the older generation (Kabanikha, Wild) towards the younger generation subordinate to him. Thus, the drama "The Thunderstorm" is based on a description of the life, foundations, and morals of a merchant family.

The owners of life in the city of Kalinov - rich merchants - defend their views regarding family norms and rules. Conservative morals that reign in the Kabanov family and are common for a family living in a small provincial town, prescribe that a “good wife”, “having seen off her husband,” howl while lying on the porch; the husband regularly beats his wife, and both of them unquestioningly obey the will of the elders in the house. The model that Marfa Kabanova chose for herself is an old Russian family, which is characterized by complete lack of rights for the younger generation, and especially women. It is not for nothing that “all the faces, except Boris, are dressed in Russian.” Because the appearance of the residents of Kalinov is far from the appearance of modern (of course, for that time) people, Ostrovsky emphasizes the reluctance of provincial Russian residents and, above all, the merchant class to move forward on their own or at least not prevent the younger, more energetic generation from doing so.

Ostrovsky, describing merchant life and customs, draws our attention not only to the shortcomings of relationships in one or two individual families. We have the opportunity to notice that the majority of the inhabitants of Kalinov cannot boast of practically any education. It is enough to recall the reasoning of the townspeople about the “Lithuanian ruin” at the painted walls of the gallery. The situation in the Kabanov family, the relationship between Katerina and her mother-in-law do not cause any reaction from society. This suggests that such situations are common, typical for this circle, it is not for nothing that the history of the conflict in the Kabanov family, the writer took it from life.

Another important aspect of the life of the merchants described by Ostrovsky is everyday life. This is a calm, measured existence, devoid of events. News about the capital's life or distant countries is brought to the inhabitants of Kalinov by "feklushi", even darker, ignorant wanderers, distrustful of everything new and unusual, like Kabanikha, who will not get into the car, "even if you shower her with gold."

Thus, Ostrovsky in his play describes the crisis of the provincial merchants, the impossibility of their continued existence while maintaining their old ideology.

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The play “The Thunderstorm”, written by Alexander Nikolaevich Ostrovsky in 1859, is the only one of the series “Nights on the Volga” conceived by the writer. The main theme of the drama is the conflict in the merchant family, first of all, the despotic attitude of representatives of the older generation (Kabanikha, Wild) towards the younger generation subordinate to him. Thus, the drama “The Thunderstorm” is based on a description of the life, foundations, and morals of a merchant family.

The owners of life in the city of Kalinov - rich merchants - defend their views regarding family norms and rules. Conservative morals that reign in the Kabanov family and are common for a family living in a small provincial town, prescribe that a “good wife”, “having seen off her husband,” howls while lying on the porch; the husband regularly beats his wife, and both of them unquestioningly obey the will of the elders in the house. The model that Marfa Kabanova chose for herself is an old Russian family, which is characterized by complete lack of rights for the younger generation, and especially women. It is not for nothing that “all the faces, except Boris, are dressed in Russian.” By the fact that the appearance of the residents of Kalinov is far from the appearance of modern (of course, for that time) people, Ostrovsky emphasizes the reluctance of provincial Russian residents and, above all, the merchant class to move forward on their own or at least not prevent the younger, more energetic generation from doing so.

Ostrovsky, describing merchant life and customs, draws attention not only to the shortcomings of relationships in one or two individual families. We have the opportunity to notice that most of the inhabitants of Kalinov cannot boast of practically any education. It is enough to recall the reasoning of the townspeople about the “Lithuanian ruin” at the painted walls of the gallery. The situation in the Kabanov family, the relationship between Katerina and her mother-in-law do not cause any reaction from society. This suggests that such situations are common, typical for this circle, it is not for nothing that the history of the conflict in the Kabanov family, the writer took it from life.

Another important aspect of the life of the merchants described by Ostrovsky is everyday life. This is a calm, measured existence, devoid of events. News about the capital’s life or distant countries is brought to the inhabitants of Kalinov by “feklushi”, even darker, ignorant wanderers, distrustful of everything new and unusual, like Kabanikha, who will not get into the car, “even if you shower her with gold.”

Thus, Ostrovsky in his play describes the crisis of the provincial merchants, the impossibility of their continued existence while maintaining their old ideology.