How relevant today are the problems in the play Thunderstorm. Moral problems in plays A

The problem of fathers and children
The problem of self-realization
The Problem of Power
The problem of love
Conflict of old and new

The problematics of a work in literary criticism is a range of problems that are somehow touched upon in the text. This may be one or more aspects that the author focuses on. In this work, we will focus on the problems of Ostrovsky's Thunderstorm. A. N. Ostrovsky received a literary vocation after the first published play. “Poverty is not a vice”, “Dowry”, “Profitable Place” - these and many other works are devoted to social and everyday topics, however, the issue of the play “Thunderstorm” needs to be considered separately.

The play received mixed reviews from critics. Dobrolyubov saw in Katerina hope for new life, Ap. Grigoriev noticed the emerging protest against the existing order, and L. Tolstoy did not accept the play at all. The plot of "Thunderstorm", at first glance, is quite simple: everything is based on a love conflict. Katerina secretly meets with a young man, while her husband has gone to another city on business. Unable to cope with the pangs of conscience, the girl confesses to treason, after which she rushes into the Volga.
However, behind all this everyday, domestic, lies much larger things that threaten to grow to the scale of space. Dobrolyubov calls the “dark kingdom” the situation that is described in the text. An atmosphere of lies and betrayal. In Kalinovo, people are so accustomed to moral dirt that their uncomplaining consent only exacerbates the situation. It becomes scary from the realization that this place did not make people like this, it was people who independently turned the city into a kind of accumulation of vices. And now the "dark kingdom" begins to influence the inhabitants. After a detailed acquaintance with the text, one can notice how widely developed the problems of the work "Thunderstorm". The problems in Ostrovsky's "Thunderstorm" are diverse, but at the same time they do not have a hierarchy. Each individual problem is important in itself.

The problem of fathers and children

Here we are not talking about misunderstanding, but about total control, about patriarchal orders. The play shows the life of the Kabanov family. At that time, the opinion of the eldest man in the family was undeniable, and wives and daughters were practically deprived of rights. The head of the family is Marfa Ignatievna, a widow. She took over the male functions. This is a powerful and prudent woman. Kabanikha believes that she takes care of her children, ordering them to do as she wants. This behavior led to quite logical consequences. Her son, Tikhon, is a weak and spineless person. Mother, it seems, wanted to see him like that, because in this case it is easier to control a person. Tikhon is afraid to say anything, to express his opinion; in one of the scenes, he admits that he does not have his own point of view at all. Tikhon cannot protect either himself or his wife from the tantrums and cruelty of his mother. The daughter of Kabanikhi, Varvara, on the contrary, managed to adapt to this way of life. She easily lies to her mother, the girl even changed the lock on the gate in the garden in order to freely go on dates with Curly.
Tikhon is not capable of any kind of rebellion, while Varvara, in the finale of the play, escapes from her parents' house with her lover.

The problem of self-realization

When talking about the problems of the "Thunderstorm" one cannot fail to mention this aspect. The problem is realized in the image of Kuligin. This self-taught inventor dreams of making something useful for all the inhabitants of the city. His plans include assembling a perpetu mobile, building a lightning rod, and getting electricity. But this whole dark, semi-pagan world needs neither light nor enlightenment. Dikoy laughs at Kuligin's plans to find an honest income, openly mocks him. Boris, after talking with Kuligin, understands that the inventor will never invent a single thing. Perhaps Kuligin himself understands this. He could be called naive, but he knows what morals reign in Kalinov, what happens behind closed doors, what are those in whose hands power is concentrated. Kuligin learned to live in this world without losing himself. But he is not able to feel the conflict between reality and dreams as keenly as Katerina did.

The Problem of Power

In the city of Kalinov, power is not in the hands of the relevant authorities, but in those who have money. Proof of this is the dialogue between the merchant Wild and the mayor. The mayor tells the merchant that complaints are being received against the latter. To this Savl Prokofievich replies rudely. Dikoi does not hide the fact that he cheats ordinary peasants, he speaks of deceit as a normal phenomenon: if merchants steal from each other, then you can steal from ordinary residents. In Kalinov, nominal power decides absolutely nothing, and this is fundamentally wrong. After all, it turns out that without money in such a city it is simply impossible to live. Dikoy fancies himself almost a father-king, deciding who to lend money to and who not. “So know that you are a worm. If I want to, I'll have mercy, if I want to, I'll crush it, ”this is how Dikoy Kuligin answers.

The problem of love

In "Thunderstorm" the problem of love is realized in pairs Katerina - Tikhon and Katerina - Boris. The girl is forced to live with her husband, although she does not feel any feelings other than pity for him. Katya rushes from one extreme to another: she thinks between the option of staying with her husband and learning to love him or leaving Tikhon. Katya's feelings for Boris flare up instantly. This passion pushes the girl to take a decisive step: Katya goes against public opinion and Christian morality. Her feelings were mutual, but for Boris this love meant much less. Katya believed that Boris, just like her, was incapable of living in a frozen city and lying for profit. Katerina often compared herself to a bird, she wanted to fly away, to break out of that metaphorical cage, and in Boris Katya saw that air, that freedom that she lacked so much. Unfortunately, the girl made a mistake in Boris. The young man turned out to be the same as the inhabitants of Kalinov. He wanted to improve relations with Wild for the sake of getting money, he spoke with Varvara that it was better to keep feelings for Katya secret for as long as possible.

Conflict of old and new

It is about resisting the patriarchal way of life with the new order, which implies equality and freedom. This topic was very relevant. Recall that the play was written in 1859, and serfdom was abolished in 1861. Social contradictions reached their climax. The author wanted to show what the absence of reforms and decisive action can lead to. This is confirmed by final words Tikhon. “Good for you, Katya! Why am I left to live in the world and suffer!” In such a world, the living envy the dead.

Most of all, this contradiction was reflected in the main character of the play. Katerina cannot understand how one can live in lies and animal humility. The girl was suffocating in the atmosphere that was created by the inhabitants of Kalinov for a long time. She is honest and pure, so her only desire was so small and so great at the same time. Katya just wanted to be herself, to live the way she was raised. Katerina sees that everything is not at all the way she imagined before marriage. She cannot even afford a sincere impulse - to hug her husband - Kabanikha controlled and prevented any attempts by Katya to be sincere. Varvara supports Katya, but cannot understand her. Katerina is left alone in this world of deceit and dirt. The girl could not endure such pressure, she finds salvation in death. Death frees Katya from the burden of earthly life, turning her soul into something light, capable of flying away from the "dark kingdom".

It can be concluded that the problems in the drama "Thunderstorm" are significant and relevant to this day. These are unresolved issues. human being that will excite a person at all times. It is thanks to this formulation of the question that the play "Thunderstorm" can be called a work out of time.

Problems of Ostrovsky's "Thunderstorm" - a description of the problems for an essay on the topic |

The problematics of a work in literary criticism is a range of problems that are somehow touched upon in the text. This may be one or more aspects that the author focuses on. In this work, we will focus on the problems of Ostrovsky's Thunderstorm. A. N. Ostrovsky received a literary vocation after the first published play. “Poverty is not a vice”, “Dowry”, “Profitable place” - these and many other works are devoted to social and everyday topics, but the issue of the play “Thunderstorm” should be considered separately.

The play received mixed reviews from critics. Dobrolyubov saw in Katerina the hope for a new life, Ap. Grigoriev noticed the emerging protest against the existing order, and L. Tolstoy did not accept the play at all. The plot of "Thunderstorm", at first glance, is quite simple: everything is based on a love conflict. Katerina secretly meets with a young man, while her husband has gone to another city on business. Unable to cope with the pangs of conscience, the girl confesses to treason, after which she rushes into the Volga. However, behind all this everyday, domestic, lies much larger things that threaten to grow to the scale of space. Dobrolyubov calls the “dark kingdom” the situation that is described in the text. An atmosphere of lies and betrayal. In Kalinovo, people are so accustomed to moral dirt that their uncomplaining consent only exacerbates the situation. It becomes scary from the realization that this place did not make people like this, it was people who independently turned the city into a kind of accumulation of vices. And now the "dark kingdom" begins to influence the inhabitants. After a detailed acquaintance with the text, one can notice how widely developed the problems of the work "Thunderstorm". The problems in Ostrovsky's "Thunderstorm" are diverse, but at the same time they do not have a hierarchy. Each individual problem is important in itself.

The problem of fathers and children

Here we are not talking about misunderstanding, but about total control, about patriarchal orders. The play shows the life of the Kabanov family. At that time, the opinion of the eldest man in the family was undeniable, and wives and daughters were practically deprived of rights. The head of the family is Marfa Ignatievna, a widow. She took over the male functions. This is a powerful and prudent woman. Kabanikha believes that she takes care of her children, ordering them to do as she wants. This behavior led to quite logical consequences. Her son, Tikhon, is a weak and spineless person. Mother, it seems, wanted to see him like that, because in this case it is easier to control a person. Tikhon is afraid to say anything, to express his opinion; in one of the scenes, he admits that he does not have his own point of view at all. Tikhon cannot protect either himself or his wife from the tantrums and cruelty of his mother. The daughter of Kabanikhi, Varvara, on the contrary, managed to adapt to this way of life. She easily lies to her mother, the girl even changed the lock on the gate in the garden in order to freely go on dates with Curly. Tikhon is not capable of any kind of rebellion, while Varvara, in the finale of the play, escapes from her parents' house with her lover.

The problem of self-realization

The Problem of Power

The problem of love

Conflict of old and new

It is about resisting the patriarchal way of life with the new order, which implies equality and freedom. This topic was very relevant. Recall that the play was written in 1859, and serfdom was abolished in 1861. Social contradictions reached their apogee. The author wanted to show what the absence of reforms and decisive action can lead to. Confirmation of this are the final words of Tikhon. “Good for you, Katya! Why am I left to live in the world and suffer!” In such a world, the living envy the dead.

It can be concluded that the problems in the drama "Thunderstorm" are significant and relevant to this day. These are unresolved issues of human existence, which will worry a person at all times. It is thanks to this formulation of the question that the play "Thunderstorm" can be called a work out of time.

Artwork test

The main conflict in Ostrovsky's play "Thunderstorm" is the collision of Katerina, main character, with the "dark kingdom" of cruel despotism and blind ignorance. It leads her to suicide after a lot of torment and torment. But this did not cause Katerina to disagree with this "dark kingdom". This is a sense of Katerina's moral duty, which she cannot cope with, close her eyes to because of her spiritual purity. Therefore, the problem of moral duty permeates the main conflict of Ostrovsky's drama The Thunderstorm everywhere and is one of the main ones. In this regard, I'm going to talk about it.

The role of moral conflict in the play is extremely important. The influence of moral duty was one of the reasons for the death of Katerina. The pressure of a life alien to her, which was very great for her, brought discord into her inner world and caused a conflict between her personal thoughts and duties set by the moral and ethical laws of that time. The rules of the society described in this play obligated her to be obedient, to suppress original, innovative ideas before the public, to meekly follow the law and customs of that time, against which Katerina consciously protests.

Kabanova: “You boasted that you love your husband very much; I see your love now. Other good wife, after seeing off her husband, howls for an hour and a half, lies on the porch; and you don't seem to have anything."

Katherine: "Nothing! Yes, I can't. What to make people laugh!

Because of everyday despotism, Katerina married Tikhon, although we do not find a direct mention of this in the text, but it is absolutely clear that she was married to Tikhon against her own will, since she does not have any positive feelings for her husband, except respect out of a sense of duty. She says: “Now he is affectionate, then he gets angry, but he drinks everything. Yes, he hates me, he hates me, his caress is worse for me than beatings. This demonstrates that from childhood she was immersed in the environment of the laws of this society and how deep their influence was on her. And having reached a conscious age, she begins to protest to them, since her principles were in conflict with the principles of the moral duty of society, which dominates her, deprived of the support of her friends. But the most depressing thing in her situation is that she is in captivity of the “dark kingdom”, mired in ignorance and vice, which cannot be changed or got rid of: “If it weren’t for my mother-in-law! .. She crushed me ... from her I have a house something disgusted: the walls are even disgusting.

However, this is only external conflict heroines with the world around her at the social level. But there is also back side medals. This is Katerina's moral duty before God, since her actions, which are contrary to the customs and worldview of this "dark kingdom", are contrary to her conservative, religious views. Since Katerina is a deeply religious person, she expects retribution for her actions. Her spiritual views are more influential than social ones, so she is permeated with a sense of fear when she realizes the inevitability of retribution. She is terribly afraid of thunderstorms, considering it a punishment for her misdeeds: “Tisha, I know who she will kill ... She will kill me. Pray then for me!” This is the paradox of the doomedness of the Russian soul to suffering: a person entering into a confrontation with the “dark kingdom” must be spiritually superior to it, and this leads to a spiritual contradiction with religious canons, and because of his high spirituality, a person comes to a dead end in life. And religious contradictions arise precisely because of a sense of moral duty, which a person like Katerina cannot step over. The path she chose put her in a dead end both morally, and socially, and spiritually. Katerina is aware of her situation and understands that the only way out for her is death.

Thus, Ostrovsky in the work "Thunderstorm" wanted to emphasize the importance of moral duty and the strength of the influence of Orthodox religious principles on the Russian personality. However, the author does not give an unambiguous answer to the question: is this a disadvantage for a Russian person, capable of leading him to death, or an advantage, as great power capable of uniting the Russian people by faith into an inflexible and indestructible whole that cannot be broken.

The main characters of two, probably, the most popular plays by A.N. Ostrovsky differ significantly in their social position, but they are very similar in their tragic fates-> mi. Katerina in "Thunderstorm" - the wife of a rich, but weak-willed ^...

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Respect for elders has been considered a virtue at all times. One cannot but agree that the wisdom and experience of those who belong to the older generation usually helps the youth. But in some cases, respect for elders and absolute obedience to them can be...

The drama "Thunderstorm" was conceived under the impression of Ostrovsky's trip along the Volga (1856-1857), but written in 1859. "Thunderstorm", - as Dobrolyubov wrote, - without a doubt, the most decisive work Ostrovsky". This estimate ...

At the heart of the drama "Thunderstorm" is the image of an awakening sense of personality and a new attitude to the world.

Ostrovsky showed that even in the ossified little world of Kalinov, a character of striking beauty and strength can arise. It is very important that Katerina was born and formed in the same Kalinovskiy conditions. In the exposition of the play, Katerina tells Varvara about her life as a girl. The main motive of her story is the all-penetrating mutual love and will. But it was a “will”, which did not at all conflict with the centuries-old way of the closed life of a woman, the whole range of ideas of which is limited. homework and religious dreams.

This is a world in which it does not occur to a person to oppose himself to the general, since he still does not separate himself from this community, and therefore there is no violence or coercion here. But Katerina lives in an era when the very spirit of this morality - the harmony between the individual and the ideas of the environment - has disappeared and the ossified form of relations is based on violence and coercion. The sensitive soul of Katerina caught this. “Yes, everything here seems to be from captivity.”

It is very important that it is here, in Kalinovo, that a new attitude to the world is born in the soul of the heroine, new feelings that are still unclear to the heroine herself: “Something is so unusual in me. It’s like I’m starting to live again, or ... I don’t know.”

This vague feeling is the awakening sense of personality. In the soul of the heroine, it is embodied in love. Passion is born and grows in Katerina. The awakened feeling of love is perceived by Katerina as terrible sin because the love of a stranger is for her, married woman, there is a breach of moral duty. Katerina has no doubts about the fidelity of her moral ideas, she only sees that none of those around her cares. true essence this morality.

She sees no way out of her torment, except death, and it is the complete absence of hope for forgiveness that pushes her to commit suicide - a sin even more serious from a Christian point of view. "I lost my soul anyway."

The main conflict in Ostrovsky's play "Thunderstorm" is the clash of Katerina, the main character, with the "dark kingdom" of cruel despotism and blind ignorance. It leads her to suicide after a lot of torment and torment. But that didn't make it...

Enmity between loved ones can be especially irreconcilable P. Tacitus There is no worse retribution for madness and delusion than to see your own children suffer because of them W. Sumner A play by A.N. Ostrovsky's "Thunderstorm" tells about the life of a provincial ...

A play by A.N. Ostrovsky's "Thunderstorm" was published in 1860, on the eve of the abolition of serfdom. In this difficult time, the culmination of the revolutionary situation of the 60s in Russia is observed. Even then, the foundations of the autocratic-feudal system were collapsing, but still ...

What are the characters of Ostrovsky's drama "Thunderstorm" Wild and Kabanikh? First of all, it should be said about their cruelty and heartlessness. Wild does not put in anything not only those around her, but even her relatives and friends. His family live in a permanent...

Katerina. The dispute about the heroine of "Thunderstorm". The character of Katerina, according to Dobrolyubov's definition, "is a step forward not only in Ostrovsky's dramatic activity, but in all of our literature." The protest erupting from the "weakest and most patient" was for...

Throughout its creative way A. N. Ostrovsky created a series realistic works in which he depicted contemporary reality and life Russian province. One of them is the play "Thunderstorm". In this drama, the author showed a wild, deaf society county town Kalinova, who lives according to the laws of Domostroy, and contrasted him with the image of a freedom-loving girl who did not want to come to terms with Kalinov's norms of life and behavior. One of the most important issues raised in the work is the problem of human dignity, which is especially relevant in mid-nineteenth century, during the crisis of the obsolete, obsolete orders that then prevailed in the province.

The merchant society shown in the play lives in an atmosphere of lies, deceit, hypocrisy, duplicity; within the walls of their estates, representatives of the older generation scold and teach the household, and behind the fence they portray courtesy and benevolence, putting on cute, smiling masks. N. A. Dobrolyubov in the article "A ray of light in dark kingdom"applies the division of the heroes of this world into petty tyrants and" downtrodden personalities. Tyrants - merchant Kabanova, Wild - domineering, cruel, who consider themselves entitled to insult and humiliate those who depend on them, constantly torment their household reprimands and quarrels. For them there is no concept of human dignity: in general, they do not consider subordinates to be people.

Constantly humiliated, some representatives younger generation lost the feeling dignity, became slavishly submissive, never arguing, never objecting, having no own opinion. For example, Tikhon is a typical "downtrodden personality", a man whose mother, Kabanikha, crushed her already not very lively attempts to demonstrate character from childhood. Tikhon is pitiful and insignificant: he can hardly be called a person; drunkenness replaces all the joys of life for him, he is not capable of strong, deep feelings, the concept of human dignity is unknown and inaccessible to him.

Less "downtrodden" personalities - Varvara and Boris, they have more freedom. The boar does not forbid Varvara to go for a walk ("Walk before your time has come - you will still sit up"), but even if reproaches begin, Varvara has enough self-control and cunning not to react; she does not let herself be offended. But then again, in my opinion, she is driven more by pride than by self-esteem. Dikoy publicly scolds Boris, insulting him, but in doing so, in my opinion, he belittles himself in the eyes of others: a person who makes family squabbles and quarrels on public display is unworthy of respect.

But Dikoy himself and the population of the city of Kalinov have a different point of view: Dikoy scolds his nephew, which means that the nephew depends on him, which means that Dikoy has a certain power, which means that he is worthy of respect.

Kabanikha and Dikoy are unworthy people, petty tyrants, corrupted by the unlimitedness of their power at home, spiritually callous, blind, insensitive, and their life is dull, gray, filled with endless teachings and reprimands at home. They do not have human dignity, because the person who possesses it knows the value of himself and others and always strives for peace, peace of mind; tyrants, on the other hand, are always trying to assert their power over people who are often mentally richer than themselves, provoke them to quarrels and exhaust them with useless discussions. The person who gives them knows the value of himself and others and always strives for peace, peace of mind; tyrants, on the other hand, are always trying to assert their power over people who are often mentally richer than themselves, provoke them to quarrels and exhaust them with useless discussions. Such people are not loved and not respected, they are only feared and hated.

This world is opposed by the image of Katerina - a girl from a merchant family who grew up in an atmosphere of religiosity, spiritual harmony and freedom. Having married Tikhon, she finds herself in the Kabanovs' house, in an environment unusual for herself, where lies are the main means to achieve something, and duplicity is in the order of things. Kabanova begins to humiliate and insult Katerina, making her life impossible. Katerina is a mentally vulnerable, fragile person; Kabanikha's cruelty and heartlessness hurt her painfully, but she endures, not responding to insults, and Kabanova provokes her into a quarrel, piercing and humiliating her dignity with every remark. This constant bullying is unbearable. Even the husband is not able to stand up for the girl. Katerina's freedom is sharply limited. “Everything here is somehow out of bondage,” she says to Varvara, and her protest against the insult to human dignity translates into love for Boris - a man who, in principle, simply took advantage of her love and then ran away, and Katerina, not who would have endured further humiliation, committed suicide. province tragedy dignity hypocritical

None of the representatives of the Kalinov society knows the feeling of human dignity, and no one can understand and appreciate it in another person, especially if it is a woman, according to Domostroev standards --- housewife, in everything obeying her husband, who can, in extreme cases, beat her. Not noticing this in Katerina moral value The world of the city of Kalinov tried to humiliate her to its level, make her a part of her, draw her into a web of lies and hypocrisy, but human dignity belongs to the number of innate and ineradicable qualities, it cannot be taken away, which is why Katerina cannot become like these people and, Seeing no other way out, she throws herself into the river, finally finding in heaven, where she has been striving all her life, the long-awaited peace and tranquility.

The tragedy of the play "Thunderstorm" is in the insolubility of the conflict between a person who has a sense of his own dignity, and a society in which no one has any human dignity representation. The Thunderstorm is one of Ostrovsky's greatest realistic works, in which the playwright showed the immorality, hypocrisy and narrow-mindedness that reigned in provincial society in the middle of the 19th century.