Composition. Depiction of merchant life and morals in drama

Composition.

Depiction of merchant life and morals in the 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 - 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 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 most of the inhabitants of Kalinov cannot boast of practically any education. Suffice it to recall the townspeople’s arguments 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 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.”
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.

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 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 most 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 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.”

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.

Katerina’s love for Boris temporarily increases the boundaries of the small world in which the girl still lives. Love illuminates her life, the girl begins to feel the joy of life, hopes for something beautiful, which she has not had before. Katerina experiences such a strong feeling for the first time. The girl was forcibly married to an unloved man. Further life in the husband's house, constant nagging and humiliation from the mother-in-law kill the very possibility of love for the weak-willed and weak-willed Tikhon.

Katerina sincerely tries to love her husband. But apparently it’s not fate. Moreover, the constant presence of a cruel mother-in-law does not contribute to the emergence of romance in the relationship between Tikhon and Katerina. And Katerina is a romantic and dreamy person. The girl was very emotional since childhood. As you know, impressionable and emotional people cannot live in an atmosphere of dullness and despondency. They need to enjoy life, enjoy its manifestations, feel the beauty of existence.

Katerina has been trying for a long time to adapt to the way of life in the Kabanov family. But then he can’t stand it. Her love for Boris is a kind of protest against oppression, humiliation and slavery. How does Katerina see Boris? Of course, he seems to her to be completely different from Tikhon and most of the people around her. Every person, having fallen in love, tends to idealize the object of his love, and, of course, Katerina is no exception. She idealizes her beloved, he seems to her stronger, nobler and more exalted than he really is. What is Boris really like? At the very beginning of the work we learn its history. Boris's father came from a merchant family. But he married a “noble”, that is, a woman of noble origin. Boris's father and mother lived in Moscow, because a noble and educated woman could not tolerate the order that reigned in the city of Kalinov? Boris says: “Mother said that for three days she could not get along with her relatives, it seemed very strange to her.”

Parents gave Boris and his sister an enviable upbringing. Could they have thought that their children would be forced to communicate with relatives known for their stupidity, hypocrisy and malice? Boris tells Kuligin about his life, and the reader clearly feels how difficult it was for the young man to get used to a new way of life: “Our parents in Moscow raised us well, they spared nothing for us. I was sent to the Commercial Academy, and my sister to a boarding school, and both suddenly died of cholera; My sister and I were left orphans. Then we hear that my grandmother died here and left a will so that my uncle would pay us the share that should be given when we come of age.”

Boris's uncle turned out to be the same landowner Dikoy, about whom there are literally legends, each more terrible than the other. He is cruel, and greedy, and angry. The uncle mocks his nephew in every possible way. And he cannot oppose anything to him. This is where the tragedy of the young man lies. He received a “greenhouse” upbringing, he was cherished and cherished from childhood. And he lacks the mental strength and strength of character to deal with the difficult circumstances in which he finds himself.

However, the young man compares favorably with the bulk of Ostrovsky’s characters. He looks smarter and more educated. He is cultured and educated. But at the same time, Boris is weak, and therefore is inactive and goes with the flow. He even brought misfortune to the woman he loved. Katerina gave him everything she could, sacrificed her honor, even her life. Boris did not have the courage to help the poor woman standing on the edge of the abyss.

From the very beginning, Boris knew that loving a married woman was a crime. He noticed Katerina a long time ago, but did not dare to get to know her. When Boris starts talking about love with Kudryash, he tells him about local customs: “We are free about this. The girls go out as they please, father and mother don’t care. Only women are locked up.” And then Boris admits that he is in love with a married woman. Kudryash persuades him to give up this idea, because such love should be prohibited. “After all, this means,” says Kudryash, “you want to completely ruin her, Boris Grigoryich!”

What is Boris's reaction to these words? He assures in every possible way that in no case does he want to destroy the woman he loves: “God forbid! Save me, Lord! No, Curly, how can you! Do I want to destroy her? I just want to see her somewhere, I don’t need anything else.”

Why is Kudryash so sure that love for a married woman means death for her? Because he has lived all his life in the city of Kalinov and knows about the existing orders there. A woman who decides to cheat will never live in peace again. She will be condemned by anyone who is aware of such shame. Therefore, Kudryash tries to explain to Boris: “How, sir, can you vouch for yourself! But what a people here! You know it yourself. They’ll eat you and hammer you into the coffin.”

But Boris does not attach due importance to Kudryash’s words. He is less concerned about the fate of the woman he loves; his whim comes first for him. Of course, one cannot judge Boris too harshly. After all, he grew up in civilized Moscow, where, as you know, completely different laws reigned. Therefore, he cannot fully understand how different the order in the city of Kalinov is from the capital. Ion decides to achieve a meeting with the woman he loves at any cost.

Boris, with all his intelligence and education, cannot understand the ingenuous and simple Katerina. She tells him, “You know what? Now I have to die

suddenly I want it!” Katerina puts deep meaning into her words. She understands deep down that life as it was before is over. Now she has crossed the line that forever separated her from her former life. And such a metamorphosis may well lead to death. But Boris answers her too simply and banally: “Why die when we can live so well?” He evaluates the present moment first. Right now he is happy, he is confident in himself, he likes that the woman he loves is nearby. Everything is really good now. And what will happen next does not interest him. Katerina confesses her love to him so sincerely that it evokes the most touching feelings in the reader. Katerina does not hide her feelings at all. The heroine reveals her soul, without thinking about the consequences, she says to her beloved: “As if it were a sin, you came to us. As soon as I saw you, I didn’t feel like myself. From the first time, it seems, if you had beckoned me, I would have followed you; “You go to the ends of the world, I would still follow you and wouldn’t look back.”

It is noteworthy that in response to such a sincere, deeply moving confession, Katerina hears a completely rational, pragmatic question: “How long has your husband been gone?”

Katerina is open to the world like a child. She gives her all without getting anything in return. Katerina’s trouble is that Boris turned out to be unworthy of her love. Despite his seemingly positive qualities, he is actually a petty, selfish person who thinks only of himself. Katerina's love for him is just entertainment, although he is trying to prove to her that he acts solely by succumbing to the power of passion. When Boris finds out that Katerina’s husband has left for two weeks, he rejoices: “Oh, so we’ll go for a walk! There's plenty of time." These simple phrases speak perfectly about his attitude towards Katerina and their connection.

When Tikhon returns, Varvara first of all turns to Boris. She tells him about her brother's premature return and asks for advice. Cheating on her husband turned out to be too much of an emotional shock for Katerina. Varvara sincerely worries about Katerina, who has become her close friend. She says about her: “She’s shaking all over, as if she’s got a fever; so pale, rushing around the house, as if looking for something. Eyes like those of a madwoman! Just this morning I started crying and just kept crying. My fathers! What should I do with her?

Boris answers almost indifferently: “Yes, maybe it will go away for her!” If at the beginning of the drama the reader might have some kind of sympathy towards Boris, now this can no longer be discussed. Boris seems to be a callous, indifferent person who thinks only about himself. Katerina made the wrong choice and gave her love to a completely unworthy person.

Boris submits to the will of his uncle, who sends him to Siberia. The scene of Katerina’s farewell to her beloved shows how difficult it is for a woman and how restrained Boris behaves. He says: “What can you talk about me! I am a free bird."

Boris’s words seem monstrous: “Well, God be with you! There is only one thing we need to ask God for: that she die as soon as possible, so that she does not suffer for a long time! Goodbye!". And these words are spoken by a man about the woman he loves! He doesn’t even try to ease her fate, or at least console her. Boris simply wishes her death. And this is Katerina’s retribution for happiness that lasted only ten days!

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,” after seeing her husband off, 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 inhabitants of Kalinov is far from the appearance of modern (of course, for that time) people, Ostrovsky emphasizes the reluctance of the provincial Russian inhabitants 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 are likely to notice that most 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 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."

But time has taken its toll, and the older generation is forced to reluctantly give way to the younger ones. And what’s more, 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.

Average rating: 4.0

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.” 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. Suffice it to recall the townspeople’s arguments 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 life in the capital 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.

Topics of essays for A.N. Ostrovsky’s drama “The Thunderstorm”

The theme of Russia in the drama “The Thunderstorm” by A.N. Ostrovsky.
Morals and life of the Russian merchants in the drama “The Thunderstorm” by A.N. Ostrovsky.
Portrayal of a merchant family in A.N. Ostrovsky’s drama “The Thunderstorm.”
The city of Kalinov and its inhabitants in the drama “The Thunderstorm” by A.N. Ostrovsky.
The theme of “Warm Heart” in A.N. Ostrovsky’s drama “The Thunderstorm”.
Moral problems in the drama “The Thunderstorm” by A.N. Ostrovsky.
Female images in the drama “The Thunderstorm” by A.N. Ostrovsky.
Strength and weakness of Katerina Kabanova.
Katerina and Varvara in the drama “The Thunderstorm” by A.N. Ostrovsky.

Essay plans
The city of Kalinov and its inhabitants in A.N. Ostrovsky’s drama “The Thunderstorm”

“The Thunderstorm” is a work of the pre-reform era. The end of the 1850s - the beginning of the 1860s - the border of different historical eras. The “pre-storm” state of Russian society is reflected in the fate of the inhabitants of the city of Kalinov.
The city of Kalinov in the drama “The Thunderstorm” is a collective image of a Russian patriarchal provincial town; generalized image of the city in Kuligin’s monologues.
Inhabitants of the city of Kalinov:

a) heroes who control the life of the city (representatives of the “dark kingdom”. Tyrants, “wolves”): Wild; Kabanikha; Feklusha is a character who does not influence the lives of the inhabitants of the city, but is necessary to maintain the existing order;
b) heroes who are ready to adapt to city life: Varvara, Kudryash;
c) heroes, suppressed by the life of the city, weak and weak-willed: Tikhon, Boris;
d) heroes seeking to change something in the life of the city. (Kuligin not only denounces Kalinov’s morals, but also tries to transform the life of the city).
e) Katerina – “a ray of light in the dark kingdom” of Kalinov or a creature of darkness? The ambiguity of the assessment of this image. Assessments expressed by N. Dobrolyubov. Assessment of Katerina’s character by D. Pisarev.

Katerina’s tragedy is a reflection of the pre-storm state of Russia. Destruction of the old moral foundations of the city.

Female characters in A.N. Ostrovsky’s drama “The Thunderstorm”

Russia before the reform of 1861. Ostrovsky's depiction of a patriarchal world on the verge of destruction.
The special role of women in a patriarchal world.
The leading role of female characters in the drama:

a) the role of Kabanikha and Katerina in the ideal conflict of the play; life positions of the heroines;
b) ways to create the image of Kabanikha; c) ways to create the image of Katerina;
d) comparison of the images of Kabanikha and Feklushi; e) contrasting the images of Katerina and Varvara;
f) the role of episodic characters (Glasha and the half-crazy lady), off-stage characters (Dikiy’s wife, etc.) in the play. The special role of the image of a half-crazy lady in Katerina’s drama.

The variety of female images in the drama “The Thunderstorm”.

Portrayal of a merchant family in A.N. Ostrovsky’s drama “The Thunderstorm”

Ostrovsky’s plays about the life of the merchants (“We are our own people – we will be numbered!”, “Poverty is not a vice”, “Warm Heart”, etc.). Merchant life of Moscow and Volga cities in Ostrovsky's plays.
Merchant families brought out by the playwright in the drama “The Thunderstorm”.

1) The Wild Family (not represented in the play):

a) the off-stage characters are Dikiy’s wife and his daughters (we learn about family relationships from the stories of Boris and Kudryash);

b) Dikoy and his nephew Boris; c) relationships in the family are determined by the tyranny of the Wild;

2) Kabanov family:

a) in this family, relationships are based on the old Domostroevsky norms of life. But, not warmed by the warmth of a living feeling, a living faith, they take on ugly forms in the Kabanov family;
b) the role of Kabanikha as the eldest woman in the house, the keeper of patriarchal customs;
c) Kabanova’s relationship with her children (Tikhon and Varvara);
d) relationship with Katerina; e) the role of hangers-on, wanderers in Kabanova’s house.

3) Contrasting the Kabanov family with Katerina’s family. Members of the second family are off-stage characters. From Katerina's stories we learn that relationships in her family were built on love and mutual understanding.

4) A generalized image of family relationships in the city is given in Kuligin’s monologues.

Ostrovsky portrayed merchant families in both tragic (“Thunderstorm”) and comic (“Warm Heart”) colors. But during a turning point for the fate of Russia, the playwright saw a tragic character in the relationships in the merchant family.

The theme of the “hot heart” in A.N. Ostrovsky’s drama “The Thunderstorm”

The theme of the “hot heart” is a cross-cutting theme in the dramaturgy of A.N. Ostrovsky (We love Tortsov, Snegurochka, Larisa and other heroes have a “hot heart”).
The concept of a “warm heart” refers to living heroes who react sharply to everything that happens around them. Not only worthy (positive) heroes can have a warm heart.
Heroes with a “hot heart” in “The Thunderstorm”:

a) Katerina. The heroine's story about childhood, about running away from home to the Volga, passionate, reckless love for Boris, her death - all this testifies to a “warm heart”;
b) Kuligin’s “warm heart” opens in admiration for nature, poetry, in a passionate desire to transform life in the city, in the dream of a perpetual motion machine;
c) Varvara and Kudryash show their ardor in their own way. Varvara, with her kindness and love, helps Katerina arrange a date with Boris, without thinking about the possible consequences. Kudryash is entirely tailored from passionate folk songs, the Carrying away of Varvara, the courage of his behavior with the Wild One is a manifestation of his “warm heart”;
d) Tikhon. His “warm heart” is hidden and is manifested in the revelry into which he embarked upon leaving his home, in the last bitter words addressed to Kabanikha;
e) Dikoy also has a “warm heart”; his ability to repent (the episode with the man before whom he knelt during Holy Week) is evidence of this.

Characters with “hot hearts” are contrasted with people with “cold hearts”:

a) Boris - many of his remarks on his first date with Katerina are evidence of this, his reluctance to see Katerina’s approaching tragedy, his behavior during his last date with Katerina, his indifference to her fate speak of his callousness and coldness;
b) Kabanikha is the coldest of all the characters in the drama; she is indifferent to children, to Katerina, even to her death. For her, only external observance of customs is important;
c) it is Kabanikha and Boris who play a fatal role in the fate of the main character, in her death.

Almost all the characters in the play are characterized by strong sensations and feelings. The menacing atmosphere of the play (“a certain excess of life is spilled in the sultry air”) is also manifested in the ardor of the characters.