"our people - we will be numbered." Features of the composition of the comedy “Our People – Let’s Be Numbered” and its stage fate

One of the first comedies by A.N. Ostrovsky, “The Bankrupt”, or “Our People - Let's Be Numbered!”, was written in 1849. It was immediately noticed by the reading public and brought well-deserved fame to the author.

Its plot is taken from the very thick of life, from legal practice and merchant life, which are well known to the playwright. The deception here begins small - with the clerk’s ability to tighten the material more tightly or “snatch” a yard of calico through his hand in front of the unready buyer’s nose; continues with a large and risky scam by the merchant Samson Silych Bolshov, and ends with the younger and more dexterous scoundrel clerk Lazar Elizarovich Podkhalyuzin wrapping his master, an old rogue and scoundrel, around his finger. This whole life is based on the mechanisms of deception, and if you don’t deceive, they will deceive you - that’s what Ostrovsky was able to show.

The Big merchant announces that he has become bankrupt. In fact, this is one of the moves in the commercial game, with the help of which he intends to “close” settlements with creditors and evade paying debts. Bolshoye transfers his entire fortune to the name of the “faithful man” - the clerk Podkhalyuzin. This resourceful servant matches his master: guided not only by romantic feelings, he marries Samson Silych’s daughter Lipochka, and then appropriates his father-in-law’s property. Bolshov is sent to debtor's prison. He could have been saved. To do this, it is enough to return at least a small part of the debts to creditors. But Podkhalyuzin and Lipochka decided even during the engagement that the old people “have done something weird in their lifetime, now it’s time for us to go.” And Samson Silych’s debts remain unpaid...

The answer to this plot lies in the usual psychology of tyranny. The big one generally recognizes moral laws and rules, but not for himself; his morality operates only in one direction. For everyone - morality, and for him - benefit. Bolshoye belongs to the old breed of Moscow merchants: he is rude, straightforward and simple-minded. Everyone in the house - from his wife Agrafena Kondratievna to the boy Tishka - trembles at his appearance, and the feeling of this unlimited power over his family warms the soul of Samson Silych. He has no reason to doubt that his silent relatives and servants are blindly obedient to him. Bolshov thinks that the whole world is divided into strangers, whom it is a sin not to deceive, and his own, who are determined by nature to obey his will and remain in domestic slavery. He cannot allow the thought of his people plotting anything against him or being disobedient. Bolshov is ready to deceive everyone around him, but he shows unexpected gullibility towards Podkhalyuzin - and this is where everyone loses. But Samson Silych is even more let down by what seems to be the source of his strength - his tyranny arrogance, dull confidence in the authority of force and fear for “his own”, to which he has the right to include Podkhalyuzin, who was brought up from an early age in the house. But Podkhalyuzin deceives his benefactor brazenly, cynically, showing the shamelessness of a businessman, an emerging new entrepreneur, before whom Bolshov himself may seem like a naive simpleton.

Ostrovsky, as it were, unfolds the theme of tyranny over time, following outlandish changes. Tyranny is shown not only as the fruit of savagery and ignorance, but also as a forced person taking out his former insignificance. The fact that Samson Silych once traded in sheep on Balchug, that good people called him Samsonka and fed him slaps on the head, he will never forget and will not forgive. Now he is tormenting his family as if to compensate for his previous humiliations. And as soon as power in the house passes to Podkhalyuzin, this quiet clerk, who kept repeating only “I can’t know, sir,” and “as you wish,” becomes cold, autocratic and insolent.

Ostrovsky’s satire was invariably attracted to the semi-educated environment, the domestic “philistines among the nobility.” Behind the heights of external enlightenment, borrowed words and manners, often still caricaturedly distorted (all these “antrigan”, “interesting”, “prominage”, “incomprehensible to the mind”), lurked the same crudeness of concepts, mental underdevelopment. The author discovered the comic effect of the bourgeois semi-culture: dreams and omens, the aesthetics of “cruel romance”, special rituals of dating and courtship - with its roundabout words, approaches, favorite conversations about “what do you like better - winter or summer” or “what is better - a man or a woman."

And every time the reader is convinced of how poor the reality of such a life is.

The comedy "Our People - Let's Be Numbered" has its own clearly defined composition. At the beginning of the comedy, we do not see any exposition: the author does not tell us a brief background of what will be discussed in the work.

Comedy composition

The immediate beginning of the comedy is the plot: the reader sees a young girl Lipochka, who madly wants to become a married woman, and not without protest agrees to the candidacy proposed by her father - clerk Podkhalyuzin. In every comedy there is a so-called driving force, often this is the main character, who often takes a counterposition to the majority of the characters, or, through his active participation, contributes to the sharp development of the storyline.

In the play “We Are Our Own People,” this status is given to the merchant Bolshov, who, with the support of his relatives, came up with a financial adventure and put it into action. The most important part of the composition is the climax in the comedy - that part of the work where the characters experience the maximum intensity of emotions.

In this play, the climax is the episode in which Lipochka openly takes the side of her husband and tells her father that they will not pay a penny for his loans. The climax is followed by a denouement - a logical outcome of events. In the denouement, the authors sum up the entire comedy and expose its entire essence.

The denouement of “We’ll be our own people” is Podkhalyuzin’s attempt to bargain with the creditors of his wife’s father. Some writers, in order to achieve the maximum dramatic moment, willfully introduce a silent final scene into the comedy, which finally closes the action.

But Alexander Ostrovsky uses a different technique - Podkhalyuzin remains true to his principles about the latter, promising, instead of a creditor’s discount, not to shortchange him in his own future store.

Stage fate of the play

Everyone knows that plays, unlike other genres of literature, are transformed into another, no less important form of art - theater. However, not all plays have a stage destiny. There are many factors that promote or hinder the production of plays on the stage of theaters. The main criterion that determines the viability of a play in the future is its relevance to the themes covered by the author.

The play "Our People - Let's Be Numbered" was created in 1849. However, for eleven long years, tsarist censorship did not give permission to stage it in the theater. “We Will Be Numbered Our Own People” was first staged by actors of the Voronezh Theater in 1860. In 1961, state censorship made its changes to the play and allowed its production in the theaters of the empire in an edited version.

This edition remained until the end of 1881. It should be noted that when the famous director A.F. Fedotov in 1872 allowed himself the audacity and staged the play in its original form in his People's Theater, this theater was closed forever after a few days by decree of the emperor.

Material overview

Material overview

A number of lessons are presented, accompanied by presentations. Lesson No. 1, 2. Play by A.N. Ostrovsky "The Thunderstorm" (1859). Traditions and customs of the city of Kalinov. Lesson No. 3, 4. Katerina in the fight for her human rights.

Lesson No. 1, 2. Play by A.N. Ostrovsky "The Thunderstorm" (1859). Traditions and customs of the city of Kalinov.

Purpose of the lesson: trace the reflection of the era in the play, its way of life and morals; determine the moral issues of the play and its universal significance.

Tasks:

Acquaintance with the history of the creation of the play “The Thunderstorm”, the characters, determination of the theme, idea, and main conflict of the play.

Development of skills in analyzing a dramatic work, the ability to determine the author’s position in the work.

Equipment: multimedia projector, screen, textbooks, notebooks, play texts, presentation for the lesson.

Progress of the lesson

1. Organizational moment.

The history of writing the play (Presentation No. 1 “The history of the creation of the play”).

The play was begun by Alexander Ostrovsky in July and completed on October 9, 1859. On October 9, the playwright finished The Thunderstorm, and on October 14 he already sent the play to the censor in St. Petersburg. The manuscript is kept in the Russian State Library.

The writing of the play “The Thunderstorm” is also associated with the writer’s personal drama. In the manuscript of the play, next to Katerina’s famous monologue: “And what dreams I had, Varenka, what dreams! Or golden temples, or some extraordinary gardens, and everyone is singing invisible voices...”, there is Ostrovsky’s entry: “I heard from L.P. about the same dream...”. L.P. is the actress Lyubov Pavlovna Kositskaya, with whom the young playwright had a very difficult personal relationship: both had families. The actress's husband was the artist of the Maly Theater I. M. Nikulin. And Alexander Nikolaevich also had a family: he lived in a civil marriage with the commoner Agafya Ivanovna, with whom he had common children (all of them died as children). Ostrovsky lived with Agafya Ivanovna for almost twenty years.

It was Lyubov Pavlovna Kositskaya who served as the prototype for the image of the heroine of the play, Katerina, and she also became the first performer of the role.

In 1848, Alexander Ostrovsky went with his family to Kostroma, to the Shchelykovo estate. The natural beauty of the Volga region amazed the playwright, and then he thought about the play. For a long time it was believed that the plot of the drama “The Thunderstorm” was taken by Ostrovsky from the life of the Kostroma merchants. At the beginning of the 20th century, Kostroma residents could accurately indicate the place of Katerina’s suicide.

In his play, Ostrovsky raises the problem of the turning point in social life that occurred in the 1850s, the problem of changing social foundations.

2. Genre features of the play “The Thunderstorm”.

A thunderstorm is thundering in Moscow, notice how cleverly this is said, and be surprised.

The epigraph to the lesson presents the words of actress L.P. Kositskaya-Nikulina, who played the main character of the play, Katerina, who became the wife of the playwright.

Today we will begin our acquaintance with the play by A.N. Ostrovsky "The Thunderstorm". Here are different points of view on the appearance of this play and the definition of the genre. Analyze the choice of genre of the authors of these quotes and highlight the features that the author emphasizes.

The premiere took place on November 16, 1859.<...>The play did well because, in addition to fine connoisseurs and connoisseurs of fine art, the Moscow public, attracted by the name of the playwright and the controversy surrounding the play, kept flocking to the performances. There were many spectators in “wolf coats”, the simplest, most spontaneous, and therefore the most dear to the author’s heart.<...>As for people of old aesthetic concepts, whose tastes and morals were living out their days, they could no longer significantly damage the success of the drama. “The Thunderstorm” was a turning point for this audience. They still grumbled about it, but after success was determined, a new countdown of the author’s fame began precisely from this drama. And already to his next works “The Thunderstorm” was applied as a measure of “elegant”, and his new plays were reproached with the merits of the previous, grudgingly received masterpiece. This is how literary history moves.

From the day of the first performance of “The Thunderstorm” in literary and theatrical criticism until today, there has been debate about the genre of this play and the originality of its main conflict. The author himself, paying tribute to traditions, as well as a number of critics and literary scholars, saw in “The Thunderstorm” a social and everyday drama, since it is characterized by special attention to everyday life. In addition, the entire history of dramaturgy preceding Ostrovsky did not know such a tragedy in which the heroes were private individuals, and not historical or legendary ones.

S.P. Shevyrev, who attended one of the first performances, considered “The Thunderstorm” a bourgeois comedy.

Ostrovsky enrolled the Russian Comedy in the merchant guild, started with the first, brought it to the third - and now, having gone bankrupt, it is being discharged with tears into the bourgeoisie. Here is the result of “The Thunderstorm”, which I saw last week... It seems to me that Kositskaya should hang herself, not drown herself. The last one is too old... Hanging myself would be more modern.S. P. Shevyrev - A. N. Verstovsky. October 25, 1859

You have never revealed your poetic powers as much as in this play... In “The Thunderstorm” you took a plot that is completely filled with poetry - a plot impossible for someone who does not have poetic creativity... Katerina’s love belongs to the same phenomena of moral nature, to which world cataclysms in physical nature belong... Simplicity, naturalness and some kind of meek horizon that envelops all this drama, along which heavy and ominous clouds pass from time to time, further enhances the impression of an imminent catastrophe.

The strong, deep and mainly positively general impression was made not by the second act of the drama, which, although with some difficulty, can still be drawn to the punitive and accusatory type of literature, but by the end of the third, in which (the end) there is absolutely nothing else , except for the poetry of folk life - boldly, widely and freely captured by the artist in one of its most significant moments, which does not allow not only denunciation, but even criticism and analysis, so this moment is captured and conveyed poetically directly... The name for this writer, for such a great writer, despite his shortcomings and shortcomings, is not a satirist, but a people's poet. The word for clues to his activities is not “tyranny,” but “nationality.” Only this word can be the key to understanding his works.

"The Thunderstorm" is, without a doubt, Ostrovsky's most decisive work; the mutual relations of tyranny and voicelessness are brought to the most tragic consequences in it... There is even something refreshing and encouraging in “The Thunderstorm”. This “something” is, in our opinion, the background of the play, indicated by us and revealing the precariousness and the near end of tyranny. Then the very character of Katerina, drawn against this background, also breathes on us with new life, which is revealed to us in her very death... Russian life has finally reached the point where virtuous and respectable, but weak and impersonal creatures do not satisfy public consciousness and are recognized good for nothing. I felt an urgent need for people, even if less beautiful, but more active and energetic.

If we understand Katerina’s death as the result of a collision with her mother-in-law, and see her as a victim of family oppression, then the scale of the heroes will indeed be too small for the tragedy. But if you see that Katerina’s fate was determined by the collision of two historical eras, then the “heroic” interpretation of her character proposed by Dobrolyubov will turn out to be completely legitimate.

"The Thunderstorm" is a classic tragedy. Her characters appear from the very beginning as complete types - bearers of one character or another - and do not change until the end. The classicism of the play is emphasized not only by the traditional tragic conflict between duty and feeling, but most of all by the system of image-types.<...>It is no coincidence that the play’s sounding board, Kuligin, endlessly recites classic poetry. The lines of Lomonosov and Derzhavin are intended to play the role of a positive beginning in the hopeless atmosphere of “The Thunderstorm”.<...>

Kuligin reads poetry of high calm, appropriately and inappropriately, and Ostrovsky subtly puts into his mouth not the main, not decisive words of the great poets. But both the author and the educated connoisseur of the play knew which lines followed the hooligan declaration. Eternal doubts: “I am a king - I am a slave - I am a worm - I am God!”, the last questions: “But where, nature, is your law?” and “Tell me, what is bothering us so much?”

"Thunderstorm" solves these insoluble problems. That is why Ostrovsky so persistently appeals to classicism that he strives to give significance to the bourgeois drama. The level of approach is inflated, just as stage directions establish a point of view on the city of Kalinov - from top to bottom, from the “high bank of the Volga”.As a result, the bourgeois drama turns into a bourgeois tragedy.P. L. Weil, A. A. Genis. Native speech. 1991

♦ What is your impression after reading “The Thunderstorm” for yourself? Whose point of view about the genre of the play do you find more convincing?

3. Re-read the play

Exercise 1

Alexander Ostrovsky

Storm

Drama in five acts

Drama as a genre of literature is one of the main genres (types) of drama as a type of literature, along with tragedy and comedy. The drama mainly reproduces the private life of people, but its main goal is not to ridicule morals, but to depict the individual in his dramatic relationship with society.

At the same time, like tragedy, drama tends to recreate acute contradictions, but at the same time these contradictions are not so intense and allow the possibility of a successful resolution.

The concept of drama as a genre developed in the second half of the 18th century. from the enlighteners. Drama 19-20 centuries is predominantly psychological. Certain types of drama merge with adjacent genres, using their means of expression, for example, the techniques of tragicomedy, farce, and mask theater.

Task 2

The list of characters (poster) of the play is a very significant part of its exposition and gives the first idea about the city of Kalinov and its inhabitants. What ideas can the viewer get by opening this poster? Pay attention to: a) the order of characters in the list (social and family plans); b) the nature of names and surnames; c) the situation in the city; d) place and time of action.

Note: Disclosing the meaning of names and surnames in the plays of A.N. Ostrovsky helps to comprehend both the plot and the main images. Although surnames and names cannot be called “speaking” in this case, since this is a feature of the plays of classicism, they are speaking in the broad - symbolic - sense of the word.

Faces:

Savel Prokofievich Dikoy, merchant, significant person in the city.

Boris Grigorievich, his nephew, is a young man, decently educated.

Marfa Ignatievna Kabanova (Kabanikha), wealthy merchant, widow.

Tikhon Ivanovich Kabanov, her son.

Katerina, his wife.

Varvara, Tikhon's sister.

Kuligin, a tradesman, a self-taught watchmaker, looking for a perpetuum mobile.

Vanya Kudryash, a young man, Dikov’s clerk.

Shapkin, tradesman.

Feklusha, wanderer.

Glasha, a girl in Kabanova's house.

A lady with two footmen, an old woman of 70 years old, half crazy.

City dwellers of both sexes.

The action takes place in the city of Kalinovo, on the banks of the Volga, in the summer.

10 days pass between actions 3 and 4.

Task 3

E. G. Kholodov speaks of A. N. Ostrovsky’s amazing ability to find names, patronymics and surnames for his heroes that are so organic and natural that they seem to be the only possible ones. He cites the opinions of various literary scholars that names indicate the author’s attitude towards his characters, that they reflect their essential moral aspirations or internal qualities, and that, using meaningful names and surnames to characterize the characters, Ostrovsky strictly followed the traditions of classicism.

♦ Do you think Ostrovsky followed the classicist tradition in choosing names and surnames for his characters? Explanations for the task. To prove the thesis that Ostrovsky follows the rules of classicism, researchers put forward the following assumptions: Katerina translated from Greek means “eternally pure”; her patronymic is Petrovna, which translates as “stone” - with her name and patronymic the playwright allegedly emphasizes high morality, strength, determination, the heroine's strength of character. Dikiy’s patronymic “Prokofich” translated from Greek means “successful”, Varvara means “rough”, Glasha means “smooth”, that is, sensible, reasonable.

Task 4

Please note that in the list of characters, some characters are represented in full - by first name, patronymic, last name, others - only by first name and patronymic, others - only by first name or only by patronymic. Is this a coincidence? Try to explain why.

4. Checking homework: Speech by students on the topic “Imaginative analysis of heroes” (individual messages).

1. Savel Prokofievich Dikoy, merchant, significant person in the city.

Dikoy in the northern Russian regions meant “stupid, crazy, crazy, half-witted, crazy,” and dikovat meant “fool, fool, go crazy.” Initially, Ostrovsky intended to give the hero the patronymic Petrovich (from Peter - “stone”), but there was no strength or firmness in this character, and the playwright gave Diky the patronymic Prokofievich (from Prokofy - “successful”). This was more suitable for a greedy, ignorant, cruel and rude man, who at the same time was one of the richest and most influential merchants of the city.

Principles for naming characters, i.e. the use of one-term, two-term and three-term anthroponyms are directly related to the social status of the character. The tripartite is found not only among heads of families (i.e., it emphasizes the family role), but also among nobles, rich merchants, i.e. people with high social status. It doesn’t matter what his place in the system of characters or role in the plot is. For example, in the play "The Thunderstorm" the three-term anthroponym has Savel Prokofievich Dikoy, an episodic character participating in three phenomena.

2. Boris Grigorievich, his nephew, a young man, decently educated.

Boris Grigorievich is Dikiy’s nephew. He is one of the weakest characters in the play. Boris himself says about himself: “I’m walking around completely dead... Driven, beaten...”

After all, Boris’s mother “couldn’t get along with her relatives,” “it seemed very wild to her.” This means that Boris is Dikoy on his father’s side. What follows from this? Yes, it follows that he was unable to defend his love and protect Katerina. After all, he is the flesh of his ancestors and knows that he is entirely in the power of the “dark kingdom.”

Boris is a kind, well-educated person. He stands out sharply against the background of the merchant environment. But he is a weak person by nature. Boris is forced to humiliate himself before his uncle, Dikiy, for the sake of hope for the inheritance that he will leave him. Although the hero himself knows that this will never happen, he nevertheless curries favor with the tyrant, tolerating his antics. Boris is unable to protect either himself or his beloved Katerina. In misfortune, he only rushes about and cries: “Oh, if only these people knew how it feels for me to say goodbye to you! My God! God grant that someday they may feel as sweet as I do now... You villains! Monsters! Oh, if only there was strength! But Boris does not have this power, so he is unable to alleviate Katerina’s suffering and support her choice by taking her with him.

Katerina cannot love and respect such a husband, but her soul yearns for love. She falls in love with Dikiy's nephew, Boris. But Katerina fell in love with him, in Dobrolyubov’s apt expression, “in the wilderness,” because, in essence, Boris is not much different from Tikhon, except perhaps a little more educated than him. She chose Boris almost unconsciously, the only difference between him and Tikhon was his name (Boris is “fighter” in Bulgarian).

Boris's lack of will, his desire to receive his part of his grandmother's inheritance (and he will receive it only if he is respectful to his uncle) turned out to be stronger than love.

3. Marfa Ignatievna Kabanova (Kabanikha), rich merchant's wife, widow.

Kabanova is an overweight woman with a difficult character. It is no coincidence that Kabanova bears the name Marfa - “mistress, mistress of the house”: she really holds the house completely in her hands, all household members are forced to obey her. In the New Testament, Martha is the sister of Mary and Lazarus, in whose house Christ stayed. When Christ comes to them, both sisters tried to show respect to the distinguished Guest. Martha, who had a lively and active disposition, immediately began to take care of preparing the treat. Her sister Mary, a quiet and contemplative person, sat in deep humility at the feet of the Savior and listened to His words. The different character of the sisters - practical Martha and contemplative Mary - became a symbol of different attitudes in the life of Christians. These two attitudes can also be seen in Ostrovsky’s play: Kabanikha perceives mainly the formal side of the patriarchal world, a way of life that has developed over centuries, which is why she tries so hard to preserve long-outdated customs, the meaning of which she no longer understands. Katerina, like Maria, embodies a different approach to life: she sees the poetry of the patriarchal world; it is no coincidence that her monologue recreates ideal patriarchal relationships based on mutual love: “I used to get up early; If it’s summer, I’ll go to the spring, wash myself, bring some water with me and that’s it, I’ll water all the flowers in the house. I had many, many flowers. Then we’ll go to church with Mama, all of us, strangers - our house was full of strangers; yes praying mantis. And we’ll come from church, sit down to do some kind of work, more like gold velvet, and the wanderers will begin to tell us: where they were, what they saw, different lives, or sing poetry. So time will pass until lunch. Here the old women go to sleep, and I walk around the garden. Then to Vespers, and in the evening again stories and singing. It was so good!” The difference between Kabanikha and Katerina in their views on life is clearly manifested in the scene of Tikhon’s departure.

Kabanova. You boasted that you love your husband very much; I see your love now. Another good wife, having seen her husband off, howls for an hour and a half and lies on the porch; but you, apparently, have nothing.

Katerina. There's no point! Yes, and I can’t. Why make people laugh!

Kabanova. The trick is not great. If I loved it, I would have learned it. If you don’t know how to do it properly, you should at least make this example; still more decent; and then, apparently, only in words.

In fact, Katerina is very worried when seeing off Tikhon: it is no coincidence that she throws herself on his neck, asks him to take her with him, wants him to take the terrible oath of allegiance from her. But Kabanikha misunderstands her actions: “Why are you hanging around your neck, shameless woman! You are not saying goodbye to your lover! He is your husband - the head! Don't you know the order? Bow down at your feet!” Kabanikha’s teachings echo the words of Martha, who is unhappy that Mary does not help her, but listens to Christ.

It is interesting that Ignatievna, that is, “ignorant” or “ignoring”. They do not notice what is happening to people close to them, they do not understand that their ideas about happiness are completely different. Both are absolutely confident that they are right and force those around them to live by their own rules. And thus they find themselves indirectly to blame for the tragedy of Larisa and Katerina; Kabanikha provokes Varvara to escape.

Her speech is a mixture of rudeness, a cold commanding tone with feigned humility and sanctimonious sighs. Her words show her attitude towards her family: she despises Tikhon, is cold towards Varvara and hates Katerina.

Widows in Ostrovsky's plays, as a rule, regardless of social status, have three-part anthroponyms: they are independent women who have to raise children and arrange their destinies. In the plays under analysis, both widows also have a high social position.

4. Tikhon Ivanovich Kabanov, her son.

The connection with the word “quiet” is obvious. Tikhon is afraid to contradict his mother, he cannot even stand up for Katerina, protect her from unfair accusations.

Kabanov Tikhon Ivanovich is one of the main characters, Kabanikha’s son, Katerina’s husband. In the list of characters, he follows directly after Kabanova, and is referred to as “her son.” This is Tikhon’s actual position in the city of Kalinov and in the family. Belonging, like a number of other characters in the play (Varvara, Kudryash, Shapkin), to the younger generation of Kalinovites, T, in his own way, marks the end of the patriarchal way of life. The youth of Kalinova no longer want to adhere to the old ways in everyday life. However, Tikhon, Varvara, and Kudryash are alien to Katerina’s maximalism, and unlike the central heroines of the play, Katerina and Kabanikha, all these characters stand on the position of everyday compromises. Of course, the oppression of their elders is hard for them, but they have learned to get around it, each in accordance with their character. Formally recognizing the power of their elders and the power of customs over themselves, they constantly go against them. But it is precisely against the background of their unconscious and compromising position that Katerina looks significant and morally high.

Tikhon in no way corresponds to the role of a husband in a patriarchal family: to be a ruler, but also to support and protect his wife. A gentle and weak person, he rushes between the harsh demands of his mother and compassion for his wife. He loves Katerina, but not in the way that, according to the norms of patriarchal morality, a husband should love, and Katerina’s feeling for him is not the same as she should have for him according to her own ideas: “No, how can you not love! I feel sorry for him very much!” - she says to Varvara. “If you feel sorry, it’s not love. And no, you have to tell the truth,” Varvara replies. For Tikhon, breaking free from his mother’s care means going on a binge and drinking. “Yes, Mama, I don’t want to live by my own will. Where can I live by my own will!” - he responds to Kabanikha’s endless reproaches and instructions. Humiliated by his mother’s reproaches, he is ready to take out his frustration on Katerina, and only the intercession of his sister Varvara, who lets him go out for a drink in secret from his mother, stops the scene.

At the same time, Tikhon loves Katerina, tries to teach her to live in his own way (“Why listen to her! She needs to say something! Well, let her talk, and ignore her!” he consoles his wife, upset by her mother-in-law's attacks). And yet, he doesn’t want to sacrifice two weeks “without a thunderstorm” and take Katerina on the trip. He doesn't understand very clearly what's happening to her at all. When his mother forces him to pronounce a ritual order to his wife on how to live without him, how to behave in the absence of her husband, neither Kabanikh nor he, saying: “Don’t look at the guys,” have no idea how close all this is to the situation in their family. And yet Tikhon’s attitude towards his wife is humane, it has a personal connotation. After all, it is he who objects to his mother: “Why should she be afraid? It’s enough for me that she loves me.” Finally, when Katerina asks her to take terrible vows as a farewell, T. fearfully replies: “What are you talking about! What you! What a sin! I don’t even want to listen!” But, paradoxically, it is T.’s gentleness that in Katerina’s eyes is not so much an advantage as a disadvantage. He cannot help her either when she is struggling with sinful passion, or after her public repentance. And his reaction to betrayal is not at all the same as what patriarchal morality dictates in such a situation: “Mama says that she must be buried alive in the ground so that she can be executed! But I love her, I would be sorry to lay a finger on her.” He cannot carry out Kuligin’s advice, cannot protect Katerina from her mother’s anger, from the ridicule of her household. He is “sometimes affectionate, sometimes angry, and drinks everything.” And only over the body of his dead wife does T. decide to rebel against his mother, publicly blaming her for the death of Katerina and it is with this publicity that he deals Kabanikha the most terrible blow.

Young Kabanov not only does not respect himself, but also allows his mother to treat his wife rudely. This is especially evident in the farewell scene before leaving for the fair. Tikhon repeats all his mother’s instructions and moral teachings word for word. Kabanov could not resist his mother in anything, he slowly became an alcoholic and thereby became even more weak-willed and quiet.

Tikhon is a kind, but weak person; he rushes between fear of his mother and compassion for his wife. The hero loves Katerina, but not in the way Kabanikha demands - sternly, “like a man.” He doesn’t want to prove his power to his wife, he needs warmth and affection: “Why should she be afraid? It’s enough for me that she loves me.” But Tikhon doesn’t get this in Kabanikha’s house. At home, he is forced to play the role of an obedient son: “Yes, Mama, I don’t want to live by my own will! Where can I live by my own will!” His only outlet is traveling on business, where he forgets all his humiliations, drowning them in wine. Despite the fact that Tikhon loves Katerina, he does not understand what is happening to his wife, what mental anguish she is experiencing. Tikhon's gentleness is one of his negative qualities. It is because of her that he cannot help his wife in her struggle with her passion for Boris, and he cannot ease Katerina’s fate even after her public repentance. Although he himself reacted kindly to his wife’s betrayal, without being angry with her: “Mama says that she must be buried alive in the ground so that she can be executed! But I love her, I would be sorry to lay a finger on her.” Only over the body of his dead wife does Tikhon decide to rebel against his mother, publicly blaming her for Katerina’s death. It is this riot in public that deals Kabanikha the most terrible blow.

It is significant that Tikhon, Kabanikha’s married son, is designated as her son: he was never able to free himself from his mother’s power and become truly independent.

5. Katerina, his wife.

Katerina is translated from Greek as “pure”. Despite the fact that she commits two terrible sins: adultery and suicide, she remains morally pure, and therefore is opposed to all other characters. The heroine realizes her guilt, cannot hide it, and therefore confesses to Tikhon that she committed a sin right on the street. She feels the need for punishment; he sincerely suffers that he cannot repent, cannot feel the sinfulness of his love. She silently endures Kabanikha’s reproaches, understanding their justice (previously the heroine did not want to listen to undeserved reproaches), and, according to Tikhon, “melts like wax.” An important role in Katerina’s fate was played by Varvara, who herself arranged her date with Boris. Ostrovsky uses not the canonical form (Ekaterina), but the folk one, emphasizing the folk-poetic side of the character of the heroine, her folk perception of the world, which is expressed in the desire to fly, the idea of ​​​​a “grave”: “There’s a grave under the tree... how good!.. Her sunshine.” it warms, the rain wets it... in the spring the grass will grow on it, so soft... birds will fly to the tree, they will sing, they will bring out children, flowers will bloom: yellow, red, blue... all kinds.” A large number of words with diminutive suffixes are also characteristic of folklore.

This image in its own way points to the end of the patriarchal way of life. T. no longer considers it necessary to adhere to the old ways in everyday life. But, due to his character, he cannot act as he sees fit and go against his mother. His choice is everyday compromises: “Why listen to her! She needs to say something! Well, let her talk, and you turn a deaf ear!”

All the characters call Katerina only by her first name; Boris calls her by her first name and patronymic once when she comes to see him. The appeal is also determined by the communication situation: Boris is surprised that Katerina herself made a date, he is afraid to approach her and start a conversation.

A. N. Ostrovsky “Thunderstorm”. Ostrovsky's drama "The Thunderstorm" was written in the 50-60s of the 19th century. This is the time when serfdom existed in Russia, but the arrival of a new force was already clearly visible - the commoners-intellectuals. A new topic has appeared in literature - the position of women in the family and society. The central place in the drama is occupied by the image of Katerina. The relationship with the other characters in the play determines its fate. Many events in the drama take place under the sound of thunder. On the one hand, this is a natural phenomenon, on the other, it is a symbol of the state of mind, therefore each of the heroes is characterized through their attitude to the thunderstorm. Katerina is incredibly afraid of thunderstorms, which shows her mental confusion. An internal, invisible thunderstorm rages in the soul of the heroine herself.

To understand Katerina’s tragic fate, let’s consider what this girl is like. Her childhood passed in the patriarchal-domostroevsky time, which left its mark on the character of the heroine and on her views on life. Katerina's childhood years were happy and cloudless. Her mother loved her very much, as Ostrovsky put it, “doted on her.” The girl looked after the flowers, of which there were many in the house, embroidered “on velvet with gold,” listened to the stories of the praying mantises, and went to church with her mother. Katerina is a dreamer, but her dream world does not always correspond to reality. The girl does not even strive to understand real life; at any moment she can give up everything that does not suit her and again plunge into her world, where she sees angels. Her upbringing gave her dreams a religious coloring. This girl, so inconspicuous at first glance, has a strong will, pride and independence, which manifested itself already in childhood. While still a six-year-old girl, Katerina, offended by something, ran away to the Volga in the evening. It was a kind of child's protest. And later, in a conversation with Varya, she will point out another side of her character: “I was born so hot.” Her free and independent nature is revealed through her desire to fly. “Why don’t people fly like birds?” - these seemingly strange words emphasize the independence of Katerina’s character.

Katerina appears to us from two angles. On the one hand, she is a strong, proud, independent person, on the other hand, she is a quiet, religious girl, submissive to fate and her parents’ will. Katerina’s mother was convinced that her daughter “will love any husband,” and, flattered by an advantageous marriage, married her to Tikhon Kabanov. Katerina did not love her future husband, but resignedly submitted to her mother’s will. Moreover, due to her religiosity, she believes that her husband is given by God, and tries to love him: “I will love my husband. Silence, my darling, I won’t exchange you for anyone.” Having married Kabanov, Katerina found herself in a completely different world, alien to her. But she cannot leave him, she is a married woman, the concept of sinfulness binds her. Kalinov’s cruel, closed world is fenced off by an invisible wall from the outside “uncontrollably huge” world. We understand why Katerina so dreams of breaking out of the city and flying over the Volga, over the meadows: “I would fly out into the field and fly from cornflower to cornflower in the wind, like a butterfly.”

Imprisoned in the “dark kingdom” of ignorant wild and wild boars, faced with a rude and despotic mother-in-law, an inert husband in whom she does not see support and support, Katerina protests. Her protest results in love for Boris. Boris is not much different from her husband, except perhaps in education. He studied in Moscow, at a commercial academy, and has a broader outlook compared to other representatives of the city of Kalinov. It is difficult for him, like Katerina, to get along among Dikoy and the Kabanovs, but he is just as inert and weak-willed as Tikhon. Boris cannot do anything for Katerina, he understands her tragedy, but advises her to submit to fate and thereby betrays her. Desperate Katerina reproaches him for ruining her. But Boris is only an indirect reason. After all, Katerina is not afraid of human condemnation, she is afraid of the wrath of God. The main tragedy occurs in her soul. Being religious, she understands that cheating on her husband is a sin, but the strong side of her nature cannot come to terms with the Kabanovs’ environment. Katerina is tormented by terrible pangs of conscience. She is torn between her legal husband and Boris, between a righteous life and fall. She cannot forbid herself to love Boris, but she executes herself in her soul, believing that by her action she is rejecting God. These sufferings bring her to the point that, unable to withstand the pangs of conscience and fearing God’s punishment, she throws herself at her husband’s feet and confesses everything to him, putting her life in his hands. Katerina's mental anguish is intensified by a thunderstorm.

It’s not for nothing that Dikoy says that a thunderstorm sends punishment. “I didn’t know that you were so afraid of thunderstorms,” Varvara tells her. “How, girl, not to be afraid! - Katerina answers. - Everyone should be afraid. It’s not so scary that it will kill you, but that death will suddenly find you as you are, with all your sins...” The thunderclap was the last straw that overflowed the cup of Katerina’s suffering. Everyone around her reacts differently to her confession. Kabanova offers to bury her alive, but Tikhon, on the contrary, forgives Katerina. The husband forgave, Katerina, as it were, received absolution.

But her conscience remained uneasy, and she did not find the desired freedom and was again forced to live in the “dark kingdom.” Pangs of conscience and fear of remaining among the Kabanovs forever and turning into one of them lead Katerina to the idea of ​​suicide. How could a devout woman decide to commit suicide? To endure the torment and the evil that exists here on earth, or to leave all this of one’s own free will? Katerina is driven to despair by the callous attitude of people towards her and the pangs of conscience, so she rejects the opportunity to stay alive. Her death was inevitable.

In the image of his heroine, Ostrovsky painted a new type of original, integral, selfless Russian girl who challenged the kingdom of the wild and wild boars. Dobrolyubov rightly called Katerina “a ray of light in a dark kingdom.”

6. Varvara, Tikhon’s sister.

Wild, self-willed characters, except for the Wild One, are represented in the play by Varvara (she is a pagan, a “barbarian,” not a Christian and behaves accordingly).

Her name means “rough” when translated from Greek.

This heroine is really quite simple spiritually, rude. She knows how to lie when necessary. Her principle is “do what you want, as long as it’s safe and covered.” Varvara is kind in her own way, she loves Katerina, she helps her, as it seems to her, to find love, arranges a date, but does not think about what consequences all this may have. This heroine is in many ways opposed to Katerina - the scenes of the meeting between Kudryash and Varvara, on the one hand, and Katerina and Boris, on the other, are based on the principle of contrast.

Barbara from Greek as “coming from foreign lands”, i.e. ignorant wild (neighboring peoples were backward in comparison with the Greeks). Indeed, Varvara easily oversteps morality: she meets with Kudryash, then, when her mother locks her up, she runs away with him. She does not obey the rules that forbid her to do what she wants without experiencing the slightest remorse. Her motto: “do what you want, as long as it’s sewn and covered.” Therefore, she does not understand Katerina’s torment; she does not feel guilty for pushing her to sin.

Varvara cannot be denied intelligence, cunning and lightness; Before marriage, she wants to be able to go everywhere, try everything, because she knows that “girls go out as they please, father and mother don’t care. Only women are locked up.” Lying is the norm for her. In a conversation with Katerina, she directly talks about this:

“Katerina. I don’t know how to deceive, I can’t hide anything.

Varvara. Well, you can’t do without this... Our whole house rests on this. And I wasn’t a liar, but I learned when it became necessary.”

Varvara adapted to the “dark kingdom”, learned its laws and rules. There is a sense of authority, strength, and desire to deceive in her. She is, in fact, the future Kabanikha, because the apple doesn’t fall far from the tree.

7. Kuligin, a tradesman, a self-taught watchmaker, looking for a perpetuum mobile.

“A self-taught mechanic,” as the hero introduces himself. Kuligin, in addition to the well-known associations with Kulibin, also evokes the impression of something small, defenseless: in this terrible swamp he is a sandpiper - a bird and nothing more. He praises Kalinov like a sandpiper praises his swamp.

P.I. Melnikov-Pechersky, in his review of “The Thunderstorm,” wrote: “... Mr. Ostrovsky very skillfully gave this man the famous name of Kulibin, who in the past century and at the beginning of this one brilliantly proved what an unlearned Russian man can do with the power of his genius and unyielding will.”

But not everything is so gloomy; in the “dark kingdom” there are also living, sensitive souls. This is a self-taught mechanic Kuligin, looking for a perpetual motion machine. He is kind and active, obsessed with a constant desire to do something useful for people. However, all his good intentions run into a thick wall of misunderstanding, indifference, and ignorance. So, when he tries to install steel lightning rods on houses, he receives a furious rebuff from the Dikiy: “A thunderstorm is sent to us as punishment, so that we can feel it, but you want to defend yourself, God forgive me, with poles and some kind of rods.”

Kuligin is the reasoner in the play, condemnation of the “dark kingdom” is put into his mouth: “Cruel, sir, the morals in our city are cruel... Whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors ..."

But Kuligin, like Tikhon, Boris, Varvara, Kudryash, has adapted to the “dark kingdom”, has come to terms with such a life, he is just one of the inhabitants of the “dark kingdom”.

8. Vanya Kudryash, a young man, Dikov’s clerk.

The use of the diminutive form of the name is indicative: not Ivan, but Vanya, he is not yet independent in everything: he serves the Wild, although he can afford to be rude to him, knowing that he needs him.

It is unclear whether the anthroponym Kudryash is a surname or a nickname. This surname exists in the language along with the surname Kudryashov. Most likely, the anthroponym reflects the process of transition of a nickname into a surname, which corresponds to the anthroponymic situation in the second half of the 19th century. The use of an anthroponym in the play is close to the use of a surname: in the list of characters he is designated as Vanya Kudryash, and Tikhon says that Varvara “ran away with Kudryash and Vanka.”

The Wild clerk, but unlike other merchant employees, knows how to stand up for himself. He is smart and sharp-tongued, his characterizations of other characters and his judgments about life are accurate and imaginative. The image of Kudryash has analogies in Koltsov’s poetry. You can, for example, establish a connection with Likhach Kudryavich (“The First Song of Likhach Kudryavich”), about whom it is said:

With joy and joy

The curls curl like hops;

Without any care

They don't bother...

On time and on time

Rivers flow like honey;

And from morning to night

Songs are sung...

Varvara's friend, Ivan Kudryash, is a match for her. He is the only one in the city of Kalinov who can answer Dikiy. “I am considered a rude person; Why is he holding me? Therefore, he needs me. Well, that means I’m not afraid of him, but let him be afraid of me...” says Kudryash. In conversation, he behaves cheekily, smartly, boldly, boasts of his prowess, red tape, and knowledge of the “merchant establishment.” Kudryash is the second Wild, only he is still young.

In the end, Varvara and Kudryash leave the “dark kingdom,” but does this escape mean that they have completely freed themselves from old traditions and laws and will become the source of new laws of life and honest rules? Hardly. Once free, they will most likely try to become masters of life themselves.

9. Shapkin, tradesman.

Bourgeois people are often named by their last name: Kuligin, Shapkin.

10. Feklusha, wanderer.

Feklusha tells city residents about other countries. They listen to her and focus their attention only on this. At the same time, unnoticed by others, she tells the truth about people. But they don't hear it because they don't want to hear it. Feklusha praises the city of Kalinov and the quiet life in it. People are happy that their city is so magnificent; they don’t need anything else. They only support Feklusha with alms, which is what she achieves

Everyone calls the wanderer Feklusha by name, using the popular diminutive form, which reflects the real use of names in speech (remember, for example, the wanderer Fedosyushka in L.N. Tolstoy’s novel “War and Peace”).

In the “dark kingdom” the wanderer Feklusha enjoys great reverence and respect. Feklushi's stories about the lands where people with dog heads live are perceived as irrefutable information about the world.

11. Glasha, a girl in Kabanova’s house.

Servants and clerks in Ostrovsky's dramaturgy are named, as a rule, only by name: the diminutive form of the name is often used: Glasha.

Here, it was the satirical female images that were one of the expressions of the comedy principle. This includes the wanderer Feklusha and the “girl” Glasha. Both images can be safely called grotesque-comedy. Feklusha seems to be a storyteller of folk tales and legends, pleasing those around her with her stories about how “the Saltans rule the earth” and “no matter what they judge, everything is wrong,” and about the lands “where all the people have dog heads.” Glasha is a typical reflection of ordinary “Kalinovites” who listen with reverence to such Feklush, confident that “it’s still good that there are good people; no, no, and you’ll hear what’s going on in this world, otherwise you’d die like fools.” Both Feklusha and Glasha belong to the “dark kingdom”, dividing this world into “ours” and “theirs”, into patriarchal “virtue”, where everything is “cool and orderly”, and into external vanity, from which the old orders and time begin “to come into disparagement.” With these characters, Ostrovsky introduces the problem of the absurd ignorance and lack of enlightenment of the old conservative way of life, its inconsistency with modern trends.

12. A lady with two footmen, an old woman of 70 years old, half crazy.

13. City residents of both sexes.

The secondary characters are the background against which the tragedy of a desperate woman unfolds. Every face in the play, every image was a step on the ladder that led Katerina to the banks of the Volga, to tragic death.

Compose a story using the material you listened to on the topic “Traditions and customs of the city of Klinov.”

Traditions and customs of the city of Klinova.

Reading Ostrovsky's works, we involuntarily find ourselves in the atmosphere that reigns in a given society, and become direct participants in the events that take place on stage. We merge with the crowd and, as if from the outside, observe the lives of the heroes.

So, finding ourselves in the Volga city of Kalinov, we can observe the life and customs of its inhabitants. The bulk of the population consists of merchants, whose life was shown with such skill and knowledge by the playwright in his plays. It is precisely this “dark kingdom” that rules the roost in such quiet provincial Volga cities as Kalinov.

Let's get acquainted with representatives of this society. At the very beginning of the work, we learn about Diky, a “significant person” in the city, a merchant. This is how Shapkin speaks about him: “We should look for another scolder like ours, Savel Prokofich. There’s no way he’ll cut someone off.” Immediately we hear about Kabanikha and understand that he and Dikiy are “birds of a feather.”

“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. He is one of the few who is aware of the atmosphere that has developed in the city. He speaks directly about the lack of education and ignorance of the masses, about the impossibility of earning money through honest work, of becoming a people from under the bondage of noble and important persons in the city. They live far from civilization and do not really strive for it. Preservation of old foundations, fear of everything new, the absence of any law and the rule of force - this is the law and norm of their life, this is what these people live and are content with. They subjugate everyone who surrounds them, suppress any protest, any manifestation of personality.

Ostrovsky shows us typical representatives of this society - Kabanikha and Wild. These individuals occupy a special position in society, they are feared and therefore respected, they have capital, and therefore power. There are no general laws for them; they created their own and force others to live in accordance with them. They strive to subjugate those who are weaker and “butter up” those who are stronger. They are despots both in life and in the family. We see this unquestioning submission of Tikhon to his mother, and Boris to his uncle. But if Kabanikha scolds “under the guise of piety,” then Dikoy scolds “as if he had broken free from his chain.” Neither one nor the other wants to recognize anything new, but wants to live according to house-building orders. Their ignorance, combined with stinginess, makes us not only laugh, but also smile bitterly. Let us remember Dikiy’s reasoning: “What kind of electricity is there!.. A thunderstorm is sent to us as punishment, so that we can feel it, but you want to defend yourself, God forgive me, with poles and some kind of rods.”

We are amazed by their callousness towards people dependent on them, their reluctance to part with money, and to deceive in settlements with workers. Let us remember what Dikoy says: “Once I was fasting about fasting, about a great fast, and then it’s not easy and you slip a little man in; I came for money, carried firewood... I did sin: I scolded him, I scolded him like that... I almost killed him.”

These rulers also have those who unwittingly help them exercise their dominance. This is Tikhon, who with his silence and weakness of will only helps to strengthen his mother’s power. This includes Feklusha, an uneducated, stupid writer of all sorts of fables about the civilized world, and these are the townspeople who live in this city and have come to terms with such orders. All of them together are the “dark kingdom” that is presented in the play.

Ostrovsky, using various artistic means, showed us a typical provincial city with its customs and morals, a city where arbitrariness, violence, complete ignorance reign, where any manifestation of freedom, freedom of spirit is suppressed.”

These are the cruel morals of the city of Kalinov. Residents can be divided into representatives of the “dark kingdom” and representatives of the new life. How do they live together?

Which of the heroes managed to challenge the cruel world of the “dark kingdom”? Yes, this is Katerina. Why does the author choose her?

5. Working with the textbook on the page

The main character of the play is the young merchant's wife Katerina Kabanova. But in order to understand her character, the reasons for her actions, you need to know what kind of people she lives among, who surrounds her. The characters are introduced in the first act of the play. Events 1-4 of the first act are exposition, and in acts 5-9 the actual plot of the drama takes place.

So Katerina rushes about in this dark forest among animal-like creatures. Women's names in Ostrovsky's plays are very bizarre, but the name of the main character almost always extremely accurately characterizes her role in the plot and fate. Katerina is “pure”. Katerina is a victim of her purity, her religiosity, she could not bear the splitting of her soul, because she loved not her husband, and cruelly punished herself for it. It is interesting that Marfa Ignatievna, that is, “ignorant” or, in scientific terms, “ignoring”, stands as if on the sidelines of Katerina’s tragedy, but is certainly to blame (not directly, but indirectly) for the death of her daughter-in-law.

6. Let’s summarize the drama “The Thunderstorm”

6. Homework: by action. Tasks No. 6, 8, 9, 12, 13, 16, 20, 21, 22, 25, 26.

Individual task: prepare a presentation on the topic

1) “Symbolism of the play “The Thunderstorm”;

2) “The image of Katerina as assessed by critics” (based on articles by Dobrolyubov and Pisarev).

Lesson No. 3, 4. Play by A.N. Ostrovsky "The Thunderstorm" (1859). Katerina in the fight for her human rights.

Purpose of the lesson: trace the reflection of the era in the play; identify the meaning of the title of the drama; determine the moral issues of the play and its universal significance.

Tasks:

Determination of the compositional structure of the play and artistic analysis of the leading scenes; acquaintance with critical articles on the drama by A.N. Ostrovsky's "The Thunderstorm", analysis of the symbolism of the play;

Development of skills in analyzing a dramatic work and the ability to determine the author’s position in the work;

Cultivating the moral reading position of students, interest in Russian classical literature, history and culture.

Equipment: multimedia projector, screen, textbooks, notebooks, play texts, lesson presentation.

1. Organizational moment.

2. Composition of the play(Presentation “To the play”).

In The Thunderstorm, as a dramatic work, the basis of the plot is the development of the conflict. The drama consists of five acts, each of which depicts a different stage of the struggle.

Action 1 – the social and everyday background of the conflict, the inevitability (premonition) of the conflict;

Act 2 – the irreconcilability of contradictions and the severity of Katerina’s conflict with the “dark kingdom”

Act 3 – freedom gained by Katerina is a step towards the tragic death of the heroine;

Act 4 – Katerina’s mental turmoil is a consequence of the freedom she has acquired;

Act 5 – Katerina’s suicide as a challenge to tyranny.

Each action is divided into separate scenes, i.e. such sections of text that depict the development of the conflict from any one perspective, seen through the eyes of any one character. The conflict in “The Thunderstorm” develops quickly and intensely, which is achieved by a special arrangement of scenes: with each new scene, starting from the outbreak of the conflict, the tension (dramatic intensity) of the struggle increases.

3. Turning the pages of the play.

FIRST ACTION

Act one. Public garden on the high bank of the Volga; beyond the Volga there is a rural view. There are two benches and several bushes on the stage.

The social and everyday background of the conflict, the inevitability (premonition) of the conflict - exposition.

Task 5

Some researchers (A. I. Revyakin, A. A. Anastasyev, A. I. Zhuravleva, etc.) noted the presence in the play of a “leisurely,” detailed exposition that takes on a “deeply effective character,” that is, combining preliminary information about the background of the action depicting the main characters in the action itself, dialogues, etc. Some consider the entire first act as exposition, others limit it to the first three phenomena.

Find the boundaries of the exposition in the first act of “Thunderstorm” and justify your opinion. What is the effectiveness of the exposition of “The Thunderstorm”, what is its significance for understanding the conflict of the play? At what point does the action begin? Justify your point of view.

Task 6

Checking homework: a detailed description on the topic “Landscape of the city of Kalinov”, using stage directions, Kuligin’s monologues, remarks from the characters (act I - stage direction, scene 1; action III - scene 3; action IV - scene stage).

What do you think is the role of landscape in the play?

– What picture appears before the viewer when the curtain opens? Why does the author paint this picturesque picture before us? (The beauty of nature emphasizes the ugliness and tragedy of what is happening in the human world). For another reason, Ostrovsky chose a public garden as the setting for the play, and the time of action - after the service in the church - so it was easier and more natural to introduce the characters, whose path lies through the boulevard.

Task 7

Please note that immediately after Kuligin’s accusatory monologue “Cruel morals, sir, in our city, they are cruel,” is followed by Feklusha’s remark addressed to her interlocutor: “Blaalepie, dear, blaalepie!.. You live in the promised land! And the merchants are all pious people, adorned with many virtues!..” (act I - scene 3).

Why, in your opinion, did Ostrovsky put the evaluative statements of Kuligin and Feklushi next to each other? What role do they play in the first act, being placed side by side?

Task 8

Homework check: What do they talk about with their young relatives Dikaya and Kabanikha?

Compare the features of their language. What vocabulary predominates in their speech? Give examples (action I - phenomena 2, 5).

Task 9

Homework check: Katerina’s story about her life before marriage in her home (act I - event 7).

Think about why the world in which her childhood and early youth passed seems to her so joyful, free and happy, and in the Kabanovs’ house “everything seems to be from under captivity,” although, according to Varvara, “it’s the same with us.” the most."

What does the word “order” mean in Kabanikha’s mouth?

How is the frank conversation between Katerina and Varvara motivated?

Analyze Katerina's speech. How does the heroine’s speech reveal her inner world?

♦ Is it possible to find an explanation for this in the following excerpts from the 16th century book “Domostroy” (Monument of Old Russian Literature of the 1st half of the 16th century), which is often referred to by critics and literary scholars when considering the “Thunderstorm” conflict? Is Domostroy to blame for Katerina’s tragic fate in the Kabanovs’ house?

I bless, sinner named, and teach, and instruct, and admonish my son named, and his wife, and their children, and household members: to follow all Christian laws and live with a clear conscience and in truth, with faith doing the will of God and keeping the commandments him, and affirming himself in the fear of God, in righteous living, and teaching his wife, in the same way instructing his household, not with violence, not with beatings, not with hard slavery, but as children, so that they are always calm, well-fed and clothed, and in warm home and always in order.<...>

<...>Yes, for yourself, your master, and your wife, and your children, and your household members - do not steal, do not fornicate, do not lie, do not slander, do not envy, do not offend, do not slander, do not encroach on someone else’s property, do not judge, do not indulge in excess, do not ridicule, do not remember evil, do not be angry with anyone, be obedient and submissive to the elders, friendly to the middle ones, friendly and merciful to the young and poor, manage every matter without red tape and especially not to offend the employee in terms of payment, and endure any insult with gratitude for the sake of God: both reproach and reproach, if rightly they are reproached and reproached, accept with love and avoid such recklessness, and do not take revenge in return.<...>

Husbands should teach their wives with love and exemplary instruction; their husbands' wives ask about strict order, about how to save their souls, please God and their husbands, arrange their home well, and submit to their husband in everything; and whatever the husband punishes, one willingly agrees with and carries out according to his instructions: and first of all, have the fear of God and remain in bodily purity... Whether the husband comes, or a simple guest, she would always sit at her needlework: for that she is honored and glory, and praise to the husband, the servants would never wake up the mistress, but the mistress herself would wake up the servants and, going to bed after work, would always pray.<...>

<...>Invite the clergy, and the beggars, and the weak, and the needy, and the suffering, and strangers into your home and, as best you can, feed, drink, and warm, and give alms from your righteous labors, for in the house, and in the market, and On the way, all sins are cleansed: after all, they are intercessors before God for our sins.

Domostroy. Monument of ancient Russian literature of the first half of the 16th century

♦ Which Domostroevsky norms do the characters in “The Thunderstorm” observe and which ones do they violate in their everyday lives? How is this reflected in the development of the main conflict of the play?

Task 10

Get acquainted with the point of view of a modern literary critic on Katerina’s monologue in question. Do you agree with her? If yes, then develop this idea by drawing on the text of the entire play.

It is very important that Katerina... did not appear from somewhere in the expanses of another life, another historical time (after all, patriarchal Kalinov and contemporary Moscow, where bustle is in full swing, or the railway that Feklusha talks about, are different historical times), but was born and formed in the same “Kalinovka” conditions. Ostrovsky talks about this in detail already in the exposition of the play, when Katerina tells Varvara about her life as a girl. This is one of Katerina’s most poetic monologues. Here is an ideal version of patriarchal relations and the patriarchal world in general. The main motive of this story is the motive of all-permeating mutual love... But it was “will”, which did not at all conflict with the centuries-old way of a closed life, the entire circle of which is limited to housework and religious dreams. This is a world in which it does not occur to a person to oppose himself to the general, since he has not yet separated himself from this community. And therefore there is no violence or coercion here. The idyllic harmony of patriarchal family life is a thing of the very distant past.<...>

Katerina lives in an era when the very spirit of this morality - harmony between an individual and the moral ideas of the environment - has disappeared and the ossified form of relationships rests on violence and coercion. Sensitive Katerina caught this...

A. I. Zhuravleva. Thousand-year monument to Russia. 1995

SECOND ACT

Act two. A room in the Kabanovs' house.

The irreconcilability of contradictions and the severity of Katerina’s conflict with the “dark kingdom” are the beginning.

Task 11

Some critics, Ostrovsky's contemporaries, reproached him for deviating from the laws of stage art, in particular for the abundance of characters and scenes that were completely unnecessary and not related to the basis of the play. Such persons include Feklusha and Glasha, Kuligin and Dikoy, Kudryash and Shapkin, a lady with two footmen. These reproaches addressed to the playwright were refuted by N. A. Dobrolyubov:

In “The Thunderstorm” the need for so-called “unnecessary faces” is especially visible: without them we cannot understand the heroine’s face and can easily distort the meaning of the entire play, which is what happened with most critics.N. A. Dobrolyubov. A ray of light in a dark kingdom. 1860

Try to figure out what significance the phenomenon of the second act, the dialogue between Feklushi and Glasha, has in the play, which seems very far from the events depicted in “The Thunderstorm”. (If this task turns out to be difficult for you, find one of the possible answers in the article by N. A. Dobrolyubov “A Ray of Light in the Dark Kingdom” (Part 2)).

Task 12

Homework check: It is believed that the scene of Tikhon’s departure is one of the most important in the play both for revealing the characters’ characters and for its function in the development of intrigue (phenomenon 3).

Determine the role of this scene in the development of the action of “The Thunderstorm”. Does Katerina’s attitude towards her husband change at the moment of farewell?

What feelings do Katerina and Kabanikha experience? Write stage directions for their remarks that help you understand their emotional state.

Why does Kabanikha limit herself to only remarking, dissatisfaction, that Katerina does not howl on the porch after her husband’s departure, but does not insist, does not dare force her daughter-in-law to fulfill this custom?

Task 13

Let's return to the conversation between Katerina and Tikhon before his departure:

“Kabanov. After all, you are not alone, you will stay with your mother.

Katerina. Don't tell me about her, don't tyrant my heart! Oh, my misfortune, my misfortune! (Cries.) Where can I, poor thing, go? Who should I grab hold of? My fathers, I am perishing!”

Before this, Katerina says about Kabanikha: “She offended me!”, and Tikhon replies: “Take everything to heart, and you’ll soon end up with consumption. Why listen to her? She needs to say something! Well, let her talk, and you turn a deaf ear.”

What is Katerina’s offense? Why doesn’t Tikhon’s words calm her down, his advice not to pay attention to her mother-in-law? Can Katerina, as we know her from the first two actions, not take it to heart, pretend that she obeys Kabanikha’s absurd demands and thereby ensure herself a relatively calm existence in the house?

What is the meaning of the word “heart” in this dialogue?

Is this fragment of the dialogue between Katerina and Tikhon connected with her final decision to meet with Boris, and if so, to what extent?

Task 14

Re-read Katerina’s final monologue about the key in the second act and watch how, in her reflections, she gradually approaches the decision to meet Boris (from the words “Throw him away, throw him far away, throw him into the river so that they will never be found” to the words “Oh, if only it were night hurry up!..”) Which phrases of this monologue do you consider defining and why?

Task 15

An interesting testimony from a contemporary about how one of the famous actresses played Kabanova: in the first act, she came on stage strong, imperious, a “flint-woman”, menacingly pronounced her instructions to her son and daughter-in-law, then, left on stage alone, suddenly everything changed and became good-natured. It was clear that the formidable appearance was only a mask that she wore in order to “maintain order in the house.” Kabanova herself knows that the future is not hers: “Well, at least it’s good that I won’t see anything.” (According to the book: M. P. Lobanov. Ostrovsky. 1979.)

Is such a stage interpretation of the image of Kabanikha possible? What is the reason for Kabanikha’s very lenient attitude towards Varvara’s behavior and uncompromising severity towards Katerina?

Do you agree with the statement that Marfa Ignatievna is far from insensitive as a mother?

ACT THIRD

Act three. Scene 1. Street. The gate of the Kabanovs' house, there is a bench in front of the gate.

The freedom gained by Katerina is a step towards the tragic death of the heroine - development.

Task 16

Homework check: Expressively read the dialogue between Kabanikha and Feklushi from phenomenon I.

What is its main subtext? Determine the mood of your interlocutors. What intonation means can you express it?

What is more comic or dramatic in the scene? Can we say that it is still topical today?

Task 17

Homework check: Why do you think the Wild One needed to “confess” to Kabanikha (phenomenon II)?

Why does he, a tyrant, the sovereign ruler of his household, not want to return home (“I have a war going on there”)? Why is Dikoy so worried?

Task 18

In a conversation with Kabanikha, Dika constantly uses the word “heart”: “...What do you tell me to do with myself when my heart is like this!”, “Here it is, what kind of heart I have!”, “That’s it.” what does my heart bring me..."; The words “angry”, “angry”, “angry” sound at the same time. Kabanikha asks: “Why are you deliberately bringing yourself into your heart?”

What meaning does Ostrovsky and his heroes put into the word “heart”?

Task 19

Read the critic's enthusiastic assessment of the scene in the ravine.

You know this moment, magnificent in its poetry - this hitherto unprecedented night of meeting in a ravine, all breathing with the closeness of the Volga, all fragrant with the smell of the herbs of its wide meadows, all sounding with free songs, “funny”, secret speeches, all full of the charm of deep and tragic passion - fatal. It was created as if it was not an artist, but an entire people who created it here.A. A. Grigoriev - I. S. Turgenev. 1860

Is this really a key scene for determining the direction of the play?

What do you think attracts Katerina to Boris?

Task 20

Constructing the scene in the ravine according to the laws of music, Ostrovsky introduces two contrasting themes in it, but by the end they merge in a common chord: the anxious, difficult love of Katerina and Boris and the free, reckless love of Varvara and Kudryash. It is these two faces - Varvara and Kudryash - who most powerfully personify the will that even Kabanikha and Dikoy are unable to suppress.

A. N. Anastasyev. "Thunderstorm" by Ostrovsky. 1975

Do you agree with this point of view of the literary critic? Are other assessments of the characters in “The Thunderstorm” possible in this scene and in its composition itself?

Homework check: What role do the songs of Kudryash and Varvara play in these scenes?

ACT FOUR

Act four. In the foreground is a narrow gallery with the vaults of an ancient building that is beginning to collapse; here and there there is grass and bushes; behind the arches there is a bank and a view of the Volga.

Katerina’s mental turmoil is a consequence of the freedom she has gained—the climax.

Task 21

Homework check: What new things do we learn about the morals of the “dark kingdom” from the dialogue between Kuligin and Boris? How does the topic of this dialogue relate to the conversation between Kudryash and Boris before the date? How are these dialogues related to the main event of the third act?

Task 22

Read the second scene of the fourth act, analyze the author’s remarks and, based on this, write director’s remarks for the dialogue between Dikiy and Kuligin that reveal the inner state of the speakers. They will help you determine your interpretations of these characters in the play.

Sample assignment

♦ Homework check: Why does Ostrovsky accompany Dikiy’s speech with author’s remarks much more often than Kuligin’s?

Why did Derzhavin’s poems quoted by Kuligin anger Dikiy? Why did he promise to send Kuligin to the mayor? What did he see in the poems? (“Hey, honorable ones, listen to what he says!”)

Task 23

In criticism and literary criticism, Kuligin was usually assessed either as an advanced person, an intellectual from the people, his name was associated with the name of the inventor Kulibin, or as a person who understood everything, but was downtrodden, a kind of victim of the “dark kingdom.”

Get acquainted with another point of view belonging to a modern literary critic:

Not only Kalinov’s dark inhabitants, but also Kuligin, who performs some of the functions of a reasoning hero in the play, are, after all, also flesh and blood of Kalinov’s world. His image is consistently painted in archaic tones... Kuligin's technical ideas are a clear anachronism. The sundial he dreams of came from antiquity, the lightning rod is a technical discovery of the 18th century. Kuligin is a dreamer and poet, but he writes “in the old-fashioned way,” like Lomonosov and Derzhavin. And his stories about the customs of the Kalinovsky inhabitants are kept in even more ancient stylistic traditions, reminiscent of ancient moralizing tales and apocrypha. Kind and gentle, dreaming of changing the lives of his fellow countrymen by receiving an award for the discovery of a perpetual motion machine, he seems to them to be something of a city holy fool.

A. I. Zhuravleva. Thousand-year monument to Russia. 1995

Task 24

Check out the interpretations below of Katerina's repentance scene.

Reviewing the production of “The Thunderstorm” at the Maly Theater (1962), E. G. Kholodov notes that in the scene of repentance, Rufina Nifontova, who played Katerina, rises to a truly tragic force.

No, it was not a thunderstorm, not the prophecies of a crazy old woman, not the fear of hell that prompted this Katerina to confess. For her honest and integral nature, the false position in which she found herself is unbearable. How humanly, with what deep pity Katerina says, looking into Tikhon’s eyes: “My darling!” At that moment, it seems, she forgot not only Boris, but also herself. And it is in this state of self-forgetfulness that she shouts out words of recognition, without thinking about the consequences. And when Kabanikha asks: “With whom... Well, with whom?”, she firmly and proudly, without challenge, but with dignity, answers: “With Boris Grigorievich.”

E. G. Kholodov. "Storm". Maly Theater. A. N. Ostrovsky on the Soviet stage. 1974

If Katerina was driven to Boris by the passion that gripped her, then why did she publicly and publicly repent of her sin in the fourth act? After all, she knew, she could not help but know, that this would entail shame, abuse, not to mention the collapse of love. However, even in this most difficult and risky scene, Ostrovsky created a psychologically undeniable situation in which Katerina could not act differently if she remained herself. It was not “a coincidence of empty circumstances”, but the greatest, cruel, insurmountable test for a pure and believing soul that Katerina met in the destroyed church gallery. Consistently - in full agreement with the truth of life, with the reality of the situation and at the same time with great dramatic art - the writer rains down blow after blow on his heroine.

In the series of these blows - like in music - one can feel the contrast, the increase in action, the harbinger of a thunderstorm and the thunderstorm itself. First, a woman’s casual remark: “If someone is destined for it, you won’t go anywhere.” Then Tikhon’s joke, seemingly inappropriate in this tense atmosphere: “Katya, repent, brother, if you have sinned in anything.” Then - the unexpected appearance of Boris - a living reminder of ill-fated love. In the discordant conversation, one can hear that the thunderstorm will kill someone today - “because look, what an unusual color!” The Lady brings a sharp note of increasing tension with her prophecies. But this is not enough! Hiding against the wall, Katerina sees an image of “fiery Gehenna” and can’t stand it anymore - she tells everything...

In the drama “The Thunderstorm” there is absolutely no concept of “fate”, the tragic guilt of the hero and retribution for it as a constructive element. Moreover, the author’s efforts are aimed at criticizing the idea of ​​the hero’s tragic guilt. Ostrovsky convincingly shows that modern society is destroying the best, most gifted and pure natures, but such observations force him to conclude that the relations prevailing in modern society are subject to change.L. M. Lotman. A. N. Ostrovsky and Russian drama of his time. 1961

Compare the proposed interpretations. Which of them, in your opinion, helps to better understand the motives of Katerina’s behavior?

Task 25

It is important that it is here, in Kalinov, in the soul of the extraordinary, poetic Kalinov woman that a new attitude to the world is born, a new feeling, still unclear to the heroine herself... This vague feeling, which Katerina cannot, of course, explain rationally, is an awakening sense of personality . In the heroine’s soul, it naturally takes not the form of civil, public protest - this would be incompatible with the mentality and entire sphere of life of a merchant’s wife - but the form of individual, personal love.A. I. Zhuravleva. Thousand-year monument to Russia. 1995

Why did suicide turn out to be the only way out of this situation for Katerina?

4. The main characters of the play.

Task 29

The world of patriarchal relations is dying, and the soul of this world leaves life in torment and suffering, crushed by the ossified, meaningless form of everyday connections and itself passing a moral verdict, because in it the patriarchal ideal lives in its primordial content. That is why in the center of "The Thunderstorm" next to Katerina stands not any of the heroes of the "love triangle", not Boris or Tikhon, heroes of a completely different, everyday, everyday scale, but Kabanikha... Both of them are maximalists, both will never come to terms with human weaknesses and do not compromise. Both of them, finally, believe the same, their religion is harsh and merciless, there is no forgiveness for sin, and they both do not remember mercy. Only Kabanikha is completely chained to the earth, all her forces are aimed at holding, gathering, defending the way of life, she is the guardian of form. And Katerina embodies the spirit of this world, its dream, its impulse. Ostrovsky showed that even in the ossified world of the city of Kalinov, a folk character of amazing beauty and strength can arise, whose faith - truly Kalinov's - is nevertheless based on love, on a free dream of justice, beauty, some kind of higher truth.

A. I. Zhuravleva. Thousand-year monument to Russia. 1995

Who do you think, along with Katerina, can be called the main characters of the play and why?

Is it possible to agree with Zhuravleva and accept Katerina and Kabanikha as two poles of Kalinov’s world? If yes, then justify with examples from the text of the play.

Task 30

The fact is that the character of Katerina, as he is performed in “The Thunderstorm,” constitutes a step forward not only in Ostrovsky’s dramatic work, but also in all of our literature. It corresponds to the new phase of our national life, it has long demanded its implementation in literature, our best writers revolved around it; but they only knew how to understand its necessity and could not understand and feel its essence; Ostrovsky managed to do this...

In Katerina we see a protest against Kabanov’s concepts of morality, a protest brought to the end, proclaimed both under domestic torture and over the abyss into which the poor woman threw herself.N. A. Dobrolyubov. A ray of light in a dark kingdom. 1860

Katerina's whole life consists of constant internal contradictions; every minute she rushes from one extreme to another; Today she repents of what she did yesterday, and yet she herself does not know what she will do tomorrow; at every step she confuses her own life and the lives of other people; finally, having mixed up everything she had at hand, she cuts through the lingering knots with the most stupid means, suicide, and even a suicide that is completely unexpected for herself.D. I. Pisarev. Motives of Russian drama. 1864

As paradoxical as this may seem at first glance, it seems to us that both critics were right in this case. Each from his own position, although within the same ideological and socio-political tradition. The very character of Katerina, objectively, apparently, contained elements that opened up the possibility of a certain duality in his assessment: under certain conditions, “Katerina” could “overthrow the Dark Kingdom” and become an element of a renewed society - such a possibility was objectively laid down by history in their character; under other historical circumstances, the “Katerinas” submitted to the social routine of this kingdom and themselves appeared as an element of this kingdom of the Foolovites. Dobrolyubov, assessing Katerina only on one side, concentrated all his critic’s attention only on the spontaneously rebellious side of her nature; Pisarev was struck by Katerina’s exceptional darkness, the antediluvian nature of her social consciousness, her peculiar social “Oblomovism,” and political bad manners.

A. A. Lebedev. The playwright in the face of criticism. 1974

♦ Can this point of view of a modern literary critic serve as an explanation of the reasons for the disagreements between Dobrolyubov and Pisarev in their assessment of Katerina?

5. Symbolism of “Thunderstorm” (Presentation “Symbolism of the play”).

1. Names of heroes (see above). The use of proper names is determined by two main trends. Really existing (or existing) names and toponyms are used, albeit unusual ones (Ostrovsky does not give his characters widely used surnames; he often chooses rare names); surnames can be invented, but always taking into account the anthroponymic norms of the second half of the 19th century. At the same time, Ostrovsky sought to make first and last names “speaking”; he often “revitalized” the semantics of even the most ordinary name.

The semantics of a surname in many cases turns out to be veiled; first names and patronymics can be neutral.

The semantics of the anthroponym may not be at all connected with the character of the character: Ostrovsky, most likely, sought to ensure that the viewer did not have the desire to always correlate the name and character.

At the same time, the playwright took into account the use of the name in a particular social environment. And here the principles of naming are especially important (monomial, two-term, three-term). The functioning of anthroponyms in a work is determined primarily by social and family roles.

2. Place names in Ostrovsky’s plays are expressive.

In "The Thunderstorm" the action takes place in the city of Kalinov. There are two cities of Kalinov, perhaps in Ostrovsky’s time these were villages. Kalina is often mentioned in proverbs and sayings, and in folk songs it is a strong parallel to the girl.

All the settlements mentioned by the heroes actually exist: Moscow, Paris, Tyakhta, the place where Dikoy sends Boris is a village in the Altai Territory.

It is unlikely that Ostrovsky hoped that the audience would know this village, so he specifies that Boris is going to the “Chinese”, which is not far from the truth, taking into account the phonosemantics of the toponym: only a very remote place can be called that.

3. One of the important symbols is the Volga River and the rural view on the other bank.

The river is like the border between the dependent, unbearable for many life on the bank on which the patriarchal Kalinov stands, and the free, cheerful life there, on the other bank. Katerina, the main character of the play, associates the opposite bank of the Volga with childhood, with life before marriage: “How playful I was! I’ve completely withered away from you.” Katerina wants to be free from her weak-willed husband and despotic mother-in-law, to “fly away” from the family with Domostroev principles. “I say: why don’t people fly like birds? You know, sometimes I feel like I'm a bird. When you stand on the torus, you feel the urge to fly,” says Katerina Varvara. Katerina remembers birds as a symbol of freedom before throwing herself off a cliff into the Volga: “It’s better in a grave... There’s a grave under a tree... how nice!... The sun warms it, wets it with rain... in the spring the grass grows on it, it’s so soft... the birds will come on a tree, they will sing, they will bring children out..."

The river also symbolizes an escape towards freedom, but it turns out that this is an escape towards death.

And in the words of the lady, a half-crazy old woman, the Volga is a whirlpool that draws beauty into itself: “This is where beauty leads. Here, here, in the deep end!”

4. The symbol of birds and flight in Katerina’s dreams. No less symbolic are the images from Katerina’s childhood dreams and the fantastic images in the wanderer’s story. Unearthly gardens and palaces, the singing of angelic voices, flying in a dream - all these are symbols of a pure soul, not yet aware of contradictions and doubts. But the uncontrollable movement of time also finds expression in Katerina’s dreams: “I no longer dream, Varya, of paradise trees and mountains as before; and it’s as if someone is hugging me so warmly and warmly and leading me somewhere, and I follow him, I go...” This is how Katerina’s experiences are reflected in dreams. What she tries to suppress in herself rises from the depths of the unconscious.

5. Some motives in the monologues of the heroes also have a symbolic meaning.

In act 3, Kuligin says that the home life of rich people in the city is very different from the public life. Locks and closed gates, behind which “households eat and tyrannize the family,” are a symbol of secrecy and hypocrisy.

In this monologue, Kuligin denounces the “dark kingdom” of tyrants and tyrants, whose symbol is a lock on a closed gate so that no one can see and condemn them for bullying family members.

In the monologues of Kuligin and Feklushi, the motive of the trial sounds. Feklusha talks about a trial that is unfair, even though it is Orthodox. Kuligin speaks of a trial between merchants in Kalinov, but this trial cannot be considered fair, since the main reason for the emergence of court cases is envy, and because of the bureaucracy in the judicial authorities, cases are delayed, and every merchant is only happy that “yes already and it won’t cost him a penny.” The motive of the trial in the play symbolizes the injustice reigning in the “dark kingdom.”

The paintings on the walls of the gallery, where everyone runs during a thunderstorm, also have a certain meaning. The paintings symbolize obedience in society, and “fiery Gehenna” is hell, which Katerina, who was looking for happiness and independence, is afraid of, and Kabanikha is not afraid, since outside the home she is a respectable Christian and she is not afraid of God’s judgment.

Tikhon’s last words also carry another meaning: “Good for you, Katya! Why did I stay in the world and suffer!” The point is that through death Katerina gained freedom in a world unknown to us, and Tikhon will never have enough fortitude and strength of character to either fight his mother or commit suicide, since he is weak-willed and weak-willed.

6. Symbolism of a thunderstorm. The meaning of the title of the play "The Thunderstorm".

The thunderstorm in the play has many faces. The characters perceive the thunderstorm differently.

A thunderstorm in society is a feeling among people who stand up for the immutability of the world of something incomprehensible, astonished because someone went against it.

For example, Dikoy believes that a thunderstorm is sent by God as punishment so that people remember about God, that is, he perceives a thunderstorm in a pagan way. Kuligin says that a thunderstorm is electricity, but this is a very simplified understanding of the symbol. But then, calling the thunderstorm grace, Kuligin thereby reveals the highest pathos of Christianity.

- To reveal the meaning of the name “Thunderstorms”, the symbolic meaning of this image, you should remember (or write in a notebook) fragments of the text, remarks that mention the thunderstorm and the perception of it by the residents of the city of Kalinov. Name possible interpretations of this symbol in the play. An excerpt from V. Ya. Lakshin’s book “Ostrovsky” will help you prepare an answer to this question. Select from it the materials necessary for your analysis:

This is an image of fear: punishment, sin, parental authority, human judgment. “There won’t be any thunderstorms over me for two weeks,” Tikhon rejoices as he leaves for Moscow. The tales of Feklushi - this Kalinovskaya oral newspaper, readily condemning foreign things and praising the native theme, with their mentions of “Makhnut-Saltan” and “unjust judges” reveal another literary source of the image of a thunderstorm in the play. This is “The Tale of Makhmet-Saltan” by Ivan Peresvetov. The image of a thunderstorm as fear is pervasive in the work of this ancient writer, who wants to support and instruct his sovereign, Ivan the Terrible. The Turkish king Makhmet-saltan, according to Peresvetov’s story, brought order to his kingdom with the help of a “great thunderstorm.” He ordered the unrighteous judges to be “skinned,” and to write on their skin: “Without such a thunderstorm of righteousness, it is impossible to bring into the kingdom... Like a horse under a king without a bridle, so is a kingdom without a thunderstorm.”

Of course, this is only one facet of the image, and the thunderstorm in the play lives with all the naturalness of a natural wonder: it moves in heavy clouds, thickens with motionless stuffiness, bursts into thunder and lightning and refreshing rain - and with all this goes in harmony with the state of depression, moments of horror of popular repentance and then tragic liberation, relief in Katerina’s soul.V. Ya. Lakshin. Ostrovsky. 1976

Thunderstorm as a natural (? physical) phenomenon.

There is another interpretation of the main symbol of the play:

The image of a thunderstorm, which closes the general meaning of the play, is also endowed with special symbolism: it is a reminder of the presence in the world of a higher power, and therefore of the highest super-personal meaning of existence, in front of which such sublime aspirations for freedom, for the affirmation of one’s will, are truly comical in appearance. Before God's thunderstorm, all the Katerina and Marfa Kabanovs, the Boris and Savela Wilds, the Kuligins and Kudryashis are united. And nothing can convey better than a thunderstorm this ancient and eternal presence of God’s will, which man must comprehend and with which it is pointless to compete.

A. A. Anikin. Reading the play “The Thunderstorm” by A. N. Ostrovsky. 1988

For the first time, the lady appears before the first thunderstorm and frightens Katerina with her words about disastrous beauty. These words and thunder in Katerina’s consciousness become prophetic. Katerina wants to run away into the house from the thunderstorm, because she sees God’s punishment in it, but at the same time she is not afraid of death, but is afraid to appear before God after talking with Varvara about Boris, considering these thoughts to be sinful. Katerina is very religious, but this perception of the thunderstorm is more pagan than Christian.

A thunderstorm is an image of a spiritual upheaval.

- How do you feel about the above point of view of a modern literary critic? Does it, in your opinion, reflect the playwright's intention?

- To sum up what has been said, we can say that the role of symbolism is very important in the play. By endowing phenomena, objects, landscape, and the words of the characters with another, deeper meaning, Ostrovsky wanted to show how serious the conflict existed at that time not only between, but also within each of them.

6. Criticism of the play “The Thunderstorm”(Presentation “Criticism of the drama “The Thunderstorm”).

"The Thunderstorm" became the subject of fierce debate among critics in both the 19th and 20th centuries. In the 19th century, Dobrolyubov (article “A Ray of Light in the Dark Kingdom”) and Apollon Grigoriev wrote about it from opposite positions. In the 20th century - Mikhail Lobanov (in the book “Ostrovsky”, published in the “ZhZL” series) and Lakshin.

In the drama “The Thunderstorm,” Ostrovsky’s most advanced, progressive aspirations were especially clearly manifested. Katerina’s collision with the terrible world of the Wild, the Kabanovs, with its animal laws based on cruelty, lies, deception, mockery and humiliation of man, is shown with stunning force.

“The Thunderstorm” was written by Ostrovsky in the years when the theme of “freedom of feeling,” “the liberation of women,” and “family foundations” was very popular and topical. In literature and drama, a number of works were dedicated to her. All these works were united, however, by the fact that they skimmed the surface of phenomena and did not penetrate into the depths of the contradictions of modern life. Their authors did not see hopeless conflicts in the surrounding reality. They thought that with the era of change a new era was opening for Russia, that a turning point in all spheres and areas of life was close and inevitable.

Liberal illusions and hopes were alien to Ostrovsky. Therefore, “The Thunderstorm” turned out to be a completely unusual phenomenon against the background of similar literature. It sounded with obvious dissonance among works about the “liberation of women.”

Thanks to Ostrovsky's insight into the very essence of the contradictions of contemporary life, Katerina's suffering and death acquire the significance of a genuine social tragedy. Ostrovsky’s theme of “woman’s liberation” is organically connected with criticism of the entire social system; The tragic death of Katerina is shown by the playwright as a direct consequence of her hopeless situation in the “dark kingdom.” Kabanikha’s despotism grows not only from the waywardness of her character. Her views and actions are determined by the primordial laws of Domostroy. Kabanikha is an active and merciless guardian and guardian of all the “foundations” of her world. Kabanikha, as Dobrolyubov pointed out, “has created for herself a whole world of special rules and superstitious customs, for which she stands with all the stupidity of tyranny.”

In accordance with the ideological concept of the drama, Ostrovsky highlights in the image of Katerina those features that do not allow her to come to terms with the “laws” of the environment, based on lies and deception. The main thing in Katerina’s character is his integrity, love of freedom and sincerity. Katerina is a heroic, sublime image, raised above the little things and everyday life. Her feelings are full-blooded, spontaneous and deeply human.

Ostrovsky simultaneously shows Katerina’s inner constraint by the norms of Christian morality. The consequence of this is a peculiar interweaving in the image of Katerina of elements of “religious exaltation” with the desire for will, with the desire to defend one’s personality, to break the deadening narrowness of the family order protected by Kabanikha.

7. Reflection.

- Imagine that you have to stage “The Thunderstorm” by A. N. Ostrovsky on the stage of a modern theater.

- In what genre would you stage this play, what would you highlight as the main conflict?

Questions about the play. What are the similarities and differences between the characters of Tikhon and Boris? How do they feel about Katerina? Presentation

Who buttoned the first button incorrectly
It won't fasten properly anymore.
Goethe

START OF THE WORK. Prologue, exposition, plot

1. Prologue
2. Exposition
Exposure functions
Expanded and fast-paced exposition
Exhibition elements
Direct and indirect exposure
Introduction of the main character
3. Tie
Trigger
4. First paragraph

The beginning of a work is often likened to a small pebble, which, having rolled down a mountain, carries others along with it and leads to a rockfall.
The success of the work depends on how deftly the author launches the starting stone.
This will be discussed in this article.

In the classic version, the following parts of a work of art are distinguished:
- prologue
- exposition
- string
- development
- climax
- epilogue

This list and order are not mandatory. The prologue and epilogue may not be present in the narrative, and the exposition can be located anywhere and not necessarily in its entirety.
The plots of modern works are often built according to a simplified scheme: plot - development of action - climax - denouement, or according to an even more simplified plot - action - climax (also known as denouement).

The classic scheme is more suitable for solid, slowly developing plots. A lightweight scheme is used where rapid development of the plot is necessary.

The beginning is more than half of everything.
Aristotle

PROLOGUE
- the introductory (initial) part of a literary-artistic, literary-critical, journalistic work, which anticipates the general meaning, plot-plot basis or main motives of the work, or briefly outlines the events that precede the main content.
In narrative genres (novel, story, short story, etc.), the prologue always has artistic and aesthetic significance, becoming a kind of background to the plot, and in literary criticism, journalism and other documentary genres it can be perceived as a preface.

Prologue
I still have memories and one photograph from our class. Group portrait with the class teacher in the center, girls around and boys on the edges. The photograph had faded, and since the photographer carefully pointed at the teacher, the edges, blurred during the shooting, were now completely blurred; sometimes it seems to me that they blurred because the boys in our class long ago faded into oblivion, never having had time to grow up, and their features were dissolved by time.
<…>
For some reason, even now I don’t want to remember how we ran away from classes, smoked in the boiler room and created a crush in the locker room, so that at least for a moment we could touch the one we loved so secretly that we did not admit it to ourselves. I spend hours looking at a faded photograph, at the already blurred faces of those who are not on this earth: I want to understand. After all, no one wanted to die, right?
And we didn’t even know that death was on duty outside the threshold of our class. We were young, and the ignorance of youth is made up for by faith in our own immortality. But of all the boys who look at me from the photograph, four remain alive.
How young we were. (B. Vasiliev. Tomorrow there was a war)

Through the prologue, the author introduces the reader to the world of his memories of his youth, introduces him to his former classmates and teachers, to school and parents. At the same time, the writer seems to be reflecting, pondering and reevaluating everything that happened to him forty years ago.

Another example of a prologue is the film “Pokrovsky Gates,” remember?
Director Mikhail Kazakov carefreely travels through Moscow in the 70s. He drives up to the old dilapidated house in which he spent his youth. The voiceover and the very fact that the house is being destroyed sets the viewer on a nostalgic note.

Thus, the FUNCTION of the PROLOGUE is to convey the events that prepare the main action.

However, the prologue is NOT the first episode of the narrative to be forcibly cut off from it.
The events of the prologue should not duplicate the events of the initial episode, but should generate intrigue precisely in combination with it.
The mistake is to create an intriguing prologue that is not connected to the beginning by time, place, characters, or idea. The connection between the prologue and the beginning of the story may be obvious, it may be hidden, but it must be there.

A PROLOGUE IS NEEDED IF:

1. The author wants to start the story slowly, and then make a sharp transition to dynamics and drama. In this case, several phrases are inserted into the prologue, hinting at the climax, but, of course, not revealing it.

An example is the same story by Vasiliev “And tomorrow there was war”

2. The author wants to describe in detail the preceding events - who did what in what year and what came of it. This type of prologue allows for a leisurely, sequential narrative with a detailed presentation of exposition.
In this case, a maximum time gap is allowed between the prologue and the main narrative, which serves as a pause, and the exposition becomes minimal and serves only those events that give impetus to the action, and not the entire novel.

An example is Volkov’s fairy tale “The Yellow Fog”, in the prologue of which the author reproduces the continuous continuity of the narrative - the history of the Magic Land and the five-thousand-year-long dream of the sorceress Arachne.

3. Set the reader to a certain emotional wave.
In this case, allusions and allegories are possible in the prologue.
An example is Andrei Bely’s novel “Petersburg”

PROLOGUE
Your Excellencies, Highnesses, Nobility, Citizens!
What is our Russian Empire?
Our Russian Empire is a geographical unity, which means: part
famous planet. And the Russian Empire concludes: firstly, Great, Small, White and Red Rus'; secondly - the Georgian, Polish, Kazan and Astrakhan kingdoms; thirdly, it concludes... But - so on, so on, so on.

(in this phrase Bely parodies the full official title of the Russian emperor, which included about 60 names of the lands subject to him ("Emperor and Autocrat of All Russia, Moscow, Kiev, Vladimir, Novgorod, Tsar of Kazan, Tsar of Astrakhan, Tsar of Poland, Tsar of Tauride Chersonis", etc.) etc.) and ending with the words: “and so on, and so on, and so on”)

<…>And we won’t dwell on it.
Let's talk more about St. Petersburg: there is St. Petersburg, or
St. Petersburg, or Peter (something the same). Based on the same judgments
Nevsky Prospect is St. Petersburg Prospect.
Nevsky Prospect has a striking property: it consists of
spaces for public circulation; numbered houses limit it; The numbering is in the order of the houses - and the search for the desired house is greatly facilitated.
<…>
If you continue to assert the most absurd legend - the existence of a one and a half million Moscow population - then you will have to admit that the capital will be Moscow, because only in capitals can there be a population of one and a half million; but in the provincial cities there is no one and a half million population, there has never been, there never will be. And according to an absurd legend, it turns out that the capital is not St. Petersburg.
If St. Petersburg is not the capital, then there is no St. Petersburg. It only seems that he exists

(Asserting the motif of the “unreality” of St. Petersburg, Bely follows the poetic tradition of depicting the city in the works of Gogol (see the ending of the story “Nevsky Prospekt”) and Dostoevsky (“Teenager”, part I, chapter 8, I).

“The theme of “Petersburg” by Andrei Bely grew out of the two-hundred-year-old mythology of St. Petersburg, the creation of which dates back to the time of the founding of the city. In its most acute form, Bely’s “Petersburg” confronts Pushkin’s “The Bronze Horseman” and at the same time, as it were, continues and develops his ideas<…>Petersburg in Bely’s “Petersburg” is not between East and West, but East and West at the same time, that is, the whole world” (c) D. Likhachev

Find the beginning of everything, and you will understand a lot.
Kozma Prutkov

EXPOSITION
- depiction of the arrangement of characters and circumstances immediately preceding the unfolding of the plot action.

EXPOSURE FUNCTIONS:

Determine the place and time of the events described,
- introduce the characters,
- show the circumstances that will be the prerequisites for the conflict.

Diderot wrote: “The first act of a drama is perhaps its most difficult part: it must open the action, develop, sometimes expound and always connect.”

Let's look at an example - how to “state” and “connect” this?

Script for the film “Office Romance”. The voiceover is on behalf of the main character - comrade Anatoly Efremovich Novoseltsev.

“As everyone knows, work ennobles a person.
And that’s why people are happy to go to work.
Personally, I go to service only because it ennobles me.
If there were no statistics, we would not even suspect how well we are working” (c) - place and time of action + self-presentation of the hero = presentation of the characters.

“Lyudmila Prokofyevna Kalugina, director of our statistical institution.
She knows the business she runs. This also happens.
Lyudmila Prokofyevna comes to work before everyone else and leaves later than everyone else, from which it is clear that she, alas, is not married.
We call it "our mymra".
Of course, behind the scenes” (c) – representation of the characters, a hint of conflict.

“Every morning on the way to work I get rid of my skanks.
- Here's 40 kopecks, you can buy two cartons of milk. And don't forget!
- OK!
“And don’t forget to have breakfast, do you hear!” (c) – self-presentation of the hero = presentation of the characters

“My name is Anatoly Efremovich, my last name is Novoseltsev.
I live only on my salary, that is, from paycheck to paycheck.
In a word, I'm getting out...
In a word, I’m spinning” (c) - self-presentation of the hero = presentation of the characters + a hint of conflict.

And this is Olga Petrovna Ryzhova...
Olya.
Olya is my most faithful friend.
We became friends a long time ago, back in college.
What I love most about her is that she is an optimist - no matter what happens!
And, as you know, it’s the optimists who move the globe” (c) – representation of the characters

Balance and precision in defining characters and circumstances should be the virtue of exposition.

EXHIBITION VOLUME

According to the classical scheme, about 20% of the total volume of the work is allocated to exposition and plotting. But in fact, the volume of the exhibition depends entirely on the author’s intention. For works with a fast-paced plot, a couple of lines are enough to introduce the reader to the essence of the matter; for works with a drawn-out plot, the introduction is usually made larger.

An example of an extensive exhibition is Ostrovsky’s play “The Thunderstorm”

The action develops slowly and slowly, the viewer’s entry into the world of the “dark kingdom” occupies the entire 1st act and the beginning of the 2nd. The viewer has the opportunity to carefully examine the surroundings of the provincial merchant town of Kalinov, taking the time to get acquainted with the life and customs of its inhabitants.
In this case, the playwright’s task is to create a detailed picture that does not raise any doubts in the viewer about the authenticity of what is happening on stage.

An example of fast-paced exposition is Conan Doyle's story "The Redheads' Union."

“It was last fall. An elderly gentleman, very plump and fiery red-haired, was sitting with Sherlock Holmes. I wanted to go in, but I saw that both of them were engrossed in conversation, and I hurried away. However, Holmes dragged me into the room and closed the door behind me.
“You could not have come at a better time, my dear Watson,” he said affably” (c)
And then comes the beginning of the plot.

In addition to the author’s tastes, the volume of the exhibition is also dictated by fashion, as sad as it may be. The requirement of modern editors is that the exposition should begin with a dynamic and exciting scene in which the main character is involved.

EXHIBITION ELEMENTS

The beginning of something has long been designed to seduce.
Ernst Simon Bloch

“At the end of 1811, in an era memorable to us, the good Gavrila Gavrilovich R** lived on his estate Nenaradov” (Pushkin. Blizzard)

The reader should be introduced to the main characters - and in detail that will later be used in the conflict...

“He was famous throughout the district for his hospitality and cordiality; neighbors constantly went to him to eat, drink, play Boston for five kopecks with his wife, and some in order to look at their daughter, Marya Gavrilovna, a slender, pale and seventeen-year-old girl. She was considered a rich bride, and many expected her to marry them or their sons.
Marya Gavrilovna was brought up on French novels, and, consequently, was in love. The subject she chose was a poor army ensign who was on leave in his village." (Pushkin. Blizzard)

...as well as the preconditions for the conflict

“It goes without saying that the young man was burning with equal passion and that the parents of his beloved, noticing their mutual inclination, forbade their daughter to think about him, and he was received worse than a retired assessor.
Our lovers corresponded and saw each other alone every day in a pine grove or near the old chapel. There they swore eternal love to each other, complained about fate and made various assumptions. Corresponding and talking in this way, they (which is very natural) came to the following reasoning: if we cannot breathe without each other, and the will of cruel parents interferes with our well-being, then will it be impossible for us to do without it? It goes without saying that this happy thought first came to the young man’s head and that Marya Gavrilovna’s romantic imagination liked it very much.” (Pushkin. Blizzard)

All elements of the exhibition are “guns” hung on the walls, which must fire at the moment desired by the author.

TYPES OF EXPOSITION

There are many different ways of exhibiting. However, ultimately, they can all be divided into two main, fundamentally different types - direct and indirect exposure.

In the case of DIRECT EXPOSURE, the reader is introduced to the course of the matter, as they say, head-on and with complete frankness.

First young man. Is it true that, having fallen in love, a person straightens up like a flower in the light?
D eushka (thoughtfully). That also happens...
The second young woman (takes her hand and looks at it). But couldn’t it happen that the power of my love will change you beyond recognition, and you will become so beautiful that even I myself won’t recognize you?
Young woman. Who knows...
H o r. This is the story that happened on the Angara River, not far from the city of Irkutsk. In the mid-twentieth century, a powerful hydroelectric power station was built in those places...
- And three people met there.
- The story we are going to talk about is...
V a l I. Story of my life.
Sergey. And my...
V i k t o r (rather rudely). Mine too.
V a l I. My name is Valya.
V i k t o r. My name is Victor.
SERGEY (thoughtfully). And my name was Sergei.
L a r i s a (puts his hands on Valya’s shoulders). I'm friends with her, but this story is not about me. My name is Larisa... It's a shame, but I'll pass by.
S e r d u k. Serdyuk is my last name. I'm already over fifty, that's what's bad. (After thinking.) There are others involved in this story, but you will learn about them later.
H o r. This is the end of this story. Spring rain. It's getting dark. Valya stands on a wooden bridge near the Angara itself and thinks about how she should live next. (Arbuzov. Irkutsk history)

A striking example of direct exposition is the monologue of the main character with which the work begins.

I don't like to accept invitations long in advance. How can you guarantee that on such and such a day in three weeks or a month you will want to dine with such and such? Perhaps, in the meantime, an opportunity will arise to spend this evening more pleasantly, and when they invite so long ago, a large and ceremonious company will obviously gather. Well, what should we do? The day was set a long time ago, the invited guests could well have vacated it in advance, and you need a very compelling excuse for refusal, otherwise you will offend the hosts with discourtesy. You accept the invitation, and for a whole month this obligation weighs on you and darkens your mood. It disrupts the plans dear to your heart. It brings chaos into your life. In fact, there is only one way out - to duck out at the very last minute. But I either don’t have the courage to do this, or my conscience doesn’t allow it. (Maugham. Sense of Decency)

Another specific form of direct exposure is the self-recommendation of characters to the viewer - like what Anatoly Efremovich Novoseltsev did. Usually this technique is used to enhance the lyrical beginning.

INDIRECT EXPOSURE

It is formed gradually, consisting of a multitude of accumulating information. The viewer receives them in a veiled form; they are given as if by accident, unintentionally.

One day in the spring, at an hour of unprecedentedly hot sunset, two citizens appeared in Moscow, on the Patriarch's Ponds. The first of them, dressed in a gray summer pair, was short, well-fed, bald, carried his decent hat like a pie in his hand, and on his well-shaven face were glasses of supernatural size in black horn-rimmed frames. The second, a broad-shouldered, reddish, curly-haired young man in a checkered cap pulled back on his head, was wearing a cowboy shirt, chewy white trousers and black slippers.
The first was none other than Mikhail Alexandrovich Berlioz, chairman of the board of one of the largest Moscow literary associations, abbreviated as MASSOLIT, and editor of a thick art magazine, and his young companion was the poet Ivan Nikolaevich Ponyrev, writing under the pseudonym Bezdomny.
Finding themselves in the shade of slightly green linden trees, the writers first rushed to the colorfully painted booth with the inscription “Beer and water.” (Bulgakov. The Master and Margarita)

One of the tasks of the exposition is to prepare the appearance of the main character (or characters).
In the vast majority of cases, there is no main character in the first episode, and this is due to the following considerations.
The fact is that with the advent of the GG, the tension of the narrative intensifies, it becomes more intense and rapid. The possibilities for any detailed explanation, if not disappearing, are at least sharply decreasing. This is what forces the author to delay introducing the main character.

The novel “Fathers and Sons” begins with a scene in which Nikolai Petrovich Kirsanov, worried, waits at the inn for his son Arkady, who has just graduated from university. First of all, Turgenev introduces information into the exhibition not about the main character - Bazarov, but about Kirsanov, a minor Persian.
The novel "War and Peace" begins with a description of Scherer's salon. It is not Pierre or Bolkonsky that Tolstoy shows us, but minor characters like Prince Vasily.
The list goes on. These works are united by the same desire of the authors - to prepare the ground for the appearance of the hero.

The hero must clearly attract the reader's attention. And here the most reliable way is to introduce the hero when the reader has already become interested in him from the stories of other characters and is now eager to get to know him better.

So, the exposition outlines - only in general terms! - the main character, whether he is good or bad. Under no circumstances should the author reveal his image to the end.
Firstly, talking a lot about the hero at the very beginning is boring and long. The reader will drown in multi-page descriptions of a completely uninteresting and unknown person.
Secondly, we must not lose the main trump card in the overall plot structure - the gradual development of the hero’s character. If the character is completely clear, then his actions will be easy to predict. The predictability of the plot is a big disadvantage for the work.

What one starts with must have the opportunity to grow.
Ernst Simon Bloch

The exposition effectively prepares the plot, the plot realizes the conflicting possibilities inherent and more or less tangibly developed in the exposition.
Exposition and plot are inextricably fused elements of a single initial stage of the work, forming the source of dramatic action.

TIE
- the moment from which the plot begins to move.

In Western literary criticism there is the concept of “trigger” = the triggering element of a novel. It marks the beginning of an action.
In most cases, it is triggered at the end of the exposition and after its activation, the course of the heroes’ previous lives becomes impossible.

For example, in “The Children of Captain Grant,” the trigger is that in the belly of a caught shark, the heroes of the novel find a bottle in which Captain Grant’s ship diaries are sealed. The need to search and possibly rescue the missing expedition forces the heroes to act, they set off on their journey.
In The Inspector General, the trigger is the story of the city gossips Bobchinsky and Dobchinsky about incognito from the capital.

There is an active trigger and a behind-the-scenes (trigger).

The voiceover is seemingly invisible to the reader, but certainly has an impact on the characters. For example, in “Hamlet” the trigger is the murder of Hamlet’s father, which was “offscreen”, but determined the entire course of events and the fate of the heroes of the tragedy.

In other words, the plot is an important event where the hero is given a certain task that he must/is forced to complete.
What kind of event this will be depends on the genre of the work. This could be the discovery of a corpse, the kidnapping of a hero, a message that the Earth is about to fly into the celestial axis, etc.

Most often, the premise is banal. It is very, very difficult to come up with something original - all the stories have already been invented before us. Each genre has its own cliches and hackneyed techniques. The author's task is not so much to show off in inventing a plot, but rather to make an original intrigue out of a standard situation.

There can be several plots - as many as the author has set up plot lines. These ties can be scattered throughout the text, but all of them must be developed and not hang in the air.

LAW - all presented ties must have a continuation and end with a denouement.

For example,
The bun lay there and lay there, and suddenly it rolled - from the window to the bench, from the bench to the floor, along the floor and to the doors, jumped over the threshold into the entryway, from the entryway to the porch, from the porch to the yard, from the yard beyond the gate, on and on. ..

FIRST PARAGRAPH

You should grab the reader by the throat in the first paragraph,
in the second - squeeze harder and hold it against the wall
until the last line.
Paul O'Neill. American writer

Read about the role of the first paragraph in a newspaper article by Randall D. Universal Journalist http://www.gumer.info/bibliotek_Buks/Gurn/Rendall/10.php

Works of fiction differ from journalistic works, but the role of the first paragraph remains.

“The first paragraph, sometimes called the introduction, should be a straight shot. It should give a clear idea of ​​the theme and mood of the entire book in which you have decided to write your deliberate and calculated story. If you come up with a beautiful stylistic phrase, it will be even better.
Daphne du Maurier's Rebecca, for example, begins with a smooth, natural phrase:
“That night I dreamed that I was back in Manderley.”

This beginning corresponds so harmoniously to the book that it’s hard to believe that just a little more, the author would have chosen a different beginning. In her hesitation, however, there is a certain consolation for us - if the writer came up with the famous first line later, it means that we are not obliged to immediately bring the first sentence to perfection. We will still have a lot of time to achieve the desired effect.
<…>

Here is an example of the beginning of several stories, new and old, that fell into my hands. First Georges Simenon, and Les Fantomes du chapelier, a story first published in 1949, set in an unforgettable mood:

“It was the third of December and it was still raining. A black three-piece suit, with a slightly protruding belly, stood out against the whiteness of the calendar attached to the cash register, opposite the dark oak partition that separated the display case from the store itself. Exactly twenty days ago, because it happened on November 13 - another pot-bellied three on the calendar - the first old woman was killed near the Church of the Savior, a few steps from the canal.”

As is known, Simenon was a Belgian who wrote in French. He always tried to use ordinary language. Notice how simple and beautiful the language of this fragment is at the same time, what power it contains. There are no far-fetched phrases that only distract the reader's attention, but only a darkly colored, expressive image of an ordinary object, after which comes a shocking message about a multiple murder. With these three sentences, Simenon conveyed the restless mood of the entire story.” (Leslie Grant-Adamson)

© Copyright: Copyright Competition -K2, 2013
Certificate of publication No. 213092602051
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Wow! (I rub my hands contentedly) - this is what I miss!
thank you, I say!
Eloise Hume 09.26.2013 22:56

Yes, yes, Eloise, stay tuned - Fifth School is coming
Copyright Competition -K2 09.26.2013 23:14

Much has been sorted into shelves. I understood this: I found inspiration, the need to speak out was ripe, and I did it. Then he took his opus in his hands and, if necessary, edited it according to the rules of literary science.
Alexandra Strizheva 09/27/2013 11:41

Let's sharpen the inspiration of the form!
Yuri Kamaletdinov 09/27/2013 12:35

But, by the way, I thought. What is more important? inspiration or form? (smile)
Eloise Hume 09.27.2013 17:50

I would venture to suggest that the “fire” without a “vessel” will quickly go out under water and wind. And a “vessel” without “fire” has no meaning.
Boa constrictor Yuzik 09.27.2013 19:09

What kind of fire is this that is in the vessel? stool?

do they mean? Justify your opinion. What does the climax provide for understanding the character of Khlestakov and other characters in the comedy?
Please give a full, detailed answer...it’s very urgent

1.Name the most impressive paintings and show how they combine the present and past tenses. What is the meaning of this artistic technique?
2. Pushkin includes comments on events on behalf of the author in the poem. Why did he use them? Give examples
3. What would the poem lose if it developed only the theme of Mazepa’s betrayal and the Russian victory over the Swedes? Or only the theme of Mary’s love?
4.Which events in the poem can be considered exposition and plot, and which can be considered climax and denouement. What role does the ending play in the poem?
5.What attracted you to the character of Kochubey? What action causes a controversial attitude towards him?
6. Find Kochubey’s internal monologues in the first song of the poem. Which of them most fully reveals his aspirations and experiences? How do they characterize him?
7. Why do literary scholars consider the poem both historical and heroic? Differences from the poem Ruslan and Lyudmila
8. Can the Song about Tsar Ivan Vasilyevich be classified as lyric epic?

Question #4:
Works of ancient Russian literature often talk about miracles happening to the heroes of the story. What miracle was performed repeatedly after the death of Peter and Fevronia? What is the meaning of this miracle? Can we say that it is a symbol? What other episodes can be considered symbolic?
Please write answers to questions! Help out! Thank you in advance!!!

attract readers' attention?
2. What is the theme of the poem “Grandfather” Who is its main character and what is the story of his life Who served partly as his prototype What do you know about the Decembrists and their destinies?
3. Why didn’t Sasha’s parents want to tell him about his grandfather?
4. With what words did the grandfather enter the house? What did they mean? What did the grandfather look like? Why does Nekrasov pay attention to the grandfather’s gray hair? to his joy from the nature he saw surrounding the estate? to his tears? What picture, pleasing to the eye, does grandfather Sasha “draw”?
5. How do you understand the lines? Soon it will not be difficult for you, you will be a free people! "
6. What story from the grandfather confirms his confidence that “The will and labor of man create wonderful wonders!”
7. What did the grandfather say about the outrages of clerks, officials, landowners? What does he call clerks, officials? Who “rooted” for the Fatherland? What, in his opinion, can bring victory over slavery, money-grubbing, darkness? What does he see as real grief? How do you understand the drains " Remember that there are no irresistible grievances in the world."
8. What did the grandfather do? What did he sing about and why was his grandson so interested in this? What is the ending of the poem? How does Sasha understand his grandfather’s attitude to life, to people, to the history of Russia?