The main conflict in Ostrovsky's play "The Thunderstorm" is the clash of Katerina, the main character, with the "dark kingdom" of cruel despotism and blind ignorance. It leads her to suicide after much torment and torment. But this did not cause Katerina’s disagreements with this “dark kingdom.” This is Katerina’s sense of moral duty, which she cannot cope with or turn a blind eye to due to her spiritual purity. Therefore, the problem of moral duty permeates the main conflict of Ostrovsky’s drama “The Thunderstorm” everywhere and is one of the main ones. In this regard, I am going to talk about it.

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

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 obviously have nothing.”

Katerina: “No need! Yes, and I can’t. Why make people laugh!”

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

However, this is only an external conflict between the heroine and the world around her at the social and public level. But there is also another side to the coin. This is Katerina’s moral duty to God, since her actions, contrary to the customs and worldview of this “dark kingdom,” contradict her conservative, religious views. Since Katerina is a deeply religious person, she expects retribution for her actions. Her spiritual views have a greater influence than social ones, so she is permeated by a feeling of fear when she realizes the inevitability of retribution. She is terribly afraid of thunderstorms, considering it a punishment for her misdeeds: “Tisha, I know who will kill... He will kill me. Then pray for me!” This is the paradox of the doom of the Russian soul to suffer: a person who enters into confrontation with the “dark kingdom” must be spiritually superior to it, and this leads to a spiritual contradiction with religious canons, and because of his high spirituality, a person reaches a dead end in life. And religious contradictions arise precisely because of a sense of moral duty, which a person like Katerina cannot step over. The path she chose brought her to a dead end, morally, socially, and spiritually. Katerina realizes her situation and understands that the only way out for her is death.

Thus, Ostrovsky, in his work “The Thunderstorm,” wanted to emphasize the importance of moral duty and the power of influence of Orthodox religious principles on the Russian personality. However, the author does not give an unambiguous answer to the question: is this a disadvantage for a Russian person, capable of leading him to death, or an advantage, like a huge force capable of uniting the Russian people with faith into an unbending and indestructible whole that cannot be broken.

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

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

A.N. Ostrovsky is not just a playwright. He is rightfully considered the father of Russian drama. After all, before him, in the literature of the 19th century, theatrical art developed very poorly. Ostrovsky's plays were new, fresh and interesting. It was thanks to this author that people flocked to theaters again. One of the most famous plays is "The Thunderstorm".

History of creation

A.N. Ostrovsky was sent on a special mission to central Russia. Here the writer was able to see provincial life in all its glory. Like any other writer, Ostrovsky first of all paid attention to the life and way of life of the Russian merchants, townspeople, and noble people of the province. He was looking for characters and plots. As a result of the trip, the play "The Thunderstorm" was written. And a little later, a similar incident occurred in one of them. Ostrovsky was able to predict events that happened in the future. The characterization of the play "The Thunderstorm" as an integral work shows that the author is not just an insightful person, but also a talented playwright.

The play has a number of artistic features. It should be said that Ostrovsky was both a novelty in dramaturgy and a supporter of tradition. To understand, it is necessary to analyze the genre, the main characters, the conflict and the meaning of the title of the play “The Thunderstorm”.

Genre

There are three dramatic forms: tragedy and drama. Of these, comedy is the oldest, followed by comedy, but drama as a genre appears only in the 19th century. Its founder in Russia was A.N. Ostrovsky. The play "The Thunderstorm" fully corresponds to his canons. In the center of the image are ordinary people, not historical figures, not people with their own shortcomings and merits, in whose souls feelings, attachments, likes and dislikes develop. The situation is also common. However, there is an acute life conflict, most often unresolvable. Katerina (the main character of the drama) finds herself in a life situation from which there is no way out. The meaning of the title of the play “The Thunderstorm” is multifaceted (this will be discussed below), one of the interpretation options is the inevitability of something, the predetermination and tragedy of the situation.

Main characters

The main characters of the play: Kabanikha, her son Tikhon, Katerina (Kabanova’s daughter-in-law), Boris (her lover), Varvara (Tikhon’s sister), Dikoy, Kuligin. There are other characters, each of which has its own meaning.

Kabanikha and Dikoy personify everything negative that exists in the city of Kalinov. anger, tyranny, the desire to lead everyone, greed. Tikhon Kabanov is an example of resigned worship of his mother; he is spineless and stupid. Varvara is not like that. She understands that her mother is wrong in many ways. She also wants to free herself from under her pressure and does it in her own way: she simply deceives her. But such a path is impossible for Katerina. She cannot lie to her husband; betrayal for her is a great sin. Compared to others, Katerina looks more thinking, feeling and alive. Only one hero stands aside - Kuligin. He plays the role of a reasoning hero, that is, a character into whose mouth the author puts his attitude to the situation.

The meaning of the title of the play "The Thunderstorm"

A symbolic title is one of the ways to express the ideological intent of a work. There is a huge meaning in one word, it is multi-layered.

Firstly, thunderstorms happen twice in the city of Kalinov. Each character reacts differently. Kuligin, for example, sees a thunderstorm as a physical phenomenon, so it doesn’t cause him much fear. Of course, the meaning of the title of the play “The Thunderstorm” is not only that this phenomenon is present in the text. The symbol of a thunderstorm is closely connected with the main character - Katerina. For the first time, this natural phenomenon catches the heroine on the street when she is talking with Varvara. Katerina was very scared, but not of death. Her horror is justified by the fact that lightning can kill suddenly, and she will suddenly appear before God with all her sins. But she has one most serious sin - falling in love with Boris. Upbringing and conscience do not allow Katerina to completely surrender to this feeling. Having gone on a date, she begins to experience enormous torment. The heroine also makes a confession during a thunderstorm. Hearing the thunderclap, she cannot stand it.

Depends on the level of interpretation. On a formal level, this is the beginning and culmination of the drama. But on a symbolic level, this is the fear of God’s punishment, of retribution.

We can say that a “thunderstorm” hung over all the inhabitants of the city. Purely outwardly, these are attacks from Kabanikha and Wild, but on the existential level it is the fear of answering for one’s sins. Perhaps that is why she causes horror not only in Katerina. Even the word “thunderstorm” itself is pronounced in the text not only as the name of a natural phenomenon. Tikhon leaves home, rejoicing that his mother will no longer bother him, that she will no longer order him around. Katerina is not able to escape from this “thunderstorm”. She found herself backed into a corner.

Katerina's image

The heroine commits suicide, and because of this, her image is very contradictory. She is devout, afraid of “fiery hell,” but at the same time she commits such a grave sin. Why? Apparently, moral suffering, moral torment is stronger than her thoughts about hell. Most likely, she simply stopped thinking about suicide as a sin, seeing it as a punishment for her sin (cheating on her husband). Some critics see in her an exceptionally strong personality who has challenged society, the “dark kingdom” (Dobrolyubov). Others believe that voluntary death is not a challenge, but, on the contrary, a sign of weakness.

It is impossible to say with certainty how to evaluate this act of the heroine. The meaning of the title of the play “The Thunderstorm” emphasizes that in the society that has developed in Kalinov, such cases are not surprising, because this is an ossified, backward city, ruled by tyrants such as Dikoy and Kabanikha. As a result, sensitive natures (Katerina) suffer without feeling support from anyone.

Conclusions. Features and meaning of the title of the play "The Thunderstorm" (briefly)

1. The drama became a vivid example of the life of provincial cities, exposing one of the main problems of Russia - tyranny.

2. The drama corresponds to the canons of the genre (there is a reasoning hero, there are negative characters), but at the same time it is innovative (it is symbolic).

3. “Thunderstorm”, which is included in the title of the play, is not just a compositional element, it is a symbol of God’s punishment and repentance. The meaning of the title of the play "The Thunderstorm" by Ostrovsky takes the play to a symbolic level.

"Columbus of Zamoskvorechye". A. N. Ostrovsky knew the merchant environment well and saw in it the focus of national life. According to the playwright, all types of characters are widely represented here. The writing of the drama “The Thunderstorm” was preceded by A. N. Ostrovsky’s expedition along the Upper Volga in 1856-1857. “The Volga gave Ostrovsky abundant food, showed him new themes for dramas and comedies and inspired him to those that constitute the honor and pride of Russian literature” (Maksimov S.V.). The plot of the drama “The Thunderstorm” was not a consequence of the real story of the Klykov family from Kostroma, as was believed for a long time. The play was written before the tragedy that occurred in Kostroma. This fact testifies to the typical nature of the conflict between the old and the new, which was increasingly declaring itself louder among the merchants. The problems of the play are quite multifaceted.

Central problem- confrontation between personality and environment (and as a special case - the powerless position of a woman, about which N.A. Dobrolyubov said: “... the strongest protest is the one that finally rises from the chests of the weakest and most patient”). The problem of confrontation between personality and environment is revealed on the basis of the central conflict of the play: there is a clash between the “warm heart” and the dead way of life of merchant society. The lively nature of Katerina Kabanova, romantic, freedom-loving, hot-tempered, is unable to tolerate the “cruel morals” of the city of Kalinov, about which in the 3rd yavl. In the first act, Kuligin narrates: “And whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors... They undermine each other’s trade, and not so much out of self-interest, but out of envy. They are at enmity with each other; they entice drunken clerks into their high mansions...” All lawlessness and cruelty are committed under the guise of piety. The heroine is unable to put up with hypocrisy and tyranny, among which Katerina’s sublime soul suffocates. And for young Kabanova, an honest and integral nature, Varvara’s principle of “survival” is completely impossible: “Do what you want, as long as it’s safe and covered.” The opposition of a “warm heart” to inertia and hypocrisy, even if the price for such a rebellion is life, will be called by the critic N. A. Dobrolyubov “a ray of light in a dark kingdom.”

The tragic state of mind and progress in a world of ignorance and tyranny. This complex issue is revealed in the play through the introduction of the image of Kuligin, who cares about the common good and progress, but encounters misunderstanding on the part of the Wild: “... I would use all the money for society, for support. Work must be given to the philistines. Otherwise, you have hands, but nothing to work with.” But those who have money, for example Dikoy, are in no hurry to part with it, and even admit their lack of education: “What kind of elitism is there! Why aren't you a robber? A thunderstorm is sent to us as punishment, so that we can feel it, but you want to defend yourself with poles and some kind of rods, God forgive me.” Feklushi’s ignorance finds deep “understanding” in Kabanova: “On such a beautiful evening, rarely does anyone come out to sit outside the gate; but in Moscow there are now festivals and games, and there is a roar and a groan in the streets. Why, Mother Marfa Ignatievna, did they start harnessing the fiery serpent: everything, you see, for the sake of speed.”

Substitution of life according to the grace-filled Christian commandments for blind, fanatical, “Domostroevsky” Orthodoxy, bordering on obscurantism. The religiosity of Katerina’s nature, on the one hand, and the piety of Kabanikha and Feklushi, on the other, appear completely different. The faith of young Kabanova carries a creative principle, is filled with joy, light and selflessness: “You know: on a sunny day such a bright column goes down from the dome, and in this column there is smoke, like clouds, and I see, it used to be It’s as if angels are flying and singing in this pillar... Or I’ll go to the garden early in the morning. As soon as the sun rises, I fall on my knees, pray and cry, and I myself don’t know what I’m crying about; That's how they'll find me. And what I prayed for then, what I asked for, I don’t know; I don’t need anything, I had enough of everything.” Rigid religious and moral postulates and severe asceticism, so revered by Kabanikha, help her justify her despotism and cruelty.

The problem of sin. The theme of sin, which appears more than once in the play, is also closely related to the religious issue. Adultery becomes an unbearable burden for Katerina’s conscience, and therefore the woman finds the only possible way out for her - public repentance. But the most difficult problem is resolving the issue of sin. Katerina considers life in the “dark kingdom” to be a greater sin than suicide: “It doesn’t matter that death comes, that it itself... but you can’t live! Sin! Won't they pray? He who loves will pray..." Material from the site

The problem of human dignity. The solution to this problem is directly related to the main problem of the play. Only the main character, with her decision to leave this world, defends her own dignity and right to respect. The youth of the city of Kalinov are unable to decide to protest. Their moral “strength” is only enough for secret “outlets” that everyone finds for themselves: Varvara secretly goes for a walk with Kudryash, Tikhon gets drunk as soon as he leaves the vigilant mother’s care. And other characters have little choice. “Dignity” can only be afforded by those who have substantial capital and, as a result, power; the rest include Kuligin’s advice: “What to do, sir! We must try to please somehow!”

N. A. Ostrovsky covers a wide range of moral problems that were acute in the merchant society of his day, and their interpretation and understanding goes beyond the framework of a specific historical period and takes on a universal human meaning.

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Typelesson: generalization and systematization of students’ knowledge and methods of activity

Lesson type: lesson - reflection

Technologies used: collaborative learning, development of critical thinking

Lesson objectives:

Educational:

Organize student activities to summarize and systematize knowledge within the framework of the lesson topic;

Reveal the life positions of the main character of the work, who finds herself in a situation of moral choice.

Educational:

Development of the ability to express one’s own opinion on the issues under discussion, students’ readiness for self-determination, decision-making and choice of personal position;

Developing the ability to independently select material for a given topic;

Developing the ability to work in a team, formulate and defend one’s point of view;

Development of students' creative abilities.

Educational:

- formation of moral guidelines among schoolchildren;

Formation of the ability to recognize true and false values;

Formation of respect for the right of every person to have his own position, point of view;

Instilling interest in the study of works of art.

Lesson equipment: portrait of A.N. Ostrovsky, A.N. Ostrovsky's drama "The Thunderstorm", critical articles, S.I. Ozhegov's dictionary, multimedia projector, computer, "Instrumental play" by M. Tariverdiev, reproductions of paintings, theater posters, student reports.

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During the classes

Motivation for cognitive activity. (2 minutes.)

1. Introductory conversation.

Guys, you, like many of us, have been to the theater.

What plays have you seen? (various: comedies, tragedies).

If you look at the theater's poster, you will notice that the repertoire quite often includes works by classics: Shakespeare, Chekhov, Gogol, Ostrovsky. (Let us pay attention to theater posters and the repertoire of Samara theaters).

What causes the interest of modern audiences in classical literature? (plot, theme, problem). That is, the themes of the works are relevant in our time.

II. Updating the problem. (2 minutes.)

1. Determining the purpose and objectives of the lesson.

In previous lessons, we became acquainted with Ostrovsky's biography, the characters of his plays, and the problems that the playwright raises and solves in his works. In the drama “The Thunderstorm,” he shows a heroine who comes into conflict with the masters of the “dark kingdom” and dies, but does not betray herself, because she believes that “there is no sadder betrayal in the world than betraying oneself.”

2. Statement of the problem problem.

Today in class we will reflect on the ending of the play. Let's try to answer the question: “Did Katerina have a different path?”

The goal of our work is to reveal the life positions of the main character and understand the reasons for her death.

III. Repetition and generalization of students' knowledge and methods of activity. (31 min.)

1. “In the mirror of actions...” (10 min.)

Construction of a situation that is problematic and value-based and requires students to understand its meaning.(Working with the text, filling out the table “Katerina’s Fate”).

In the first stage, which is called “In the Mirror of Actions...”, we will work in groups. Using the text, each group needs to prepare a message about a certain stage of Katerina’s life path and draw a conclusion.

(On the screen is a reproduction of I. Levitan’s painting “Evening. Golden Reach”; the music of M. Tariverdiev “Instrumental Piece” sounds).

I gr. - life in the parental home

2 gr. - marriage

3 gr. - Katerina's choice

2. Strengthening students' understanding of the original problem situation.

(4 min.).

Drawing up a diagram “Causes of Katerina’s death.”

Construction of a visually associative series (paintings, images).

Vocabulary work on the concepts of “gpex”, “repentance”.

(The conclusion is written on the board. On the screen there are illustrations for each stage of life's journey).

Childhood is paradise, harmony of the soul

marriage family - cage

sin - fall repentance - thunderstorm

death of "Ray of Light..."

3. Identification of the “fan” of possible positions of students in relation to the problem situation. (5 minutes.).

Conclusion: Katerina dies, but does not compromise with her conscience. N.A. Dobrolyubov calls her “a ray of light in a dark kingdom.”

Do you agree with the opinion of N. Dobrolyubov?

How do you evaluate her actions?

Is this a strength or a weakness?

Coincidence or pattern?

(Strength, since she defeats Kabanikha, prefers to die, but does not compromise with her conscience. Weakness, because death is a refusal to act, to overcome difficulties)

Could the tragic ending have been avoided?

(No, because Katerina could not, did not want to lie, fake, dodge).

Do you condemn her or justify her?

(explain your answer)

So, opinions have been expressed. Katerina made her choice.

4. Interpretations of the play by contemporaries (9 min.).

Let's move on to the next stage of work -"Through the prism of time."

Let's look around. We have already managed to step into the 21st century, but people like Kabanova, Dikoy, Molchalin, Chichikov, Khlestakov are still alive and well among us.

Let's move the action of the play to modern times and try to change the course of events in such a way as to avoid a tragic ending. You were given the task to propose your own version of the development of events and enter into dialogue with the characters of the play.The 1st group was given the task: Katerina to change herself. I-I.

Make up a dialogue using Katerina’s phrase: “Where to now? Home?..."

Group 2: change the relationship with your mother-in-law. I am SHE

The beginning of the dialogue is Kabanova’s phrase: “Tell your wife how to live without you...”.

3rd group - change Boris. I am HE.

Make up a dialogue, starting with Boris’s phrase: “It’s hard for me in this city...”.

Organization of group work(each group is given sheets with the beginning of the heroine’s (hero’s) remarks.

Message from group 1.

Message from group 2.

Message from the 3rd group.

Completing assignments by students. Dramatization of the episode.

5. Conclusion (3 min.): “Through the prism of time” we see that many problems are characteristic of contemporaries. “Modern” Katerina also faces a choice. In order to maintain self-esteem, being close to your loved one, another way can be found.

There are a great many situations when we are faced with the problem of choice.

For the inability to choose, a person has to pay with his own suffering or the suffering of loved ones. To choose means to analyze what is more important for me now: to speak or remain silent, take the initiative or avoid responsibility, enter into conflict or hide from it, love or allow yourself to be loved.

A.N. Ostrovsky's play helps the modern reader understand that moral values ​​are eternal, since, regardless of time, each of us makes our own choice. He talks about this in his poem

Yu. Levitansky (text on screen)

IV. Summarizing. (3 min.)

1. Reflection.

What did today's lesson teach you?

(everyone should learn to make choices, have an idea of ​​moral values)

2. Grading.

Thank you for participating in the lesson, acting and creativity.

Give the completed tables and reflection sheets to the teacher.

V. Homework. (2 minutes.)

Differentiated by levels:

Task No. 1 for a grade of “3-4”

Task No. 2 for a grade of “4 -5”

Task No. 3 for a grade of “5”

Task No. 1. Prepare a message“How will the life of Boris and Tikhon turn out after the death of Katerina?”, “What has changed in the city of Kalinov after the death of Katerina?”

Task No. 2. Write an essay“Was there another way for Katerina?”, “Do I justify or condemn Katerina’s action?”

Task No. 3. Compare the moral choice of the heroines of A.S. Pushkin,

I.S. Turgeneva, A.N. Ostrovsky

Ostrovsky was once called the “Columbus of Zamoskvorechye,” emphasizing the artistic discovery of the world of merchants in the plays of the playwright, but his plays are interesting not only for specific historical issues, but also for moral, universal ones. Thus, it is precisely the moral problematics of Ostrovsky’s play “The Thunderstorm” that makes this work interesting for the modern reader even today. The action of Ostrovsky's drama takes place in the city of Kalinov, which is located among the greenery of gardens on the steep bank of the Volga. “For fifty years I’ve been looking at the Volga every day and I can’t take it all in. The view is extraordinary. My soul rejoices,” Kuligin admires. It would seem that the life of the people of this city should be beautiful and joyful. Especially considering the fact that Kabanikha, a woman who personifies the entire “dark kingdom,” constantly talks about high morality. But why didn’t life in the city become a kingdom of light and joy, but turned into “a world of prison and grave silence”?

There are moral laws that are not written down anywhere, but by following which, a person is able to comprehend spiritual happiness, find light and joy on earth. How are these laws implemented in a provincial Volga town?

1. The moral laws of people's lives are replaced in Kalinov by the law of force, power and money. Dikiy’s big money frees his hands and gives him the opportunity to swagger with impunity over everyone who is poor and financially dependent on him. People are nothing to him. “You are a worm. If I want, I’ll have mercy, if I want, I’ll crush,” he says to Kuligin. We see that the basis of everything in the city is money. They are worshiped. The basis of human relationships is material dependence. Here money decides everything, and power belongs to those who have more capital . Profit and enrichment become the goal and meaning of life for most Kalinov residents. Because of money, they quarrel among themselves and harm each other: “I’ll spend it, and it will cost him a pretty penny.” Even the self-taught mechanic Kuligin, who is advanced in his views, realizing the power of money, dreams of a million in order to talk on equal terms with the rich.

2. The basis of morality is respect for elders, parents, father and mother. But this law in Kalinov is perverted , because it is replaced by a ban on freedom, on respect. Katerina suffers the most from Kabanikha’s tyranny. A freedom-loving nature, she cannot live in a family where the youngest unquestioningly submits to the elder, the wife to the husband, where any desire for freedom and manifestation of self-esteem is suppressed. “Will” for Kabanikha is a dirty word. “Wait for it! Live in freedom! - she threatens the young people. For Kabanikha, the most important thing is not the real order, but its external manifestation. E She is outraged that Tikhon, leaving home, does not order Katerina how to behave, and does not know how to order, and the wife does not throw herself at her husband’s feet and does not howl to show her love. “That’s how you respect your elders...” Kabanova says every now and then, but respect in her understanding is fear. We should be afraid, she believes.

3. The great law of morality is to live in harmony with your heart, according to your conscience. But in Kalinov, any manifestation of sincere feeling is regarded as a sin. Love is a sin. But it’s possible to go on dates in secret. When Katerina, saying goodbye to Tikhon, throws herself on his neck, Kabanikha pulls her back: “Why are you hanging on your neck, shameless one! You are not saying goodbye to your lover! He’s your husband, your boss!” Love and marriage are incompatible here. Kabanikha remembers love only when she needs to justify her cruelty: “After all, parents are strict with you out of love.” She wants to force the younger generation to live by the laws of hypocrisy, arguing that what is most important is not the true manifestation of feelings, but the external keeping up appearances. Kabanikha is outraged that Tikhon, when leaving home, does not order Katerina how to behave, and the wife does not throw herself at her husband’s feet and does not howl to show her love

4.There is no place for sincere feelings in the city . The boar is hypocritical, she only hides behind virtue and piety, in the family she is an inhuman despot and tyrant.. Kabanikha hides her true essence under the mask of righteousness, while tormenting both her children and daughter-in-law with nagging and reproaches. Kuligin gives her an apt description: “Prude, sir! He gives money to the poor, but completely eats up his family.” Lies and deceit, having become an everyday occurrence in life, cripple people’s souls.”

These are the conditions in which the younger generation of the city of Kalinov is forced to live.

5. Only one person can stand out among those who humiliate and humiliate – Katerina. The very first appearance of Katerina reveals in her not a timid daughter-in-law of a strict mother-in-law, but a person who has dignity and feels like an individual: “It’s nice for anyone to endure lies,” says Katerina in response to Kabanikha’s unfair words. Katerina is a spiritual, bright, dreamy person; she, like no one else in the play, knows how to feel beauty. Even her religiosity is also a manifestation of spirituality. The church service was filled with special charm for her: in the rays of sunlight she saw angels and felt a sense of belonging to something higher, unearthly. The motif of light becomes one of the central ones in Katerina’s characterization. “And the face seems to glow,” Boris had only to say this, and Kudryash immediately realized that he was talking about Katerina. Her speech is melodious, figurative, reminiscent of Russian folk songs: “Violent winds, bear with him my sadness and melancholy.” Katerina is distinguished by her inner freedom and passionate nature; it is no coincidence that the motif of a bird and flight appears in the play. The captivity of the Kabanovsky house oppresses her, suffocates her. “Everything seems to be out of captivity with you. I’ve completely wilted with you,” says Katerina, explaining to Varvara why she doesn’t feel happy in the Kabanovs’ house.

6. Another one is connected with the image of Katerina the moral problem of the play is the human right to love and happiness. Katerina’s impulse to Boris is an impulse to joy, without which a person cannot live, an impulse to happiness, which she was deprived of in Kabanikha’s house. No matter how hard Katerina tried to fight her love, this fight was doomed from the very beginning. In Katerina’s love, like in a thunderstorm, there was something spontaneous, strong, free, but also tragically doomed; it is no coincidence that she begins her story about love with the words: “I will die soon.” Already in this first conversation with Varvara, the image of an abyss, a cliff appears: “There will be some kind of sin! Such fear comes over me, such and such fear! It’s as if I’m standing over an abyss, and someone is pushing me there, but I have nothing to hold on to.”

7. The title of the play takes on the most dramatic sound when we feel a “thunderstorm” brewing in Katerina’s soul. The central moral problem play can be called the problem of moral choice. The collision of duty and feeling, like a thunderstorm, destroyed the harmony in Katerina’s soul with which she lived; She no longer dreams, as before, of “golden temples or extraordinary gardens”; it is no longer possible to ease her soul with prayer: “If I start to think, I won’t be able to gather my thoughts, if I’ll pray, I won’t be able to pray.” Without agreement with herself, Katerina cannot live; she could never, like Varvara, be content with thieving, secret love. The consciousness of her sinfulness weighs on Katerina, torments her more than all of Kabanikha’s reproaches. Ostrovsky's heroine cannot live in a world of discord - this explains her death. She made the choice herself - and she pays for it herself, without blaming anyone: “No one is to blame - she did it herself.”

We can conclude that it is precisely the moral problematics of Ostrovsky’s play “The Thunderstorm” that makes this work interesting for the modern reader even today.

2. “A poet in Russia is more than a poet” (according to the lyrics of N. A. Nekrasov). Reading by heart one of the poet's poems (at the student's choice).

The theme of the poet and poetry is traditional for Russian lyrics. It is this theme that is one of the main ones in Nekrasov’s lyrics.

N. A. Nekrasov’s ideas about the essence and purpose of poetry developed in the process of creative communication with the ideologists of revolutionary democracy N. G. Chernyshevsky, N. A. Dobrolyubov, as well as such progressive writers as M. E. Saltykov-Shchedrin, L. N. . Tolstoy. Nekrasov believes that the role of the poet in the life of society is so significant that it requires from him not only artistic talent, but also citizenship, activity in the struggle for civic beliefs.

1. Nekrasov repeatedly states his views for the purpose of your creativity . Thus, in the poem “Yesterday, at about six o’clock...” he says that his muse becomes the sister of all the humiliated and insulted:

There they beat a woman with a whip,

Young peasant woman...

...And I said to the Muse: “Look!

Your dear sister!

The same idea is heard in a later poem, “Muse” (1852). The poet sees from the very beginning my calling is to glorify the common people, sympathize with their suffering, express their thoughts and aspirations, and attack their oppressors with censure and merciless satire . Nekrasov's muse, on the one hand, is a peasant woman. But on the other hand, this is the fate of this gender itself, persecuted and persecuted by the powers of this world. Nekrasov’s muse is suffering, chanting the people and calling them to fight.

2..In a poem “The Poet and the Citizen” (1856) Nekrasov argues with representatives of the “pure art” movement, who, in his opinion, lead the reader away from pressing social problems. The poem is structured as a dialogue. This dialogue in Nekrasov is an internal dispute, a struggle in his soul as a Poet and a Citizen. The author himself tragically experienced this internal rupture and often made the same claims against himself as the Citizen did against the Poet. The citizen in the poem shames the Poet for inaction; in his understanding, the immeasurable sublimity of civil service eclipses the previous ideals of freedom of creativity, the new high goal is to die for the Fatherland: “... go and die blamelessly.”

A poet who truly loves his homeland must have a clear civic position , without hesitation to expose and condemn the vices of society, as did Gogol, on the day of whose death the poem was written. Nekrasov emphasizes that the life of a poet who has chosen such a path is immeasurably more difficult than the life of one who avoids social problems in his work. But this is the feat of a true poet: he patiently endures all adversity for the sake of his high goal. According to Nekrasov, such a poet will be appreciated only by future generations, posthumously:

They curse him from all sides,

And just seeing his corpse,

They will understand how much he has done,

And how he loved - while hating!

According to Nekrasov, Without civic ideals, without an active social position, a poet will not be a true poet . The Poet, the protagonist of the poem “The Poet and the Citizen,” agrees with this. The dispute ends not with the victory of the Poet or the Citizen, but with a general conclusion: the role of the poet is so significant that it requires civic convictions and the fight for these convictions .

3.. In 1874 Nekrasov creates a poem "Prophet". This work, of course, continued the series in which the works of Pushkin and Lermontov already stood. . It again talks about the difficulty of the chosen path, about the divine beginning of creativity :

He hasn't been crucified yet,

But the time will come - he will be on the cross,

4. But N. A. Nekrasov sees the highest purpose of the poet in selfless service to the people . The theme of the people, the homeland becomes one of the most important themes of the poet’s entire work. He is sure: as long as the theme of the suffering of the people is relevant, the artist has no right to forget it. This selfless service to people is the essence of N. A. Nekrasov’s poetry. In a poem “Elegy”, (1874) In one of his most beloved poems, Nekrasov seems to sum up his work:

I dedicated the lyre to my people.

Perhaps I will die unknown to him,

But I served him - and my heart is calm...

The poet creates poems not for the sake of fame, but for the sake of conscience... Because you can only live in service to the people, and not to yourself.

« A poet in Russia is more than a poet,” these words do not belong to Nekrasov, but can rightfully be attributed to his work. A poet in Russia is, first of all, a person with an active life position. And all of Nekrasov’s work affirmed the thought: “You may not be a poet, but you must be a citizen.”