What does the image of a thunderstorm symbolize in Ostrovsky’s play? The meaning of the name and figurative symbolism in the drama "The Thunderstorm" (not from the Internet). The meaning of the name of the drama Thunderstorm

A. N. Ostrovsky's drama "The Thunderstorm" shows us life in the city of Kalinov, now and then disrupted by various manifestations of a thunderstorm. The image of this natural phenomenon in drama is very multifaceted: it is both the character of the play and its idea.

One of the most striking manifestations of the image of a thunderstorm is the characterization of the characters in the drama. For example, we can say with confidence that Kabanikha’s character is quite similar to the sound of thunder: she also frightens the people around her, and can even destroy her. Let us remember Tikhon’s words before leaving: “As I know now that there won’t be any thunderstorms over me for two weeks, there are no shackles on my legs, so what do I care about my wife?” The native son, speaking of a thunderstorm, means tyranny in the house. A similar situation reigned in Dikiy’s house. He got angry, swore, and sometimes even assaulted him over all sorts of little things. Curly said about him: “A shrill man!” - and for sure, the character of the Wild can pierce anyone, like an electric shock.

But the thunderstorm in the work characterizes not only the “cruel morals” in Kalinov. It is noticeable that the most highlights bad weather coincides with Katerina’s mental torment. Let us remember when Katerina admitted to Varvara that she loved someone else, a thunderstorm began. But Katerina’s soul was also restless; her impulsiveness made itself felt: even without having done anything wrong, but only thinking not about her husband, Katerina began to talk about imminent death, running away from home and terrible sins. Upon Kabanov’s return, hurricanes raged in Katerina’s soul, and at the same time, peals of thunder were heard on the streets, frightening the townspeople.

Also, the image of a thunderstorm appears before readers as punishment for sins committed. Katerina said about the thunderstorm: “Everyone should be afraid. It’s not that it’s scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts.” We can understand that a thunderstorm for the townspeople is only suffering. This same idea is confirmed by the words of Dikiy: “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.” This fear of a thunderstorm-punishment characterizes the Wild as an adherent of old mores, if we consider the thunderstorm in its following image: a symbol of change.

The thunderstorm as a symbol of the new is clearly shown in Kuligin’s monologue: “This is not a thunderstorm, but grace!” Kuligin, being a hero-reasoner, reveals to readers the point of view of Ostrovsky himself: change is always for the better, one cannot be afraid of it.

Thus, it becomes obvious that A. N. Ostrovsky, skillfully using the image of a thunderstorm in its various manifestations, showed all aspects of life in a typical Russian provincial town, starting with the tragedy of “cruel morals” and ending with the personal tragedy of everyone.

Essay plan
1. Introduction. Variety of symbolism in the play.
2. Main part. Motives and themes of the play, artistic foreshadowing, symbolism of images, phenomena, details.
— Folklore motives as an artistic anticipation of the heroine’s situation.
— Katerina’s dreams and symbolism of images.
— A story about childhood as a compositional prelude.
— The motive of sin and retribution in the play. Kabanova and Dikoy.
— The motive of sin in the images of Feklusha and the half-crazy lady.
— The motive of sin in the images of Kudryash, Varvara and Tikhon.
— Katerina’s perception of sin.
— The idea of ​​the play.
— The symbolic meaning of the images of the play.
— Symbolism of objects.
3. Conclusion. Philosophical and poetic subtext of the play.

Symbolism in the play by A.N. Ostrovsky is diverse. The very name of the play, the theme of a thunderstorm, the motives of sin and judgment are symbolic. Landscape paintings, objects, and some images are symbolic. Some motifs and themes take on an allegorical meaning folk songs.
At the very beginning of the play, the song “Among the Flat Valley...” (sung by Kuligin) sounds, which already at the very beginning introduces the motive of a thunderstorm and the motive of death. If we remember the entire lyrics of the song, then there are the following lines:

Where can I rest my heart?
When will the storm rise?
A gentle friend sleeps in damp earth,
He won't come to help.

The theme of loneliness, orphanhood, and life without love also arises in it. All these motives seem to precede life situation Katerina at the beginning of the play:

Oh, it's boring to be lonely
And the tree grows!
Oh, it’s bitter, it’s bitter for the fellow
Lead a life without a sweetheart!

The dreams of the heroine in “The Thunderstorm” also acquire a symbolic meaning. So, Katerina is sad because people don’t fly. “Why don’t people fly!.. I say: why don’t people fly like birds? You know, sometimes I feel like I'm a bird. When you stand on a mountain, you feel the urge to fly. That's how she would run up, raise her hands and fly. Is there anything I should try now?” she says to Varvara. IN parental home Katerina lived like a “bird in the wild.” She dreams about how she flies. Elsewhere in the play she dreams of becoming a butterfly. The theme of birds introduces the motif of captivity and cages into the narrative. Here we can recall the symbolic ritual of the Slavs releasing birds from cages, which is based on the Slavic belief in the ability of reincarnation human soul. As noted by Yu.V. Lebedev, “the Slavs believed that the human soul was capable of turning into a butterfly or a bird. IN folk songs a woman yearning for the wrong side of an unloved family turns into a cuckoo, flies into the garden to her beloved mother, and complains to her about her hard lot.” But the theme of birds also sets the motive for death here. Thus, in many cultures the Milky Way is called the “bird road” because the souls flying along this road to heaven were imagined as birds. Thus, already at the beginning of the play we notice the motives that precede the death of the heroine.
Katerina’s story about her childhood also becomes a kind of artistic prelude: “...I was born so hot! I was still six years old, no more, so I did it! They offended me with something at home, and it was late in the evening, it was already dark; I ran out to the Volga, got into the boat and pushed it away from the shore. The next morning they found it about ten miles away!” But Katerina’s story is also a compositional preview of the play’s finale. For her, the Volga is a symbol of will, space, and free choice. And in the end she makes her choice.
Final scenes“Thunderstorms” are also preceded by Kudryash’s song:

Like a Don Cossack, the Cossack led his horse to water,
Good fellow, he’s already standing at the gate.
Standing at the gate, he himself is thinking,
Dumu thinks about how he will ruin his wife.
How a wife prayed to her husband,
Soon she bowed to him:
You, father, are you a dear, dear friend!
Don't hit me, don't destroy me this evening!
You kill, ruin me from midnight!
Let my little children sleep
To little children, to all our close neighbors.

This song develops in the play the motif of sin and retribution, which runs through the entire narrative. Marfa Ignatievna Kabanova constantly remembers sin: “What a long time to sin! A conversation that’s close to your heart will go well, and you’ll sin, you’ll get angry,” “Come on, come on, don’t be afraid! It’s a sin!”, “What can I say to a fool! There’s only one sin!” Judging by these remarks, sin for Kabanova is irritation, anger, lies and deception. However, in this case, Marfa Ignatievna constantly sins. She often gets irritated and angry with her son and daughter-in-law. While preaching religious commandments, she forgets about love for her neighbor and therefore lies to others. “A prude... she lavishes on the poor, but completely eats up her family,” Kuligin says about her. Kabanova is far from true mercy, her faith is harsh and merciless. Dikoy also mentions sin in the play. Sin for him is his “swearing”, anger, nonsense of character. Dikoy “sins” often: he gets it from his family, his nephew, Kuligin, and the peasants.
The wanderer Feklusha thoughtfully reflects on sin in the play: “It’s impossible, mother, without sin: we live in the world,” she says to Glasha. For Feklusha, sin is anger, quarrel, absurdity of character, gluttony. She admits to herself only one of these sins - gluttony: “I have one sin, for sure; I myself know that there is. I love to eat sweets." However, at the same time, Feklusha is also prone to deception and suspicion; she tells Glasha to look after “the wretched one” so that she “doesn’t steal anything.” The motive of sin is also embodied in the image of a half-crazy lady who sinned a lot from her youth. Since then, she prophesies to everyone a “pool”, “fire... unquenchable.”
In a conversation with Boris, Kudryash also mentions sin. Noticing Boris Grigoryich near the Kabanovs’ garden and at first considering him a rival, Kudryash warns young man: “I love you, sir, and I’m ready for any service to you, but on this path you don’t meet me at night, so that, God forbid, some sin does not happen.” Knowing Kudryash’s character, we can guess what kind of “sins” he has. In the play, Varvara “sins” without discussing sin. This concept lives in her mind only in the usual everyday life, but she obviously does not consider herself a sinner. Tikhon also has his sins. He himself admits this in a conversation with Kuligin: “I went to Moscow, you know? On the way, my mother read, gave me instructions, but as soon as I left, I went on a spree. I’m very glad that I broke free. And he drank all the way, and in Moscow he drank everything, so it’s a lot, what the heck! So that you can take a break for the whole year. I never even remembered the house.” Kuligin advises him to forgive his wife: “You yourself, tea, are also not without sin!” Tikhon agrees unconditionally: “What can I say!”
Katerina often thinks about sin in the play. This is exactly how she evaluates her love for Boris. Already in the first conversation about this with Varya, she clearly indicates her feelings: “Oh, Varya, sin is on my mind! How much I, poor thing, cried, what I didn’t do to myself! I can't escape this sin. Can't go anywhere. After all, this is not good, this is a terrible sin, Varenka, why do I love someone else?” Moreover, for Katerina, a sin is not only the act as such, but also the thought about it: “I’m not afraid to die, but when I think that suddenly I will appear before God as I am here with you, then I’ll talk,” That's what's scary. What's on my mind! What a sin! It’s scary to say!” Katerina recognizes her sin the moment she meets Boris. “If I was not afraid of sin for you, will I be afraid of human judgment? They say it’s even easier when you suffer for some sin here on earth.” However, then the heroine begins to suffer from the consciousness of her own sin. Her own behavior diverges from her ideal ideas about the world, of which she herself is a particle. Katerina introduces into the narrative the motive of repentance, retribution for sins, and God's punishment.
And the theme of God's punishment is connected both with the title of the play and with the thunderstorm as a natural phenomenon. Ostrovsky’s theme is symbolic. However, what meaning does the playwright give to the concept of “thunderstorm”? If we remember the Bible, then the peals of thunder there are likened to the voice of the Lord. Almost all Kalinov residents have an unambiguous attitude towards thunderstorms: it instills in them a mystical fear, reminds them of God’s wrath and moral responsibility. Dikoy says: “...a thunderstorm is sent to us as punishment, so that we feel...”. The prophecies of the crazy lady also hint at God’s punishment: “You’ll have to answer for everything... You can’t escape God.” Katerina perceives the thunderstorm in exactly the same way: she is convinced that this is nothing more than retribution for her sins. However, the Bible also has another meaning for this phenomenon. The Gospel sermon is compared to thunder here. And this, I think, true meaning of this symbol in the play. The thunderstorm is “designed” to crush the stubbornness and cruelty of the Kalinovites, to remind them of love and forgiveness.
This is exactly what the Kalinovites should have done with Katerina. The heroine’s public repentance is an attempt at her reconciliation with the world, at reconciliation with herself. The subtext of the play contains biblical wisdom: “Judge not, lest ye be judged, for by whatever judgment you judge, so will you be judged...” Thus, the motifs of sin and judgment, intertwined, form a deep semantic subtext in “The Thunderstorm,” bringing us close to the biblical parable.
In addition to themes and motifs, we note the symbolic meaning of some images of the play. Kuligin introduces ideas and themes of enlightenment thinking into the play, and this character also introduces the image of natural harmony and grace. Ostrovsky’s image of a half-crazy lady is a symbol of Katerina’s sick conscience, the image of Feklusha is a symbol of the old patriarchal world, whose foundations are crumbling.
Last times The “dark kingdom” is also symbolized by some objects in the play, in particular antique gallery and a key. In the fourth act, we see in the foreground a narrow gallery with an ancient building that is beginning to collapse. Its painting is reminiscent of very specific subjects - “fiery hell”, the battle between the Russians and Lithuania. However, now it has almost completely collapsed, everything is overgrown, and after the fire it was never repaired. Symbolic detail There is also a key that Varvara gives to Katerina. The scene with the key plays a vital role in the development of the conflict of the play. What's happening in Katerina's soul internal struggle. She perceives the key as a temptation, as a sign of impending doom. But the thirst for happiness wins: “Why am I saying that I’m deceiving myself? I could even die to see him. Who am I pretending to be!.. Throw in the key! No, not for anything in the world! He’s mine now... Whatever happens, I’ll see Boris! Oh, if only the night could come sooner!..” The key here becomes a symbol of freedom for the heroine, as if it unlocks her soul languishing in captivity.
Thus, Ostrovsky's play has both poetic and philosophical implications, expressed in motifs, images and details. The thunderstorm that swept over Kalinov becomes “a cleansing storm, sweeping away deeply rooted prejudices and clearing the way for other “mores.”

1. Lebedev Yu.V. Russian literature XIX century. Second half. Book for teachers. M., 1990, p. 169–170.

2. Lyon P.E., Lokhova N.M. Decree. cit., p.255.

3. Buslakova T.P. Russian literature of the 19th century. Minimum educational requirement for applicants. M., 2005, p. 531.

The realistic method of writing enriched literature with images and symbols. Griboedov used this technique in the comedy “Woe from Wit.” The point is that objects are endowed with a certain symbolic meaning. Symbolic images can be end-to-end, that is, repeated several times throughout the text. In this case, the meaning of the symbol becomes significant for the plot. Particular attention should be paid to those images-symbols that are included in the title of the work. That is why emphasis should be placed on the meaning of the name and figurative symbolism of the drama “The Thunderstorm”.

To answer the question of what the symbolism of the title of the play “The Thunderstorm” contains, it is important to know why and why the playwright used this particular image. The thunderstorm in the drama appears in several forms. The first is a natural phenomenon. Kalinov and its inhabitants seem to live in anticipation of thunderstorms and rain. The events that unfold in the play take place over approximately 14 days. All this time, phrases are heard from passers-by or from the main characters that a thunderstorm is approaching. The violence of the elements is the culmination of the play: it is the thunderstorm and the clap of thunder that force the heroine to admit to treason. Moreover, thunderclaps accompany almost the entire fourth act. With each blow the sound becomes louder: Ostrovsky seems to be preparing readers for the highest point of conflict.

The symbolism of a thunderstorm includes another meaning. “Thunderstorm” is understood differently by different heroes. Kuligin is not afraid of a thunderstorm, because he does not see anything mystical in it. Dikoy considers the thunderstorm a punishment and a reason to remember the existence of God. Katerina sees in a thunderstorm a symbol of rock and fate - after the loudest thunderclap, the girl confesses her feelings for Boris. Katerina is afraid of thunderstorms, because for her it is equivalent to the Last Judgment. At the same time, the thunderstorm helps the girl decide to take a desperate step, after which she becomes honest with herself. For Kabanov, Katerina’s husband, the thunderstorm has its own meaning. He talks about this at the beginning of the story: Tikhon needs to leave for a while, which means he will lose his mother’s control and orders. “For two weeks there will be no thunderstorm over me, there are no shackles on my legs...” Tikhon compares the riot of nature with the incessant hysterics and whims of Marfa Ignatievna.

One of the main symbols in Ostrovsky’s “The Thunderstorm” can be called the Volga River. It’s as if she separates two worlds: the city of Kalinov, “ dark kingdom"and that ideal world that each of the characters came up with for themselves. The words of Barynya are indicative in this regard. Twice the woman said that the river is a whirlpool that draws in beauty. From a symbol of supposed freedom, the river turns into a symbol of death.

Katerina often compares herself to a bird. She dreams of flying away, breaking out of this addictive space. “I say: why don’t people fly like birds? You know, sometimes I feel like I'm a bird. When you stand on a mountain, you feel the urge to fly,” says Katya to Varvara. Birds symbolize freedom and lightness, which the girl is deprived of.

The symbol of the court is not difficult to trace: it appears several times throughout the work. Kuligin, in conversations with Boris, mentions the trial in the context of the “cruel morals of the city.” The court appears to be a bureaucratic apparatus that is not called upon to seek the truth and punish violations. All he can do is waste time and money. Feklusha talks about refereeing in other countries. From her point of view, only Christian court and court according to the laws of the economy can judge righteously, while the rest are mired in sin.
Katerina speaks about the Almighty and human court when he tells Boris about his feelings. For her, Christian laws come first, not public opinion: “If I was not afraid of sin for you, will I be afraid of human judgment?”

On the walls of the dilapidated gallery, past which residents of Kalinov walk, scenes from the Holy Letter are depicted. In particular, pictures of fiery Gehenna. Katerina herself remembers this mythical place. Hell becomes synonymous with mustiness and stagnation, which Katya fears. She chooses death, knowing that this is one of the most terrible Christian sins. But at the same time, through death, the girl gains freedom.

The symbolism of the drama “The Thunderstorm” is developed in detail and includes several symbolic images. With this technique, the author wanted to convey the severity and depth of the conflict that existed both in society and within each person. This information will be useful for 10th graders when writing an essay on the topic “The meaning of the title and symbolism of the play “The Thunderstorm”.”

Work test

The realistic method of writing enriched literature with images and symbols. Griboedov used this technique in the comedy “Woe from Wit.” The point is that objects are endowed with a certain symbolic meaning. Symbolic images can be end-to-end, that is, repeated several times throughout the text. In this case, the meaning of the symbol becomes significant for the plot. Particular attention should be paid to those images-symbols that are included in the title of the work. That is why emphasis should be placed on the meaning of the name and figurative symbolism of the drama “The Thunderstorm”.

To answer the question of what the symbolism of the title of the play “The Thunderstorm” contains, it is important to know why and why the playwright used this particular image. The thunderstorm in the drama appears in several forms. The first is a natural phenomenon. Kalinov and its inhabitants seem to live in anticipation of thunderstorms and rain. The events that unfold in the play take place over approximately 14 days. All this time, phrases are heard from passers-by or from the main characters that a thunderstorm is approaching. The violence of the elements is the culmination of the play: it is the thunderstorm and the clap of thunder that force the heroine to admit to treason. Moreover, thunderclaps accompany almost the entire fourth act. With each blow the sound becomes louder: Ostrovsky seems to be preparing readers for the highest point of conflict.

The symbolism of a thunderstorm includes another meaning. “Thunderstorm” is understood differently by different heroes. Kuligin is not afraid of a thunderstorm, because he does not see anything mystical in it. Dikoy considers the thunderstorm a punishment and a reason to remember the existence of God. Katerina sees in a thunderstorm a symbol of rock and fate - after the loudest thunderclap, the girl confesses her feelings for Boris. Katerina is afraid of thunderstorms, because for her it is equivalent to the Last Judgment. At the same time, the thunderstorm helps the girl decide to take a desperate step, after which she becomes honest with herself. For Kabanov, Katerina’s husband, the thunderstorm has its own meaning. He talks about this at the beginning of the story: Tikhon needs to leave for a while, which means he will lose his mother’s control and orders. “For two weeks there will be no thunderstorm over me, there are no shackles on my legs...” Tikhon compares the riot of nature with the incessant hysterics and whims of Marfa Ignatievna.

One of the main symbols in Ostrovsky’s “The Thunderstorm” can be called the Volga River. It’s as if she separates two worlds: the city of Kalinov, the “dark kingdom” and the ideal world that each of the characters invented for themselves. The words of Barynya are indicative in this regard. Twice the woman said that the river is a whirlpool that draws in beauty. From a symbol of supposed freedom, the river turns into a symbol of death.

Katerina often compares herself to a bird. She dreams of flying away, breaking out of this addictive space. “I say: why don’t people fly like birds? You know, sometimes I feel like I'm a bird. When you stand on a mountain, you feel the urge to fly,” says Katya to Varvara. Birds symbolize freedom and lightness, which the girl is deprived of.

The symbol of the court is not difficult to trace: it appears several times throughout the work. Kuligin, in conversations with Boris, mentions the trial in the context of the “cruel morals of the city.” The court appears to be a bureaucratic apparatus that is not called upon to seek the truth and punish violations. All he can do is waste time and money. Feklusha talks about refereeing in other countries. From her point of view, only Christian court and court according to the laws of the economy can judge righteously, while the rest are mired in sin.

Katerina talks about the Almighty and about human judgment when she tells Boris about her feelings. For her, Christian laws come first, not public opinion: “If I was not afraid of sin for you, will I be afraid of human judgment?”

On the walls of the dilapidated gallery, past which residents of Kalinov walk, scenes from the Holy Letter are depicted. In particular, pictures of fiery Gehenna. Katerina herself remembers this mythical place. Hell becomes synonymous with mustiness and stagnation, which Katya fears. She chooses death, knowing that this is one of the most terrible Christian sins. But at the same time, through death, the girl gains freedom.

The meaning of the title of A. Ostrovsky’s play “The Thunderstorm”

Purpose of the lesson :

Trace the implementation of the thunderstorm metaphor through its image (thunderstorm state of society,

thunderstorm in people's souls);

Help students prepare for a miniature essay “The meaning of the title...”;

Cultivate interest in the work of N. Ostrovsky

PROGRESS OF THE LESSON

How did you miss the thunderstorm in the poster? After all, she is also a character.

We can't find names - what does that mean? This means that the idea of ​​the play is not clear; that the plot is not properly covered... that the very existence of the play is not justified; Why was it written, what new does the author want to say?

(A.N. Ostrovsky)

I. Organizational moment. Subject message.

– Re-read the topic of the lesson. What are we going to talk about?

II. Working with epigraphs.

Name keywords in the formulation of the lesson topic? (The thunderstorm is the protagonist.) So, we will talk about the thunderstorm as acting person plays. This is not enough. What new does the author want to say? (Thunderstorm - idea - plot).

III. Goal setting.

So, it is necessary to find out what the meaning of the title of the play is; learn to analyze dramatic text; prepare for the essay “The meaning of the title of A. Ostrovsky’s play “The Thunderstorm”.

– Where should we start the conversation? (From the definition of the word “thunderstorm”.)

IY. « Let's talk about meaning"

1. Personal message

– What is the meaning of the word “thunderstorm” according to V.I. Dahl’s dictionary? (Fear, noise, anxiety, disruption, crush, thunder, natural phenomenon, threat, threaten, tragedy, cleansing.)

– In what meaning does “thunderstorm” appear in the play? (In the first meaning - “threat”, “sarcasm”, “scold”.)

2 . “We draw conclusions.” Work in groups.

1 group

– What images is associated with the metaphor of a thunderstorm in the exhibition? (Almost all the characters.)

– What meaning of “thunderstorm” predominates in the exhibition? (Fear, threat, threaten.)

Conclusion No. 1. All exposition associated with the meaning of the word “thunderstorm”. Ostrovsky universally implements the metaphor of a thunderstorm.

2nd group

– What drama images symbolize the thunderstorm from below? (Dikoy, Kabanova.)

– What is the threat of the Wild? (Money – power – fear.)

– What is Kabanova's threat? (Money is power under the guise of godliness - fear.)

Conclusion No. 2. For Kalinovites, the storm is “from above” and “from below.” Above is God’s punishment, below is the power and money of the possessor.

3 group

– Why do they need fear in society? (Keep power.)

– Are only Dikoy and Kabanova experiencing the intoxication of power? (Analyze the monologue

Kuligin in the 1st act.)

Conclusion No. 3. The goal of the “warrior” Wild is the lawless rapture of power. Kabanova is a more complex version of tyranny: her goal is the legitimate intoxication of power (under the guise of piety).

4 group

– When does a thunderstorm appear as a natural phenomenon? (At the end of the 1st act.)

– Consider the meaning of this scene. Why did Ostrovsky introduce the half-crazy lady? Who is she talking to? What does he prophesy? What is her prophecy based on? (“I’ve sinned all my life from a young age.”)

– What is Varvara’s reaction to her hysteria? (Smiles.)

– What is Katerina's reaction? (“I’m scared to death…”)

Conclusion No. 4. Ostrovsky, in a detailed composition, needed to show that the order of the merchant town, whose roots were Old Believer, rests on fear.

Kabanikha’s siege war, just like the wild attacks of the Wild One, comes from uncertainty and anxiety. Wild’s anxiety is vague and unconscious, Kabanikha’s fear is conscious and far-sighted: something is not going well, something is broken in the mechanism of power and subordination.

Thus, the metaphor of a thunderstorm - fear, intoxication with power, threat, threaten - runs through the entire exhibition.

Group 5

– What scares Katerina? (Death will find you with sinful and evil thoughts.)

– How can you confirm that the author defined this scene as the beginning? (Rolls of thunder sound twice. Katerina’s fear intensifies.)

Thus, in beginning The action involves a thunderstorm.

Conclusion No. 5. Varvara has common sense, she accepts with irony centuries-old traditions. This is her protection. Varvara needs calculation and common sense against fear. Katerina has a complete lack of calculation and common sense, increased emotionality.

3. “Troubles, but not from the barrel.”

1 block of questions.

– What a shock Katerina experienced in the scene of Tikhon’s farewell before leaving for

Moscow? (Shocked by the humiliation.)

– Prove it with text. Pay attention to the stage directions. (D.2, appearance 3,4.)

– “ To foretell a bad outcome” is another meaning of the word “thunderstorm”. How is this meaning

played out in this scene?

– “ Tisha, don’t leave...” - “Well, take me with you...” - “Fathers, I’m dying...” - “... take me

oath..." (D. 2, appearance 4.)

– Is Tikhon capable of protecting Katerina? What Domostroy norms does Katerina violate?

(Throws himself on Tikhon’s neck. – Doesn’t howl: “Why make people laugh.”)

2 block of questions.

– How does the metaphor of a thunderstorm break into Katerina’s monologue after the farewell scene?

(“...she crushed me...”) Analyze Katerina’s monologue (D.2, appearance 4).

– How does Kudryash warn Boris about Katerina’s possible death? (“Only women

they are locked up.” - “So you want to ruin her completely.” - “They will eat you, they will hammer you into the coffin.”)

The theme of the coffin, the grave, bursts in, and from that moment on, it sounds stronger.

– Is Boris able to protect Katerina? Who is trying to protect the heroine? (Kuligin.)

– How? (He suggests installing a lightning rod.)

– Why do you think Dikoy was so angry in his conversation with Kuligin about

lightning rod? (“A thunderstorm is being sent to us as punishment...”)

Lightning rod against the Wild One himself. They feel the fear of God before the Wild One himself, they are afraid of punishment from the Wild One himself. Kabanikha has the same role; Having escaped from her, Tikhon rejoices that “there will be no thunderstorm” above him for two weeks. Tyranny is associated with fear for one’s power, so it requires constant confirmation and testing.

3 block of questions.

– When is the second time a thunderstorm as a natural phenomenon breaks into a play? Analyze this

stage. Find frightening, warning phrases of those present (“thunderstorm

it won’t go in vain”, “...crawls, covered with a cap”).

– Why does Katerina hide screaming when the lady appears?

– Who is the crazy lady turning to? Find frightening, key phrases in the lady’s speech (“...I don’t want to die...” - “...Beauty is death after all...” - “...into the pool with beauty...” - “...you can’t escape from God...”).

– Name the combination of circumstances that intensify the tragedy in Katerina’s soul and lead to recognition. (Conversations of those present, a crazy lady with her prophecy, a fiery hyena.)

And Katerina’s confession sounds like a clap of thunder.

For Katerina, a thunderstorm (as for the Kalinovites) is not a stupid fear, but a reminder to a person of responsibility to the higher forces of good and truth. “... the heavenly thunderstorm... only harmonizes with the moral thunderstorm even more terrible. And the mother-in-law is a thunderstorm, and the consciousness of a crime is a thunderstorm.” (M. Pisarev.)

Thus, there is also a thunderstorm in the climax scene.

The thunderstorm brings cleansing. Katerina's death, like a thunderclap, a lightning discharge, brings purification: an awakening sense of personality and a new attitude towards the world.

4 block of questions.

– In which of the heroes does the personality awaken under the influence of Katerina’s death? (Varvara and Kudryash ran away. - Tikhon accuses his mother publicly for the first time: “you ruined her.” - Kuligin: “... the soul is not yours now, it is before a judge who is more merciful than you!”)

So, A.N. Ostrovsky universally implemented the metaphor of a thunderstorm in the play. The title of the play is an image that symbolizes not only the elemental power of nature, but also the stormy state of society, the storm in the souls of people. The thunderstorm passes through all the elements of the composition (all important plot points are connected with the image of the thunderstorm). Ostrovsky used all the meanings of the word “thunderstorm” indicated in V. Dahl’s dictionary.

- Why were we looking for the meaning of the title of Ostrovsky’s play “The Thunderstorm?”

Y. Making a plan.

Joint formulation of the introduction, thesis, conclusion, and the children work on the main part at home.

Rough plan.

I. The meaning of the word “thunderstorm” according to V. Dahl’s dictionary.

II. Ostrovsky universally implements the metaphor of a thunderstorm in his drama.

1. Dikoy and Kabanikha are a “thunderstorm” for the Kalinovites, an example of tyranny.

2. Katerina’s premonition of misfortune and fear after the first thunderclap.

3. Katerina is shocked by the humiliation in the scene of Tikhon’s farewell before leaving for Moscow.

4. Kuligin suggests installing a lightning rod.

5. Against the backdrop of a thunderstorm, Katerina admits to treason.

6. Katerina is a victim of an “internal thunderstorm,” a “thunderstorm of conscience.”

III. Katerina's death, like a thunderstorm, brings purification.

VI. Homework: learn by heart a passage of your choice (Kuligin " Cruel morals We have sir...” 1 act., yavl. 3,

Katerina “I say: why don’t people fly...” 1 act., yavl. 7).