What is the double meaning of the title of the drama thunderstorm. The meaning of the title of the play The Thunderstorm by Ostrovsky essay. What is a play

The drama “The Thunderstorm” by Alexander Nikolaevich Ostrovsky was written during serious reform changes in Russia and was published in 1859. As in any literary work, the meaning of the title of the play “The Thunderstorm” contains the theme and idea of the entire work. And therefore, it requires detailed consideration and analysis.

What is a play?

Before we begin to answer the question of what is the meaning of the title of the play “The Thunderstorm,” it is necessary to define the genre of this work. So the play is literary work, intended for production on stage. The distinctive features of this will be:

Building the entire plot on dialogues and monologues of the characters.
Division into parts, called acts or actions, and scenes.
Author's notes describing the setting and costumes of the characters. And also the actions of the heroes.

The originality of the drama "The Thunderstorm"

The meaning of the title of A. N. Ostrovsky’s play “The Thunderstorm” is directly related to genre originality works. The fact is that literary scholars still cannot agree on whether “The Thunderstorm” is a drama or a tragedy.

The tragedy of the play is associated with the image of Katerina, who is opposed to all other characters. The girl is sharply different from the people around her; she is a bright and dreamy person. Her conflict with the world is predetermined, merciless and dark - it is only capable of destroying and destroying.

The dramatic side of the play is manifested in social aspect- each hero has his own social position, which determines his actions and character. Thus, it is not possible to put an end to and attribute the play to one of the genres.

Conflict of the play

Before determining the meaning of the title of the play “The Thunderstorm,” it is necessary to understand the main conflict of this work.

Let's start with the fact that there is not one conflict in the drama, but several. And the first one that criticism has always paid attention to is social. From this point of view, Katerina appears as the embodiment of a people who are outraged and can no longer endure the tyranny and tyranny of those in power, of which Kabanikha is a representative. Another conflict, also associated with the confrontation between Kabanikha and Katerina, is the conflict of generations.

But the main and most important confrontation in the play is Katerina’s struggle with herself. Internal conflict is much deeper than external conflict and carries with it deepest meaning. A girl struggles with forbidden love. Unable to be a hypocrite, she finds herself under attack from the public. And in the end she has no choice but to commit suicide.

Katerina's image

The meaning of the title of the play “The Thunderstorm” is directly related to the image main character. Katerina became an unusual female character for Ostrovsky. Compared to the writer’s previous heroines, she stands out for her subtle attitude and integrity of personality. She is a poetic and dreamy person with a bright soul and lofty aspirations. Description happy life for her it looks like this: embroidery, visiting temples and prayers, communicating with praying praying women and wonderful dreams about golden temples and wonderful gardens. By this, the writer emphasizes what is above material things for Katerina.

The image of the girl is closely intertwined with the image of the bird and the motif of flight. Katerina’s desire to fly away introduces the theme of imprisonment and bondage into the narrative. And along with them the theme of death, because the soul can free itself and take off only by losing its corporeal shell.

At Katerina's strong character, her sense of dignity is very great. It is very difficult for her to live under the same roof with Kabanikha. After all, reproaches, despotism and tyranny on the part of the mistress reign there, as well as stupidity, spinelessness and obedience of the rest of the inhabitants.

The melancholy that engulfs Katerina in Marfa Ignatievna’s house is mixed with the girl’s desire to know true love. The heroine cannot experience this feeling for Tikhon, since he is weak-willed, stupid, and spiritually poor. Katerina can only fall in love with a worthy, kind person who is different from those around her. And the girl seems to find this in Boris Grigorievich. It is from the moment she begins meeting with a young man that the heroine’s internal conflict begins. She is torn between her feelings and her duty to her husband.

But Katerina is deceived; Boris is an ordinary person who is not able to dare to save the girl. Katerina, realizing that she cannot forgive herself and continue to live in the darkness surrounding her, decides to commit suicide. It is with this episode that the meaning of the title of Ostrovsky’s play “The Thunderstorm” is connected, which we will consider in more detail below.

The meaning of the play's title

There is a huge meaning hidden in the title of the drama. Tikhon utters this word for the first time when he says goodbye to his wife before leaving. The hero compares Kabanikha to an impending thunderstorm and is glad that he will get rid of her attacks, at least for a short time. Thus, answering the question of what is the symbolic meaning of the title of the play “The Thunderstorm,” we can say that this personifies can be caused both by the tyranny of others and by higher powers. And it covers all the heroes of the work. Even Katerina is susceptible to it, because she is afraid capital punishment for cheating on her husband. Even death does not frighten the girl as much as possible punishment for her sins.

The entire development of actions in the play is similar to the time before a thunderstorm, which will certainly end in a storm. It is in the fear that grows as the disaster approaches that the meaning of the title of the play “The Thunderstorm” lies. It is better to supplement the essay with descriptions of those scenes in the play where the characters most clearly show fear.

Conclusion

The work was received with great enthusiasm by critics and had many interpretations of the conflicts, main topic and the image of Katerina. The meaning of the title of the play “The Thunderstorm” also became a symbolic riddle. The essay provided for in the school curriculum once again confirms that interest in this controversial creation of Ostrovsky has not yet weakened.

Ostrovsky's plays reflected, as if in a mirror, the whole life of the Russian merchants. The drama The Thunderstorm shows the reader a reliable picture of the tragedy, which can be considered a completely common occurrence for the merchant environment. The life and customs of the Russian merchants were capable of bringing a person to moral and physical death, and Ostrovsky in his works shows all the circumstances, terrible in their everydayness and typicality, accompanying such a tragedy. One of the city residents, Kuligin, says: Cruel morals, sir, in our city, they are cruel!

Cruelty is so closely woven into the life of the city and its inhabitants that it does not even occur to anyone to resist or be indignant about it. Everyone around them is forced to put up with existing orders and morals. The only thing in the city that is bright, clean and beautiful is amazing beautiful nature. It is no coincidence that at the very beginning of the work, tribute is paid to this eternal beauty, which does not depend on the anger and cruelty of people. Kuligin talks about beauty native nature: Here, my brother, for fifty years I have been looking at the Volga every day and I still can’t get enough of it. The Volga symbolizes freedom, and any person in the city of Kalinov depends on those around him, on cruel morals and other people’s opinions, often unfair. That is why there is clearly some stuffiness in the air. In nature, this occurs before the start of a thunderstorm. Dark Kingdom tries to enslave everyone who has even the slightest prerequisites for thinking or acting independently. Everyone obeys, so such representatives of the dark kingdom as Kabanova and Dikoy can freely establish their own rules. Kabanikha is an extremely disgusting character; she is cruel, power-hungry, but at the same time stupid and limited. She is hypocritical, in her soul there is neither pity nor compassion for others. They say about her that she is a hypocrite, that she favors the poor, and that she is completely fed up with her family. Kabanikha constantly reproaches everyone around her for not showing her due deference and respect. However, there is absolutely nothing to respect her for. Kabanova pesters her household so much that they quietly hate her. There is simply no other way to treat her. Kabanova demands that everyone obey her. Deep down, she feels how fragile her power over those around her is. And this makes her still to a greater extent get angry and hate everyone around you. She is also an unfortunate victim of the dark kingdom. Perhaps she was different in her youth, but the existing order led her to turn into an evil and cruel creature. Kabanikha cannot even understand the members of her own family, among which different relationships are gradually established than those to which she is accustomed. It is difficult for Marfa Ignatievna to understand that each person is a whole world, a whole Universe. And therefore, each person has the right to his own life, which is built according to principles other than those that she preaches. Kabanova is considered respected and influential woman. She and the merchant Dikoy form the flower of the city nobility. It is no wonder that such a suffocating atmosphere reigns in the city, because all the rules are established by such narrow-minded and evil people. Just look at how the merchant Dikoy treats those around him: he embezzled the money of his nephew, who was left an orphan. And he blackmails his nephew in every possible way, threatening that he will not receive his money if he is not respectful enough to him and obedient to his will. Dikoy does not pay money to the peasants; he humiliates people, trampling on their human dignity. Wild and Kabanikha are birds of a feather. They are extremely selfish people who value only themselves, and try not to take others into account. Katerina initially appears to have completely opposite qualities than those characteristic of representatives of the merchant environment. Katerina is dreamy and imprudent. Despite the fact that she grew up in the same merchant family, her parents treated her completely differently. Katerina herself remembers with sadness about her girlhood: I lived, didn’t worry about anything, like a bird in the wild. Mama doted on me, dressed me up like a doll, and didn’t force me to work. Katerina is given in marriage by force, as, indeed, was customary in the merchant society of that time. She does not have any feelings for her husband, so life itself in the Kabanovs’ house depresses her. Katerina dreams of freedom, of joy, of real, full of events life. And she has to vegetate in an atmosphere of all-consuming stupidity, hypocrisy and falsehood. Sve
Blood is trying to humiliate Katerina, but she can only endure it. Katerina is tender and dreamy, she suffers from a lack of love and care. She is bored, sad and sad. She is absolutely unhappy. Katerina’s husband is weak-willed and weak person, Katerina doesn’t love him, and he doesn’t even try to protect his wife from her evil and unfair mother-in-law. Love for Boris is for Katerina a escape from the dullness and monotony of everyday joyless life. Katerina cannot refuse her feelings. After all, love is the only thing she has that is pure, bright and beautiful. Katerina is an open and straightforward person, so she cannot hide her feelings, adapting to the prevailing orders in society. Katerina can no longer stay in this city, again endure the humiliation of her mother-in-law. And she decides to leave with her loved one. But he refuses: I can’t, Katya. I’m not eating of my own free will: my uncle sends me. Katerina realizes with horror that she will again have to live with her husband and endure Kabanikha’s orders. Katerina's soul can't stand it. She decides to throw herself into the Volga and find freedom in death. Katerina gives up her life at the moment when a thunderstorm breaks out over the city. A thunderstorm in nature radically changes the atmosphere, the hot and suffocating haze disappears. Katerina’s death was the same thunderstorm for society that forced people to look at their own lives differently. Now even Katerina’s husband understands who is to blame for the woman’s death. He blames his own mother for the tragedy: Mama, you ruined her! You, you, you. Katerina’s death was the sign that made those around her wake up, open their eyes, for a long time covered with a veil of lies, hypocrisy and hypocrisy. Tyranny, indifference and human indifference to the fate of others destroy people not only physically, but also spiritually. The drama is called The Thunderstorm because this work thunderstorm is not only natural, but also social phenomenon. An explosive situation was brewing in the city, and finally, under the influence of the environment and the people around her, the unfortunate woman voluntarily gave up her life.

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Ostrovsky's plays reflected, as if in a mirror, the whole life of the Russian merchants. The drama “The Thunderstorm” shows the reader a reliable picture of the tragedy, which can be considered a completely common occurrence for the merchant environment. The life and customs of the Russian merchants were capable of bringing a person to moral and physical death, and Ostrovsky in his works shows all the circumstances, terrible in their everydayness and typicality, accompanying such a tragedy. One of the city residents, Kuligin, says: “Cruel morals, sir, in our city, cruel!” Cruelty is so closely woven into the life of the city and its inhabitants that it does not even occur to anyone to resist or be indignant about it. Everyone around them is forced to put up with existing orders and morals. The only thing that is bright, clean and beautiful in the city is the amazingly beautiful nature. It is no coincidence that at the very beginning of the work, tribute is paid to this eternal beauty, which does not depend on the anger and cruelty of people. Kuligin speaks about the beauty of his native nature: “Here, my brother, for fifty years I have been looking at the Volga every day and I can’t get enough of it.”

The Volga symbolizes freedom, and any person in the city of Kalinov depends on those around him, on cruel morals and other people’s opinions, often unfair. That is why there is clearly some stuffiness in the air. In nature, this occurs before the start of a thunderstorm.

The “Dark Kingdom” tries to enslave everyone who has even the slightest prerequisites for thinking or acting independently. Everyone obeys, so such representatives of the “dark kingdom” as Kabanova and Dikoy can freely establish their own rules.

Kabanikha is an extremely disgusting character, she is cruel, power-hungry, but at the same time stupid and limited. She is hypocritical, in her soul there is neither pity nor compassion for others. They say about her that she is a prude, “she favors the poor, but completely eats up her family.” Kabanikha constantly reproaches everyone around her for not showing her due deference and respect. However, there is absolutely nothing to respect her for. Kabanova pesters her household so much that they quietly hate her. There is simply no other way to treat her.

Kabanova demands that everyone obey her. Deep down, she feels how fragile her power over those around her is. And this makes her even more angry and hate everyone around her. She is also an unfortunate victim of the “dark kingdom”. Perhaps she was different in her youth, but the existing order led her to turn into an evil and cruel creature.

Kabanikha cannot even understand the members of her own family, among whom different relationships are gradually being established than those to which she is accustomed. It is difficult for Marfa Ignatievna to understand that each person is a whole world, a whole Universe. And therefore, each person has the right to his own life, which is built according to principles other than those that she preaches.

Kabanova is considered a respected and influential woman in the city. She and the merchant Dikoy constitute the “color” of the city nobility. It is no wonder that such a suffocating atmosphere reigns in the city, because all the rules are established by such narrow-minded and evil people. Just look at how the merchant Dikoy treats those around him: he embezzled the money of his nephew, who was left an orphan. And he blackmails his nephew in every possible way, threatening that he will not receive his money if he is not respectful enough to him and obedient to his will. Dikoy does not pay money to the peasants, he humiliates people, trampling on their human dignity. Wild and Kabanikha are birds of a feather. They are extremely selfish people who value only themselves, and try not to take others into account.

Katerina initially appears to have completely opposite qualities than those characteristic of representatives of the merchant environment. Katerina is dreamy and imprudent. Despite the fact that she grew up in the same merchant family, her parents treated her completely differently. Katerina herself remembers with sadness about her girlhood: “I lived, didn’t worry about anything, like a bird in the wild. Mama doted on me, dressed me up like a doll, and didn’t force me to work...” Katerina is given in marriage by force, as, indeed, was customary in the merchant society of that time. She does not have any feelings for her husband, so life itself in the Kabanovs’ house depresses her. Katerina dreams of freedom, of joy, of a real life full of events. And she has to vegetate in an atmosphere of all-consuming stupidity, hypocrisy and falsehood.

The mother-in-law is trying to humiliate Katerina, but she can only endure it. Katerina is tender and dreamy, she suffers from a lack of love and care. She is bored, sad and sad. She is absolutely unhappy. Katerina's husband is a weak-willed and weak person, Katerina does not love him, and he does not even try to protect his wife from her evil and unfair mother-in-law.

Love for Boris is for Katerina a escape from the dullness and monotony of everyday joyless life. Katerina cannot refuse her feelings. After all, love is the only thing she has that is pure, bright and beautiful. Katerina is an open and straightforward person, so she cannot hide her feelings, adapting to the prevailing orders in society. Katerina can no longer stay in this city, again endure the humiliation of her mother-in-law. And she decides to leave with her loved one. But he refuses: “I can’t, Katya. Food is not of my own free will: my uncle sends it.” Katerina realizes with horror that she will again have to live with her husband and endure Kabanikha’s orders. Katerina's soul can't stand it. She decides to throw herself into the Volga and find freedom in death.

Katerina gives up her life at the moment when a thunderstorm breaks out over the city. A thunderstorm in nature radically changes the atmosphere, the hot and suffocating haze disappears. Katerina’s death was the same thunderstorm for society that forced people to look at their own lives differently. Now even Katerina’s husband understands who is to blame for the woman’s death. He blames his own mother for the tragedy: “Mama, you ruined her! You, you, you...”

Katerina’s death was the sign that made those around her wake up and open their eyes, which had long been closed by a veil of lies, hypocrisy and hypocrisy. Tyranny, indifference and human indifference to the fate of others destroy people not only physically, but also spiritually. The drama is called “The Thunderstorm” because in this work the thunderstorm is not only a natural, but also a social phenomenon. An explosive situation was brewing in the city, and finally it happened - under the influence of the environment and the people around her, the unfortunate woman voluntarily gave up her life.

The meaning of the name of the drama by A.N. Ostrovsky “Thunderstorm”

A.N. Ostrovsky is the largest playwright of the second half of the 19th century. His plays reflect almost all aspects of Russian life. He was one of the first to give a broad description of the merchants in Russia. Alexander Nikolaevich wrote his drama “The Thunderstorm” under the impression of a trip along the Volga. This play can safely be called a pearl of Russian literature. In it, the main place is occupied by the description of the life and customs of the merchants, but the role of the landscape is also important.

The drama itself begins with Kuligin’s story about the beauty of nature in the city of Kalinov: “... Here you are, my brother, for fifty years I have been looking across the Volga every day and I still can’t see enough.” But this splendor is disrupted by cruel morals and some kind of stuffiness before the onset of a thunderstorm. Kuligin says: “Cruel morals, sir, in our city, cruel!” The order in Kalinov is established by two main and rich people, according to Dobrolyubov, representatives of the “dark kingdom”: Kabanov and Dikiy. Kabanova is “a hypocrite, she favors the poor, but completely eats up her family,” says Kuligin in a conversation with Boris. Indeed, when Marfa Ignatievna first appears on stage, we hear the imperious intonations of the mistress of the house, accustomed to unquestioning obedience. She pesters her loved ones not so much with abuse, but with eternal reproaches for disrespect and disobedience. Kabanova is angry because her heart senses some trouble around her, some trends that are deeply hostile to her. Even in her family, where they meekly obey her, she sees the awakening of new feelings, new relationships, despite the fact that her son Tikhon says: “Yes, I’m a mother and I don’t want to live by my own will.”

Kabanova is the most influential woman in the city; Dikoy himself, the noble merchant Kalinova, even reports to her. They are both evil, cruel people, but the Wild One is distinguished by boundless greed. He has taken over his own nephew's money and tells him to be more subservient to him if he wants to get it back. Savel Prokofievich does not pay any money to the peasants. Kuligin talks about the men who came to the mayor to complain “that Dikoy would not disrespect any of them.” Just like Kabanikha, he takes pleasure in humiliating people, subordinating them to his will. It should be noted that Dikoy is afraid of Marfa Ignatievna, Savel Prokofievich allows himself to raise his voice at Kabanikha and hears in response: “Well, don’t let your throat loose! Find me cheaper! And I’m dear to you!”

In the drama, Katerina, Kabanova’s daughter-in-law, a girl from a merchant family who was forcibly married, takes the path of fighting tyranny. She recalls with tenderness and sadness her days spent in parental home, about the past carefree time: “I lived, didn’t worry about anything, like a bird in the wild. Mama doted on me, she dressed me up like a doll, she didn’t force me to work...” After marriage, Katerina found herself in captivity, her bright and pure soul was constantly reaching out for freedom, she wanted to escape from the strong clutches of her mother-in-law. And despite all that she had to endure, she said: “And if I get really tired of it here, no force can hold me back.” It’s hard for Katerina in Kabanova’s house, who strives to bring her family and, above all, the willful Katerina, to complete obedience. But the more they humiliate her, the stronger the impulse for freedom, love and happiness awakens. She cannot fall in love with Tikhon; he is not able to protect his wife from his mother’s attacks, since he himself is a tool in her hands. Therefore, the feeling for Boris expresses both a mortal melancholy from a monotonous life, and a burning desire for freedom and space. Having fallen in love with all her soul, Katerina does not want and cannot pretend and deceive, that is, adapt to the “dark kingdom.”

She makes an attempt to find help and support from her loved one: “Take me with you from here,” she asks Boris and hears in response: “I can’t Katya. I’m not eating of my own free will: “my uncle sends me.” Thus, there are two options left for Katerina: one is to live with her husband, subdued and trampled, the other is to die. She chose the latter - liberation at the cost of death.

After Katerina passed away, the residents of the city of Kalinova saw everything that was happening to them. Even Kabanikha’s obedient and submissive son Tikhon has seen the light; he dares to blame his mother for the death of his beloved wife, bending over her lifeless body: “Mama, you ruined her! You, you, you...” Residents of the city of Kalinov seemed to have created this tragic situation themselves, failing, being afraid to speak out in time against tyranny and evil!