Literature testing on Ostrovsky's works. Test material on literature on the topic "A.N.

The issue of genres has always been quite resonant among literary scholars and critics. Disputes around which genre to classify this or that work gave rise to many points of view, sometimes completely unexpected. Most often, disagreements arise between the author's and the scientific designation of the genre. For example, N.V. Gogol’s poem “Dead Souls”, from a scientific point of view, should be called a novel. In the case of dramaturgy, too, everything is not so simple. And we are talking here not about the symbolist understanding of drama or futuristic experiments, but about drama within the framework of the realistic method. Speaking specifically about the genre of “Thunderstorms” by Ostrovsky.

Ostrovsky wrote this play in 1859, at a time when theater reform was necessary. Ostrovsky himself believed that the performance of the actors is much more important to the audience, and you can read the text of the play at home. The playwright had already begun to prepare the audience for the fact that plays for performance and plays for reading should be different. But the old traditions were still strong. The author himself defined the genre of the work “The Thunderstorm” as drama. First you need to understand the terminology. The drama is characterized by a serious, predominantly everyday plot, the style is close to real life. At first glance, The Thunderstorm has many dramatic elements. This is, of course, everyday life. The morals and way of life of the city of Kalinov are described incredibly clearly. One gets a complete impression not only of a single city, but also of all provincial towns. It is no coincidence that the author points out the conventionality of the setting: it is necessary to show that the existence of the inhabitants is typical. Social characteristics are also distinguished by their clarity: the actions and character of each hero are largely determined by his social position.

The tragic beginning is connected with the image of Katerina and, partly, Kabanikha. A tragedy requires a strong ideological conflict, a struggle that can end in the death of the main character or several characters. The image of Katerina shows a strong, pure and honest personality who strives for freedom and justice. She was married off early against her will, but she was able to fall in love with her spineless husband to some extent. Katya often thinks that she could fly. She again wants to feel that inner lightness that was before marriage. The girl feels cramped and stuffy in an atmosphere of constant scandals and quarrels. She can neither lie, even though Varvara says that the entire Kabanov family rests on lies, nor hush up the truth. Katya falls in love with Boris, because initially he seems to both her and the readers to be the same as her. The girl had the last hope of saving herself from disappointment in life and in people - escaping with Boris, but the young man refused Katya, acting like other residents of a world alien to Katerina.

Katerina's death shocks not only readers and spectators, but also other characters in the play. Tikhon says that everything is to blame for his domineering mother, who killed the girl. Tikhon himself was ready to forgive his wife’s betrayal, but Kabanikha was against it.

The only character who can compare with Katerina in terms of strength of character is Marfa Ignatievna. Her desire to subjugate everything and everyone makes a woman a real dictator. Her difficult character ultimately led to her daughter running away from home, her daughter-in-law committing suicide, and her son blaming her for her failures. Kabanikha, to some extent, can be called Katerina’s antagonist.

The conflict of the play can also be viewed from two sides. From the point of view of tragedy, the conflict is revealed in the collision of two different worldviews: old and new. And from the point of view of drama, the contradictions of reality and characters collide in the play.

The genre of Ostrovsky's play "The Thunderstorm" cannot be determined precisely. Some are inclined to the author's version - a social drama, others propose to reflect the characteristic elements of both tragedy and drama, defining the genre of "Thunderstorms" as an everyday tragedy. But one thing cannot be denied for sure: this play contains both features of tragedy and features of drama.

Work test

Alexander Nikolaevich Ostrovsky’s play “The Thunderstorm” is rightfully considered not only the pinnacle of the writer’s creativity, but also one of the outstanding works of Russian drama. It represents a large-scale socio-historical conflict, a confrontation between two eras, a crisis in the socio-political life of an entire state. We invite you to familiarize yourself with literary analysis works according to a plan that will be useful for a 10th grade student in preparation for a literature lesson.

Brief Analysis

Year of writing– 1859.

History of creation– The play was written under the influence of a trip along the Volga, during which the writer recorded interesting everyday scenes, conversations and incidents from the life of Volga provincials.

Subject– The work highlights the problems of relationships between two generations, two fundamentally different worlds. Themes of family and marriage, sin and repentance are also raised.

Composition- The composition of the work is based on contrast. Exposition - description of the main characters characters and their way of life, the beginning is Katerina’s conflict with Kabanikha, the development of actions is Katerina’s love for Boris, the climax is Katerina’s internal torment, her death, the denouement is Varvara and Tikhon’s protest against the tyranny of their mother.

Genre- Play, drama.

Direction- Realism.

History of creation

Ostrovsky began writing the play in July 1859, and a few months later it was ready and sent to St. Petersburg for literary critics to judge.

The writer was inspired by an ethnographic expedition along the Volga, organized by the Maritime Ministry to study the morals and customs of the indigenous population of Russia. Ostrovsky was one of the participants in this expedition.

During the trip, Alexander Nikolaevich witnessed many everyday scenes and dialogues of the provincial public, which he absorbed like a sponge. Subsequently, they formed the basis of the play “The Thunderstorm”, giving the drama folk character and true realism.

The fictional city of Kalinov, described in the play, incorporates characteristic features Volga cities. Their originality and indescribable flavor delighted Ostrovsky, who carefully recorded all his observations about the life of provincial towns in his diary.

For a long time there was a version that the writer took the plot for his work from real life. On the eve of writing the play, a tragic story happened in Kostroma - a young girl named Alexandra Klykova drowned herself in the Volga, unable to withstand the oppressive atmosphere in her husband’s house. An overly domineering mother-in-law oppressed her daughter-in-law in every possible way, while the spineless husband could not protect his wife from his mother’s attacks. The situation was aggravated by the love affair between Alexandra and the postal employee.

Having successfully passed censorship, the play was staged on the stage of Maly academic theater in Moscow and the Alexandrinsky Drama Theater in St. Petersburg.

Subject

In his work, Alexander Nikolaevich raised many important topics, but the main one among them was theme of conflict between two eras- patriarchal way of life and a young, strong and courageous generation, full of bright hopes for the future.

Katerina became the personification of a new, progressive era, which desperately needed liberation from the tenacious shackles of dark philistinism. She could not put up with hypocrisy, servility and humiliation for the sake of established foundations. Her soul strove for the bright and beautiful, but in conditions of musty ignorance, all her impulses were doomed to failure.

Through the prism of the relationship between Katerina and her new family the author tried to convey to the reader the current situation in society, which was on the verge of a global social and moral turning point. This idea fits perfectly with the meaning of the title of the play - “The Thunderstorm”. This powerful natural element has become the personification of the collapse of the stagnant atmosphere of a provincial town, mired in superstitions, prejudices and falsehood. Katerina’s death during a thunderstorm became the internal impetus that prompted many residents of Kalinov to the most decisive actions.

The main idea of ​​the work lies in persistently defending one’s interests - the desire for independence, beauty, new knowledge, spirituality. Otherwise, all beautiful spiritual impulses will be mercilessly destroyed by the sanctimonious old order, for which any deviation from the established rules brings certain death.

Composition

In “The Thunderstorm,” the analysis includes an analysis of the compositional structure of the play. The peculiarity of the composition of the work lies in artistic contrast, on which the entire structure of the play, consisting of five acts, is built.

On display Ostrovsky's works depict the lifestyle of the inhabitants of the city of Kalinin. He describes the historical foundations of the world, which is destined to become a backdrop for the events described.

What follows plot, in which there is an uncontrollable increase in the conflict between Katerina and her new family. Katerina’s confrontation with Kabanikha, their reluctance to even try to understand the other side, and Tikhon’s lack of will escalate the situation in the house.

Action Development the play lies in internal struggle Katerina, who, out of despair, rushes into the arms of another man. Being a deeply moral girl, she experiences pangs of conscience, realizing that she has committed betrayal towards her legal spouse.

Climax is represented by Katerina’s confession, made under the influence of internal suffering and the curses of an out-of-mind lady, and her voluntary departure from life. In extreme despair, the heroine sees the solution to all her problems only in her death.

Denouement The play lies in the manifestation of Tikhon and Varvara’s protest against Kabanikha’s despotism.

Main characters

Genre

According to Ostrovsky himself, “The Thunderstorm” is realistic drama. Like literary genre defines a serious, morally difficult plot, as close to reality as possible. It is always based on the conflict of the protagonist with the environment.

If we talk about direction, then this play fully consistent with the direction of realism. Proof of this are detailed descriptions of the morals and living conditions of the inhabitants of small Volga towns. The author attaches great importance to this aspect, since the realism of the work emphasizes it in the best possible way. main idea.

Work test

Rating analysis

Average rating: 4.6. Total ratings received: 4205.

Option No. 371064

When completing tasks with a short answer, enter in the answer field the number that corresponds to the number of the correct answer, or a number, a word, a sequence of letters (words) or numbers. The answer should be written without spaces or any additional characters. The answer to tasks 1-7 is a word, or a phrase, or a sequence of numbers. Write your answers without spaces, commas, or other additional characters. For tasks 8-9, give a coherent answer in 5-10 sentences. When completing task 9, select two works of different authors for comparison (in one of the examples, it is acceptable to refer to the work of the author who owns the source text); indicate the titles of the works and the names of the authors; justify your choice and compare the works with the proposed text in a given direction of analysis.

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At the beginning of the above fragment, the characters communicate with each other, exchanging remarks. What is this type of speech called?

“Here we are at home,” said Nikolai Petrovich, taking off his cap and shaking his hair. - The main thing is now to have dinner and rest.

It’s really not bad to eat,” Bazarov noted, stretching, and sank onto the sofa.

Yes, yes, let's have dinner, have dinner quickly. - Nikolai Petrovich stamped his feet for no apparent reason. - By the way, Prokofich.

A man of about sixty entered, white-haired, thin and dark, wearing a brown tailcoat with copper buttons and a pink scarf around his neck. He grinned, walked up to Arkady’s handle and, bowing to the guest, retreated to the door and put his hands behind his back.

“Here he is, Prokofich,” Nikolai Petrovich began, “has finally come to us... What? how do you find it?

IN in the best possible way, sir“, - said the old man and grinned again, but immediately frowned his thick eyebrows. - Would you like to set the table? - he said impressively.

Yes, yes, please. But won't you go to your room first, Evgeny Vasilich?

No, thank you, there is no need. Just order my suitcase to be stolen there and these clothes,” he added, taking off his robe.

Very good. Prokofich, take their overcoat. (Prokofich, as if in bewilderment, took Bazarov’s “clothes” with both hands and, raising it high above his head, walked away on tiptoe.) And you, Arkady, will you go to your room for a minute?

“Yes, we need to clean ourselves,” Arkady answered and headed towards the door, but at that moment a man of average height, dressed in a dark English suit, a fashionable low tie and patent leather ankle boots, Pavel Petrovich Kirsanov, entered the living room. He looked about forty-five years old: his short-cropped gray hair shone with a dark shine, like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if drawn by a thin and light incisor, showed traces of remarkable beauty; The light, black, oblong eyes were especially beautiful. The whole appearance of Arkady's uncle, graceful and thoroughbred, retained youthful harmony and that desire upward, away from the earth, which for the most part disappears after the twenties.

Pavel Petrovich took his trousers out of his pocket beautiful hand with long pink nails - a hand that seemed even more beautiful from the snowy whiteness of the sleeve, fastened with a single large opal, and handed it to his nephew. Having previously performed the European “shake hands,” he kissed him three times, in Russian, that is, touched his cheeks with his fragrant mustache three times, and said: “Welcome.”

Nikolai Petrovich introduced him to Bazarov: Pavel Petrovich slightly tilted his flexible figure and smiled slightly, but did not offer his hand and even put it back in his pocket.

“I already thought that you wouldn’t come today,” he spoke in a pleasant voice, swaying courteously, twitching his shoulders and showing his beautiful white teeth. - Did something happen on the road?

“Nothing happened,” answered Arkady, “so, we hesitated a little.”

I. S. Turgenev “Fathers and Sons”

Answer:

Name the literary movement whose principles were embodied in “Dead Souls”.

Read the fragment of the work below and complete tasks B1-B7; C1, C2.

The nobleman, as usual, comes out: “Why are you here? Why are you? A! - he says, seeing Kopeikin, “after all, I have already announced to you that you should expect a decision.” - “For mercy, your Excellency, I don’t have, so to speak, a piece of bread...” - “What should I do? I can’t do anything for you: try to help yourself for now, look for the means yourself.” - “But, Your Excellency, you can, in a way, judge for yourself what means I can find without having an arm or a leg.” “But,” says the dignitary, “you must agree: I cannot support you, in some way, at my own expense: I have many wounded, they all have an equal right... Arm yourself with patience. When the sovereign arrives, I can give you my word of honor that his royal mercy will not leave you.” “But, Your Excellency, I can’t wait,” says Kopeikin, and he speaks, in some respects, rudely. The nobleman, you understand, was already annoyed. In fact: here from all sides the generals are waiting for decisions, orders: matters, so to speak, are important, state affairs, requiring speedy execution - a minute of omission can be important - and then there is an unobtrusive devil attached to the side. “Sorry,” he says, “I don’t have time... I have more important things to do than yours.” It reminds you in a somewhat subtle way that it’s time to finally get out. And my Kopeikin - hunger, you know, spurred him on: “As you wish, Your Excellency, he says, I will not leave my place until you give a resolution.” Well... you can imagine: to respond in this way to a nobleman, who only needs to say a word - and so the tarashka flew up, so that the devil will not find you... Here, if an official of one less rank tells our brother, something like that, so much so and rudeness. Well, and there’s the size, what the size is: the general-in-chief and some captain Kopeikin! Ninety rubles and zero! The general, you understand, nothing more, as soon as he looked, and his gaze was like a firearm: the soul was gone - it had already gone to his heels. And my Kopeikin, you can imagine, doesn’t move, he stands rooted to the spot. “What are you doing?” - says the general and took him, as they say, to the shoulder. However, to tell the truth, he treated him quite mercifully: another would have scared him so much that for three days after that the street would have been spinning upside down, but he only said: “Okay, he says, if it’s expensive for you to live here and you can’t wait in peace in the capital decision of your fate, so I will send you to the government account. Call the courier! escort him to his place of residence!” And the courier is already there, you see, standing there: some three-arshine man, with arms, you can imagine, made for coachmen by nature - in a word, a kind of dentist. .. Here he was, the servant of God, captured, my sir, in a cart with a courier. “Well,” Kopeikin thinks, “at least you don’t have to pay fees, thanks for that.” Here he is, my sir, riding on a courier, yes, riding on a courier, in a way, so to speak, reasoning to himself: “When the general says that I should look for means to help myself, well, he says, I’ll find funds! Well, as soon as he was delivered to the place and where exactly they were taken, none of this is known. So, you see, the rumors about Captain Kopeikin sank into the river of oblivion, into some kind of oblivion, as the poets call it. But, excuse me, gentlemen, this is where, one might say, the thread, the plot of the novel begins. So, where Kopeikin went is unknown; but, you can imagine, less than two months passed before a gang of robbers appeared in the Ryazan forests, and the ataman of this gang, my sir, was none other...”

N.V. Gogol “Dead Souls”

Answer:

Indicate the term that denotes the depiction of the inner, spiritual life of the characters, including with the help of external “cues” (“exclaimed impatiently,” “interrupted again,” “looked from under his brows”).

Read the fragment of the work below and complete tasks B1-B7; C1, C2.

That’s how you and I, Nikolai Petrovich said to his brother that same day after dinner, sitting in his office, “we’ve become retired people, our song is finished.” Well? Maybe Bazarov is right; but, I admit, one thing hurts me: I was hoping right now to get close and friendly with Arkady, but it turns out that I stayed behind, he went forward, and we cannot understand each other.

Why did he go ahead? And how is he so different from us? - Pavel Petrovich exclaimed impatiently. - This gentleman, this nihilist, drove it all into his head. I hate this doctor; in my opinion, he is just a charlatan; I’m sure that with all his frogs he’s not far ahead in physics.

No, brother, don’t say that: Bazarov is smart and knowledgeable.

And what disgusting pride,” Pavel Petrovich interrupted again.

Yes,” Nikolai Petrovich noted, “he is proud.” But apparently it’s impossible without this; There’s just something I don’t understand. It seems that I am doing everything to keep up with the times: I organized peasants, started a farm, so that even in the whole province they call me red; I read, I study, in general I try to keep up with modern requirements, but they say that my song is finished. Why, brother, I myself am beginning to think that it is definitely sung.

Why is this?

Here's why. Today I’m sitting and reading Pushkin... I remember, “Gypsies” came across to me... Suddenly Arkady comes up to me and silently, with a kind of gentle regret on his face, quietly, like a child, he took the book from me and put another one in front of me, German... he smiled and left, and took Pushkin away.

That's how! What book did he give you?

This one.

And Nikolai Petrovich took out the notorious Buchner pamphlet, ninth edition, from the back pocket of his coat. Pavel Petrovich turned it over in his hands.

Hm! - he mumbled. - Arkady Nikolaevich takes care of your upbringing. Well, have you tried reading?

I tried it.

So what?

Either I'm stupid or this is all nonsense. I must be stupid.

Have you forgotten your German? - asked Pavel Petrovich.

I understand German.

Pavel Petrovich again turned the book over in his hands and looked at his brother from under his brows. Both were silent.

I. S. Turgenev “Fathers and Sons”

Answer:

The relationship between the Wild One and the people around him is often in the nature of a clash, an irreconcilable confrontation. Indicate the term by which it is designated.

Read the fragment of the work below and complete tasks B1-B7; C1, C2.

Kabanova. Go, Feklusha, tell me to prepare something to eat.

Feklusha leaves.

Let's go to our chambers!

Wild. No, I won’t go to my chambers, I’m worse in my chambers.

Kabanova. What made you angry?

Wild. Since this morning, from Kabanov himself. They must have asked for money.

Wild. As if they had agreed, the damned ones; first one or the other pesters all day long.

Kabanova. It must be necessary, if they pester you.

Wild. I understand this; What are you going to tell me to do with myself when my heart is like this! After all, I already know that I have to give, but I can’t give everything good. You are my friend, and I must give it to you, but if you come and ask me, I will scold you. I will give, give, and curse. Because if you even mention money to me, my insides will start to ignite; It kindles everything inside, and that’s all; Well, in those days I would never curse a person for anything.

Kabanova. There are no elders over you, so you are showing off.

Wild. No, godfather, keep quiet! Listen! These are the stories that happened to me. I was fasting about fasting, about something great, and then it’s not easy and I slip a little man in; I came for money and carried firewood. And it brought him to sin at such a time! I did sin: I scolded him, I scolded him so much that I couldn’t ask for anything better, I almost killed him. This is what my heart is like! After asking for forgiveness, he bowed at his feet, really. Truly I tell you, I bowed at the man’s feet. This is what my heart brings me to: here in the yard, in the dirt, I bowed to him; I bowed to him in front of everyone.

Kabanova. Why are you deliberately bringing yourself into your heart? This, godfather, is not good.

Wild. How on purpose?

Kabanova. I saw it, I know. If you see that they want to ask you for something, you will take one of your own on purpose and attack someone in order to get angry; because you know that no one will come to you when you’re angry. That's it, godfather!

Wild. Well, what is it? Who doesn’t feel sorry for their own good!

Glasha enters.

Kabanova. Marfa Ignatievna, a snack has been set, please!

Kabanova. Well, godfather, come in! Eat what God sent you!

Wild. Perhaps.

Kabanova. You are welcome! (He lets the Wild One go ahead and follows him.)

A.N. Ostrovsky "Thunderstorm"

Answer:

At the end of the fragment there is a question that does not require a specific answer: “And what passions and enterprises could excite them?” What is this question called?

The poet and dreamer would not be satisfied even with the general appearance of this modest and unpretentious area. They would not have been able to see there any evening in the Swiss or Scottish style, when all nature - the forest, the water, the walls of the huts, and the sandy hills - everything burns as if with a crimson glow; when, against this crimson background, a cavalcade of men riding along a sandy winding road is sharply shaded, accompanying some lady on walks to a gloomy ruin and hastening to a strong castle, where an episode about the war of the two roses awaits them, told by the grandfather, a wild goat for dinner and sung by the young miss ballad to the sound of a lute - pictures,

with which the pen of Walter Scott so richly populated our imagination.

No, there was nothing like this in our region.

How quiet everything is, everything is sleepy in the three or four villages that make up this corner! They lay not far from each other and were as if accidentally thrown by a giant hand and scattered in different directions, and have remained that way ever since.

Just as one hut ended up on the cliff of a ravine, it has been hanging there since time immemorial, standing with one half in the air and supported by three poles. Three or four generations lived quietly and happily in it.

It seems that a chicken would be afraid to enter it, but Onisim Suslov lives there with his wife, a respectable man who does not stare at his full height in his home. Not everyone will be able to enter the hut to Onesimus; unless the visitor asks her to stand with her back to the forest and her front to him.

The porch hung over a ravine, and in order to get onto the porch with your foot, you had to grab the grass with one hand, the roof of the hut with the other, and then step straight onto the porch.

Another hut clung to the hillock like a swallow's nest; there three of them happened to be nearby, and two are standing at the very bottom of the ravine.

Everything in the village is quiet and sleepy: the silent huts are wide open; not a soul in sight; Only flies fly in clouds and buzz in the stuffy atmosphere. Entering the hut, you will begin to call loudly in vain: dead silence will be the answer; in a rare hut, an old woman living out her life on the stove will respond with a painful groan or a dull cough, or a barefoot, long-haired three-year-old child, in only a shirt, will appear from behind the partition, silently, look intently at the newcomer and timidly hide again.

The same deep silence and peace lie in the fields; only here and there, like an ant, a plowman, scorched by the heat, loiters in a black field, leaning on his plow and sweating profusely.

Silence and undisturbed calm reign in the morals of the people in that region. No robberies, no murders, no terrible accidents happened there; neither strong passions nor daring undertakings excited them.

And what passions and enterprises could excite them? Everyone knew himself there. The inhabitants of this region lived far from other people. Nearby villages and county town they were twenty-five and thirty miles away.

At a certain time, the peasants transported grain to the nearest pier to the Volga, which was their Colchis and the Pillars of Hercules, and once a year some went to the fair, and had no further relations with anyone.

Their interests were focused on themselves, and did not intersect or come into contact with anyone else.

(I.A. Goncharov. "Oblomov")

Answer:

Read the fragment of the work below and complete tasks B1-B7; C1, C2.

Answer:

What is the name of the stanza used by the author in this work?

Read the text fragment below and complete tasks B1-B7; C1-C2.

A. S. Pushkin “Eugene Onegin”

Answer:

In the given fragment there are the author's explanations of the text of the play and the statements of the characters, in parentheses. What term denotes them?

Read the text fragment below and complete tasks B1-B7; C1-C2.

Wild. Look, everything is soaked. (Kuligin.) Leave me alone! Leave me alone! (With heart.) Stupid man!

Kuligin. Savel Prokofich, after all, this, your lordship, will benefit all ordinary people in general.

Wild. Go away! What a benefit! Who needs this benefit?

Kuligin. Yes, at least for you, your lordship, Savel Prokofich. If only I could put it on the boulevard, in a clean place, sir. What's the cost? Empty consumption: stone column (shows the size of each item with gestures), a copper plate, so round, and a hairpin, here’s a straight hairpin (shows with a gesture), the simplest one. I’ll put it all together and cut out the numbers myself. Now you, your lordship, when you deign to take a walk, or others who are walking, will now come up and see<...>And this place is beautiful, and the view, and everything, but it’s as if it’s empty. Here, too, Your Excellency, travelers come and go there to look at our views, after all, it’s a decoration - it’s more pleasing to the eye.

Wild. Why are you bothering me with all this nonsense! Maybe I don’t even want to talk to you. You should have first found out whether I am in the mood to listen to you, a fool, or not. What am I to you - equal, or what? Look, what an important matter you found! So he starts talking straight to the snout.

Kuligin. If I had minded my own business, well, then it would have been my fault. Otherwise, I am for the common good, your lordship. Well, what does ten rubles mean to society? You won't need more, sir.

Wild. Or maybe you want to steal; who knows you.

Kuligin. If I want to put my labors away for nothing, what can I steal, your lordship? Yes, everyone here knows me; No one will say anything bad about me.

Wild. Well, let them know, but I don’t want to know you.

Kuligin. Why, sir, Savel Prokofich, would you like to offend an honest man?

Wild. I'll give you a report or something! I don’t give an account to anyone more important than you. I want to think about you this way, and I think so. For others, you are an honest person, but I think that you are a robber, that’s all. Did you want to hear this from me? So listen! I say I’m a robber, and that’s the end of it! So, are you going to sue me or something? So you know that you are a worm. If I want, I will have mercy, if I want, I will crush.

Kuligin. God be with you, Savel Prokofich! I, sir, little man, it won't take long to offend me. And I’ll tell you this, your lordship: “And virtue is honored in rags!”

Wild. Don't you dare be rude to me! Can you hear me!

Kuligin. I’m not doing anything rude to you, sir, but I’m telling you because maybe you’ll decide to do something for the city someday. You have strength, your dignity, something else; If only there was the will to do a good deed. Let’s just take it now: we have frequent thunderstorms, but we won’t install thunder diverters.

Wild (proudly). Everything is vanity!

Kuligin. But what a fuss there was when there were experiments.

Wild. What kind of lightning taps do you have there?

Kuligin. Steel.

Wild (with anger). Well, what else?

Kuligin. Steel poles.

Wild (getting more and more angry). I heard that poles, you kind of asp; and what else? Set up: poles! Well, what else?

Kuligin. Nothing more.

Wild. What do you think a thunderstorm is, huh? Well, speak up!

Kuligin. Electricity.

Wild (stomping his foot). What other beauty there is! 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, God forgive me, with poles and some kind of rods. What are you, a Tatar, or what? Are you Tatar? A? speak! Tatar?

Kuligin. Savel Prokofich, your lordship, Derzhavin said:

My body is crumbling into dust,

I command thunder with my mind.

Wild. And for these words, send you to the mayor, so he will give you a hard time! Hey, venerables! listen to what he says!

Kuligin. There is nothing to do, we must submit! But when I have a million, then I’ll talk. (Waving his hand, he leaves.)

A. N. Ostrovsky “Thunderstorm”

Answer:

What term refers to an expressive detail in a work of art (for example, a pink ribbon tied around a list of peasants)?

Read the fragment of the work below and complete tasks B1-B7; C1, C2.

Before he had time to go out into the street, thinking about all this and at the same time dragging on his shoulders a bear covered with brown cloth, when at the very turn into the alley he ran into a gentleman, also wearing bears, covered with brown cloth, and in a warm cap with ears. The gentleman screamed, it was Manilov. They immediately embraced each other and remained on the street in this position for about five minutes. The kisses on both sides were so strong that both of their front teeth almost hurt all day. Manilov's joy left only his nose and lips on his face, his eyes completely disappeared. For a quarter of an hour he held Chichikov’s hand with both hands and heated it terribly. In the most subtle and pleasant turns of phrase, he told how he flew to hug Pavel Ivanovich; the speech was concluded with such a compliment as is only appropriate for a girl with whom they are going to dance. Chichikov opened his mouth, not yet knowing how to thank him, when suddenly Manilov took out from under his fur coat a piece of paper, rolled into a tube and tied with a pink ribbon, and held it out very deftly with two fingers.

What is this?

Guys.

A! - He immediately unfolded it, ran his eyes and marveled at the purity and beauty of the handwriting. “It’s beautifully written,” he said, “there’s no need to rewrite it.” There’s also a border around it! who made the border so skillfully?

Well, don’t ask,” said Manilov.

Oh my God! I’m really ashamed that I caused so much trouble.

For Pavel Ivanovich there are no difficulties.

Chichikov bowed gratefully. Having learned that he was going to the chamber to complete the deed of sale, Manilov expressed his readiness to accompany him. The friends joined hands and walked together. At every slight elevation, or hill, or step, Manilov supported Chichikov and almost lifted him with his hand, adding with a pleasant smile that he would not allow Pavel Ivanovich to hurt his legs. Chichikov was ashamed, not knowing how to thank him, for he felt that he was a little heavy. In similar mutual favors, they finally reached the square where the government offices were located; a large three-story stone house, all white as chalk, probably to depict the purity of the souls of the positions housed in it; the other buildings on the square did not match the enormity of the stone house. These were: a guardhouse, in front of which stood a soldier with a gun, two or three cabbie exchanges, and finally long fences with the famous fence inscriptions and drawings scratched with charcoal and chalk; there was nothing else on this secluded, or, as we say, beautiful square. The incorruptible heads of the priests of Themis sometimes stuck out from the windows of the second and third floors and at that very moment hid again: probably at that time the chief entered the room. The friends did not climb up, but ran up the stairs, because Chichikov, trying to avoid being supported by the arms from Manilov, accelerated his pace, and Manilov, for his part, also flew forward, trying not to let Chichikov get tired, and therefore both were very out of breath when entered a dark corridor. Neither in the corridors nor in the rooms was their gaze struck by the cleanliness. They didn’t care about her then; and what was dirty remained dirty, not taking on an attractive appearance. Themis simply received guests as she was, in a negligee and robe. It would be worth describing the office rooms through which our heroes passed, but the author has a strong shyness towards all official places. If he happened to pass through them, even in their brilliant and ennobled appearance, with varnished floors and tables, he tried to run through them as quickly as possible, humbly lowering his eyes to the ground, and therefore does not know at all how everything prospers and prospers there. Our heroes saw a lot of paper, both rough and white, bowed heads, wide napes, tailcoats, coats of provincial cut, and even just some kind of light gray jacket, separated very sharply, which, turning its head to the side and placing it almost on the very paper, wrote in a brisk and sweeping manner, some kind of protocol about the acquisition of land or the inventory of an estate seized by some peaceful landowner, quietly living out his life under the court, who had amassed children and grandchildren under his protection, and short expressions were heard in fits and starts, uttered in a hoarse voice: “Lend , Fedosei Fedoseevich, business for N 368! “You always drag the stopper from the government inkwell somewhere!” Sometimes a more majestic voice, no doubt from one of the bosses, rang out imperatively: “Here, rewrite it!” Otherwise they’ll take off your boots and you’ll sit with me for six days without eating.” The noise from the feathers was great and sounded as if several carts with brushwood were passing through a forest littered with a quarter of an arshin of withered leaves.

I don't understand what you're saying.

Katerina. 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. Something to try now? Wants to run.

Varvara. What are you making up?

Katerina. (sighing). How playful I was! I've completely withered away from you.

Varvara. Do you think I don't see?

Katerina. Was that what I was like? 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; I used to do whatever I want. Do you know how I lived with girls? I'll tell you now. I used to get up early; If it’s summer, I’ll go to the spring, wash myself, bring some water with me, and that’s it, I’ll water all the flowers in the house. I had many, many flowers. Then we’ll go to church with Mama, everyone and pilgrims - our house was full of pilgrims and praying mantises. And we’ll come from church, sit down to do some kind of work, more like gold velvet, and the wanderers will begin to tell us: where they were, what they saw, different lives, or sing poetry. So time will pass until lunch. Here the old women go to sleep, and I walk around the garden. Then to Vespers, and in the evening again stories and singing. It was so good!

Varvara. Yes, it’s the same with us.

Katerina. Yes, everything here seems to be out of captivity. And to death I loved going to church! Exactly, it happened that I would enter heaven, and I didn’t see anyone, and I didn’t remember the time, and I didn’t hear when the service was over. Exactly how it all happened in one second. Mama said that everyone used to look at me, what was happening to me! Do you know: on a sunny day such a light pillar comes down from the dome, and smoke moves in this pillar, like clouds, and I see, it used to be as if angels were flying and singing in this pillar. And sometimes, girl, I would get up at night - we also had lamps burning everywhere - and somewhere in a corner I would pray until the morning. Or early in the morning I’ll go to the garden, the sun is just rising, I’ll fall on my knees, pray and cry, and I myself don’t know what I’m praying for and 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 didn’t need anything, I had enough of everything. And what dreams I had, Varenka, what dreams! Either there are golden temples, or some extraordinary gardens, and invisible voices are singing, and there is a smell of cypress, and the mountains and trees seem not to be the same as usual, but as if depicted in images. And it’s like I’m flying, and I’m flying through the air. And now I sometimes dream, but rarely, and not even that.

A. N. Ostrovsky “Thunderstorm”

Answer:

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The play "The Thunderstorm" by the famous Russian writer XIX century by Alexander Ostrovsky, was written in 1859 on the wave of social upsurge on the eve of social reforms. She became one of best works the author, opening the eyes of the whole world to the customs and moral values ​​of the merchant class of that time. It was first published in the journal “Library for Reading” in 1860 and, due to the novelty of its subject matter (descriptions of the struggle of new progressive ideas and aspirations with old, conservative foundations), immediately after publication it caused a wide public response. It became the subject of a large number of critical articles of that time (“A Ray of Light in dark kingdom"Dobrolyubova, "Motives of Russian Drama" by Pisarev, critic Apollon Grigoriev).

History of writing

Inspired by the beauty of the Volga region and its endless expanses during a trip with his family to Kostroma in 1848, Ostrovsky began writing the play in July 1859, three months later he finished it and sent it to the St. Petersburg censor.

Having worked for several years in the office of the Moscow Conscientious Court, he knew well what the merchant class was like in Zamoskvorechye (the historical district of the capital, on the right bank of the Moscow River), more than once having encountered in his service what was going on behind the high fences of the merchant choirs , namely with cruelty, tyranny, ignorance and various superstitions, illegal transactions and scams, tears and suffering of others. The basis for the plot of the play was tragic fate daughters-in-law in the wealthy merchant family of the Klykovs, which happened in reality: a young woman rushed into the Volga and drowned, unable to withstand oppression from her domineering mother-in-law, tired of her husband’s spinelessness and secret passion for a postal employee. Many believed that it was the stories from the life of the Kostroma merchants that became the prototype for the plot of the play written by Ostrovsky.

In November 1859, the play was performed on the stage of the Maly Academic Theater in Moscow, and in December of the same year at the Alexandrinsky Drama Theater in St. Petersburg.

Analysis of the work

Storyline

At the center of the events described in the play is the wealthy merchant family of the Kabanovs, living in the fictional Volga city of Kalinov, a kind of peculiar and closed little world, symbolizing the general structure of the entire patriarchal Russian state. The Kabanov family consists of a powerful and cruel tyrant woman, and essentially the head of the family, a wealthy merchant and widow Marfa Ignatievna, her son, Tikhon Ivanovich, weak-willed and spineless against the backdrop of the difficult disposition of his mother, daughter Varvara, who learned by deception and cunning to resist her mother’s despotism , as well as Katerina’s daughter-in-law. A young woman, who grew up in a family where she was loved and pitied, suffers in the house of her unloved husband from his lack of will and the claims of her mother-in-law, having essentially lost her will and becoming a victim of the cruelty and tyranny of Kabanikha, left to the mercy of fate by her rag husband.

Out of hopelessness and despair, Katerina seeks consolation in her love for Boris Dikiy, who also loves her, but is afraid to disobey his uncle, the rich merchant Savel Prokofich Dikiy, because the financial situation of him and his sister depends on him. He secretly meets with Katerina, but at the last moment he betrays her and runs away, then, at the direction of his uncle, he leaves for Siberia.

Katerina, being brought up in obedience and submission to her husband, tormented by her own sin, confesses everything to her husband in the presence of his mother. She makes her daughter-in-law’s life completely unbearable, and Katerina, suffering from unhappy love, reproaches of conscience and cruel persecution of the tyrant and despot Kabanikha, decides to end her torment, the only way in which she sees salvation is suicide. She throws herself off a cliff into the Volga and dies tragically.

Main characters

All the characters in the play are divided into two opposing camps, some (Kabanikha, her son and daughter, the merchant Dikoy and his nephew Boris, the maids Feklusha and Glasha) are representatives of the old, patriarchal way of life, others (Katerina, self-taught mechanic Kuligin) - the new, progressive.

A young woman, Katerina, the wife of Tikhon Kabanov, is the central character of the play. She was brought up in strict patriarchal rules, in accordance with the laws of the ancient Russian Domostroy: a wife must submit to her husband in everything, respect him, and fulfill all his demands. At first, Katerina tried with all her might to love her husband, to become a submissive and good wife for him, but due to his complete spinelessness and weakness of character, she can only feel pity for him.

Outwardly, she looks weak and silent, but in the depths of her soul there is enough willpower and perseverance to resist the tyranny of her mother-in-law, who is afraid that her daughter-in-law might change her son Tikhon and he will stop submitting to his mother’s will. Katerina is cramped and stuffy in the dark kingdom of life in Kalinov, she literally suffocates there and in her dreams she flies like a bird away from this terrible place for her.

Boris

Having fallen in love with a visiting young man, Boris, the nephew of a rich merchant and businessman, she creates in her head an image of an ideal lover and a real man, which is not at all true, breaks her heart and leads to a tragic ending.

In the play, the character of Katerina opposes not a specific person, her mother-in-law, but the entire patriarchal structure that existed at that time.

Kabanikha

Marfa Ignatievna Kabanova (Kabanikha), like the tyrant merchant Dikoy, who tortures and insults his relatives, does not pay wages and deceives his workers, are prominent representatives of the old, bourgeois way of life. They are distinguished by stupidity and ignorance, unjustified cruelty, rudeness and rudeness, complete rejection of any progressive changes in the ossified patriarchal way of life.

Tikhon

(Tikhon, in the illustration near Kabanikha - Marfa Ignatievna)

Tikhon Kabanov is characterized throughout the play as a quiet and weak-willed person, under the complete influence of his oppressive mother. Distinguished by his gentle character, he makes no attempts to protect his wife from her mother’s attacks.

At the end of the play, he finally breaks down and the author shows his rebellion against tyranny and despotism; it is his phrase at the end of the play that leads readers to a certain conclusion about the depth and tragedy of the current situation.

Features of compositional construction

(Fragment from a dramatic production)

The work begins with a description of the city on the Volga Kalinov, the image of which is a collective image of all Russian cities of that time. The landscape of the Volga expanses depicted in the play contrasts with the musty, dull and gloomy atmosphere of life in this city, which is emphasized by the dead isolation of the life of its inhabitants, their underdevelopment, dullness and wild lack of education. The author described the general state of city life as if before a thunderstorm, when the old, dilapidated way of life will be shaken, and new and progressive trends, like a gust of furious thunderstorm wind, will sweep away the outdated rules and prejudices that prevent people from living normally. The period of life of the residents of the city of Kalinov described in the play is precisely in a state when outwardly everything looks calm, but this is only the calm before the coming storm.

The genre of the play can be interpreted as a social drama, as well as a tragedy. The first is characterized by the use of a thorough description of living conditions, the maximum transfer of its “density,” as well as the alignment of characters. Readers' attention should be distributed among all participants in the production. The interpretation of the play as a tragedy presupposes its deeper meaning and thoroughness. If you see Katerina’s death as a consequence of her conflict with her mother-in-law, then she looks like a victim of a family conflict, and the entire unfolding action in the play seems petty and insignificant for a real tragedy. But if we consider death main character As a conflict of a new, progressive time with a fading, old era, then her act is best interpreted in the heroic key characteristic of a tragic narrative.

The talented playwright Alexander Ostrovsky, from a social and everyday drama about the life of the merchant class, gradually creates a real tragedy, in which, with the help of a love-domestic conflict, he showed the onset of an epochal turning point taking place in the consciousness of the people. Ordinary people realize their awakening sense of self-worth, begin to have a new attitude towards the world around them, want to decide their own destinies and fearlessly express their will. This nascent desire comes into irreconcilable contradiction with the real patriarchal way of life. Katerina's fate becomes public historical meaning, expressing the state of national consciousness at the turning point of two eras.

Alexander Ostrovsky, who noticed in time the doom of the decaying patriarchal foundations, wrote the play “The Thunderstorm” and opened the eyes of the entire Russian public to what was happening. He depicted the destruction of a familiar, outdated way of life, with the help of the ambiguous and figurative concept of a thunderstorm, which, gradually growing, will sweep away everything from its path and open the way to a new, better life.