How does the conflict develop in the play The Thunderstorm? Conflict in the play “The Thunderstorm” (Ostrovsky A

A. N. Ostrovsky was the successor and continuer of realistic traditions in Russian literature. In his works, the playwright reflected contemporary reality, types and images characteristic of that time, showed the existing orders, their crisis and the contradictions that arose in society in connection with this. One of Ostrovsky’s most striking works is the tragedy “The Thunderstorm,” in which the author raised the problem of the existence of a free individual in the conditions of a patriarchal house-building society.

Dramatic works are always built on conflict, and in such an original, multifaceted play as “The Thunderstorm”, the nature of the problem raised, the abundance characters and the complexity of the image system causes the presence of several conflicts. The tragedy describes the life of the provincial Volga town of Kalinov, living under the not best provisions of “Domostroy”. Kalinovsky society is outdated and is experiencing a crisis, a breakdown, as a result of which it is itself conflicting: older generation(Dikoy, Kabanikha) teaches the younger ones (Boris, Tikhon, Varvara, Katerina), and does it in such an obvious, undisguised form that the whole city knows about the relationships in their families, although, for example, Kabanova prefers to tyrannize her neighbors not in public, but at home (as Kudryash says: “Well, at least that one, at least, is all under the guise of piety, but this one (Dikoy) has broken loose!”). The conflict between “fathers and sons” is not the only one: disagreements arise both between representatives of the older generation (conversation between Dikiy and Kabanikha, act three, scene two) and among young people - for example, Varvara is annoyed by Tikhon’s downtroddenness and submissiveness (“It’s boring for me to look- then on you,” she says). These minor contradictions keep society in a state of tension and irritation; conflicts in Kalinov’s world are, in principle, static and do not have such a pronounced development as main conflict tragedy - conflict main character, Katerina, and the Kalinovsky society.

The beginning of this conflict can be considered Katerina’s wedding and her move to the Kabanovs’ house. From the usual environment of universal love, harmony, and religiosity, the main character finds herself in an atmosphere of deceit, deceit, and tyranny. Katerina is not like any of the members of this society: her sincerity and artlessness are contrasted with the crudely simple resourcefulness of Varvara, the breadth and passion of her nature are contrasted with the weakness and humility of Tikhon; sensitivity, subtlety, vividness of perception of the surrounding world - Kabanikha’s stupid dogmatism. Not accustomed to being limited in anything, Katerina longs for inner freedom, but freedom here appears not as a conscious necessity, but as a spontaneous, unreasonable thirst for independence, the opportunity to give vent to her passion, and Katerina finds an outlet for her feelings in her love for Boris. In the soul of the main character, a conflict of feelings and duty arises: on the one hand, love captures her completely and requires spiritual food for development; on the other hand, for Katerina, who has absorbed the foundations of Christian teaching since childhood, it is strange to even think about the possibility of cheating on her husband.

In essence, the internal conflict is a consequence of the social one: the contradictions in Katerina’s soul are caused by the discrepancy between her moral demands and the inability of the surrounding world to satisfy them. A sharp boost to development internal conflict gives Tikhon's departure: Katerina feels that her husband's absence could serve as a reason for betrayal, she is afraid of her weakness and asks her husband to stay. In a conversation with Varvara, she describes her condition as follows: “It’s as if I’m standing over an abyss, and someone is pushing me there, but I have nothing to hold on to.” But Tikhon leaves, and Kalinovsky’s peace with new strength begins to drag Katerina into the abyss of lies and deception. Varvara gives her the key - a symbol of sin, and Katerina already feels drawn into this dirty world, but does not find the strength to get out of it. Ten days of festivities with Boris fly by, and Tikhon, who returns, finds his wife changed: “She’s shaking all over, as if she’s got a fever.” “So pale, rushing around the house, as if she was looking for something.” Katerina is tormented by her conscience: having externally accepted the laws of Kalinov society, having cheated on her husband, lying to him and her mother-in-law, she has not changed internally, retaining her moral principles in her soul, her sense of self-worth and inner dignity. and the social conflict is the scene in the garden, when Katerina publicly admits to betrayal, unable to restrain herself any longer, ready to do anything. The scene is accompanied by a thunderstorm, a natural element, a harbinger of tragedy, but at the same time bringing purification, deliverance from spiritual burden. recognition and repentance in the eyes of the Kalinovites do not serve as mitigating factors, and Kabanikha, with new zeal, begins to tyranny not only Katerina, but also Tikhon (for mistreating his wife). The impossibility of staying in this world, full of misunderstanding and cruelty, terrible remorse, the departure of her beloved push Katerina to a terrible step, and the denouement of both conflicts was the suicide of the main character. The ending can be interpreted in different ways: N.A. Dobrolyubov, who called Katerina “a ray of light in dark kingdom”, saw in her death a denial of the Domostroev laws of Kalinov society, which stifle any manifestations of sincere feeling. On the other hand, suicide is always the highest form of selfishness, because according to religious norms, one can atone for sin only through prolonged suffering, prayer, and humility. Then Katerina had to stay in the Kabanovs’ house and humbly accept all the barbs and insults. But if we take into account the deep spiritual tragedy of the heroine, if we try to enter into her position, then it becomes clear that the cruel society of the city of Kalinov left her no other way out and suicide is a natural outcome of the mental contradictions that tormented Katerina, internal conflict, as well as social impossibility the coexistence of an individual thirsting for freedom and a deaf patriarchal house-building society.

A. N. Ostrovsky’s contribution to Russian drama is invaluable: following the traditions of realism, he not only created a number of bright, colorful images, not only captured characteristic pictures, but also explored the psychological origins of conflicts in Russian society in the mid-19th century, and was also an innovator in stage solution plays: expanded the scope of action (in “The Thunderstorm” - garden, ravine, street, square, etc.), made extensive use of landscape and crowd scenes. Ostrovsky's greatest creations, original and innovative, are included in the treasury of not only Russian, but also world literature.

A.N. Ostrovsky uses in this work:

• a traditional plot for literature (it is based on a love triangle - Tikhon - Katerina - Boris)
• a traditional conflict (a conflict of generations, which reflects the replacement of the old with the new), however, both the plot and the conflict reflect the national specificity of the Russian character and the historical situation in which the playwright worked.

Traditional solution to the plot and conflict of the play “The Thunderstorm”

It develops in a standard way: Katerina’s husband Tikhon leaves, Katerina asks to take her with him, but Tikhon cannot disobey his mother, and he himself is glad to get out of the house. Katerina admits to Varvara that she likes Boris. Varvara arranges dates for lovers. The husband returns. Tormented by the knowledge of what she had done, Katerina publicly confesses to her sin. Tikhon's mother, Kabanikha, triumphs: she warned. Driven to despair, Katerina rushes to Boris, but he cannot protect her, then the heroine commits suicide, rushes into the Volga, preferring death to life with an unloved husband and a terrible mother-in-law.

Traditionally, Russian literature depicted social conflicts reflected in people's personal lives. The main conflict of the play “The Thunderstorm” is the struggle between the old and the new in life, a protest against oppression and humiliation.

Theme of the play and its characters

— Dikoy and Kabanikha are faithful to the old dogmas that order the changing world. The semantics of the characters' surnames emphasizes their commitment to the old world - the world of tyrants. calls this one old world in Ostrovsky's plays

"dark kingdom"

The theme of protest is interpreted differently by the playwright: Kudryash and Varvara flee the city, Tikhon speaks out against his mother’s despotism only after Katerina’s death

“It was you who killed her, mummy!”

It becomes the apotheosis of protest. The heroine's girlhood, her religiosity, poetry, rich imagination

“Why don’t people fly like birds?”

faces the harsh reality of Kabanikha’s order, based on the suppression of sincere feelings, hypocrisy, oppression, and humiliation.

Development of the conflict line of the play “The Thunderstorm”

The development of the conflict in the drama occurs in several ways. storylines, this allows us to draw a conclusion about the universality of the ongoing processes: the desire of the younger generation to break out from under the oppressive power of their elders and live their own life, which has changed and, accordingly, requires a change in relations between people.

In resolving the confrontation, not only the main characters participate, but also secondary ones, who emphasize the inertia of the old world, as, for example, the image of Feklushi embodies the absurdity.

The external conflict of generations, old and new, is intensified by the internal clash in Katerina’s soul. Katerina does not and cannot love the downtrodden Tikhon, although she strives to remain faithful to her husband. But love for Boris is, as Dobrolyubov puts it, not only love for a person who is not like those around him, but also the need to be loved, the offended feeling of a woman and wife, the desire for freedom, space, hot, unfettered freedom. The awareness of the sinfulness of such love is clear both to Katerina and to those around her. The heroine's religiosity does not allow her to hide her feelings and deceive

“I don’t know how to deceive.”

But it is impossible for Katerina to live after confessing to sin, in a family where her husband beats her on her mother’s orders, where her mother-in-law will forever reproach and torment her. From the point of view of Christian morality, suicide is a sin, which is why her thoughts before death are so painful

"Sin! Won't they pray? He who loves will pray...”

The heroine herself perceives death as deliverance from oppression. And for other characters this is not a sin, but a challenge to the world of Kabanikha and Wild. Dobrolyubov called Katerina’s suicide

“a protest carried through to the end.”

The conflict of generations, resolved in Ostrovsky's play with such poignancy, reveals the desire of all classes of Russia to change life, which arose in the post-reform era for the country.

Materials are published with the personal permission of the author - Ph.D. O.A. Mazneva (see “Our Library”)

Test on the play "Thunderstorm"

1. Determine the genre of the work.

A) family drama

B) tragedy

B) comedy

D) a fusion of comedy, drama, lyricism and tragedy

D) psychological drama

2. Determine the type of conflict in “The Thunderstorm”

A) philosophical

B) social

B) ideological

D) internal

D) family

3. Correctly arrange the elements of the composition of the play

A) exposition 1) conversation between Boris and Kudryash

B) plot 2) death of Katerina

B) climax 3) Katerina’s monologue before death

D) denouement 4) conversation between Kuligin and Kudryash

4. What artistic means Is the motif of the closed city of Kalinov conveyed in the play?

A) symbolic details - gate, fence

C) lack of communication with other cities

D) in the image of Feklushi

5. For what purpose does A.N. Ostrovsky introduce exposition into the play?

A) to emphasize positive features in the character of Kuligin

B) outline the conflict between youth and the older generation in the play

B) indicate the location and situation in the city

D) describe the Volga coast

6. The system of images in the play is built on the principle of “pairing”. Identify these pairs among the indicated characters, write down the pairs.

Katerina, Dikoy, Kudryash, Kabanikha, Boris, Varvara_____________________________________________

___________________________________________________________________________________

7.Indicate the names of the characters in the play, who from the point of view of classical drama can be called “extra characters”

A) Varvara

B) Curly

B) Kuligin

D) Shapkin

E) half-crazy lady

8. In the confrontation of which characters was the main conflict of the play most clearly expressed?

A) Kabanikha - Wild

B) Katerina - Varvara

B) Katerina - Kabanikha

D) Katerina - Tikhon

9) How the “dark kingdom” and its “victims” are represented at the character level. Indicate both in the list with the letters t, zh.

Dikoy, Katerina, Tikhon, Feklusha, Boris, Kabanikha, Varvara, the half-crazy lady, Kudryash.

10) A.N. Ostrovsky widely uses symbolic images in the play. Highlight them.

Path, perpetual motion machine, grave, thunderstorm, key, white scarf.

11)Which of the characters in the play speaks this way about Kabanikha? “...Prude, sir! She gives money to the poor, but she completely eats up her family...”

B) Kuligin

B) Katerina

12.Which of the Russian critics has this assessment of the image of Katerina: “Katerina’s whole life consists of constant internal contradictions; every minute she rushes from one extreme to another..."

A) N.A. Dobrolyubov

B) D.I. Pisarev

B) V.G. Belinsky

D) I.A. Goncharov

13. At what point does the main climax of the play occur?

A) Katerina’s public admission of sinfulness

B) a date with Boris

B) in Katerina’s monologue in the finale

D) there is no climax in the play

14. Why was A.N. Ostrovsky called “the father of the Russian national theater”?

A) revived the traditions of A.S. Griboedov, A.S. Pushkin, N.V. Gogol

B) he wrote 47 plays

C) with his creativity had a decisive influence on the subsequent development of Russian drama

D) built the Maly Theater building

3.A-4,B-1,B-3,G-2

6. Katerina-Kabanikha; Kabanikha-Wild; Kater-Boris; Varvara-Kudryash; Katerina-Varvara

9. t: Dikoy, Feklusha, Kabanikha, half-crazy lady.

w: Katerina, Tikhon, Boris, Varvara, Kudryash.

10.Grave, key, white scarf

Ostrovsky's play "The Thunderstorm" raises the problem of a turning point in public life that occurred in the 50s of the 19th century, changes in social foundations, as well as the problem of the position and role of women in the family and society.
In the play "The Thunderstorm" several conflicts can be distinguished. On the one hand, two ways of life are shown, the old, “Domostroevsky” and the new, represented by the younger generation. Therefore, we can say that the play is dedicated to the social conflict of generations, where the new steps on the heels of the old, the old does not want to give in to the new. The relationship between daughter-in-law and mother-in-law, the bondage of a woman in a merchant family can also be considered as part of a social conflict. But the play is much more complex than it might seem at first glance. After all, Katerina is struggling with herself, different sides of her personality are in conflict. This is a spiritual conflict. In this regard, “The Thunderstorm” is close to tragedy in its genre. Let's try to understand all these conflicts separately.
Representatives of the old time, the era of “Domostroy” are Kabanova and Dikoy. The names alone describe the characters of these people. Kabanova is the last guardian of the “house-building” way of life in the city. She adheres to the old orders and views and seeks to impose them on her household: “... no order, they don’t know how to say goodbye. This is how the old days come to be... What will happen, how the old people will die, how the light will remain, I don’t know. Well, at least it’s good that I won’t see anything.” The boar is despotic and self-willed, demanding complete submission. And she achieved this primarily from her own son, who does not dare to go against the will of his mother. She is even more forced to cling to the old world by the belief that incredible things are happening outside Kalinov, there is “just sodom”, people in the bustle do not notice each other, they harness the “fiery serpent” and the devil himself walks among them, unnoticed by anyone. Dikoy also adheres to the old order. For him, the main thing in life is money and wealth; it is not for nothing that, having become rich, he can even “pat the mayor on the shoulder.”
Kabanikha and Wild are contrasted in the play by Kuligin, a man of progressive views, an inventor. Each of the opponents tries to defend their ideals. Wild church superstition is in his arsenal. Kuligin defends his human dignity with references to the authority of Lomonosov and Derzhavin. Symbolic in this regard is the scene of Kuligin’s argument with Dikiy. If we take a closer look at her, we will see in those arguing not just a greedy merchant and a talented self-taught mechanic, but a person zealously defending patriarchal foundations, and a person trying to overthrow them. From this point of view, the roles of Kuligin and Dikiy are very important. This is the essence of social conflict.
Another conflict is spiritual. It develops inside the main character of the play - Katerina. Katerina grew up in a world where love, kindness, and tenderness reigned. Katerina’s mother “doted on her soul.” The girl went to church, listened to praying prayers, and lived in unity with nature. Katerina was raised in such a way that she cannot violate moral and ethical laws; any deviation from them leads her into confusion. From this world, Katerina found herself in a completely different environment, where people care about different values. Katerina's mother-in-law, Kabanikha, pretends that her family is a model of prosperity: her daughter-in-law and son fear and respect her, Katerina is afraid of her husband. But in fact, she doesn’t care what happens in reality, only appearances are important to her. The old way of life is destroyed within Katerina herself. Varvara also plays a big role here - a representative of the younger generation, but the bearer of other views, different from the views of Katerina. It is Varvara who encourages Katerina to go on a date with Boris. Without Varvara, it is unlikely that Katerina would have decided to do this. Varvara’s world is much simpler; she can turn a blind eye to everything. Following this very simplified morality, Varvara does not see anything reprehensible in Katerina’s meetings with Boris. For Katerina, cheating on her husband is something shameful; she then cannot look him in the eye. But Tikhon, her husband, does not correspond to her ideas about an ideal spouse. A husband is a support, a support, a ruler. Tikhon does not live up to Katerina’s expectations. This disappointment leads her to Boris. This new feeling for Katerina is a sin; it gives rise to remorse. If she had continued to live in a patriarchal world, this would not have happened. And if Tikhon had insisted on his own and taken her with him, she would have forgotten about Boris forever. Katerina’s tragedy is that this pure nature, with high moral requirements, does not know how to adapt to life. Katerina was unable to live further, having once violated the moral laws of Domostroy. Tormented by reproaches of conscience, she confesses everything to her husband, but even in her husband’s forgiveness she does not find relief from mental suffering. This is the essence of spiritual conflict.
Thus, the play shows two main conflicts - social and spiritual. The death of Katerina proves her moral superiority over the “dark kingdom” and ignorant people.

Ostrovsky wrote his play “The Thunderstorm” back in 1859, even before serfdom was abolished. In his work, the author shows how society eats itself from the inside, living according to an established way of life and touches on several conflicts.

Drama Thunderstorm conflict and placement of characters

In the drama “The Thunderstorm,” which touches on conflicts of various natures, the automaker arranged the characters, dividing them into those who happily live in patriarchal Kalinov and those who do not agree with its foundations and laws. We include Kabanikha and Dikiy among the first, who by nature are despots, tyrants, representatives of the “Dark Kingdom.” The second group includes the younger generation, where Varvara leaves home, Tikhon becomes weak-willed, and Katerina, in spite of everything, in spite of despotism, decides to commit suicide, just not to live by the rules that contradict her as an individual. The heroine with a new outlook on life does not want to accept Domodedovo morals. Thus, with the help of a small number of characters who live in Kalinov on the banks of the Volga, the author reveals several unique conflicts in the drama “The Thunderstorm,” among them a family conflict, which manifests itself in Katerina’s clash with her mother-in-law.

Social conflict in the drama The Thunderstorm

The author also touched upon the social conflict in the drama “The Thunderstorm,” which is represented by a clash of different worldviews, where the old fights the new, where the merchant and the merchant’s wife are generalized images of tyranny and ignorance that flourished in those days. They are opponents of progress, everything new is perceived with hostility. They want to keep everyone on a short leash so that their “dark kingdom” does not collapse. However, the new worldview that Katerina has is an alternative to the old one. It is different from the views, foundations, traditions that are adhered to in the dark kingdom. Katerina is a generalized character of a different mindset, with a different character, which is already beginning to emerge in a rotten society and becomes a ray of light in this dark world.

What is the main conflict of the drama The Thunderstorm?

Among the social and family conflicts, the main conflict can be identified. What is the main conflict of the drama "The Thunderstorm"? I believe that the main thing here is the conflict that unfolds within the heroine herself. This is a confrontation between the individual and society. Here we see that Katerina wants to be herself, free, life among violence is unacceptable to her, but in Kalinov it is impossible to do otherwise. Here it’s either this way or not at all. But the heroine does not put up with this situation, and if it is impossible to live as she wants, it is better to die. She could not kill the freedom-loving personality in herself for the sake of the established order.

Why did the author choose this title for his work? Probably because the depicted life in Kalinov is in a pre-storm state, in a state when a catastrophe is coming. This is a thunderstorm, as a harbinger of future changes, a thunderstorm, as a spontaneous feeling that arose between Katerina and Boris, a thunderstorm is a disagreement with the foundations. And to emphasize the dead life of the Kalinovites, the author uses the image and description of beautiful nature.