What is the significance of this scene in the development of further events in the work "The Thunderstorm". Seeing off Tikhon. What is the significance of this scene in the development of further events in the work "The Thunderstorm" Seeing off Tikhon is a thunderstorm what action

The scene of Tikhon's departure is one of the most important in the play, both in terms of revealing the psychology and characters of the heroes in their lives and in terms of its function in the development of intrigue: on the ONE hand, Tikhon's departure removes an insurmountable external obstacle to meeting Boris, and on the other, all Katerina's hopes are crumbling. find an inner support in the love of her husband. In terms of depth and subtlety of psychological development, this scene is not only the first of such in Ostrovsky, but in general one of the best in Russian classical drama.

In essence, in this scene Tikhon, refusing to take an oath from his wife, behaves humanely. And his whole relationship to Katerina is not at all Domostroevsky, it has a personal, even humane connotation. After all, it is he who says to Kabanikha in response to her threat that his wife will not be afraid of him: “But why should she be afraid? It’s enough for me that she loves me. ” But how paradoxical it is, it is Tikhon's gentleness (combined, however, with a general weakness of character), in the eyes of Katerina, is not so much a dignity as a disadvantage. He doesn't answer her moral ideal, her ideas about what a husband should be. Indeed, he cannot help her and protect her either when she is struggling with "sinful passion" or after her public repentance. Tikhon's reaction to Katerina's “crime” is also completely different from what is dictated by authoritarian morality in a similar situation. It is individual, personal: he is “sometimes affectionate, then angry, but he drinks everything,” according to Katerina.

The fact is that Kalinov's youth no longer wants to adhere to patriarchal orders in everyday life. However, the moral maximalism of Katerina is alien to Varvara, Tikhon, and Kudryash, for whom both the collapse of traditional moral norms in the world around her and her own violation of these covenants is a terrible tragedy. Unlike Katerina, a truly tragic heroine, they all take the position of everyday compromises and do not see any drama in this. Of course, the oppression of their elders is hard for them, but they have learned to bypass it, each to the best of his character. Ostrovsky draws them objectively and clearly not without sympathy. The scale of their personalities in the play is established precisely: these are ordinary, ordinary, not too picky in means of people who no longer want to live in the old way either, Formally recognizing the authority of the elders over themselves. they are also undermining and gradually destroying Kalinov's world. But it is against the background of their unconscious and compromising position that the suffering heroine of "The Storm" looks large and significant, morally lofty.

The "thunderstorm" is not a tragedy of love, but a tragedy of conscience. When Katerina's “fall” is complete, caught up in a whirlwind of liberated passion, merging for her with the concept of will, she becomes boldly bold, deciding - she does not retreat, does not spare herself, does not want to hide anything, “I was not afraid of sin FOR you, will I be afraid human judgment! " - she says to Boris, But this “I was not afraid of sin /, just foreshadows the further development of the tragedy, the death of Katerina. The consciousness of sin persists even in the ecstasy of happiness and seizes it with tremendous power, as soon as this short-lived happiness, this life at will, is over. It is all the more painful that. Katherine's faith somehow excludes the concepts of forgiveness and mercy.

She does not see the outcome of her torment, except death, and it is the complete absence of hope for forgiveness that pushes her to commit suicide — a sin even more serious from the point of view of Christian morality. “I’ve ruined my soul anyway,” Katerina drops when the thought of the possibility of living her life with Boris occurs to her. How unlike the dream of happiness! The death of Katerina is predetermined and inevitable, no matter how the people on whom she depends will behave. She is inevitable because neither her self-consciousness, nor the whole way of life in which she exists, do not allow the personal feeling that has awakened in her to be embodied in everyday forms.
“Mamma, you ruined her! You, you, you ... "- Tikhon shouts in despair and in response to her menacing cry he repeats again:" You have ruined her! You! You!" But this is a measure of understanding of Tikhon, who loves and suffers, over the corpse of his wife, who decided to buzz against his mother. But it would be a mistake to think that this is "A certain result of the play and that Tikhon was entrusted to express the author's point of view, the author's assessment of the events and the share of the heroes' fault.
In The Thunderstorm, in general, all cause-and-effect relationships are extremely complicated, and this distinguishes it from Ostrovsky's previous plays. The degree of generalization of the analyzed life phenomena outgrows that achieved in the Muscovite comedies with their clear moralistic tendency. It was there that the connection between the act and its inevitable consequences was always drawn very clearly, and therefore the direct, direct guilt was clear. negative characters in all the troubles and misadventures of the heroes. In The Thunderstorm, everything is much more complicated.

writing: Cruel manners city ​​of Kalinov 6250 "Cruel manners" of the city of Kalinov Approximate text of an essay based on the drama "The Thunderstorm" by Nostrovsky A talented self-taught mechanic Kuligin calls his manners "cruel". How does he see this manifestation? First of all, in the poverty and rudeness that reigns in the middle class. The reason is very clear - the dependence of the working population on the power of money, concentrated in the hands of the wealthy merchants of the city. But, continuing the story about Kalinov's morals, Kuligin by no means idealizes the relationship of the merchant class, which, in his words, undermines trade with each other, writes "malicious slander". Kalinov, the only educated person, draws attention to one important detail that clearly emerges in the amusing story about how Dikoy explained to the mayor about the peasants' complaints about him. Let us recall Gogol's "Inspector General", in which the merchants did not even dare to utter a word in front of the mayor, but humbly put up with his tyranny and endless extortions. And in "Thunderstorm", in response to the remark of the chief person of the city about his dishonest act, Dikoy only condescendingly pats the representative of the authorities on the shoulder, not even considering it necessary to make excuses. This means that money and power have become synonyms here. Therefore, there is no control over the Wild one, who insults the whole city. No one can please him, no one is immune from his violent abuse. Dikoy is self-willed and tyrannical, because he does not meet with resistance and is sure of his impunity. This hero, with his rudeness, greed and ignorance, personifies the main features of Kalinov's "dark kingdom". Moreover, his anger and irritation especially increase in those cases when it comes either about money that needs to be returned, or about something inaccessible to his understanding. Therefore, he scolds his nephew Boris so much, because one kind of him reminds of the inheritance, which, according to the will, must be shared with him. Therefore, he pounces on Kuligin, trying to explain to him the principle of the lightning rod. Dikiy is outraged by the idea of ​​a thunderstorm as an electrical discharge. He, like all Kalinovites, is convinced that a thunderstorm is sent to people as a reminder of responsibility for their actions. This is not just ignorance and superstition, it is folk mythology passed down from generation to generation, before which the language of logical reason becomes silent. This means that even in the violent, uncontrollable tyrant Dick lives this moral truth, forcing him to bow to the feet of the peasant whom he scolded during the fast. Even if Dikiy has bouts of repentance, at first the rich merchant widow Marfa Ignatievna Kabanova seems even more religious and pious. Unlike the Wild, she will never raise her voice, she will not rush at people like a chain dog. But the despotism of her nature is not at all a secret for the Kalinovites. Even before the appearance of this heroine on the stage, we hear the biting and well-aimed remarks of the townspeople in her address. "Prudish, sir. He clothe the beggars, but ate the family altogether," Kuligin says to Boris about her. And the very first meeting with Kabanikha convinces us of the correctness of this characterization. Her tyranny is limited to the sphere of the family, which she ruthlessly tyrannizes. Kabanikha crippled her own son, turning him into a miserable, weak-willed person who only does what is justified before her for non-existent sins. The cruel, despotic Kabanikha turned the life of her children and daughter-in-law into hell, constantly torturing them, plaguing them with reproaches, complaints and suspicions. Therefore, her daughter Varvara, a brave, strong-willed girl, is forced to live according to the principle: "... do what you want, if only it was sewn and covered." Therefore, Tikhon and Katerina cannot be happy. A feeling like love is incompatible for Katerina with the hateful walls of the boar's house, with its oppressive stifling atmosphere. silent extra.

The scene of Tikhon's departure is one of the most important in the play, both in terms of revealing the psychology and characters of the heroes in their lives and in terms of its function in the development of intrigue: on the ONE hand, Tikhon's departure removes an insurmountable external obstacle to meeting Boris, and on the other, all Katerina's hopes are crumbling. find an inner support in the love of her husband. In terms of depth and subtlety of psychological development, this scene is not only the first of such in Ostrovsky, but in general one of the best in Russian classical drama.

In essence, in this scene Tikhon, refusing to take an oath from his wife, behaves humanely. And his whole relationship to Katerina is not at all Domostroevsky, it has a personal, even humane connotation. After all, it is he who says to Kabanikha in response to her threat that his wife will not be afraid of him: “But why should she be afraid? It’s enough for me that she loves me. ” But how paradoxical it is, it is Tikhon's gentleness (combined, however, with a general weakness of character), in the eyes of Katerina, is not so much a dignity as a disadvantage. He does not meet her moral ideal, her ideas about what a husband should be. Indeed, he cannot help her and protect her either when she is struggling with "sinful passion" or after her public repentance. Tikhon's reaction to Katerina's “crime” is also completely different from what is dictated by authoritarian morality in a similar situation. It is individual, personal: he is “sometimes affectionate, then angry, but he drinks everything,” according to Katerina.

The fact is that Kalinov's youth no longer wants to adhere to patriarchal orders in everyday life. However, the moral maximalism of Katerina is alien to Varvara, Tikhon, and Kudryash, for whom both the collapse of traditional moral norms in the world around her and her own violation of these covenants is a terrible tragedy. Unlike Katerina, a truly tragic heroine, they all take the position of everyday compromises and do not see any drama in this. Of course, the oppression of their elders is hard for them, but they have learned to bypass it, each to the best of his character. Ostrovsky draws them objectively and clearly not without sympathy. The scale of their personalities in the play is established precisely: these are ordinary, ordinary, not too picky in means of people who no longer want to live in the old way either, Formally recognizing the authority of the elders over themselves. they are also undermining and gradually destroying Kalinov's world. But it is against the background of their unconscious and compromising position that the suffering heroine of "The Storm" looks large and significant, morally lofty.

The "thunderstorm" is not a tragedy of love, but a tragedy of conscience. When Katerina's “fall” is complete, caught up in a whirlwind of liberated passion, merging for her with the concept of will, she becomes boldly bold, deciding - she does not retreat, does not spare herself, does not want to hide anything, “I was not afraid of sin FOR you, will I be afraid human judgment! " - she says to Boris, But this “I was not afraid of sin /, just foreshadows the further development of the tragedy, the death of Katerina. The consciousness of sin persists even in the ecstasy of happiness and seizes it with tremendous power, as soon as this short-lived happiness, this life at will, is over. It is all the more painful that. Katherine's faith somehow excludes the concepts of forgiveness and mercy.

She does not see the outcome of her torment, except death, and it is the complete absence of hope for forgiveness that pushes her to commit suicide — a sin even more serious from the point of view of Christian morality. “I’ve ruined my soul anyway,” Katerina drops when the thought of the possibility of living her life with Boris occurs to her. How unlike the dream of happiness! The death of Katerina is predetermined and inevitable, no matter how the people on whom she depends will behave. She is inevitable because neither her self-consciousness, nor the whole way of life in which she exists, do not allow the personal feeling that has awakened in her to be embodied in everyday forms.
“Mamma, you ruined her! You, you, you ... "- Tikhon shouts in despair and in response to her menacing cry he repeats again:" You have ruined her! You! You!" But this is a measure of understanding of Tikhon, who loves and suffers, over the corpse of his wife, who decided to buzz against his mother. But it would be a mistake to think that this is "A certain result of the play and that Tikhon was entrusted to express the author's point of view, the author's assessment of the events and the share of the heroes' fault.
In The Thunderstorm, in general, all cause-and-effect relationships are extremely complicated, and this distinguishes it from Ostrovsky's previous plays. The degree of generalization of the analyzed life phenomena outgrows that achieved in the Muscovite comedies with their clear moralistic tendency. It was there that the connection between the act and its inevitable consequences was always drawn very clearly, and therefore the direct, direct guilt of the negative characters in all the troubles and misadventures of the heroes was clear. In The Thunderstorm, everything is much more complicated.

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composition: The cruel manners of the city of Kalinov 6250 "Cruel manners" of the city of Kalinov Approximate text of the composition based on the drama "The Thunderstorm" by Nostrovsky The talented self-taught mechanic Kuligin calls his manners "cruel". How does he see this manifestation? First of all, in the poverty and rudeness that reigns in the middle class. The reason is very clear - the dependence of the working population on the power of money, concentrated in the hands of the wealthy merchants of the city. But, continuing the story about Kalinov's morals, Kuligin by no means idealizes the relationship of the merchant class, which, in his words, undermines trade with each other, writes "malicious slander". Kalinov, the only educated person, draws attention to one important detail that clearly emerges in the amusing story about how Dikoy explained to the mayor about the peasants' complaints about him. Let us recall Gogol's "Inspector General", in which the merchants did not even dare to utter a word in front of the mayor, but humbly put up with his tyranny and endless extortions. And in "Thunderstorm", in response to the remark of the chief person of the city about his dishonest act, Dikoy only condescendingly pats the representative of the authorities on the shoulder, not even considering it necessary to make excuses. This means that money and power have become synonyms here. Therefore, there is no control over the Wild one, who insults the whole city. No one can please him, no one is immune from his violent abuse. Dikoy is self-willed and tyrannical, because he does not meet with resistance and is sure of his impunity. This hero, with his rudeness, greed and ignorance, personifies the main features of Kalinov's "dark kingdom". Moreover, his anger and irritation especially increase in those cases when it comes either about money that needs to be returned, or about something inaccessible to his understanding. Therefore, he scolds his nephew Boris so much, because one kind of him reminds of the inheritance, which, according to the will, must be shared with him. Therefore, he pounces on Kuligin, trying to explain to him the principle of the lightning rod. Dikiy is outraged by the idea of ​​a thunderstorm as an electrical discharge. He, like all Kalinovites, is convinced that a thunderstorm is sent to people as a reminder of responsibility for their actions. This is not just ignorance and superstition, it is folk mythology passed down from generation to generation, before which the language of logical reason becomes silent. This means that even in the violent, uncontrollable tyrant Dick lives this moral truth, forcing him to bow to the feet of the peasant whom he scolded during the fast. Even if Dikiy has bouts of repentance, at first the rich merchant widow Marfa Ignatievna Kabanova seems even more religious and pious. Unlike the Wild, she will never raise her voice, she will not rush at people like a chain dog. But the despotism of her nature is not at all a secret for the Kalinovites. Even before the appearance of this heroine on the stage, we hear the biting and well-aimed remarks of the townspeople in her address. "Prudish, sir. He clothe the beggars, but ate the family altogether," Kuligin says to Boris about her. And the very first meeting with Kabanikha convinces us of the correctness of this characterization. Her tyranny is limited to the sphere of the family, which she ruthlessly tyrannizes. Kabanikha crippled her own son, turning him into a miserable, weak-willed person who only does what is justified before her for non-existent sins. The cruel, despotic Kabanikha turned the life of her children and daughter-in-law into hell, constantly torturing them, plaguing them with reproaches, complaints and suspicions. Therefore, her daughter Varvara, a brave, strong-willed girl, is forced to live according to the principle: "... do what you want, if only it was sewn and covered." Therefore, Tikhon and Katerina cannot be happy. A feeling like love is incompatible for Katerina with the hateful walls of the boar's house, with its oppressive stifling atmosphere. silent extra.