Characteristics of the characters in the play The Thunderstorm. History of creation, system of images, methods of characterizing characters in play A
The play “The Thunderstorm” by the famous Russian writer of the 19th century Alexander Ostrovsky was written in 1859 on the wave of social upsurge on the eve of social reforms. It became one of the author's best works, opening the eyes of the whole world to the morals 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 topic for writing a large number of critical articles of that time (“A Ray of Light in the Dark Kingdom” by Dobrolyubov, “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 the tragic fate of the daughter-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
Story line
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 Kabanikha’s cruelty and tyranny, 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, having been 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) are representatives of 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 the death of the 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 acquires a social historical meaning, expressing the state of the people's consciousness at the turning point between 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.
Appendix 5
Quotes characterizing the characters
Savel Prokofich Dikoy
1) Curly. This? This is Dikoy scolding his nephew.
Kuligin. Found a place!
Curly. He belongs everywhere. He's afraid of someone! He got Boris Grigoryich as a sacrifice, so he rides it.
Shapkin. Look for another scolder like ours, Savel Prokofich! There's no way he'll cut someone off.
Curly. Shrill man!
2) Shapkin. There is no one to calm him down, so he fights!
3) Curly. ...and this one just broke the chain!
4) Curly. How not to scold! He can't breathe without it.
Act one, phenomenon two:
1) Wild. What the hell are you, you came here to beat me up! Parasite! Get lost!
Boris. Holiday; what to do at home!
Wild. You will find a job as you want. I told you once, I told you twice: “Don’t you dare come across me”; you're itching for everything! Not enough space for you? Wherever you go, here you are! Ugh, damn you! Why are you standing there like a pillar! Are they telling you no?
1) Boris. No, that’s not enough, Kuligin! He will first break with us, scold us in every possible way, as his heart desires, but he will still end up not giving anything, or just some little thing. Moreover, he will say that he gave it out of mercy, and that this should not have been the case.
2) Boris. That's the thing, Kuligin, it's absolutely impossible. Even their own people cannot please him; where am I supposed to be!
Curly. Who will please him, if his whole life is based on swearing? And most of all because of the money; Not a single calculation is complete without swearing. Another is happy to give up his own, if only he would calm down. And the trouble is, someone will make him angry in the morning! He picks on everyone all day long.
3) Shapkin. One word: warrior.
Marfa Ignatievna Kabanova
Act one, phenomenon one:
1) Shapkin. Kabanikha is also good.
Curly. Well, at least that one is all under the guise of piety, but this one is like he’s broken loose!
Act one, scene three:
1) Kuligin. Prude, sir! He gives money to the poor, but completely eats up his family.
Varvara
Act one, scene seven:
1) Varvara. Speak! I'm worse than you!
Tikhon Kabanov
Act one, scene six:
1) Varvara. So it’s not her fault! Her mother attacks her, and so do you. And you also say that you love your wife. It's boring for me to look at you.
Ivan Kudryash
Act one, phenomenon one:
1) Curly. I wanted it, but I didn’t give it, so it’s all the same thing. He won’t give me up to (Dikaya), he senses with his nose that I won’t sell my head cheaply. He's the one who's scary to you, but I know how to talk to him.
2) Curly. What's here: oh! I am considered a rude person; Why is he holding me? Maybe he needs me. Well, that means I’m not afraid of him, but let him be afraid of me.
3) Curly. ... Yes, I don’t let it go either: he is the word, and I am ten; he will spit and go. No, I won’t slave to him.
4) Curly. ...I'm so crazy about girls!
Katerina
Act two, scene two:
1) Katerina. And it never leaves.
Varvara. Why?
Katerina. I was born so hot! I was still six years old, no more, so I did it! They offended me with something at home, and it was late in the evening, it was already dark, I ran out to the Volga, got into the boat, and pushed it away from the shore. The next morning they found it, about ten miles away!
2) Katerina. I don’t know how to deceive; I can’t hide anything.
Kuligin
Act one, scene three:
1) Kuligin. Why, sir! After all, the British give a million; I would use all the money for society, for support. Jobs must be given to the philistines. Otherwise, you have hands, but nothing to work with.
Boris
Act one, scene three:
Boris. Eh, Kuligin, it’s painfully difficult for me here without the habit! Everyone looks at me somehow wildly, as if I’m superfluous here, as if I’m disturbing them. I don't know the customs here. I understand that all this is Russian, native, but I still can’t get used to it.
Feklusha
1) F e k l u sha. Blah-alepie, honey, blah-alepie! Wonderful beauty! What can I say! You live in the promised land! And the merchants are all pious people, adorned with many virtues! Generosity and many alms! I’m so pleased, so, mother, completely satisfied! For our failure to leave them even more bounties, and especially to the Kabanovs’ house.
2) Feklusha. No, honey. Due to my weakness, I did not walk far; and to hear - I heard a lot. They say that there are such countries, dear girl, where there are no Orthodox kings, and the Saltans rule the earth. In one land the Turkish Saltan Makhnut sits on the throne, and in another - the Persian Saltan Makhnut; and they carry out judgment, dear girl, on all people, and no matter what they judge, everything is wrong. And they, my dear, cannot judge a single case righteously, such is the limit set for them. Our law is righteous, but theirs, dear, is unrighteous; that according to our law it turns out this way, but according to theirs everything is the opposite. And all their judges, in their countries, are also all unrighteous; So, dear girl, they write in their requests: “Judge me, unjust judge!” And then there is also a land where all the people have dog heads.
Goodbye for now!
Glasha. Goodbye!
Feklusha leaves.
City manners:
Act one, scene three:
1) Kuligin. And you will never get used to it, sir.
Boris. From what?
Kuligin. Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and stark poverty. And we, sir, will never escape this crust! Because honest work will never earn us more than our daily bread. And whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors. Do you know what your uncle, Savel Prokofich, answered to the mayor? The peasants came to the mayor to complain that he would not disrespect any of them. The mayor began to tell him: “Listen, he says, Savel Prokofich, pay the men well! Every day they come to me with complaints!” Your uncle patted the mayor on the shoulder and said: “Is it worth it, your honor, for us to talk about such trifles! I have a lot of people every year; You understand: I won’t pay them a penny per person, but I make thousands out of this, so that’s good for me!” That's it, sir! And among themselves, sir, how they live! They undermine each other's trade, and not so much out of self-interest as out of envy. They are at enmity with each other; They get drunken clerks into their high mansions, such, sir, clerks that there is no human appearance on him, his human appearance is hysterical. And they, for small acts of kindness, scribble malicious slander against their neighbors on stamped sheets. And for them, sir, a trial and a case will begin, and there will be no end to the torment. They sue and sue here, but they go to the province, and there they are waiting for them and splashing their hands with joy. Soon the fairy tale is told, but not soon the deed is done; they drive them, they drive them, they drag them, they drag them; and they are also happy about this dragging, that’s all they need. “I’ll spend it, he says, and it won’t cost him a penny.” I wanted to depict all this in poetry...
2) F e k l u sha. Bla-alepie, honey, blah-alepie! Wonderful beauty! What can I say! You live in the promised land! AND merchants All are pious people, adorned with many virtues! Generosity and many alms! I’m so pleased, so, mother, completely satisfied! For our failure to leave them even more bounties, and especially to the Kabanovs’ house.
Act two, scene one:
3) Feklusha. No, honey. Due to my weakness, I did not walk far; and to hear - I heard a lot. They say that there are such countries, dear girl, where there are no Orthodox kings, and the Saltans rule the earth. In one land the Turkish Saltan Makhnut sits on the throne, and in another - the Persian Saltan Makhnut; and they carry out judgment, dear girl, on all people, and no matter what they judge, everything is wrong. And they, my dear, cannot judge a single case righteously, such is the limit set for them. Our law is righteous, but theirs, dear, is unrighteous; that according to our law it turns out this way, but according to theirs everything is the opposite. And all their judges, in their countries, are also all unrighteous; So, dear girl, they write in their requests: “Judge me, unjust judge!” And then there is also a land where all the people have dog heads.
Glasha. Why is this so with dogs?
Feklusha. For infidelity. I’ll go, dear girl, and wander around the merchants to see if there’s anything for poverty.Goodbye for now!
Glasha. Goodbye!
Feklusha leaves.
Here are some other lands! There are no miracles in the world! And we sit here, we don’t know anything. It’s also good that there are good people; no, no, and you will hear what is happening in this wide world; Otherwise they would have died like fools.
Family relationships:
Act one, scene five:
1) Kabanova. If you want to listen to your mother, then when you get there, do as I ordered you.
Kabanov. How can I, Mama, disobey you!
Kabanova. Elders are not very respected these days.
Varvara (to herself). No respect for you, of course!
Kabanov. I, it seems, mummy, don’t take a step out of your will.
Kabanova. I would believe you, my friend, if I hadn’t seen with my own eyes and heard with my own ears what kind of respect children show to their parents now! If only they remembered how many illnesses mothers suffer from their children.
Kabanov. I, mummy...
Kabanova. If your parent ever says something offensive, out of your pride, then, I think, you could bear it! What do you think?
Kabanov. But when, Mama, have I ever been unable to bear being away from you?
Kabanova. The mother is old and stupid; Well, you, young people, smart ones, shouldn’t exact it from us fools.
Kabanov (sighing, aside). Oh, Lord! (Mother.) Dare we, Mama, to think!
Kabanova. After all, out of love your parents are strict with you, out of love they scold you, everyone thinks to teach you good. Well, I don’t like it now. And the children will go around praising people that their mother is a grumbler, that their mother does not allow them to pass, that they are squeezing them out of the world. And, God forbid, you can’t please your daughter-in-law with some word, so the conversation started that the mother-in-law was completely fed up.
Kabanov. No, mama, who is talking about you?
Kabanova. I haven’t heard, my friend, I haven’t heard, I don’t want to lie. If only I had heard, I would have spoken to you, my dear, in a different way.(Sighs.) Oh, a grave sin! What a long time to sin! A conversation close to the heart will go well, and you will sin and get angry. No, my friend, say what you want about me. You can’t tell anyone to say it: if they don’t dare to your face, they will stand behind your back.
Kabanov. Shut up your tongue...
Kabanova. Come on, come on, don't be afraid! Sin! I'll
I’ve seen for a long time that your wife is dearer to you than your mother. Since
I got married, I don’t see the same love from you anymore.
Kabanov. How do you see this, Mama?
Kabanova. Yes in everything, my friend! A mother cannot see with her eyes, but her heart is a prophet; she can feel with her heart. Or maybe your wife is taking you away from me, I don’t know.
Act two, scene two:
2) Katerina. I don’t know how to deceive; I can’t hide anything.
V a r v a r a. Well, you can’t live without it; remember where you live! Our whole house rests on this. And I was not a liar, but I learned when it became necessary. I was walking yesterday, I saw him, I talked to him.
Storm
Act one, scene nine:
1) Varvara (looking around). Why is this brother not coming, there’s no way, the storm is coming.
Katerina (with horror). Storm! Let's run home! Hurry up!
Varvara. Are you crazy or something? How will you show up home without your brother?
Katerina. No, home, home! God bless him!
Varvara. Why are you really afraid: the thunderstorm is still far away.
Katerina. And if it’s far away, then perhaps we’ll wait a little; but really, it’s better to go. Let's go better!
Varvara. But if something happens, you can’t hide at home.
Katerina. Yes, it’s still better, everything is calmer; At home I go to the images and pray to God!
Varvara. I didn't know you were so afraid of thunderstorms. I'm not afraid.
Katerina. How, girl, not to be afraid! Everyone should be afraid. It’s not so scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts. I’m not afraid to die, but when I think that suddenly I will appear before God as I am here with you, after this conversation, that’s what’s scary. What's on my mind! What a sin! scary to say!
Sections: Literature
Lesson objectives:
- Educational: students understand theoretical concepts (hero, character, characterization, speech, author, author's assessment), define and explain literary concepts, master such important concepts and skills as speech characteristics of characters, clarifying the author's position, try to see the peculiarities of the speech characteristics of the heroes of Ostrovsky's drama “The Thunderstorm” and find out how the speech of the characters helps to understand their character
- Educational: from observations of the features of Ostrovsky's style, they draw initial conclusions and generalizations regarding individual components of the style, master the theoretical and literary concept of style in a specific analysis of a literary text, in the process of working on the text of the play, they learn thoughtful reading, a sensitive attitude to the word, aesthetic perception of the images and events of the dramatic works.
- Educational: learn to understand people, draw conclusions and generalizations based on the speech of the interlocutor, construct their own statements
Equipment: computer, screen, flash presentation, handouts.
During the classes
1. Introductory speech by the teacher.
The image of a hero in a work of fiction is made up of many factors - character, appearance, profession, hobbies, circle of acquaintances, attitude towards oneself and others. One of the main ones is the character’s speech, which fully reveals both the inner world and way of life. The image of the adventurer Ostap Bender is inseparable from his aphoristic speech, replete with witticisms. The vocabulary of Ellochka the cannibal has long become textbook. The paradoxical nature of Lord Henry's statements in The Picture of Dorian Gray is a reflection of his intelligence, originality, education and cynicism. Among modern writers, Boris Akunin can be considered a master of speech characteristics. The first chapter of the novel “F.M.”, written from the point of view of a criminal, sharply contrasts with the sophisticated literary style to which the reader of the Fandorin cycle is accustomed:
A talentedly created speech characteristic of the hero is a decoration of the artistic text and an important touch to the character’s portrait. Skillful use of speech characteristics is one of the tools of a professional writer. And there is nothing more boring than heroes of different ages, different occupations and temperaments, who speak the same language.
You won’t find this in Ostrovsky. And today in class we will observe the speech characteristics of his heroes.
Slide 1-4. (Write down the topic of the lesson)
What is needed to understand this topic? Slide 5
2. Question: What is the peculiarity of the literary basis of drama? What are the reasons for these features?
? Slide 6
- Ideological and thematic content;
- composition;
- characters;
- character language and etc.
In this case, it is necessary to take into account the features of dramaturgy:
- lack of descriptive speech by the author;
- greater severity of conflict situations;
- speech of the characters as the only source for characterization and analysis of character images
3. Teacher information.
Slide 7
What role does speech characterization play in a work of art?
Slide 8
4. Let's see how the heroes of the drama appear on stage?
Slide 9
The characters' first lines What can you say about the characters?
Conclusion: Five lines - five characters.
Slide 10
5. The heroes of the drama are conventionally divided into two camps. Is it possible to determine from their statements who is from which camp?
Slide 11
Conclusion: Ostrovsky in the drama "The Thunderstorm" very clearly shows the global difference between positive and
negative heroes of his work. All the most important character traits and their reactions to developing events are clearly visible. Slide 12
6. Analysis of the character’s speech using the example of the Wild.
Slide 13-14
| Features of speech | What do we learn about the hero? |
“I told you once, I told you twice”; “Don’t you dare come across me”; you'll find everything! Not enough space for you? Wherever you fall, here you are. Ugh, damn you! Why are you standing like a pillar! Are they telling you no?” Dikoy openly shows that he does not respect his nephew at all. Dikoy is a “significant person” in the city, a merchant. This is how Shapkin says about him: “We should look for another scolder like ours, Savel Prokofich. There’s no way he’ll cut someone off.” Let us remember what Dikoy says: “Once I was fasting about a great fast, and then it was not easy and I slipped a little man in, I came for money, carried firewood... I did sin: I scolded him, I scolded him... I almost killed him.” He says to Boris: “Get lost!” I don’t even want to talk to you, a Jesuit.” Dikoy uses “with a Jesuit” instead of “with a Jesuit” in his speech. So he also accompanies his speech with spitting, which completely shows his lack of culture. In general, throughout the entire drama we see him peppering his speech with abuse. “Why are you still here! What the hell kind of merman is there!” Dikoy is rude and straightforward in his aggressiveness; he commits actions that sometimes cause bewilderment and surprise among others. He is capable of offending and beating a man without giving him money, and then in front of everyone standing in the dirt in front of him, asking for forgiveness. He is a brawler, and in his violence he is capable of throwing thunder and lightning at his family, who are hiding from him in fear. It seems to him that if he recognizes over himself the laws of common sense, common to all people, then his importance will greatly suffer from this, although Dikoy realizes that he is absurd. In a conversation with Kuligin, he refuses to give money for “thunderous taps”, while calling him a “robber”, “a fake little man”. For others, you are an honest person, but I think that you are a robber... What a fake guy... Dika’s entire conversation emphasizes her importance, her independence from anyone, and especially from Kuligin. I'll give you a report or something! I don’t give an account to anyone more important than you. Although Kuligin says that “the expense is empty,” Dikoy still stands his ground, denying even the possibility of fulfilling the request. He went to Kabanikha and told her about his unrighteous deeds. I was once talking about a great fast, and then I found it difficult and slipped a peasant in: I came for money, I carried firewood... I still sinned: I scolded... Dikoy differs from other characters in the drama with his uncontrollable character, but when he calms down, he is ready to admit that he is wrong. Truly I tell you, I bowed at the man’s feet. Dikoi and Kabanikha are very similar. Only one can admit that he is wrong, citing his good “heart,” while the other is sure that she is always right. The merchants as a whole completely deny progress. New states can be built in the world, new lands can open up, the face of the planet can change, but in the city of Kalinov on the banks of the Volga, time will flow slowly and measuredly, as if it never happened. All news reaches them very late, and even then very distorted. In unknown countries, people walk around with “dog heads.” The merchants have achieved a lot: they are rich, they have privileges, they are dependent peasants. Because of this, they do not want to move into a new era, for fear of being left out. That's why they wanted to push it back at least a few years. At the same time, understanding that progress is inevitable, it is always present in human society. |
A wild one, as if nothing had happened, can offend a person just like that. He doesn’t regard not only those around him, but even his family and friends. His family lives in constant fear of his wrath. Dikoy mocks his nephew in every possible way. He puts himself above everyone around him. And no one offers him the slightest resistance. He scolds everyone over whom he feels his power, but if someone scolds him himself, he cannot answer, then stay strong, everyone at home! It’s on them that Dikoy will take out all his anger. We are struck by their callousness towards people dependent on them, their reluctance to part with money when paying workers. All relationships between people, in their opinion, are built on wealth. We can say that Dikoy is completely illiterate, which shows him as an extremely rude and ill-mannered person. Kabanikha is richer than Dikoy, and therefore she is the only person in the city with whom Dikoy must be polite. “Well, don’t let your throat loose! Find me cheaper! And I’m dear to you!” Another feature that unites them is religiosity. But they perceive God not as someone who forgives, but as someone who can punish them On the one hand, it seems that Dikoy is ruder, stronger and, therefore, scarier. But, looking closer, we see that Dikoy is only capable of screaming and rampaging. She managed to subjugate everyone, keeps everything under control, she even tries to manage people’s relationships, which leads Katerina to death. The Pig is cunning and smart, unlike the Wild One, and this makes her more terrible. |
It is important not only what the hero is talking about and how it characterizes him, but also the very manner of expressing his thoughts, vocabulary, and phrase construction.
After all, a word is a living reaction to the thoughts of the interlocutor, a living reaction to what is happening on stage, an expression of his thoughts and emotional experiences
Slide 15
7. Group work. Speech characteristics of Kuligin, Varvara, Kudryash and Boris.
8. Summing up.
Slide 16
“Ostrovsky’s work is a filigree polished gem of the Russian word.” Through the language of its characters, Russian speech shines through its most essential features: lexical richness, richness, imagery, accuracy, flexibility. The speech of Ostrovsky’s characters is a manifestation of their inherent appearance, worldview, social and everyday connections and influences. That is why characters of the same social category differ not in their actions, but especially in their language and manner of speaking.
9. Homework.
Slide 17
Write a speech description of Katerina or Kabanikha (with quotes)
Prepare an analysis of the image of a character in a dramatic work based on speech characteristics.
Add. task: presentation-quiz “Recognize the hero by his cue.”
9. Reflection.
Reflection in a literature lesson (student self-analysis)
- In today's lesson I learned...
- I managed...
- Failed..
- I understand…
- I didn't understand.
BORIS AND TIKHON
Boris Dikoy and Tikhon Kabanov are the two characters who are most closely associated with the main character, Katerina: Tikhon is her husband, and Boris becomes her lover. They can be called antipodes, which stand out sharply against each other. And, in my opinion, preference in their comparison should be given to Boris, as a more active, interesting and pleasant character for the reader, while Tikhon evokes some compassion - raised by a strict mother, he, in fact, cannot make his own decisions and defend his opinion. In order to substantiate my point of view, below I will consider each character separately and try to analyze their characters and actions.
To begin with, let's look at Boris Grigorievich Dikiy. Boris came to the city of Kalinov not on his own whim - out of necessity. His grandmother, Anfisa Mikhailovna, disliked his father after he married a noble woman, and after her death she left her entire inheritance to her second son, Savel Prokofievich Diky. And Boris would not have cared about this inheritance if his parents had not died of cholera, leaving him and his sister orphans. Savel Prokofievich Dikoy had to pay part of Anfisa Mikhailovna’s inheritance to Boris and his sister, but on the condition that they would be respectful to him. Therefore, throughout the entire play, Boris tries in every possible way to serve his uncle, not paying attention to all the reproaches, discontent and abuse, and then leaves for Siberia to serve. From this we can conclude that Boris not only thinks about his future, but also cares about his sister, who is in an even less advantageous position than himself. This is expressed in his words, which he once said to Kuligin: “If I were alone, it would be fine! I would give up everything and leave. Otherwise, I feel sorry for my sister. (...) It’s scary to imagine what life was like for her here.”
Boris spent his entire childhood in Moscow, where he received a good education and manners. This also adds positive features to his image. He is modest and, perhaps, even somewhat timid - if Katerina had not responded to his feelings, if not for the complicity of Varvara and Kudryash, he would never have crossed the boundaries of what is permitted. His actions are driven by love, perhaps the first, a feeling that even the most reasonable and sensible people are unable to resist. Some timidity, but sincerity, his tender words to Katerina make Boris a touching and romantic character, full of charm that cannot leave girls’ hearts indifferent.
As a person from metropolitan society, from secular Moscow, Boris has a hard time in Kalinov. He does not understand local customs; it seems to him that he is a stranger in this provincial town. Boris does not fit into local society. The hero himself says the following words about this: “... it’s difficult for me here, without a habit! Everyone looks at me wildly, as if I’m superfluous here, as if I’m disturbing them. I don’t know the customs here. I understand that this is all ours , Russian, native, but still I can’t get used to it.” Boris is overcome by difficult thoughts about his future fate. Youth, the desire to live desperately rebel against the prospect of staying in Kalinov: “And I, apparently, will ruin my youth in this slum. I’m really dead.”
So, we can say that Boris in Ostrovsky’s play “The Thunderstorm” is a romantic, positive character, and his rash actions can be justified by love, which makes young blood boil and do completely reckless things, forgetting about how they look in the eyes of society.
Tikhon Ivanovich Kabanov can be considered as a more passive character, unable to make his own decisions. He is strongly influenced by his domineering mother, Marfa Ignatievna Kabanova, he is “under her thumb.” Tikhon strives for freedom, however, it seems to me, he himself does not know what exactly he wants from it. So, having broken free, the hero acts as follows: “... and as soon as I left, I went on a spree. I’m very glad that I broke free. And I drank all the way, and in Moscow I drank everything, so a lot, What the hell! So that I could take a break for a whole year. I never even remembered about the house.” In his desire to escape “from captivity,” Tikhon closes his eyes to other people’s feelings, including the feelings and experiences of his own wife, Katerina: “..and with this kind of captivity you will escape from whatever beautiful wife you want! Just think: no matter what I am, I’m still a man; living like this all my life, as you see, you’ll run away from your wife. Yes, just as I know that there won’t be any thunderstorms over me for two weeks, there are no shackles on my legs, So what do I care about my wife?" I believe that this is Tikhon’s main mistake - he did not listen to Katerina, did not take her with him, and did not even take a terrible oath from her, as she herself asked in anticipation of trouble. The events that happened next were partly his fault.
Returning to the fact that Tikhon is not able to make his own decisions, we can give the following example. After Katerina confesses to her sin, he cannot decide what to do - listen to his mother again, who calls her daughter-in-law cunning and tells everyone not to believe her, or show leniency towards his beloved wife. Katerina herself speaks about it this way: “He’s sometimes affectionate, sometimes angry, but he drinks everything.” Also, in my opinion, an attempt to get away from problems with the help of alcohol also indicates Tikhon’s weak character.
We can say that Tikhon Kabanov is a weak character as a person who evokes sympathy. It is difficult to say whether he really loved his wife, Katerina, but it is safe to assume that with his character, another life partner, more similar to his mother, was better suited to him. Brought up in strictness, without his own opinion, Tikhon needs outside control, guidance and support.
So, on the one hand, we have Boris Grigorievich Wild, a romantic, young, self-confident hero. On the other hand, there is Tikhon Ivanovich Kabanov, a weak-willed, soft-bodied, unhappy character. Both characters are, of course, clearly expressed - Ostrovsky in his play managed to convey the full depth of these images, making you worry about each of them. But if we compare them with each other, Boris attracts more attention, he arouses sympathy and interest in the reader, while one wants to feel sorry for Kabanov.
However, each reader himself chooses which of these characters to give his preference. After all, as popular wisdom says, there are no comrades according to taste.
VARVARA
Varvara Kabanova is the daughter of Kabanikha, sister of Tikhon. We can say that life in Kabanikha’s house morally crippled the girl. She also does not want to live according to the patriarchal laws that her mother preaches. But, despite his strong character, V. does not dare to openly protest against them. Her principle is “Do what you want, as long as it’s safe and covered.”
This heroine easily adapts to the laws of the “dark kingdom” and easily deceives everyone around her. This became habitual for her. V. claims that it is impossible to live otherwise: their whole house rests on deception. “And I was not a liar, but I learned when it became necessary.”
V. was cunning while she could. When they began to lock her up, she ran away from the house, inflicting a crushing blow on Kabanikha.
KULIGIN
Kuligin is a character who partially performs the functions of an exponent of the author’s point of view and therefore is sometimes classified as a reasoning hero, which, however, seems incorrect, since in general this hero is certainly distant from the author, he is depicted as quite detached, as an unusual person, even somewhat outlandish. The list of characters says about him: “a tradesman, a self-taught watchmaker, looking for a perpetuum mobile.” The hero's surname transparently hints at a real person - I. P. Kulibin (1755-1818), whose biography was published in the journal of the historian M. P. Pogodin "Moskvityanin", where Ostrovsky collaborated.
Like Katerina, K. is a poetic and dreamy nature (for example, it is he who admires the beauty of the Trans-Volga landscape and complains that the Kalinov people are indifferent to him). He appears singing “Among the Flat Valley...”, a folk song of literary origin (to the words of A.F. Merzlyakov). This immediately emphasizes the difference between K. and other characters associated with folklore culture; he is also a bookish person, albeit with a rather archaic bookishness: He tells Boris that he writes poetry “in the old-fashioned way... He’s read a lot of Lomonosov, Derzhavin... Lomonosov was a sage, an explorer of nature...” Even the characterization of Lomonosov testifies to K.’s reading in old books: not a “scientist”, but a “sage”, “an explorer of nature.” “You are an antique, a chemist,” Kudryash tells him. “A self-taught mechanic,” corrects K. K.’s technical ideas are also a clear anachronism. The sundial that he dreams of installing on Kalinovsky Boulevard comes from antiquity. Lightning rod - a technical discovery of the 18th century. If K. writes in the spirit of the classics of the 18th century, then his oral stories are sustained in even earlier stylistic traditions and are reminiscent of ancient moralizing stories and apocrypha (“and they will begin, sir, a trial and a case, and there will be no end to the torment. They are suing and suing here, and they will go to the province, and there they are waiting for them, and splashing their hands with joy” - the picture of judicial red tape, vividly described by K., recalls stories about the torment of sinners and the joy of demons). All these features of the hero, of course, were given by the author in order to show his deep connection with the world of Kalinov: he is, of course, different from the Kalinovites, we can say that he is a “new” person, but only his novelty has developed here, inside this world , giving birth not only to its passionate and poetic dreamers, like Katerina, but also to its “rationalist” dreamers, its own special, home-grown scientists and humanists. The main business of K.’s life is the dream of inventing the “perpetu mobile” and receiving a million for it from the British. He intends to spend this million on the Kalinovsky society - “jobs must be given to the philistines.” Listening to this story, Boris, who received a modern education at the Commercial Academy, remarks: “It’s a pity to disappoint him! What a good man! He dreams for himself and is happy.” However, he is hardly right. K. is truly a good person: kind, selfless, delicate and meek. But he is hardly happy: his dream constantly forces him to beg for money for his inventions, conceived for the benefit of society, and it does not even occur to society that there could be any benefit from them, for them K. - a harmless eccentric, something like a city holy fool. And the main of the possible “patrons of the arts,” Dikoy, attacks the inventor with abuse, once again confirming both the general opinion and Kabanikha’s own admission that he is not able to part with the money. Kuligin's passion for creativity remains unquenched; he feels sorry for his fellow countrymen, seeing their vices as the result of ignorance and poverty, but cannot help them in anything. So, the advice he gives (forgive Katerina, but never remember her sin) is obviously impossible to implement in the Kabanovs’ house, and K. hardly understands this. The advice is good and humane, because it is based on humane considerations, but it does not take into account the real participants in the drama, their characters and beliefs. For all his hard work, the creative beginning of his personality, K. is a contemplative nature, devoid of any pressure. This is probably the only reason why the Kalinovites put up with him, despite the fact that he differs from them in everything. It seems that for the same reason it turned out to be possible to entrust him with the author’s assessment of Katerina’s action. “Here is your Katerina. Do what you want with her! Her body is here, take it; but the soul is now not yours: it is now before the Judge, who is more merciful than you!”
KATERINA
But the most extensive subject for discussion is Katerina - the “Russian strong character”, for whom truth and a deep sense of duty are above all. First, let's turn to the childhood years of the main character, which we learn about from her monologues. As we see, in this carefree time, Katerina was primarily surrounded by beauty and harmony; she “lived like a bird in the wild” among maternal love and fragrant nature. The young girl went to wash herself, listened to the stories of the wanderers, then sat down to do some work, and so the whole day passed. She has not yet known the bitter life in “imprisonment,” but everything is ahead of her, life in the “dark kingdom” is ahead. From Katerina's words we learn about her childhood and adolescence. The girl did not receive a good education. She lived with her mother in the village. Katerina's childhood was joyful and cloudless. Her mother “doted on her” and did not force her to do housework. Katya lived freely: she got up early, washed herself with spring water, climbed flowers, went to church with her mother, then sat down to do some work and listened to wanderers and praying mantises, of which there were many in their house. Katerina had magical dreams in which she flew under the clouds. And how strongly contrasted with such a quiet, happy life is the action of a six-year-old girl, when Katya, offended by something, ran away from home to the Volga in the evening, got into a boat and pushed off from the shore! We see that Katerina grew up as a happy, romantic, but limited girl. She was very devout and passionately loving. She loved everything and everyone around her: nature, the sun, the church, her home with wanderers, the beggars whom she helped. But the most important thing about Katya is that she lived in her dreams, apart from the rest of the world. From everything that existed, she chose only that which did not contradict her nature; the rest she did not want to notice and did not notice. That’s why the girl saw angels in the sky, and for her the church was not an oppressive and oppressive force, but a place where everything is light, where you can dream. We can say that Katerina was naive and kind, brought up in a completely religious spirit. But if she encountered something on her way... contradicted her ideals, she turned into a rebellious and stubborn nature and defended herself from that stranger, stranger, who boldly disturbed her soul. This was the case with the boat. After marriage, Katya's life changed a lot. From a free, joyful, sublime world in which she felt united with nature, the girl found herself in a life full of deception, cruelty and desolation. The point is not even that Katerina married Tikhon against her will: she didn’t love anyone at all and she didn’t care who she married. The fact is that the girl was robbed of her former life, which she created for herself. Katerina no longer feels such delight from visiting church; she cannot do her usual activities. Sad, anxious thoughts do not allow her to calmly admire nature. Katya can only endure as long as she can and dream, but she can no longer live with her thoughts, because cruel reality returns her to earth, to where there is humiliation and suffering. Katerina is trying to find her happiness in her love for Tikhon: “I will love my husband. Tisha, my darling, I won’t exchange you for anyone.” But sincere manifestations of this love are stopped by Kabanikha: “Why are you hanging around your neck, shameless one? You’re not saying goodbye to your lover.” Katerina has a strong sense of external humility and duty, which is why she forces herself to love her unloved husband. Tikhon himself, because of his mother’s tyranny, cannot truly love his wife, although he probably wants to. And when he, leaving for a while, leaves Katya to walk around to his heart's content, the girl (already a woman) becomes completely lonely. Why did Katerina fall in love with Boris? After all, he did not exhibit his masculine qualities, like Paratov, and did not even talk to her. Probably the reason was that she lacked something pure in the stuffy atmosphere of Kabanikha’s house. And love for Boris was this pure, did not allow Katerina to completely wither away, somehow supported her. She went on a date with Boris because she felt like a person with pride and basic rights. It was a rebellion against submission to fate, against lawlessness. Katerina knew that she was committing a sin, but she also knew that it was still impossible to live any longer. She sacrificed the purity of her conscience to freedom and Boris. In my opinion, when taking this step, Katya already felt the approaching end and probably thought: “It’s now or never.” She wanted to be satisfied with love, knowing that there would be no other opportunity. On the first date, Katerina told Boris: “You ruined me.” Boris is the reason for the disgrace of her soul, and for Katya this is tantamount to death. Sin hangs like a heavy stone on her heart. Katerina is terribly afraid of the approaching thunderstorm, considering it a punishment for what she did. Katerina has been afraid of thunderstorms ever since she started thinking about Boris. For her pure soul, even the thought of loving a stranger is a sin. Katya cannot live any longer with her sin, and she considers repentance to be the only way to at least partially get rid of it. She confesses everything to her husband and Kabanikha. Such an act seems very strange and naive in our time. “I don’t know how to deceive; I can’t hide anything” - that’s Katerina. Tikhon forgave his wife, but did she forgive herself? Being very religious. Katya fears God, but her God lives in her, God is her conscience. The girl is tormented by two questions: how will she return home and look into the eyes of the husband she cheated on, and how will she live with a stain on her conscience. Katerina sees death as the only way out of this situation: “No, whether I go home or go to the grave, it doesn’t matter. Is it better to live in the grave again? No, no, it’s not good.” Haunted by her sin, Katerina leaves this life to save her soul. Dobrolyubov defined Katerina’s character as “decisive, integral, Russian.” Decisive, because she decided to take the last step, to die in order to save herself from shame and remorse. Whole, because in Katya’s character everything is harmonious, one, nothing contradicts each other, because Katya is one with nature, with God. Russian, because who, if not a Russian person, is capable of loving so much, capable of sacrificing so much, so seemingly obediently enduring all hardships, while remaining himself, free, not a slave. Although Katerina’s life has changed, she has not lost her poetic nature: she is still fascinated by nature, she sees bliss in harmony with it. She wants to fly high, high, touch the blue sky and from there, from above, send a big hello to everyone. The poetic nature of the heroine requires a different life than the one she has. Katerina is eager for “freedom,” but not for the freedom of her flesh, but for the freedom of her soul. Therefore, she is building a different world, her own in which there is no lie, lawlessness, injustice, or cruelty. In this world, unlike reality, everything is perfect: angels live here, “innocent voices sing, there is a smell of cypress, and the mountains and trees seem not the same as usual, but as if they were depicted in images.” But despite this, she still has to return to the real world, full of selfish people and tyrants. And among them she tries to find a kindred spirit. Katerina, in a crowd of “empty” faces, is looking for someone who could understand her, look into her soul and accept her as she is, and not as they want to make her. The heroine searches and cannot find anyone. Her eyes are “cut” by the darkness and wretchedness of this “kingdom”, her mind has to come to terms, but her heart believes and waits for the only one who will help her survive and fight for the truth in this world of lies and deceit. Katerina meets Boris, and her clouded heart says that this is the one she has been looking for for so long. But is it? No, Boris is far from ideal, he cannot give Katerina what she asks for, namely: understanding and protection. She cannot feel with Boris “like behind a stone wall.” And the justice of this is confirmed by Boris’s vile act, full of cowardice and indecisiveness: he leaves Katerina alone, throwing her “to the wolves.” These “wolves” are scary, but they cannot frighten Katerina’s “Russian soul”. And her soul is truly Russian. And what unites Katerina with the people is not only communication, but also involvement in Christianity. Katerina believes in God so much that she prays in her room every evening. She likes to go to church, look at icons, listen to the ringing of the bell. She, like the Russian people, loves freedom. And it is precisely this love of freedom that does not allow her to come to terms with the current situation. Our heroine is not used to lying, and therefore she talks about her love for Boris to her husband. But instead of understanding, Katerina is met only with direct reproach. Now nothing holds her back in this world: Boris turned out to be different from what Katerina “pictured” him for herself, and life in Kabanikha’s house has become even more unbearable. The poor, innocent “bird imprisoned in a cage” could not withstand the captivity - Katerina committed suicide. The girl still managed to “take off”, she stepped from the high bank into the Volga, “spread her wings” and boldly went to the bottom. By her action, Katerina resists the “dark kingdom.” But Dobrolyubov calls her a “ray” in him, not only because her tragic death revealed all the horror of the “dark kingdom” and showed the inevitability of death for those who cannot come to terms with oppression, but also because Katerina’s death will not pass and will not may pass without a trace for “cruel morals.” After all, anger at these tyrants is already brewing. Kuligin - and he reproached Kabanikha for the lack of mercy, even the resigned executor of his mother’s wishes, Tikhon, publicly dared to throw the accusation of Katerina’s death in her face. Already now an ominous thunderstorm is brewing over this entire “kingdom”, capable of destroying it “to smithereens.” And this bright ray, which awakened, even for one moment, the consciousness of the destitute, unrequited people who are materially dependent on the rich, convincingly showed that there must come an end to the unbridled robbery and complacency of the Wild and the oppressive lust for power and hypocrisy of the Boars. The significance of Katerina’s image is also important today. Yes, maybe many consider Katerina an immoral, shameless cheater, but is she to blame for this?! Most likely, Tikhon is to blame, who did not pay due attention and affection to his wife, but only followed the advice of his “mama.” Katerina’s only fault is that she married such a weak-willed man. Her life was destroyed, but she tried to “build” a new one from the remains. Katerina boldly walked forward until she realized that there was nowhere else to go. But even then she took a brave step, the last step over the abyss leading to another world, perhaps a better one, and perhaps a worse one. And this courage, thirst for truth and freedom makes us bow to Katerina. Yes, she is probably not so ideal, she has her shortcomings, but her courage makes the heroine a role model worthy of praise
Short description
Boris Dikoy and Tikhon Kabanov are the two characters who are most closely associated with the main character, Katerina: Tikhon is her husband, and Boris becomes her lover. They can be called antipodes, which stand out sharply against each other. And, in my opinion, preference in their comparison should be given to Boris, as a more active, interesting and pleasant character for the reader, while Tikhon evokes some compassion - raised by a strict mother, he, in fact, cannot make his own decisions and defend his opinion. In order to substantiate my point of view, below I will consider each character separately and try to analyze their characters and actions.
During the lesson you can organize work in groups.
1st group. History of the creation of the play (messages about homework with additional literature).
It is necessary to note the general meaning of the work; it is no coincidence that Ostrovsky named his fictional, but surprisingly real city with the non-existent name Kalinov. In addition, the play is based on impressions from a trip along the Volga as part of an ethnographic expedition to study the life of the inhabitants of the Volga region. Katerina, remembering her childhood, talks about sewing on velvet with gold. The writer could see this craft in the city of Torzhok, Tver province.
2nd group. The meaning of the title of the play “” (reports on independent observations of the text).
A thunderstorm in nature (act 4) is a physical phenomenon, external, independent of the heroes.
The storm in Katerina's soul - from the gradual confusion caused by love for Boris, to the pangs of conscience from betraying her husband and to the feeling of sin before people, which pushed her to repentance.
A thunderstorm in society is a feeling by people who stand up for the immutability of the world of something incomprehensible. Awakening of free feelings in a world of unfreedom. This process is also shown gradually. At first there are only touches: there is no proper respect in the voice, does not maintain decency, then - disobedience.
A thunderstorm in nature is an external cause that provoked both a thunderstorm in Katerina’s soul (it was she who pushed the heroine to confession) and a thunderstorm in society, which was dumbfounded because someone went against it.
Conclusion. Meaning of the title:
A thunderstorm in nature is refreshing,
Thunderstorm in the soul - cleanses,
A thunderstorm in society illuminates.
3rd group. The system of characters in the play. (Messages about independent observations of the text.)
When studying the list of characters, you should note the telling surnames and the distribution of heroes by age: young - old. Then, when working with the text, students’ knowledge deepens, and the system of heroes becomes different. The teacher, together with the class, draws up a table, which is written down in notebooks.
"Masters of Life"
Wild:“You are a worm. If I want, I’ll have mercy, if I want, I’ll crush.” Kabanikha:“I’ve been seeing for a long time that you want freedom.” “This is where the will leads.” Curly:“Well, that means I’m not afraid of him, but let him be afraid of me.” Feklusha:“And the merchants are all pious people, adorned with many virtues.”
"Victims"
Kuligin:“It’s better to endure it.” Varvara:“And I wasn’t a liar, but I learned.” “In my opinion, do whatever you want, as long as it’s safe and covered.” Tikhon:“Yes, Mama, I don’t want to live by my own will. Where can I live by my own will!” Boris:“I’m not eating of my own free will: my uncle sends me.”
Questions for the class. What place does Katerina occupy in this system of images? Why were Kudryash and Feklusha among the “masters of life”? How do you understand “mirror images”?
4th group. Features of revealing the characters' characters. (Students’ reports about their observations of the text.)
1. Speech characteristics (individual speech characterizing):
Katerina- poetic speech reminiscent of a spell, lament or song, filled with folk elements.
Kuligin- the speech of an educated person with “scientific” words and poetic phrases.
Wild- the speech is replete with rude words and curses.
2. The role of the first remark, which immediately reveals the character of the hero:
Kuligin:“Miracles, truly one must say: miracles!”
Curly:"And what?"
Wild:“What the hell are you, you came to beat the ships! Parasite! Get lost!"
Boris:" ; what to do at home!”
Feklusha:“Blah-alepie, honey, blah-alepie! The beauty is wonderful."
Kabanova: “If you want to listen to your mother, then when you get there, do as I ordered you.”
Tikhon:“How can I, Mama, disobey you!”
Varvara:“No respect for you, of course!”
Katerina:“For me, Mama, it’s all the same, like my own mother, like you, and Tikhon loves you too.”
3. Using the technique of contrast and comparison:
Feklushi's monologue - Kuligin's monologue,
Life in the city of Kalinov - Volga landscape,
Katerina - Varvara,