What conflict is the main one in the play The Thunderstorm? The main conflict of the play “The Thunderstorm”

Conflict is the main driving force dramatic work. The conflict unfolds through the plot and can be realized on several different levels. Whether it is a confrontation of interests, characters or ideas, the conflict is resolved in the finale of the work. The essence of the conflict can also be determined by the literary era (realism and postmodernism, for example, are characterized by Various types conflicts). In realism, the conflict will be hidden in the depiction of social unrest and exposure of the vices of society. As an example, the article will consider the main conflict in Ostrovsky’s play “The Thunderstorm”.

The work was written in 1859, several years before the abolition of serfdom. Ostrovsky wanted to show how much society is corroding itself from the inside just because the way of life remains the same. Patriarchal orders hinder progress, and corruption and servility destroy the human element in a person. In the description of such an atmosphere lies the main conflict of “The Thunderstorm”.

So, as a rule, the conflict is realized at the character level.
To do this, pairs or groups of characters must be identified. We should start with the most striking confrontation: the pair Katya - Kabanikha. These women had to live together due to circumstances. The Kabanov family is quite rich, Marfa Ignatievna herself is a widow. She raised a son and daughter. Kabanikha constantly manipulates her son, causing scandals and hysterics. A woman believes that only her opinion has the right to exist, so everything must correspond to her ideas. She humiliates and insults the rest of the family. Varvara gets the least of it, because the daughter lies to her mother.

Katya was married off early to Tikhon Kabanov, Kabanikha’s son. Katya naively believed that her life before marriage would not be much different from her new life, but the girl was wrong. Pure Katya is not able to understand how you can lie to your mother, as Varvara does, how you can hide your thoughts and feelings from someone, how you can not defend the right to your own opinion. The order of this family is alien to her, but because of the patriarchal foundations that reigned at that time, the girl had no choice.

Here the conflict is realized at the internal level. These characters are too different, but at the same time both women have the same a strong character. Katerina resists the corrupting influence of Kabanikha. Marfa Ignatievna understands that she is faced with a strong rival who can “turn” Tikhon against his mother, and this is not part of her plans.

In the pair Boris - Katerina, a love conflict is realized. A girl falls in love with a newcomer to the city young man. Boris seems to Katya like herself, unlike the others. Boris, like Katerina, is annoyed by the atmosphere of the city. They both don't like that everything here is built on fear and money. The feelings of young people flare up quite quickly: one meeting was enough for them to fall in love with each other.
Tikhon's departure allows the lovers to meet secretly and spend time together. Katya says that for the sake of Boris she commits a sin, but since she was not afraid of sin, then she is not afraid of condemnation from people. The girl does not understand why their meetings should be hidden. She wanted to confess everything to her husband so that later she could be honest with Boris, but the young man dissuades her from such an act. It is more convenient for Boris to meet secretly and not take responsibility. Of course they couldn't be together. Their love is tragic and fleeting. The situation takes an unexpected turn when Katya realizes that Boris is actually the same as all the other residents: pathetic and petty. And Boris doesn’t try to deny it. After all, he came to the city only to improve relations with his uncle (only in this case could he receive an inheritance).

The pair Kuligin - Dikoy will help determine the main conflict of the drama "The Thunderstorm" by Ostrovsky. Self-taught inventor and merchant. All power in the city seems to be concentrated in the hands of the Wild One. He is rich, but only thinks about increasing capital. He is not afraid of threats from the mayor, he deceives ordinary residents, steals from other merchants, and drinks a lot. Dikoy constantly swears. There was room for insults in every one of his remarks. He believes that people who are lower than him on the social ladder are unworthy of talking to him, they deserve their miserable existence. Kuligin strives to help people; all his inventions should benefit society. But he is poor, and there is no way to earn money by honest work. Kuligin knows about everything that happens in the city. "Cruel morals in our city." Kuligin cannot resist or fight this.

The main conflict of the drama “The Thunderstorm” unfolds within the main character. Katya understands how strong the gap is between ideas and reality. Katerina wants to be herself, free, light and pure. But it’s impossible to live like that in Kalinov. In this struggle, she risks losing herself, giving up, and not being able to withstand the onslaught of circumstances. Katya chooses between black and white, gray does not exist for her. The girl understands that she can either live the way she wants or not live at all. The conflict ends with the death of the heroine. She could not commit violence against herself, kill herself for the sake of social order.

There are several conflicts in the play "The Thunderstorm". The main one is the confrontation between man and society. Added to this conflict is the conflict of generations, the conflict of old and new. The conclusion is that fair man cannot survive in a society of liars and hypocrites.

The definition of the main conflict of the play and a description of its participants can be used by 10th grade students in essays on the topic “The main conflict in the play “The Thunderstorm” by Ostrovsky.”

The main conflict in the play “The Thunderstorm” by Ostrovsky essay on the topic |

Conflict is the main driving force of a dramatic work. The conflict unfolds through the plot and can be realized on several different levels. Whether it is a confrontation of interests, characters or ideas, the conflict is resolved in the finale of the work. The essence of the conflict can also be determined by the literary era (realism and postmodernism, for example, are characterized by different types of conflicts). In realism, the conflict will be hidden in the depiction of social unrest and exposure of the vices of society. As an example, the article will consider the main conflict in Ostrovsky’s play “The Thunderstorm”.
The work was written in 1859, several years before the abolition of serfdom. Ostrovsky wanted to show how much society is corroding itself from the inside just because the way of life remains the same. Patriarchal orders hinder progress, and corruption and servility destroy the human element in a person. In the description of such an atmosphere lies the main conflict of “The Thunderstorm”.

So, as a rule, the conflict is realized at the character level. To do this, pairs or groups of characters must be identified. We should start with the most striking confrontation: the couple Katya - Kabanikha. These women had to live together due to circumstances. The Kabanov family is quite rich, Marfa Ignatievna herself is a widow. She raised a son and daughter. Kabanikha constantly manipulates her son, causing scandals and hysterics. A woman believes that only her opinion has the right to exist, so everything must correspond to her ideas. She humiliates and insults the rest of the family. Varvara gets the least of it, because the daughter lies to her mother.

Katya was married off early to Tikhon Kabanov, Kabanikha’s son. Katya naively believed that her life before marriage would not be much different from her new life, but the girl was wrong. Pure Katya is not able to understand how you can lie to your mother, as Varvara does, how you can hide your thoughts and feelings from someone, how you can not defend the right to your own opinion. The order of this family is alien to her, but because of the patriarchal foundations that reigned at that time, the girl had no choice.

Here the conflict is realized at the internal level. These characters are too different, but at the same time both women have the same strong character. Katerina resists the corrupting influence of Kabanikha. Marfa Ignatievna understands that she is faced with a strong rival who can “turn” Tikhon against his mother, and this is not part of her plans.

In the pair Boris - Katerina, a love conflict is realized. A girl falls in love with a young man who has arrived in the city. Boris seems to Katya like herself, unlike the others. Boris, like Katerina, is irritated by the atmosphere of the city. They both don't like that everything here is built on fear and money. The feelings of young people flare up quite quickly: one meeting was enough for them to fall in love with each other. Tikhon's departure allows the lovers to meet secretly and spend time together. Katya says that for the sake of Boris she commits a sin, but since she was not afraid of sin, then she is not afraid of condemnation from people. The girl does not understand why their meetings should be hidden. She wanted to confess everything to her husband so that later she could be honest with Boris, but the young man dissuades her from such an act. It is more convenient for Boris to meet secretly and not take responsibility. Of course they couldn't be together. Their love is tragic and fleeting. The situation takes an unexpected turn when Katya realizes that Boris is actually the same as all the other residents: pathetic and petty. And Boris doesn’t try to deny it. After all, he came to the city only to improve relations with his uncle (only in this case could he receive an inheritance).

The pair Kuligin - Dikoy will help determine the main conflict of the drama "The Thunderstorm" by Ostrovsky. Self-taught inventor and merchant. All power in the city seems to be concentrated in the hands of the Wild One. He is rich, but only thinks about increasing capital. He is not afraid of threats from the mayor, he deceives ordinary residents, steals from other merchants, and drinks a lot. Dikoy constantly swears. There was room for insults in every one of his remarks. He believes that people who are lower than him on the social ladder are unworthy of talking to him, they deserve their miserable existence. Kuligin strives to help people; all his inventions should benefit society. But he is poor, and there is no way to earn money by honest work. Kuligin knows about everything that happens in the city. "Cruel morals in our city." Kuligin cannot resist or fight this.

The main conflict of the drama “The Thunderstorm” unfolds within the main character. Katya understands how strong the gap is between ideas and reality. Katerina wants to be herself, free, light and pure. But it’s impossible to live like that in Kalinov. In this struggle, she risks losing herself, giving up, and not being able to withstand the onslaught of circumstances. Katya chooses between black and white; gray does not exist for her. The girl understands that she can either live the way she wants or not live at all. The conflict ends with the death of the heroine. She could not commit violence against herself, kill herself for the sake of social order.

There are several conflicts in the play "The Thunderstorm". The main one is the confrontation between man and society. Added to this conflict is the conflict of generations, the conflict of old and new. The conclusion suggests itself that an honest person cannot survive in a society of liars and hypocrites.

The definition of the main conflict of the play and a description of its participants can be used by 10th grade students in essays on the topic “The main conflict in the play “The Thunderstorm” by Ostrovsky.”

Work test

A.N. Ostrovsky's play "The Thunderstorm" was written based on materials from a trip in 1856 along the Volga. Having met a family in one of the cities in which lived a girl whose fate was taken for Katerina, Ostrovsky was inspired and wrote a play. And by chance, Ostrovsky acted as a prophet, writing the tragic end of the play, because later it turned out that the same fate awaited the girl whom the playwright met in real life.

There are many characters involved in the play, but the main one is Katerina, who has a different character from all other characters.

Throughout the play, the conflict developed precisely around her and had two sides - external and internal.

In "The Thunderstorm" the author showed, first of all, the life of a merchant family and, using the example of Katerina, told how a woman lives in her husband's family. Recalling her childhood and youth, Katerina said: “I lived, didn’t worry about anything, like a bird in the wild. My mother doted on me, dressed me up like a doll, didn’t force me to work, whatever I wanted, that’s what I did.” And then Ostrovsky shows how the free bird ends up in an iron cage, in Kabanova’s house, where her wings were cut off by the misfortune of the wife of her klutz husband. Everything that brought joy disappeared from her life, and came endless reproaches and admonitions, a weak-willed husband who feared his mother, and continuous nagging from her mother-in-law.

Katerina was unlucky with her husband. He was frivolous and extraordinary, and did not show due respect to his wife and did not try to help her in any way. He may have loved her, but not that one true love, which could not be in his soul because of the desire for freedom from the shackles of his family.

Her relationship with her mother-in-law is very tense. Conflicts constantly flare up in them, they do not find mutual language. Kabanikha always reproaches and disgraces her daughter-in-law for something. Even when Marfa Ignatievna makes Katerina howl and fall at her husband’s feet, you can feel how Katerina suffers.

And Katerina does not want to put up with such a life. This is where it flares up internal conflict girls. Katerina’s torment is especially great because she does not have the freedom that she values ​​so much, and there is no love for which she sighed. And when she meets Boris, she gives herself over to love, even though he was not worth her soul and spirituality. And during the absence of her husband, she gives herself entirely to this feeling. But there is something that prevents her from expressing her feelings and actions - religion, belief in God's punishment. She often mentions sins, she is afraid of them. Religion acts for her as a duty and law. Going towards love and at the same time considering it forbidden, Katerina is faced with an internal confrontation that cannot come to balance.

But Katerina has to fight not only with this imbalance, she also has to fight with fate, which Ostrovsky presented in the play in the form of a thunderstorm. For the first time, a thunderstorm broke out over the city in the first act, as a harbinger of tragedy and an expression of the heroine’s troubled soul. Katerina told Varvara what was going on in her heart and said cherished words: "I will die soon". Then the fourth act begins with the words: “The rain keeps piling up, as if a thunderstorm is about to gather.” The thunderstorm motif takes on the meaning of a meeting of the mind with " dark kingdom". Katerina is tormented, but thunderclaps are heard associated with state of mind Katerina at the moment when she takes off a heavy burden. Thunderstorm, lady's prophecy, painting Last Judgment in the gallery - everything drives her into a frenzy, and Katerina confesses her sin to her husband.

She makes an honest and sincere repentance, but even here she remains faithful to freedom. There could be no reconciliation with the outside and inner world, which led to tragic death. And the theme of its inevitability ran through the entire play. Words that she will die, Kudryash’s song about the death of his wife, a crazy lady prophesying her death. And even having met Boris, she called him a destroyer and prayed that “he would ruin her completely.” And the last act takes us to the banks of the Volga, closing the circle of these incidents. This is how it opens up tragic conflict plays, and it lies not only in Katerina’s clash with her mother-in-law and husband, but also with herself.

Effective preparation for the Unified State Exam (all subjects) -

On the eve of the reform of 1861, the play “The Thunderstorm” became a major public event. The most important discovery of Ostrovsky in the work is the heroic character of the people. He put two main ideas into the basis of the play: a powerful denial of stagnation and oppression of the motionless “dark kingdom” and the emergence of a positive, bright beginning, a real heroine from among the people. All this was new compared to the “natural school”.

In every talented written drama there is a main conflict - that main contradiction that drives the action, manifests itself in one way or another in all events, in clashes of views and feelings, passions and characters.

It is in conflicts between people, in the clash of different views, beliefs, moral ideas and in “internal” conflicts, when contradictory thoughts and feelings fight in a person’s mind, that a person and the society in which he lives are most fully revealed.

What is the main conflict in The Thunderstorm? Maybe this is a contradiction between tyranny and humiliation? No. The play perfectly shows that violence is supported by humility: Tikhon’s timidity, Boris’s irresponsibility, Kuligin’s patient delicacy seem to give spirit to Kabanikha and Dikiy, allowing them to run wild as they please.

An acute, irreconcilable contradiction arises in “The Thunderstorm” when, among those oppressed by tyranny, among the yearning, servile, cunning, there is a man endowed with pride, a sense of self-esteem, unable to come to terms with life in slavery even in the face of death.

The bright human element in Katerina is as natural as breathing. This is her nature, which is expressed not so much in reasoning as in spiritual subtlety, in the strength of her experiences, in her attitude towards people, in all her behavior.

The “Thunderstorm” conflict is unique. It can be viewed in two ways. Ostrovsky himself defined his work as a drama, but this is a tribute to tradition. Indeed, on the one hand, “Thunderstorm” is social drama, but on the other hand, it’s a tragedy.

As for drama, this work is characterized Special attention to everyday life, the desire to convey its “density”. The writer describes in detail the city of Kalinov. This collective image Volga region cities of Russia. The city is located on the banks of the Volga, which has always symbolized Russia. That is why the landscape plays an important role in the work, described not only in the stage directions, but also in the dialogues characters. Some heroes see the beauty around them. For example, Kuligin exclaims: “The view is extraordinary! Beauty! The soul rejoices!”

The other heroes took a closer look at her and were completely indifferent. Beautiful nature, a picture of youth walking at night, songs, Katerina’s stories about childhood - all this is the poetry of Kalinov’s world. But Ostrovsky confronts her with gloomy pictures Everyday life and everyday life, with cruel attitude people to each other. In this city, rudeness and poverty reign, here “you can never earn your daily bread by honest work,” here merchants “undermine each other’s trade, and not so much out of self-interest as out of envy,” here clerks have lost their human appearance, having learned for money make slander. Residents don’t see the new, don’t know about it, and don’t want to know. All information here is received from ignorant wanderers who convince people that Kalinov is the promised land.

The people of “Thunderstorm” live in a special state of the world - crisis, catastrophic. The supports holding back the old order were shaken, and the disturbed life began to shake. The first action introduces us to the pre-storm atmosphere of life. Outwardly, everything is going well, but the restraining forces are too fragile: their temporary triumph only increases tension. It thickens towards the end of the first act: even nature, as in the folk tale, responds to this with a thunderstorm approaching Kalinov.

In the merchant Kalinov, Ostrovsky sees a world breaking with moral traditions folk life. Only Katerina is given the opportunity in “The Thunderstorm” to retain the fullness of viable principles in folk culture and maintain a sense of moral responsibility in the face of the trials to which this culture is subjected in Kalinov.

In the center of this closed “dark kingdom” stands a rude and ignorant merchant woman - Kabanikha. She is a defender of the old foundations of life, rituals and customs of the city of Kalinov. She dictates moral laws to the entire city, imposes her will on everyone around her and demands unquestioning obedience. She hates everything new, so she can’t come to terms with the fact that “for the sake of speed” people invented a “fiery serpent” - a steam locomotive. Kabanikha stands up for a strong, lasting family, for order in the house, which, in her opinion, is only possible if the basis family relations there will be fear, not mutual love and respect. Freedom, according to the heroine, leads a person to moral decline.

Even the wanderers in the Kabanovs’ house are different, from among those bigots who “due to their weakness did not walk far, but heard a lot.” And they talk about “ the last times", about the imminent end of the world. Fanatic religiosity reigns here, which plays into the hands of the pillars of society, who greet living life with an angry grumbling.

Dobrolyubov soulfully saw an epochal meaning in the “Thunderstorm” conflict, and in the character of Katerina - “a new phase of our people’s life.” But, idealizing in the spirit of the then popular ideas of women's emancipation free love, he impoverished the moral depth of Katerina’s character. Dobrolyubov considered the hesitation of the heroine, who fell in love with Boris, the torment of her conscience, “the ignorance of a poor woman who has not received a theoretical education. Duty, loyalty, conscientiousness, with the maximalism characteristic of revolutionary democracy, were declared “prejudices”, “artificial combinations”, “conventional instructions of the old morality*, “old rags”. It turned out that Dobrolyubov looked at Katerina’s love with the same un-Russian ease as Boris.

The question arises, how then does Katerina differ from other heroines of Ostrovsky, such as, for example, Lipochka from “My People...”: “I need a husband!... Find me, find me a groom, definitely find me!.. I tell you ahead! , you will certainly find it, otherwise it will be worse for you: on purpose, to spite you, I will secretly get an admirer, I will run away with the hussar, and we will get married on the sly.” That’s for whom “conditional moral advances” really do not have any moral authority. This girl will not be afraid of the thunderstorm; such “Protestants” don’t care about the fiery Gehenna itself!

Speaking about how “the strong Russian character is understood and expressed in The Thunderstorm,” Dobrolyubov, in the article “A Ray of Light in a Dark Kingdom,” rightly noted Katerina’s “focused determination.” However, in determining its origins, he completely abandoned the spirit and letter of Ostrovsky’s tragedy. Is it possible to agree that “upbringing and young life gave her nothing”?

It is not difficult to notice the tragic confrontation in “The Thunderstorm” religious culture Katerina's Domostroevskaya culture Kabanikha. The contrast between them is drawn by the sensitive Ostrovsky with amazing consistency and depth. The “Thunderstorm” conflict absorbs thousand-year history Russia, its tragic resolution reflects the almost prophetic premonitions of the national playwright.

When Katerina's fall took place, she becomes bold to the point of insolence. “I wasn’t afraid of sin for you, will I be afraid of human judgment?” - she says. This phrase predetermines further development tragedy, the death of Katerina. The lack of hope for forgiveness pushes her to suicide, an even greater sin from the point of view of Christian morality. But for Katerina there is no difference anymore; anyway, she has already ruined her soul.

Without feeling the pristine freshness inner world Katerina, one cannot understand the vitality and power of her character. Haunted by her sin, Katerina leaves this life to save her soul.

Ostrovsky's heroine is truly a ray of light in the “dark kingdom.” What is striking about her is her fidelity to ideals, spiritual purity, and moral superiority over others. In the image of Katerina, the writer embodied best features- love of freedom, independence, talent, poetry, high moral and ethical qualities.

In the image of Katerina, Dobrolyubov saw the embodiment of “Russian living nature.”

In The Thunderstorm, Ostrovsky, operating with a small number of characters, managed to reveal several problems at once. Firstly, this is, of course, social conflict, the clash of “fathers” and “children”, their points of view (and if we resort to generalization, then two historical eras). Kabanova and Dikoy belong to the older generation, who actively express their opinions, and Katerina, Tikhon, Varvara, Kudryash and Boris to the younger generation. Kabanova is sure that order in the house, control over everything that happens in it, is the key to a healthy life. Right life but, according to her concepts, it is to follow Domostroev’s orders and unquestioningly obey the elder (in this case, her, because she sees no other suitable candidate). Seeing that not all of her demands are being met, she fears for the future, both hers and her children’s, because her world is collapsing, and what should come to replace it seems chaos to her. She is trying with all her might to maintain the old order, because... He simply cannot live any other way; Therefore, the figure of Kabanova takes on a tragic connotation. In Diky, on the contrary, there is no hint of tragedy. He is confident that he is right and that everyone around him depends only on him, so he allows himself to do unimaginably vile acts, which is typical tyranny.

The younger generation looks at things a little differently. All of them, with the exception of Boris, who for some unknown reason tolerates his uncle’s willfulness, to one degree or another express protest against oppression by their elders. Kudryash scolds Dikiy, thus not allowing himself to be offended. Varvara goes for walks at night, secretly from her mother, and then runs away with Kudryash. Boris, as already mentioned, endures Dikiy’s bullying and thereby shows some kind of inability to independent life. Such is Tikhon. His absolute dependence on his mother is due to the fact that he grew up in an environment where someone necessarily commands, and someone obeys.

The most difficult and tragic fate is Katerina’s protest. Without clearly understanding what she needs, she knows one thing: she can’t live like that. Of course, she is part of the patriarchal Kalinov and lives according to his laws, but at some point all this becomes unbearable for her. The “dark kingdom” gives a crack, and through it, from its very depths, a “light ray” breaks through. Katerina’s unclear desire to escape from this musty world somewhere (she is a maximalist, like Kabanova, only one option is possible for her: either everything or nothing) led her into the river, but thereby she resolved the conflict with her own destiny in her favor: Instead of the fate prepared for her to exist within four walls, always trampled upon by her mother-in-law and husband, she chose freedom, even at the cost of her life.