A. N. Ostrovsky's play “The Thunderstorm” was written in 1859. In the same year, it was staged in theaters in Moscow and St. Petersburg and for many years now has not left the stages of all theaters around the world. Such popularity and relevance of the play is explained by the fact that “The Thunderstorm” combines the features of social and domestic drama And high tragedy.
The plot of the play centers on the conflict between feelings and duty in the soul. main character, Katerina Kabanova. This conflict is a sign of a classic tragedy.
Katerina is a very pious and religious person. She dreamed about strong family, loving husband and children, but ended up in the Kabanikha family. Marfa Ignatievna placed Domostroevsky order and way of life above all else. Naturally, Kabanikha forced everyone in her family to follow her Charter. But Katerina, a bright and free person, could not come to terms with the cramped and stuffy world of Domostroy. She yearned for a completely different life. This desire led the woman to sin - cheating on her husband. Going on a date with Boris, Katerina already knew that after this she would not be able to live. The sin of betrayal weighed heavily on the heroine’s soul, with which she simply could not exist. A thunderstorm in the city accelerated Katerina’s national recognition - she repented of her betrayal.
Kabanikha also found out about her daughter-in-law’s sin. She ordered to keep Katerina locked up. What awaited the heroine? In any case, death: sooner or later Kabanikha would have brought the woman to the grave with her reproaches and instructions.
But this was not the worst thing for Katerina. The worst thing for the heroine is her internal punishment, her internal judgment. She herself could not forgive herself for her betrayal, her terrible sin. Therefore, the conflict in the play is resolved in the traditions of classic tragedy: the heroine dies.
But Dobrolyubov also pointed out that throughout the entire play, readers think “not about a love affair, but about their whole life.” This means that the accusatory notes of the work touched on a variety of aspects of Russian life. The play takes place in the provincial merchant town of Kalinov, located on the banks of the Volga River. In this place, everything is so monotonous and stable that even news from other cities and from the capital does not reach here. Residents in the city are closed, distrustful, hate everything new and blindly follow the Domostroevsky way of life, which has long since become obsolete.
Dikoy and Kabanikha personify the “city fathers” who enjoy power and authority. Dikoy is depicted as a complete tyrant. He swaggers in front of his nephew, in front of his family, but retreats in front of those who are able to fight back. Kuligin notes that all the atrocities in the city occur behind high walls merchant houses. Here they deceive, tyrannize, suppress, cripple lives and destinies. In general, Kuligin’s remarks often expose the “dark kingdom”, condemn it, and even, to some extent, reflect the position of the author.
Other minor characters also play a large role in the play. So, for example, the wanderer Feklusha reveals all the ignorance and backwardness of the “dark kingdom”, as well as its imminent death, because a society oriented towards such views cannot exist. An important role in the play is played by the image of the half-crazy Lady, who voices the idea of sinfulness and inevitable punishment of both Katerina and the entire “dark kingdom”.
THE ROLE AND IMPORTANCE OF MINIOR CHARACTERS IN A. N. OSTROVSKY’S DRAMA “THE THUNDER” 5.00 /5 (100.00%) 2 votes
A. N. Ostrovsky is rightfully considered a singer
the leader of the merchant environment, the father of Russian everyday life
howl of drama, Russian national theater.
He wrote about 60 plays, and one
The most famous is "Thunderstorm".
A. N. Dobrolyubov called Ostrovsky’s play
"The Thunderstorm" is the most decisive work,
since “mutual relations of tyranny
and voicelessness in it are brought to tragic
any consequences... There is something special in “The Thunderstorm”
respectful and encouraging. This is something
in our opinion, the background of the play.”
The background of the play is made up of minor
characters. This is Katerina's constant companion.
we, the main character of the play, Varvara, sister
Katerina's husband, Tikhon Kabanova^ She -
the opposite of Katerina. The main thing is her
rule: “Do whatever you want, as long as everyone
then it was covered.” You can’t deny Varvara’s intelligence,
cunning, before marriage she wants to be everywhere
sing, try everything, because she knows
that “the girls walk for themselves as they want, for their father and mother
I don't care. Only women are locked up.”
Lying is the norm for her. She's straight
tells Katerina that it is impossible without deception: “We
the whole house rests on this. And I'm not a liar
I was there and learned it when it became necessary.”
Varvara adapted to the “dark reign”
stu”, studied its laws and rules. In it
one feels authority, strength, readiness
and even a desire to deceive. She is, in fact,
future Kabanikha, after all, an apple comes from an apple tree
falls close. Varvara's friend, Kudryash,
to match her. He is the only one in the city of Ka-
Linove can repel the Wild. "I'm rude-
I'm considered yang; Why is he holding me? Sta-
Maybe he needs me. Well, that means I didn’t
I’m afraid, but let him be afraid of me...”
says Kudryash. He behaves cheekily, fight-
who, boldly, boasts of his prowess, knowledge
"merchant establishment". Kudryash is the second
Wild, only still young.
In the end, Varvara and Kudryash left
give a “dark kingdom”, but their escape is not at all
means that they are completely freed from
old traditions and laws and will accept new ones
laws of life and fair rules. Feeling-
being free, they will most likely be self-
We try to become masters of life.
The play also contains true victims of the “dark
kingdoms." This is the husband of Katerina Kabanova, T-
hon, is a weak-willed, spineless creature.
He listens to his mother in everything and obeys
she doesn't have a clear life position, mu-
courage, courage. His image is completely consistent
The name corresponds to Tikhon (quiet). Young
Kabanov not only does not respect himself, but also poses
wills his mother to shamelessly treat-
to his wife. This is especially evident
in the farewell scene before leaving for the fair
ku. Tikhon repeats all the instructions word for word
mother's love and moralizing. Kabanov neither
in which he could not resist his mother, slowly
Ku drank himself to death, becoming even more weak-willed
and quiet. Of course, Katerina cannot love
and respect such a husband, and her soul yearns
love. She falls in love with Dikiy's nephew,
Boris. But Katerina fell in love with him, aptly
according to Dobrolyubov’s expression, “in the desert,”
after all, in essence, Boris is not much different from Ti-
hona. Maybe a little more educated. Without-
Boris's will, his desire to get his
part of his grandmother's inheritance (and he will receive
her only if she is respectful
with my uncle) turned out to be stronger than love..
IN " dark kingdom» with great respect
and the wanderer Feklusha enjoys respect.
Feklushi's stories about the lands where people live
with dog heads, are perceived as neo-
verifiable information about the world. But not everything is
it is so gloomy: there are also living ones who sympathize
living souls. This is a self-taught mechanic Kuli-
a gin who invents a perpetual motion machine. He's kind
and active, literally obsessed with constant
desire to do something useful for people.
But all his good intentions come up against
a thick wall of misunderstanding, indifference, non-
goodness. So, in response to an attempt to put
he gets steel lightning rods on his house
furious rebuff from the Wild: “The thunderstorm is in our hands.”
knowledge is sent so that we feel, and you
you want with poles and some kind of rods, about
Oh my God, defend yourself.”
Kuligin is essentially a resonator in the play.
rum, condemnation of the “dark
kingdom": "Cruel, sir, the morals in our
city, cruel... Whoever has the money, sir,
tries to enslave the poor so that he can
still free labor more money make money..."
But Kuligin, like Tikhon, Boris, Varvara,
Kudryash, adapted to the “dark kingdom”
woo,” resigned himself to such a life.
Minor characters, as if already
lo it is said - this is the background on which the
The tragedy of a desperate woman unfolds.
Every face in the play, every image was a
the stump of the stairs that led Kateri-
Well, to the banks of the Volga, to death.
A. N. Ostrovsky is rightfully considered the father of Russian everyday drama and Russian theater. He opened new horizons for the Russian theater, new heroes, new type relationships between people. About 60 plays belong to his pen, of which the most famous are “Dowry”, “ Late love”, “Forest”, “Simplicity is enough for every wise man”, “We will count our own people” and, of course, “Thunderstorm”.
The play “The Thunderstorm” was called by A. N. Dobrolyubov the most decisive work, since “the mutual relations of tyranny and voicelessness are brought to tragic consequences in it...”. Indeed, the play takes us to the small Volga town of Kalinov, which would not be anything remarkable if, in the depths of its patriarchy, problems had not arisen that can be attributed to a number of universal human problems. Stuffiness is the main thing that determines the atmosphere of the city. And the playwright very accurately conveys to us the state of mind of people forced to spend their lives in this atmosphere.
The secondary characters in the play not only form the background against which the personal drama of Katerina, the main character of the work, unfolds. They show us different types people's attitudes towards their lack of freedom. The system of images in the play is such that all the minor characters form conditional pairs, and only Katerina is alone in her true desire to escape from the yoke of the “tyrants.”
Dikoy and Kabanov are people who keep those who are somehow dependent on them in constant fear. Dobrolyubov very aptly called them “tyrants,” since the main law for everyone is their will. It is no coincidence that they treat each other with great respect: they are the same, only their sphere of influence is different. Dikoy rules in the city, Kabanikha rules over her family.
Katerina's constant companion is Varvara, the sister of her husband Tikhon. She is the main opponent of the heroine. Her main rule: “Do whatever you want, as long as everything is sewn and covered.” Varvara cannot be denied intelligence and cunning; Before marriage, she wants to be everywhere, to try everything, because she knows that “the girls go out as they please, and father and mother don’t care. Only women are locked up.” Varvara perfectly understands the essence of the relationship between people in their house, but does not consider it necessary to fight her mother’s “thunderstorm”. Lying is the norm for her. In a conversation with Katerina, she speaks directly about this: “Well, you can’t do without it... Our whole house rests on this. And I wasn’t a liar, but I learned when it became necessary.” Varvara adapted to the dark kingdom, learned its laws and rules. She feels authority, strength, and a desire to deceive. She is, in fact, the future Kabanikha, because the apple doesn’t fall far from the tree.
Varvara's friend, Ivan Kudryash, is a match for her. He is the only one in the city of Kalinov who can answer Dikiy. “I am considered a rude person; Why is he holding me? Therefore, he needs me. Well, that means I’m not afraid of him, but let him be afraid of me...” says Kudryash. In conversation, he behaves cheekily, smartly, boldly, boasts of his prowess, red tape, and knowledge of the “merchant establishment.” He also adapted to the tyranny of the Wild. Moreover, one can even assume that Kudryash could become the second Wild.
At the end of the play, Varvara and Kudryash leave the “dark kingdom,” but does this escape mean that they have completely freed themselves from old traditions and laws and will become the source of new laws of life and honest rules? Hardly. They will most likely try to become masters of life themselves.
The couple also consists of two men with whom Katerina’s fate was connected. They can be confidently called the true victims of the “dark kingdom.” So Katerina’s husband Tikhon is a weak-willed, spineless creature. He obeys his mother in everything and obeys her. He does not have a clear position in life, courage, courage. His image fully corresponds to the name given to him - Tikhon (quiet). Young Kabanov not only does not respect himself, but also allows his mother to shamelessly treat his wife. This is especially evident in the farewell scene before leaving for the fair. Tikhon repeats all his mother’s instructions and moral teachings word for word. Kabanov could not resist his mother in anything, he only sought solace in wine and on those short trips when, at least for a while, he could escape from his mother’s oppression.
Of course, Katerina cannot love and respect such a husband, but her soul yearns for love. She falls in love with Dikiy's nephew, Boris. But Katerina fell in love with him, in the apt expression of A. N. Dobrolyubov, “in the wilderness,” because in essence Boris is not much different from Tikhon. Perhaps more educated, like Katerina, he did not spend his entire life in Kalinov. Boris's lack of will, his desire to receive his part of his grandmother's inheritance (and he will receive it only if he is respectful to his uncle) turned out to be stronger than love. Katerina bitterly says that Boris, unlike her, is free. But his freedom is only in the absence of his wife.
Kuligin and Feklusha also form a couple, but here it is appropriate to talk about an antithesis. The wanderer Feklusha can be called an “ideologist” of the “dark kingdom.” With her stories about lands where people with dog heads live, about thunderstorms, which are perceived as irrefutable information about the world, she helps “tyrants” keep people in constant fear. Kalinov for her is a land blessed by God. The self-taught mechanic Kuligin, who is looking for a perpetual motion machine, is the complete opposite of Feklusha. He is active, obsessed constant desire do something useful for people. A condemnation of the “dark kingdom” is put into his mouth: “Cruel, sir, the morals in our city are cruel... Whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors...” But all his good intentions are met against a thick wall of misunderstanding, indifference, ignorance. So, when he tries to install steel lightning rods on houses, he receives a furious rebuff from the Wild: “A thunderstorm is sent to us as punishment, so that we can feel it, but you want to defend yourself, God forgive me, with poles and some kind of rods.”
Kuligin is perhaps the only one who understands the main character; it is no coincidence that it is he who utters accusatory words at the end of the play, holding the body of the dead Katerina in his arms. But he is also incapable of fighting, since he too has adapted to the “dark kingdom” and has come to terms with such a life.
And finally, the last character is a half-crazed lady who, at the very beginning of the play, predicts the death of Katerina. She becomes the personification of those ideas about sin that live in the soul raised in a patriarchal family religious Catherine. True, in the finale of the play, Katerina manages to overcome her fear, because she understands that lying and humbling herself all her life is a greater sin than suicide.
The secondary characters, as already mentioned, are the background against which the tragedy of a desperate woman unfolds. Each actor in the play, each image is a detail that allows the author to convey as accurately as possible the situation of the “dark kingdom” and the unpreparedness of most people to fight.
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You are currently reading: Role minor characters in the drama “The Thunderstorm” by A. N. Ostrovsky
A. N. Ostrovsky is rightfully considered the father of Russian everyday drama and Russian theater. He opened up new horizons for the Russian theater, new heroes, a new type of human relations. He is the author of approximately 60 plays, of which the most famous are “The Dowry”, “Late Love”, “The Forest”, “For Every Wise Man Enough Simplicity”, “We Are Our Own People” and, of course, “The Thunderstorm”.
The play “The Thunderstorm” was called by A. N. Dobrolyubov the most decisive work, since “the mutual relations of tyranny and voicelessness are brought to tragic consequences in it...”. Indeed, the play takes us to the small Volga city of Kalinov, which would not be anything remarkable if, in the depths of its patriarchy, problems had not arisen that can be attributed to a number of universal human problems. Stuffiness is the main thing that determines the atmosphere of the city. And the playwright very accurately tells us the state of mind of people forced to spend their lives in this atmosphere.
The secondary characters in the play not only form the background against which the personal drama of Katerina, the main character of the work, unfolds. They show us different types of people’s attitudes towards their lack of freedom. The system of images in the play is such that all the minor characters form conditional pairs, and only Katerina is alone in her true desire to get out from under the yoke of the “tyrants.”
Dikoy and Kabanov are people who keep those who are somehow dependent on them in constant fear. Dobrolyubov very aptly called them “tyrants,” since the fundamental law for everyone is their freedom. It is no coincidence that they treat each other very respectfully: they are the same, only the sphere of influence is different. Dikoy rules in the city, Kabanikha rules over her family.
Katerina's constant companion is Varvara, the sister of her husband Tikhon. She is the main opponent of the heroine. Her main rule: “Do whatever you want, as long as everything is sewn and covered.” Varvara cannot be denied intelligence and cunning; Before marriage, she wants to be everywhere, to try everything, because she knows that “the girls go out as they please, their father and mother don’t care. Only the women sit locked up.” Varvara perfectly understands the essence of the relationship between people in their house, but does not consider it necessary to fight her mother’s “thunderstorm”. Lying is the norm for her. In a conversation with Katerina, she speaks directly about this: “Well, you can’t live without it... Our entire home rests on this. And I wasn’t a liar, but I learned when it became necessary.” Varvara adapted to the dark kingdom, learned its laws and rules. There is a sense of authority, strength, and a desire to deceive in her. She is, in fact, the future Kabanikha, because the apple doesn’t fall far from the tree.
Varvara's friend, Ivan Kudryash, is a match for her. He is the only one in the city of Kalinov who can answer the Dikiy. “I’m considered a rude person; why is he holding me? Therefore, he needs me. Well, that means I’m not afraid of him, but let him be afraid of me...” says Kudryash. In conversation, he behaves cheekily, smartly, boldly, boasts of his prowess, red tape, and knowledge of the “merchant establishment.” He also adapted to the tyranny of the Wild. Moreover, one can even assume that Kudryash could become the second Wild.
At the end of the play, Varvara and Kudryash leave the “dark kingdom,” but does that very escape mean that they have completely freed themselves from old traditions and laws and will become the source of new laws of life and honest rules? Hardly. They will most likely try to become masters of life themselves.
The couple also consists of two men with whom Katerina’s fate was connected. They can be confidently called the true victims of the “dark kingdom.” So Katerina’s husband Tikhon is a weak-willed, spineless creature. He obeys his mother in everything and obeys her. He does not have a clear position in life, courage, courage. His image fully corresponds to the name given to him - Tikhon (quiet). Young Kabanov not only does not respect himself, but also allows his mother to shamelessly treat his wife. This is especially evident in the farewell scene before leaving for the fair. Tikhon repeats all his mother’s instructions and moral teachings word for word. Kabanov could not resist his mother in anything, he only sought solace in wine and on those short trips when, at least for a while, he could get out from under his mother’s oppression.
Of course, Katerina cannot love and respect such a husband, but her human essence craves love. She falls in love with Dikiy's nephew, Boris. But Katerina fell in love with him, in the apt expression of A. N. Dobrolyubov, “in the wilderness,” because in essence Boris is not much different from Tikhon. Perhaps more educated, like Katerina, he did not spend his entire life in Kalinov. Boris's lack of will, his desire to receive his part of his grandmother's inheritance (and he will receive it only if he is respectful to his uncle) turned out to be stronger than love. Katerina bitterly says that Boris, unlike her, is free. But his freedom is only in the absence of his wife.
Kuligin and Feklusha also form a couple, but here it is already appropriate to talk about the antithesis. The wanderer Feklusha can be called an “ideologist” of the “dark kingdom.” With her stories about lands where people with dog heads live, about thunderstorms, which are perceived as irrefutable information about the world, she helps “tyrants” keep people in constant fear. For her, Kalinov is God-blessed soil. The self-taught mechanic Kuligin, who is looking for a perpetual motion machine, is the complete opposite of Feklusha. He is active, obsessed with a constant desire to do something useful for people. In his mouth is a condemnation of the “dark kingdom”: “Cruel, sir, the morals in our city are cruel... Whoever has the finances, sir, tries to enslave the poor so that he can earn even more money from his free labors...” But all his good intentions run into a thick wall of misunderstanding, indifference, and ignorance. So, when he tries to install steel lightning rods on houses, he receives a furious rebuff from the Dikiy: “A thunderstorm is sent to us as punishment, so that we can feel it, but you want to defend yourself, God forgive me, with poles and some kind of rods.”
Kuligin is perhaps the only one who understands the main character; it is no coincidence that he utters accusatory words at the end of the play, holding the body of the dead Katerina in his arms. But he is also incapable of fighting, since he has also adapted to the “dark kingdom” and has come to terms with such a life.
And finally, the last character is a half-crazed lady who, at the very beginning of the play, predicts the death of Katerina. She becomes the personification of those ideas about sin that live in the soul of the religious Katerina, raised in a patriarchal family. True, in the finale of the play, Katerina manages to overcome her fear, because she understands that lying and humbling herself all her life is a greater offense than suicide.
The secondary characters, as already mentioned, are the background against which the tragedy of a desperate woman unfolds. Every character in the play, every image is a trifle, allowing the author to convey as accurately as possible the situation of the “dark kingdom” and the unpreparedness of most people to fight.
He is rightfully considered a singer of the merchant milieu, the father of Russian everyday drama, and the Russian national theater. He is the author of about 60 plays, and one of the most famous is "". A. N. called Ostrovsky’s play “The Thunderstorm” the most decisive work, since “the mutual relations of tyranny and voicelessness are brought to tragic consequences in it... There is something refreshing and encouraging in “The Thunderstorm”. This something is, in our opinion, the background of the play.”
The background of the play is made up of minor characters. This is the constant companion of Katerina, the main character of the play, Varvara, the sister of Katerina’s husband, Tikhon Kabanova. She is the opposite of Katerina. Her main rule: “Do whatever you want, as long as everything is sewn and covered.” You can’t deny Varvara her intelligence and cunning, before marriage she wants to be everywhere, to try everything, because she knows that “girls go out as they please, father and mother don’t care. Only women are locked up.” Lying is the norm for her. Otsa directly tells Katerina that it is impossible without deception: “Our whole house rests on this. And I was not a liar, but I learned when it became necessary.”
Varvara adapted to the “dark kingdom” and studied its laws and rules. She feels authority, strength, readiness and even a desire to deceive. She is, in fact, the future Kabanikha, because the apple doesn’t fall far from the tree. Varvara's friend, Kudryash, is a match for her. He is the only one in the city of Ka-linov who can fight back the Wild One. “I am considered a rude person; Why is he holding me? Therefore, he needs me. Well, that means I’m not afraid of him, but let him be afraid of me...” says Kudryash. He behaves cheekily, smartly, boldly, boasts of his prowess and knowledge of the “merchant establishment.” Kudryash is the second, only still young.
In the end, Varvara and Kudryash leave the “dark kingdom,” but their escape does not mean at all that they have completely freed themselves from old traditions and laws and will accept new laws of life and honest rules. Once free, they will most likely try to become masters of life themselves.
The play also contains true victims of the “dark kingdom”. This is Katerina Kabanova’s husband, Tikhon, a weak-willed, spineless creature. He listens to his mother in everything and obeys her, does not have a clear position in life, courage, courage. His image fully corresponds to his name - Tikhon (quiet). Young Kabanov not only does not respect himself, but also allows his mother to shamelessly treat his wife. This is especially evident in the farewell scene before leaving for the fair. Tikhon repeats all his mother’s instructions and moral teachings word for word. Kabanov could not resist his mother in any way; he slowly drank himself to death, becoming even more weak-willed and quiet. Of course, Katerina cannot love and respect such a husband, but her soul yearns for love. She falls in love with Dikiy's nephew, Boris. But Katerina fell in love with him, in Dobrolyubov’s apt expression, “in the wilderness,” because in essence Boris is not much different from Tikhon. Maybe a little more educated. Boris's lack of will, his desire to receive his part of his grandmother's inheritance (and he will receive it only if he is respectful to his uncle) turned out to be stronger than love. .
In the “dark kingdom” the wanderer Feklusha enjoys great reverence and respect. Feklushi's stories about the lands where people with dog heads live are perceived as irrefutable information about the world. But not everything in it is so gloomy: there are also living, sympathetic souls. This is a self-taught mechanic, Kuligin, who invents a perpetual motion machine. He is kind and active, literally obsessed with a constant desire to do something useful for people. But all his good intentions run into a thick wall of misunderstanding, indifference, and ignorance. So, in response to an attempt to install steel lightning rods on houses, he receives a furious rebuff from the Dikiy: “The thunderstorm is sent to us as punishment so that we can feel it, but you want to defend yourself, God forgive me, with poles and some kind of rods.”
Kuligin is essentially a sounding board in the play; a condemnation of the “dark kingdom” is put into his mouth: “Cruel, sir, the morals in our city are cruel... Whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors ..."
But Kuligin, like Tikhon, Boris, Varvara, Kudryash, adapted to the “dark kingdom” and came to terms with such a life. The secondary characters, as already mentioned, are the background against which the tragedy of a desperate woman unfolds. Every face in the play, every image was a step on the ladder that led Katerina to the banks of the Volga, to death.
