The world of Russian drama is a thunderstorm system of artistic images. Algorithm for writing an essay
In the same year, 1859, The Thunderstorm, a celebrated play by Ostrovsky, appeared. The work was intense and short in time: starting in June-July, the playwright finished it in October 1859.
The Thunderstorm is a somewhat mysterious work. First, it turned out to be extremely viable, repertoire in different epochs in the history of Russian theater. Secondly, it is unusual in terms of genre. This is a tragedy with elements of sharp comic, almost a farce: Feklushi's stories about overseas countries, where "saltans" rule and people with dog-headed heads live, nonsense, which ordinary people listen to with amazement and fear, or really wild antics of the Wild, rich merchant, in where the petty beginning is presented in grotesque forms of unrestrained arbitrariness.
During the time that has passed since the triumph of the comedies "Bankrupt" and "Poverty is not a vice", much has changed in the playwright's creative manner, although it seems that the same images and types that were preserved intact. However, all this is something, but not so, one might say. That the tyrants (Wild, Kabanikha), like two drops of water, are similar to the former, is only an external impression. The space of conflict has changed dramatically. There ("Bankrupt", "Poverty is not a vice") the action is limited by the narrow framework of the family, here the sphere of application of the forces of willful will has expanded immeasurably. The family remains, but not only her. The author's remark, characterizing Savel Prokofievich Dikiy, includes the definition of not just his social (“merchant”), but also his social status: “ significant person in the town". In conversations, the mayor is mentioned, with him Dikoy is on a short leg and does not even consider it necessary to hide from him his tricks with the unpaid or arbitrarily cut wages of the workers.
This is a new turn in the artistic research of the tyrant who finally emerges from his chambers in Zamoskvoretsk and "swaggers" not only over the family, but over people who are strangers to him. Dikoy will not be forgotten: 10 years later, he will appear in Ardent Heart (1869), turning into an eternally drunk Kuroslepov, and the mayor will appear in the same play from behind the curtains and will no longer be an off-plot character, as in The Thunderstorm, but the central hero, the mayor Gradoboev, is Ostrovsky's classic satirical comedic character.
Another feature of the new play was that the colors in the illumination of tyranny in "The Thunderstorm" turned out to be even more exaggerated. Dikoy fully answers its name - an unrestrained, wild force, purely Russian, is completely ugly in its manifestations. Another type of petty relationship - restrained, but also very cruel - Kabanova. As part of actors it is emphasized: "a rich merchant's wife"; Dikoy himself is afraid of her. In this image, a remarkable feature of Ostrovsky's dramatic manner makes itself felt: he always leaves room for directorial and actor's improvisation, for searching for original solutions in the development of a particular character. So, in the productions of The Thunderstorm, already in the era of the 90s of the twentieth century, completely new directorial and acting approaches appeared in the interpretation of the image of Marfa Ignatievna Kabanova: instead of a heavy, roughly fashioned, harsh merchant's wife, a relatively young woman appeared on the stage in a number of metropolitan and provincial theaters , an elegant, “domestic”, sweet woman, but a real hell for her daughter-in-law because of the reckless, blind love for her son. The psychological paradox inherent in the image manifested itself in the fact that maternal love is capable of destroying more than one family and turning the life of loved ones into incessant torture.
The play's conflict has also undergone significant changes. Earlier, the bearers of a positive moral principle were opposed to negative heroes: the noble, loving Vanya Borodkin - Vikhorev ("Don't get into your sleigh"), the clerk Mitya - Gordey Karpych Tortsov and Korshunov. But even in such cases, confrontation in the conflict was excluded: the former were too humiliated and downtrodden to protest, the latter were infinitely confident in their unbridled will, in the right, without hesitation, to do justice and punishment.
In The Thunderstorm, the grouping of characters and their conflicting interactions have changed dramatically. Here, for the first time in Ostrovsky's work, a serious opposition to brute force takes place, moreover, at an almost unconscious, spontaneous level. Katerina is a weak, undeveloped being - a merchant's daughter and a merchant's wife. Flesh from the flesh of this environment. Therefore, “a ray of light”, as Dobrolyubov did (article “A ray of light in a dark kingdom”), it could be called with a stretch. The critic used the image of Katerina to veiledly express the idea of a revolutionary transformation of society: the play, as he explained to the readers, “serves” as an echo of aspirations that require a better arrangement ”.
Meanwhile, the conflict, ending in a catastrophe, the death of the heroine, was not social, but rather psychological. A painful feeling of guilt and a feeling of fear for what she did (adultery) live in Katerina's soul. These motives are reinforced by another feature of the heroine: her sincerity, openness, kindness. She does not know how to lie and act according to the principle: do whatever you want, as long as everything is sewn and covered (the rule of life of Barbara, her husband's sister). It is impossible for Katerina to follow the path of vice in a fun way: it is impossible for her to live without love, without participation, and she will not live like that. The Kabanovs' house for her, where even her husband cannot respond to her feeling, although he loves her in his own way - this is a living grave, death is easier - and she goes to death in a state of half-delirium, half-show: only nature can give her its silent response - sympathy, and she turns to her (phenomenon 2, 3, 4 of the fifth act), while people mercilessly torture and torment her at every step.
The social factor was no longer dominant in the "Thunderstorm" conflict, on which Dobrolyubov insisted and what was in the previous plays: the clerk Mitya - and his owner, the rich merchant Tortsov, and the same Korshunov; Vanya Borodkin - and the nobleman Vikhorev. Here, in the "Thunderstorm", the persons creating an acute conflict are equal to each other. The call force of the protest is concentrated primarily in the character of the heroine, as Ostrovsky created him.
True, Katerina still has a way out: one could live by the example of Barbara and Kudryash. But she is not with them on the way, she cannot lie, dodge, and Boris is far from Kudryash, who admits that he will not sell his head cheaply, and his tough owner, Dika, is forced to reckon with a simple clerk. Boris, on the other hand, exactly repeats those uncomplaining reasoners whom the audience knew from Ostrovsky's previous plays.
Another feature that distinguishes this unusual character of the heroine is the feeling of freedom that lives in him. Apparently, in the family where Katerina's childhood and youth passed, with a deeply religious upbringing, there was not even a trace of despotism and a petty way of life, which marks all Ostrovsky's characters, who came from a merchant environment. The feeling of freedom, closeness to nature, good human relations distinguish the heroine in everything, and she is perceived by others as alien to this life, unusual, “strange”, according to Varvara, a woman.
Thus, the tragic beginning in the play is primarily due to the image of his heroine, happily found and subtly developed by the playwright. Ostrovsky will never be able to create anything similar in terms of the power of a tragic sound, although he strove for this with all the forces of his soul and approached the success of "The Thunderstorm" in different periods creativity: in "Dowry" (1869) and in "Snow Maiden" (1873).
39. the hero in the image of Saltykov-Shchedrin ("Golovlev's Psychology Lord")
The Golovlev Chronicle was not originally conceived by Shchedrin as an independent work, but was part of the Well-intentioned Speeches cycle. The selection of individual essays on the "old people" in an independent work was due to those changes in public life countries that are most clearly manifested in the field family relations... By the beginning of the 70s, Shchedrin was affirmed in the idea that “the novel has lost its former soil since the time when nepotism and everything that belongs to it begins to change its character”, that “it has become unthinkable. " Rejecting the traditional interpretation family theme, from a novelistic plot, the writer nevertheless had the right to regard the Golovlevs as a novel. Despite the fact that it is composed of separate stories, they represent a whole, conditioned by the plan of the writer and the central figure of Porfiry Golovlev. Shchedrin set himself a difficult task: to reveal the internal mechanism of the disintegration of the family, due to the moral failure of both feudal and bourgeois ideals. From chapter to chapter, the tragic departure from the family, and then from the life of Stepka the dunce, Anna, Pavel, and Arina Petrovna herself can be traced.
In each of the heroes, the writer notes character traits generated by serfdom: carelessness and inability for meaningful work in Stepan Golovlev, extreme indifference to people and cynicism in Paul, thirst for acquisitions and sanctimonious grandeur in Arina Petrovna, hypocrisy and idle talk in Yudushka. The most complete and consistent process of destruction of the landlord clan is presented in the image of Porfiry Golovlev.
The portrait of Judas Shchedrin is painted using the bright colors of psychological satire. One of the main ways of characterizing the inner world of the hero is his speech. "A deceitful word", as N. Mikhailovsky figuratively put it, becomes the key to disclosing the contradiction between created social myths and reality. Verbal formulas, generally accepted concepts that Judas uses in a given situation, turn out to be a lie, an empty phrase. Judas ("ah, Volodya, Volodya! You are not a good son! You are bad! Apparently you are not praying to God for your dad that he even took away his memory!"), Does not at all testify to his emotional experiences. He is much more worried about the ritual side of the event, the need to maintain decency even in front of mama: “Oh, what a sin! It's good that the icon lamps are lit in the figurative. " Judas' self-justification is constructed as a set of common moral formulas, which, when combined in the image-experience of the hero, expose in him an unconscious liar who has absorbed the public. It justifies the cruelty of the father towards his suicidal son: “He lived well and quietly ... what did he lack? Money, or what? If there is not enough money, be able to restrain yourself. Not everything is sweet, not everything with sugar, chak and kvass, eat! ". The word Judas imitates noble ideas, high spiritual motives, but it loses its real content. The hero does not go through the painful process of the birth of a word in order to express feelings, he takes a ready-made someone else's.
After the appearance of the first chapters of The Golovlevs, criticism began to call Judushka “the Russian Tartuffe.” The author of the novel, twice in digressions, gives a psychological description of the type of Porfiry Golovlev (ch. “Family Results”, “Calculation”), since for a writer the difference between the two types : conscious (Tartuffe) and unconscious (Judas) was principled. Unconscious hypocrisy, idle talk in Shchedrin's satire acquire the character of a special form of social and spiritual impoverishment of the ruling class. That is why the “non-tartuffe” ending of Judas is so important in the psychological characterization of the hero.
Judas' path to enlightenment in the finale is the path of the hero's perfection of the "binge of idle talk", when from a form of life he becomes her goal. His last surge was accompanied by the removal of his son Evprakseyushka from Golovlev. The "agony" of Judushka, writes Shchedrin, began with the fact that "the resource of idle talk, which he had so willingly abused so far, began apparently to shrink."
The chapters "Vymorkochny" and "Calculation" gradually reveal the tragedy of Porfiry Golovlev, who is finally acquiring a human language precisely because everything that he could destroy has perished, even the objects of his fantasies have disappeared. The last thing the hero says, addressing Anninka, is perceived as a farewell to life: “You must forgive me! - he continued, - for everyone ... And for himself ... and for those who are no longer ... What is it! what has happened?! .. where ... is everyone? " The consciousness awakened for a minute made Judaschu feel like a man and to understand that he had no opportunities for "resurrection". The impetus for the hero's "calculation" with life is the Gospel parable about the atonement of guilt by suffering, its moral effect coincided with the emotional turmoil experienced by Judas and the death of the hero became inevitable.
One should not see in the sentimental Christian finale of the novel Shchedrin's striving to "forgive" his hero. Democratism of Shchedrin was a characteristic phenomenon for the 60s, when the source of the formation of the human personality was seen in the social environment. Judas' hypocrisy was rooted in the social conditions of his life, and not only in the bad inclinations of his personality. In the "justification" of the hero, Shchedrin's idea of the function of the moral court played a significant role. The conscience awakened in the finale "characterizes not only the state of Golovlev. She becomes a symbol of the awakening of public consciousness.
The peculiarity of "The Thunderstorm" is that not all the characters in it are connected with each other in a plot relationship. So, for example, Dikoy has no visible relation to Katerina, detailed stories about his tyranny according to the old aesthetic norms might seem sticky. But he and other non-plot characters (like Feklusha, for example) were absolutely necessary for the playwright, for they made it possible to understand the origins and nature of Katerina's tragedy.
In the system of images, Katerina is opposed primarily to Kabanova and the Wild. However, she confronts all the other actors who remain only witnesses of the tragedy that is being played out before their eyes.
The heroine of the play, striving for people, for the light, remains lonely and misunderstood. She cannot receive any help and support from anyone. This even applies to Kuligin, drawn by Ostrovsky with undisguised sympathy. It is significant that Kuligin and Katerina never speak to each other, it is not even clear that they know each other. Their lines in the plot do not intersect anywhere. Perhaps this circumstance should have emphasized the isolation and loneliness of not only Katerina, but also Kuligin.
Kuligin is a typical educator. He takes advantage of every opportunity to immediately enlighten everyone who gets in his way. To the wild he talks about the "general benefit" and explains the device of the lightning conductor, to the townspeople he tells about the beneficence of a thunderstorm, quoting Lomonosov and Derzhavin. His illusions are clearly manifested in the fact that he invents a perpetuum mobile (perpetual motion machine) - a deliberately impossible task. To the Dikiy's threats, he replies: “There is nothing to do, we must submit! But when I have a million, then I'll talk! " But he will never have a million - this is self-deception. The same self-deception is Boris's stay in Kalinov.
What can I say about Boris, and even about Tikhon? How should we treat them? Do they themselves suffer from the "dark kingdom" or live in full accord with its laws? Are they able to rise to the understanding of the entire horror of their position? Material from the site
The difficulty lies in the fact that in this case, unambiguous answers are hardly possible. The humiliated position of Boris, Tikhon and others is both their fault and their misfortune. On the one hand, they, of course, are victims of the "dark kingdom", which mutilated, crippled their destinies. But, on the other hand, they accept the power of the prevailing circumstances. The personal principle is still insufficiently developed in them. But it is very important that it grows. Kuligin does not change throughout the play: his character is given to the already established, his image is static.
I. Means for revealing characters are determined by the literary method and genre of the work.
II. Fixed assets of character disclosure.
1. Portraits and characteristics of characters:
Fine portrait (details);
Self-characteristic;
2. Furnishings, interior.
3. Actions.
4. Speech: individual characteristics.
6. Landscape.
7. Comparison and contrast of characters:
Doubles and antagonists.
8. Non-stage characters, stage directions (in the drama).
9. Techniques: contrast, grotesque, irony, subtext, etc.
10. Means of artistic imagery: comparisons, hyperboles, metaphors, epithets, etc.
The system of images in the drama by A. Ostrovsky "The Thunderstorm".
Detailed composition plan
I. The system of images of the drama "The Thunderstorm" is built on the opposition of the masters of life, tyrants, Kabanikha and the Wild, and Katerina Kabanova as a figure of protest against the world of violence, as a prototype of the trends of a new life.
II. The system of images of the drama "Thunderstorm".
1. Images of the masters of life:
Dikoy and Kabanikha merchants:
a) bearers of the ideas of the old way (house building);
b) cruelty, tyranny and hypocrisy in relation to others;
c) the idea of the imminent death of the old way.
2. Images of those resigned under the rule of tyrants:
Tikhon and Boris (double images):
a) lack of will, weakness of character;
b) refusal from open protest;
c) love for Katerina does not give strength and determination;
d) Boris is more educated than Tikhon;
e) after the death of Katerina, Tikhon decides to protest, Boris does not.
3. Protesting characters:
Barbara and Kudryash:
a) external humility, lies and disguise;
b) opposition to force by force (Kudryash);
c) flight as a means of escape from tyranny.
Kuligin:
a) opposes the power of enlightenment to tyranny;
b) understands by reason the essence of the "dark kingdom";
c) tries to influence by the force of persuasion;
4. Katerina:
a) the most resolute protest against the power of tyrants ("protest brought to an end");
b) the difference in character, upbringing, behavior from other characters (see the plan "The Image of Katerina in the drama" The Thunderstorm "by A. Ostrovsky).
5. Secondary images:
Feklusha, lady, townspeople who witnessed Katerina's confession:
a) complement the picture of the "dark kingdom".
III. The figurative system of the drama "The Thunderstorm" sets new parameters for the merchant theme in Ostrovsky's plays. "This is Ostrovsky's most decisive work"(N.A. Dobrolyubov).
The system of images in the novel by IS Turgenev "Fathers and Sons".
Detailed composition plan
I. At the heart figurative system the novel is the antagonism of social groups: liberal nobles and common democrats (materialists).
The image of Yevgeny Bazarov as an image of an emerging new force in Russian society.
II. The figurative system of the novel.
1. Evgeny Bazarov:
The main character novel, the center of the figurative system;
New social type;
Strong character, natural intelligence, hard work;
The main ideological postulates of Bazarov's nihilism:
b) the primacy of practice over speculation, experiment over theory;
c) denial of art, the aesthetic value of nature;
d) criterion of the usefulness of each type of activity;
e) reduction of the concept of love to the physiological process;
f) people are biological individuals, the same as the trees in the forest.
2. Ideological opponents of Bazarov:
1) Pavel Petrovich Kirsanov - the main antagonist:
Narrow position;
Weakness of argumentation;
The basic judgments are as extreme as the position of Bazarov;
2) Nikolai Petrovich Kirsanov:
Striving to understand the younger generation;
A sincere desire to make adjustments to the organization of life;
Sublime nature: love for art, nature,
The beauty of the senses;
Refutes Bazarov's theory rather intuitively.
3. Bazarov's alleged allies:
1) Arkady Kirsanov:
Representative of the younger generation;
A casual companion of Bazarov, as he is carried away by nihilism only as a newfangled idea;
Emphasizes the idea of the protagonist's loneliness;
2) Sitnikov and Kukshina:
Images-parodies of nihilists;
They strive to acquire their own significance through familiarization with new trends;
4. Female images:
1) Anna Sergeevna Odintsova:
Aristocrat;
Unusual for Turgenev female image;
Beauty and strength of character;
Striving for peace;
Represents the defeat of Bazarov in the test of love;
2) Katya, Odintsova's sister:
Reflection of the character of the sister;
Delivers Arkady Kirsanov of Bazarov's ideas;
3) Fenichka:
The image of a touching woman from the people;
Shades the relationship of the older Kirsanovs;
Serves as the formal reason for the duel between Bazarov and Pavel Petrovich.
5. Bazarov's parents:
Reflection of contradictions between the old and young generations;
In relation to parents, there is a difference between Bazarov the theoretician and Bazarov the person.
6. Secondary images:
1) Dunyasha and Peter:
Servants in the Kirsanovs' estate;
They emphasize Bazarov's democracy, taking him not for a master;
Reflect a variety of folk characters;
2) images of men with whom Bazarov talks:
Reflect the democratism of the hero;
Refutation of the hero's naive belief that he knows the people.
III. Turgenev's skill allows him to show a new force for Russia, which enters the social arena after the reform of 1861.
The system of images of N.A. Nekrasov's poem "Who Lives Well in Russia"
Detailed composition plan
I. The peculiarity of the figurative system of Nekrasov's poem is polyphony, the absence of one main character.
II. The collective image of the people in the poem.
1. Images of seven men:
All from villages with "speaking" names;
Perform a compositional role (link parts of the narrative);
They embody the features of the Russian people:
a) seeking truth;
b) interest in life and its global problems, determination to give up everything in order to find the truth.
2. Images of public defenders:
Yermil Girin is a person who is guided by moral laws;
Savely - the bogatyr of the Holy Russian people - personifies the strength, patience, determination of the Russian people: "Branded, but not a slave";
Yakim Nagoy is the denouncer of the existing order: "And when the work is over, you see, there are three co-investors: God, the king and the lord";
The headman Vlas is a wise man who lives by the laws, warning peasants against "games" with bars.
3. Images of peasants mutilated by serfdom:
Old Believers are the embodiment of ignorance (predicts the end of the world because women began to wear red sweaters);
Yardovy - brags about the master's disease - gout;
The peasants of the landowner Utyatin are the embodiment of a slave consciousness (they agree to play a comedy and pretend to be serfs, driving themselves into captivity);
Yakov Verny - an exemplary slave - prefers to protest against the master by suicide.
4. The collective image of a Russian woman - a peasant woman Matryona Timofeevna Korchagina:
a) the tragedy of the fate of a Russian woman (abuse of her husband's relatives, the fate of a soldier, fires and crop failures, death of children, unfair accusations);
b) beauty and strength of character;
c) the ability to endure all adversity and save yourself.
5. Images of the oppressors:
Pop - recalls the good life from the generosity of the landowner;
Obolt-Obolduev is a landowner whose law is power: "The fist is my police!"
Utyatin and his heirs are landowners, who exemplify the degeneration of the nobility, the ruin of the nobility's nests.
6. Images of the democratic intelligentsia:
Pavlusha Veretennikov - collects folklore, tries to understand and capture folk image;
Grisha Dobrosklonov:
a) the people's defender of a new type, devotes his life to serving the people: "Fate prepared a glorious path for him, the good name of the people's defender, consumption and Siberia";
b) is the only truly happy character in the poem: "Our pilgrims should have been under their own roof, if they could know what was happening to Grisha."
7. Symbolic images:
The robber Kudeyar and the landowner Glukhovsky:
a) the idea is being carried out that only blood can wash away the crimes committed by landowners against the people; b) a reflection of the ethics of the populists and subsequent generations of Russian revolutionaries.
III. It is the system of images of the poem that creates its artistic originality, makes it possible to judge the mood of the Russian intelligentsia and the peasantry in the post-reform period.
Means of revealing characters in the play by A.N. Ostrovsky "The Thunderstorm"
Detailed composition plan
II. Means for creating the character of heroes in the drama "The Thunderstorm".
1. Monologues to learn about the hero's past: "She lived like a bird at liberty", "did not force me to work", "Until my death I loved to go to church";
2. Self-characterization of heroes: "I was born so hot!"
3. Characteristics of the character by others: "Prudish, sir, clothe the beggars, and ate the household altogether"(Kuligin about Kabanikha), "And the honor is not great, because you have been fighting with women all your life", "Why do you bring yourself into your heart on purpose?"(Boar about Dick);
Catherine's poetic language (monologue "Why don't people fly like birds?") ",
The combination of oily and swear words in Kabanikha's speech: "Oh, a grave sin!", "Why did you jump out in your eyes!", "What an important bird!", "Are you crazy, or what?"
Boris's urban speech: “Our parents in Moscow raised us well, they didn’t spare anything for us. I was sent to the Commercial Academy, and my sister was sent to a boarding school” ...;
Scientific words, quotes in Kuligin's speech: "And virtue is honored in rags!", "Thunder taps", "electricity";
Repetition of the address "mamma" in Tikhon's speech.
5. Remarks.
6. Metaphors, symbols (the image of a thunderstorm).
7. Minor and non-stage characters (see "Image System").
III. Despite the scarcity of imaginative means offered dramatic genres Ostrovsky manages to create vivid and voluminous characters of the play's characters.
Means of revealing characters in the novel by F.M. Dostoevsky "Crime and Punishment"
Thesis and quotation plan of the essay
I. FM Dostoevsky - a master of psychological prose. All means of revealing character are subordinated to the task of showing the state of mind of the hero.
II. Imaging tools.
1. Portrait:
Raskolnikov: "By the way, he was remarkably good-looking, with beautiful dark eyes, dark Russian, taller than average, thin and slender ... He was so badly dressed that another, even a familiar person would be street ";
Sonechka Marmeladova: "She could not even be called pretty, but her blue eyes were so clear, and when they were animated, her expression became so kind and simple-minded that it involuntarily attracted her. ... Despite her eighteen years, she seemed almost still a girl, much younger than her years, almost a child. "
Luzhin: "This was a gentleman who was not young for years, prim, dignified, with a cautious and disgusting physiognomy ... Distrustfully and even with an affectation of some fear, almost even an insult, he looked around ..."
2. The situation in the city emphasizes the state of mind of the protagonist:
- "The heat was terrible outside, besides stuffiness, crush, everywhere lime, forests, bricks, dust and that special summer stench ... - all this at once shook the already frustrated nerves of the young man";
- "... why in all big cities people ... somehow especially inclined to live and settle in such parts of the city, where there are no gardens, no fountains, where there is dirt and stench and all kinds of nasty things";
- "It was stuffy, so it was even unbearable to sit, and everything was soaked with a wine smell that, it seems, from this air alone it was possible to get drunk in five minutes."
3. Interior: the apartment of Raskolnikov and other heroes is a consequence of the injustice of life, a person cannot live like this:
Raskolnikov's apartment: "It was a tiny little cage, which looked pitiful with its yellow, dusty and everywhere the wallpaper peeled from the wall, and so low that a slightly tall person felt creepy in it ...";
Marmeladov's apartment: "A small smoky door at the end of the stairs, at the very top ... The stub illuminated the poorest room about ten paces long; all of it could be seen from the entrance ... It turned out that Marmeladov was placed in a special room ... but it was a walk-through door. further rooms, or cells ... were ajar. "
4. The detail acquires a symbolic meaning: the yellow color of the wallpaper in the rooms of Raskolnikov, Sonechka, in the apartment of Alena Ivanovna (association: "yellow house" - insane asylum).
5. Characteristics of the hero by other characters:
Razumikhin about Raskolnikov: "... gloomy, gloomy, haughty and proud ... suspicious and hypochondriac ... magnanimous and kind ... simply insensible to the point of inhumanity ... as if in him two opposite characters alternately change."
6. Dreams as a reflection of the hero's soul and his state: the first dream - the tenderness and vulnerability of Raskolnikov, a heightened sense of injustice; Raskolnikov's last dream is a fantastic embodiment of his theory - a reflection of the struggle between man and theory.
7. Characters-twins: Luzhin, Svidrigailov (see "Image system" p. 162).
8. Characters-antagonists: Razumikhin, Dunechka, Porfiry Petrovich, Sonya Marmeladova (see "Image System").
9. Heightened attention to the verbs that convey the mental state of the hero before the murder:
"threw the bench and went, almost ran, was about to turn back, but he suddenly felt terribly disgusting to go home ... and he went where his eyes were looking ... he began to peer at all the objects he encountered ... he fell into thought every minute ... shuddering, he raised his head and looked around ... immediately forgot what he was thinking about and even where he was passing. "
10. Speech: "Raskolnikov's inner monologue is an excellent example of microdialogue; all the words in it are two-voiced, in each of them there is a dispute of voices"(M.M. Bakhtin).
11. Symbolism of numbers: three days after the murder of Raskolnikov in delirium, three days meeting with Porfiry Petrovich, Raskolnikov was sentenced to nine years in hard labor, his recovery occurs after two years, there are seven years left, which seem to be seven days (seven days of divine creation).
III. FM Dostoevsky achieves amazing reliability in describing the psychology of the human soul, tearing it apart by contradictions, and the constant striving for harmony.
I. Date of writing.
II. Real biographical and factual commentary.
III. Genre content.
IV. Ideological content.
1. Leading theme.
2. The main idea.
3. Emotional coloring of feelings.
4. External impression and internal reaction to it.
V. The structure of the poem.
1. The main images of the poem.
2. The main inventive means: epithet, metaphor, allegory, comparison, hyperbole, lithote, irony (as a trope), sarcasm, impersonation.
3. Speech features in terms of intonational and syntactic figures: repetition, antithesis, inversion, anaphora, etc.
4. Poetic size.
5. Rhyme (masculine, feminine, accurate, imprecise); rhyme methods (steam room, cross, ring).
6. Sound writing (alliteration, assonance).
7. Stropic (couplet, three-line, five-line, quatrain, octave, sonnet, Onegin stanza).
The plan for the analysis of a lyric poem.
1. Date of writing and publication.
2. The place occupied in the poet's work. Artistic method.
3. Creative story... (Choice of genre. Poetic tradition. Censorship.)
4. The main theme.
5. The meaning of the name.
6. Lyrical plot and its movement.
7. Composition. The presence of a frame. The main structural parts.
8. Basic moods, tonality of the poem.
9. Leitmotifs. The supporting words that convey them.
10. The lyrical hero, his originality and the ways of his self-disclosure,
11. Lyrical characters. Their experiences. Their fates.
12. Collision or connection of different levels of consciousness.
14. Music of the poem.
15. Rhythm, size.
16. Rhyme, the nature of rhymes.
17. Lexicon. Language expressive means.
18. Poetic syntax.
19. Sound writing. Phonetic coloring of the verse.
20. The idea of the poem revealed as a result of the analysis.
21. Reviews of critics about the poem.
22. The sound of a poem today.
The plan for the analysis of a lyric poem.
1. History of creation lyric work.
2. Features of the genre of this lyric work
3. Revealing the ideological and thematic originality (problematics) of the lyric work, its embodiment in the artistic fabric of the work.
4. Features of the composition of a lyric work
5. Features of the lyric hero of the work, the expression of the poet's lyric "I" (the connection between the author and the lyric hero, the presence of a lyrical plot, based on the image of feelings, mood, movement of the soul).
6. Analysis of artistic and expressive means used in the poem; their role in revealing the poet's intention.
7. Analysis of lexical means used in the poem; their ideological and artistic significance.
8. Analysis of syntactic figures used in a lyric work; their ideological and artistic role.
9. Analysis of rhetorical phonetics used in the poem, its role.
10. Determination of the verse size. How the use of this poetic size reveals the poetic intention of the author.
11. The place and role of this lyric work in the context of the poet's work, in literary process generally.
Analysis of the poem
Lesson 31. Drama "Thunderstorm". The system of images, methods of revealing the characters of the heroes. The originality of the conflict. The meaning of the name.Goals:
determine the meaning of the title, the originality of the system of images; to answer the questions of how the characters of the heroes are revealed and what is the originality of the play's conflict.
During the classes.
Group 1. The meaning of the title of the play is "The Thunderstorm". Students' messages about independent observation of the text under the guidance of the teacher.
What is the definition of the word "thunderstorm"?
What is the meaning in the play?
(The thunderstorm for Katerina is God's punishment; Tikhon calls his mother's abuse a thunderstorm; Kuligin sees "grace" in a thunderstorm)
The compositional role of thunderstorms? (connects the whole play together: in 1 act a thunderstorm is approaching, in 4 it portends death, bursts out in the culminating scene of Katerina's confession)
Group 2. The system of the characters in the play. Messages about independent observations of the text.
- Let's call the characters of the "Storms" ( reading the poster ). What do their names and surnames mean?
- Surnames in Ostrovsky's plays "speak" not only about the character of the hero, but in fact give information about him. Ostrovsky's careful attitude to the names of the heroes is one of the reasons for their realism. This is where such a rare quality as the reader's intuition manifests itself.
Studying the list of characters, it should be noted the distribution of heroes by age (young - old), family ties (indicated by Dikoy and Kabanova, and most of the other heroes by kinship with them), education (only Kuligin, a self-taught mechanic and Boris ). Then, in 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" | "Victims" |
Wild ... You are a worm. If I want - I will have mercy, if I want - I will crush. Kabanikha ... I have long seen 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. | Kuligin. Better to endure. Barbara. And I was not a liar, but I learned ... But in my opinion, do what you want, if only it was sewn and covered. Tikhon. Yes, mamma, I don’t want to live by my own will. Where can I live by my own will! Boris. Not of my own free will I eat: my uncle sends. |
Issues for discussion
What place does Katerina occupy in this system of images?
Why were Kudryash and Feklusha among the "masters of life"?
How to understand such a definition - "mirror" images?
Group 3 ... Features of revealing the characters of the heroes.Students' messages about their observations of the text.
Speech characteristics (individual speech characterizing the hero):
Katerina is a poetic speech, reminiscent of a spell, a cry or a song, filled with folk elements.
Kuligin is the speech of an educated person with "scientific" words and poetic phrases.
Wild - speech is replete with harsh words and curses.
Kabanikha - speech is hypocritical, "oppressive".
Feklusha - the speech shows that she was in many places.
The role of the first line, which immediately reveals the character of the hero:
Kuligin ... Miracles, truly it must be said: miracles!
Curly. And what?
Wild. Hacklush you, eh, came to beat the court! The parasite! Go to waste!
Boris. Holiday; what to do at home!
Feklusha. Blah-alepie, honey, blah-alepie! Wonderful beauty.
Kabanova. If you want to listen to your mother, as soon as you get there, do as I ordered you.
Tikhon ... But how can I, mamma, disobey you!
Barbara. You will not respect you, of course!
Katerina. For me, mamma, everything is the same as my own mother, that you, and Tikhon loves you too.
Using the technique of contrast and juxtaposition:
Feklushi's monologue - Kuligin's monologue;
life in the city of Kalinov - the Volga landscape;
Katerina - Varvara;
Tikhon - Boris.
Lesson summary ... The main conflict of the play is revealed in the title, in the system of characters, who can be divided into two groups - "masters of life" and "victims", in the peculiar position of Katerina, who is not included in any of the named groups, in the speech of the characters corresponding to their position, and even in the technique of contrast, defining the opposition of the heroes.
Homework:
- Answer the problematic question: Can we condemn Kabanikha for her attitude towards her daughter-in-law, if, ultimately, the mother-in-law turned out to be right in her fears, because Katerina cheated on her husband.
- Trace the development of the play as the conflict develops, what role does the thunderstorm play in this?
(352 words) In the play "The Thunderstorm" the author tells about the life of the merchants and philistines. The city of Kalinov is a collective image " dark kingdom", In which ignorant people live, mired in a routine. They want to preserve the patriarchal world at any cost, care only about their own interests and look for benefits in everything. Those who try to change the existing order turn out to be too weak and ultimately resign themselves to reality.
The key image of the work is a thunderstorm. This is not only a natural phenomenon, but also a symbol of generational conflict. Kabanikha and Dikoy are representatives of the "old" world. They honor the laws of Domostroi, observe rituals, love the order in which the life, will and mind of others are in their hands. Marfa Ignatievna triumphs upon learning that her daughter-in-law has passed away: now order will be restored! The "old" world thirsts for power, but its power is fragile. The Kabanovs' house rests on a lie: "If only everything was sewn and covered." The author is not talking about one abstract city, but about Russia as a whole: how many such families there are in the country!
The image of Katerina is light and pure. The young woman is strong in spirit, God-fearing, sincere. Katerina cannot lie and therefore chooses the path of self-sacrifice. It is no coincidence that it was called "a ray of light in dark kingdom". The image of the heroine symbolizes the strength of character, moral values, high aspirations. Also, among the heroes, Kuligin stands out, whose thoughts are also pure, whose reason is independent of convention. Thanks to such people, who will grow in number over time, unnatural foundations will become a thing of the past.
Tikhon Kabanov is a victim of the patriarchal world. He cannot resolve the internal conflict: to offend his wife or disobey his mother? Only in the face of tragedy does Tikhon show sincere feelings. It's too late. Kabanov personifies obedience, humility, cowardice, but up to a certain point: a person endures to the last and then says whatever he thinks. Varvara, Kudryash and Boris also endure, but gradually undermine the foundations of tyranny, violating the prohibitions. In the finale, Tikhon's sister runs with her fiance, throwing off the shackles of lies. However, Katerina's beloved remains with nothing.
So, the author portrayed several types of people in the play: limited merchants and philistines; those who are “out of place” in the patriarchal city, and “eccentrics”. Despite the fact that the work belongs to the genre of critical realism, it cannot be said that the image of each hero is interpreted unambiguously. The final of "The Thunderstorms" remains open: the reader himself concludes what happened next with most of them.
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