Select examples for speech characteristics of thunderstorm heroes. Lesson summary “The role of speech characteristics in creating the characters of Ostrovsky’s drama “The Thunderstorm”” lesson plan in literature (grade 10) on the topic
In 1856, A. N. Ostrovsky travels along the Volga. The impressions from the trip are reflected in his work; “The Thunderstorm” was also written based on this trip. This is a story about a merchant's wife, brought up in strictness and morality, who fell in love young man. Having cheated on her husband, she is unable to hide it. Having publicly repented of treason, she rushes into the Volga.
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The controversial image of Marfa Ignatievna Kabanova
The play is based on a comparison of two strong opposite images: Ekaterina and Marfa Ignatievna Kabanova. In fact, they have a lot in common: the primacy of the patriarchal world, the maximalism inherent in both, strong characters. Despite their religiosity, they do not compromise and are not inclined to mercy. This is where their similarities end. They are at different poles of the patriarchal world. Kabanikha is an earthly woman; she is concerned about maintaining order down to the smallest detail. She is not interested in human relationships. Patriarchal way of life life for Katerina is contained in dreaminess and spirituality.
The image of Kabanikha in the play “The Thunderstorm” is one of the central. She is a widow left with two children, Varvara and Tikhon. She can rightly be called harsh and merciless for Tikhon’s reproaches that he loves his mother less than his wife Katerina, and constantly strives to escape his mother’s will.
The predominant personality trait of Kabanikha can be called despotic, but not extravagant. Each of her demands on others, be it her son or daughter-in-law, is subject to the moral and everyday code of “Domostroy”. Therefore, she firmly believes in the principles that it speaks of, and considers their strict adherence to them correct. Turning to Domostroevsky concepts, she believes that children should honor their parents so much that the will of the children does not matter at all. Relations between spouses should be built on the wife’s fear of her husband and unquestioning submission to him.
Kabanikha in the speech of strangers
The characterization of Kabanikha becomes clear to the reader thanks to the statements of the characters in the play. The first mention of Marfa Ignatievna comes from the lips of Feklushi. This is a poor wanderer who is grateful to her for her kindness and generosity. In contrast, Kuligin’s words sound that she is generous to the poor, and not to her relatives. After these brief characteristics the reader meets Kabanikha. Kuligin's words are confirmed. The mother finds fault with the words of her son and daughter-in-law. Even with her meekness and sincerity, Katerina does not inspire confidence in her. Reproaches fly towards the son for lack of love for his mother.
Opinion of her family members about Kabanova
One of the most emotional moments of the play - scene of seeing off Tikhon's son. Kabanikha reproaches him for not bowing at his mother’s feet and does not say goodbye to his wife as he should. Katerina, after Tikhon’s departure, according to Kabanikha, should show her love for him - howl and lie on the porch. The younger generation is violating all customs and traditions, and this leads Kabanikha to sad reflections.
Katerina, the daughter-in-law, gets more than everyone else. Any word she says is cut off with harsh attacks and remarks. Noticing affection, and not fear, in Tikhon’s treatment, Kabanikha angrily reproaches her. Her ruthlessness reaches its limit after Katerina's confession. In her opinion, her daughter-in-law deserves to be buried alive in the ground.
Kabanikha treats Katerina with contempt, considering her an example of how disrespectful young people are towards the older generation. Most of all, she is burdened by the thought that she may be left without power. Her behavior leads to the tragic ending of the play. The suicide committed by Katerina is also her fault. The daughter-in-law endured humiliation against her for a long time and one day she could not stand it.
Obeying the orders of an extravagant mother, Tikhon becomes a spineless creature. The daughter runs away, tired of her parent’s constant interference in her personal life. The ancient way of life with true high morality disappears from life, leaving only a dead, oppressive shell. The young heroes of the play pretend to observe patriarchal commandments. Tikhon pretends to love his mother, Varvara goes on secret dates, only Katerina is tormented by conflicting feelings.
Marfa Ignatievna is busy with earthly affairs. She considers herself fair because, in her opinion, the severity of her parents will be reflected in the most in the best possible way on children - they will learn to be kind. But the old way of life is collapsing, the patriarchal system is disappearing. This is a tragedy for Marfa Ignatievna. However, hot temper and extravagance are not in her character. She is dissatisfied with the temper of her godfather Dikiy. Dikoy’s willful behavior and complaints about her family irritate her.
Kabanikha is devoted to the traditions of her family and ancestors and honors them without judging, evaluating or complaining about them. If you live according to the will of your fathers, this will lead to peace and order on earth. There is religiosity in Kabanikha’s character. She believes that a person will go to hell for committing evil deeds, but at the same time she does not consider herself guilty of anything. Humiliation of others at the expense of her wealth and power is in the order of things for her.
Kabanikha characterized by authority, cruelty and confidence in the correctness of one’s views. In her opinion, maintaining the old ways can protect her home from the unrest happening outside her home. Therefore, rigidity and firmness manifests itself more and more clearly in her character. And having eradicated his own unnecessary emotions, he cannot tolerate their manifestation in others. For disobedience to her words, those closest to her are punished with cold-blooded humiliation and insults. At the same time, this does not apply to strangers; she is pious and respectful with them.
Marfa Ignatievna Kabanova is an ambiguous character, it is difficult to feel sorry for her or just condemn her. On the one hand, she hurts her family members, and on the other, she firmly believes in the correctness of her behavior. Thus, the negative qualities of Kabanikha’s character can be called:
- cruelty;
- authority;
- composure.
And the positive ones:
- strong unshakable character;
- religiosity;
- "kindness and generosity towards strangers."
Federal Agency for Education of the Russian Federation
Gymnasium No. 123
on literature
Speech characteristics of the characters in the drama by A.N. Ostrovsky
Work completed:
10th grade student "A"
Khomenko Evgenia Sergeevna
………………………………
Teacher:
Orekhova Olga Vasilievna
……………………………..
Grade…………………….
Barnaul-2005
Introduction………………………………………………………
Chapter 1. Biography of A. N. Ostrovsky……………………..
Chapter 2. History of the creation of the drama “The Thunderstorm”…………………
Chapter 3. Speech characteristics of Katerina………………..
Chapter 4. Comparative speech characteristics of Dikoy and Kabanikha……………………………………………………………
Conclusion……………………………………………………
List of used literature……………………….
Introduction
Ostrovsky's drama "The Thunderstorm" is the most significant work of the famous playwright. It was written during a period of social upsurge, when the foundations of serfdom were cracking, and a thunderstorm was actually brewing in the stuffy atmosphere. Ostrovsky’s play takes us to merchant environment, where the house-building order was maintained most stubbornly. Residents provincial town They live a closed life, alien to public interests, in ignorance of what is happening in the world, ignorance and indifference.
We still turn to this drama now. The problems that the author touches on in it are very important to us. Ostrovsky raises the problem of fracture public life that occurred in the 50s, a change in social foundations.
After reading the novel, I set a goal for myself to see the peculiarities of the speech characteristics of the characters and find out how the speech of the characters helps to understand their character. After all, the image of a hero is created with the help of a portrait, with the help of artistic means, with the help of characterization of actions, speech characteristics. Seeing a person for the first time, by his speech, intonation, behavior, we can understand his inner world, some vital interests and, most importantly, his character. Speech characteristics are very important for a dramatic work, because it is through it that one can see the essence of a particular character.
In order to better understand the character of Katerina, Kabanikha and Wild, it is necessary to solve the following problems.
I decided to start with Ostrovsky’s biography and the history of the creation of “The Thunderstorm” in order to understand how the talent of the future master of speech characterization of characters was honed, because the author very clearly shows the global difference between the positive and negative characters of his work. Then I will consider the speech characteristics of Katerina and make the same characteristics of the Wild and Kabanikha. After all this, I will try to draw a definite conclusion about the speech characteristics of the characters and its role in the drama “The Thunderstorm”
While working on the topic, I became acquainted with the articles by I. A. Goncharov “Review of the drama “The Thunderstorm” by Ostrovsky” and N. A. Dobrolyubov “A Ray of Light in the Dark Kingdom.” Moreover, I studied A.I. Revyakin’s article “Features of Katerina’s speech,” which clearly shows the main sources of Katerina’s language. I found a variety of material about the biography of Ostrovsky and the history of the creation of the drama in the textbook Russian Literature of the 19th Century by V. Yu. Lebedev.
An encyclopedic dictionary of terms, published under the leadership of Yu. Boreev, helped me understand theoretical concepts (hero, characterization, speech, author).
Despite the fact that many critical articles and responses from literary scholars are devoted to Ostrovsky’s drama “The Thunderstorm,” the speech characteristics of the characters have not been fully studied, and therefore are of interest for research.
Chapter 1. Biography of A. N. Ostrovsky
Alexander Nikolaevich Ostrovsky was born on March 31, 1823 in Zamoskvorechye, in the very center of Moscow, in the cradle of the glorious Russian history, which everyone around was talking about, even the names of Zamoskvoretsky streets.
Ostrovsky graduated from the First Moscow Gymnasium and in 1840, at the request of his father, entered the Faculty of Law of Moscow University. But studying at the university was not to his liking, a conflict arose with one of the professors, and at the end of his second year Ostrovsky resigned due to “domestic circumstances.”
In 1843, his father assigned him to serve in the Moscow Conscientious Court. For the future playwright, this was an unexpected gift of fate. The court considered complaints from fathers about unlucky sons, property and other domestic disputes. The judge delved deeply into the case, listened carefully to the disputing parties, and the scribe Ostrovsky kept records of the cases. During the investigation, plaintiffs and defendants reveal things that are usually hidden and hidden from prying eyes. This was a real school for learning the dramatic aspects of merchant life. In 1845, Ostrovsky moved to the Moscow commercial court as a clerical official at the desk “for matters of verbal reprisal.” Here he encountered peasants, city bourgeois, merchants, and petty nobility who traded in trade. Brothers and sisters, disputes over inheritance, and insolvent debtors were judged “according to their conscience.” A whole world of dramatic conflicts unfolded before us, and all the diverse richness of the living Great Russian language sounded. I had to guess a person’s character by his speech patterns and intonation features. The talent of the future “realistic auditory speaker,” as Ostrovsky called himself, a playwright, a master of speech characterization of characters in his plays, was nurtured and honed.
Having worked for the Russian stage for almost forty years, Ostrovsky created a whole repertoire - about fifty plays. Ostrovsky's works still remain on the stage. And after a hundred and fifty years it is difficult to see the heroes of his plays nearby.
Ostrovsky died in 1886 in his beloved Trans-Volga estate Shchelykovo, which is in the Kostroma dense forests: the hilly banks of small winding rivers. The writer’s life for the most part took place in these core places of Russia: where from a young age he could observe the primordial customs and morals, still little affected by the modern urban civilization, and hear the indigenous Russian speech.
Chapter 2. History of the creation of the drama “The Thunderstorm”
The creation of “The Thunderstorm” was preceded by the playwright’s expedition to the Upper Volga, undertaken on instructions from the Moscow Ministry in 1856-1857. She revived and revived his youthful impressions, when in 1848 Ostrovsky first went with his household on an exciting journey to his father’s homeland, to the Volga city of Kostroma and further, to the Shchelykovo estate acquired by his father. The result of this trip was Ostrovsky’s diary, which revealed a lot in his perception of provincial Volga Russia.
For quite a long time, it was believed that Ostrovsky took the plot of “The Thunderstorm” from the life of the Kostroma merchants, and that it was based on the Klykov case, which was sensational in Kostroma at the end of 1859. Until the beginning of the twentieth century, Kostroma residents pointed to the site of Katerina’s murder - a gazebo at the end of a small boulevard, which in those years literally hung over the Volga. They also showed the house where she lived, next to the Church of the Assumption. And when “The Thunderstorm” was first performed on the stage of the Kostroma Theater, the actors made themselves up “to look like the Klykovs.”
Kostroma local historians then thoroughly examined the “Klykovo Case” in the archives and, with documents in hand, came to the conclusion that it was this story that Ostrovsky used in his work on “The Thunderstorm.” The coincidences were almost literal. A.P. Klykova was given away at the age of sixteen to a gloomy, unsociable merchant family, consisting of old parents, a son and an unmarried daughter. The mistress of the house, stern and obstinate, depersonalized her husband and children with her despotism. She forced her young daughter-in-law to do any menial work and begged her to see her family.
At the time of the drama, Klykova was nineteen years old. In the past, she was brought up in love and in the comfort of her soul, a doting grandmother, she was cheerful, lively, cheerful. Now she turned out to be an unkind and stranger in the family. Her young husband, Klykov, a carefree man, could not protect his wife from his mother-in-law’s oppression and treated her indifferently. The Klykovs had no children. And then another man stood in the way of the young woman, Maryin, an employee at the post office. Suspicions and scenes of jealousy began. It ended with the fact that on November 10, 1859, the body of A.P. Klykova was found in the Volga. A long trial began, which received wide publicity even outside the Kostroma province, and no one from Kostroma doubted that Ostrovsky had used the materials of this case in “The Thunderstorm.”
Many decades passed before researchers established for sure that “The Thunderstorm” was written before the Kostroma merchant Klykova rushed into the Volga. Ostrovsky began working on “The Thunderstorm” in June-July 1859 and finished on October 9 of the same year. The play was first published in the January issue of the magazine “Library for Reading” in 1860. The first performance of “The Thunderstorm” on stage took place on November 16, 1859 at the Maly Theater, during a benefit performance by S.V. Vasilyev with L.P. Nikulina-Kositskaya in the role of Katerina. The version about the Kostroma source of the “Thunderstorm” turned out to be far-fetched. However, the very fact of an amazing coincidence speaks volumes: it testifies to the perspicacity of the national playwright, who caught the growing conflict in merchant life between the old and the new, a conflict in which Dobrolyubov saw for a reason “what is refreshing and encouraging,” and the famous theater figure S. A. Yuryev said: “Thunderstorm “Ostrovsky didn’t write... Volga wrote “The Thunderstorm.”
Chapter 3. Speech characteristics of Katerina
The main sources of Katerina's language are folk vernacular, folk oral poetry and church-everyday literature.
The deep connection of her language with the popular vernacular is reflected in vocabulary, imagery, and syntax.
Her speech is replete with verbal expressions, idioms of popular vernacular: “So that I don’t see either my father or my mother”; “doted on my soul”; “calm my soul”; “how long does it take to get into trouble”; “to be a sin”, in the sense of misfortune. But these and similar phraseological units are generally understandable, commonly used, and clear. Only as an exception are morphologically incorrect formations found in her speech: “you don’t know my character”; “After this we’ll talk.”
The imagery of her language is manifested in an abundance of verbal and visual means, in particular comparisons. So, in her speech there are more than twenty comparisons, and all the other characters in the play, taken together, have a little more than this number. At the same time, her comparisons are widespread, folk character: “It’s like a dove is calling me”, “It’s like a dove is cooing”, “It’s like a mountain has been lifted from my shoulders”, “My hands are burning like coal.”
Katerina’s speech often contains words and turns, motifs and echoes of folk poetry.
Addressing Varvara, Katerina says: “ Why do people don’t fly like birds?..” - etc.
Longing for Boris, Katerina says in her penultimate monologue: “Why should I live now, well, why? I don’t need anything, nothing is nice to me, and God’s light is not nice!”
Here there are phraseological turns of a folk-colloquial and folk-song nature. So, for example, at a meeting folk songs, published by Sobolevsky, we read:
It’s absolutely impossible to live without a dear friend...
I will remember, I will remember about the dear, not sweet white light,
The white light is not nice, not nice... I’ll go from the mountain into the dark forest...
Going out on a date with Boris, Katerina exclaims: “Why did you come, my destroyer?” In a folk wedding ceremony, the bride greets the groom with the words: “Here comes my destroyer.”
In the final monologue, Katerina says: “It’s better in the grave... There’s a grave under the tree... it’s so good... The sun warms it, the rain wets it... in the spring the grass grows on it, it’s so soft... the birds will fly to the tree, they’ll sing, they’ll bring out the children, the flowers will bloom: yellow, red , little blue ones..."
Everything here comes from folk poetry: diminutive-suffixal vocabulary, phraseological units, images.
For this part of the monologue, direct textile correspondences are abundant in oral poetry. For example:
...They will cover it with an oak board
Yes, they will lower you into the grave
And they will cover it with damp earth.
Overgrow, my grave,
You're an ant in the grass,
More scarlet flowers!
Along with popular vernacular and folk poetry, the language of Katerina, as already noted, was greatly influenced by church literature.
“We,” she says, “were full of wanderers and praying mantises. And we’ll come from church, sit down to do some work... and the wanderers will begin to tell where they have been, what they have seen, different lives, or sing poetry” (D. 1, Rev. 7).
Possessing a relatively rich vocabulary, Katerina speaks freely, drawing on diverse and psychologically very deep comparisons. Her speech flows. So, she is not unfamiliar with such words and turns of phrase in literary language as: dreams, thoughts, of course, as if all this had happened for a second, there was something so unusual in me.
In the first monologue, Katerina talks about her dreams: “And what dreams I had, Varenka, what dreams! Or golden temples, or some extraordinary gardens, and invisible voices all sing, there is a smell of cypress, and the mountains and trees seem not the same as usual, but as if they were written in images.”
These dreams, both in content and in the form of verbal expression, are undoubtedly inspired by spiritual poems.
Katerina’s speech is unique not only lexico-phraseologically, but also syntactically. It consists mainly of simple and complex sentences, with predicates placed at the end of the phrase: “So time will pass until lunch. Here the old women will fall asleep, and I will walk in the garden... It was so good” (D. 1, Rev. 7).
Most often, as is typical for the syntax of folk speech, Katerina connects sentences through conjunctions a and ida. “And we’ll come back from church... and the wanderers will start talking... It’s like I’m flying... What kind of dreams did I have.”
Katerina’s floating speech sometimes takes on the character of a folk lament: “Oh, my misfortune, my misfortune! (Crying) Where should the poor thing go? Who should I grab hold of?
Katerina's speech is deeply emotional, lyrically sincere, poetic. To give her speech emotional and poetic expressiveness, diminutive suffixes are used, so inherent in folk speech (key, water, children, grave, rain, grass), and intensifying particles (“How did he feel sorry for me? What words did he say?”) , and interjections (“Oh, how I miss him!”).
The lyrical sincerity and poetry of Katerina’s speech are given by the epithets that come after the defined words (golden temples, extraordinary gardens, with evil thoughts), and repetitions, so characteristic of the oral poetry of the people.
Ostrovsky reveals in Katerina’s speech not only her passionate, tenderly poetic nature, but also her strong-willed strength. Katerina’s strong-willed strength and determination are shaded by syntactic constructions of a sharply affirming or negative nature.
Chapter 4. Comparative speech characteristics of Wild and
Kabanikha
In Ostrovsky’s drama “The Thunderstorm,” Dikoy and Kabanikha are representatives of the “Dark Kingdom.” One gets the impression that Kalinov is fenced off from the rest of the world by a high fence and lives some kind of special, closed life. Ostrovsky concentrated his attention on the most important thing, showing the wretchedness and savagery of the morals of Russian patriarchal life, because all this life is based only on familiar, outdated laws, which, obviously completely ridiculous. The “Dark Kingdom” tenaciously clings to its old, established. This is standing in one place. And such standing is possible if it is supported by people who have strength and authority.
A more complete, in my opinion, idea of a person can be given by his speech, that is, by habitual and specific expressions inherent only to this hero. We see how Dikoy, as if nothing had happened, can just offend a person. He doesn’t consider not only those around him, but even his family and friends. His family lives in constant fear of his wrath. Dikoy mocks his nephew in every possible way. It is enough to remember his words: “I told you once, I told you twice”; “Don’t you dare come across me”; you can hire everything! Not enough space for you? Wherever you fall, here you are. Ugh, damn you! Why are you standing like a pillar! Are they telling you no?” Dikoy openly shows that he has no respect for his nephew at all. He puts himself above everyone around him. And no one offers him the slightest resistance. He scolds everyone over whom he feels his power, but if someone scolds him himself, he cannot answer, then hold on, everyone at home! It’s on them that Dikoy will take out all his anger.
Wild - " significant person"in the city, merchant. This is how Shapkin says about him: “We should look for another scolder like ours, Savel Prokofich. There’s no way he’ll cut someone off.”
“The view is unusual! Beauty! The soul rejoices!” exclaims Kuligin, but against the backdrop of this beautiful landscape a bleak picture of life is drawn, which appears before us in “The Thunderstorm”. It is Kuligin who gives an accurate and clear description of the life, morals and customs that reign in the city of Kalinov.
Just like Dikoy, Kabanikha is distinguished by selfish inclinations; she thinks only of herself. Residents of the city of Kalinov talk about Dikiy and Kabanikha very often, and this makes it possible to obtain rich material about them. In conversations with Kudryash, Shapkin calls Diky “a scolder,” while Kudryash calls him a “shrill man.” Kabanikha calls Dikiy a “warrior.” All this speaks of the grumpiness and nervousness of his character. Reviews about Kabanikha are also not very flattering. Kuligin calls her a “hypocrite” and says that she “gives money to the poor, but has completely eaten up her family.” This characterizes the merchant's wife from the bad side.
We are struck by their callousness towards people dependent on them, their reluctance to part with money when settling accounts with workers. Let us remember what Dikoy says: “Once I was fasting about a great fast, and then it was not easy and I slipped a little man in, I came for money, carried wood... I did sin: I scolded him, I scolded him... I almost killed him.” All relationships between people, in their opinion, are built on wealth.
Kabanikha is richer than Dikoy, and therefore she is the only person in the city with whom Dikoy must be polite. “Well, don’t let your throat loose! Find me cheaper! And I’m dear to you!”
Another feature that unites them is religiosity. But they perceive God not as someone who forgives, but as someone who can punish them.
Kabanikha, like no one else, reflects this city’s commitment to old traditions. (She teaches Katerina and Tikhon how to live in general and how to behave in a specific case.) Kabanova tries to seem like a kind, sincere, and most importantly unhappy woman, tries to justify her actions by her age: “The mother is old, stupid; Well, you, young people, smart ones, shouldn’t exact it from us fools.” But these statements are more like irony than sincere recognition. Kabanova considers herself the center of attention; she cannot imagine what will happen to the whole world after her death. The boar is absurdly blindly devoted to her old traditions, forcing everyone at home to dance to her tune. She forces Tikhon to say goodbye to his wife in the old-fashioned way, causing laughter and a feeling of regret among those around him.
On the one hand, it seems that Dikoy is rougher, stronger and, therefore, more terrible. But, looking closer, we see that Dikoy is only capable of screaming and rampaging. She managed to subjugate everyone, keeps everything under control, she even tries to manage people’s relationships, which leads Katerina to death. The Boar is cunning and smart, unlike the Wild One, and this makes her more terrible. In Kabanikha’s speech, hypocrisy and duality of speech are very clearly manifested. She speaks very impudently and rudely to people, but at the same time, when communicating with him, she wants to seem like a kind, sensitive, sincere, and most importantly, unhappy woman.
We can say that Dikoy is completely illiterate. He says to Boris: “Get lost! I don’t even want to talk to you like a Sesuit.” Dikoy uses “with a Jesuit” instead of “with a Jesuit” in his speech. Tacon also accompanies his speech with spitting, which completely shows his lack of culture. In general, throughout the entire drama we see him peppering his speech with abuse. “Why are you still here! What the hell else is there here!”, which shows him to be an extremely rude and ill-mannered person.
Dikoy is rude and straightforward in his aggressiveness; he commits actions that sometimes cause bewilderment and surprise among others. He is capable of offending and beating a man without giving him money, and then in front of everyone standing in front of him in the dirt, asking for forgiveness. He is a brawler, and in his violence he is capable of throwing thunder and lightning at his family, who are hiding from him in fear.
Therefore, we can conclude that Dikiy and Kabanikha cannot be considered typical representatives of the merchant class. These characters in Ostrovsky's drama are very similar and differ in their egoistic inclinations; they think only about themselves. And even their own children seem to them to be a hindrance to some extent. Such an attitude cannot decorate people, which is why Dikoy and Kabanikha cause persistent negative emotions from readers.
Conclusion
Speaking about Ostrovsky, in my opinion, we can rightfully call him consummate master words, artist. The characters in the play “The Thunderstorm” appear before us as alive, with bright, embossed characters. Every word spoken by the hero reveals some new facet of his character, shows him from the other side. A person’s character, his mood, his attitude towards others, even if he doesn’t want it, are manifested in speech, and Ostrovsky, a true master of speech characterization, notices these features. The way of speech, in the author's opinion, can tell the reader a lot about the character. Thus, each character acquires its own individuality, a unique flavor. This is especially important for drama.
In Ostrovsky's "The Thunderstorm" we can clearly identify the positive hero Katerina and two negative hero Wild and Kabanikha. Of course, they are representatives of the “dark kingdom”. And Katerina is the only person who is trying to fight them. The image of Katerina is drawn brightly and vividly. main character speaks beautifully, in figurative folk language. Her speech is replete with subtle shades of meaning. Katerina’s monologues, like a drop of water, reflect her entire rich inner world. The author’s attitude towards him even appears in the character’s speech. With what love and sympathy Ostrovsky treats Katerina, and how sharply he condemns the tyranny of Kabanikha and Dikiy.
He portrays Kabanikha as a staunch defender of the foundations of the “dark kingdom.” She strictly observes all the rules of patriarchal antiquity, does not tolerate manifestations of personal will in anyone, and has great power over those around her.
As for Dikiy, Ostrovsky was able to convey all the anger and anger that boils in his soul. Everyone in the household, including nephew Boris, is afraid of the wild one. He is open, rude and unceremonious. But both of them who have the power of a hero are unhappy: they don’t know what to do with their uncontrollable character.
In Ostrovsky’s drama “The Thunderstorm”, with the help of artistic means, the writer was able to characterize the characters and create a vivid picture of that time. “The Thunderstorm” has a very strong impact on the reader and viewer. The dramas of the heroes do not leave the hearts and minds of people indifferent, which is not every writer succeeds. Only a true artist can create such magnificent, eloquent images; only such a master of speech characterization is able to tell the reader about the characters only with the help of their own words and intonations, without resorting to any other additional characteristics.
List of used literature
1.
A. N. Ostrovsky “Thunderstorm”. Moscow “Moscow Worker”, 1974.
2.
Yu. V. Lebedev “Russian literature of the 19th century”, part 2. Enlightenment", 2000.
3.
I.E. Kaplin, M.T. Pinaev "Russian literature". Moscow "Enlightenment", 1993.
4.
Yu. Borev. Aesthetics. Theory. Literature. encyclopedic Dictionary terms, 2003.
The play “The Thunderstorm” is one of the most famous in Ostrovsky’s work. A bright, social drama, the events of which take place in the 19th century in the town of Kalinov. Women's images in the play deserve special attention. They are colorful and unique. The image and characterization of Kabanikha in the play “The Thunderstorm” are undoubtedly important in the work. She is the main despot and tyrant in the play. She is also responsible for Katerina's death. Kabanikha’s goal is to subjugate as much as possible more people, in order to impose on them the morals, traditions and laws sacredly observed by her. True fear crept into her soul when she realized that a new time was approaching, a time of change that she was unable to resist.
Marfa Ignatievna Kabanova- she is Kabanikha. Widow. Merchant's wife. Mother of Varvara and Tikhon.
Image and characteristics
The surname Kabanova suits the main character very accurately, characterizing her from the first minutes. A wild animal is capable of attacking a person without a good reason, and so is the Kabanikha. Furious, ferocious. She is capable of “biting to death” a person if she doesn’t like him, which is what happened with Katerina, whom the widow simply killed off. It is impossible to please her. She will always find something to complain about, no matter how hard you try.
Kabanikha, after the death of her husband, was left with two small children in her arms. There was no time to be sad. I had to take care of and raise Varvara and Tikhon. Brother and sister are completely different in character and appearance, although they were raised the same.
Powerful, despotic woman, keeping not only household members, but also the entire neighborhood in fear.
“Your mommy is too cool...”
To subjugate and rule is her credo. I am absolutely convinced that the family is built on fear and subordination of the younger to the elder. “Don’t judge your older self! They know more than you. Old people have signs for everything.” He sees nothing abnormal in his attitude towards children.
“After all, out of love your parents are strict with you, out of love they scold you, everyone thinks to teach you good.”
Religious. This is not the faith of a religious fanatic who sacredly observes all fasts and God's laws. More like a tribute to tradition. She performs rituals automatically, without really delving into the process and its meaning. She has no faith in forgiveness and mercy. For her, the main thing is strict adherence to patriarchal orders. This is sacred.
“Well, I’ll go and pray to God; Do not bother me…".
She is no less demanding of those around her than of herself. What people themselves think about this and what feelings they experience is deeply indifferent to her.
Nerd. I am constantly dissatisfied with everything. Grumps with or without reason. It's hard to please her. Her own family annoys her, especially her son and daughter-in-law. This is where Kabanikha has a blast. He pokes his nose into their lives, interfering with advice. He believes that after his marriage the son lost interest in his mother, turning into a doormat and a henpecked man.
“Maybe you loved your mother while you were single. Do you care about me, you have a young wife.”
Daughter-in-law is a separate issue. The daughter-in-law's behavior is out of the ordinary. She doesn’t follow traditions and doesn’t care about her husband. Completely out of hand. Old age is not respected or honored.
Self-confident. I am convinced that she is doing everything right. He sincerely believes that if you maintain the ancient order and way of life, the house will not suffer from external chaos. The farm is managed harshly, worse than a peasant. Showing emotions is not typical for her. In her opinion, this is unnecessary. At the slightest sign of rebellion on the part of the family, Kabanikha nips everything in the bud. Any misconduct on their part entails punishment. She is immediately infuriated if young people try to cross her. Strangers are closer to her than her son and daughter-in-law.
“Prude, sir! He gives money to the poor, but completely eats up his family...”
He will say a kind word and reward him with alms.
Loves money. The boar is used to being in charge of the entire household. She is sure that the one who has more cash in his pocket is right. Having settled the resident praying mantises, she hears their laudatory speeches addressed to her every day. The flattering grandmothers completely fooled her. Kabanikha doesn’t even allow the thought that she might do something wrong. With their conversations about the end of the world, the old women support Kabanikha’s idea of life on earth.
Sections: Literature
Lesson objectives:
- Educational: students understand theoretical concepts (hero, character, characterization, speech, author, author's assessment), define and explain literary concepts, master such important concepts and skills as speech characteristics of characters, clarify author's position, try to see the features of the speech characteristics of the heroes of Ostrovsky’s drama “The Thunderstorm” and find out how the speech of the heroes helps to understand their character
- Educational: from observations of the features of Ostrovsky's style, they draw initial conclusions and generalizations regarding individual components of the style, master the theoretical and literary concept of style in a specific analysis of a literary text, in the process of working on the text of the play, they learn thoughtful reading, a sensitive attitude to the word, aesthetic perception of the images and events of the dramatic works.
- Educational: learn to understand people, draw conclusions and generalizations based on the speech of the interlocutor, construct their own statements
Equipment: computer, screen, flash presentation, handouts.
During the classes
1. Introductory speech by the teacher.
Hero image work of art consists of many factors - this is character, appearance, profession, hobbies, circle of acquaintances, and attitude towards oneself and others. One of the main ones is the character’s speech, which fully reveals both the inner world and way of life. The image of the adventurer Ostap Bender is inseparable from his aphoristic speech, replete with witticisms. The vocabulary of Ellochka the cannibal has long become textbook. The paradoxical nature of Lord Henry's statements in The Picture of Dorian Gray is a reflection of his intelligence, originality, education and cynicism. From modern writers to the masters speech characteristics Can be attributed to Boris Akunin. The first chapter of the novel “F.M.”, written from the point of view of a criminal, sharply contrasts with the sophisticated literary style to which the reader of the Fandorin cycle is accustomed:
A talentedly created speech characteristic of the hero is a decoration of the artistic text and an important touch to the character’s portrait. Skillful use of speech characteristics is one of the tools of a professional writer. And there is nothing more boring than heroes of different ages, different occupations and temperaments, who speak the same language.
You won’t find this in Ostrovsky. And today in class we will observe the speech characteristics of his heroes.
Slide 1-4. (Write down the topic of the lesson)
What is needed to understand this topic? Slide 5
2. Question: What is the peculiarity of the literary basis of drama? What are the reasons for these features?
? Slide 6
- Ideological and thematic content;
- composition;
- characters;
- character language and etc.
In this case, it is necessary to take into account the features of dramaturgy:
- lack of descriptive speech by the author;
- greater severity of conflict situations;
- speech of the characters as the only source for characterization and analysis of character images
3. Teacher information.
Slide 7
What role does speech characterization play in a work of art?
Slide 8
4. Let's see how the heroes of the drama appear on stage?
Slide 9
The characters' first lines What can you say about the characters?
Conclusion: Five lines - five characters.
Slide 10
5. The heroes of the drama are conventionally divided into two camps. Is it possible to determine from their statements who is from which camp?
Slide 11
Conclusion: Ostrovsky in the drama "The Thunderstorm" very clearly shows the global difference between positive and
negative heroes of his work. All the most important character traits and their reactions to developing events are clearly visible. Slide 12
6. Analysis of the character’s speech using the example of the Wild.
Slide 13-14
Features of speech | What do we learn about the hero? |
“I told you once, I told you twice”; “Don’t you dare come across me”; you'll find everything! Not enough space for you? Wherever you fall, here you are. Ugh, damn you! Why are you standing like a pillar! Are they telling you no?” Dikoy openly shows that he does not respect his nephew at all. Dikoy is a “significant person” in the city, a merchant. This is how Shapkin says about him: “We should look for another scolder like ours, Savel Prokofich. There’s no way he’ll cut someone off.” Let us remember what Dikoy says: “Once I was fasting about a great fast, and then it was not easy and I slipped a little man in, I came for money, carried firewood... I did sin: I scolded him, I scolded him... I almost killed him.” He says to Boris: “Get lost! I don’t even want to talk to you, a Jesuit.” Dikoy uses “with a Jesuit” instead of “with a Jesuit” in his speech. So he also accompanies his speech with spitting, which completely shows his lack of culture. In general, throughout the entire drama we see him peppering his speech with abuse. “Why are you still here! What the hell kind of merman is there!” Dikoy is rude and straightforward in his aggressiveness; he commits actions that sometimes cause bewilderment and surprise among others. He is capable of offending and beating a man without giving him money, and then in front of everyone standing in the dirt in front of him, asking for forgiveness. He is a brawler, and in his violence he is capable of throwing thunder and lightning at his family, who are hiding from him in fear. It seems to him that if he recognizes over himself the laws of common sense, common to all people, then his importance will greatly suffer from this, although Dikoy realizes that he is absurd. In a conversation with Kuligin, he refuses to give money for “thunderous taps”, while calling him a “robber”, “a fake little man”. For others, you are an honest person, but I think that you are a robber... What a fake guy... Dika’s entire conversation emphasizes her importance, her independence from anyone, and especially from Kuligin. I'll give you a report or something! I don’t give an account to anyone more important than you. Although Kuligin says that “the expense is empty,” Dikoy still stands his ground, denying even the possibility of fulfilling the request. He went to Kabanikha and told her about his unrighteous deeds. I was once talking about a great fast, and then I found it difficult and slipped a peasant in: I came for money, I carried firewood... I still sinned: I scolded... Dikoy differs from other characters in the drama with his uncontrollable character, but when he calms down, he is ready to admit that he is wrong. Truly I tell you, I bowed at the man’s feet. Dikoi and Kabanikha are very similar. Only one can admit that he is wrong, citing his good “heart,” while the other is sure that she is always right. The merchants as a whole completely deny progress. New states can be built in the world, new lands can open up, the face of the planet can change, but in the city of Kalinov on the banks of the Volga, time will flow slowly and measuredly, as if it never happened. All news reaches them very late, and even then very distorted. In unknown countries, people walk around with “dog heads.” The merchants have achieved a lot: they are rich, they have privileges, they are dependent peasants. Because of this, they do not want to move to new era, afraid of being left out. That's why they wanted to push it back at least a few years. At the same time, understanding that progress is inevitable, it is always present in human society. |
A wild one, as if nothing had happened, can offend a person just like that. He doesn’t regard not only those around him, but even his family and friends. His family lives in constant fear of his wrath. Dikoy mocks his nephew in every possible way. He puts himself above everyone around him. And no one offers him the slightest resistance. He scolds everyone over whom he feels his power, but if someone scolds him himself, he cannot answer, then stay strong, everyone at home! It’s on them that Dikoy will take out all his anger. We are struck by their callousness towards people dependent on them, their reluctance to part with money when paying workers. All relationships between people, in their opinion, are built on wealth. We can say that Dikoy is completely illiterate, which shows him as an extremely rude and ill-mannered person. Kabanikha is richer than Dikoy, and therefore she is the only person in the city with whom Dikoy must be polite. “Well, don’t let your throat loose! Find me cheaper! And I’m dear to you!” Another feature that unites them is religiosity. But they perceive God not as someone who forgives, but as someone who can punish them On the one hand, it seems that Dikoy is ruder, stronger and, therefore, scarier. But, looking closer, we see that Dikoy is only capable of screaming and rampaging. She managed to subjugate everyone, keeps everything under control, she even tries to manage people’s relationships, which leads Katerina to death. The Pig is cunning and smart, unlike the Wild One, and this makes her more terrible. |
It is important not only what the hero is talking about and how it characterizes him, but also the very manner of expressing his thoughts, vocabulary, and phrase construction.
After all, a word is a living reaction to the thoughts of the interlocutor, a living reaction to what is happening on stage, an expression of his thoughts and emotional experiences
Slide 15
7. Group work. Speech characteristics of Kuligin, Varvara, Kudryash and Boris.
8. Summing up.
Slide 16
“Ostrovsky’s work is a filigree polished gem of the Russian word.” Through the language of its characters, Russian speech shines through its most essential features: lexical richness, richness, imagery, accuracy, flexibility. The speech of Ostrovsky’s characters is a manifestation of their inherent appearance, worldview, social and everyday connections and influences. That's why characters People of the same social category differ not in their actions, but especially in their language and manner of speaking.
9. Homework.
Slide 17
Write a speech description of Katerina or Kabanikha (with quotes)
Prepare an analysis of the image of a character in a dramatic work based on speech characteristics.
Add. task: presentation-quiz “Recognize the hero by his cue.”
9. Reflection.
Reflection in a literature lesson (student self-analysis)
- In today's lesson I learned...
- I managed...
- Failed..
- I understand…
- I didn't understand.
Other abstracts on the subject Literature
Katerina’s strength and determination are shaded by syntactic constructions of a sharply affirming or negative nature.
Chapter 4. Comparative speech characteristics of Wild and
Kabanikha
In Ostrovsky's drama Groz Wild and Kabanikh representatives Dark Kingdom. It seems as if Kalinov is fenced off from the rest of the world by a high fence and lives some kind of special, closed life. Ostrovsky focused on the most important things, showing the wretchedness and savagery of the morals of Russian patriarchal life, because all this life is based solely on familiar, outdated laws, which are obviously completely ridiculous. Dark Kingdom clings tenaciously to his old, established things. This is standing in one place. And such standing is possible if it is supported by people who have strength and authority.
A more complete, in my opinion, idea of a person can be given by his speech, that is, by habitual and specific expressions inherent only to a given hero. We see how Dikoy, as if nothing had happened, can just offend a person. He doesn’t regard not only those around him, but even his family and friends. His family lives in constant fear of his wrath. Dikoy mocks his nephew in every possible way. It is enough to remember his words: I told you once, I told you twice; Don’t you dare come across me; you'll find everything! Not enough space for you? Wherever you fall, here you are. Ugh, damn you! Why are you standing like a pillar! They tell you no? Dikoy openly shows that he does not respect his nephew at all. He puts himself above everyone around him. And no one offers him the slightest resistance. He scolds everyone over whom he feels his power, but if someone scolds him himself, he cannot answer, then stay strong, everyone at home! It’s on them that Dikoy will take out all his anger.
Wild significant person in the city, a merchant. This is how Shapkin speaks about him: Look for another scolder like ours, Savel Prokofich. There's no way he'll cut someone off.
The view is unusual! Beauty! The soul rejoices! - Kuligin exclaims, but against the backdrop of this beautiful landscape a bleak picture of life is drawn that appears before us in the Thunderstorm. It is Kuligin who gives an accurate and clear description of the life, morals and customs that reign in the city of Kalinov.
Just like Dikoy, Kabanikha is distinguished by selfish inclinations; she thinks only of herself. Residents of the city of Kalinov talk about Dikiy and Kabanikha very often, and this makes it possible to obtain rich material about them. In conversations with Kudryash, Shapkin calls Diky a scolder, while Kudryash calls him a shrill man. Kabanikha calls the Wild warrior. All this speaks of the grumpiness and nervousness of his character. Reviews about Kabanikha are also not very flattering. Kuligin calls her a hypocrite and says that she gives favors to the poor, but is completely fed up with her family. This characterizes the merchant's wife from the bad side.
We are struck by their callousness towards people dependent on them, their reluctance to part with money when paying workers. Let's remember what Dikoy says: I was fasting about a great fast, and then it was not easy and I slipped a little man in, I came for money, I carried firewood... I did sin: I scolded him, I scolded him... I almost killed him. All relationships between people, in their opinion, are built on wealth.
Kabanikha is richer than Dikoy, and therefore she is the only person in the city with whom Dikoy must be polite. Well, don't let your throat out too much! Find me cheaper! And I am dear to you!
Another feature that unites them is religiosity. But they perceive God not as someone who forgives, but as someone who can punish them.
Kabanikha, like no one else, reflects this city’s commitment to old traditions. (She teaches Katerina and Tikhon how to live in general and how to behave in a specific case.) Kabanova tries to seem like a kind, sincere, and most importantly unhappy woman, tries to justify her actions by her age: Mother is old, stupid; Well, you, young people, smart, should not exact from us, fools. But these statements sound more like irony than sincere recognition. Kabanova considers herself the center of attention; she cannot imagine what will happen to the whole world after her death. Kabanikha is absurdly blindly devoted to her old traditions, forcing everyone at home to dance to her tune. She forces Tikhon to say goodbye to his wife in the old-fashioned way, causing laughter and a feeling of regret among those around him.
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