What is the attitude of Kuligin to the dark kingdom. The image of kuligin in the play thunderstorm ostrovsky composition

The Thunderstorm is one of the most tragic works of Russian literature. A. N. Ostrvsky put the most vivid characters and a subtle image of life in the images. One of the brightest characters is Kuligin. His characterization is distinguished by positive qualities, he is one of the most striking characters in the play, whom one wants to be equal to.

General characteristics of Kuligin

Kuligin is one of the residents of Kalinov. He is about 50 years old. He is a mechanic, his delicate profession is a watchmaker. All his life he devoted to the study of various mechanisms. Kuligin can be called a poet at heart. Everything he does - he does with love, selflessly. He loves nature, has a positive attitude towards reading books. He is able to support any conversation. He is a wise man and he gladly shares his wisdom with others.

Kuligin is a kind and sympathetic person. He loves to work for the good of society and he can even be called an altruist. Kuligin installed a sundial in the city, wants to install a lightning rod. But nobody supports his ideas. He is modest, considers himself a small person. Constantly afraid of offending someone. But at the same time, he also has courage. He is not afraid to be responsible for his actions and words. He is very honest and helpful. Appreciates the same qualities in people. Kuligin belongs to the bourgeois class. Such is general characteristics Kuligna "Thunderstorm".

Kuligin's worldview

Kuligin is a representative of the "new views". He is progressive and ready for something new. He is constantly inventing something and trying to introduce something new into life that will make the life of the whole city more convenient and easier. How he relates to the world, how and what he thinks, does not coincide with the worldview of the rest of the inhabitants of the city. He reads a lot of books, but this does not make him a conservative, but rather, on the contrary, makes it possible to reflect, move forward, be progressive and courageous in the emergence and implementation of various ideas. He is used to living not only for himself. This also distinguishes him from most of the city's residents, for whom it is strange and wild that someone wants to do a good deed for the good of the people, and not just for their own interests.

Kuligin's dream

Kuligin dreams of building a perpetum mobile, or a perpetual motion machine. He would like to receive a million from the British for it. But unlike most people, he wants to spend this million not for himself, but for the good of the city. He wants to provide the philistine with work. But until his dream comes true, and he is forced to create something for the good of the city. Since he does not have his own funds for this, he is forced to ask the wealthy city to sponsor his ideas. For example, he turns to Wild. But he does not accept his ideas, rejects him, and even accuses him of trying to steal and misappropriate finances. The whole city makes fun of him and considers him a real eccentric. Therefore, all of Kuligin's dreams cannot be realized while he is in Kalinov.

The play "The Thunderstorm" shows people from different points of view. A different worldview makes them different from each other, gives rise to a clash of interests and misunderstanding. But Kuligin is one of the positive characters for whom honor, dignity, intelligence are not empty words. He believes in himself and has a zeal for the new, progressive. He sincerely wants to improve the lives of the townspeople who do not understand or accept him. Holding the dead body of Katerina in his hands, Kuligin turns to the residents of the city with disappointment.

The rest of the faces in the drama are surprisingly full and vital. All of them are new, while some of them shine with particular novelty in our literature. For example, Kuligin, a self-taught mechanic, or a lady with two footmen. The latter, however, stops our attention not as a person, not as a character: it is only outlined by the author. It strikes you, rather, the idea of ​​bringing such a person onto the stage and giving it a certain meaning. Indeed, without him the drama would be somehow incomplete. She would have lost some of the colors that are very necessary for the overall tone of the picture.

Kuligin another thing. He is one of the main secondary persons in the play. Although he appears to us only from one side, from the side of the kind-hearted and dreamer, the author still has a lot of life in him. He is engraved in the memory with his likability. On stage you meet him with pleasure, you say goodbye to him with regret. He is a self-taught mechanic, a poet at heart, a dreamer. He is looking for a perpetuum mobile and raves about it, admires the beauties of nature and recites Lomonosov's poems, starts philanthropic ventures like sundials and lightning rods, and they drive him for this, and he is happy for it. Good people love him, but from the evil he all goes into his perpetuum mobile, into his lightning rods - look for him there. His character is related to the character of Katerina. And he, in all likelihood, not without storms and not without heart wounds, lived to see gray hair. And it is bitter for him to live among people who do not understand him and for whom he is an "antique, chemist". But he has a perpetuum mobile, which Katerina did not have - if only he could get some money for a model, but he would certainly find a perpetuum mobile. And when he finds it, he will receive a whole million rubles from the British and will do something good. In the meantime, you’re better off with him and don’t talk about this mobile: he will slip away from you right away, either because he’s already bored of talking with the profane about it, or he’s just afraid of disbelief and ridicule. Probably afraid.

Along with the old woman Kabanova, an elderly woman, callous and terrible formalist, there is another tyrant, the eminent face of the town, rich merchant Wild, uncle Boris. The face captured is unusually artistic. He always makes a fool and gets angry, but not because he was naturally angry. On the contrary, he is a wet chicken. Only his household tremble before him, and even then not all. Kudryash, one of his clerks, knows how to talk to him; that word and this ten. Wild is afraid of him. When, in the first scene of his appearance, Boris answered him rather sharply, he only spat and left. He is angry because a nasty custom has started: all his workers need money and everyone crawls to him for it. Do not stutter about his salary: "No one here dares to utter a word about the salary," says Kudryash, "scolds what the world is worth. You, he says, how do you know what I have on my mind? You don't know my soul! maybe I'll come to such an arrangement that I'll give you five thousand. " Only in such an arrangement he had never come before. He is also angry not because he could be incessantly angry, so that his bile would spill every now and then or his liver was ruined. No, and so, for an excuse, so that they would not ask for money under an angry hand. It’s not even easy for him to get angry; he will take into his head the suspicions that now they will ask him for money, so he finds fault with his family, boils his blood and went for the whole day: he will ask such an ostracism that everyone is hiding from him in the corners and money, maybe not will be asked. He loves to drink, and if a Russian person drinks, then he is not an evil person.

The old woman is another matter Kabanova... This is a precise woman with character. The same beliefs that awaken such bright images in Katerina's poetic soul completely dried up the already dry heart of the old woman by nature. Life has nothing alive for her: for her it is a series of some strange and absurd formulas, before which she is in awe and insistently wants others to revere them. Otherwise, in her opinion, the light will turn upside down. The most insignificant act in life is understandable to her and is permissible in this case only if it takes the form of a certain ritual. For example, it is impossible for a wife to say goodbye to her husband as simply as everyone says goodbye. Save God; about this incident she has various ceremonies in which the feeling is not given any place. After seeing her husband off, a wife cannot simply cry and be sad in her room: in order to maintain decency, it is necessary to whine, so that everyone can hear and praise. “It’s painful for me, dear girl, to listen, if someone howls well!” Says the wanderer Feklusha (here is another main person in this drama).

Meanwhile, the old woman Kabanova, too, cannot be called an evil woman. She loves her son very much, but is jealous of his daughter-in-law. She sharpens everyone in the house: she has such a habit of sharpening, and most importantly, she is convinced that this keeps the house and that as soon as she stops keeping order, the whole house will fall apart. She looks at her son and daughter-in-law as at children who cannot be released from care. Then there will be no order, they will be completely confused "for obedience, but for a laugh to good people." In one of her monologues (phenomenon VI, act II), she paints herself very aptly and sharply:

"But the fools, too, want to do their own thing: but if they come out, they get confused to obey and laugh to good people. Of course, who will regret it, but everyone laughs more. Yes, you can't stop laughing; they will invite guests, they will not put them in they know how, and even, look, they will forget some of their relatives. Laughter and that is all!

So this is what she is busy with, this is why she eats her son with her daughter-in-law. To the latter, it is true, she feels more than ill will, but this is because, in her opinion, the son loves his wife more than her mother. This jealousy is very common in mother-in-law. Pure in her opinion, in her life, which she narrowed down to the indispensable observance of various conditions and ceremonies of her life, she is inexorable to the weaknesses of others, and even more so to the weaknesses of her daughter-in-law; She only despises and adores the wild. He hates Katerina, but, again, not out of anger, but out of jealousy. She does not show the slightest pity at the sight of the poor drowned woman, but at the same time she is afraid for her son and does not let him go a step away from herself. Kuligin in one place calls her a prude. He's obviously wrong. She is not even a prude, because she is sincere; at least the play does not show that she is cunning or hypocritical about her beliefs and habits.

In contrast to these two women, the third woman's face - Varvara, daughter of the old woman Kabanova... This is a daring Russian girl, sometimes frank, sometimes sly, always cheerful, always ready to take a walk and have fun. And she loves, perhaps, the dashing guy in town, Kudryash, the Wild's clerk. This dashing couple only makes fun of the oppression and oppression. Varvara seduces Katerina, arranges night dates for her and leads the whole intrigue, but she is not the culprit of the disaster. Sooner or later, Katerina would have done the same without her. The barbarian in the play is only needed so that the fate of Katerina is accomplished in a dramatic way (taking this word not in the sense of tragedy, but in the sense of a scene and amusement). And in this respect, this person is necessary in the play. In general, in Mr. Ostrovsky's drama, all persons, even the most secondary ones, are needed, because they are all entertaining, unique and characteristic to the highest degree. Their dramatic processing is the height of perfection. Throw out one of them, the most insignificant, for example, even to Feklusha, and it will seem to you that you have cut out a piece from the most vivid part of the drama, and that the drama without this face does not represent a more harmonious whole. So the author was able to legitimize all these images.

Moreover, all the faces of his new drama are in no way alike, do not even resemble in the least the faces he had previously drawn. These are completely new characters and types. This quality not to be repeated anywhere, to display more and more new images with each new play, belongs, if we are not mistaken, among our contemporary writers, to only one Mr. Ostrovsky. If we consider his works only from the side of types and characters<…>, then criticism will have to confess that it is not dealing with the Gostinodvor Kotzebue, not with a writer who can not be denied talent or speak about him casually, but with our most remarkable contemporary poet, creative power which very few European writers can currently boast of.

<…>"The Thunderstorm" is, without a doubt, one of the best of his [ Ostrovsky] works. In it, the poet took several new sides from Russian life, which had not yet been picked up before him. In this drama, in our opinion, he took a broader look at the life he portrayed and gave us full poetic images from it. If there are any flaws in his play, they are completely redeemed by first-class beauties. In "The Thunderstorm" new motives are heard, the charm of which is doubled precisely because they are new. Ostrovsky's gallery of Russian women has been adorned with new characters, and his Katerina, old woman Kabanova, Varvara, even Feklusha will occupy a prominent place in it. In this play we noticed another new feature in the talent of its author, although his creative techniques remained the same as before. This is an attempt at analysis. It is difficult to judge from a single work whether this is good or bad. We only doubt that analysis can get along with the dramatic form, which by its very nature is already alienated from it. That is why we have not yet mentioned this new feature in the drama of Mr. Ostrovsky. Perhaps we are mistaken in mistaking a random occurrence for an intention.

Dostoevsky M.M. ""Thunderstorm". Drama in five acts by A.N. Ostrovsky "

The drama "The Thunderstorm" is based on the clash of the disenfranchised and oppressed with tyrant merchants. This conflict is composed of a number of private conflicts (the clash of Katerina and Kabanikha, Boris and Dikiy, Kuligin and Dikiy, etc.). However, leading in the development of the action is Katerina's clash with the "dark kingdom." The rest of the conflicts are correlated with him, subordinate to him, which gives the whole play harmony and completeness.

Obviously, when analyzing the text, we must focus the students' attention on Katerina's struggle for her rights.

Peculiarity

The play's conflict also lies in the fact that, along with Katerina's clash with tyrants, the author shows Katerina's deep inner drama: the heroine's passionate impulse for freedom and happiness collides with her own ideas about morality, formed under the influence of the same “dark kingdom” against which she “ revolted. " Without considering this internal conflict, one cannot understand either the character of Katerina or the ideological content of Ostrovsky's socio-psychological drama. We offer the teacher one of possible options analysis of the drama.

1. The main conflict of the drama. The positions of the heroes (a commented reading of the first - sixth phenomena of the first act of the drama). - 1 hour.

2. Katerina's mental tragedy (conversation with students on the seventh - ninth phenomena of the first act). - 1 hour.

3. Katerina in the struggle for her human rights (analysis of the leading scenes of the second - fourth actions). - 2 hours.

4. Katerina's suicide is a challenge to petty force. Resolution of other private conflicts of the drama (analysis of the fifth act). -1 hour.

5. Katerina is a ray of light in the dark kingdom. Genre originality plays. - 1 hour.

6. The dark kingdom in the drama "Thunderstorm". “Thunderstorm” on stage. - 1 hour.

It is advisable to acquaint students with the main provisions of Dobrolyubov's article "A Ray of Light in the Dark Kingdom" in the process of studying the text of the drama. In the final lessons, students will consolidate and systematize this information. Introducing students to work on the text, the teacher will invite them to name the main characters of the play, indicate their social status, establish where and when events unfold.

To evoke visual images of students, you can show them the picture of I. I. Levitan “Evening. Golden reach ”. The picture, of course, cannot be regarded as an illustration for the play, moreover, in its style it is far from genre painting Ostrovsky, but in this case we do not set ourselves the task of acquainting students with the peculiarities of the playwright's style. Our goal is to give an idea of ​​the Volga landscapes, to look at them through the eyes of a person far from the Kalinovites.

This is what he would see if he was on the banks of the Volga, in those places where the play took place.

The disciples will convert. attention to the coloring of the picture. Luscious green bushes bathed in the rays of the setting sun, orange, golden colors of water and sky. Fog rises over the river. The opposite bank lies in a grayish-blue haze.

The picture emanates from a quiet calmness. It wonderfully conveys the poetry of Russian nature.

We turn on the tape recording of the first phenomenon performed by the artists of the Moscow Mayakovsky Theater. From somewhere in the distance the song "Far, far away the steppe has gone beyond the Volga ..."

Instead of sound recording of the performance of the Mayakovsky Theater, the teacher can use the recording of the performance of the Maly Theater.

Against this background, the words of Kuligin sound especially expressive: “Miracles! Truly, it must be said that miracles! Curly!

Here, my brother, for fifty years I have been looking at the Volga every day and I can’t see everything ”. Kuligin not only admires the beauty of the Volga landscapes himself, but also seeks to show others “what beauty is spilled in nature”. Indeed, in his opinion, the enjoyment of nature could soften the cruel customs of the inhabitants of Kalinov.

Right there, through the attitude to nature, the author reveals the difference in the perception of the city's inhabitants. In response to Kuligin's enthusiastic words, one can hear Kudryash's rudely prosaic remark "Net!" The poetry of nature is inaccessible to Kudryash, and Kuligin himself is not a person of this world for him, blessed one: “Well, why should I talk to you! You are an antique, chemist! "

The continuation of the dialogue brings us into the main conflict of the drama. What do we learn from the dialogue about Dick and Kabanikh? What is the attitude to the tyrant merchants Kudryash, Shapkin, Kuligin and what is the difference in their life positions? - we ask the students.

Let us draw the pupils' attention to the fact that Kuligin and Kudryash agree in condemning tyrants, but if Kudryash is ready to defend his independence (“No, I won’t slave to him”), then Kuligin prefers to submit to the power of the wild (“From him, eh, take an example! Better to endure! "). Thus, the play outlines two paths for the people of the "oppressed party": to fight against tyrants or to submit.

Then we become direct witnesses of the clash of tyrants and their victims. Conducting a conversation on the second and third phenomena, the teacher will invite the students to draw a portrait of the Wild, tell about his attitude towards households and residents of the city, and give his speech characteristics.

In the minds of Dikoy's students, he is a stout, burly merchant with a thick beard, he is in a coat, greasy boots, stands akimbo, speaks in a low voice. However, A.'s student painted a different portrait of the Wild. According to his description, Dikoy is a small, dry old man with a sparse beard and restlessly shifting eyes. This description has its own logic.

It points to the complete insignificance of the Wild One's personality, raises the question of why such an essentially miserable person is capable of awe the people around him. True, with such an interpretation of the image of the Wild, the gloomy coloring of the dark kingdom softens, and it is no coincidence that the stage tradition does not know such an embodiment of the image.

The students already got acquainted with the commercial activities of merchants at overview study comedy "Our people - we will be numbered". In The Thunderstorm, Ostrovsky's attention is focused on family relationships, but even here, from the individual replicas of the heroes, a picture of gross arbitrariness, robbery and money-grubbing is formed. Dikoy openly miscalculates the peasants, but when they complain to the governor of him, he cynically declares: “Is it worth it, your honor, for us to talk about such trifles!

I have a lot of people every year; You must understand: I will not pay them extra for a penny per person, but I have thousands of this, so it is good for me! " - and at the same time familiarly pats the mayor on the shoulder.

Dikoy's appeal to the mayor indicates that Dikoy is aware of his strength - this is the power of a money bag. Therefore, he values ​​every penny so much, which is why his meetings with Boris, who claims to be part of the inheritance, are so annoying.

The fifth phenomenon, which is of exceptional importance for understanding the customs of the dark kingdom.

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28. Ostrovsky's play has every reason to be called a "Russian tragedy." Constructive elements of the genre of tragedy appear in it, transformed by the specifics of national life. The “fateful” passion of the heroine, leading to “death”, the image of a “thunderstorm” that permeates all the action, the divinations of the mad lady, in which the myth “of the tragic guilt inherent in beauty” (P.A. Markov ). Inhabitants of the city of Kalinova, witnesses and [...] ...
29. Our writers XIX centuries often talked about the unequal position of the Russian woman. “You share!” - Russian female share! It is hardly more difficult to find, ”exclaims Nekrasov. Chernyshevsky, Tolstoy, Chekhov and others wrote on this topic. But to me personally, A. N. Ostrovsky really discovered the tragedy of the female soul in his plays. “Once upon a time there was a girl. Dreamy, kind, affectionate. She lived with her parents. Needs [...] ...
30. Only those works survived the centuries that were truly folk at home; over time, such works become understandable and valuable for other peoples and for the whole world. A. N. Ostrovsky The name of A. N. Ostrovsky in Russian literature is associated with the creation of a nationally distinctive dramatic art, calculated, as the playwright himself wrote, “for the whole people”. One of the best and [...] ...
31. The author's position and means of its expression in the play "The Thunderstorm" In Ostrovsky's play "The Thunderstorm" public life, which took place in the 50s of the XIX century, the change of social foundations. A playwright cannot be completely impartial, but it is very difficult for him to express his position - author's position is revealed in directions, of which there are not very many and they are not expressive enough. Remains [...] ...
32. The drama "The Thunderstorm", written by A. N. Ostrovsky in 1859, is a socio-psychological drama in its genre, but it is close to a tragedy. This is proved not only by the tragic ending - the heroine's suicide, but also by the intense intensity of passions, the classic contradiction between feeling and duty in Katerina's soul. As a subtle master psychologist, the author draws the deep feelings of the heroine, her suffering, change of moods. [...] ...
33. A. N. Ostrovsky in the play "The Thunderstorm", written in 1859, showed the life and customs of the Russian provincial society of that time. He revealed the problems of morality and the shortcomings of this society, showing the main features of tyranny. In his play, Ostrovsky took action outside family life into a wide sphere of publicity: on a city street, on a square, in a public garden and surrounded the main [...] ...
34. What, in fact, contributed to the awakening of Katerina's self-awareness? When did she feel like a person? When I fell in love. It is the love of Katerina, with all her tragic doom, that illuminates the surrounding darkness with a bright light. Her love revives Tikhon and even Boris, awakening in them feelings of compassion and pity; and in them grows, of course, to a different extent, the very self-awareness that they were at the beginning [...] ...
35. One of the creations of Alexander Nikolaevich Ostrovsky can be called the small town of Kalinov, where tyranny and selfishness reign. Among the vivid images of the play "The Thunderstorm", which tells about this place, there is an ordinary philistine and dreamer - Kuligin. Despite his good age, he is cheerful and initiative. From the very first lines, we can see how the hero differs from the rest of society. [...] ...
36. The drama of A. N Ostrovsky "The Thunderstorm" shows us life in the city of Kalinovo, every now and then disturbed by various manifestations of thunderstorms. The image of this natural phenomenon in the drama is very multifaceted: it is both the character of the play and its idea. One of the most striking manifestations of the image of a thunderstorm is the characterization of the characters in the drama. For example, we can say with confidence that the character [...] ...
37. Kuligin The play Thunder by N. Ostrovsky shows a character who, throughout the entire work, makes certain efforts to protect progress and public interests. And even his surname - Kuligin - is very similar to the surname of the famous Russian mechanic-inventor Ivan Kulibin. Despite his philistine origin, Kuligin strives for knowledge, but not for selfish goals. His main concern [...] ...
38. The Thunderstorm is a play by Alexander Nikolaevich Ostrovsky in five acts, written in 1859, in the midst of a pre-reform social upsurge. After the premiere of the play on the stage of the Moscow Maly Theater, the play was followed by many critical reviews. Minor characters in this play play an important role. The development of the conflict would have been impossible without Feklusha, Varvara, Kuligin and others. Most of the secondary [...] ...
39. A. N. Ostrovsky wrote many plays that can be seen at the present time on TV or in the theater. But one of the most famous is the drama "The Thunderstorm". It was written in 1860 - on the eve of the abolition of serfdom. Therefore, many of Ostrovsky's contemporaries saw in her a call for the renewal of life, for freedom. Although it seems to us in [...] ...

Open lesson in the context of contextual learning technology

Topic: "The city of Kalinov and its inhabitants" in the play by A. Ostrovsky "The Thunderstorm".

Class: 10

Lesson type: working with artistic text.

Lesson type - a workshop using contextual learning technology with access to creative work.

The purpose of the lesson: using the speech characteristics of the heroes, consider how the "cruel manners" of the inhabitants of the city destroy the fate of the heroes.

Lesson objectives: to characterize the city of Kalinov;

Trace the system of social relations of people of the "dark kingdom"

To promote the development of analytical, communicative and reflective culture, monologue and dialogical speech of students, disclosure of their creative abilities

Equipment: A. N. Ostrovsky's drama "The Thunderstorm"

Presentation "The city of Kalinov and its inhabitants";

Group work cards

Principle: "As many students as possible and as few teachers as possible"

Epigraph: Life is a certain surplus

Spilled in the sultry air.

F.I. Tyutchev.

Appendix,

Wild.
- He's afraid that he is who! Boris Grigorich got him as a sacrifice, so he drives it ... (Kudryash)
- Look for such and such a scolder like our Savel Prokofich! No way would a person be cut off. (Shapkin)
- A piercing man. (Curly)
-There is no one to take him down, so he is fighting ... (Shapkin)
- How not to scold! He cannot breathe without it ... (Curly)
- He first breaks hell with us, outrages in every possible way, as his heart desires, but all the same ends up by giving nothing ... (Boris)
- He has such an establishment. No one here dares to utter a word about the salary, scold what the light is worth. (Curly)
- They can't please him, but where can I ... (Boris)
- Who will please him, if his whole life is based on swearing? And most of all because of the money. Not a single calculation is complete without swearing. The other is glad to give up his own, if only he would calm down. And the trouble is, in the morning someone will make him angry! All day long to find fault with everyone. (Curly)
- One word: warrior! (Shapkin)
- But the trouble is, when such a person, whom he does not dare to scold, offend him, then hold on to your family! (Boris)
- And the honor is not great, because you have been fighting with women all your life ... (Kabanova)
-I wonder a lot at you: how many people you have in your house, but they cannot please you alone. (Kabanova)
-There are no elders over you, so you are swaggering ... (Kabanova)

(Dikoy is a hefty, burly merchant with a bountiful beard, he is in a jacket, oiled boots, stands akimbo, speaks in a low, bass voice ... He is known in the city as a rude and cruel man. Petty tyrant. His petty tyranny is based on the power of money, material dependence and the traditional obedience of Kalinovites . Frankly cheating men. Conscious of his strength - this is the power of a money bag. Treasures every penny and gets annoyed when meeting with Boris, claiming to be part of the inheritance. Material dependence is the basis of the relationship between the characters of the play. Dikoy acts as a "hero" only in front of his subordinates: in fact, he is The Dikiy's speech is rude, saturated with coarse vernacular vocabulary and an abundance of profanities: "Parasite! Get lost! ... Ugh, damn you! That you are standing like a pillar! ... I don’t want a Jesuit!)
Kabanikha.
-Kabanikha is also good! ... Well, yes, at least she, at least, is all under the guise of piety ... (Curly)
-Prude, sir! She clothe the beggars, but she ate the household altogether. (Kuligin)
-Do not respect you, how can you ... (Varvara)
- ... what an unfortunate person I was born that I can't please you with anything (Tikhon)
- ... he eats while eating, does not give a pass ... (Tikhon)
-She sharpens him (Tikhon) now, like rust iron ... Her heart will wear out, that he walks at will. Here she is now giving him orders, one more formidable than the other, and then to the image - she will make him swear that he will do everything as accurately as ordered. (Barbara)
-Koli mama sends, how can I not go. (Tikhon)
-Well, I'm going to pray to God, don't bother me ... (Kabanova)
- Youth is what it means ... It's funny to look at them even! ... They don't know anything, of any order ... Well, whoever has elders in the house, they keep the house while they are alive. (Kabanova)
-Not very much respected nowadays ... (Kabanova)
- If not the mother-in-law! .. She crushed me ... from her, I got sick of the house; the walls are even disgusting ... (Katerina)
- ... many people, if only you can be taken, with virtues, as flowers are adorned: that's why everything is done cool and decency ... (Feklusha)
-We don't have to hurry, honey, we live leisurely ... (Kabanova)
-You find a cheaper one! And I am dear to you! (Kabanova to the Wild)
-Let's suppose that even though her husband is a fool, her mother-in-law hurts fiercely ... (Curly)
- Mummy, you are very cool. (Kuligin)
- Here mamma says: she must be buried alive in the ground so that she could be executed! (Tikhon)
-Mommy eats her, and she, like a shadow, walks unrequited ... (Tikhon)
-I would be nothing, but mamma ... unless you can talk to her ... (Tikhon)
-I have to say it bluntly, that from mamma (Varvara ran away from home), so she began to tyrannize and lock her ... (Tikhon)
-the mother-in-law tortures me, locks me up ... everyone laughs right in my eyes, reproaches you at every word ... (Katerina)
-Mommy, you ruined her, you, you, you ... (Tikhon)
Approximate characteristics performed by students:
(A tall, overweight old woman, wearing an old-fashioned dress; keeps upright, with dignity, walks slowly, sedately, speaks weighty, significant. The domineering, despotic Kabanikha constantly sharpens the household. Kabanikha sees the basis of the family as the home-building laws of life, sanctified by antiquity. Kabanikha is convinced that if these laws are not followed, there will be no order. She speaks on behalf of an entire generation, constantly using didactic phrases. Her image grows to a symbol of patriarchal antiquity. Relying on the authority of antiquity, Kabanikha widely uses folk phraseology and proverbs in speech: “Why are you pretending to be an orphan? Why did you let the nuns go? "," Someone else's soul - darkness. " A measured, monotonous character is given to Kabanikha's speech by the repetitions of words and phrases: "... if she hadn't seen it with my own eyes and heard it with my own ears", "... that the mother is a grumbler, that the mother does not let her pass, she stifles with the light ...".Households dependent on Kabanikha have different attitudes towards her teachings.)

Feklusha and other residents of the city.
-Yes, what can we say! You live in the promised land! And the merchants are all pious people, adorned with many virtues! By the generosity and alms of many! (Feklusha)
-Everything in the fire will burn inextinguishable! Everything in the resin will boil unquenchable! (Lady)
- Painfully, I love, dear girl, to listen, if someone howls well. (Feklusha)
-Who will understand you, you are all riveting at each other ... all quarrel, but quarrel. (Glasha)
-And I, dear girl, not absurd, for me this sin is not. I have one sin ... I love to eat sweetly. (Feklusha)
-I ... did not go far, but to hear - I heard a lot ... (Feklusha)
-And that is, there is still a land where all the people are with dogs' heads ... For infidelity. (Feklusha)
-It's also good that good people yes: no, no, yes, and you will hear what is happening in the world; otherwise they would have died like fools. (Glasha)
- The last times, Matushka Marfa Ignatievna, the last, by all indications, the last ... Here you have ... rarely will anyone go outside the gate to sit ... but in Moscow, there is a groan in the streets of gulbishcha and merrymaking, there is a groan ... Why, they began to harness the fiery serpent ... (Feklusha)
- Hard times ... the time has already begun to come into belittling ... the time is getting shorter ... for our sins it is getting shorter and shorter ... (Feklusha)
-What is Lithuania? - So she is Lithuania. - And they say, my brother, she fell on us from the sky ... - I don't know how to tell you, from the sky, so from the sky .. (Citizens)
Approximate characteristics performed by students:
(The world of the city is motionless and closed: its inhabitants have a vague idea of ​​their past and do not know anything about what is happening outside Kalinov. Feklushi's absurd stories create distorted ideas about the world among Kalinovites, instill fear in their souls. She brings darkness into society , ignorance. Together with Kabanova she grieves about the end of the good old times, condemns the new order. New powerfully enters life, undermines the foundations of the Domostroy order. Feklushya's words about “the last times" sound symbolically. The patriarchal world of the Kabanovs and the wild lives on last days... Feklusha's life position also predetermines the peculiarities of her speech. She strives to win over those around her, so the tone of her speech is smooth and flattering. Feklusha's agreeableness is also emphasized by her saying "sweetheart".

Tikhon Kabanov.
- But how can I, mamma, disobey you. (Kabanov)
-I think, mama, not a step out of your will ... (Kabanov)
- ... what an unfortunate person I was born that I can't please you with anything ... (Kabanov)
-What are you pretending to be an orphan? What are you nuns about? What kind of husband are you? Look at you! Will your wife be afraid of you after that? (Kabanova)
-Yes, mamma, I don’t want to live by my own will. Where can I live by my own will! (Kabanov)
-Fool! What to say with a fool, only one sin ... (Kabanova)
-Mother attacks her, and so do you. And you also say that you love your wife. It's boring for me to look at you. (Barbara)
-Know your business - keep quiet, if you don't know how to do anything ... (Barbara)
-You already drove me here completely! I have no idea how to break free, but you are still imposing on me. (Kabanov)
-With this kind of bondage, you will run away from whatever beautiful wife you want ... Whatever it is, I am still a man ... to live like this all your life ... so you will run away from your wife. But how do I know now that there won't be any thunderstorm over me for two weeks, there are no shackles on my legs, so what about my wife? (Kabanov)
-And I love her, I'm sorry to touch her with a finger. He beat me a little, and even then mamma ordered… .That's why I am killed, looking at her. (Kabanov)
-It's time for you, sir, to live with your mind. (Kuligin)
-No, they say their own mind. And, therefore, live a century for a stranger. (Tikhon)
Approximate characteristics performed by students:
(Tikhon thinks only about pleasing his mother, striving to convince her of his obedience. The plural address, the repeated word "mamma" give his speech a derogatory character. He understands that, fulfilling his mother's will, he humiliates his wife. But Tikhon is a weak-willed person who resigns himself to his mother's fierce disposition.)

Kuligin.
-Fifty years I have been looking at the Volga every day, but I can't get enough of everything ... Have you looked closely or do not understand what beauty is spilled in nature ... (Kuligin)
-You are an antique chemist ... (Kudryash)
-Mechanic, self-taught mechanic ... (Kuligin)
-What eh (Dikova), take an example from him. Better to endure. (Kuligin)
-What to do, sir. We must try to please somehow. (Kuligin)
-I have read Lomonosov, Derzhavin ... (Kuligin)
-I really do, sir, for my chatter gets; but I can’t, I like to scatter the conversation! (Kuligin)
-Only I, sir, find a perpeta-mobile ... After all, the British give a million. I would use all the money for society and for support. Work must be given to the philistine. And then there are hands, but there is nothing to work. (Kuligin)
-Because from this ... for all the common people in general benefit ... (Kuligin)
-Yes, why are you crawling to me with all sorts of nonsense ... What am I to you - even or what? (Wild)
-I want to put my works for nothing ... Yes, everyone here knows me, no one will say bad things about me ... (Kuligin)
-I, sir, small man, to offend me not for long ... "And virtue is honored in rags." (Kuligin)
-Nothing to do, you have to submit. (Kuligin)
-It's a pity to disappoint him! What a good man! He dreams of himself - and is happy. (Boris)
Approximate characteristics performed by students:
(Kulign speaks with pain of “ cruel morals"Of the city, but advises to" please somehow "tyrants. He is not a fighter, but a dreamer; his projects are not feasible. He spends his energy on the invention of a perpetual motion machine. The peculiarities of his old-fashioned speech are also associated with Kuligin's position in life. He often uses Old Church Slavonic words and phraseological units, quotations from the Holy Scripture: "the breadth of bread," "there is no end to torment," etc. He is loyal to Lomonosov and Derzhavin.)
Varvara and Kudryash.
-We have few guys on my side, otherwise we would have taught him to play mischievous ... (Curly)
-He senses with his nose that I won't sell my head cheaply ... He's scary to you, but I can talk to him. (Curly)
- I am considered rude ... I am not afraid of him, but let him be afraid of me. (Curly)
- Yes, I don’t let it down either: he’s not a word, and I’m ten ... No, I’m not going to slave before him. (Curly)
-I'm sick of dashing girls ... (Curly)
-What should I judge you, I have my sins ... (Barbara)
-And what a desire to dry up! Even if you die of melancholy, they will regret it for you! ... So what a bondage to torture yourself! (Barbara)
-I didn't know that you were so afraid of a thunderstorm. I'm not afraid. (Barbara)
-And I was not a deceiver, but I learned when I needed to ... (Barbara)
-And in my opinion, do what you want, if only it was sewn and covered. (Barbara)
- Take a walk until your time comes. You will still sit there. (Kabanova)
“Varvara’s mama grinded and sharpened, and she couldn’t stand it, and she was like that, - she took it and left ... They say Kudryash and Vanka ran away, and they will not find him anywhere either ... from mamma, so she began to tyrannize and lock her up. “Do not lock it,” he says, “it will be worse.” And so it happened. (Kabanov)
Approximate characteristics performed by students:
(Varvara is convinced that you cannot live here without pretense. She sneers at her mother, condemns her. In the love of the barbarian and Kudryash there is no true poetry, their relationship is limited. Barbara does not love, but only “walks.” The author depicts the “free” behavior of young people. )

AN Ostrovsky in the play "The Thunderstorm", written in 1859, showed the life and customs of the Russian provincial society of that time. He revealed the problems of morality and the shortcomings of this society, showing the main features of tyranny.

In his play, Ostrovsky took the action outside the family life into a wide sphere of publicity: on a city street, on a square, in a public garden and surrounded the main characters with representatives of different strata of the population. One such "representative" is Kuligin - a tradesman, a self-taught mechanic who socially opposes both the Wild and Kabanikha, because he does not accept Kalinov's cruel customs and, according to Dobrolyubov, Kuligin, like Katerina, personifies in the "dark kingdom" another life, with different principles. " True, Kuligin, unlike Katerina, softens the relationship between the "dark kingdom" and its victims. He preaches more patience and obedience. So, for example, when Kudryash rebuffs Dikiy, Kuligin objects: "It is better to endure," and to Dikiy's threats he says: "There is nothing to do, you have to submit!" And Dikoy calls Kuligin a "worm". "Tatar", "robber", he wants to send this modest inventor "to the governor" and wants to refute knowledge with wild superstition. Kuligin is not a fighter; he defends his human dignity timidly, naively referring to the authority of Lomonosov and Derzhavin. He also naively believes in a perpetum mobile that will help downtrodden people to ease their lot. Kuligin cares "for the common good", he worries about the baseless fears of the townspeople, he himself is devoid of any superstitions. He is offended by the darkness and ignorance of the Kalinovites, the mores of this city. Imeno Kuligin says: “Cruel manners, sir, in our city, cruel !. In the middle class, sir, you will see nothing but rudeness and naked poverty. "

Kuligin is a kind and delicate person, he dreams of changing the life of the poor people of Kalinovka, having received an award for the discovery of a perpetual motion machine, but all his technical ideas are an anachronism for the 19th century. The sundial he dreams of came from antiquity, the perpetum mobile is a medieval idea, the lightning rod is a technical discovery of the 18th century. He often looks funny, eccentric. For Kalinovites, Kuligin is something of a local holy fool.

Kuligin is very sensitive to nature, in this sense he is a delicate person. His soul is extremely happy beautiful landscapes, he is ready to compose hymns to nature. For example, in order to convey to the crowd his sense of beauty and harmony, he speaks of nature in the words of Lomonovsov6 “Well, what are you afraid of, please tell me! Now every grass, every flower is rejoicing, but we are hiding, we are afraid, as if what a misfortune! .. The northern lights will light up - we should admire and marvel at wisdom: "From the midnight countries the dawn rises!" and you are horrified and wonder whether it is for war or for the sea ... "

Despite Kuligin's weak protest against the "Dark Kingdom", the meaning of his remarks and monologues is an ideological commentary on what is happening, he is still the moral judge of the Wild, Kabanikha and everything that they represent. It is not for nothing that in the last act of the play it is Kuligin who brings Katerina's body to the bank of the Volga and utters words full of reproach:

Here's your Katerina. Her soul is no longer yours: she is now before a judge who is more merciful than you!

Kuligin is the moral judge of the "dark kingdom", perhaps because some critics called him a "ray of light".

The city of Kalinov in Ostrovsky's play "The Thunderstorm" is a city that denies the interference in his life of innovations, progress, anything that is contrary to the measured unhurried flow of time in it. Everything is the same there: the younger generation is afraid of the older, wives are submissive to their husbands, the main entertainment is going to church and to the market with one of the accompanying elders. There have never been cars here, everyone either swears or is afraid, here they sing only at night, because the elders will not approve of this sign of will. And even more so, here they will never want to help a person who wants to change this.

Changes are unacceptable, they interfere with the life that the Lord God himself gave to the blessed city of Kalinov. Big cities have long been controlled by the unclean, plunging into sin and offering their devilish innovations. This is the attitude of all residents of Kalinov to science and technology. Everything that is incomprehensible - from the devil, everything that challenges a peaceful existence - must be destroyed or simply not given a go.

Kuligin was not lucky to be born here. He is a gifted inventor, as they say, "from God", and he is not selfish, he is ready to work for free, if only people feel good, just to show that it is possible to live better. No wonder his surname is consonant with the surname of the famous Russian mechanic - Kulibin, by the way, who was also not fully understood, and many of his projects were never implemented, ahead of their time. Kulibin, for the most part, was forced to create what was then in demand: machine guns, toys with a secret, fireworks for large receptions. By the way, Kulibin wrote poetry, like his literary counterpart.

Kuligin was also ahead of his time that he would not budge in this small Volga town. His desire to help the Kalinovites runs into an obstacle - he is poor and is forced to ask for financial assistance from wealthy merchants for his projects, but whoever he turns to - everyone chases him away. Why would anyone make life easier, pay for the common good? Dikoy even regrets ten rubles for the lightning rods, although he simply didn’t cheat for the same ten rubles.

Kuligin wants to find a perpetuum mobile, a perpetual motion machine, and sell the invention for ten million in order to become independent and help hometown... He wants to be needed, wants to help, to change the life of Kalinovites for the better, but his creations are not needed, like he is. Who are the Kalinovites in their bulk? Believers, people living according to the housebuilding rules, whose life consists of deception in trade, bullying at home, going to church and to the market. Nobody expresses a desire to change the existing order of things.

Kuligin, a self-taught scientist, is the only person in the city of Kalinov who wants change. He sees everything and understands everything. Somehow, he does not fit into the general course of Kalinov's life - he sings songs during the day, looking at his beloved Volga, and his soul is fully aware of the beauty of nature, a picturesque place in which he lives. But, however, his destiny is to fight the well-oiled mechanism of the merchant's life in Kalinovka - and to be constantly ridiculed and rejected. He has long resigned himself to reproaches and abuse, but day after day, having met a possible patron of the arts, he patiently explains the value of the proposed innovations.

He is an eternal supplicant, and his patience is a kind of protest against this life. Apparently, he is of the opinion that “a drop is hammering the stone,” and day after day, not being disappointed by another failure, he turns to the merchants, again and again explaining the merits of the new invention.

He is an optimist and believes that the hour will come someday; Dikoy, perhaps, will get up on the very same foot, his first invention will see the light of day, and everything will go as if on a knurled one.

He is very smart, he notices everything and understands everything. Perhaps he is the only one who fully understood and justified the act of Katerina. He is sure that only God can judge her, not Kabanikha, Wild and others. Kuligin advised Tikhon to forgive Katerina, but Katerina decided everything herself - and committed suicide.

Katerina does not know, she wants him, the search for this led her to Boris, and then pushed her off the cliff. Kuligin, unlike her, knows that there is no way out. Only one rare patience, luck and luck. However, he is a patriot. He could find a benefactor in big city, and there would definitely be in demand - and understands this. But he doesn't leave. An outlet for him is admiring his native places, he breathes fresh air from the Volga and waits for the changes that he feels with the approach of a thunderstorm.

Perhaps, in his lifetime, changes will take place in Kalinov. He is waiting. And he alone has the moral right to condemn those who condemn Katherine. This drama is not only the drama of a traitor who resolved herself out of shame. This is the drama of all thinking people of that time, whose desire to change the world around them led them to sad consequences.

Maybe Kuligin will wait for his happy day and be able to change the life of the Kalinovites for the better. But the play ends with the death of Katerina, who tried to change her life. Perhaps Ostrovsky makes it clear that a lot of patience is needed - progress will come even to Kalinov. And then Kuligin will win. He had struggled with ignorance and greed for too long, unsuccessfully, to miss his chance. But Ostrovsky gives only a hint of this. And we can only guess.

Kuligin - character characteristics

Kuligin is a character who partially fulfills the functions of an exponent of the author's point of view and therefore is sometimes referred to the type of a hero-reasoner, which, however, seems to be incorrect, since on the whole this hero is undoubtedly distant from the author, a rather detachment is depicted, as an unusual person, even somewhat outlandish. In the list actors about him it is said: "a philistine, a self-taught watchmaker looking for a perpetuum mobile." The hero's surname transparently hints at the real person - I. P. Kulibina (1755-1818), whose biography was published in the journal of the historian M. P. Pogodin "Moskvityanin", where Ostrovsky collaborated.

Like Katerina, K. is a poetic and dreamy nature (for example, it is he who admires the beauty of the Trans-Volga landscape, complains that the Kalinovtsy are indifferent to him). He appears, singing "Among the flat valley ...", folk song literary origin (to words by A.F. Merzlyakov). This immediately underlines the difference between K. and other characters associated with folk culture, he is also a bookish man, albeit a rather archaic bookishness: he tells Boris that he writes poetry “in the old-fashioned way ... The sage was Lomonosov, a nature tester ... ". Even the characterization of Lomonosov testifies to K.'s well-readness in the old books: not a "scientist", but a "sage", a "tester of nature." “You are an antique chemist with us,” Kudryash tells him. "Self-taught mechanic", - corrects K. Technical ideas of K. are also an obvious anachronism. The sundial, which he dreams of installing on Kalinovsky Boulevard, dates back to antiquity. Lightning conductor - technical discovery XVIII ”Sw. If K. writes in the spirit of the classics of the 18th century "Sw., Then his oral stories are sustained in even earlier stylistic traditions and resemble old moralizing stories and apocrypha (" and they will begin with judgment and business, and there will be no end to torment. they are going to court here, but they will go to the province, and there they are expected to be, but they splash their hands with joy ”- the picture of judicial red tape, vividly described by K., recalls stories about the torment of sinners and the joy of demons). All these features of the hero, of course, were given by the author in order to show his deep connection with the world of Kalinov: he certainly differs from the Kalinovites, we can say that he is a "new" person, but only his novelty has developed here, inside this world , giving rise not only to its passionate and poetic dreamers, like Katerina, but also to its "rationalists" -dreamers, its own special, home-grown scientists and humanists.

K.'s main work in life is the dream of inventing a "perpetu-mobile" and receiving a million from the British for it. He intends to spend this million on the Kalinov society - "work must be given to the philistine." Listening to this story, Boris, who received modern education at the Commercial Academy, notes: “It's a pity to disappoint him! What a good man! He dreams of himself - and is happy. " However, he is hardly right. K. is really a good person: kind, disinterested, delicate and meek. But he is hardly happy: his dream constantly forces him to beg for money for his inventions, conceived for the benefit of society, and it does not even occur to society that there can be any benefit from them, for them K. is a harmless eccentric, something- something like the city's holy fool. And the main of the possible "patrons" - Dikoy, lashes out at the inventor with abuse, once again confirming both the general opinion and Kabanikhe's own admission that he is not able to part with the money. Kuligin's passion for creativity remains unsatisfied; he takes pity on his fellow countrymen, seeing in their vices the result of ignorance and poverty, but he cannot help them in anything. So, the advice he gives (to forgive Katerina, but so as not to ever remember her sin) is obviously impracticable in the Kabanovs' house, and K. hardly understands this. The advice is good, humane, since it proceeds from humane considerations, but does not in any way take into account the real participants in the drama, their characters and beliefs.

For all his diligence, the creative principle of his personality, K. is a contemplative nature, devoid of any pressure. Probably, this is the only reason why the Kalinovites put up with him, despite the fact that he is different from them in everything. It seems that for the same reason it turned out to be possible to entrust him with the author's assessment of Katerina's act. “Here's your Katerina. Do what you want with her! Her body is here, take it; but the soul is not yours now: it is now before the Judge, who is more merciful than you! "

In 1859 A.N. Ostrovsky wrote the play "The Thunderstorm", in which he raised the problem of a turning point in public life, the problem of changing social foundations, penetrated into the very essence of the contradictions of his time, painted colorful images of tyrants, their way of life and customs. In opposition to tyranny, there are two characters - Katerina and Kuligin. This essay is devoted to the second.

Kuligin is a tradesman, a self-taught mechanic. In the first act, in a conversation with Kudryash, he appears before us as a poetic connoisseur of nature, Kuligin admires the Volga, calls the extraordinary view a miracle. A dreamer by nature, he, nevertheless, understands the injustice of the system, in which everything is decided by the coarse power of power and money: "Cruel manners, sir, in our city, cruel!" - he says to Boris Grigorievich: "And whoever has money, sir, is trying to enslave the poor so that he can earn even more money from his free labors." Kuligin himself is not at all like that, he is virtuous and dreams of the well-being of the people: "If only I, sir, find a perpeta-mobile! ... I would use all the money for society ..."

The next time Boris meets Kuligin in the third act on an evening walk. Kuligin again admires nature, air, silence. At the same time, he gets upset that a boulevard has been made in the city, and people are not walking, he says that everyone has long locked the gates and not from thieves: “... but so that people do not see how they eat their household and tyrannize their family. And what, sir, behind these locks, the debauchery of dark and drunkenness! " Kuligin seems to be outraged by all the foundations of the "dark kingdom", but immediately after his angry speech, he says: "Well, God bless them!" as if deviating from their previous words. His protest is almost mute, and is expressed only in objections, he is not ready, like Catherine, for an open challenge. On Boris's proposal to write poetry, Kuligin immediately exclaimed: “How can you, sir! Eat, swallow alive. I already get it, sir, for my chatter. " However, we should give him his due for the persistence and at the same time courtesy he asks Dikiy for money for materials for the sundial on the boulevard: “... for the common good, your degree. Well, what does it mean for society some ten rubles! God be with you, Savel Prokofich! I am not doing any rudeness to you, sir; You have a lot of strength, your degree; there would only be a will for a good deed. "

Unfortunately, Kuligin only stumbles upon rudeness and ignorance on the part of the Wild. Then he tries to persuade Savely Prokofich, at least for thunderous bends, since thunderstorms are a frequent occurrence in their city. But without achieving any success, Kuligin has no choice but to leave, waving his hand. dreamer protest tyranny society

Kuligin is a man of science who respects nature and subtly feels its beauty. In the fourth act, he addresses the crowd with a monologue, trying to explain to people in it that one should not be afraid of thunderstorms and other natural phenomena, on the contrary, one should admire them, admire them: “This is not a thunderstorm, but grace! “But people do not want to listen to him, all of them, according to the old customs, continue to believe that all this is for trouble, that this is God's punishment.

Kuligin is well versed in people, capable of empathy and can give correct, practical advice - he perfectly showed all these qualities in a conversation with Tikhon: “You would forgive her, but you would never remember ... She would have been a good wife for you, sir; look - better than any ... It's time for you, sir, to live with your mind ... You must forgive enemies, sir! "

It was Kuligin who pulled the dead Katerina out of the water and brought her to the Kabanovs: "Here is your Katerina. Do with her what you want! Her body is here, take it; but now your soul is not yours; it is now before the Judge, who is more merciful than you!" After these words, Kuligin runs away, he experiences this grief in his own way and is unable to share it with the people who are responsible for the suicide of the poor girl.

Personally, I am very sympathetic to the image of Kuligin. He is like some white crow in the city of Kalinov, sharply different from the rest of the inhabitants in the way of his thoughts, reasoning, values, aspirations. Kuligin realizes the injustice of the foundations of the "dark kingdom", tries to fight them, dreams of improving his life ordinary people... He thinks about the social reconstruction of the city. And perhaps, had Kuligin found at least a few like-minded people and financial support, he would have been able to significantly change Kalinov for the better. This is what I like most about Kuligin - his desire for the well-being of the people.

In the literature of the classical period, each character of this or that work performs a special function, the image was introduced for a reason. This applies to both main and minor characters... The same principles apply in dramatic works. For example, through the image of Molchalin in the Griboyedov comedy "Woe from Wit" is shown the falsity and stupidity of the noble society of the 19th century. But for Ostrovsky, the image of Kuligin in the play "The Thunderstorm" performs several other functions. When analyzing the characters of "The Thunderstorm", this hero should be given special attention. The playwright Kuligin from "The Groza" gave a more than memorable characterization.

Kuligin is not at all such a simple character as it might seem at first glance. The characterization of Kuligin in "The Thunderstorm" is a bit like the characterization of the Master from Bulgakov's novel. These are dreamy natures for whom the end result will not be happiness. Happiness for them is the path to this result.

Kuligin differs from Dikiy and Kabanikha, from Boris and Tikhon, even from Katerina. The role of Kuligin in the play "The Storm" is somewhat different. From the author's definition in the list of characters, the reader learns that Kuligin is a self-taught mechanic. That is, I learned everything myself. The image and characterization of Kuligin in The Thunderstorm is supplemented with phrases from the replicas of other characters. Kuligin is 50 years old. In addition to his passion for mechanics, we can confidently speak of a high level of general erudition. He quotes Derzhavin and Lomonosov, which means that he read their works, in addition, one can speak of worldly wisdom: it is Kuligin who advises Tikhon to live his own mind, getting rid of the influence of his mother. There are many positive qualities... He is conscientious, as evidenced by his desire to earn by honest work; his disinterestedness and sincerity are shown in conversations with Tikhon and Boris. By the way, his manner of communication differs from the habits of other residents of Kalinov. Kuligin gives advice, not orders. It does not at all have that unreasonable animal cruelty and anger that Dikiy and Kabanikha have. And there is no hypocrisy, like Boris, in Kuligin either. The mechanic is distinguished from Tikhon by the desire to do something, and from Katerina - by the absence of active protest.

We meet Kuligin on the banks of the Volga, he is fascinated by the uniqueness of nature. Kuligin admires how everything breathes with life and beauty: “miracles, it must truly be said that miracles! Curly! Here, my brother, for fifty years I have been looking beyond the Volga every day and I can’t see everything. ” In this phrase slips the lyricism with which Kuligin's soul is full. But what's next?

In the following actions, Kuligin talks about the "cruel manners" of the city of Kalinov. As if a tour guide, he says: “Look to the left, there, behind closed doors, there are many examples of family tyranny. And here, a little further, you can see how the greedy merchant deceives ordinary people and is rude to the mayor ”. Indeed, in fact, if we abstract from the bombastic words and expressions, Kuligin conducts for Boris something like an excursion about the life and customs of the city. At the same time, Kuligin himself behaves somewhat distantly. A man knows about how people live, he does not like this way of existence, but at the same time he himself is not going to change anything. Kuligin is incapable of the active protest that Katerina is capable of. Kuligin also cannot adapt and lie like Varvara. One gets the impression that Kuligin is not at all worried about the rudeness and threats of the Wild. The episode with the onset of a thunderstorm is a clear confirmation of this. Kuligin does not understand the fear of an ordinary natural phenomenon, so he proposes to install a lightning rod:

“Savel Prokofich, after all, this, your degree, is beneficial for all ordinary people in general.
Wild. Go away! What is the use! Who needs this benefit?
Kuligin. Yes, even for you, your degree, Savel Prokofich. "

Kuligin continues to insist on his own, even after the words of the merchant that Kuligin can be "crushed like a worm."

What aspects of character does this dialogue reveal? First, Kuligin stands for the common good. The lightning rod will be useful for the residents of the city, but from a different point of view, it will allow you to implement the mechanics of some of your ideas. Secondly, in order to convince the merchant of the usefulness of such a structure, Kuligin fawns and behaves in the same way as those who came to ask the Wild for money.

One more feature is important for the characterization of Kuligin from the play "The Thunderstorm": his dreaminess. After a conversation with Kuligin, Boris realizes that all the mechanic's dreams of a perpetual mobile and other inventions are destined to remain only dreams. Kuligin needs to be constantly on the lookout, fantasizing about chimeras and the benefits that mechanisms can bring to society. It is difficult to imagine this character as a great or recognized inventor, if only because Kuligin is already 50 years old. That is, all this time, all his life, he independently studied mechanics, but so far has not achieved anything special. The image of Kuligin in "The Thunderstorm" cannot exist without connection with inventions and dreams about them. That is, without all these thoughts, Kuligin will simply lose his inner originality.
It turned out that his work is not needed by people, Kalinovites do not see any practical use in inventions. You can look at the situation with a lightning rod and electricity differently. Kuligin wants to bring light to " dark kingdom”, But its inhabitants deliberately refuse education and progress.

There is an opinion that in the image of Kuligin from the play "The Thunderstorm" Ostrovsky wanted to show the sad situation of educated people XIX centuries forced to live and survive in an atmosphere of outdated patriarchal orders.

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