Description of the inhabitants of Kalinov. A brief description of the city of Kalinov in the play by A.N. Ostrovsky "Thunderstorm". Homework for the lesson

The wanderer Feklusha is a minor character, but at the same time a very characteristic representative of the "dark kingdom". Wanderers and the blessed have always been regular guests of merchants' houses. For example, Feklusha entertains representatives of the Kabanovs with various tales about overseas countries, talking about people with dog heads and rulers who "whatever they judge, everything is wrong." But the city of Kalinov Feklusha, on the contrary, praises, which is very pleasant for its inhabitants. Feklusha's gossip seems to encourage the dark ignorance of the townspeople. Everything incomprehensible is criticized, and the provincial little world of Kalinov is spoken of only in superlatives.

In fact, at its core, Feklusha is just a pathetic parody of ancient wanderers, with the help of which news and various legends were spread in ancient times. Feklusha's stories for Kabanova and Glasha, which, of course, I don't know about books or newspapers, are simply necessary to satisfy curiosity, and besides, they help to brighten up dull provincial everyday life. Also for Kabanova, who is a fierce guardian of the patriarchal way of life, all these "tales" serve as proof of the correctness of her life.

The image of Feklusha is farcical, and is often used to refer to an ignorant prude who loves to spread various ridiculous gossip.

Dramatic events of the play by A.N. Ostrovsky's "Thunderstorm" are deployed in the city of Kalinov. This town is located on the picturesque bank of the Volga, from the high steepness of which the vast Russian expanses and boundless distances open up to the eye. “The view is extraordinary! Beauty! The soul rejoices, ”the local self-taught mechanic Kuligin admires.
Pictures of endless distances, echoed in a lyrical song. In the midst of a flat valley”, which he sings, are of great importance for conveying a sense of the immense possibilities of Russian life, on the one hand, and the limited life in a small merchant town, on the other.

Magnificent pictures of the Volga landscape are organically woven into the structure of the play. At first glance, they contradict its dramatic nature, but in fact they introduce new colors into the scene, thus fulfilling an important artistic function: the play begins with a picture of a steep coast, and ends with it. Only in the first case, it gives rise to a feeling of something majestic, beautiful and bright, and in the second - catharsis. The landscape also serves to more vividly depict the characters - Kuligin and Katerina, who subtly feel its beauty, on the one hand, and everyone who is indifferent to it, on the other. The brilliant playwright recreated the scene of action so carefully that we can visually imagine the city Kalinov, immersed in greenery, as he is depicted in the play. We see its high fences, and gates with strong locks, and wooden houses with patterned shutters and colored window curtains lined with geraniums and balsams. We also see taverns where people like Dikoy and Tikhon are drinking in a drunken stupor. We see the dusty streets of Kalinovka, where townsfolk, merchants and wanderers talk on benches in front of houses, and where sometimes a song is heard from afar to the accompaniment of a guitar, and behind the gates of houses a descent to a ravine begins, where young people have fun at night. Our gaze opens a gallery with vaults of dilapidated buildings; a public garden with pavilions, pink bell towers and ancient gilded churches, where the “noble families” walk with dignity and where the social life of this small merchant town unfolds. Finally, we see the Volga whirlpool, in the abyss of which Katerina is destined to find her last refuge.

The inhabitants of Kalinovo lead a sleepy, measured existence: "They go to bed very early, so it is difficult for an unaccustomed person to endure such a sleepy night." On holidays, they gracefully walk along the boulevard, but “they do one thing, that they walk, but they themselves go there to show their outfits.” The townsfolk are superstitious and submissive, they have no desire for culture, science, they are not interested in new ideas and thoughts. Sources of news, rumors are wanderers, pilgrims, "walkers". The basis of relationships between people in Kalinov is material dependence. Here, money is everything. “Cruel morals, sir, in our city, cruel! - says Kuligin, referring to a new person in the city, Boris. - In philistinism, sir, you will see nothing but rudeness and naked poverty. And we, sir, will never get out of this bark. Because honest labor will never earn us more daily bread. And whoever has money, sir, tries to enslave the poor so that he can make even more money for his free labors ... ” Speaking of moneybags, Kuligin vigilantly notices their mutual enmity, spider struggle, litigation, addiction to slander, manifestation of greed and envy. He testifies: “And among themselves, sir, how they live! They undermine each other's trade, and not so much out of self-interest, but out of envy. They quarrel with each other; they lure drunken clerks into their tall mansions ... And they ... scribble malicious clauses on their neighbors. And they will begin, sir, the court and the case, and there will be no end to the torment.

A vivid figurative expression of the manifestation of rudeness and enmity that reigns in Kalinovo is the ignorant tyrant Savel Prokofich Dikoi, a "scold" and "shrill man", as its inhabitants characterize. Endowed with an unbridled disposition, he intimidated his family (dispersed "in attics and closets"), terrorizes his nephew Boris, who "got him a sacrifice" and on which, according to Kudryash, he constantly "rides". He also mocks other townspeople, shortchanges, "swings" over them, "as his heart desires", rightly believing that there is no one to "appease" him anyway. Scolding, swearing for any reason is not only the usual treatment of people, it is his nature, his character, the content of his whole life.

Another personification of the "cruel morals" of the city of Kalinov is Marfa Ignatievna Kabanova, "a hypocrite", as the same Kuligin characterizes her. “She clothes the poor, but completely eats the household.” The boar firmly stands guard over the established order established in her house, jealously guarding this life from the fresh wind of change. She cannot come to terms with the fact that the young did not like her way of life, that they want to live differently. She doesn't swear like Dikoy. She has her own methods of intimidation, she corrosively, “like rusty iron”, “grinds” her loved ones.

Wild and Kabanova (one - rudely and openly, the other - "under the guise of piety") poison the lives of those around them, suppressing them, subordinating them to their orders, destroying their bright feelings. For them, the loss of power is the loss of everything in which they see the meaning of existence. Therefore, they so hate new customs, honesty, sincerity in the manifestation of feelings, the inclination of young people to "will."

A special role in the "dark kingdom" belongs to such as the ignorant, deceitful and impudent wanderer-beggar Feklusha. She "wanders" through towns and villages, collecting absurd tales and fantastic stories - about belittling time, about people with dog heads, about scattering tares, about a fiery serpent. It seems that she deliberately misrepresents what she heard, that it gives her pleasure to spread all these gossip and ridiculous rumors - thanks to this, she is willingly accepted in the houses of Kalinov and similar towns. Feklusha fulfills his mission not disinterestedly: here they will feed, here they will give to drink, there they will give gifts. The image of Feklusha, personifying evil, hypocrisy and gross ignorance, was very typical for the environment depicted. Such feklushi, peddlers of absurd news, clouding the minds of the townsfolk, and pilgrims were necessary for the owners of the city, as they supported the authority of their government.

Finally, another colorful exponent of the cruel customs of the "dark kingdom" is a half-crazy lady in the play. She rudely and cruelly threatens the death of someone else's beauty. These are her terrible prophecies, sounding like the voice of tragic rock, receive their bitter confirmation in the finale. In the article "A Ray of Light in the Dark Kingdom" N.A. Dobrolyubov wrote: “In The Thunderstorm, the need for so-called “unnecessary faces” is especially visible: without them, we cannot understand the heroine’s faces and can easily distort the meaning of the whole play ...”

Wild, Kabanova, Feklusha and the half-mad lady - representatives of the older generation - are the spokesmen for the worst aspects of the old world, its darkness, mysticism and cruelty. These characters have nothing to do with the past, rich in its original culture, its traditions. But in the city of Kalinov, in conditions that suppress, break and paralyze the will, representatives of the younger generation also live. Someone, like Katerina, who is closely connected with the way of the city and dependent on it, lives and suffers, strives to escape from it, and someone, like Varvara, Kudryash, Boris and Tikhon, resigns himself, accepts its laws or finds ways to come to terms with them .

Tikhon - the son of Marfa Kabanova and the husband of Katerina - is endowed by nature with a gentle, quiet disposition. There is in him kindness, and responsiveness, and the ability to make a sound judgment, and the desire to break free from the vice in which he found himself, but weak-willedness and timidity outweigh his positive qualities. He is accustomed to unquestioningly obey his mother, to do everything that she requires, and is not able to show disobedience. He is unable to truly appreciate the extent of Katerina's suffering, unable to penetrate into her spiritual world. Only in the finale, this weak-willed, but internally contradictory person, rises to an open condemnation of the tyranny of the mother.

Boris, "a young man of decent education", is the only one who does not belong to the Kalinov world by birth. This is a mentally soft and delicate, simple and modest person, besides, his education, manners, and speech are noticeably different from most Kalinovites. He does not understand local customs, but is unable to defend himself from the insults of the Savage, nor "to resist the dirty tricks that others do." Katerina sympathizes with his dependent, humiliated position. But we can only sympathize with Katerina - she happened to meet on her way a weak-willed person, subject to the whims and whims of her uncle and doing nothing to change this situation. N.A. was right. Dobrolyubov, who claimed that "Boris is not a hero, he is far from Katerina, she fell in love with him in the wilderness."

Cheerful and cheerful Barbara - the daughter of Kabanikha and the sister of Tikhon - is a life-blooded image, but some kind of spiritual primitiveness emanates from her, starting with actions and everyday behavior and ending with her reasoning about life and rudely cheeky speech. She adapted, learned to be cunning so as not to obey her mother. She is way too down to earth. Such is her protest - an escape with Kudryash, who is well acquainted with the customs of the merchant environment, but lives easily "without hesitation. Barbara, who has learned to live guided by the principle: “Do whatever you want, if only it was sewn and covered,” expressed her protest at the everyday level, but on the whole lives according to the laws of the “dark kingdom” and in her own way finds agreement with it.

Kuligin, a local self-taught mechanic, who in the play acts as a "revealer of vices", sympathizes with the poor, is concerned about improving people's lives by receiving an award for the discovery of a perpetual motion machine. He is an opponent of superstition, a champion of knowledge, science, creativity, enlightenment, but his own knowledge is not enough for him.
He does not see an active way to resist tyrants, and therefore prefers to submit. It is clear that this is not the person who is able to bring novelty and freshness to the life of the city of Kalinov.

Among the actors in the drama, there is no one, except Boris, who would not belong to the Kalinov world by birth or upbringing. All of them revolve in the sphere of concepts and ideas of a closed patriarchal environment. But life does not stand still, and tyrants feel that their power is limited. “Besides them, without asking them,” says N.A. Dobrolyubov, another life has grown, with other beginnings ... "

Of all the characters, only Katerina - a deeply poetic nature, full of high lyricism - is directed to the future. Because, as academician N.N. Skatov, “Katerina was brought up not only in the narrow world of a merchant family, she was born not only in the patriarchal world, but in the whole world of national, folk life, which is already spilling over the boundaries of patriarchy.” Katerina embodies the spirit of this world, its dream, its impulse. Only she alone was able to express her protest, proving, albeit at the cost of her own life, that the end of the "dark kingdom" was near. By creating such an expressive image of A.N. Ostrovsky showed that even in the ossified world of a provincial town, a “folk character of amazing beauty and strength” can arise, whose pen is based on love, on a free dream of justice, beauty, some kind of higher truth.

Poetic and prosaic, sublime and mundane, human and bestial - these principles are paradoxically combined in the life of a provincial Russian town, but, unfortunately, darkness and oppressive melancholy prevail in this life, which N.A. Dobrolyubov, calling this world a "dark kingdom". This phraseologism is of fabulous origin, but the merchant world of the Thunderstorm, we were convinced of this, is devoid of that poetic, enigmatic, mysterious and captivating, which is usually characteristic of a fairy tale. "Cruel morals" reign in this city, cruel ...

In general, the history of the creation and the idea of the play “Thunderstorm” are very interesting. For some time there was an assumption that this work was based on real events that took place in the Russian city of Kostroma in 1859. “In the early morning of November 10, 1859, the Kostroma bourgeois Alexandra Pavlovna Klykova disappeared from the house and either threw herself into the Volga, or was strangled and thrown there. The investigation revealed a dull drama that played out in an unsociable family living with narrowly trading interests: […]
Whole, honest, sincere, she is not capable of lies and falsehood, therefore, in a cruel world where wild and wild boars reign, her life is so tragic. Katerina's protest against the despotism of Kabanikha is the struggle of the bright, pure, human against the darkness, lies and cruelty of the "dark kingdom". No wonder Ostrovsky, who paid great attention to the selection of names and surnames of the characters, gave such a name to the heroine of "Thunderstorm": in Greek, "Catherine" means "eternally pure." Katerina is a poetic nature. IN […]
Alexander Nikolayevich Ostrovsky was endowed with a great talent as a playwright. He is deservedly considered the founder of the Russian national theater. His plays, varied in subject matter, glorified Russian literature. Creativity Ostrovsky had a democratic character. He created plays in which hatred for the autocratic-feudal regime was manifested. The writer called for the protection of the oppressed and humiliated citizens of Russia, longed for social change. The great merit of Ostrovsky is that he opened the enlightened […]
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Katerina Varvara Character Sincere, sociable, kind, honest, pious, but superstitious. Gentle, soft, at the same time, decisive. Rude, cheerful, but taciturn: "... I don't like to talk a lot." Determined, can fight back. Temperament Passionate, freedom-loving, bold, impetuous and unpredictable. She says about herself “I was born so hot!”. Freedom-loving, smart, prudent, bold and rebellious, she is not afraid of either parental or heavenly punishment. Upbringing, […]
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Who is Feklusha in the play "Thunderstorm" by Ostrovsky? At first glance, he is a completely inconspicuous character who does not directly or indirectly affect the plot. Then the question arises why introduce such a character at all. In fact, this character has its own, very significant, function. The characterization of Feklusha in the play "Thunderstorm" can be started with the word "wanderer".

In general, the motives of wandering are quite strong in Russian literature and culture. The images of wanderers are found in Pushkin, and in Dostoevsky, and in Gorky. It cannot be denied that the image of wanderers is associated with folklore tradition. In fairy tales, you can find many examples of characters who traveled the world, "wandered". Wanderers were a symbol and bearer of worldly wisdom, some higher truth, such as Luke in Gorky's play "At the Bottom" or the old wanderers from epics about Ilya Muromets. In Ostrovsky's works, the pole of perception changes. The role of Feklusha in the play "Thunderstorm" is different. There is no description of Feklusha in the text. But her appearance is easy to imagine. Wanderers are usually middle-aged or a little older. Often, for lack of other clothing, they were forced to dress in rags.

The name of the character is indicative - Feklusha. Despite the fact that Feklusha is about the same age as Marfa Ignatievna, if not more. With the childish form of the name, the author wants to emphasize not at all the childish immediacy of perception, but, again, as in the case of Tikhon, the infantilism inherent in these characters. This woman has remained at the level of development at which there are small children. But only this feature is rather negative. Ostrovsky introduces this character into the comedy immediately after Kuligin's monologue about the "cruel morals" and hypocrisy of the Kabanikh and before the appearance of Marfa Ignatievna.

“Bla-alepie, honey, blah-alepie! Beauty is wondrous! What can I say! Live in the promised land! And the merchants are all a pious people, adorned with many virtues, ”Feklusha says these words to another woman. Her words are sweet and deceitful. She shamelessly lies, supporting the myth of the power of the merchants and the correctness of their way of life. Thanks to this character, one can see how deeply false principles are rooted in the minds of people. What Feklusha says cannot be called adequate.

The episode of the conversation with Glasha, the yard girl of the Kabanovs' house, is noteworthy. The wanderer talks about the unrighteousness of life. She judges narrowly, limitedly. From her point of view, other religions and beliefs are not correct, because they are unrighteous: “They say there are such countries, dear girl, where there are no Orthodox kings, and the saltans rule the earth. In one land, the Turkish Saltan Mahnut sits on the throne, and in the other, the Persian Saltan Mahnut; and they do justice, dear girl, over all people, and whatever they judge, everything is wrong. And they, my dear, cannot judge a single case righteously, such is the limit set for them. We have a righteous law, but they, dear, have an unrighteous one.

Her words about the Moscow bustle and fiery machines not only look like illogical nonsense, but also illustrate the ignorance, "darkness" of such people. Progress and enlightenment for such as Feklusha will forever remain a sinful darkness. By the way, in the image of Feklusha, the author shows hypocrisy in relation to religion. The fact is that it has long been believed that helping strangers is righteous. Here, people who have mutilated knowledge and understanding of Christianity help and believe a wanderer with exactly the same judgments.

The speech characteristic of Feklusha in The Thunderstorm is also important. Her remarks are overflowing with appeals "sweetheart", "sir", "dear girl", "your grace". On the one hand, this gives her speech a hypnotic melodiousness, on the other hand, it proves the creeping nature of Feklusha.

Alexander Nikolayevich Ostrovsky was a master of precise descriptions. The playwright in his works managed to show all the dark sides of the human soul. Perhaps unsightly and negative, but without which it is impossible to create a complete picture. Criticizing Ostrovsky, Dobrolyubov pointed to his "people's" attitude, seeing the main merit of the writer in the fact that Ostrovsky was able to notice those qualities in the Russian person and society that can hinder natural progress. The theme of the "dark kingdom" is raised in many of Ostrovsky's dramas. In the play "Thunderstorm", the city of Kalinov and its inhabitants are shown as limited, "dark" people.

The city of Kalinov in Groz is a fictional space. The author wanted to emphasize that the vices that exist in this city are characteristic of all cities in Russia at the end of the 19th century. And all the problems that are raised in the work existed at that time everywhere. Dobrolyubov calls Kalinov a "dark kingdom". The definition of a critic fully characterizes the atmosphere described in Kalinov. The inhabitants of Kalinov should be considered inextricably linked with the city. All the inhabitants of the city of Kalinov deceive each other, rob, terrorize other family members. Power in the city belongs to those who have money, and the power of the mayor is only nominal. This becomes clear from Kuligin's conversation. The mayor comes to Diky with a complaint: the peasants complained about Savl Prokofievich, because he cheated on them. Wild does not try to justify himself at all, on the contrary, he confirms the words of the mayor, saying that if merchants steal from each other, then there is nothing wrong with the merchant stealing from ordinary residents. Dikoy himself is greedy and rude. He constantly swears and grumbles. We can say that because of greed, Saul Prokofievich's character deteriorated. There was nothing human left in him. The reader sympathizes even with Gobsek from the story of the same name by O. Balzac more than with Wild. There are no feelings towards this character, except disgust. But in the city of Kalinovo, its inhabitants themselves indulge Wild: they ask him for money, humiliate themselves, they know that they will be insulted and, most likely, they will not give the required amount, but they still ask. Most of all, the merchant is annoyed by his nephew Boris, because he also needs money. Dikoy is openly rude to him, cursing and demanding that he leave. Culture is alien to Savl Prokofievich. He does not know either Derzhavin or Lomonosov. He is only interested in the accumulation and multiplication of material wealth.

Boar is different from Wild. “Under the guise of piety,” she tries to subordinate everything to her will. She raised an ungrateful and deceitful daughter, a spineless weak son. Through the prism of blind maternal love, Kabanikha does not seem to notice Varvara's hypocrisy, but Marfa Ignatievna perfectly understands how she made her son. Kabanikha treats her daughter-in-law worse than the others. In relations with Katerina, Kabanikha's desire to control everyone, to instill fear in people, is manifested. After all, the ruler is either loved or feared, and there is nothing to love the Kabanikh.
It should be noted that the telling surname of Diky and the nickname Kabanikhi, which refer readers and viewers to wild, animal life.

Glasha and Feklusha are the lowest link in the hierarchy. They are ordinary residents who are happy to serve such gentlemen. There is an opinion that every nation deserves its ruler. In the city of Kalinov, this is confirmed many times. Glasha and Feklusha are having dialogues about how “sodom” is now in Moscow, because people there are starting to live differently. The inhabitants of Kalinov are alien to culture and education. They praise Kabanikha for standing up for the preservation of the patriarchal system. Glasha agrees with Feklusha that only the Kabanov family has preserved the old order. The house of the Kabanikhi is heaven on earth, because in other places everything is mired in debauchery and bad manners.

The reaction to a thunderstorm in Kalinovo is more like a reaction to a large-scale natural disaster. People run to save themselves, trying to hide. This is because a thunderstorm becomes not only a natural phenomenon, but a symbol of God's punishment. This is how Savl Prokofievich and Katerina perceive her. However, Kuligin is not at all afraid of thunderstorms. He urges people not to panic, tells Wild about the benefits of a lightning rod, but he is deaf to the requests of the inventor. Kuligin cannot actively resist the established order, he has adapted to life in such an environment. Boris understands that in Kalinovo Kuligin's dreams will remain dreams. At the same time, Kuligin differs from other residents of the city. He is honest, modest, plans to earn his own work, without asking the rich for help. The inventor studied in detail all the orders by which the city lives; knows what goes on behind closed doors, knows about the deceptions of the Wild, but can do nothing about it.

Ostrovsky in "Thunderstorm" depicts the city of Kalinov and its inhabitants from a negative point of view. The playwright wanted to show how deplorable the situation is in the provincial cities of Russia, he emphasized that social problems require an immediate solution.

The above description of the city of Kalinov and its inhabitants will be useful to students in grade 10 when preparing an essay on the topic "The city of Kalinov and its inhabitants in the play" Thunderstorm "".

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