What moral issues are raised in the comedy Thunderstorm. To be or not to be? To do or not to do? Moral problems in the play by A.N. Ostrovsky "Thunderstorm" lesson plan on the topic. Moral problems in Ostrovsky's play "Thunderstorm"

The problematics of a work in literary criticism is a range of problems that are somehow touched upon in the text. This may be one or more aspects that the author focuses on. In this work, we will focus on the problems of Ostrovsky's Thunderstorm. A. N. Ostrovsky received a literary vocation after the first published play. “Poverty is not a vice”, “Dowry”, “Profitable place” - these and many other works are devoted to social and everyday topics, but the issue of the play “Thunderstorm” should be considered separately.

The play received mixed reviews from critics. Dobrolyubov saw in Katerina the hope for a new life, Ap. Grigoriev noticed the emerging protest against the existing order, and L. Tolstoy did not accept the play at all. The plot of "Thunderstorm", at first glance, is quite simple: everything is based on a love conflict. Katerina secretly meets with a young man, while her husband has gone to another city on business. Unable to cope with the pangs of conscience, the girl confesses to treason, after which she rushes into the Volga. However, behind all this everyday, domestic, lies much larger things that threaten to grow to the scale of space. Dobrolyubov calls the “dark kingdom” the situation that is described in the text. An atmosphere of lies and betrayal. In Kalinovo, people are so accustomed to moral dirt that their uncomplaining consent only exacerbates the situation. It becomes scary from the realization that this place did not make people like this, it was people who independently turned the city into a kind of accumulation of vices. And now the "dark kingdom" begins to influence the inhabitants. After a detailed acquaintance with the text, one can notice how widely developed the problems of the work "Thunderstorm".

The problems in Ostrovsky's "Thunderstorm" are diverse, but at the same time they do not have a hierarchy. Each individual problem is important in itself.

The problem of fathers and children

Here we are not talking about misunderstanding, but about total control, about patriarchal orders. The play shows the life of the Kabanov family. At that time, the opinion of the eldest man in the family was undeniable, and wives and daughters were practically deprived of rights. The head of the family is Marfa Ignatievna, a widow. She took over the male functions. This is a powerful and prudent woman. Kabanikha believes that she takes care of her children, ordering them to do as she wants. This behavior led to quite logical consequences. Her son, Tikhon, is a weak and spineless person. Mother, it seems, wanted to see him like that, because in this case it is easier to control a person. Tikhon is afraid to say anything, to express his opinion; in one of the scenes, he admits that he does not have his own point of view at all. Tikhon cannot protect either himself or his wife from the tantrums and cruelty of his mother. The daughter of Kabanikhi, Varvara, on the contrary, managed to adapt to this way of life. She easily lies to her mother, the girl even changed the lock on the gate in the garden in order to freely go on dates with Curly. Tikhon is not capable of any kind of rebellion, while Varvara, in the finale of the play, escapes from her parents' house with her lover.

The problem of self-realization

When talking about the problems of the "Thunderstorm" one cannot fail to mention this aspect. The problem is realized in the image of Kuligin. This self-taught inventor dreams of making something useful for all the inhabitants of the city. His plans include assembling a perpetu mobile, building a lightning rod, and getting electricity. But this whole dark, semi-pagan world needs neither light nor enlightenment. Dikoy laughs at Kuligin's plans to find an honest income, openly mocks him. Boris, after talking with Kuligin, understands that the inventor will never invent a single thing. Perhaps Kuligin himself understands this. He could be called naive, but he knows what morals reign in Kalinov, what happens behind closed doors, what are those in whose hands power is concentrated. Kuligin learned to live in this world without losing himself. But he is not able to feel the conflict between reality and dreams as keenly as Katerina did.

The Problem of Power

In the city of Kalinov, power is not in the hands of the relevant authorities, but in those who have money. Proof of this is the dialogue between the merchant Wild and the mayor. The mayor tells the merchant that complaints are being received against the latter. To this Savl Prokofievich replies rudely. Dikoi does not hide that he cheats ordinary peasants, he speaks of deceit as a normal phenomenon: if merchants steal from each other, then you can steal from ordinary residents. In Kalinov, nominal power decides absolutely nothing, and this is fundamentally wrong. After all, it turns out that without money in such a city it is simply impossible to live. Dikoy fancies himself almost a father-king, deciding who to lend money to and who not. “So know that you are a worm. If I want to, I'll have mercy, if I want to, I'll crush it, ”this is how Dikoy Kuligin answers.

The problem of love

In "Thunderstorm" the problem of love is realized in pairs Katerina - Tikhon and Katerina - Boris. The girl is forced to live with her husband, although she does not feel any feelings other than pity for him. Katya rushes from one extreme to another: she thinks between the option of staying with her husband and learning to love him or leaving Tikhon. Katya's feelings for Boris flare up instantly. This passion pushes the girl to take a decisive step: Katya goes against public opinion and Christian morality. Her feelings were mutual, but for Boris this love meant much less. Katya believed that Boris, just like her, was incapable of living in a frozen city and lying for profit. Katerina often compared herself to a bird, she wanted to fly away, to escape from that metaphorical cage, and in Boris Katya saw that air, that freedom that she lacked so much. Unfortunately, the girl made a mistake in Boris. The young man turned out to be the same as the inhabitants of Kalinov. He wanted to improve relations with Wild for the sake of getting money, he spoke with Varvara that it was better to keep feelings for Katya secret for as long as possible.

Conflict of old and new

It is about resisting the patriarchal way of life with the new order, which implies equality and freedom. This topic was very relevant. Recall that the play was written in 1859, and serfdom was abolished in 1861. Social contradictions reached their apogee. The author wanted to show what the absence of reforms and decisive action can lead to. Confirmation of this are the final words of Tikhon. “Good for you, Katya! Why am I left to live in the world and suffer!” In such a world, the living envy the dead.

Most of all, this contradiction was reflected in the main character of the play. Katerina cannot understand how one can live in lies and animal humility. The girl was suffocating in the atmosphere that was created by the inhabitants of Kalinov for a long time. She is honest and pure, so her only desire was so small and so great at the same time. Katya just wanted to be herself, to live the way she was raised. Katerina sees that everything is not at all the way she imagined before marriage. She cannot even afford a sincere impulse - to hug her husband - Kabanikha controlled and prevented any attempts by Katya to be sincere. Varvara supports Katya, but cannot understand her. Katerina is left alone in this world of deceit and dirt. The girl could not endure such pressure, she finds salvation in death. Death frees Katya from the burden of earthly life, turning her soul into something light, capable of flying away from the "dark kingdom".

It can be concluded that the problems in the drama "Thunderstorm" are significant and relevant to this day. These are unresolved issues of human existence, which will worry a person at all times. It is thanks to this formulation of the question that the play "Thunderstorm" can be called a work out of time.

Artwork test

moral problems in the play Thunderstorm and received the best answer

Answer from Valera --14-88--[guru]
At the heart of the drama "Thunderstorm" is the image of an awakening sense of personality and a new attitude to the world.
Ostrovsky showed that even in the ossified little world of Kalinov, a character of striking beauty and strength can arise. It is very important that Katerina was born and formed in the same Kalinovskiy conditions. In the exposition of the play, Katerina tells Varvara about her life as a girl. The main motive of her story is all-penetrating mutual love and will. But it was a "will" that did not at all conflict with the centuries-old way of life of a closed woman's life, the whole range of ideas of which is limited to housework and religious dreams.
This is a world in which it does not occur to a person to oppose himself to the general, since he still does not separate himself from this community, and therefore there is no violence or coercion here. But Katerina lives in an era when the very spirit of this morality - the harmony between the individual and the ideas of the environment - has disappeared and the ossified form of relations is based on violence and coercion. The sensitive soul of Katerina caught this. “Yes, everything here seems to be from captivity.”
It is very important that it is here, in Kalinovo, that a new attitude to the world is born in the soul of the heroine, new feelings that are still unclear to the heroine herself: “Something is so unusual in me. It’s like I’m starting to live again, or ... I really don’t know. ”
This vague feeling is the awakening sense of personality. In the soul of the heroine, it is embodied in love. Passion is born and grows in Katerina. The awakened feeling of love is perceived by Katerina as a terrible sin, because love for a stranger for her, a married woman, is a violation of her moral duty. Katerina does not doubt the fidelity of her moral ideas, she only sees that none of those around her cares about the true essence of this morality.
She sees no way out of her torment, except death, and it is the complete absence of hope for forgiveness that pushes her to commit suicide - a sin even more serious from a Christian point of view. "I lost my soul anyway."

Answer from 2 answers[guru]

Hello! Here is a selection of topics with answers to your question: moral problems in the play Thunderstorm

Answer from Marina Skorodumova[newbie]

Answer from l l[active]
Summary and problems, arguments for the exam on the work "Thunderstorm" by Ostrovsky

Answer from Irishka[newbie]
Ostrovsky knew perfectly well such a part of society as merchants, and he looked through it as the center of urban life. In this layer, you can track all types of characters. The central moral problem is the struggle between the environment and the individual. This problem is revealed in the center of the main conflict of the work, where you can see the clash of an ardent soul and the ordinary, insensitive traditions of the life of the merchants. In this society, all lawless and cruel acts are done under the shield of nobility. It is difficult to come to terms with this self-deception and hypocrisy, especially for such a lively and exalted person as Katerina Kabanova. This clash of justice and sincerity with the hypocrisy and hypocrisy that we see in this play will later be called by one of the critics "a ray of light in a dark kingdom."
The next problem is understanding sin. Katerina is cheating on her husband and cannot forgive herself for this. She finds the only correct way out - this is public repentance. But that's not the point of this problem. The main issue here remains the solution of the question of sin. As a rule, in our society, suicide is considered almost the most terrible sin. But Katerina's understanding of sin differs substantially from this conclusion. She considers life in this soulless and full of injustice society to be the most terrible sin.
Another important moral problem in Ostrovsky's play is the problem of a person's own dignity. This problem is closely intertwined with the main problem of the work. Of all the characters, only Katerina has self-esteem. She defends him with her decision to leave this world. The rest of the youth of the city are not able to protest against the humiliation and constant moralizing from their entourage.

Answer from Vita Milkin[guru]
Family foundations.
Love is a new feeling (to love a lawful husband, to love a loved one).
Is it possible to overcome this feeling.
Should I fight him?
Is it moral to love not a husband.
Is it possible to go against the opinion of the family, mother-in-law, neighbors.
Such a modern play!

Ostrovsky was once called “Columbus of Zamoskvorechye”, emphasizing the artistic discovery of the world of merchants in the plays of the playwright, but today such works as “Dowry”, “Own people - we will get along”, “Talents and admirers”, “Forest” and other plays are interesting not only concrete historical problems, but also moral, universal. In more detail I would like to tell about the play "Thunderstorm".

It is symbolic that in 1859, on the eve of the public upsurge, which will lead in 61 to the abolition of

Serfdom, there was a play called "Thunderstorm". Just as the name of the play is symbolic, its moral issues are also multifaceted, in the center of which are the problems of external and internal freedom, love and happiness, the problem of moral choice and responsibility for it.

The problem of external and internal freedom becomes one of the central ones in the play. “Cruel morals, sir, in our city, cruel,” Kuligin says already at the beginning of the play.

Only one person is given to stand out against the background of those who are humiliating and humiliated - Katerina. Already the first appearance of Katerina reveals in her not a timid daughter-in-law of a strict mother-in-law,

And a person who has dignity and feels like a person: “It’s a pleasure to endure something for nothing,” Katerina says in response to the unfair words of Kabanikha. Katerina is a spiritual, bright, dreamy person, she, like no one else in the play, knows how to feel the beautiful. Even her religiosity is also a manifestation of spirituality. The church service is filled with a special charm for her: in the rays of sunlight she saw angels, felt her involvement in something higher, unearthly.

The motif of light becomes one of the central ones in Katerina's characterization. “But it seems to glow from the face,” it was enough for Boris to say this, as Kudryash immediately realized that it was about Katerina. Her speech is melodious, figurative, reminiscent of Russian folk songs: “Wild winds, transfer my sadness and longing to him.” Katerina is distinguished by inner freedom, passion of nature, it is not by chance that the motif of a bird, flight appears in the play. The captivity of the boar's house oppresses her, suffocates her. “Everything seems to be from under your captivity. I withered completely with you, ”says Katerina, explaining to Varvara why she does not feel happiness in the Kabanovs' house.

Another moral problem of the play is connected with the image of Katerina - the human right to love and happiness. Katerina's rush to Boris is a rush to joy, without which a person cannot live, a rush to happiness, which she was deprived of in the Kabanikh's house. No matter how much Katerina tried to fight her love, this struggle was initially doomed. In Katerina's love, as in a thunderstorm, there was something spontaneous, strong, free, but also tragically doomed, it is no coincidence that she begins her story about love with the words: “I will die soon.” Already in this first conversation with Varvara, an image of an abyss, a cliff appears: “To be a sin of some kind! Such a fear on me, such a fear! It’s as if I’m standing over an abyss, and someone is pushing me there, but there’s nothing for me to hold on to.”

The most dramatic sound acquires the name of the play when we feel how a "thunderstorm" is brewing in Katerina's soul. The central moral problem play can be called the problem of moral choice. The clash of duty and feeling, like a thunderstorm, destroyed that harmony in Katerina's soul with which she lived; she no longer dreams, as before, of “golden temples or extraordinary gardens,” it is no longer possible to relieve her soul with a prayer: “I will begin to think - I will not collect my thoughts in any way, I will not pray in any way.” Without consent with herself, Katerina cannot live, she could never, like Varvara, be content with thieves', hidden love. The consciousness of her sinfulness burdens Katerina, torments her more than all the reproaches of Kabanikha. The heroine of Ostrovsky cannot live in a world of discord - this explains her death. She herself made the choice - and she pays for it herself, without blaming anyone: "No one is to blame - she herself went for it."

It can be concluded that it is the moral issues of Ostrovsky's play "Thunderstorm" that makes this work interesting for the modern reader even today.

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Ticket number 1

Ticket number 2

1 .Family values ​​and their influence on the formation of a person's personality (on the example of 2-3 heroes of the novel) (based on the novel "War and Peace").

In the novel by L.N. Tolstoy describes the life of several families: the Rostovs, Bolkonskys, Kuragins, Bergs, and in the epilogue also the families of the Bezukhovs (Pierre and Natasha) and the Rostovs (Nikolai Rostov and Marya Bolkonskaya). These families are very different, each is unique, but without the common, most necessary basis of family life - love unity between people - a true family, according to Tolstoy, is impossible. Comparing different types of family relations, the author shows what a family should be like, what true family values ​​are and how they influence the formation of a personality. It is no coincidence that all the heroes who are spiritually close to the author were brought up in "real" families, and, on the contrary, egoists and opportunists grew up in "false" families, in which people are related to each other only formally. The Rostov and Bolkonsky families are especially close to the writer. He describes in detail the everyday life of the Rostovs in the Moscow house, in Otradnoye, and the Bolkonskys - in the estates of Bald Mountains and Bogucharovo. The Rostovs and Bolkonskys have a Home, a great universal value.

Peaceful life in the novel "War and Peace" is not isolated from the "big" history, it has its own "pool of life", and people are like rivers: each has its own channel, its own source. This source is the native home, family, its traditions, way of life.

The author considers the moral core of the Rostov family to be the mother, and the highest virtue of a woman is the sacred duty of motherhood: “The countess was a woman with an oriental type of thin face, about 45 years old. . The author emphasizes the closeness of mother and daughter with one name - Natalia. Tolstoy also describes the count with emotion. Count Rostov greeted all the guests equally affably... "sweetheart or dear" spoke to everyone without exception, without the slightest hint, both above and below him standing people, he laughs with "sonorous and bassy laughter", "laughing, screaming ...", he is "kindness itself loose."

The hospitable and generous house of the Rostovs cannot but charm the reader. Both in St. Petersburg and in Moscow, a variety of people came to them for dinner: neighbors in Otradnoye, old poor landowners, Pierre Bezukhov. There is a sense of unselfish joy. The life of the Rostovs in the village is even more patriarchal in nature - the serfs at Christmas time dress up and have fun with the gentlemen.

These elderly people love each other tenderly, reverently, they have wonderful children. Relations between parents and children in the Rostov family are built on sincerity of feelings, love, understanding, respect, and trust in each other. The spirit of equality, disinterestedness dominates this family. Here together they openly rejoice, cry and worry. The Rostovs are ready to accept and caress anyone: in addition to their children, Sonya and Boris Drubetskoy are brought up in the family. In their house it is cozy with their own and others.

Simplicity and cordiality, natural behavior, cordiality and mutual love in the family, nobility and sensitivity, closeness in language and customs to the people - all this is inherent in the family, which, in the author's understanding, is ideal.

The first time we encounter the Bolkonsky family in full force is at the end of the first part of the first volume, when everyone in the Bald Mountains, on the main Bolkonsky estate, is waiting for the arrival of Prince Andrei and his wife. Distinctive features of the Bolkonskys are spirituality, intelligence, independence, nobility, high ideas of honor, duty. The old prince, in the past Catherine's nobleman, a friend of Kutuzov, is a statesman. He, serving Catherine, served Russia. Not wanting to adapt to the new time, which required not to serve, but to serve, he voluntarily imprisoned himself in the estate.

The Bolkonskys are truly attached to each other. They are united by a hidden, not expressed in words kindred warmth. The old prince, although unnecessarily harsh and strict, is proud of his son and loves his daughter, feels guilty in quarrels with children. Only before his death, he gives vent to a feeling of pity and love for his daughter, which he had previously carefully concealed. Prince Andrei respects and highly honors his father. They have a real understanding. After leaving for the war, Prince Andrei wrote letters to his father every day. Children are accustomed to reckon with the weaknesses and whims of the old man. Therefore, Prince Andrei, at the request of his father, is forced to postpone the wedding with Natasha for a whole year. However, internally, the Bolkonskys are very close to each other. Their love is shown in difficult times. When news came of the death of Prince Andrei, Mary, hugging her father, said: "Let's cry together."

It is no coincidence that Tolstoy describes in detail the home life of the Bolkonskys. They have a real, native Home, a family hearth, certain traditions.

2. The theme of loneliness in the work of M.Yu. Lermontov. (on the example of 2-3 poems)

The lyrics of M. Yu. Lermontov are the works of the romantic poet. It is no coincidence that one of the main motives of his lyrics, growing into a whole theme, is the motive of loneliness, which sounds in many poems: “Leaf”, “Cliff”, “Stans”, “Duma”, “And boring and sad”, “Clouds” , "Prophet", "Sail". At the same time, it should be noted that this is not only a kind of romantic “mask” of the lyrical hero, but also the personal worldview of the poet. The ultimate expression of the poet's attitude is reflected in the poem "Sail" (1832)

White sail lonely
In the blue mist of the sea! ..
What is he looking for in a distant country?
What did he throw in his native land ?..

Waves play - the wind whistles,
And the mast bends and creaks ...
Alas! he does not seek happiness
And not from happiness runs!

Under it, a stream of lighter azure,
Above him a golden ray of sunshine ...
And he, rebellious, asks for a storm,
As if there is peace in the storms! (By heart)

The poem "Sail" describes a sea storm and a lonely sail floating on a restless sea. The theme of loneliness sweeps through all the early lyrics of the young poet. It is with loneliness that Lermontov connects his freedom, which is so dear to him.

Lermontov's "Sail" is associated with each of us and the poet himself not only with the type of sail, but also with a specific person who has had many difficult trials. Reading the work, we observe both the seascape, and the whitening lonely sail, and the poet himself, since he himself is alone in the raging world of people.

Lermontov's "Sail" is thematically close to the experiences of the poet, who left his dream and his native places. The poem is saturated with vivid images of the raging sea and sails against its background. Poetic beauty is also traced in the chosen words, characterizing not only the sea and a lonely sail, but also the inner state of the poet himself. A clear line draws the entire depth of the experiences with which Lermontov struggles. Falling in love left in Moscow does not leave the author alone. At the same time, while reading the work, we feel the amazing maturity inherent in the thoughts of the young poet.

The second quatrain begins with the rushing wind, which raised the waves and the sail. It would seem that with a tailwind you can overcome any obstacles and travel long distances. But "alas", there is a sudden feeling of disappointment and longing. With this feeling, the poet connects the lost happiness and dream.

The third quatrain describes the ensuing natural harmony and the silence of the sea. The sun is shining, the sky is getting brighter. But this does not please the young poet at all, he feels suffering from discord in his soul and disorder in life.

In the composition of the poem, one can feel the inner feelings of the poet, who wants to escape from the ocean of feelings that has overtaken him, how to find a safe haven for a sail.

In the poem "Cliff"(“A golden cloud spent the night / / On the chest of a giant cliff ...) the windy soul of the cloud and the lonely soul of the cliff, longing for love and tenderness, are contrasted. The work is based on parallelism between human life and nature: human experiences and actions are transferred to an old cliff and a golden cloud. Composition Utesa is built on contrast of the main characters- clouds and cliffs, created using various means: grammatical categories (heroes are indicated by masculine and feminine nouns), using antithesis ( the cloud is playing merrily - the cliff is crying, the young cloud is the old cliff).

The cloud symbolizes a light and carefree attitude to life, and the cliff symbolizes a more thorough attitude to life.

The poem "Cliff", revealing the inner world of the poet, encourages a person to strive to achieve inner harmony, the ability to live in harmony with himself and the world around him.

Ticket number 3

1 .Love line in the novel by I.S. Turgenev "Fathers and Sons". The role of a woman in the fate of Bazarov, Pavel Petrovich, Nikolai Petrovich.

The theme of love becomes one of the leading ones in the novel "Fathers and Sons". All of his characters are tested by love. And on how they managed to pass this test, the true essence and dignity of each person depends.

The central love line of the novel is Yevgeny Bazarov's love for Anna Sergeevna Odintsova. Nihilist Bazarov does not believe in love, considering it only as a physical attraction. But it is precisely this seemingly cynical and reasonable nature that is overtaken by a frantic, passionate love for the secular beauty Odintsova. Undoubtedly, Anna Sergeevna is an outstanding nature. She is smart, majestic, not like the others. But her heart is cold, and Odintsova cannot respond to Bazarov's feelings, his passion frightens her, threatening to break her usual calm world.
Having been defeated in love, Bazarov is not broken. It may even seem that he forgot Odintsova. But, being in the face of death, which overtook him by a strange and absurd accident, Bazarov wants to say goodbye to Anna Sergeevna. Their last meeting reveals the depth of his feelings. "Magnanimous! .. and how young, fresh, clean ... in this nasty room!" - this is what Bazarov says about his beloved woman.

Another character in the novel, capable of experiencing a deep and passionate feeling, is the antipode (although in many respects a double) of Bazarov - Pavel Petrovich Kirsanov. But his love is very different from what Bazarov experiences. Bazarov will never become the slave of his beloved woman, which in many ways repels Odintsova from him. Pavel Petrovich, for the sake of love for a certain princess R., crossed out his whole life, quit his career, was subjected to humiliation ... As a result, an unrequited painful passion dried up the hero’s soul, turning him into a living dead.

Nevertheless, in the love of Bazarov and Pavel Petrovich there is something in common. Not without reason, having experienced the drama of rejected love, they are both drawn to the simple girl Fenechka. But the attention of Pavel Petrovich, who saw in her appearance a resemblance to Princess R., only frightens Fenechka, and Bazarov's arrogance offends her.

There are two stories of a completely different, calm, "home" love in the novel - this is the love of Nikolai Petrovich Kirsanov for Fenechka and the love of Arkady for Katya. Both of them end with pictures of quiet family happiness, but the true passion that Turgenev himself was capable of, and the central characters of his works, are not in these stories. Therefore, they are not of particular interest to either the readers or the author himself.

2 . How can the heart express itself? How can someone else understand you? The philosophical nature of the lyrics of F.I. Tyutchev. (on the example of 2-3 poems) Reading by heart one of the poet's poems (at the student's choice).

F. I. Tyutchev is a famous Russian poet of the 19th century. His work is unusually emotional and diverse. In it you can find the sound of spring waters, and the first thunder, and suffering from unrequited love, and deep reflections. Tyutchev is known to most people, first of all, as an inspired singer of nature, who created real hymns to her. However, no less important place in his literary heritage is occupied by philosophical lyrics. In the poems of this direction, the poet reflects on the world and man, on chaos and the secrets of nature, on the cosmos and on the eternal problems of being.

Tyutchev did not write for the public, he mainly wrote for himself, putting his thoughts on paper. In each poem, he seeks the truth, the truth.
Tyutchev's poem "Silentium!" was written in 1830.

Be silent, hide and conceal

And feelings, and your dreams -

Let in the depths of the soul

They get up and come in

Silently, like stars in the night,

Admire them - and be silent.

How can the heart express itself?

How can someone else understand you?

Will he understand how you live?

Thought spoken is a lie.

Exploding, disturb the keys, -

Eat them - and be silent.

Just know how to live in yourself

There is a whole world in your soul

Mysterious magical thoughts;

Outside noise will deafen them

Daytime rays will disperse, -

Listen to their singing - and be silent! .. (By heart)

The incorrect emphasis of some words in the poem is explained by the fact that it was more important for Tyutchev to show true feelings, and not lies. He turns to the questions of life, looking for answers to them, doubts or, on the contrary, is convinced of the correctness of his thoughts. Tyutchev argues that it is sometimes difficult even for the heart to admit one's thoughts and assumptions, but whether another person will understand you is an eternal question, because the ideas about life, thoughts and feelings of all people are different and contradictory. Tyutchev advises:

Be silent, hide and conceal
Feelings and dreams.
As if fear is born in a person: “Will they understand me? What will they say in response? But Tyutchev believed that he would be understood by mankind. But Tyutchev also calls for listening to other people's opinions,

Exploding, disturb the keys, -
Eat them - and be silent.

…thus to deepen your knowledge and ideas about the world.
You can’t show your every thought to the light, you just need to enjoy it yourself, as well as hide your feelings and restrain emotions that overwhelm your soul.
A person must live in his own world, his soul, so that it is a secret for everyone, because, having discovered it, he may not be understood by other people and alien to those who do not consider his opinion and assumption to be true.

In the poem "There is melodiousness in the waves of the sea" the poet-philosopher says that in nature everything is consonant, since there is always order in it, but the lyricist immediately complains that a person begins to feel and understand his dissociation from nature only when he begins to feel at least a little nature . He says that discord with the natural world is manifested in the fact that the human soul and the sea do not sing together, but in different ways.

Philosophical lyrics are reflected in all Tyutchev's poems, and in love too. These thoughts about philosophy give rise in his soul only beautiful and strong feelings. So, in the love lyrics of the poet-philosopher, the main motive is recognition, which lasts beyond Tyutchev's lyrics. His famous creation "Oh, how deadly we love..." love and the cosmos goes either into a state of rest, or it is an eternal struggle.

Ticket number 4

1. The position of the Russian woman of the nineteenth century. (on the example of 1-2 plays by A.N. Ostrovsky)

Two dramas by A. N. Ostrovsky "Thunderstorm" and "Dowry" are devoted to the same problem - the position of women in Russian society. Before us are the fates of three young women: Katerina, Varvara, Larisa. Three images, three destinies.

Katerina differs in character from all the characters in the drama "Thunderstorm". Honest, sincere and principled, she is not capable of deceit and falsehood, resourcefulness and opportunism. Therefore, in a cruel world where wild and wild boars reign, her life turns out to be unbearable, impossible and ends so tragically.Katerina's protest against Kabanikha is a struggle of light, pure, human against the darkness of lies and cruelty of the "dark kingdom". No wonder Ostrovsky, who paid great attention to names and surnames, gave the heroine of "Thunderstorm" the name Ekaterina, which in Greek means "eternally pure." Katerina is a poetic nature. Unlike the rude people around her, she feels the beauty of nature and loves it. “I used to get up early in the morning; in the summer, I’ll go to the key, I’ll wash myself, I’ll bring water with me and that’s it, I’ll water all the flowers in the house. I had many, many flowers,” she says about her childhood. Dreams were filled with miracles ", fabulous visions. She often dreamed that she flies like a bird. She speaks of her desire to fly several times. By this, Ostrovsky emphasizes the romantic sublimity of Katerina's soul. Married early, she tries to get along with her mother-in-law, to love her husband, but in the house of the Kabanovs, sincere feelings to no one Tenderness, which overwhelms her soul, finds no use for itself. Deep melancholy sounds in her words about children: "If only someone's children! Eco grief! I don’t have children: all I would do is sit with them and amuse them. I love to talk with children very much - they are angels, after all. What a loving wife and mother she would have been under other conditions!

Captivity is Katerina's main enemy. The external conditions of her life in Kalinovo seem to be no different from those of her childhood. The same motives, the same rites, that is, the same activities, but "everything here seems to be from under bondage," says Katerina. Captivity is incompatible with the freedom-loving soul of the heroine. "But bondage is bitter, oh, how bitter," says she is in the scene with the key, and these words, these thoughts push her to the decision to see Boris. In the behavior of Katerina, a character was formed that will endure, but will not betray itself.

Barbara is the exact opposite of Katerina. She is not superstitious, she is not afraid of thunderstorms, she does not consider it necessary to strictly observe established customs. Due to her position, she cannot openly oppose her mother and therefore cunning and deceiving her. She hopes that marriage will give her the opportunity to leave this house, to escape | from the "dark kingdom." To Katerina's words that she | cannot hide anything, Varvara replies: "Well, you can't do without it! You remember where you live! Our whole house is based on that. And I was not a liar, but I learned when it became necessary. Varvara despises her brother's spinelessness and resents her mother's heartlessness, but she does not understand Katerina. She is only interested in and concerned about the outer side of life. She reconciled herself and adapted to the laws of the old world around her.

Larisa, unlike Katerina, grew up and was brought up in conditions where the weak are humiliated, where the strongest survive. In her character there is no integrity that is in Katerina. Therefore, Larisa does not strive, and cannot make her dreams and desires come true. Her name in Greek means "Seagull". This bird is associated with something white, light, piercingly screaming. And this image is fully consistent with Larisa.

Katerina and Larisa have different upbringings, different characters, different ages, but they are united by the desire to love and be loved, to find understanding, in a word, to become happy. And each goes to this goal, overcoming the obstacles created by the foundations of society.

Katerina cannot connect with a loved one and finds a way out in death. Larisa the situation is more complicated. She was disappointed in the person she loved and stopped believing in the existence of love and happiness. Realizing that she is surrounded by lies and deceit, Larisa sees two ways out of the current situation: either the search for material values, or death. And under the circumstances, she chooses the first. But the author does not want to see her as an ordinary dependent woman, and she passes away.

2. “I love my homeland, but with a strange love!” What is the "strangeness" of love for the Motherland M.Yu. Lermontov (on the example of 2-3 poems). Reading by heart one of the poet's poems (at the student's choice).

Why does the poet call his love for the motherland strange? Lermontov's hope for a happy future for Russia was connected with people's Russia. In the Russian people, the poet saw potential forces for the revival of Russia. And of course, such love seemed unusual, “strange” in those years when official patriotism was proclaimed with its demand for love for the autocracy, when most of the nobility was far from the people. The poet's love for Russia has nothing to do with official monarchism, or with the glory of an empire bought with the blood of the people. She is sincere, sincere, folk.

Can not leave indifferent the lines of poems: "Farewell, unwashed Russia", "Motherland"(1841). “Farewell, unwashed Russia…” is the most harsh political poem of the poet. The idea is to reject all aspects of reality:

Farewell, unwashed Russia,

Country of slaves, country of masters,

And you, blue uniforms,

And you, their devoted people.

But the “country of slaves and masters” is not all of Russia. Motherland is also ordinary Russian people.

In his poems, she appears both in her heroic past, and in the grandeur of her boundless expanses, and in the poet's bitter thoughts about lawlessness and spiritual slavery.

The poem "Motherland" was born under the impression of traveling through Russia after a crop failure in 1839, when even roofing straw was eaten in Russian villages.

I love my homeland, but with a strange love!
My mind won't defeat her.
Nor glory bought with blood
Nor full of proud trust peace,
No dark antiquity cherished legends
Do not stir in me a pleasurable dream,
But I love - for what, I do not know myself -
Her steppes are cold silence,
Her boundless forests sway,
The floods of her rivers are like seas;
On a country road I like to ride in a cart
And, with a slow gaze piercing the shadow of the night,
Meet around, sighing about an overnight stay,
The flickering lights of sad villages.
I love the smoke of the burnt stubble,
In the steppe, an overnight convoy
And on a hill in the middle of a yellow field
A couple of whitening birches.
With joy, unknown to many,
I see a complete threshing floor
Thatched hut,
Carved shuttered window;
And on a holiday, dewy evening,
Ready to watch until midnight
To the dance with stomping and whistling
To the sound of drunken men.
(By heart)

Russia in Lermontov's poem is huge, immense. The image of the steppe immediately evokes the idea of ​​something free, wide. The second image is a forest... It is hard to imagine Mother Russia without forests, green oak forests, white-trunked birches. Like the steppe, the forest reminds of the wealth of the Russian land, its vast expanses. The third remarkable image is the image of the river. There are many of them in Russia. These are, first of all, the great and mighty Volga and Don. The author resorted to a comparison - the floods of its rivers are like seas.

He admits that he rejoices when he sees "a full threshing floor, a hut covered with straw, with carved window shutters." And during a village holiday, when the peasants, tired from work, rest, the lyrical hero likes to watch “the dance with stomping and whistling to the sound of drunken peasants.”

It is noteworthy that all these are attributes not of landlord, wealthy, well-fed Russia, but of peasant, people's Rus'.

“With joy, unfamiliar to many,” says the poet. What does he mean? Not every landowner tends to rejoice, looking at the traces of the prosperity of peasant life: “a full barn”, “an elegant, carved window”.

The poet calls his love for his homeland a strange love. Everything shows that the poet denies "glory bought with blood." The fact is that after the victory of the Russian people over Napoleon, the glory of Russia thundered around the world, but all the laurels went to the tsar, government, generals, commanders. This glory was bought with the blood of soldiers, ordinary participants in the war, but they were forgotten about.

Ticket number 5

1.What is the tragedy of Rodion Raskolnikov in F. M. Dostoevsky's novel "Crime and Punishment"?

A person will always be interested in another person. His life, his story.

We read literature, first of all, in order to better understand ourselves, our life with the help of even fictional characters.

It will be all the better if we take not the most unambiguous character. Let us turn to the image of Rodion Raskolnikov from the novel by F.M. Dostoevsky "Crime and Punishment". Grigory Pechorin (M.Yu. Lermontov "A Hero of Our Time"), and Eugene Onegin (A.S. Pushkin "Eugene Onegin"), and Luka (M.A. Gorky "At the Bottom"), and Woland ( M.A. Bulgakov "The Master and Margarita").

Not all the people we meet in our lives are interesting to us, we do not accept all of them. In the same way, we do not accept some heroes of literary works, we sometimes understand the reasons for their actions, but often there is something that repels.

Rodion Romanovich Raskolnikov, a young man, a tradesman by birth, dropped out of his studies at the university, being unable to pay for it. It is on the horrendous poverty in which all the heroes of the novel live that the author focuses attention from the first pages. Raskolnikov lives in a closet, which "looked more like a closet than an apartment" and for which he was also unable to pay. His situation was so difficult that Rodion could not eat normally, since the student was at the boarding house of the owner of the house.

Raskolnikov puts forward an interesting theory according to which society is divided into two categories of people: people-rulers who, in order to achieve their goal, are allowed to commit a crime at the beginning of their career, and the rest of humanity, weak and submissive. And so Raskolnikov decides to cross the line that separates these "great" people from the crowd. This very trait is the murder of a decrepit, petty old woman - a usurer, who, according to Raskolnikov, has nothing to do in this world.

"Everything is in the hands of a man, and everything he carries past his nose is solely from cowardice," Raskolnikov thinks. Once in a tavern, in one of the conversations, he hears a theory similar to his, that this old woman can easily be killed and everyone will only say thanks for this. But in answer to the question: "Will you kill the old woman yourself or not?" the other speaker replies, "Of course not." Is it cowardice? For Raskolnikov, apparently - yes, but in fact ... It seems to me that these are elementary human, moral and moral norms. "Thou shalt not kill," says one of the commandments. This is what Raskolnikov crosses over, and it is for this crime that his punishment will follow.

What can we accept in a person who has committed the worst of all human sins - the murder of another person? Rodion Raskolnikov in the novel by F.M. Dostoyevsky's "Crime and Punishment" kills an old pawnbroker in order to test his theory, the essence of which is that all people are divided into two categories: trembling creatures, and those who have the right.

The tragedy of Raskolnikov is that, according to his theory, he wants to act according to the principle "everything is permitted", but at the same time, the fire of sacrificial love for people lives in him. It turns out a monstrous and tragic contradiction for the hero: the theory professed by Raskolnikov, exhausted by other people's and his own suffering, hating the "masters of life", brings him closer to the scoundrel Luzhin and the villain Svidrigailov. After all, these contradictory and complex personalities believe that a person with strength and anger, "everything is permitted."

“We are one field of berries,” Svidrigailov says to Raskolnikov. Rodion understands that this is so, because both of them, although for different reasons, "stepped over the blood."

Raskolnikov's tragedy is intensified because the theory that was supposed to lead him out of the dead end led him into the most hopeless of all possible dead ends. The consciousness of this causes suffering and torment for the hero, who, after the murder, felt his complete rejection from the world and people. He cannot be near his beloved mother and sister, he does not rejoice in nature ... He, like scissors, cut himself off from everyone.

The pangs of conscience, the chilling fear that haunts Raskolnikov at every step, the thought that he is not Napoleon, but a "trembling creature", a "louse", the consciousness of the senselessness of the perfect atrocity - all this unbearable oppression falls on Raskolnikov's soul. Rodion understands the inconsistency of his theory of a "strong man", she did not stand the test of life. The hero collapses, like any person who has associated himself with a false idea. And this is also the tragedy of Raskolnikov.

It is the internal struggle that turns out to be a tragedy for him. From the mental and worldview crisis, a way out for him is possible only with a complete understanding of his own mistake and a review of all his life positions.

Dostoevsky the psychologist with such force revealed the tragedy of Raskolnikov, all aspects of his spiritual drama, the immensity of his suffering, that the reader is convinced that these torments of conscience are stronger than punishment by hard labor.

Not from a good life, Raskolnikov took such a step, he really saved many, like himself, from the need to repay debts.

We can condemn the way of life that the old pawnbroker led as much as we like, but each of us must learn to decide how to live, so as not to be in conflict with our inner world.

One can understand Raskolnikov, but not a single normal society, not a single normal person should accept the right to kill.

2. Landscape lyrics by A.A. Feta. (on the example of 2-3 poems) Reading by heart one of the poet's poems (at the student's choice)

In his poems, Afanasy Afanasievich Fet wrote about the simplest things - about pictures of nature, about rain, about snow, about the sea, about mountains, about forests, about stars, about the simplest movements of the soul, even about momentary impressions. His poetry is joyful and bright, it has a sense of light and peace. The beauty, naturalness, sincerity of his poetry reach complete perfection, his verse is amazingly expressive, figurative, musical. Many romances were written to Fet's poems, which quickly gained wide popularity.

Fetov's poetics is based on a special philosophy that expresses the visible and invisible connections between man and nature (the cycles "Spring", "Summer", "Autumn", "Snow", "Divination", "Evenings and Nights", "Sea"). Romantic the hero Fet seeks to merge with the beyond.
In his landscape lyrics, nature appears before the reader in the brightest colors:

I came to you with greetings
Say that the sun has risen
What is hot light
The sheets fluttered;

The novelty of the depiction of natural phenomena in Fet is associated with a bias towards impressionism, which precisely appeared in Fet. A sign of this style is "the desire to convey the subject in fragmentary, instantly fixing every movement strokes." The poet vigilantly peers into the outside world and shows it as it appeared to his perception, as it seems to him at the moment. He is interested not so much in the subject as in the impression made by the subject. Fet's nature is always calm, hushed, as if frozen. And at the same time, she is surprisingly rich in sounds and colors, lives her own life, hidden from an attentive gaze (“I came to you with greetings ...”, “Do not wake her at dawn”, “Whisper, timid breathing ...”)

In the poem "Whisper, timid breathing ..." (1850). Fet perfectly conveys the “fragrant freshness of feelings” inspired by nature, its beauty, charm. His poems are imbued with a bright, joyful mood, the happiness of love. The poet unusually subtly reveals the various shades of human experiences. He knows how to catch and clothe in bright, vivid images even fleeting spiritual movements that are difficult to identify and convey in words:

A whisper, a timid breath.
trill nightingale,
Silver and flutter
Sleepy stream.

Night light, night shadows,
Shadows without end
A series of magical changes
sweet face,

In smoky clouds purple roses,
reflection of amber,
And kisses, and tears,
And dawn, dawn! .. (by heart)

Fet in his poems plays on every string of the soul. Changes in the "sweet face" and changes in nature - such parallelism is typical of Fet's poems. Fet, seeing the beauty of the world, tries to preserve it in poetry. The poet introduces this connection between nature and love because feelings and impressions can only be expressed by speaking of the beautiful and eternal, and love and nature are the two most beautiful things on earth, and there is nothing more eternal than nature and love. In this poem, love and landscape lyrics merge into one. The heroes of the poem are he and she. They have neither names nor age. The reader simply feels their presence in the poem. The favorite time of lovers is night: "... Light of the night, night shadows ..."
The poem begins with the appearance of the heroes themselves: "... A whisper, a timid breath ...".

And it is no coincidence that from the word "whisper", because at night you can not shout, especially at
goodbye. Hence the breath - timid. This also means that the heroes are all
still young.
From the second line, one more hero is “woven” into the fabric of the work -
nightingale. He not only contemplates the world and lovers, he also sings: “... trills
nightingale…”, - complementing the beautiful picture of love reigning “in the universe”.
The third and fourth lines introduce us to the stream. But Fet is not
just a geographical concept, it is also a background, and the next hero of this
poems. The poet personifies it.
The brook sleeps ("... sleepy ..."). And at the same time it moves (“…swaying…”). AND
the water in the stream looks like silver under the moonlight, so Fet uses
metaphor: "... Silver and the swaying of a sleepy stream ...".
The epithet "smoky" emphasizes the lightness of clouds, weightlessness, purity. The author uses color symbolism: "...purple of a rose, a reflection of amber ...". And before us is one beautiful moment, maybe that's why at the end of the poem the word appears - "... tears ...", indicating that the moment of parting is coming.

Ticket number 6

1. What features of the Russian national character in the image of I. Flyagin are revealed during his wanderings? (based on the story "The Enchanted Wanderer" by N. Leskov).

In today's world with its rampant violence, hostility, misunderstanding of each other, the works of Nikolai Semenovich Leskov are especially relevant, because his characters bring the light of goodness, justice, and purity.

Real life and a real person for the writer were paramount. But Leskov was always fascinated by life that did not fit into the schemes, amazing human characters. He, who had seen a lot during his endless travels around Russia, had something to tell in this sense. He knew about Russian life, and especially about the Russian people, something that, perhaps, few of the writers knew. Therefore, it is no coincidence that the concept of “Leskovsky man” exists as a sign of a special, separate, integral human personality.

"The Enchanted Wanderer" is a story by Leskov, created in the 2nd half of the 19th century. In the center of the work is an image of the life of a simple Russian peasant named Flyagin Ivan Severyanovich. Researchers agree that the image of Ivan Flyagin has absorbed the main features of the Russian folk character.

In Leskov's story, a completely new type of hero is presented, incomparable with any other in Russian literature. He has so organically merged with the elements of life that he is not afraid to get entangled in it.

In the story of N.S. Leskov "The Enchanted Wanderer" (1873) tells the story of the protagonist -

Ivan Severyanovich Flyagin, whose life is a chain of incredible adventures. Subject Leskov's stories are an image of a simple Russian person, in whose image the author saw the characteristic features of the Russian nation. Idea stories - to present a positive hero - "righteous",

as the writer himself calls it.

In the image of Flyagin, the author showed the formation of a person with a new national identity. The main character lives, as it were, in two eras. In his youth, he was a serf of Count K., and he was brought up with traits that are important for serfs: hard work, devotion to the masters.
After the Manifesto on February 17, 1861, Ivan Severyanovich becomes a free man and must look for new life guidelines. As a result of his "going through the torments", he comes to the conclusion: the main thing is not devotion to the owner, but service to the people.

Ivan Severyanovich is not an ideal hero. At the beginning of his life path, he does not distinguish between good and evil (does not feel guilty for the death

A work of art only then becomes relevant and close if it fully and vividly reflects the problems of reality. Such are the plays of A.N. Ostrovsky. The characters of his heroes are holistic and realistic, their actions are not spontaneous, they become the result of life circumstances. The basis for the intrigue of many plays of the playwright was the confrontation between "right and wrong". What is virtue and what is sin? Where is the line between freedom of choice and violation of social norms?

A person, according to Ostrovsky, lives, as it were, in two dimensions: life, family,

Where outsiders do not see him, and public life, where illusions are created.

Such is the way of life of Kabanikhi (the play "Thunderstorm"). The tyranny of a callous fanatic who firmly holds the fate of all household members in her hands knows no bounds. The old foundations (and they are called upon to observe morality!) only stifle the younger generation. The mother, by constant moralizing, makes the life of her son dull and unhappy. The daughter deliberately violates the norms of morality, without feeling remorse.

The mother from the play "Dowry" loves a catchy, fun life. She trades her daughters, trying to profitably marry them off, not at all caring about feelings.

landowner

Raisa Gurmyzhskaya (the play "Forest"), trying to observe external decorum, leads an immoral lifestyle: she spends a fortune on her lovers, but at the same time she is callous and stingy in relation to relatives.

And what about the new generation? Where does his protest against obsolete norms lead him? In The Thunderstorm, Katerina dies. What is it - a punishment for adultery or the unwillingness of society to accept new trends? In this context, the problem of sin is acute. The soul of Katerina, freedom-loving, creative, unstoppable, cannot live in captivity. She strives for forbidden happiness, feeling and understanding the wrongness of her act. How to live, executing yourself for treason, seeing the censure of others? And is it possible to build happiness on the misfortune of the same Tikhon?

But Karandyshev (the play "Dowry") does not hesitate to assert himself at the expense of others. His feelings are devoid of warmth, they are destructive, because they are based on profit. The dowry Larisa, confused in her desire to marry for love, but who loves a beautiful life, like Katerina, dies.

What do all these people have in common: so different in their impulses? They are united by the era with its false ideals, outdated rules, obsolete foundations. And the fate of a confused person who is trying to live in harmony with social norms, his desires and his own conscience. The universal problems raised by A. Ostrovsky make his plays sharp and relevant even today.