The role of minor characters in the drama by A.N.

A. N. Ostrovsky is rightfully considered the father of Russian everyday drama and Russian theater. He opened up new horizons for the Russian theater, new heroes, a new type of human relations. He is the author of about 60 plays, of which the most famous are “The Dowry”, “Late Love”, “The Forest”, “Simplicity is Enough for Every Wise Man”, “We Are Our Own People” and, of course, “The Thunderstorm”.
The play “The Thunderstorm” was called by A. N. Dobrolyubov the most decisive work, since “the mutual relations of tyranny and voicelessness

Brought to tragic consequences in it... “. Indeed, the play takes us to the small Volga town of Kalinov, which would not be anything remarkable if, in the depths of its patriarchy, problems had not arisen that can be attributed to a number of universal human problems. Stuffiness is the main thing that determines the atmosphere of the city. And the playwright very accurately conveys to us the state of mind of people forced to spend their lives in this atmosphere.
The secondary characters in the play not only form the background against which the personal drama of Katerina, the main character of the work, unfolds. They show us different types of people’s attitudes towards their lack of freedom. The system of images in the play is such that all the minor characters form conditional pairs, and only Katerina is alone in her true desire to escape from the yoke of the “tyrants.”
Dikoy and Kabanov are people who keep those who are somehow dependent on them in constant fear. Dobrolyubov very aptly called them “tyrants,” since the main law for everyone is their will. It is no coincidence that they treat each other very respectfully: they are the same, only the sphere of influence is different. Dikoy rules in the city, Kabanikha rules over her family.
Katerina's constant companion is Varvara, the sister of her husband Tikhon. She is the main opponent of the heroine. Her main rule: “Do whatever you want, as long as everything is sewn and covered.” Varvara cannot be denied intelligence and cunning; Before marriage, she wants to be everywhere, to try everything, because she knows that “the girls go out as they please, and father and mother don’t care. Only women are locked up.” Varvara perfectly understands the essence of the relationship between people in their house, but does not consider it necessary to fight her mother’s “thunderstorm”. Lying is the norm for her. In a conversation with Katerina, she speaks directly about this: “Well, you can’t do without it... Our whole house rests on this. And I wasn’t a liar, but I learned when it became necessary.” Varvara adapted to the dark kingdom, learned its laws and rules. She feels authority, strength, and a desire to deceive. She is, in fact, the future Kabanikha, because the apple doesn’t fall far from the tree.
Varvara's friend, Ivan Kudryash, is a match for her. He is the only one in the city of Kalinov who can answer Dikiy. “I am considered a rude person; Why is he holding me? Therefore, he needs me. Well, that means I’m not afraid of him, but let him be afraid of me...” says Kudryash. In conversation, he behaves cheekily, smartly, boldly, boasts of his prowess, red tape, and knowledge of the “merchant establishment.” He also adapted to the tyranny of the Wild. Moreover, one can even assume that Kudryash could become the second Wild.
At the end of the play, Varvara and Kudryash leave the “dark kingdom,” but does this escape mean that they have completely freed themselves from old traditions and laws and will become the source of new laws of life and honest rules? Hardly. They will most likely try to become masters of life themselves.
The couple also consists of two men with whom Katerina’s fate was connected. They can be confidently called the true victims of the “dark kingdom.” So Katerina’s husband Tikhon is a weak-willed, spineless creature. He obeys his mother in everything and obeys her. He does not have a clear position in life, courage, courage. His image fully corresponds to the name given to him - Tikhon (quiet). Young Kabanov not only does not respect himself, but also allows his mother to shamelessly treat his wife. This is especially evident in the farewell scene before leaving for the fair. Tikhon repeats all his mother’s instructions and moral teachings word for word. Kabanov could not resist his mother in anything, he only sought solace in wine and on those short trips when, at least for a while, he could escape from his mother’s oppression.
Of course, Katerina cannot love and respect such a husband, but her soul yearns for love. She falls in love with Dikiy's nephew, Boris. But Katerina fell in love with him, in the apt expression of A. N. Dobrolyubov, “in the wilderness,” because in essence Boris is not much different from Tikhon. Perhaps more educated, like Katerina, he did not spend his entire life in Kalinov. Boris's lack of will, his desire to receive his part of his grandmother's inheritance (and he will receive it only if he is respectful to his uncle) turned out to be stronger than love. Katerina bitterly says that Boris, unlike her, is free. But his freedom is only in the absence of his wife.
Kuligin and Feklusha also form a couple, but here it is appropriate to talk about an antithesis. The wanderer Feklusha can be called an “ideologist” of the “dark kingdom.” With her stories about lands where people with dog heads live, about thunderstorms, which are perceived as irrefutable information about the world, she helps “tyrants” keep people in constant fear. Kalinov for her is a land blessed by God. The self-taught mechanic Kuligin, who is looking for a perpetual motion machine, is the complete opposite of Feklusha. He is active, obsessed with a constant desire to do something useful for people. A condemnation of the “dark kingdom” is put into his mouth: “Cruel, sir, the morals in our city are cruel... Whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors...” But all his good intentions are met against a thick wall of misunderstanding, indifference, ignorance. So, when he tries to install steel lightning rods on houses, he receives a furious rebuff from the Wild: “A thunderstorm is sent to us as punishment, so that we can feel it, but you want to defend yourself, God forgive me, with poles and some kind of rods.”
Kuligin is perhaps the only one who understands the main character; it is no coincidence that it is he who utters accusatory words at the end of the play, holding the body of the dead Katerina in his arms. But he is also incapable of fighting, since he too has adapted to the “dark kingdom” and has come to terms with such a life.
And finally, the last character is a half-crazed lady who, at the very beginning of the play, predicts the death of Katerina. She becomes the personification of those ideas about sin that live in the soul of the religious Katerina, raised in a patriarchal family. True, in the finale of the play, Katerina manages to overcome her fear, because she understands that lying and humbling herself all her life is a greater sin than suicide.
The secondary characters, as already mentioned, are the background against which the tragedy of a desperate woman unfolds. Each character in the play, each image is a detail that allows the author to convey as accurately as possible the situation of the “dark kingdom” and the unpreparedness of most people to fight.

/* ads 160x90 */

• Popular

  The novel “Gentlemen Golovlevs” is a vicious satire on the noble class. With inexorable truthfulness, Shchedrin paints a picture of the destruction of a noble family, reflecting the decline, decay, and doom of "Lord Golovlev" - this is a social novel from the life of a noble family. The decomposition of bourgeois society, as in a mirror, was reflected in the decomposition of the family. The whole complex of morals collapses. “Lord Golovlev” is a novel about a family, but, first of all, it is a novel about true and imaginary values, about why a person lives on Earth. In “The Golovlev Gentlemen” the author explores the creativity of M. E. Saltykov-Shchedrin in an extremely diverse way. He wrote novels, dramas, chronicles, essays, reviews, stories, articles, reviews.
  Among the satirist’s enormous legacy, “Lord Golovlevs” is a special family chronicle. With inexorable truthfulness, the author paints a picture of the destruction of a noble family. The reasons for degeneration are social, and therefore, we are talking about...In satire, reality as a kind of imperfection is contrasted with the ideal as the highest reality. F. Schiller Saltykov-Shchedrin is an original writer of Russian literature, occupying the Type of idle talk (Judushka Golovlev) - the artistic discovery of M. E. Saltykov-Shchedrin. Before this, in Russian literature, in Gogol, Dostoevsky, there were images that were vaguely reminiscent of Among the enormous heritage of M. E. Saltykov-Shchedrin, his fairy tales are the most popular. The form of folk tale was used by many writers before Shchedrin. Literary fairy tales All writers, through their works, try to convey to us, the readers, their own innermost thoughts. A real writer, due to his talent and the characteristics of his inner world, what was happening He was smart, honest, stern and never hid the truth, no matter how regrettable it was... M. Gorky It seems to me that without the writer Saltykov-Shchedrin it is impossible to understand the political Saltykov-Shchedrin's tales are usually defined as the result of his satirical creativity. And this conclusion is to some extent justified. Fairy tales chronologically complete the actual satire. A special place in Russian literature of the 19th century is occupied by the work of the famous writer M. E. Saltykov-Shchedrin. Following N.V. Gogol, he followed the difficult path of satire. His satire is caustic, often

• Advertising

• Tags

• Statistics

The role of minor characters in A. N. Ostrovsky’s drama “The Thunderstorm”

/* ads 300x250 */

A. N. Ostrovsky is rightfully considered the father of Russian everyday drama and Russian theater. He opened up new horizons for the Russian theater, new heroes, a new type of human relations. He is the author of about 60 plays, of which the most famous are “The Dowry”, “Late Love”, “The Forest”, “Simplicity is Enough for Every Wise Man”, “We Are Our Own People” and, of course, “The Thunderstorm”.

The play “The Thunderstorm” was called by A. N. Dobrolyubov the most decisive work, since “the mutual relations of tyranny and voicelessness are brought to tragic consequences in it...”. Indeed, the play takes us to the small Volga town of Kalinov, which would not be anything remarkable if, in the depths of its patriarchy, problems had not arisen that can be attributed to a number of universal human problems. Stuffiness is the main thing that determines the atmosphere of the city. And the playwright very accurately conveys to us the state of mind of people forced to spend their lives in this atmosphere. The secondary characters in the play not only form the background against which the personal drama of Katerina, the main character of the work, unfolds.

They show us different types of people’s attitudes towards their lack of freedom. The system of images in the play is such that all the minor characters form conditional pairs, and only Katerina is alone in her true desire to escape from the yoke of the “tyrants.” Dikoy and Kabanov are people who keep those who are somehow dependent on them in constant fear. Dobrolyubov very aptly called them “tyrants,” since the main law for everyone is their will. It is no coincidence that they treat each other very respectfully: they are the same, only the sphere of influence is different.

Dikoy rules in the city, Kabanikha rules over her family. Katerina's constant companion is Varvara, the sister of her husband Tikhon. She is the main opponent of the heroine.

Her main rule: “Do whatever you want, as long as everything is sewn and covered.” Varvara cannot be denied intelligence and cunning; Before marriage, she wants to be everywhere, to try everything, because she knows that “the girls go out as they please, and father and mother don’t care. Only women are locked up.” Varvara perfectly understands the essence of the relationship between people in their house, but does not consider it necessary to fight her mother’s “thunderstorm”. Lying is the norm for her. In a conversation with Katerina, she speaks directly about this: “Well, you can’t do without it... Our whole house rests on this.

And I wasn’t a liar, but I learned when it became necessary.” Varvara adapted to the dark kingdom, learned its laws and rules. She feels authority, strength, and a desire to deceive.

She is, in fact, the future Kabanikha, because the apple doesn’t fall far from the tree. Varvara's friend, Ivan Kudryash, is a match for her. He is the only one in the city of Kalinov who can answer Dikiy. “I am considered a rude person; Why is he holding me? Therefore, he needs me. Well, that means I’m not afraid of him, but let him be afraid of me...

“- says Kudryash. In conversation, he behaves cheekily, smartly, boldly, boasts of his prowess, red tape, and knowledge of the “merchant establishment.” He also adapted to the tyranny of the Wild. Moreover, one can even assume that Kudryash could become the second Wild. At the end of the play, Varvara and Kudryash leave the “dark kingdom,” but does this escape mean that they have completely freed themselves from old traditions and laws and will become the source of new laws of life and honest rules? Hardly.

They will most likely try to become masters of life themselves. The couple also consists of two men with whom Katerina’s fate was connected. They can be confidently called the true victims of the “dark kingdom.” So Katerina’s husband Tikhon is a weak-willed, spineless creature. He obeys his mother in everything and obeys her. He does not have a clear position in life, courage, courage. His image fully corresponds to the name given to him - Tikhon (quiet).

Young Kabanov not only does not respect himself, but also allows his mother to shamelessly treat his wife. This is especially evident in the farewell scene before leaving for the fair. Tikhon repeats all his mother’s instructions and moral teachings word for word. Kabanov could not resist his mother in anything, he only sought solace in wine and on those short trips when, at least for a while, he could escape from his mother’s oppression.

Of course, Katerina cannot love and respect such a husband, but her soul yearns for love. She falls in love with Dikiy's nephew, Boris. But Katerina fell in love with him, in the apt expression of A. N. Dobrolyubov, “in the wilderness,” because in essence Boris is not much different from Tikhon.

Perhaps more educated, like Katerina, he did not spend his entire life in Kalinov. Boris's lack of will, his desire to receive his part of his grandmother's inheritance (and he will receive it only if he is respectful to his uncle) turned out to be stronger than love. Katerina bitterly says that Boris, unlike her, is free.

But his freedom is only in the absence of his wife. Kuligin and Feklusha also form a couple, but here it is appropriate to talk about an antithesis. The wanderer Feklusha can be called an “ideologist” of the “dark kingdom.” With her stories about lands where people with dog heads live, about thunderstorms, which are perceived as irrefutable information about the world, she helps “tyrants” keep people in constant fear. Kalinov for her is a land blessed by God. The self-taught mechanic Kuligin, who is looking for a perpetual motion machine, is the complete opposite of Feklusha.

He is active, obsessed with a constant desire to do something useful for people. In his mouth is a condemnation of the “dark kingdom”: “Cruel, sir, the morals in our city are cruel... Whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors...” But that’s all. his good intentions run into a thick wall of misunderstanding, indifference, and ignorance.

So, when he tries to install steel lightning rods on houses, he receives a furious rebuff from the Wild: “A thunderstorm is sent to us as punishment, so that we can feel it, but you want to defend yourself, God forgive me, with poles and some kind of rods.” Kuligin is perhaps the only one who understands the main character; it is no coincidence that it is he who utters accusatory words at the end of the play, holding the body of the dead Katerina in his arms. But he is also incapable of fighting, since he too has adapted to the “dark kingdom” and has come to terms with such a life. And finally, the last character is a half-crazed lady who, at the very beginning of the play, predicts the death of Katerina. She becomes the personification of those ideas about sin that live in the soul of the religious Katerina, raised in a patriarchal family. True, in the finale of the play, Katerina manages to overcome her fear, for she understands that lying and humbling herself all her life is a greater sin than suicide.

The secondary characters, as already mentioned, are the background against which the tragedy of a desperate woman unfolds. Every character in the play, every image is a detail that allows the author to convey as accurately as possible the situation of the “dark kingdom” and the unpreparedness of most people to fight.

/* ads 468 */
I liked the article - » The role of minor characters in A. N. Ostrovsky’s drama “The Thunderstorm”? Click and save.

There are two types of people: some are people who are used to fighting for a better life, people who are determined and strong, while others prefer to submit and adapt to the surrounding conditions. In the play by A. N. Ostrovsky, Katerina is the main character of A. N. Ostrovsky’s drama “The Thunderstorm”. N.A. Dobrolyubov defined her as the embodiment of a “strong Russian character” and called her “a ray of light in a dark kingdom.” But despite her, Katerina and the boar are two opposite people from the same family. Kabanikha is the mistress of the “dark kingdom”. All the characters in this play are either victims of this kingdom, like Tikhon and Boris,
• The role of episodic characters in one of the works of Russian drama of the 19th century. A. N. Ostrovsky. "Storm"
It’s probably not entirely correct to call any of the characters in “The Thunderstorm” extra-narrative or episodic. Yes, they are mentioned occasionally, at first glance they serve as a background to the overall plot structure, and are, like Boris, a piece of furniture.
• Female images in A. N. Ostrovsky’s plays “The Thunderstorm” and “Dowry”
Two dramas by A. N. Ostrovsky 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.
• Whose side is the playwright on? based on the play “The Thunderstorm” by A. Ostrovsky
A. N. Ostrovsky’s play “The Thunderstorm” was written based on materials from the author’s trip in 1856 along the Volga. The playwright decided to write a cycle of plays about the provincial merchants, which should have been called “Nights
• A ray of light in the dark kingdom based on the play “The Thunderstorm” by A. N. Ostrovsky
Why don't people fly? I say, why don’t people fly like birds? You know, sometimes I feel like I'm a bird. When you stand on a mountain, you feel the urge to fly. Here

The tragedy of the work.

Critics rating

1. Oblomov - Stolz.

2. Oblomov - Olga Ilyinskaya

The problem of love.

The tragedy of the work.

The tragedy takes place in the city of Kalinov, which is located among the greenery of gardens on the steep bank of the Volga. “For fifty years I’ve been looking across the Volga every day and I can’t get enough of it. The view is extraordinary! Beauty! The soul rejoices,” Kuligin admires. It would seem that the life of the people of this city should be beautiful and joyful. However, the life and customs of the rich merchants created “a world of prison and deathly silence.” Savel Dikoy and Marfa Kabanova are the personification of cruelty and tyranny. The order in the merchant's house is based on the outdated religious dogmas of Domostroy. Dobrolyubov says about Kabanikha that she “gnaws at her victim... long and relentlessly.” She forces her daughter-in-law Katerina to bow at her husband’s feet when he leaves, scolds her for “not howling” in public when seeing off her husband.

Kabanikha is very rich, this can be judged by the fact that the interests of her affairs go far beyond Kalinov; on her instructions, Tikhon travels to Moscow. She is respected by Dikoy, for whom the main thing in life is money. But the merchant's wife understands that power also brings obedience to those around her. She seeks to kill any manifestation of resistance to her power in the home. The boar is hypocritical, she only hides behind virtue and piety, in the family she is an inhuman despot and tyrant. Tikhon does not contradict her in anything. Varvara learned to lie, hide and dodge.

The main character of the play, Katerina, is marked by a strong character; she is not used to humiliation and insults and therefore conflicts with her cruel old mother-in-law. In her mother’s house, Katerina lived freely and easily. In the Kabanov House she feels like a bird in a cage. She quickly realizes that she cannot live here for long.

Katerina married Tikhon without love. In Kabanikha’s house, everything trembles at the mere imperious cry of the merchant’s wife. Life in this house is difficult for young people. And then Katerina meets a completely different person and falls in love. For the first time in her life, she experiences deep personal feeling. One night she goes on a date with Boris. Whose side is the playwright on? He is on Katerina’s side, because a person’s natural aspirations cannot be destroyed. Life in the Kabanov family is unnatural. And Katerina does not accept the inclinations of those people with whom she ended up. Having heard Varvara’s proposal to lie and pretend, Katerina replies: “I don’t know how to deceive, I can’t hide anything.”

Katerina's directness and sincerity evokes respect from both the author, the reader, and the viewer. She decides that she can no longer be a victim of a soulless mother-in-law, she cannot languish behind bars. She's free! But she saw a way out only in her death. And one could argue with this. Critics also disagreed about whether it was worth paying Katerina for freedom at the cost of her life. So, Pisarev, unlike Dobrolyubov, considers Katerina’s act senseless. He believes that after Katerina’s suicide everything will return to normal, life will go on as usual, and the “dark kingdom” is not worth such a sacrifice. Of course, Kabanikha brought Katerina to her death. As a result, her daughter Varvara runs away from home, and her son Tikhon regrets that he did not die with his wife.

It is interesting that one of the main, active images of this play is the image of the thunderstorm itself. Symbolically expressing the idea of ​​the work, this image directly participates in the action of the drama as a real natural phenomenon, enters into action at its decisive moments, and largely determines the actions of the heroine. This image is very meaningful; it illuminates almost all aspects of the drama.

So, already in the first act a thunderstorm broke out over the city of Kalinov. It broke out like a harbinger of tragedy. Katerina already said: “I’ll die soon,” she confessed to Varvara her sinful love. In her mind, the mad lady's prediction that the thunderstorm would not pass in vain, and the feeling of her own sin with a real thunderclap had already been combined. Katerina rushes home: “It’s still better, everything is calmer, I’m at home - to the images and pray to God!”

After this, the storm subsides for a short time. Only in Kabanikha’s grumbling are its echoes heard. There was no thunderstorm that night when Katerina felt free and happy for the first time after her marriage.

But the fourth, climactic act, begins with the words: “The rain is falling, as if a thunderstorm is not gathering?” And after that the thunderstorm motif never ceases.

The dialogue between Kuligin and Dikiy is interesting. Kuligin talks about lightning rods (“we have frequent thunderstorms”) and provokes the wrath of Dikiy: “What other kind of electricity is there? Well, how come you are not a robber? A thunderstorm is sent to us as punishment, so that we can feel it, but you want to defend yourself, God forgive me, with poles and some horns. What are you, a Tatar or what?” And in response to the quote from Derzhavin, which Kuligin cites in his defense: “I decay with my body in dust, I command thunder with my mind,” the merchant does not find anything to say at all, except: “And for these words, send you to the mayor, so he will will ask!”

Undoubtedly, in the play the image of a thunderstorm acquires a special meaning: it is a refreshing, revolutionary beginning. However, the mind is condemned in the dark kingdom; it is faced with impenetrable ignorance, supported by stinginess. But still, the lightning that cut through the sky over the Volga touched the long-silent Tikhon and flashed over the destinies of Varvara and Kudryash. The thunderstorm shook everyone up thoroughly. Inhuman morals will sooner or later come to an end. The struggle between the new and the old has begun and continues. This is the meaning of the work of the great Russian playwright.

The role of minor characters in the drama "The Thunderstorm". The drama “The Thunderstorm” as assessed by critics (N.A. Dobrolyubov, D.I. Pisarev, A.A. Grigoriev, A.V. Druzhinin).

The secondary characters in the play not only form the background against which the personal drama of Katerina, the main character of the work, unfolds. They show us different types of people’s attitudes towards their lack of freedom. The system of images in the play is such that all the minor characters form conditional pairs, and only Katerina is alone in her true desire to escape from the yoke of the “tyrants.”

Dikoy and Kabanov are people who keep those who are somehow dependent on them in constant fear. Dobrolyubov very aptly called them “tyrants,” since the main law for everyone is their will. It is no coincidence that they treat each other very respectfully: they are the same, only the sphere of influence is different. Dikoy rules in the city, Kabanikha rules in her family.

Katerina's constant companion is Varvara, the sister of her husband Tikhon. She is the main opponent of the heroine.

Critics rating

The thunderstorm, according to Dobrolyubov, is Ostrovsky’s most decisive work, for it marks the near end of tyrant power. The central conflict of the drama - the clash of the heroine defending her human rights with the world of the dark kingdom - expressed the essential aspects of people's life at the time of the revolutionary situation. And that is why the critic considered the drama Thunderstorm a truly folk work.

Characterizing the social atmosphere of the 60s, Dobrolyubov wrote: Wherever you look, everywhere you see the awakening of the individual, the presentation of his legal rights, a protest against violence and tyranny, for the most part still timid, vague, ready to hide, but still already giving notice your existence. Dobrolyubov saw the manifestation of an awakened and ever-growing protest against the oppression of tyrants in his feelings and actions, in the very death of Katerina.

The critic assessed Ostrovsky's drama as a work that expresses the urgent needs of its time - the demand for law, legality, respect for man. In the image of Katerina, he sees the embodiment of Russian living nature. Katerina prefers to die than to live in captivity.

3.A.I. Goncharov “Oblomov” The principle of plot antithesis in the novel (Oblomov–Stolz, Oblomov–Olga). The problem of love in the novel.

1. Oblomov - Stolz.

2. Oblomov - Olga Ilyinskaya

Stolz is not a positive hero of the novel, his activities sometimes resemble the activities of Sudbinsky from Stolz’s despised St. Petersburg entourage of Oblomov: work, work, work again, like a machine, without rest, entertainment and hobbies.

His practicality is far from high ideals; he resembles a businessman, a tourist. The image of Stolz is schematic, emotionally faceless.

Goncharov does not know what business can save Russia from Oblomovism. A writer can answer only one eternal question: “who is to blame?” - autocracy, serfdom. He doesn’t know the answer to the second problematic question: “What to do?”

The main plot situation in the novel is the relationship between Olga Ilyinskaya and Oblomov.

Goncharov follows the path that has become traditional in Russian literature: a person is morally weak to the test of love, but if he is able to respond to a strong feeling of love. Oblomov reinforces this conclusion. Olga Ilyinskaya is characterized by harmony of mind, heart, will, activity and kindness. Goncharov poetizes Oblomov’s suddenly flared up feeling of love. There is a feeling that Oblomov will be reborn as a person to the fullest. The hero’s inner life began to move, along with the feeling of love for Olga, an active interest in spiritual life, in art, in the mental demands of that time awakens in Oblomov. Oblomov’s feeling of love for Olga was a short-term flash. Oblomov’s illusions on this score quickly dissipate. The gap between Olga and Oblomov is natural. Their natures are too different. More valuable than romantic dates was the thirst for a serene sleepy state for Oblomov. “A man sleeps serenely” - this is Ilya Ilyich’s ideal of existence.

Life in Pshenitsina’s house is physically inert, and therefore unhealthy. Oblomov goes quickly towards his eternal dream - death. He gradually fits into a wide and spacious coffin. Dobrolyubov saw predecessors in Oblomov, who are also historically determined - these are images of superfluous people: Onegin, Pechorin, Rudin (Turgenev).

The problem of love.

In his work “Oblomov” I. A. Goncharov tries to find answers to those eternal questions that a person asks himself at least once in his life. And one of these multifaceted worlds, to the study and understanding of which the author devoted his novel, is the world of harmony, happiness, and love. Love, as it were, permeates the entire work, filling it with different colors, revealing the most unexpected features of the hero, awakening in them a thirst for action and knowledge.

The second, no less significant function of the love plot in a novel is opposition. In this work there are two collective images that are complete opposites when comparing characters or appearance - they both pass the test of love. Both Oblomov and Stolz are connected by the thread of their relationship with Olga. How different their behavior is when they fall in love with her, and how much more it gives than any other comparison.

A. N. Ostrovsky is rightfully considered the father of Russian everyday drama and Russian theater. He opened up new horizons for the Russian theater, new heroes, a new type of human relations. He is the author of about 60 plays, the most famous of which are “The Dowry”, “Late Love”, “The Forest”, “For Every Wise Man Enough Simplicity”, “We Are Our Own People” and, of course, “The Thunderstorm”.
The play “The Thunderstorm” was called by A. N. Dobrolyubov the most decisive work, since “the mutual relations of tyranny and voicelessness are brought to tragic consequences in it...”. Indeed, the play takes us to the small Volga town of Kalinov, which would not be anything remarkable if, in the depths of its patriarchy, problems had not arisen that can be attributed to a number of universal human problems. Stuffiness is the main thing that determines the atmosphere of the city. And the playwright very accurately conveys to us the state of mind of people forced to spend their lives in this atmosphere.
The secondary characters in the play not only form the background against which the personal drama of Katerina, the main character of the work, unfolds. They show us different types of people’s attitudes towards their lack of freedom. The system of images in the play is such that all the minor characters form conditional pairs, and only Katerina is alone in her true desire to escape from the yoke of the “tyrants.”
Dikoy and Kabanov are people who keep those who are somehow dependent on them in constant fear. Dobrolyubov very aptly called them “tyrants,” since the main law for everyone is their will. It is no coincidence that they treat each other very respectfully: they are the same, only the sphere of influence is different. Dikoy rules in the city, Kabanikha rules over her family.
Katerina's constant companion is Varvara, the sister of her husband Tikhon. She is the main opponent of the heroine. Her main rule: “Do whatever you want, as long as everything is sewn and covered.” Varvara cannot be denied intelligence and cunning; Before marriage, she wants to be everywhere, to try everything, because she knows that “the girls go out as they please, and father and mother don’t care. Only women are locked up.” Varvara perfectly understands the essence of the relationship between people in their home, but does not consider it necessary to fight her mother’s “thunderstorm”. Lying is the norm for her. In a conversation with Katerina, she speaks directly about this: “Well, you can’t do without it... Our whole house rests on this. And I was not a liar, but I learned when it became necessary.” Varvara adapted to the dark kingdom, learned its laws and rules. She feels authority, strength, and a desire to deceive. She is, in fact, the future Kabanikha, because the apple doesn’t fall far from the tree.
Varvara's friend, Ivan Kudryash, is a match for her. He is the only one in the city of Kalinov who can answer Dikiy. “I am considered a rude person; Why is he holding me? Therefore, he needs me. Well, that means I’m not afraid of him, but let him be afraid of me...” says Kudryash. In conversation, he behaves cheekily, smartly, boldly, boasts of his prowess, red tape, and knowledge of the “merchant establishment.” He also adapted to the tyranny of the Wild. Moreover, one can even assume that Kudryash could become the second Wild.
At the end of the play, Varvara and Kudryash leave the “dark kingdom,” but does this escape mean that they have completely freed themselves from old traditions and laws and will become the source of new laws of life and honest rules? Hardly. They will most likely try to become masters of life themselves.
The couple also consists of two men with whom Katerina’s fate was connected. They can be confidently called the true victims of the “dark kingdom.” So Katerina’s husband Tikhon is a weak-willed, spineless creature. He obeys his mother in everything and obeys her. He does not have a clear position in life, courage, courage. His image fully corresponds to the name given to him - Tikhon (quiet). Young Kabanov not only does not respect himself, but also allows his mother to shamelessly treat his wife. This is especially evident in the farewell scene before leaving for the fair. Tikhon repeats all his mother’s instructions and moral teachings word for word. Kabanov could not resist his mother in anything, he only sought solace in wine and on those short trips when, at least for a while, he could escape from his mother’s oppression.
Of course, Katerina cannot love and respect such a husband, but her soul yearns for love. She falls in love with her nephews
nickname Dikiy, Boris. But Katerina fell in love with him, in the apt expression of A. N. Dobrolyubov, “in the wilderness,” because in essence Boris is not much different from Tikhon. Perhaps more educated, like Katerina, he did not spend his entire life in Kalinov. Boris's lack of will, his desire to receive his part of his grandmother's inheritance (and he will receive it only if he is respectful to his uncle) turned out to be stronger than love. Katerina bitterly says that Boris, unlike her, is free. But his freedom is only in the absence of his wife.
Kuligin and Feklusha also form a couple, but here it is appropriate to talk about an antithesis. The wanderer Feklusha can be called an “ideologist” of the “dark kingdom.” With her stories about lands where people with dog heads live, about thunderstorms, which are perceived as irrefutable information about the world, she helps “tyrants” keep people in constant fear. Kalinov for her is a land blessed by God. The self-taught mechanic Kuligin, who is looking for a perpetual motion machine, is the complete opposite of Feklusha. He is active, obsessed with a constant desire to do something useful for people. A condemnation of the “dark kingdom” is put into his mouth: “Cruel, sir, the morals in our city are cruel... Whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors...” But all his good intentions are met against a thick wall of misunderstanding, indifference, ignorance. So, when he tries to install steel lightning rods on houses, he receives a furious rebuff from the Wild: “A thunderstorm is sent to us as punishment, so that we can feel it, but you want to defend yourself with poles and some kind of rods, God forgive me.”
Kuligin is perhaps the only one who understands the main character; it is no coincidence that it is he who utters accusatory words at the end of the play, holding the body of the dead Katerina in his arms. But he is also incapable of fighting, since he has also adapted to the “dark kingdom” and has come to terms with such a life.
And finally, the last character is a half-crazed lady who, at the very beginning of the play, predicts the death of Katerina. She becomes the personification of those ideas about sin that live in the soul of the religious Katerina, raised in a patriarchal family. True, in the finale of the play, Katerina manages to overcome her fear, for she understands that lying and humbling herself all her life is a greater sin than suicide.
The secondary characters, as already mentioned, are the background against which the tragedy of a desperate woman unfolds. Every character in the play, every image -
a detail that allows the author to convey as accurately as possible the situation of the “dark kingdom” and the unpreparedness of most people to fight.

A. N. Ostrovsky is rightfully considered the father of Russian everyday drama and Russian theater. He opened up new horizons for the Russian theater, new heroes, a new type of human relations. He is the author of about 60 plays, of which the most famous are “The Dowry”, “Late Love”, “The Forest”, “Simplicity is Enough for Every Wise Man”, “We Are Our Own People” and, of course, “The Thunderstorm”.
The play “The Thunderstorm” was called by A. N. Dobrolyubov the most decisive work, since “the mutual relations of tyranny and voicelessness are brought to tragic consequences in it...”. Indeed, the play takes us to the small Volga town of Kalinov, which would not be anything remarkable if, in the depths of its patriarchy, problems had not arisen that can be attributed to a number of universal human problems. Stuffiness is the main thing that determines the atmosphere of the city. And the playwright very accurately conveys to us the state of mind of people forced to spend their lives in this atmosphere.
The secondary characters in the play not only form the background against which the personal drama of Katerina, the main character of the work, unfolds. They show us different types of people’s attitudes towards their lack of freedom. The system of images in the play is such that all the minor characters form conditional pairs, and only Katerina is alone in her true desire to escape from the yoke of the “tyrants.”
Dikoy and Kabanov are people who keep those who are somehow dependent on them in constant fear. Dobrolyubov very aptly called them “tyrants,” since the main law for everyone is their will. It is no coincidence that they treat each other very respectfully: they are the same, only the sphere of influence is different. Dikoy rules in the city, Kabanikha rules over her family.
Katerina's constant companion is Varvara, the sister of her husband Tikhon. She is the main opponent of the heroine. Her main rule: “Do whatever you want, as long as everything is sewn and covered.” Varvara cannot be denied intelligence and cunning; Before marriage, she wants to be everywhere, to try everything, because she knows that “the girls go out as they please, and father and mother don’t care. Only women are locked up.” Varvara perfectly understands the essence of the relationship between people in their house, but does not consider it necessary to fight her mother’s “thunderstorm”. Lying is the norm for her. In a conversation with Katerina, she speaks directly about this: “Well, you can’t do without it... Our whole house rests on this. And I wasn’t a liar, but I learned when it became necessary.” Varvara adapted to the dark kingdom, learned its laws and rules. She feels authority, strength, and a desire to deceive. She is, in fact, the future Kabanikha, because the apple doesn’t fall far from the tree.
Varvara's friend, Ivan Kudryash, is a match for her. He is the only one in the city of Kalinov who can answer Dikiy. “I am considered a rude person; Why is he holding me? Therefore, he needs me. Well, that means I’m not afraid of him, but let him be afraid of me...” says Kudryash. In conversation, he behaves cheekily, smartly, boldly, boasts of his prowess, red tape, and knowledge of the “merchant establishment.” He also adapted to the tyranny of the Wild. Moreover, one can even assume that Kudryash could become the second Wild.
At the end of the play, Varvara and Kudryash leave the “dark kingdom,” but does this escape mean that they have completely freed themselves from old traditions and laws and will become the source of new laws of life and honest rules? Hardly. They will most likely try to become masters of life themselves.
The couple also consists of two men with whom Katerina’s fate was connected. They can be confidently called the true victims of the “dark kingdom.” So Katerina’s husband Tikhon is a weak-willed, spineless creature. He obeys his mother in everything and obeys her. He does not have a clear position in life, courage, courage. His image fully corresponds to the name given to him - Tikhon (quiet). Young Kabanov not only does not respect himself, but also allows his mother to shamelessly treat his wife. This is especially evident in the farewell scene before leaving for the fair. Tikhon repeats all his mother’s instructions and moral teachings word for word. Kabanov could not resist his mother in anything, he only sought solace in wine and on those short trips when, at least for a while, he could escape from his mother’s oppression.
Of course, Katerina cannot love and respect such a husband, but her soul yearns for love. She falls in love with Dikiy's nephew, Boris. But Katerina fell in love with him, in the apt expression of A.N. Dobrolyubov, “in the wilderness,” because in essence Boris is not much different from Tikhon. Perhaps more educated, like Katerina, he did not spend his entire life in Kalinov. Boris's lack of will, his desire to receive his part of his grandmother's inheritance (and he will receive it only if he is respectful to his uncle) turned out to be stronger than love. Katerina bitterly says that Boris, unlike her, is free. But his freedom is only in the absence of his wife.
Kuligin and Feklusha also form a couple, but here it is appropriate to talk about an antithesis. The wanderer Feklusha can be called an “ideologist” of the “dark kingdom.” With her stories about lands where people with dog heads live, about thunderstorms, which are perceived as irrefutable information about the world, she helps “tyrants” keep people in constant fear. Kalinov for her is a land blessed by God. The self-taught mechanic Kuligin, who is looking for a perpetual motion machine, is the complete opposite of Feklusha. He is active, obsessed with a constant desire to do something useful for people. In his mouth is a condemnation of the “dark kingdom”: “Cruel, sir, the morals in our city are cruel... Whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors...” But that’s all. his good intentions run into a thick wall of misunderstanding, indifference, and ignorance. So, when he tries to install steel lightning rods on houses, he receives a furious rebuff from the Wild: “A thunderstorm is sent to us as punishment, so that we can feel it, but you want to defend yourself, God forgive me, with poles and some kind of rods.”
Kuligin is perhaps the only one who understands the main character; it is no coincidence that it is he who utters accusatory words at the end of the play, holding the body of the dead Katerina in his arms. But he is also incapable of fighting, since he too has adapted to the “dark kingdom” and has come to terms with such a life.
And finally, the last character is a half-crazed lady who, at the very beginning of the play, predicts the death of Katerina. She becomes the personification of those ideas about sin that live in the soul of the religious Katerina, raised in a patriarchal family. True, in the finale of the play, Katerina manages to overcome her fear, for she understands that lying and humbling herself all her life is a greater sin than suicide.
The secondary characters, as already mentioned, are the background against which the tragedy of a desperate woman unfolds. Every character in the play, every image is a detail that allows the author to convey as accurately as possible the situation of the “dark kingdom” and the unpreparedness of most people to fight.