Katerina's life in the parental home quotes. Synopsis of a literature lesson on the topic "The tragic severity of the conflict in A.N. Ostrovsky's drama "Thunderstorm""
"Ostrovsky Theatre" - TOPIC: A.N. Ostrovsky is the creator of the Russian theater. Stages of biography and creativity. Lesson-presentation in the 10th grade in literature. Equipment: presentation, portrait of A.N. Ostrovsky, video "Zamoskvorechye".
"Ostrovsky Literature" - A. N. Ostrovsky had grounds for such a statement. 1. “My task is to serve the Russian dramatic art. "Columbus of Zamoskvorechye". A. N. Ostrovsky "The Snow Maiden". “... Mighty nature is full of wonders! Northern facade of the house-museum. 9. Southern facade of the house-museum. 11.6.8.2.
"Alexander Nikolaevich Ostrovsky" - Solomin Nikolai. Korovin Konstantin. Mizgir - spider, tarantula. Vasnetsov Viktor Mikhailovich (1848-1926), Russian painter. V. G. PEROV "Portrait of A. N. Ostrovsky." 1871. From significant names and nicknames. Malusha is a baby, undersized, or the youngest daughter in the family (Dal). Magical, fabulous spectacle. Suffering.
"Dowry" - Spiritual loneliness - a manifestation of strength or weakness? Questions for musicians: Musicologists. What did the word "dowry" mean in Ostrovsky's time? Historians. Creative title: Poverty is not a vice. The life of the merchants of the late 19th century. Questions for literary critics: What are the reasons for the tragedy of Larisa Ogudalova? Questions for historians:
“Let's count our own people” - The influence of Gogol's tradition in “Our People...” is really great. Zamoskvorechie in the view of Ostrovsky was not limited to the Kamer-kollezhsky shaft. The power of the people poured into Russia in waves through Moscow. The play was a resounding success in the literary circles of Moscow and St. Petersburg. That's the trouble, yacht!
"Ostrovsky's dowry" - He received a good education at home, studying foreign languages from childhood. Born March 31, 1823 in the family of an official. Childhood years were spent in Zamoskvorechye, the merchant and petty-bourgeois district of Moscow. Idea: Social problems: The position of women in Russian society Rich and poor. The problem of the play. Topics: Love Social.
Total in the topic 22 presentations
Katerina was conceived by Ostrovsky as a positive image, with a solid, bold, resolute and freedom-loving character and at the same time bright, loving, creative, full of deep poetry. He strongly emphasizes her connection with the people. With all the development of the action, Ostrovsky speaks of Katerina's victory over the dark kingdom.
Katerina's life in her parents' house was similar in terms of life to the Kabanovs' house, the same wanderers with their stories, reading the lives of saints, attending church. But this “life poor in content, she made up for with her spiritual wealth.”
The whole story about Katerina's life is imbued with great tenderness for the past and horror for the present: "It was so good" and "I completely withered with you." And the most valuable, now lost, was the feeling of will. “I lived like a bird in the wild”, “... what I want, it happened, I do it”, “mother did not force me”. And to Varvara’s remark that the life of Katerina’s parents’ house is similar to their life, Katerina exclaims: “Yes, everything here seems to be from captivity.” Surprisingly simply, sincerely, as she feels, without a single embellishing word, Katerina says: “I used to get up early; if it’s summer, I’ll go to the spring, wash myself, bring some water with me and that’s it, I’ll water all the flowers in the house.
Church and religion have taken a big place in Katerina's life since her youth.
Growing up in a patriarchal merchant family, she could not be otherwise. But her religiosity differs from the ritual fanaticism of the Wild, Kabanikh, not only in its sincerity, but also in the fact that she perceived everything connected with religion and the church primarily aesthetically. “And to death I loved to go to church! It’s like I’m going to heaven.”
The Church filled her fantasies and dreams with images. Looking at the sunlight pouring from the dome, she saw singing and flying angels in it, "she dreamed of golden temples."
From bright memories, Katerina moves on to what she is experiencing now. Katerina is deeply sincere and truthful, she wants to tell Varvara everything, not to hide anything from her.
With her characteristic figurativeness, trying to convey her feelings as accurately as possible, she tells Varvara: “At night, Varya, I can’t sleep, I keep imagining some kind of whisper; someone speaks to me so affectionately, as if he is dove me, as if a dove is cooing. I don’t dream anymore, Varya, as before, paradise trees and mountains, but it’s as if someone hugs me so hot and hot and leads me somewhere, and I follow him, I go.
All these images testify to the richness of Katerina's spiritual life.
How many subtle nuances of a nascent feeling are conveyed in them. But when Katerina tries to comprehend what is happening to her, she relies on the concepts brought up in her by religion; she perceives the awakened feeling through the prism of her religious ideas: “Sin is on my mind ... I can’t get away from this sin.” And hence the foreboding of trouble: “Before trouble, before some kind of this ...”, “No, I know that I will die,” etc.
Religion not only filled her fantasies and dreams with its images, it entangled her soul with fear - the fear of "fire hell", the fear of sin. Bold, resolute Katerina, not even afraid of the formidable Kabanikh, not afraid of death - she is afraid of sin, the evil one seems to her everywhere, the thunderstorm seems to her God's punishment: “I'm not afraid to die, but when I think that suddenly I will appear before God the way I am here with you, after this conversation, that's what's scary.
Katerina is characterized by a constant desire to go somewhere, a thirst for justice and truth, an inability to endure insults. It is no coincidence that, as an example of the manifestation of her warm heart, she recalls a case from early childhood when someone offended her, and she left by boat: “... it was in the evening, it was already dark, I ran out to the Volga, got into the boat, and pushed her away from the shore. The next morning they found ten miles away.
Along with the ardor and determination of Katerina Ostrovsky shows her purity, inexperience, girlish shyness. Hearing Varvara’s words: “I noticed a long time ago that you love another person,” Katerina is frightened, she is scared, perhaps because what she does not dare to admit to herself has become obvious. She wants to hear the name of Boris Grigorievich, she wants to know about him, but she does not ask about it. Timidity makes her only ask the question: "Well, so what?" Varvara expresses what Katerina herself is afraid to admit to herself, in which she deceives herself. Either she strives to prove to herself that she loves Tikhon, then she doesn’t even want to think about Tikhon, then she sees with despair that the feeling is stronger than her will, and this invincibility of feelings seems to her a terrible sin. All this is unusually expressive reflected in her speech: “Don't tell me about him, do me a favor, don't tell me! I don't want to know him. I will love my husband." “Do I want to think about him; Yes, what to do, if it doesn’t get out of your head. Whatever I think about, it stays right in front of my eyes. And I want to break myself, but I can’t do it in any way. ”
In an effort to conquer her heart, she constantly appeals to her will. The path of deceit, so common in the dark realm, is unacceptable to Katerina. In response to Varvara’s suggestion: “In my opinion, do whatever you want, as long as it’s sewn and covered,” Katerina replies: “I don’t want that. Yes, and what's good. I’d rather endure as long as I endure”; or “And if it gets very cold for me here, then no force can hold me back. I’ll throw myself out the window, I’ll throw myself into the Volga. “I don’t want to live here, I won’t, even if you cut me.”
Katerina does not want to lie, Katerina does not know compromises. Her words, unusually resolutely, energetically spoken, speak of her integrity, unrestraint, ability to go to the end.
Literature lesson in grade 10
Subject: The tragic severity of Katerina's conflict (based on the drama by A.N. Ostrovsky "Thunderstorm").
Goals:
educational: knowledge of the text of the play;
tasks:
reveal the images of the main characters of the play, find out the conditionality of their actions by psychological motives;
identify the main conflict of the play, explain its essence, understand the reasons;
developing: develop analytical thinking, creative abilities;
educating: to educate the moral qualities of the individual, to teach to express one's opinion.
Equipment : A.N. Ostrovsky's play "Thunderstorm", illustrations for the play, portraits of the actresses who played Katerina.
Thunderstorm "- the drama of the birth, development and predominance in the soul of the heroine of those passions,
who then reveal themselves
in the sinful emissions of her actions.
M.M. Dunaev.
During the classes:
I . Organizing time.
Presentation of the topic and objectives of the lesson.
II . Learning new material (based on home preparation of students)
Analysis of selected scenes.
Teacher. During the lesson, we have to answer 4 main questions:
Why did Katerina fall in love with Boris?
Why did she decide to date him?
Why did you repent before everyone?
Why did she commit suicide?
To answer this question, we first find out what she is, Katerina. What do we know about her?
1. Katerina's life in her parents' house (D.1, yavl.7)
How did Katerina live in her parents' house?
How did her family treat her?
How did you spend your time?
Was she free in her actions?
What traits of character developed in her under the influence of life in the parental home?
Can we say that her attitude to life was romantic?
What actions of Katerina speak of the passion of her nature? (D.2, yavl.2: out of resentment, she got into a boat and sailed away from home.)
Katerina's life in her parents' house
The cordial attitude of relatives.
Church visit. Stories of wanderers, praying mantis.
Freedom. (D.2, yavl.7)
Established character traits
Painful sensation. Exaltation. Soaring spirit. ("I'm crying, I don't know what")
romantic attitude towards life.
moral purity.
Passion nature, the desire for freedom. (Kingdom of God needing !)
Conclusion. She was not prepared for everyday difficulties! But life is not a holiday, but hard work. She did not understand that the Kingdom of God is in need!
2. Katerina's life in the Kabanovs' house. (D.2, yavl.3-8)
The cruel attitude of Kabanikhi (ritualism).
Permanent spiritual suppression.
Misunderstanding of her nature on the part of her husband (disbelief in practice).
Teacher.
How did such a life in her husband's family affect Katerina?
How has she changed?
What former traits of character are manifested with renewed vigor?
Katerina feels her doom, realizes it and withdraws into herself. She makes attempts to change the situation (the scene of farewell to Tikhon), but they do not understand her. Disappointed in family life.
And from here - passionate desire for freedom, love, happiness.
3. Anatomy of passion and sin
Is Katerina aware of this striving as sin? (D. 1, yavl.7)
Why is he afraid of thunderstorms? (D.1, yavl.9)
What feelings are fighting in Katerina?
(Love and the desire for happiness are at the same time a challenge to Kabanikhe, a protest -
but, on the other hand, the realization of this feeling is a sin.)
How is this conflict resolved? (Tragically. There is no way out, because suicide is not the way out.)
What is sin? How is sin born?
The path of sin.
Teacher. "The Desert Fathers", in the words of A.S. Pushkin, knew the anatomy of sin very well. According to them, sin takes possession of the soul of a person gradually, passing through several stages.
There is an adjunct involuntary movement of the heart under the influence external perception or thought. (adjection)
Composition (combination) our thoughts with an attachment.
Stage of attention (already captivated mentally).
The pleasure of thought.
Desire and act.
Teacher. Having carefully read the drama, we will see that Katerina, indeed, having accepted the thought, quite quickly passes through these steps. In this she is helped not only by circumstances, but also by unkind people. In addition to Katerina's self-deception (self-deception, the search for stolen happiness), seduction by others is also found in the drama.
4. What is the role of Barbara in this story? (Gives the key, incites, advises: “Live as you like, as long as it is covered.”)
Key scene analysis
(2 act, phenomenon 10)
Disturbance;
Reflection on the difficult female lot;
Thinking about your destiny;
He sees the cause of his troubles in his mother-in-law;
Reasoning about the key;
Frightened by imaginary steps and hides the key in his pocket;
Convinces herself that there is no sin if she looks at her beloved once;
The key to the garden gate becomes dearer to her than anything in the world.
5. Let us note thatthe first date scene takes place in a ravine . The author does not choose such a place by chance!
Analysis of the first date scene ( D.3, scene 2)
Occurs in a ravine - a closed space, a secret place.
Framed by the banal meeting of Kudryash and Barbara, their cheerful song glorifying the dates of lovers.
The degree of the fall of the heroine is emphasized (rejecting the old, Katerina throws herself into the abyss (ravine) of sin and drives her into a hopeless situation).
Was it easy for Katerina to make such a decision? Not!
She makes excuses to Kabanikha, asks Tikhon to take her with him, pushes Varvara away with the key, she herself suffers. But the tragedy is that no one helped her. She couldn't handle herself.
6. Let's analyze the scene of Katerina's national repentance. (d.4, yavl.6.)
Why does she do it?
The nature of Katerina's moral conflict (this brings her closer to the classical heroines of Russian literature, remember Tatiana Larina) isinability to live in sin at odds with his conscience.
She bears the burden of responsibility and guilt before Tikhon and Boris.
7. Let's pay attention on the scene of Katerina's farewell to Boris ( d.5, yavl.3)
Boris is driven only by fear.
Katerina - a sense of guilt in front of him and mortal longing, since there is no tomorrow for her. Let's note how much Katerina is larger as a person than her chosen one.
III . Let's draw conclusions.
Why did Katerina drown herself? ( Rebellion again, did not repent until the end.)
- How could Katerina live now, after her fall? (Just calm down.)
Teacher. In this regard, we can recall the finale of the drama "Dowry", written by Ostrovsky after "Thunderstorm": the suicide of Katerina and the death of Larisa, who did not dare to commit suicide. Dying at the hands of Karandyshev, he utters the last words: “Live, live everything! I don’t complain about anything, I don’t take offense at anyone ... I love you all ... I love you all. (sends a kiss.)
Which ending seems wiser, more in line with the national ethical tradition?
What conclusions can we draw from the analysis of the text?
What is the tragedy of Katerina's fate?
External circumstances ("dark kingdom") closed her movement to true love.
She lacks her own internal strength for humility.
She is in spiritual loneliness (and it can only be overcome by faith).
But faith is destroyed by sin and despair.
The Fading of Faith Leads to Suicide
Teacher. It seems important to discuss the issue of Katerina's suicide as well. Read the words of the famous Russian philosopher N.A. Berdyaev:
A suicide is always an egocentric, for him there is no longer God, nor the world, nor other people, but only himself.
Suicide is the denial of the three highest Christian virtues - faith, hope and love.
The psychology of suicide ispsychology of resentment , insults to life, to the world, to God. But there is a psychology of resentmentslave psychology . She is opposedpsychology of guilt , which is psychology of a free and responsible being .
There is greater power in the consciousness of guilt than in the consciousness of resentment.
Prove, based on the content of the drama "Thunderstorm", whether he is right in his opinion.
Teacher. In 1859, two volumes of Ostrovsky's plays appeared, which gave rise to the article "The Dark Kingdom" by N. A. Dobrolyubov, who used the truthful depiction of Russian life for his politically radical conclusions. In the article "A Ray of Light in a Dark Kingdom" (1860), Dobrolyubov called the play "Thunderstorm" (1859) Ostrovsky's "most decisive work", but this political radicalization itselfplaywright was alien . In The Thunderstorm, there is an obvious protest against tyranny as a product of inertia and ignorance (Dikaya and Kabanikh), a protest against such consequences of tyranny as the humility of the weak (Tikhon and Boris) and the deception of the strong (Varvara, Kudryash). But such a form of protest as Katerina's sin and repentance shows that her character is as self-willed as the character of Kabanova.
IY. Homework. Answer the question in writing: “Is Katerina’s suicide a strength or a weakness?”
Bibliography.
Dunaev M.M. Orthodoxy and Russian literature. In 6 parts. - M., Christian literature. 2001. - V.1-2.
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The events of the play by Alexander Nikolayevich Ostrovsky bring to our attention a description of the life of the main character Katerina in the Kabanov family, where house building is flourishing.
But her life in her parents' house was completely different. Let's look at this clear contrast.
In the house of her parents, she was pampered and loved, her life was easy and carefree. The girl felt free, she was free, like a bird in the sky. Days filled with joy and merriment soon passed. Katya loved to walk in the garden, enjoying the aroma and beauty of the flowers growing there. The girl did not grieve about anything, there was not a single reason for concern, a reason for sadness. Mother simply adored her daughter, bought her the most beautiful outfits, so that the girl looked like a real doll. Nobody forced her to work. If you didn’t want to do anything, then Katerina didn’t do anything, just rested and enjoyed a carefree youth.
Such an upbringing allowed the girl to become a sincere and whole person, unable to pretend and lie, and this is what all relationships in a new family are built on. And how it angers Katya. Resolute and courageous, she is burdened in the house, does not know how to behave.
But still, the upbringing of the girl, based on obedience to elders, religiosity, following traditions and customs, does not allow her to behave differently than is customary in her husband's family. A cruel, rude and despotic mother-in-law tries to subjugate her daughter-in-law to herself, to her will. The girl does not feel any participation. Only attacks and nit-picking. Moreover, often not even based on anything, just like that, from scratch. Dreamy Katerina, who treats everyone kindly without exception, is languishing in the Kabanikhi's house, in this oppressive atmosphere of unquestioning obedience and humiliation.
It comes to the fact that the mother-in-law begins to insult Katya. This is vividly represented in the farewell scene between Tikhon and Katya, when the husband, at the behest of his mother, punishes him not to go out with the young guys. This was probably the last straw. Katya was already unbearable within the walls of the new house, and after such an appeal, it became completely unbearable. The protest, born in Katerina's soul, breaks out with all its might. The dark kingdom into which the young girl has fallen does not give her the opportunity to be happy, and, having met love outside its walls, Katya understands what sin she has taken on her soul. The girl cannot hide the shame, this feeling weighs on her, Katya cannot pretend and hide, like Varvara. And after such a confession, she does not have life at all in the house of her hated mother-in-law. Katerina commits suicide. In this situation, this act was the only way out.
Life in the house of Kabanikha made the girl, who grew up in love and freedom, unhappy. The mother-in-law simply did not let her breathe, did not allow her to be the way she is. But it was not possible to return home, such were the times. And the young girl, who consciously embarked on the path of sin, had to decide on another desperate act. Such a strong nature is truly amazing!
A. N. Ostrovsky, the author of numerous plays about the merchants, the creator of the repertoire for the Russian national theater, is rightfully considered a “singer of merchant life”. And he sits at the entrance to the Maly Theater, sculpted by the chisel of the sculptor Andreev, and reminds us of the past, of the dark, funny and terrible world of his many heroes: the Glumovs, the Bolshovs, the Podkhalyuzins, the Wilds and the Boars.
The image of the world of Moscow and provincial merchants, with the light hand of Dobrolyubov called the "dark kingdom", became the main theme of Ostrovsky's work.
The drama “Thunderstorm” is no exception. The plot of the play is simple and typical of that environment and era: a young married woman Katerina Kabanova, not finding a response to her feelings in her husband, fell in love with another person. Tormented by remorse and not wanting to accept the morality of the “dark kingdom” (“Do whatever you want, as long as everything is covered and covered”), she confesses her act publicly, in the church. After this confession, her life becomes so unbearable that she commits suicide.
The image of Katerina is the most striking in Ostrovsky's play "Thunderstorm". Dobrolyubov, analyzing in detail the image of Katerina, called her "a ray of light in a dark kingdom."
Katerina's life in her parents' house proceeded well and carelessly. Here she felt "free". Katerina lived easily, carefree, joyfully. She loved her garden very much, in which she so often walked and admired the flowers. Later, telling Varvara about her life in her native home, she says: “I lived, did not grieve about anything, like a bird in the wild. My mother did not have a soul in me, she dressed me up like a doll, she didn’t force me to work, what I want, it happened, that’s what I do. Katerina differs from all representatives of the "dark kingdom" in the depth of her feelings, honesty, truthfulness, courage, and determination. Being brought up in a good family, she retained all the beautiful features of the Russian character. This is a pure, sincere, hot nature with an open soul, which does not know how to deceive. “I don’t know how to deceive, I can’t hide anything,” she says to Varvara, who claims that everything in their house is based on deception. The same Varvara calls our heroine some kind of “tricky”, “wonderful”. Katerina is a strong, determined, strong-willed person. From childhood she was capable of bold deeds. Telling Varvara about herself and emphasizing all her hot nature, she says: “I was born so hot!”
Katerina was very fond of nature, its beauty, Russian songs. Therefore, her speech is emotional, enthusiastic, musical, melodious, imbued with high poetry and sometimes reminds us of a folk song. Growing up in her own home, our heroine adopted all the centuries-old traditions of her family: obedience to elders, religiosity, obedience to customs. Katerina, who did not study anywhere, loved to listen to the stories of wanderers and pilgrims and perceived all their religious prejudices that poisoned her young life, made her perceive love for Boris as a terrible sin, from which she tries and cannot get away. Once in a new family, where everything is under the rule of a cruel, harsh, rude, despotic Kabanikh, Katerina does not find a sympathetic attitude towards herself. Dreamy, honest, sincere, friendly to people, Katerina takes the oppressive atmosphere of this house especially hard.
Gradually, life in the house of Kabanikha, which constantly offends her human dignity, becomes unbearable for her. In her young soul, a deaf protest against the “dark kingdom” is already beginning to emerge, which did not give her happiness, freedom and independence. This process deepens... Katerina commits suicide. Thus, she proved her case, a moral victory over the “dark kingdom”. Dobrolyubov in his article, assessing the image of Katerina, wrote: “Here is the true strength of character, which in any case you can rely on! This is the height to which our national life reaches in its development!”
The fact that Katerina's act was typical of her time is also confirmed by the fact that a similar incident occurred in Kostroma in the Klykov family of merchants. And long after that, the actors who played the main roles in the play made up in such a way that they could be seen to resemble the Klykovs.
