Message about the cruel customs of the city of Kalinov. Essay “Cruel morals of the city of Kalinov

Life and customs of the city of Kalinov in the play “The Thunderstorm” by A. N. Ostrovsky. “Cruel morals, sir, in our city, cruel! A. N. Ostrovsky The play “The Thunderstorm” by A. N. Ostrovsky was created in 1859. In his work, the author clearly showed many customs and morals that existed at that time in Russia. Using the example of the fictional city of Kalinov, we see the oppression of the weak, self-interest, envy and many other vices that no one had described in such detail before Ostrovsky. At the very beginning of the play we see three residents of the city of Kalinov: Kuligin, Shapkin and Kudryash. From their conversation we learn that in the city lives the tyrant Dikoy, a rich merchant and a significant person in the city, who does not take into account anyone and does whatever he wants, not only in relation to himself, but also to others: “He belongs everywhere. He’s afraid of something or someone.” “We should look for another scolder like ours, Savel Prokofich. There’s no way he’ll cut someone off.” From the same conversation we learn about the rich merchant Kabanikha, who is no better than Dikiy, but differs only in that she is tyrannical at home and does not show it in public: “Kabanikha is good too.” “Well, at least she, at least, is all under the guise of piety...” Later we learn the story of Boris, Dikiy’s nephew. Dikoy robbed him, saying that he would pay part of the inheritance if Boris was respectful to him. And Boris understands that he will never see an inheritance: “He will first break with us, abuse us in every possible way, as his heart desires, but he will still end up not giving anything, or just some little thing. And he will even say that he gave it out of mercy, and that this should not have happened.” In the third scene of the first act, Kuligin describes the morals of the city of Kalinov: “Cruel morals, sir, in our city, cruel! In the philistinism, sir, you will see nothing but rudeness and naked poverty...” Kuligin understands that it is impossible to earn money through honest work. In the third scene of the third act, Kuligin talks about the customs of Kalinov: “This is the kind of town we have, sir!” From this dialogue we can understand the situation in the city and in the families of the townspeople: “The boulevards were made, but people don’t walk. They only go out on holidays and they only pretend to be out for a walk, but if they go there they show off their outfits.” Kuligin talks about how poor people have no time to go for walks, because they work day and night in order to somehow survive; and the rich tyrannize at home: “Rob relatives, nephews, beat up family members so that they don’t dare make a squeak about anything he does there.” “...you don’t care about my family; for this, he says, I have locks, and bolts, and angry dogs. The family, they say, is a secret, secret matter...” Another custom of Kalinov is described in the first scene of the third act. Rich merchants considered it their duty to receive strangers at home and ask them what was going on in the world. So knowledge of the world of merchants is just the stories of strangers. “The Thunderstorm” became one of Ostrovsky’s most famous works. Many famous writers admired this play. One of them was N.A. Dobrolyubov, who gave the exact name to the society of the city of Kalinov - “dark kingdom”. I liked the play "The Thunderstorm". The many vices that personified cruel morals and stupid customs at that time are striking.

Play by A.N. Ostrovsky's "The Thunderstorm" is known to many. It is on many school lists of literary works.

The play takes place near the Volga River in the city of Kalinov. In this city everyone knows each other, but everyone protects themselves from each other - they build fences to fence themselves off. They live a closed life and do not know what is happening in other cities. Merchants learn about life outside their city thanks to wanderers, who tell them about the world.

Its inhabitants are financially dependent. In this city, money plays a huge role. The one with the most money has the power. The goal of most residents is to get rich. They quarrel over money. They are trying to improve the city of Kalinov. They are making walking paths, but there is no one there. The poor are happy about this, but they have no time to go out because they need to work to feed themselves and their families. The townspeople are not interested in the problems of others. Not only do they refuse to help people, they are not even ready to listen to their difficult situations. When residents show sincere feelings, society considers it a sin. The city does not know about the relationship between marriage and love. Rich people believe that you need to get married for your own benefit, for convenience.

The characters in the play are not responsible for their words and actions. Kuligin criticizes city residents who are ready to fight for money at the cost of their lives. He tried to change the morals of the inhabitants, but to no avail. He worries that the residents of the city of Kalinov are uneducated. Kuligin is very worried and upset because the townspeople are not ready to earn money by honest work. Dikoy is the richest man in the city. He acquired his wealth through dishonest labor, ruining workers. Because of the big money, he has no morals. He does not consider the poor and destitute residents of the city to be people. He is rude and always argues with society. He doesn't consult anyone and does whatever he wants. Another rich heroine of the play is Kabanikha. She has no special differences from the Wild. She mocks and tyranns her family, but behaves differently in public. Katerina suffers most from her actions and words. She cannot listen to constant reproaches and wants to leave home. Kabanikha wants everything to be as she orders.

The life of the city of Kalinov consists of complete degradation of humanity and mental stagnation. Behind an ordinary and measured life lie cruel morals. In the city, the main feelings are self-interest and cruelty, and sincere feelings and reason are beyond the control of the residents. Lies and deception spoil people and their souls, but in Kalinov this is a common occurrence.

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Kalinov is a small Volga merchant town, where for generations they have been living according to Domostroevsky rules. They listen to wanderers, believe their fairy tales, are afraid to contradict their elders, life is unhurried and unhurried, like weakly flowing stagnant water. Here they resist innovation with all their might, especially those who have power over people. “Your own benefit is more important” and “Let your neighbor feel bad” are the basic principles of philanthropy and good neighborliness that the residents profess. The rich make money from misfortune and underpayment; you won’t find the truth here; whoever is richer is right. The permissiveness of those in power has no boundaries and no control.

Wild has seven Fridays a week. He got off on the wrong foot - he mocks those who depend on him all day long. He is an important figure - rich, influential, even the head of the council does not order him, but asks: you should pay the peasants so that they don’t make a fuss. To which Dikoy answers without hesitation that kindness and decency are not profitable. “I won’t pay them a penny extra per person, but this makes up thousands for me.” And he gets rich by cheating, cheating, and on and on. Of course, he will not share the inheritance with his nephew and niece, Boris hopes in vain.

The wild one only needs a reason to take all the money for himself, and Boris provided the reason by entering into a relationship with a married woman. He is also impudent in conversations with petitioners - he looks at Kuligin as an annoying petitioner, although the scientist only wants to improve the city, without demanding anything for his services. The only thing Wild is afraid of is Kabanikha - an intelligent, cruel, hypocritical merchant's wife.

Kabanikha is an admirer of old traditions: the wife should be afraid of her husband, we are not even talking about love. When the husband leaves, he must give her an order in front of everyone, and she must “howl” when saying goodbye. A widowed mother-in-law should be even more important to her daughter-in-law than her husband - elders should be respected and feared. “Will” for her is equated to an obscene word, this is a violation of the meaning of her existence, the short leash on which she keeps everyone.

Kabanova's daughter-in-law, Katerina, having arrived at her husband's house, feels that the swamp is drawing her in, sucking out her vitality, and her tyrannical mother-in-law humiliates her with impunity, and there is no hope. The boar is healthy and will live a long time, but with the possible mention of her death she constantly torments her loved ones. And Katerina, out of despair, falls in love with an equally dependent person, who, nevertheless, seems to her more worthy than her husband.

For a married woman in the city of Kalinov, getting married means becoming a silent slave in her husband’s house; the only possible consolation is children. Katerina’s betrayal of her husband is the only challenge possible for her to protect her daily humiliated honor and dignity.

The sons of Kalinov's merchants and merchant women belong least to themselves. Their fate is managed for their own benefit and enrichment; they are a commodity.

Of course, Dikoy and Kabanikha love children. In my own way. Trying to keep them in a constant consciousness of their insignificance, controlling and manipulating. Dikiy’s daughters are not yet adults, but he already wants to rob his nephews in their favor, and Kabanikha constantly reproaches her son for how much she suffered because of him.

Varvara Kabanova, on the other hand, is given complete freedom, and she walks with her lover at night, accustomed to being a hypocrite and agreeing with her mother outwardly and putting her foot down in practice. “Shito-covered” is one of Kalinov’s basic rules. Do whatever you want, just so people don't find out. Hide your true feelings, if you have them, don’t show them. But Katerina, with her confession, doomed Varvara to escape, although Varvara did not plan to escape. She had freedom in the girls, and she did not think about tomorrow, everything suited her. But the ban on a free life forced her to go against her mother - Varvara’s character is the same as that of her parent. She runs away with Kudryash, whom Dikoy himself is afraid of, and perhaps some good will come out of this connection.

For the believer Katerina there is no such option. Now she would live forever in a situation that offended the family of the disobedient woman. She has no one to ask for help - she knew what she was doing, but honesty does not allow her to remain silent. And she also “escaps”, in her own way.

Kalinov will no longer be the same - too many secrets have become apparent. And soon, not only Kuligin will see the beauty of his native expanses - only a cleansing thunderstorm will pour in...

A. N. Ostrovsky in an essay on the country. This is a land living by the traditions of hoary antiquity -. For the discovery of this country, contemporaries called Ostrovsky the Columbus of Zamoskvorechye. And in fact, in his plays he exposes aspects of merchant life.

The social upsurge of the 60s captured Ostrovsky, and in 1859 he created a drama about which Dobrolyubov said: “without a doubt, Ostrovsky’s most decisive work, the mutual relations of tyranny and voicelessness are brought to the most tragic consequences in it.”

Among the expanse of Russian nature, on the steep bank of the Volga, lies the city of Kalinov, immersed in green gardens. And beyond the Volga one can see villages, fields and forests. , - Kuligin admires, deeply feeling the poetic charm of his native landscape. It would seem that the life of the people of this city should be beautiful and happy. However, rich merchants created a world in it. The town is known for its strong locks and solid fences that shackle every new manifestation of life. Ostrovsky critically depicts the life and customs of the merchants. He divides all the inhabitants of the city into poor and rich, oppressors and oppressed. Kuligin talks about the hardship of life for the city's poor: And the cause of poverty, in his opinion, is the unscrupulous exploitation of the poor by the rich: . The wanderer Feklusha praises Kalinov’s life: Thus two assessments of the same phenomenon collide. Feklusha is an ardent defender of superstitions, the embodiment of ignorance, and enjoys the patronage of rulers. The ignorant residents of the city of Kaliiova listen to Feklusha and believe her stories.

The personification of cruelty, ignorance, and tyranny are Savel Prokofievich Dikoy and Marfa Ignatievna Kabanova, merchants of the city. Kabanova is a rich merchant's wife, a widow. In her family, she considers herself the main one, holds it tightly, observes outdated orders and customs in the house, based on religious prejudices and Domostroy. All that can be heard from Kabanikha’s lips is scolding and reproaches for non-compliance with outdated orders. She made her sacrifice. Dobrolyubov says about her: She forces Katerina to bow at her husband’s feet when leaving, scolds her for not being in public, seeing her husband off. He orders Tikhon to beat Katerina, after she admitted her own, he believes that she should be beaten. The speech of the imperious Kabanikha sounds like an order. Kabanikha is a spokesman for ideas and principles. (She is very rich. This can be judged by the fact that her trade affairs extend beyond Kalinov; on her instructions, Tikhon traveled to Moscow.) She is respected by Dikoy, for whom the main thing in life is money. Kabanikha understands that money alone does not give the authorities, another indispensable condition is the obedience of those who do not have money. She wants to kill the will of the household, any ability to resist. The boar is hypocritical, hiding behind virtue and piety, in the family she is an inhuman despot and tyrant, but she bestows beggars. Dumb, ignorant, counting a locomotive, she surrounds herself with the same obscurantists as herself. Her intellectual interests do not go further than the absurd stories of wandering gods about countries where they rule. Hiding despotism under the guise of piety, Kabanikha brings her family to the point that Tikhon does not dare to contradict her in anything. Varvara learned to lie, hide and dodge. With her tyranny, she brought Katerina to death. Varvara, her daughter, runs away from home, and Tikhon regrets that he did not die with his wife: So, wanting to preserve the old way of life in the family, based on universal submission to the head of the family, that is, to her, Kabanikha brought it to collapse.

But if Kabanikha defends ideas, then Dikoy is simply a rude tyrant. (Both Dikoy and Kabanikha belong to. They have a lot common features.) The Wild's speech is rude and ignorant. He doesn’t want to know anything about science, culture, inventions that improve life. Kuligin's proposal to install a lightning rod infuriates him. (Dikoy believes that a thunderstorm is an omen from God.) Dikoy constantly fights, but only with those who fear him or are completely dependent on him. The family hides from him in attics and basements, Boris, his nephew, tolerates his abuse, since he is financially dependent on Dikiy. The most important character trait of the Wild is greed. The meaning of the Wild's life is to acquire and increase wealth. To achieve this, he does not disdain using any means. (To the mayor, to whom the men complain that they are being shortchanged. Dikoy replies:) Having thousands, he feels his strength and brazenly demands everyone’s respect and obedience.

In the appearance of the Wild One, despite all his belligerence, there are features of the comic. Kabanikha (with her cunning, hypocrisy, cold, implacable cruelty and thirst for power is truly terrible) is the most sinister figure in the city. (Dikoy strives to rudely assert his power, while Kabanikha calmly asserts herself, guarding everything old and passing away.)

Residents of the city of Kalinov live in constant fear of the forces of nature, of rich merchants. In the play large number crowd scenes in which we see all the inhabitants of the city and learn about them. We learn that they do not walk on the boulevard created for them and do not strive to improve their lives. Rich merchants tyrannize their household behind high fences. The ignorance of the Kalinovites is manifested in the scene when they are looking at the picture and there is a conversation about Lithuania, which. The poor, according to Kuligin, have no time to walk, as they have. Merchants rob near and far, strangers and relatives. - this, according to Kuligin, is the secret of the thoughts of the rich residents of the city.

Inhuman mores will still come to an end, since the new powerfully invades life. The death of Katerina is a challenge, a passionate call to fight against the entire despotic way of life. Kudryash and Varvara are fleeing to other lands; the struggle between the new and the old has begun and continues. Ostrovsky in this drama exposed the cruel morals of merchant life: despotism, ignorance, tyranny, greed. Dobrolyubov believed: it depicts not only the ignorant merchants of the city of Kalinov, but also the entire autocratic serfdom system of Russia. The protest expressed in, he extended to the whole of Tsarist Russia:. - is not the only play by A. N. Ostrovsky, which exposes the cruel morals of the merchants; such works include both, and, and.

Only ideas, not words, have lasting power over society.
(V. G. Belinsky)

The literature of the 19th century is qualitatively different from the literature of the previous “golden age”. In 1955–1956 freedom-loving and freedom-realizing tendencies in literature are beginning to manifest themselves more and more actively. artwork is endowed with a special function: it must change the system of reference points, reshape consciousness. Sociality becomes an important initial stage, and one of the main problems becomes the question of how society distorts a person. Of course, many writers tried to solve this problem in their works. For example, Dostoevsky writes “Poor People,” in which he shows the poverty and hopelessness of the lower strata of the population. This aspect was also the focus of playwrights. N.A. Ostrovsky in “The Thunderstorm” showed the cruel morals of the city of Kalinov quite clearly. The audience had to think about social problems, which were characteristic of the entire patriarchal Russia.

The situation in the city of Kalinov is completely typical for all provincial cities of Russia in the second half of the 19th century. In Kalinov you can recognize Nizhny Novgorod, the cities of the Volga region, and even Moscow. The phrase “cruel morals, sir” is pronounced in the first act by one of the main characters of the play and becomes the main motif that is associated with the theme of the city. Ostrovsky in “The Thunderstorm” makes Kuligin’s monologue about cruel morals quite interesting in the context of Kuligin’s other phrases in previous phenomena.

So, the play begins with a dialogue between Kudryash and Kuligin. Men talk about the beauty of nature. Kudryash does not consider the landscape to be anything special; external scenery means little to him. Kuligin, on the contrary, admires the beauty of the Volga: “Miracles, truly it must be said that miracles! Curly! Here, my brother, for fifty years I have been looking across the Volga every day and I still can’t get enough of it”; “The view is extraordinary! Beauty! The soul rejoices." Then other characters appear on the stage, and the topic of conversation changes. Kuligin talks to Boris about life in Kalinov. It turns out that there is, in fact, no life here. Stagnation and stuffiness. This can be confirmed by the phrases of Boris and Katya that you can suffocate in Kalinov. People seem to be deaf to expressions of dissatisfaction, and there are many reasons for dissatisfaction. They are mainly related to social inequality. All the power of the city is concentrated only in the hands of those who have money. Kuligin talks about Dikiy. This is a rude and petty person. Wealth has given him a free hand, so the merchant believes that he has the right to decide who can live and who cannot. After all, many in the city ask for a loan from Dikoy at huge interest rates, while they know that Dikoy most likely will not give this money. People tried to complain about the merchant to the mayor, but this also led to nothing - the mayor actually has absolutely no power. Savl Prokofievich allows himself offensive comments and swearing. More precisely, his speech amounts to only this. He can be called an outcast to the highest degree: Dikoy often drinks and is devoid of culture. The author's irony is that the merchant is rich materially and completely poor spiritually. It’s as if he doesn’t have those qualities that make a person human. At the same time, there are those who laugh at him. For example, a certain hussar who refused to fulfill the request of the Wild. And Kudryash says that he is not afraid of this tyrant and can answer Diky’s insult.

Kuligin also talks about Marfa Kabanova. This rich widow does cruel things “under the guise of piety.” Her manipulations and treatment of her family can terrify anyone. Kuligin characterizes her as follows: “she gives money to the poor, but completely eats up her family.” The characterization turns out to be quite accurate. Kabanikha seems much more terrible than Dikoya. Her moral violence against loved ones never stops. And these are her children. With her upbringing, Kabanikha turned Tikhon into an adult, infantile drunkard, who would be glad to escape from his mother’s care, but is afraid of her anger. With her hysterics and humiliations, Kabanikha drives Katerina to suicide. Kabanikha has a strong character. The author's bitter irony is that the patriarchal world is led by a powerful and cruel woman.

It is in the first act that the cruel mores of the dark kingdom in “The Thunderstorm” are most clearly depicted. The frightening pictures of social life are contrasted with the picturesque landscapes on the Volga. Space and freedom are contrasted with a social swamp and fences. Fences and bolts, behind which residents fenced themselves off from the rest of the world, are clogged in a bank, and, carrying out lynching, are rotting without permission from lack of air.

In "The Thunderstorm" the cruel morals of the city of Kalinov are shown not only in the pair of characters Kabanikh - Dikaya. In addition, the author introduces several more significant characters. Glasha, the Kabanovs' maid, and Feklusha, identified by Ostrovsky as a wanderer, discuss the life of the city. It seems to women that only here the old house-building traditions are still preserved, and the Kabanovs’ house is the last paradise on earth. The wanderer talks about the customs of other countries, calling them incorrect, because there is no Christian faith there. People like Feklusha and Glasha deserve “bestial” treatment from merchants and townsfolk. After all, these people are hopelessly limited. They refuse to understand and accept anything if it diverges from the familiar world. They feel good in the “blah-a-adati” that they have built for themselves. The point is not that they refuse to see reality, but that reality is considered the norm.

Of course, the cruel morals of the city of Kalinov in The Thunderstorm, characteristic of society as a whole, are shown somewhat grotesquely. But thanks to such hyperbole and concentration of negativity, the author wanted to get a reaction from the public: people should realize that change and reform are inevitable. We need to participate in the changes ourselves, otherwise this quagmire will grow to incredible proportions, when outdated orders will subjugate everything, finally eliminating even the possibility of development.

The given description of the morals of the residents of the city of Kalinov can be useful for 10th graders when preparing materials for an essay on the topic “Cruel morals of the city of Kalinov.”

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