Analysis of the last thunderstorm scene. Composition: Analysis of the final scene of drama A

The final scene of the drama. It is not for nothing that in the mean author's note of the last act it is written: “The scenery of the first act. Twilight". The twilight world is presented to us by a talented playwright, a world in which the "thunderstorm" is not able to dispel the darkness otherwise than at the everyday level. And the death of Katerina, despite all the efforts of the author to give her the volume of a symbol, is tragic, but not dramatic.

Katerina was destroyed by her own concepts of good and evil, her dreams of flying remained dreams, she could not escape from the twilight reality of that time. But it's a pity ... Katerina Kabanova is romantic with an indomitable desire for beauty, for the freedom of human manifestations, an organic hatred for arbitrariness and violence. It is she who says: “Why don’t people fly! .. sometimes it seems to me that a bird. When you stand on a mountain, you are drawn to fly. That's how it would have run up, raised its hands and flew. Try something now? »
Sharply at odds with the moral and everyday ideas of the bourgeois-merchant environment, not wanting to live with her husband, unloved and not respected by her, not humbled before her arrogant mother-in-law, she reflects: “Where to now? Go home? No, it's all the same to me that it's home, that it's to the grave. Yes, that goes home, that goes to the grave!.. that goes to the grave! It's better in the grave... And I don't even want to think about life. Live again? No, no, don't... not good! And the people are disgusting to me, and the house is disgusting to me, and the walls are disgusting! ”She, eager for the unusual, and has wonderful dreams:“ Either golden temples, or some unusual gardens, and invisible voices sing, and the smell of cypress, and mountains , and the trees seem to be not the same as usual, but as they are written on the images. And it’s like I’m flying, and I’m flying through the air. ”

Before Katerina there were only two ways - captivity and the grave. Her hatred of despotism and her love of freedom are so strong, her spontaneous protest against everything that oppresses the human personality is so effective that she prefers death to captivity.

At that time, in her midst, Katerina could only find liberation in death. N. A. Dobrolyubov writes: “Such a liberation is sad, bitter; But what to do when there is no other way out ... "

Struck by the death of Katerina, even the weak, quietest Tikhon raises his voice against Kabanikh. Overcoming his humility, he frantically shouts: “Mother, you ruined her! You, you, you…”

Katerina's protest, her death were in vain. Tikhon's miserable rebellion will soon be crushed, it's clear, it's not for nothing that Kabanikha promises to deal with him at home. Boris, in fact, himself asked God for a quick death for Katerina - a pitiful creature unworthy of such high love, a slave of his uncle, everyday life, the twilight world. Kuligin, with all his scientific knowledge, is also not a fighter, all he is capable of is sarcasm: “Her body is here, but now her soul is not yours, she is before a judge who is more merciful than you!”

Love is higher than the sun and stars
She moves the sun and the stars
But if it's true love.
The drama "Thunderstorm" was written by Ostrovsky on the eve of the revolutionary situation in Russia, in the pre-stormy era. At the heart of the play
There is a conflict of irreconcilable contradictions between the individual and the surrounding society. Cause of conflict and all
Misfortune - money, The division of society into rich and poor. In the plays of Ostrovsky there is a protest against despotism, lies,
The oppression of man by man.
This protest reached its height in

Drama "Thunderstorm".
The struggle for a person for his right to freedom, happiness, a meaningful life - this is the problem that Ostrovsky
Decides in the play "Thunderstorm".
How does the main conflict of the drama develop? A strong, freedom-loving person finds himself in an environment alien to him, in a family,
Where personality is being strangled.
The tragedy of Katerina lies in the fact that she is a stranger to the Kabanov family: she was brought up in a free atmosphere.
Favorite daughter in the family. In the Kabanov family, everything is built on deception, lies. There is no sincere respect between family members, all
They live under the fear of their mother, under blunt submission.
Katerina is a poetic nature, she feels the beauty of nature and loves it, she very sincerely wants to love, but
Whom?! She wants to love her husband, mother-in-law.
Can a woman imbued with freedom, love for nature, with a bird's heart, put up with violence, a lie that
She reigned in the Kabanov family.
Mutual relations of tyranny and voicelessness brought her to tragic consequences.
Religion brought poetry to Katerina, because she did not read books, she did not know letters, but the features of folk wisdom,
Revealed in a religious form, the church brought her - this is a wonderful world of folk art, folklore, in which
Katherine loaded.
But these feelings
Suppress (she is Tikhon's wife). A terrible struggle is going on in the heart of a young woman. We see her in the midst of a tense
Internal struggle. She fell deeply and honestly in love with Boris, but in every way she tries to suppress a living motivating feeling in herself.
She does not want to see her beloved, she suffers.
And the storm? Why is it said in the first act about an impending thunderstorm? This is a natural phenomenon. It seems like a mental storm
She is sinful and terrible. The world of religious ideas contradicts the living feelings that wake up in her. Sin
Scares Katherine.
How does the conflict develop in her own soul?
To Katerina's words that she does not know how to deceive! Varvara objects: “Our whole house rests on this.” But
Katerina does not accept the morality of the "dark kingdom". “.I don’t want that!.I’ll better endure it while I endure it!”. “But not
Endure, so 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.”
“Oh, Varya, you don't know my character. Of course, God forbid this happens!” “And I want to break myself, but not
I can't." “Tonight the enemy troubled me again. After all, I was out of the house.” There is an internal struggle. What
Affects in this painful struggle? Strength? Weakness? To break oneself means to remain a faithful wife of a man,
Who she doesn't love. (Yes, and there’s nothing to love him for.) But a woman with a free heart cannot be a slave in the Kabanikh’s house.
Birds. And it seems to her that her call to will is the temptation of the devil.
A turning point is coming: Katerina is finally convinced that her husband is not worth not only love, but also respect. And
Here is the last flash of intense internal struggle. Throw away the key first, because it contains death (death
Spiritual, she is not afraid of her family, but of ruining her soul.
Katerina's first meeting with her beloved is deeply tragic. “Why have you come, my destroyer?” “You ruined me!” How
Her feeling must be strong if she consciously goes to certain death in the name of him. Strong character! Deep
Feeling! Enviable feeling! So not everyone can love. I am convinced of the extraordinary spiritual strength of Katerina. "Not,
I can't live!" She is sure of this, but the fear of death does not stop her. Love is stronger than this fear! Love
Her soul also won over those religious notions by which it was shackled. “After all, I can’t pray for this sin, I can’t pray
Never". “After all, he will lie like a stone on the soul,” Katerina says when she meets Boris, and admits to him that for the sake of love, “sin
I wasn't afraid." Her love was stronger than religious prejudices.
The storm that is gathering in the first act broke out here over the poor victim of the “dark kingdom”. And the fight in
The soul of Katerina is not yet complete. But I am sure that Katerina is not an unrequited victim, but a person with a strong, resolute
Character, with a lively freedom-loving heart of a bird.
Not afraid of punishment, she ran away from home to say goodbye to Boris. Not only is she not hiding, she is at the top of her voice
He calls his beloved: “My joy, my life, my soul, my love!”. “Respond!”
Not! She is not a slave, she is free. If only because she lost everything, she has nothing more to cherish, even life, in the name of
Love. “Why should I live now?!”
In the scene with Boris, Katerina is jealous of him: “You are a free Cossack.” But Katerina does not know that Boris is weaker than Tikhon, he
Bound by fear of his uncle. He is not worthy of Katherine.
In the finale, victory is also made over the internal enemy: over dark religious ideas.
"It's all the same that death will come, that itself.", And so live
It is forbidden!" she contemplates suicide. "Sin!" “Won't they pray? Whoever loves will pray.”
The thought of love is stronger than the fear of God. The last words are an appeal to a loved one: “My friend! My joy!
Goodbye!"
Ostrovsky showed the complex tragic process of the emancipation of the resurrecting soul. Here the darkness beats with the light,
Ups are followed by downs. Emancipation develops into protest. And “the strongest protest is the one that
It rises, finally, from the chest of the weakest and most patient. (Dobrolyubov.)

1. PODKHALYUZIN is the central character in A. N. Ostrovsky's comedy “Our people - we will settle down” (1849). In the name of the hero, Ostrovsky plays with soft “l” and sliding “z” (Lazar Elizarych Podkhalyuzin), hinting at the grain of the image of a swindler-clerk...
2. In connection with the 35th anniversary of Ostrovsky's activities, Goncharov wrote to him: “You alone built a building, at the base of which you laid the cornerstones of Fonvizin, Griboyedov, Gogol. But only after you, we Russians can...
3. ZhADOV - the hero of the comedy A. N. Ostrovsky "Profitable place" (1856). A young man, a recent university graduate, J. comes to his uncle, a high-ranking official, an ardent exposer of bureaucratic morals. J.'s intolerance, his harshness and disrespect...
4. The drama "Dowry" was written by A. N. Ostrovsky in 1879, when the results of the 1861 reform had already become clear. The “dark kingdom” has changed - trade and industry began to develop faster, there are no longer the former ones, ...
5. A special hero in the world of Ostrovsky, adjoining the type of a poor official with a sense of his own dignity, is Karandyshev Julius Kapitonovich. At the same time, pride in him is so hypertrophied that it becomes a substitute for other feelings ....
6. A. N. Ostrovsky entered literature as a writer of unprivileged strata of society; heroes from the nobility appeared in his works only sporadically. In the 60s, an attempt to master the image of a noble hero ended ...
7. Paratov Sergey Sergeevich - “a brilliant gentleman, from the shipowners, over 30 years old”. P. is a chic playboy, a spectacular and handsome man, who in the finale of the play will turn out to be an ordinary dowry seeker of wealthy merchants....
8. The drama "Dowry" was written by A. N. Ostrovsky in 1879, when the results of the 1861 reform had already become clear. The “dark kingdom” has changed - trade and industry began to develop faster, no longer ...
9. Respect for elders has been considered a virtue at all times. One cannot but agree that the wisdom and experience of those who belong to the older generation usually helps the youth. But in some cases...
10. Ostrovsky wrote a wonderful play "Dowry". It describes the life of one beautiful, young and beautiful girl - Larisa Dmitrievna Ogudalova, who turned out to be a victim of unfortunate circumstances. "Dowry" is similar in meaning to the drama...
11. Alexander Nikolayevich Ostrovsky in his work sought to combine the sharpness of the contradictions of views and aspirations with the breadth of understanding of life processes and problems. This was served by the unusual composition of Ostrovsky's plays, which allowed the appearance of...
12. Human! You gotta respect the man! A. M. Gorky “Dowry” is one of the best plays by A. N. Ostrovsky. She constantly goes on stage, twice filmed. The modern reader and viewer in this drama...
13. It's no secret that the drama of the great Russian playwright Alexander Nikolayevich Ostrovsky is one of the pinnacles of not only domestic, but also world literature, and perhaps one of the central works...
14. Lipochka's character also comically combines complacency and spiritual backwardness. She considers herself a young lady who has received an “education”, but she treats servants, clerks, and even her mother with cold, rude disdain. Especially...
15. All the heroes and heroines of A. N. Ostrovsky can be divided into those who have power over others and those who have no rights. In the later plays of Ostrovsky, the former acquire the features of “tyranny”, and the latter become victims of these “tyrants”.... The main heroine of A. N. Ostrovsky’s play “The Dowry” is Larisa Dmitrievna, the daughter of Harita Ignatievna Ogudalova. Her mother has a “small fortune”, there is nothing to give a dowry from, since she lives openly, everyone ...
16. The theme of sin, retribution and repentance is highly traditional for Russian classical literature. Suffice it to recall such works as “The Enchanted Wanderer” by N. S. Leskov, “Who Lives Well in Russia” by N. A....
17. The female image, its inconsistency and true beauty have always attracted writers and playwrights. One of the main features of Russian literature is the attention to female images, and often the derivation of the female image as ...

Ostrovsky A.N.
Composition based on a work on the topic: Analysis of the final scene of the drama by A. N. Ostrovsky "Thunderstorm"

Love is higher than the sun and stars

She moves the sun and the stars

But if it's true love.

The drama Thunderstorm was written by Ostrovsky on the eve of the revolutionary situation in Russia, in the pre-storm era. The play is based on a conflict of irreconcilable contradictions between an individual and the surrounding society. Cause of conflict and all

misfortunes - money, The division of society into rich and poor. In Ostrovsky's plays, there is a protest against despotism, lies, and the oppression of man by man. This protest reached its greatest strength in the drama Thunderstorm. The struggle for a person for his right to freedom, happiness, a meaningful life - this is the problem that Ostrovsky solves in the play "Thunderstorm".

How does the main conflict of the drama develop? A strong, freedom-loving person finds himself in an environment alien to him, in a family where the individual is strangled. The tragedy of Katerina lies in the fact that she is a stranger to the Kabanov family: she was brought up in a free atmosphere. Favorite daughter in the family. In the Kabanov family, everything is built on deception, lies. There is no sincere respect between family members, everyone lives under the fear of their mother, under stupid submission.

Katerina is a poetic nature, she feels the beauty of nature and loves it, she very sincerely wants to love, but whom ?! She wants to love her husband, mother-in-law.

Can a woman imbued with freedom, love for nature, with a bird's heart, put up with violence, the lie that reigned in the Kabanov family.

Mutual relations of tyranny and voicelessness brought her to tragic consequences.

Religion brought poetry to Katerina, because she did not read books, she did not know how to read and write, and the features of folk wisdom, denounced in a religious form, were brought to her by the church - this is a wonderful world of folk art, folklore, in which Katerina was immersed.

Suffocating in the house of the Kabanovs, longing for freedom, for love, for truly good human relations, Katerina does not put up with bondage, in her mind vaguely, indistinctly, the thought of how to leave the hateful house is born. But these feelings must be suppressed (she is Tikhon's wife). A terrible struggle is going on in the heart of a young woman. We see her in the midst of a tense internal struggle. She fell deeply and honestly in love with Boris, but in every way she tries to suppress a living motivating feeling in herself.

She does not want to see her beloved, she suffers.

And the storm? Why is it said in the first act about an impending thunderstorm? This is a natural phenomenon. The storm of the soul seems to her sinful and terrible. The world of religious ideas contradicts the living feelings that wake up in her. Sin

frightens Katherine.

How does the conflict develop in her own soul?

To Katerina's words that she does not know how to deceive! Varvara objects: “Our whole house rests on this.” But Katerina does not accept the morality of the "dark kingdom". “... I don’t want to do that! ... I’ll better endure it while I endure it!”. “And I can’t bear it, ... so I can’t hold on to me by any force. 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.”

“Oh, Varya, you don’t know my character. Of course, God forbid this happens!” “And I want to break myself, but I can’t in any way” .... “Tonight the enemy troubled me again. After all, I was out of the house.” There is an internal struggle. What is the result of this painful struggle? Strength? Weakness? To break oneself means to remain faithful to the wife of a man whom she does not love. (Yes, and there is nothing to love him for.) But a woman with the heart of a free bird cannot be a slave in the house of the Kabanikh. And it seems to her that her call to will is the temptation of the devil.

A turning point is coming: Katerina is finally convinced that her husband is not worth not only love, but also respect. And here is the last flash of intense internal struggle. First, throw away the key: after all, death lurks in it (spiritual death, she is afraid not of her family, but of destroying her soul.)

"Drop him?! No, not for anything in the world!” The rendezvous scene opens with a folk lingering song that emphasizes the tragedy of Katerina's love for Boris.

Katerina's first meeting with her beloved is deeply tragic. "Why have you come, my destroyer?" "You ruined me!" How strong her feeling must be if she consciously goes to certain death in the name of him. Strong character! Deep feeling! Enviable feeling! So not everyone can love. I am convinced of the extraordinary spiritual strength of Katerina. "No, I can't live!" She is sure of this, but the fear of death does not stop her. Love is stronger than this fear! Love also conquered those religious ideas that fettered her soul. “After all, I can’t pray for this sin, never pray for it.” “After all, he will lie like a stone on the soul,” Katerina says when she meets Boris, and admits to him that for the sake of love she “was not afraid of sin.” Her love was stronger than religious prejudices.

The storm, which is gathering in the first act, broke out here over the poor victim of the "dark kingdom". And the struggle in Katerina's soul is not yet over. But I am sure that Katerina is not an unrequited victim, but a person with a strong, resolute character, with a lively, freedom-loving heart of a bird.

Not afraid of punishment, she ran away from home to say goodbye to Boris. Not only does she not hide, she calls her beloved at the top of her voice: “My joy, my life, my soul, my love!” ... “Answer me!”

Not! She is not a slave, she is free. If only because she lost everything, she has nothing more to cherish, even life, in the name of love. "Why should I live now?!"

In the scene with Boris, Katerina is jealous of him: "You are a free Cossack." But Katerina does not know that Boris is weaker than Tikhon, he is shackled by fear of his uncle. He is not worthy of Katherine.

In the finale, victory is also made over the internal enemy: over dark religious ideas. Katerina is convinced of her right to freedom of choice between life and death. “It’s all the same that death will come, that itself ...”, but you can’t live like that!” she contemplates suicide. "Sin!" "Won't they pray? Whoever loves will pray.”

The thought of love is stronger than the fear of God. The last words are an appeal to a loved one: “My friend! My joy!

Ostrovsky showed the complex tragic process of the emancipation of the resurrecting soul. Here darkness fights with light, ups and downs are replaced by falls. Emancipation develops into protest. And "the strongest protest is the one that finally rises from the chest of the weakest and most patient." (Dobrolyubov.)

http://vsekratko.ru/ostrovskiy/groza92

The drama The Thunderstorm appeared in print in 1860. Its plot is quite simple. The main character, Katerina Kabanova, not finding a response to her feelings in her husband, fell in love with another person. Tormented by remorse, and also not wanting to lie, she confesses her act in the church, publicly. After that, her life becomes so unbearable that she commits suicide.

Such is the event outline of the work, with the help of which the author reveals to us a whole gallery of human types. Here are the merchants - tyrants, And the honorary mothers of families - guardians of local customs, and wanderers - pilgrims, telling fables, taking advantage of the darkness and ignorance of the people, and home-grown scientists - projectors. However, with all the variety of types, it turns out to be easy to see that they all seem to fall into two camps, which could be conditionally called: "dark kingdom" and "victims of the dark kingdom."

The "dark kingdom" is made up of people in whose hands power is concentrated, those who can influence public opinion in the city of Kalinov. First of all, this is Marfa Ignatievna Kabanova, who is respected in the city, considered a model of virtue and a keeper of traditions. “The hypocrite,” Kuligin says about Kabanova, “dresses the poor, but completely ate at home ...” And indeed, Marfa Ignatyevna’s behavior in public differs in many ways from her behavior at home, in everyday life. The whole family lives in fear of her. Tikhon, completely overwhelmed by the power of his mother, lives with only one simple desire - to escape, albeit for a short time, from the house, to feel like a free man. Tikhon's sister, Varvara, also experiences all the hardships of the family environment. However, unlike Tikhon, she has a more solid character and she has enough audacity, albeit secretly, not to obey her mother.

The last scene of the drama is the culmination of the work, in which the confrontation between the representatives of the "dark kingdom" and its victims is as aggravated as possible. Having neither wealth nor a high social status, the "victims" dare to challenge the inhuman order prevailing in the city.

The action begins with the fact that Tikhon returns home and learns about his wife's betrayal. He, as he himself admits to Kuligin, is ready to forgive Katerina, but at the same time he understands that his mother will not allow him to do this. Tikhon has no will to resist Kabanova. And although he beat Katerina, he feels sorry for her.

The death of Katerina, who fell in love in a way that only very strong natures can love, is natural at the end of the drama - there is no other way out for her. Life according to the laws of the “dark kingdom” is worse for her than death, the death of the soul is more terrible than the death of the body. She does not need such a life, and she prefers to part with it. The confrontation between the representatives of the "dark kingdom" and its victims reaches its highest point in the last scene, over the body of the dead Katerina. Kuligin, who previously preferred not to mess with either Wild or Kabanikha, throws the latter in the face: “Her body is here, ... and now her soul is not yours: she is now before a judge who is more merciful than you!” Tikhon, completely beaten down and crushed by his domineering mother, also raises his voice of protest: “Mother, you ruined her.” However, Kabanova quickly puts down the "rebellion", promising her son to "talk" to him at home.

Katerina's protest could not be effective, since her voice was lonely and none of the heroine's entourage, of those who can also be attributed to the "victims" of the "dark kingdom", was unable not only to support her, but even to understand to the end. The protest turned out to be self-destructive, but it was and is evidence of the free choice of an individual who does not want to put up with the laws imposed on her by society, with sanctimonious morality and dullness of everyday life.

So, in the last scene of the drama, the confrontation between the representatives of the “dark kingdom” and its victims was reflected with particular force. The accusations thrown by Kuligin and Tikhon in the face of those who “rule the show” in the city of Kalinovo show a shift in society, the emerging desire of young people to live in accordance with their conscience, and not with the sanctimonious, hypocritical morality of the “fathers”.

The drama The Thunderstorm appeared in print in 1860. Its plot is quite simple. The main character, Katerina Kabanova, not finding a response to her feelings in her husband, fell in love with another person. Tormented by remorse, and also not wanting to lie, she confesses her act in the church, publicly. After that, her life becomes so unbearable that she commits suicide.
Such is the event outline of the work, with the help of which the author reveals to us a whole gallery of human types. Here are the merchants - tyrants, And the honorary mothers of families - guardians of local customs, and wanderers - pilgrims, telling fables, taking advantage of the darkness and ignorance of the people, and home-grown scientists - projectors. However, with all the variety of types, it turns out to be easy to see that they all seem to fall into two camps, which could be conditionally called: "dark kingdom" and "victims of the dark kingdom."
The "dark kingdom" is made up of people in whose hands power is concentrated, those who can influence public opinion in the city of Kalinov. First of all, this is Marfa Ignatievna Kabanova, who is respected in the city, considered a model of virtue and a keeper of traditions. “The hypocrite,” Kuligin says about Kabanova, “dresses the poor, but completely ate at home ...” And indeed, Marfa Ignatyevna’s behavior in public differs in many ways from her behavior at home, in everyday life. The whole family lives in fear of her. Tikhon, completely overwhelmed by the power of his mother, lives with only one simple desire - to escape, albeit for a short time, from the house, to feel like a free man. Tikhon's sister, Varvara, also experiences all the hardships of the family environment. However, unlike Tikhon, she has a more solid character and she has enough audacity, albeit secretly, not to obey her mother.
The last scene of the drama is the culmination of the work, in which the confrontation between the representatives of the "dark kingdom" and its victims is as aggravated as possible.
The action begins with the fact that Tikhon returns home and learns about his wife's betrayal. He, as he himself admits to Kuligin, is ready to forgive Katerina, but at the same time he understands that his mother will not allow him to do this. Tikhon has no will to resist Kabanova. And although he beat Katerina, he feels sorry for her.
Further, it becomes known that Katerina disappeared from the house. She appears on the banks of the Volga, says that she is unable to continue living like this, and throws herself into the water from a cliff. They try to save her, but to no avail.
The death of Katerina, who fell in love in a way that only very strong natures can love, is natural at the end of the drama - there is no other way out for her. Life according to the laws of the “dark kingdom” is worse for her than death, the death of the soul is more terrible than the death of the body. She does not need such a life, and she prefers to part with it. The confrontation between the representatives of the "dark kingdom" and its victims reaches its highest point in the last scene, over the body of the dead Katerina. Kuligin, who previously preferred not to mess with either Wild or Kabanikha, throws the latter in the face: “Her body is here, ... and now her soul is not yours: she is now before a judge who is more merciful than you!” Tikhon, completely beaten down and crushed by his domineering mother, also raises his voice of protest: “Mother, you ruined her.” However, Kabanova quickly puts down the "rebellion", promising her son to "talk" to him at home.
Katerina's protest could not be effective, since her voice was lonely and none of the heroine's entourage, of those who can also be attributed to the "victims" of the "dark kingdom", was unable not only to support her, but even to understand to the end. The protest turned out to be self-destructive, but it was and is evidence of the free choice of an individual who does not want to put up with the laws imposed on her by society, with sanctimonious morality and dullness of everyday life.
So, in the last scene of the drama, the confrontation between the representatives of the “dark kingdom” and its victims was reflected with particular force.

In the play by A.N. Ostrovsky's "Thunderstorm" Katerina can be attributed to the first, and Varvara - to the second type. Katerina is a poetic nature, she feels the beauty of nature. “I used to get up early in the morning, summer, so I go down the key, wash myself, bring some water with me and everything ...

Enmity between loved ones can be especially irreconcilable P. Tacitus There is no worse retribution for madness and delusion than to see your own children suffer because of them W. Sumner A play by A.N. Ostrovsky's "Thunderstorm" tells about the life of a provincial...

A play by A.N. Ostrovsky's "Thunderstorm" was published in 1860, on the eve of the abolition of serfdom. In this difficult time, the culmination of the revolutionary situation of the 60s in Russia is observed. Even then, the foundations of the autocratic-feudal system were collapsing, but still ...

A. N. Ostrovsky is rightfully considered the singer of the merchant environment, the father of Russian everyday drama, Russian theater. About 60 plays belong to his pen, of which the most famous are such as "Dowry", "Late Love", "Forest", "Enough for every wise man ...