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Composition

Topic: “What is the tragedy of Katerina in Ostrovsky’s play “The Thunderstorm””

The main character in A. N. Ostrovsky's play "The Thunderstorm" is Katerina. She grew up in the house of a poor merchant. Her spiritual world was very rich and diverse. Katerina was a very poetic person with a rich imagination. In her conversations we hear folk wisdom and popular sayings. Her soul longed for flight: " Why do people don't fly like birds? Sometimes I feel like I'm a bird. When you stand on a mountain, you feel the urge to fly. That’s how I would run up, raise my hands and fly.”

After marriage, her life changed. She is part of the Kabanov family, ready to love and honor her mother-in-law “For me, mamma, it’s all one thing, that birth mother"What are you..." - she says to Kabanikha, expecting in advance that her husband will be her master, but also her support and protection. Her beloved Tikhon turned out to be " mama's boy". In the Kabanovs' house, Katerina found herself alone, her world, her soul, no one could understand. This loneliness was the first step towards tragedy. The cruel orders of Kabanikha dulled Katerina's desire for the sublime. From then on, her soul became isolated. From the free, joyful world She found herself in a world full of deception and cruelty. With all her soul she wants to be pure and impeccable. The rule established by Kabanova forced her to hide, to be cunning. She didn’t want this, and she couldn’t do it. She says to Varvara: “I don’t know how to deceive, I don’t know how to hide.” “I can’t do anything.” Her tragedy lies in the meekness of her character. In my opinion, Katerina and Tikhon could only become happy after the death of their mother-in-law. If Katerina had been different, Tikhon would never have left without his beloved. There would have been no betrayal if she had been supported husband: attention, love.

Out of loneliness she is drawn to Boris. She likes that he, both in appearance and in speech, is different from the others around her. The need for love, which has not found a response in the husband, also attracts. The offended feeling of a wife and woman, and the mortal melancholy of her monotonous life, and the desire for space and freedom.

Many people commit actions without realizing the consequences. The consequences of Katerina’s action are mental wounds and anxiety about the Fall. Sin lies like a heavy stone on her heart. Unable to be cunning and pretend, she confesses everything to her husband. By insulting and humiliating Katerina, the mother-in-law puts the finishing touches on the relationship.

Katerina is terribly afraid of the approaching thunderstorm, considering it a punishment for what she did. She acts at the first call of her heart, at the first impulse of her soul. And this is where her trouble lies. People like Katerina are not adapted to real life and all the time they feel that they are superfluous. She cannot live any longer with her sin, and decides to commit suicide. She doesn’t complain about anyone, doesn’t blame anyone, she just can’t live “in captivity” anymore. IN last moment All domestic horrors flash especially vividly in her imagination.

Katerina's death is a protest to society and her release. Many women of that era lived their lives this way, not daring to free themselves.

Katerina Ostrovsky thunderstorm

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Lyrical disclosure of pictures of the Volga landscape of the city of Kalinov in the play by A.N. Ostrovsky "The Thunderstorm". Literary recreation of Kalinin’s life in the play: the image of streets, taverns and the life of city residents. "The Dark Kingdom" and the harsh image of the city of Kalinin in the play "The Thunderstorm".

The play “The Thunderstorm” by A. N. Ostrovsky depicts the era of the 60s of the nineteenth century. At this time, revolutionary uprisings of the people are brewing in Russia. They are aimed at. improvement of life and everyday life ordinary people to overthrow tsarism. The works of great Russian writers and poets also participate in this struggle, among them Ostrovsky’s play “The Thunderstorm,” which shocked all of Russia. Using the example of the image of Katerina, the struggle of the entire people against the “dark kingdom” and its patriarchal order is depicted.

The main character in A. N. Ostrovsky’s play “The Thunderstorm” is Katerina. Her protest against the “Kabanovsky” order, the struggle for her happiness is depicted by the author in the drama.

Katerina grew up in the house of a poor merchant, where she matured spiritually and morally. Katerina was extraordinary personality, and there was some extraordinary charm in her facial features. All of her “breathed” Russian, truly folk beauty; This is how Boris says about her: “There’s an angelic smile on her face, but her face seems to glow.”

Before her marriage, Katerina “lived and did not worry about anything, like a bird in the wild,” she did what she wanted and when she wanted, no one ever forced her or forced her to do what she, Katerina, did not want.

Her spiritual world was very rich and diverse. Katerina was a very poetic person with a rich imagination. In her conversations we hear folk wisdom and popular sayings. Her soul longed for flight; “Why don’t people fly like birds? Sometimes I feel like I'm a bird. When you stand on a mountain, you feel the urge to fly. That’s how I would run up, raise my hands and fly.”

Katerina’s soul was “educated” both by the stories of the praying mantises, who were in the house every day, and by sewing on velvet (sewing educated her and brought her into the world of beauty and goodness, into the world of art).

After marriage, Katerina’s life changed dramatically. In the Kabanovs’ house, Katerina was alone, her world, her soul, no one could understand. This loneliness was the first step towards tragedy. The family's attitude towards the heroine has also changed dramatically. The Kabanov house adhered to the same orders and customs as parents' house Katerina, but here “everything seems to be from under captivity.” The cruel orders of Kabanikha dulled Katerina’s desire for the sublime, and from then on the heroine’s soul fell into the abyss.

Another pain of Katerina is misunderstanding by her husband. Tikhon was a kind, vulnerable person, very weak compared to Katerina, he never had his own opinion - he obeyed the opinion of another, more strong man. Tikhon could not understand his wife’s aspirations: “I can’t understand you, Katya.” This misunderstanding brought Katerina one step closer to disaster.

Love for Boris was also a tragedy for Katerina. According to Dobrolyubov, Boris was the same as Tikhon, only educated. Because of his education, he came to the attention of Katerina. From the entire crowd of the “dark kingdom” she chose him, who was slightly different from the rest. However, Boris turned out to be even worse than Tikhon, he cares only about himself: he only thinks about what others will say about him. He leaves Katerina to the mercy of fate, to the punishment of the “dark kingdom”: “Well, God bless you! There is only one thing we need to ask God for: that she die as soon as possible, so that she does not suffer for a long time! Goodbye!".

Katerina sincerely loves Boris and worries about him: “What is he doing now, poor thing?.. Why did I get him into trouble? I should die alone! Otherwise, she ruined herself, she ruined him, she’s a disgrace to herself - he’s eternally disgraced!”

The morals of the city of Kalinov, its rudeness and “stark poverty” were not acceptable to Katerina: “If I want, I’ll leave wherever my eyes look. Nobody can stop me, that's the way it is

I have character."

Dobrolyubov gave the work a high rating. He called Katerina “a ray of light in the “dark kingdom.” At her tragic end, “a terrible challenge was given to tyrant power... In Katerina we see a protest against Kabanov’s concepts of morality, a protest brought to the end, proclaimed both under domestic torture and over the abyss into which the poor woman threw herself.” In the image of Katerina, Dobrolyubov sees the embodiment of “Russian living nature.” Katerina prefers to die than to live in captivity. Katerina's action is ambiguous.

The image of Katerina in Ostrovsky’s play “The Thunderstorm” is an excellent image of a Russian woman in Russian literature.

Katerina – main character Ostrovsky's drama "The Thunderstorm", Tikhon's wife, Kabanikha's daughter-in-law. The main idea of ​​the work is the conflict of this girl with the “dark kingdom”, the kingdom of tyrants, despots and ignoramuses.

You can find out why this conflict arose and why the end of the drama is so tragic by understanding Katerina’s ideas about life. The author showed the origins of the heroine's character. From Katerina's words we learn about her childhood and adolescence. Here is an ideal version of patriarchal relations and the patriarchal world in general: “I lived, I didn’t worry about anything, like a bird in the wild, I did what I wanted.” But it was “will”, which did not at all conflict with the age-old way of closed life, the entire circle of which is limited homework. Katya lived freely: she got up early, washed herself with spring water, went to church with her mother, then sat down to do some work and listened to the pilgrims and praying men, of whom there were many in their house. This is a story about a world in which it does not occur to a person to oppose himself to the general, since he has not yet separated himself from this community. That is why there is no violence or coercion here. Idyllic patriarchal harmony family life for Katerina – unconditional moral ideal. But she lives in an era when the very spirit of this morality has disappeared and the ossified form rests on violence and coercion. Sensitive Katerina catches this in her family life in the Kabanovs' house. After listening to the story about her daughter-in-law’s life before marriage, Varvara (Tikhon’s sister) exclaims in surprise: “But it’s the same with us.” “Yes, everything here seems to be from under captivity,” Katerina says, and this is the main drama for her.

Katerina was given away to marry young, her fate was decided by her family, and she accepts this as a completely natural, ordinary thing. She enters the Kabanov family, ready to love and honor her mother-in-law (“For me, mamma, it’s all the same, like my own mother, like you...” she says to Kabanikha), expecting in advance that her husband will be her master, but also her support, and protection. But Tikhon is not suitable for the role of head patriarchal family, and Katerina speaks of her love for him: “I feel sorry for him very much!” And in the fight against her illegal love for Boris, Katerina, despite her attempts, cannot rely on Tikhon.

Katya's life has changed a lot. From a free, joyful world, she found herself in a world full of deception and cruelty. She wants with all her soul to be pure and impeccable.

Katerina no longer feels such delight from visiting church. Katerina's religious sentiments intensify as her spiritual thunderstorm. But it is precisely the discrepancy between her sinful internal state and what the religious commandments require, and does not allow her to pray as before: Katerina is too far from the sanctimonious gap between the external performance of rituals and everyday practice. She feels fear of herself, of the desire for will. Katerina cannot do her usual activities. Sad, anxious thoughts do not allow her to calmly admire nature. Katya can only endure as long as she can and dream, but she can no longer live with her thoughts, because cruel reality returns her to earth, to where there is humiliation and suffering.

The environment in which Katerina lives requires her to lie and deceive. But Katerina is not like that. She is attracted to Boris not only by the fact that she likes him, that he is not like the others around her, but by her need for love, which has not found a response in her husband, by the offended feeling of her wife, by the mortal melancholy of her monotonous life. It was necessary to hide, to be cunning; she didn’t want it, and she couldn’t do it; she had to return to her dreary life, and this seemed to her more bitter than before. Sin lies like a heavy stone on her heart. Katerina is terribly afraid of the approaching thunderstorm, considering it a punishment for what she did. Katya cannot continue to live with her sin, and she considers repentance the only way to at least partially get rid of it. She confesses everything to her husband and Kabanikha.

What can she do? All that remains is for her to submit, to renounce independent life and become an unquestioning servant of the mother-in-law, a meek servant of her husband. But this is not Katerina’s character - she will never return to old life: if she cannot enjoy her feeling, her will, then she doesn’t want anything in life, she doesn’t even want life. She decided to die, but she is afraid of the thought that this is a sin. She doesn’t complain about anyone, she doesn’t blame anyone, she just can’t live anymore. At the last moment, all the domestic horrors flash especially vividly in her imagination. No, she will no longer be a victim of a soulless mother-in-law and will not languish locked up with a spineless and disgusting husband. Death is her release.

"Thunderstorm" - the most powerful and decisive work A. N. Ostrovsky, in which pictures of the gloomy reality of Russia in the pre-reform period are vividly described. The central conflict of the drama is the clash of the heroine, who defends her human rights, with the world." dark kingdom", with the kingdom of lies, hypocrisy, hypocrisy, ignorance, the power of money, in which the "masters", strong and powerful people rule. It is to them that the light and a pure soul the main character Katerina Kabanova.

From the very first scenes she attracts special attention. Katerina differs from all representatives of the “dark kingdom” in the depth of her feelings, honesty, truthfulness, and poetic nature. In her image the author captured all the beauty people's soul. Katerina expresses her thoughts and feelings in simple vernacular, without using distorted words and expressions common among merchants. The heroine's speech is musical, melodious, reminiscent folk songs. It contains a lot of affectionate and diminutive words: sunshine, water, rain, grass. And what sincerity sounds in the story about her free life in home, among flowers, icons, prayers. “I lived and didn’t worry about anything, like a bird in the wild.” The image of a bird helps to understand the main thing in Katerina’s character. IN folk poetry the bird is a symbol of will. And Katerina, like a “free bird,” is faithful to the feeling of freedom; only in it does she see the content and meaning of life. “Why don’t people fly like birds?” she says to Varvara. “You know, sometimes it seems to me that I’m a bird.” But this free bird ended up in an iron cage. And she struggles and yearns in captivity.

With her dreamy and romantic soul, Katerina is a stranger in the Kabanovs' house. With such a character, she cannot live in a place where everything is based on lies, hypocrisy, and tyranny. Can't live in a house where life philosophy mistresses - to frighten, humiliate and keep everyone in fear. It is difficult for her to endure the humiliating reproaches of her mother-in-law. But Katerina, an integral, strong nature, endures only for the time being. “And if I get really tired of here,” she says, “they won’t hold me back with any force. I’ll throw myself out the window, throw myself into the Volga. I don’t want to live here, so I won’t, even if you cut me!” Among the victims of the “dark kingdom,” she stands out for her open character, courage, and directness. “I don’t know how to deceive; I can’t hide anything,” she answers Varvara, who says that you can’t live in their house without deception. The tyrant power of the “dark kingdom” did not bend Katerina, did not poison her consciousness, did not force her to be a hypocrite and lie. She lives with the dream of a real, human life.

Her attempt to escape from the “disgusted” world merges with an awakened feeling of love. And at this moment there is a clash of love and duty. After all, Katerina cannot love like the timid victims of the “dark kingdom.” She wants openness, freedom, “honest” happiness. Boris tells her: “No one will know about our love...” And Katerina replies: “Let everyone know, let everyone see what I do!” She cheats on her husband Tikhon, but at the same time perceives her bright feeling of love as a mortal sin. And here a tragedy opens before us female soul, her torment and suffering. Katerina comes into conflict not only with environment, but also with myself. She cannot choose between duty and love. The heroine is in painful discord with her conscience. She rushes about, yearns, tries to suppress the joy of love that has illuminated her life, tries to forbid herself to love and be happy. But this struggle with herself, with her feelings, turns out to be beyond the heroine’s strength. The laws of the surrounding world, its way of life and order put pressure on her. And Katerina longs to clear her conscience with repentance. She can't stand it anymore. And when he sees a painting on the wall of the gallery in the church" Last Judgment", then she can’t stand it, falls to her knees and publicly repents of her sin. But this does not bring relief. The tragedy lies in the fact that the heroine does not find support anywhere. Even from her loved one. “Take me with you from here!” she prays to Boris But her friend is weak and downtrodden. “I can’t, Katya.” I’m not going of my own free will..." - this is his answer. Boris is not a hero, he is not able to protect either himself or the woman he loves. The inability to find support and support in a loved one, bullying from a despotic mother-in-law, a clash of love and duty -all this leads to a tragic end, breaks Katerina’s fate, pushes her to the cliff.

She can no longer imagine her life without love and happiness, so Katerina cannot live in Kabanova’s house, for whom these concepts are alien. And the heroine finds the only possible way out for herself in suicide. The thought of the future only scares her, and the grave seems like salvation from mental anguish. Katerina passes away. But this shows her strength rather than her weakness. Because she did not want to take advantage of the miserable vegetation that was offered to her in exchange for her living soul, she did not want to live in a society where there was no true love, kindness, religion, but there is only a family-cage.

The heroine's death was not useless. Katerina’s moral victory over the “dark kingdom” is undoubted. She illuminated the darkness reigning in the souls and hearts of people, opened their eyes, and prompted them to action. Her death is a terrible challenge to tyrant power, it is a death sentence for everything." dark kingdom"The heroine's life was short, but she, like a "ray of light", blazed in the darkness and left a glow over the kingdom of darkness and madness.

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