Introduction

The great Russian playwright Alexander Nikolaevich Ostrovsky wrote more than forty dramatic works, which are not only a true encyclopedia of Russian life in the eighteenth and nineteenth centuries, but also an interesting collection of characters and psychological types of Russian men and women of all ages and classes.

According to the calculations of researchers of Ostrovsky’s work, there are 728 heroes and heroines in his works, and this number does not include minor and episodic characters (1). Ostrovsky describes people of various social formations - nobles, peasants, military men, merchants, townspeople, and office workers. Vivid images, unique characters of these people and their most diverse combinations, clashes of interests, life manifestations in the most difficult and paradoxical situations create a voluminous, psychologically reliable idea of ​​family and social life of that time. In dramatic chronicles, family scenes, tragedies, pictures of Moscow life, in dramatic sketches, Ostrovsky’s truly multidimensional talent is revealed - a romantic and everyday life writer, a tragedian and a comedian.

Love, jealousy, complex relationships between a man and a woman are present in almost every work of Ostrovsky. Moreover, love for Ostrovsky is always a tragedy, it is always being “on the brink” - even if there is a positive ending.

Women experience love especially hard in Ostrovsky’s works. If for a man love can be just a short episode, or even just entertainment, then for a woman love is the greatest event in life: the greatest sorrow or the greatest happiness, but always - drama, suffering, a turning point, after which she will no longer be the same , even if everything ends well.

The purpose of this work is to consider the phenomenon of love in the works of Ostrovsky.

To achieve this goal, the following tasks are set in the work.

1. Consider the phenomenon of love in Ostrovsky’s works and the possible reasons for the author’s attitude towards love problems.

2. Consider the concept of love in Ostrovsky’s work based on the playwright’s most famous works, such as “Dowry”, “Forest”, “Thunderstorm”, “Late Love”, “Snow Maiden”.

The phenomenon of love in the dramaturgy of A.N. Ostrovsky

The drama of love in the works of A.N. Ostrovsky

Ostrovsky wrote about dramatic creativity: “The playwright does not invent plots - all our plots are borrowed. They are given by life, history, a story from a friend, sometimes a newspaper article. The playwright should not invent what happened; his job is to write how it happened or could have happened. This is all his work. When he pays attention to this side, living people will appear and speak themselves” (2).

Female characters from Ostrovsky's most famous plays - Katerina from "The Thunderstorm" and Larisa from "Dowry" - have long become household names. These are images of women who experience serious, deep and sincere love - and are faced with betrayal caused by the cowardice and formality of their “hero”.

Love, in the view of N.A. Ostrovsky, is an evil element for a woman. This is a tragic turning point, a boundary, after crossing which a woman will never regain her former carefree youth - even if the hero reciprocates, turns out to be worthy of the heroine and the story ends with a wedding.

A woman’s feelings, as a rule, encounter all sorts of obstacles - it could be poverty, as in “The Dowry,” or, on the contrary, a decent fortune, as in the comedy “Handsome Man.” In the first case, happy love is impossible, because Larisa's lover, the brilliant socialite Paratov, does not want to marry her without a rich dowry.

But the cause of love misfortunes can be not only poverty, but also wealth. An example is the play “Handsome Man”: despite the fact that poor Zoya Okoyemova had a decent fortune and married her “handsome” husband for love, she still suffered because he shamelessly used her love. So wealth does not save a woman from love tragedies.

Often the cause of unhappy love in Ostrovsky's dramas is the dependent, humiliated position of a woman. Katerina in “The Thunderstorm”, Aksyusha in “The Forest” - they all live in a subordinate position. Katerina has no rights in her husband's house. However, he is also not the head of the family - everything is run by his mother, Kabanikha, a woman of a tough and cruel disposition, suspecting Katerina of all mortal sins - and gloatingly triumphant when all her “predictions” came true.

Aksyusha, a poor relative of the landowner Gurmyzhskaya, also has no rights. Gurmyzhskaya, taking advantage of the girl’s youth and the absence of relatives who could stand up for her, appropriates her money for herself, and Aksyusha turns into a dowry - and her beloved Peter is afraid of his father and does not dare to marry her without money.

Both heroines love their generally unworthy lovers so passionately, so desperately - perhaps precisely because their lives are so hard and hopeless and they throw themselves into love “like a pool.” Seeing nothing good in life, when they meet love, they consider it some new meaning of life. This love becomes the most important thing for them, overshadows the whole world - and leads to tragedy.

The same tragedy almost happened in the drama “Late Love” - the daughter of an impoverished lawyer, Lyudmila, falls madly in love with an idle reveler and sacrifices everything for him - she steals the most important monetary document entrusted to her father. Despite the fact that the story ends happily, Lyudmila’s act cannot be called anything other than desperate - and even the festive ending of the play seems forced. There are things that cannot be done, even for the sake of love.

The most striking embodiment of N.A.’s idea. Ostrovsky’s idea of ​​love as a hostile element was received in his only poetic play “The Snow Maiden”. In The Snow Maiden, love is pure grief and suffering. Snegurochka, in love with Lelya, suffers, Mizgir, in love with Snegurochka, suffers. And even the Snow Maiden’s mutual love for Mizgir at the end of the play does not bring happiness to either her or him: the Snow Maiden melts, “blessing love,” and Mizgir drowns in the lake out of grief.

Thus, the feeling of love in N.A. Ostrovsky’s interpretation always acts as some kind of difficult life test, a threshold, a boundary, which few can overcome with dignity and without loss.

A. N. Ostrovsky’s drama “The Thunderstorm” was written in 1859, on the eve of great changes in Russia. The writer created an image in the drama that was fundamentally new in Russian literature. According to Dobrolyubov, “the character of Katerina, as it is performed in “The Thunderstorm,” is a step forward not only in Ostrovsky’s dramatic activity, but also in all of our literature.” The main problem of the work, without a doubt, is the problem of liberating women in a merchant environment from family oppression. But the play also reflects other, no less important, problems: the problem of fathers and children, the problem of feelings and duty, the problem of lies and truth, and others.
The work of writers of this period (the second half of the 19th century) is characterized by an interest in the problem of love. The drama “The Thunderstorm” is no exception. Ostrovsky vividly portrays the love of the main character of the play, Katerina Kabanova, for Boris Grigorievich. This love becomes the heroine’s first and therefore especially strong real feeling. Despite the fact that she married Tikhon Kabanov, the feeling of love was unknown to her. While living with her parents, young people looked at Katerina, but she never understood them. She married Tikhon only because he did not dislike her. Katerina herself, when asked by Varvara whether she loved anyone, answers: “No, she only laughed.”
Having met Boris, Katerina Kabanova falls in love with him without even talking to him properly. She falls in love largely because Boris outwardly represents a sharp contrast with the society under whose yoke she lives. This new, hitherto unknown feeling even changes Katerina’s worldview. So she tells Varvara about her dreams: “At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone speaks to me so affectionately, as if he were cooing me, as if a dove was cooing. I don’t dream, Varya, as before, of paradise trees and mountains, but as if someone is hugging me so warmly and warmly and leading me somewhere, and I follow him, I go...” This poetic story is completely imbued with foreboding love. The heroine's soul strives to know this feeling and dreams about it. And Boris Grigorievich, Dikiy’s nephew, turns out to be the embodiment of her dreams in reality for Katerina.
At first, Katerina is very afraid of her sinful love. She is very pious and considers such love a terrible sin; she is horrified by the possibility of God's punishment. But she cannot resist this feeling and, after hesitating a little, takes the fatal key to the gate from Varvara. The decision has been made: she will see Boris no matter what.
The desire for love in Katerina is closely intertwined with the desire for freedom, liberation from family oppression, from a weak-willed husband and a grumpy and unfair mother-in-law. Boris, as she sees him, is the complete opposite of the “dark kingdom” of tyrants. This is not surprising: Boris is well-mannered, educated, courteous, and dressed in metropolitan fashion. But Katerina is cruelly mistaken about this man: Boris differs from the inhabitants of the city of Kalinov only in appearance. He is unable to oppose anything to the Dikiy, just as Tikhon cannot say anything against the order reigning in Kabanikha’s house. Katerina Kabanova's love leads to tragic consequences. After her confession of adultery, Katerina can no longer live as before with her husband and mother-in-law, and be subjected to constant humiliation and insults. In desperation, she seeks help from her loved one, secretly hoping to find a way out of the created psychological impasse. Katerina, going on her last date with Boris, hopes that he will take her with him, not leave her like that, and protect her. But Boris turns out to be a weak-willed, cowardly and cowardly man; he refuses to take Katerina with him. This is where his complete inability to fight, his weak character, manifests itself. He betrays the woman he loves, refusing to take her with him out of fear of his uncle. After this betrayal, Katerina Kabanova has no choice but to leave this hateful life. But even then she continues to selflessly love Boris, which is so clearly shown by the author in the last farewell scene. She says these words to him: “Go with God! Don't worry about me. At first, perhaps you, poor thing, will be bored, and then you’ll forget.” And this is said by a woman whose whole meaning of life is love. Not a single swear word, not a single reproach will escape her lips. Her love is high, she cannot stoop to humiliation and reproaches. On the verge of death, this woman forgives her lover, who never lived up to her hopes, who never gave her the desired happiness.
Speaking about the problem of love in the drama “The Thunderstorm,” we can also mention the love of Varvara and Kudryash. But the relationship between these characters is described by the author rather for contrast, in order to more clearly highlight the feelings of the main character. The relationship between Varvara and Kudryash can hardly be called love; rather, it is affection and sympathy. These young people, although they experience the oppression of the “dark kingdom”, its foundations and customs, have already learned the morals and laws of the “dark kingdom”. Let us remember that it is Varvara who teaches Katerina worldly wisdom: “Do what you want, as long as everything is sewn and covered.” But this young couple also does not want to remain in that oppressive atmosphere. Having fallen in love with each other, they simply run away from the city of Kalinov together.
To summarize, it must be said that the desire to love and be loved in the soul of the main character is closely intertwined with the desire to free herself from the oppression of the “dark kingdom”. Therefore, the problem of love in the work is closely connected with the problem of liberating women from family oppression. Thus, the problem of love is, although not the most important, but undoubtedly one of the most important problems in the work.

Essay text:

A. N. Ostrovsky's drama The Thunderstorm was written in 1859, on the eve of great changes in Russia. The writer created an image in the drama that was fundamentally new in Russian literature. According to Dobrolyubov, the character of Katerina, as it is performed in The Thunderstorm, constitutes a step forward not only in Ostrovsky’s dramatic activity, but also in all of our literature. The main problem of the work, without a doubt, is the problem of liberating women in a merchant environment from family oppression. But the play also reflects other, no less important, problems: the problem of fathers and children, the problem of feelings and duty, the problem of lies and truth, and others. The creativity of writers of this period (the second half of the 19th century) is characterized by an interest in the problem of love. The drama Thunderstorm is no exception. Ostrovsky vividly portrays the love of the main character of the play, Katerina Kabanova, for Boris Grigorievich. This love becomes the heroine’s first and therefore especially strong real feeling. Despite the fact that she married Tikhon Kabanov, the feeling of love was unknown to her. While living with her parents, young people looked at Katerina, but she never understood them. She married Tikhon only because he did not dislike her. Katerina herself, when asked by Varvara whether she loved anyone, answers: No, she only laughed. Having met Boris, Katerina Kabanova falls in love with him without even talking to him properly. She falls in love largely because Boris outwardly represents a sharp contrast with the society under whose yoke she lives. This new, hitherto unknown feeling even changes Katerina’s worldview. So she tells Varvara about her dreams: At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone is talking to me so kindly, like a dove is cooing to me. I don’t dream, Varya, as before, of paradise trees and mountains, but as if someone is hugging me so warmly and warmly and leading me somewhere, and I follow him, I go... This poetic story is completely imbued with a premonition of love . The heroine’s soul strives to know this feeling and dream about it. And Boris Grigorievich, Dikiy’s nephew, turns out to be the embodiment of her dreams in reality for Katerina. At first, Katerina is very afraid of her sinful love. She is very pious and considers such love a terrible sin; she is horrified by the possibility of God's punishment. But she cannot resist this feeling and, after hesitating a little, takes the fatal key to the calico from Varvara. The decision has been made: she will see Boris no matter what. The desire for love in Katerina is closely intertwined with the desire for freedom, liberation from family oppression, from a weak-willed husband and a grumpy and unfair mother-in-law. Boris, the way she sees him, is the complete opposite of the dark kingdom of tyrants. This is not surprising: Boris is well-mannered, educated, courteous, and dressed in metropolitan fashion. But Katerina is cruelly mistaken about this man: Boris differs from the inhabitants of the city of Kalinov only in appearance. He is unable to oppose anything to the Dikiy, just as Tikhon cannot say anything against the order reigning in Kabanikha’s house. Katerina Kabanova's love leads to tragic consequences. After her confession of adultery, Katerina can no longer live as before with her husband and mother-in-law, and be subjected to constant humiliation and insults. In desperation, she seeks help from her loved one, secretly hoping to find a way out of the created psychological impasse. Katerina, going on her last date with Boris, hopes that he will take her with him, so that he will not leave her and protect her. But Boris turns out to be a weak-willed, cowardly and cowardly man; he refuses to take Katerina with him. This is where his complete inability to fight, his weak character, manifests itself. He betrays the woman he loves, refusing to take her with him out of fear of his uncle. After this betrayal, Katerina Kabanova has no choice but to leave this hateful life. But even then she continues to selflessly love Boris, which is so clearly shown by the author in the last farewell scene. She says these words to him: Go with God! Don't talk about me. At first, perhaps you, poor thing, will be bored, and then you’ll forget. And this is said by a woman whose whole meaning of life is love. Not a single swear word, not a single reproach will escape her lips. Her love is high, she cannot stoop to humiliation and reproaches. On the verge of death, this woman forgives her lover, who never lived up to her hopes, who never gave her the desired happiness. Speaking about the problem of love in the drama The Thunderstorm, we can also mention the love of Varvara and Kudryash. But the relationship between these characters is described by the author rather for contrast, in order to more clearly highlight the feelings of the main character. The relationship between Varvara and Kudryash can hardly be called love; rather, it is affection, sympathy. These young people, although they are experiencing the oppression of the dark kingdom, its foundations and customs, have already learned the morals and laws of the dark kingdom. Let us remember that it was Varvara who taught Katerina worldly wisdom: Do what you want, as long as everything is sewn and covered. But this young couple also does not want to remain in that oppressive atmosphere. Having fallen in love with each other, they simply run away from the city of Kalinov together. To summarize, it must be said that the desire to love and be loved in the soul of the main character is closely intertwined with the desire to free herself from the oppression of the dark kingdom. Therefore, the problem of love in the work is closely connected with the problem of liberating women from family oppression. Thus, the problem of love is, although not the most important, but undoubtedly one of the most important problems in the work.

The rights to the essay “The Problem of Love in the Drama by A. N. Ostrovskaya The Thunderstorm” belong to its author. When quoting material, it is necessary to indicate a hyperlink to

A. N. Ostrovsky’s drama “The Thunderstorm” was written in 1859, on the eve of great changes in Russia. The writer created an image in the drama that was fundamentally new in Russian literature. According to Dobrolyubov, “the character of Katerina, as it is performed in The Thunderstorm, is a step forward not only in Ostrovsky’s dramatic activity, but also in all of our literature.” The main problem of the work, without a doubt, is the problem of liberating women in a merchant environment from family oppression. But the play also reflects other, no less important, problems: the problem

Fathers and children, the problem of feelings and duty, the problem of lies and truth and others.
The work of writers of this period (the second half of the 19th century) is characterized by an interest in the problem of love. The drama “The Thunderstorm” is no exception. Ostrovsky vividly portrays the love of the main character of the play, Katerina Kabanova, for Boris Grigorievich. This love becomes the heroine’s first and therefore especially strong real feeling. Despite the fact that she married Tikhon Kabanov, the feeling of love was unknown to her. While living with her parents, young people looked at Katerina, but she never understood them. She married Tikhon only because he did not dislike her. Katerina herself, when asked by Varvara whether she loved anyone, answers: “No, she only laughed.”
Having met Boris, Katerina Kabanova falls in love with him without even talking to him properly. She falls in love largely because Boris outwardly represents a sharp contrast with the society under whose yoke she lives. This new, hitherto unknown feeling even changes Katerina’s worldview. So she tells Varvara about her dreams: “At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone speaks to me so affectionately, as if he were cooing me, as if a dove was cooing. I don’t dream, Varya, as before, of paradise trees and mountains, but as if someone is hugging me so hotly and warmly and leading me somewhere, and I follow him, I go...” This poetic story is completely imbued with a premonition of love. The heroine's soul strives to know this feeling and dreams about it. And Boris Grigorievich, Dikiy’s nephew, turns out to be the embodiment of her dreams in reality for Katerina.
At first, Katerina is very afraid of her sinful love. She is very pious and considers such love a terrible sin; she is horrified by the possibility of God's punishment. But she cannot resist this feeling and, after hesitating a little, takes the fatal key to the gate from Varvara. The decision has been made: she will see Boris no matter what.
The desire for love in Katerina is closely intertwined with the desire for freedom, liberation from family oppression, from a weak-willed husband and a grumpy and unfair mother-in-law. Boris, as she sees him, is the complete opposite of the “dark kingdom” of tyrants. This is not surprising: Boris is well-mannered, educated, courteous, and dressed in metropolitan fashion. But Katerina is cruelly mistaken about this man: Boris differs from the inhabitants of the city of Kalinov only in appearance. He is unable to oppose anything to the Dikiy, just as Tikhon cannot say anything against the order reigning in Kabanikha’s house. Katerina Kabanova's love leads to tragic consequences. After her confession of adultery, Katerina can no longer live as before with her husband and mother-in-law, and be subjected to constant humiliation and insults. In desperation, she seeks help from her loved one, secretly hoping to find a way out of the created psychological impasse. Katerina, going on her last date with Boris, hopes that he will take her with him, not leave her like that, and protect her. But Boris turns out to be a weak-willed, cowardly and cowardly man; he refuses to take Katerina with him. This is where his complete inability to fight, his weak character, manifests itself. He betrays the woman he loves, refusing to take her with him out of fear of his uncle. After this betrayal, Katerina Kabanova has no choice but to leave this hateful life. But even then she continues to selflessly love Boris, which is so clearly shown by the author in the last farewell scene. She says these words to him: “Go with God! Don't worry about me. At first, perhaps you, poor thing, will be bored, and then you’ll forget.” And this is said by a woman whose whole meaning of life is love. Not a single swear word, not a single reproach will escape her lips. Her love is high, she cannot stoop to humiliation and reproaches. On the verge of death, this woman forgives her lover, who never lived up to her hopes, who never gave her the desired happiness.
Speaking about the problem of love in the drama “The Thunderstorm,” we can also mention the love of Varvara and Kudryash. But the relationship between these characters is described by the author rather for contrast, in order to more clearly highlight the feelings of the main character. The relationship between Varvara and Kudryash can hardly be called love; rather, it is affection and sympathy. These young people, although they experience the oppression of the “dark kingdom”, its foundations and customs, have already learned the morals and laws of the “dark kingdom”. Let us remember that it is Varvara who teaches Katerina worldly wisdom: “Do what you want, as long as everything is sewn and covered.” But this young couple also does not want to remain in that oppressive atmosphere. Having fallen in love with each other, they simply run away from the city of Kalinov together.
To summarize, it must be said that the desire to love and be loved in the soul of the main character is closely intertwined with the desire to free herself from the oppression of the “dark kingdom”. Therefore, the problem of love in the work is closely connected with the problem of liberating women from family oppression. Thus, the problem of love is, although not the most important, but undoubtedly one of the most important problems in the work.

Description of the presentation by individual slides:

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Slide description:

Relevance of this work The image of Catherine is still relevant today. The topic of suicide and love has and will continue to worry people at all times; it concerns feelings, and, consequently, each of us. The problematic of love in the work is closely related to the problem of liberating women from family oppression. Thus, the problem of love is, although not the most important, but undoubtedly one of the most important problems in the work.

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The purpose of the project: - collection of information about the love issues of Ostrovsky's drama "The Thunderstorm" - familiarization of project participants with this information - analysis and communication of information To achieve these goals, it is necessary to solve the following tasks: - compare, contrast, analyze, draw your own conclusions when studying this topic.

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Problematics The problem of love in the work is closely related to the problem of liberating a woman from family oppression. Thus, the problem of love is, although not the most important, but undoubtedly one of the most important problems in the work.

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Alexander Nikolaevich Ostrovsky (1823-1886) My task is to serve Russian dramatic art. Other arts have schools, academies, high patronage, patrons... Russian dramatic art has only one. I am everything: the academy, the philanthropist, and the defense. A.N. Ostrovsky “Autobiographical Note”, 1884

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Features of Ostrovsky's dramaturgy Ostrovsky acted in his plays as a realist. Having an excellent knowledge of Russian life, especially the life of the merchants, he brought Russian life in all its originality to the stage. The family life of merchants, with its despotism and tyranny, rudeness and ignorance in everyday life, the powerless position of women, prejudices and superstitions - all this was reflected truthfully and vividly in Ostrovsky’s everyday plays.

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Peculiarities of Ostrovsky's dramaturgy The artistic merits of the plays are revealed with deep internal regularity, harmoniously and naturally. The action of the plays usually unfolds slowly, calmly, in accordance with the stable, sedentary life that is depicted in them. Ostrovsky avoids dramatic effects in the form of shots, suicides, and disguises. Katerina's suicide should be viewed not as a stage device that enhances the impression of the play, but as a dramatic finale prepared by the entire course of events.

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Peculiarities of Ostrovsky's dramaturgy The playwright skillfully uses compositional techniques that give the play a special scenic quality, and the movement of action - sharpness and tension. This is the method of using landscape in “The Thunderstorm”. The landscape serves a double function. At the beginning of the play, he is the background against which the dramatic action unfolds.

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Peculiarities of Ostrovsky's dramaturgy The picturesqueness and relief of the depiction of the setting and characters in the play are enhanced by the use of contrasts. In parallel with the main intrigue of the play (Katerina and Boris Grigorievich), a secondary one (Varvara and Kudryash), opposed to the first, also develops. The entire scene of the meeting at night in the ravine is built on parallelism and contrast.

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Peculiarities of Ostrovsky's dramaturgy Ostrovsky emphasizes the characteristic features of his heroes with “talking” surnames, with the help of which the author reveals the inner world of his heroes, the dominant traits of their character (Dikoy, Kabanikha, Kudryash). This method of characterization is generally widely used in Ostrovsky’s dramaturgy.

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Features of Ostrovsky's dramaturgy The speech of the characters is strictly individualized. In its very composition, in the choice of expressions, in their turns of phrase, the inner essence of a person is visible. Each of the characters speaks in a language corresponding to his spiritual character and profession. Thus, Katerina’s lyrically colored language has nothing in common with the rough, abrupt speech of the Wild. Skillful use of the linguistic riches of folk poetry: songs, proverbs, sayings

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Love in Ostrovsky's drama "The Thunderstorm" A. N. Ostrovsky's drama "The Thunderstorm" was written in 1859, on the eve of great changes in Russia. The writer created an image in the drama that was fundamentally new in Russian literature. According to Dobrolyubov, “the character of Katerina, as it is performed in “The Thunderstorm,” is a step forward not only in Ostrovsky’s dramatic activity, but also in all of our literature.” The main problem of the work, without a doubt, is the problem of liberating women in a merchant environment from family oppression. But the play also reflects other, no less important, problems: the problem of fathers and children, the problem of feelings and duty, the problem of lies and truth, and others. The work of writers of this period (the second half of the 19th century) is characterized by an interest in the problem of love. The drama “The Thunderstorm” is no exception. Ostrovsky vividly portrays the love of the main character of the play, Katerina Kabanova, for Boris Grigorievich. This love becomes the heroine’s first and therefore especially strong real feeling. Despite the fact that she married Tikhon Kabanov, the feeling of love was unknown to her. While living with her parents, young people looked at Katerina, but she never understood them. She married Tikhon only because he did not dislike her

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Love in Ostrovsky's drama “The Thunderstorm” Having met Boris, Katerina Kabanova falls in love with him without even having a proper conversation with him. She falls in love largely because Boris outwardly represents a sharp contrast with the society under whose yoke she lives. This new, hitherto unknown feeling even changes Katerina’s worldview. So she tells Varvara about her dreams: “At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone speaks to me so affectionately, as if he were cooing me, as if a dove was cooing. I don’t dream, Varya, as before, of paradise trees and mountains, but as if someone is hugging me so warmly and warmly and leading me somewhere, and I follow him, I go...” This poetic story is completely imbued with foreboding love. The heroine's soul strives to know this feeling and dreams about it. And Boris Grigorievich, Dikiy’s nephew, turns out to be the embodiment of her dreams in reality for Katerina. At first, Katerina is very afraid of her sinful love. She is very pious and considers such love a terrible sin; she is horrified by the possibility of God's punishment. But she cannot resist this feeling and, after hesitating a little, takes the fatal key to the gate from Varvara. The decision has been made: she will see Boris no matter what.

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Love in Ostrovsky's drama "The Thunderstorm" The desire for love in Katerina is closely intertwined with the desire for freedom, liberation from family oppression, from a weak-willed husband and a grumpy and unfair mother-in-law. Boris, as she sees him, is the complete opposite of the “dark kingdom” of tyrants. This is not surprising: Boris is well-mannered, educated, courteous, and dressed in metropolitan fashion. But Katerina is cruelly mistaken about this man: Boris differs from the inhabitants of the city of Kalinov only in appearance. He is unable to oppose anything to the Dikiy, just as Tikhon cannot say anything against the order reigning in Kabanikha’s house. Katerina Kabanova's love leads to tragic consequences. After her confession of adultery, Katerina can no longer live as before with her husband and mother-in-law, and be subjected to constant humiliation and insults. In desperation, she seeks help from her loved one, secretly hoping to find a way out of the created psychological impasse. Katerina, going on her last date with Boris, hopes that he will take her with him, not leave her like that, and protect her. But Boris turns out to be a weak-willed, cowardly and cowardly man; he refuses to take Katerina with him. This is where his complete inability to fight, his weak character, manifests itself. He betrays the woman he loves, refusing to take her with him out of fear of his uncle. After this betrayal, Katerina Kabanova has no choice but to leave this hateful life

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List of used literature Theater Encyclopedia. Ch. ed. P. A. Markov. T. 2 - M.: Soviet Encyclopedia, 1963 A. N. Ostrovsky. Full composition of writings. Volume II. Plays 1856-1861. M.: 1950. State publishing house of fiction. 405 p., ill. pp. 399-401 Analysis of Ostrovsky’s drama “The Thunderstorm” / Confession of Katerina. Finale of the drama Ostrovsky Alexander Nikolaevich 100 great writers // author Lyubov Kalyuzhnaya Dobrolyubov N. A. “A ray of light in the dark kingdom” M, Fiction 1978