Love in Katerina's life. Boris and Katerina

Katerina’s love for Boris temporarily increases the boundaries of the small world in which the girl still lives. Katerina experiences such a strong feeling for the first time. The girl was forcibly married to an unloved man.
Further life in the husband's house, constant nagging and humiliation from the mother-in-law kill the very possibility of love for the weak-willed and weak-willed Tikhon.
Katerina sincerely tries to love her husband. But apparently it’s not fate. And Katerina is a romantic and dreamy person. The girl was very emotional since childhood. As you know, impressionable and emotional people cannot live in an atmosphere of dullness and despondency. They need to enjoy life, enjoy its manifestations, feel the beauty of existence.
How does Katerina see Boris? Of course, he seems to her to be completely different from Tikhon and most of the people around her. Every person, having fallen in love, tends to idealize the object of his love, and, of course, Katerina is no exception.
What is Boris really like? At the very beginning of the work we learn its history. Parents gave Boris and his sister an enviable upbringing. Could they have thought that their children would be forced to communicate with relatives known for their stupidity, hypocrisy and malice?
Boris, with all his intelligence and education, cannot understand the ingenuous and simple Katerina. She tells him, “You know what? Now I suddenly want to die!” Katerina puts deep meaning into her words. She understands deep down that life as it was before is over. Now she has crossed the line that forever separated her from her former life. And such a metamorphosis may well lead to death. But Boris answers her too simply and banally: “Why die when we can live so well?” Right now he is happy, he is confident in himself, he likes that the woman he loves is nearby. And what happens next does not interest him.
Katerina gives all of herself, receiving nothing in return.
Katerina’s trouble is that Boris turned out to be unworthy of her love. Despite his seemingly positive qualities, he is actually a petty, selfish person who thinks only of himself. Katerina's love for him is just entertainment, although he is trying to prove to her that he acts solely by succumbing to the power of passion.
Boris submits to the will of his uncle, who sends him to Siberia. The scene of Katerina’s farewell to her beloved shows how difficult it is for a woman and how restrained Boris behaves.

Boris’s words seem monstrous: “Well, God be with 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!". And these words are spoken by a man about the woman he loves! He doesn’t even try to ease her fate, or at least console her. Boris simply wishes her death. And this is Katerina’s retribution for happiness that lasted only ten days!

Selected natures have their own destiny. Only he is not outside of them: they carry him in their own hearts. When she comes on her first date with Boris, from the first words she showers him with reproaches for ruining her.

“Why have you come, my destroyer?” she says. “After all, I’m married, because I have to live with my husband until the grave, until the grave.” “After all, what am I preparing for myself? Where do I belong, you know?

Calm down, sit down.

Well, how come you didn’t ruin me if I left the house at night and came to you. It was your will. I have no will. If I had my own will, I would not have gone to you. ( He raises his eyes and looks at Boris. A little silence.)

Eh! Why feel sorry for me, it’s no one’s fault, she went for it herself. Don’t be sorry, ruin me, let everyone know, let everyone see what I do. If I was not afraid of sin for you, will I be afraid of human judgment? They say that it is even easier when you suffer for some sin here on earth.

The whole character is visible again. Again Russian motives. With some kind of voluptuousness, with some kind of daring, she is already thinking about the minute when everyone will learn about her fall and dreams of the sweetness of being publicly executed for her act. What kind of despotism could have an influence on such a nature after this? If she had been surrounded by the kindest people, having committed her sin, she would have been executed and grieved in the same way. There might not have been a suicide, but her life would still have been ruined. Such commoner women as the author gives us make no concessions either to social justice, or to the demands of youth, or even to the all-healing time. If she were a developed woman, she would find justification for her love both in man’s thirst to experience happiness on earth, and in her bitter lot, and, finally, in the legality in which she herself would clothe her love. All these higher considerations are completely alien to Katerina. What in ordinary language is called a misdemeanor, in her concept is a grave, mortal sin, worthy of all the torments of hell.

<…>How, they say, could Katerina fall in love with such a vulgar gentleman as Boris! Among so many prominent and bright faces in the drama, this face really strikes the eye with its impersonality and insignificance. Not a single property that makes up the character is indicated directly and positively by the author. The flabbiness and passivity of this face appear in him as if by themselves, without the knowledge of the author. All this is true, but what of it? Could Katerina now find out what kind of person he was? She fell in love with him without speaking a single word to him; on the first date I came to him as a stranger; Before she saw him, her heart was already demanding love. She liked him because he endures grief just as much as she does. Finally, she simply fell in love with his face, and she fell in love with Boris. You never know who and why women love, the most developed ones, in this respect no match for Katerina, a simple and spontaneous woman.

Dostoevsky M.M. ""Storm". Drama in five acts by A.N. Ostrovsky"

Read also other topics of analysis of the drama "The Thunderstorm":

Dobrolyubov N.A. "A ray of light in a dark kingdom"

The image of Katerina in the play “The Thunderstorm” contrasts perfectly with the gloomy realities of Russia in the pre-reform period. At the epicenter of the unfolding drama is the conflict between the heroine, striving to defend her human rights, and a world in which strong, rich and powerful people rule everything.

Katerina as the embodiment of a pure, strong and bright people's soul

From the very first pages of the work, the image of Katerina in the play “The Thunderstorm” cannot but attract attention and make one feel sympathy. Honesty, the ability to feel deeply, sincerity of nature and a penchant for poetry - these are the features that distinguish Katerina herself from representatives of the “dark kingdom”. In the main character, Ostrovsky tried to capture all the beauty of the people's simple soul. The girl expresses her emotions and experiences unpretentiously and does not use distorted words and expressions common in the merchant environment. This is not difficult to notice; Katerina’s speech itself is more reminiscent of a melodic tune; it is replete with diminutive words and expressions: “sunshine”, “grass”, “rain”. The heroine shows incredible sincerity when she talks about her free life in her father’s house, among icons, calm prayers and flowers, where she lived “like a bird in the wild.”

The image of a bird is an accurate reflection of the heroine’s state of mind

The image of Katerina in the play “The Thunderstorm” perfectly resonates with the image of a bird, which in folk poetry symbolizes freedom. Talking with Varvara, she repeatedly refers to this analogy and claims that she is “a free bird that is caught in an iron cage.” In captivity she feels sad and painful.

Katerina's life in the Kabanovs' house. Love of Katerina and Boris

In the Kabanovs' house, Katerina, who is characterized by dreaminess and romance, feels like a complete stranger. The humiliating reproaches of her mother-in-law, who is accustomed to keeping all household members in fear, and the atmosphere of tyranny, lies and hypocrisy oppress the girl. However, Katerina herself, who is by nature a strong, integral person, knows that there is a limit to her patience: “I don’t want to live here, I won’t, even if you cut me!” Varvara’s words that one cannot survive in this house without deception evoke sharp rejection in Katerina. The heroine resists the “dark kingdom”; its orders did not break her will to live; fortunately, they did not force her to become like the other residents of the Kabanov house and begin to be a hypocrite and lie at every step.

The image of Katerina is revealed in a new way in the play “The Thunderstorm”, when the girl makes an attempt to escape from the “disgusted” world. She does not know how and does not want to love the way the inhabitants of the “dark kingdom” do; freedom, openness, and “honest” happiness are important to her. While Boris convinces her that their love will remain a secret, Katerina wants everyone to know about it, for everyone to see. Tikhon, her husband, however, the bright feeling awakened in her heart seems to her And just at this moment the reader comes face to face with the tragedy of her suffering and torment. From this moment on, Katerina’s conflict occurs not only with the outside world, but also with herself. It is difficult for her to make a choice between love and duty; she tries to forbid herself to love and be happy. However, the fight with her own feelings is beyond the strength of the fragile Katerina.

The way of life and laws that reign in the world around the girl put pressure on her. She strives to repent of what she has done, to cleanse her soul. Seeing the painting “The Last Judgment” on the wall in the church, Katerina cannot stand it, falls to her knees and begins to publicly repent of her sin. However, even this does not bring the girl the desired relief. Other heroes of the drama “The Thunderstorm” by Ostrovsky are not able to support her, even her loved one. Boris refuses Katerina’s requests to take her away from here. This man is not a hero, he is simply unable to protect either himself or his beloved.

The death of Katerina is a ray of light that illuminated the “dark kingdom”

Evil is falling on Katerina from all sides. Constant bullying from her mother-in-law, tossing between duty and love - all this ultimately leads the girl to a tragic ending. Having managed to experience happiness and love in her short life, she is simply unable to continue living in the Kabanovs’ house, where such concepts do not exist at all. She sees the only way out as suicide: the future scares Katerina, and the grave is perceived as salvation from mental torment. However, the image of Katerina in the drama “The Thunderstorm”, in spite of everything, remains strong - she did not choose a miserable existence in a “cage” and did not allow anyone to break her living soul.

Nevertheless, the heroine’s death was not in vain. The girl won a moral victory over the “dark kingdom”; she managed to slightly dispel the darkness in the hearts of people, motivate them to action, and open their eyes. The life of the heroine herself became a “ray of light” that blazed in the darkness and left its glow over the world of madness and darkness for a long time.

Analysis of the love of Katerina Kabanova (based on the play “The Thunderstorm” by A.N. Ostrovsky)

Was the love of Katerina Kabanova from A. N. Ostrovsky’s play “The Thunderstorm” a crime? Did the poor woman deserve such a terrible punishment?

Katerina's misfortunes begin after she marries Tikhon Kabanov and moves into his house. There the young woman realizes that she has found herself in an environment alien to her, in the realm of ignorance, inertia and tyranny. Katerina is trying with all her might to resist him, which is expressed in a conflict with the brightest representative of this world - Marfa Ignatievna Kabanova.

The hostility that immediately arose between the mother-in-law and daughter-in-law is largely based on the difference in their characters.

Katerina’s inner world was mainly formed in accordance with the lifestyle that she led before her marriage. She grew up kind, sympathetic, very religious (she found solace and strength in faith) and dreamy. Her imagination carried her far away from the colorless world in which she now lived. One of the main features that distinguishes Katerina from others is that the essence of everything that happens is important to her, and not the form; she cannot live among dead formulas that have lost their meaning.

And for Marfa Ignatievna, maintaining order, strictly following the ancient foundations is the meaning and purpose of life. She eagerly seeks out apostates. But compliance with the rules of “Domostroy” only serves as an explanation for the despotism that stifles all manifestations of life and will.

At first, Katerina tries to come to terms with the atmosphere in which she found herself, to extinguish her protest against “fading” under the yoke of Marfa Ignatievna. But constant pressure, infringement of rights and loneliness took their toll: Katerina resisted. Her protest found expression in her love for Dikiy’s nephew Boris Grigorievich, since love was the only thing in which a woman of that time could express herself.

And now, having understood the situation Katerina found herself in, is it possible to blame her for an involuntary impulse, a sudden feeling? After all, the girl was married off very early. “You didn’t have to go for a walk with the girls, but your heart hasn’t gone away yet!” - Varvara tells her. And who did they give it for? For someone who cannot take a step without a “mother’s” word, let alone stand up for his wife! So Katerina found herself face to face with Marfa Ignatievna.

Therefore, Katerina is subconsciously looking for someone who could become her support, give her support, and understand her. She chooses Boris because, at first glance, he is very different from the people around whom the heroine finds herself. But it gradually becomes clear that Boris Grigorievich is only an “educated Tikhon.” He does not have the determination that Katerina has. He, seeing all the absurdity of the world of the Wild and Kabanovs, cannot and does not want to do anything to rid himself of his influence and, in spite of him, be happy with his beloved. Like Tikhon, Boris only complains about his fate and laments: “Oh, if only there was strength!” For him, Katerina is too complex, deep nature. He subconsciously understands this and after a while wants to move away from her, to run away.

The heroine, dreaming of finding consolation, hope and new strength from Boris, plunges into the feeling, as if into a pool, without thinking about the consequences and without fear of any judgment: neither divine nor human.

But, after some time, insight inevitably comes. Katerina realizes that she has committed a grave sin by cheating on her husband. And all excuses, all hopes for the future recede and collapse before the terrible word “treason.”

In order to continue the relationship with Boris after her husband’s arrival, it was necessary to hide and be cunning; She didn’t want it and couldn’t do it. She didn’t want to live like Varvara: “Do what you want, as long as it’s sewn and covered.” Katerina is already beginning to feel how this double life is dragging her down. After all, she sinned, but outwardly she remained an honest woman.

It seems to me that if for many people the most terrible punishment is human trial, then for Katerina the most terrible punishment is pangs of conscience. Of course, by committing a “crime,” she knew that she would set all the residents of the city of Kalinov against her. But the heroine reasoned: “If I was not afraid of sin, will I be afraid of human judgment?” Griboyedov’s phrase immediately comes to mind: “Who are the judges?” After all, in the city of Kalinov, anyone who deviates from ancient traditions and established orders is already a criminal. And are the “judges” themselves really so righteous? No, it’s just that everything is “closed up and covered up”, everything is “under the guise of piety”!

Therefore, it was not human judgment, but remorse that became real retribution for Katerina. And the first thing that came to her mind was God’s punishment. After all, from childhood the heroine believed that God sees everything, that not a single sin can be hidden from him, and at the “Last Judgment” nothing can be justified. “What if I appear before God as I am, with all my sins - that’s what’s scary!”

This situation is unbearable for Katerina: days and nights she kept thinking, suffering and decided that she needed to repent and announce her actions. And this will not be an admission of guilt, not a renunciation of the right to freedom, but, on the contrary, the only form of protection of internal freedom - the freedom of conscience.

A thunderstorm, a prophecy of a crazy lady, a painting of “The Last Judgment” that she sees on the walls of the gallery - all this drives her into a frenzy, and in this state the heroine confesses her “sin” to her husband in front of everyone. Katerina does not repent of what she did in the absence of her husband, but only opens up in order to atone for her guilt by confessing.

It seems to me that loving Boris is not a serious crime, but the only possible form of protest for a poor woman left alone in the “kingdom of tyrants.” I believe that the punishment taken by Katerina is too cruel. I sincerely feel sorry for the heroine, who, by the will of fate, was forced to choose: love, which means life, or “withering” under the yoke of Kabanova, but without confronting her conscience.

Lesson topic: “Who is to blame for the death of Katerina?” (Katerina’s love in A.N. Ostrovsky’s play “The Thunderstorm”)

The purpose of the lesson:-analyze the image of the heroine; understand why she decided to love Boris, what this love led to.

Find out Katerina's suicide - strength or weakness.

Find out Katerina’s character traits, why she cannot live according to the laws of the “dark kingdom”.

Learn to conduct research on a text.

Learn to express your opinion.

Lesson form: dispute

Methodical techniques: conversation with analysis of episodes, student reports, musical accompaniment, use of film and illustrations .

Equipment: A. N. Ostrovsky's play "The Thunderstorm", illustrations for the play, portraits of the actresses who played Katerina, the film "The Thunderstorm", musical accompaniment, poems by A. Dementyev and P. Vegin .

During the classes:

Organizing time.

Organize the group for work, mark those who are absent.

Communicate the topic and objectives of the lesson.

Love is stronger than death, stronger than the fear of death.

(I.S. Turgenev)

Music sounds: romance “Under the caress of a plush blanket” - 2 min 35 sec.

What kind of love is sung about in the romance? (love is self-sacrifice, which leads to death).

Love also led to death for the main character of the play “The Thunderstorm.”

The topic of our lesson: “Do not tempt me by loving!” (Katerina’s love in A.N. Ostrovsky’s play “The Thunderstorm”)

Epigraph of the lesson: “Love is stronger than death, stronger than the fear of death.”

How do you understand these words?

When a person loves, he is ready to do anything, ready to sacrifice himself for the sake of his beloved, ready to perform a feat in the name of love. The main character of the play, Katerina, is ready to sacrifice a lot in the name of love, even her principles; she throws herself into the pool, without fear of God's punishment.

We must figure out why Katerina decided to love Boris, why Katerina committed suicide, Katerina’s death - victory or defeat, identify Katerina’s character traits, why she cannot live according to the laws of the “dark kingdom”, what are the origins of Katerina’s character. We conduct the lesson in the form of a debate, in which you must express your opinion - is Katerina’s love a weakness or a strength? Katerina's suicide - is it a victory or a defeat? Can this be called Katerina’s protest against the “dark kingdom”? During the lesson, each of you should form your own opinion on this matter, which you will express during the debate.

Implementation of homework.

To better understand the image of Katerina and its incompatibility with the norm and morality of the “dark kingdom,” let us remember the previous lesson, the life and customs of the city of Kalinov, after completing the tasks.

Assignments: “Do you know the play “The Thunderstorm” (handout)

Students read the question and answer it orally

Homework question: Which of the characters in the play is neither a “victim” nor a “master” of the city of Kalinov? (Katerina Kabanova). Why? (She does not subordinate anyone to herself and does not know how to obey herself)

New material.

1) Katerina's character traits.

Katerina, the main character of Ostrovsky’s play, does not obey the “masters” of life (Kabanikha and Dikiy), the laws of the dark kingdom are alien to her, she lives as her conscience tells her. The names of the characters have a symbolic meaning: Katerina - Greek. “cleanliness”, “decency”; but the name of Kabanikha is Martha - Greek. “mistress”, “mistress”, that’s how she feels in the play; Kabanikha’s daughter – Varvara – from Greek “foreign”, “rude”. This is Katerina because of her character.

What character traits are evident from Katerina’s very first remarks? (read out remarks) - inability to be a hypocrite, directness.

From the very first remarks of Katerina, conflict is felt.

Where did such character traits of Katerina come from, if the city of Kalinov lives according to different principles? (upbringing in childhood, in home)

Let's compare Katerina's life in Kabanikha's house and in her parents' house.

At the parents' house:

- “like a bird in the wild”

- “mama doted on her”

- “they were not forced to work”

- “I embroidered, went to church, walked”

In her parents' house, Katerina felt the cordial attitude of her relatives, relative freedom, listened to the stories of wanderers, praying prayers, and attended church. Hence Katerina has a painful impressionability and a romantic attitude towards life.

In Kabanikha's house:

-"withered like a flower"

- “They scold you out of love”

- “everything is forced”

- “He won’t be afraid of me, and even less so of you”

In Kabanova’s house, Katerina experienced her mother-in-law’s cruel attitude towards her, which caused a constant spiritual rebellion, and Tikhon did not understand Katerina. And he lived according to Kabanikha’s orders.

The influence of life with the Kabanovs on Katerina:

A) Awareness of one’s doom

B) Isolation, disappointment in family life.

C) Passionate desire for freedom, love, happiness.

Now let's find out the character traits of the main character and what is her conflict with others?

Katerina's character traits - principles of life in Kabanikha's house

Love of freedom - submission

Independence - giving up one's will

Self-esteem – humiliation by reproaches and suspicions

Dreaminess and poetry - lack of spiritual principles

Religiosity - religious hypocrisy

Decisiveness - not letting one live according to one’s will (captivity)

Kindness, selflessness - rudeness and abuse

Honesty, spontaneity - deception

Conclusion: For Katerina, the main thing is to live according to your soul, but for Kabanikha, the main thing is to subjugate and not let you live according to your own way. A sharp contrast arises here - an irreconcilable conflict ensues.

Your opinion on the question: How does Katerina differ from the residents of the city of Kalinova? (spontaneity, kindness, sincerity, honesty, etc.)

Is Katerina’s desire for freedom a protest or a state of mind? (Students' opinions)

2) Katerina’s love for Boris – a protest or a sincere feeling?

Love is the driving force of the plot. What is love? Definition according to Ozhegov’s dictionary (Love of children, parents, friends, high feeling)

1) all the characters talk about love, and especially Katerina.

2) We are talking about different types of love (the love of parents, friendship, sons

and about love as a high spiritual feeling.)

3) The first and last remarks about love belong to Katerina.

4) In 4.D, where the scene of Katerina’s repentance is described, there are no lines at all with the word “love”

Is Katerina’s tragedy a tragedy of love or conscience?

Poem by A. Dementyev “The soul does not want change”

Love not only elevates.

Love sometimes destroys us.

Breaks destinies and hearts...

Beautiful in her desires,

She can be so dangerous

Like an explosion, like nine grams of lead.

She bursts in suddenly.

And you can no longer tomorrow

Don't see a cute face.

Love not only elevates.

Love accomplishes and decides everything.

And we go into this captivity.

And we don’t dream of freedom.

While the dawn rises in the soul,

The soul does not want change.

So Katerina’s love is not only a sublime feeling, but a destructive feeling, which played a fatal role in her fate and led the heroine to death. Cases of suicide in the patriarchal merchant world were not isolated - we will see this from the history of the creation of the play “The Thunderstorm” (student report)

“On the instructions of His Imperial Highness, Admiral General, Grand Duke Konstantin Nikolaevich, prominent Russian writers who already had travel experience and a taste for essayistic prose were sent around the country for new materials for the “Sea Collection”. They were supposed to study and describe folk crafts associated with the sea, lakes and rivers, methods of local shipbuilding and navigation, the situation of domestic fisheries and the very state of Russian waterways.

Ostrovsky inherited the Upper Volga from its source to Nizhny Novgorod. And he got down to business with enthusiasm.”

“In the ancient dispute between the Volga cities about which of them, by the will of Ostrovsky, was turned into Kalinov (the setting of the play “The Thunderstorm”), arguments in favor of Kineshma, Tver, and Kostroma are most often heard. The debaters seemed to have forgotten about Rzhev, and yet Rzhev was clearly involved in the birth of the mysterious plan of “The Thunderstorm”!

It is not known exactly where “The Thunderstorm” was written - at a dacha near Moscow or in Shchelykovo on the Volga, but it was created with amazing speed, truly by inspiration, in a few months of 1859.

For quite a long time, it was believed that Ostrovsky took the plot of “The Thunderstorm” from the life of the Kostroma merchants, that it was based on the Klykov case, which was sensational in Kostroma at the end of the summer of 1859. Until the beginning of the 20th century, Kostroma residents proudly pointed to the site of Katerina’s suicide - a gazebo at the end of a small boulevard, which in those years literally hung over the Volga. They also showed the house where she lived, next to the Church of the Assumption. And when “The Thunderstorm” was first performed on the stage of the Kostroma Theater, the artists made themselves up “to look like the Klykovs.”

Kostroma local historians then thoroughly examined the “Klykovo Case” in the archives and, with documents in hand, came to the conclusion that it was this story that Ostrovsky used in his work on “The Thunderstorm.” The coincidences were almost literal. A.P. Klykova was extradited at the age of sixteen to a gloomy and unsociable merchant family, consisting of old parents, a son and an unmarried daughter. The mistress of the house, stern and obstinate, depersonalized her husband and children with her despotism. She forced her young daughter-in-law to do any menial work and refused her requests to see her family.

At the time of the drama, Klykova was 19 years old. In the past, she was brought up in love and affection by her doting grandmother, she was cheerful, cheerful, and lively. Now she found herself unkind and alien in the family. Her young husband, Klykov, a carefree and apathetic man, could not protect his wife from the oppression of his mother-in-law and treated her indifferently. The Klykovs had no children. And then another man stood in the way of the young woman, Maryin, an employee at the post office. Suspicions and scenes of jealousy began. It ended with the fact that on November 10, 1859, the body of A.P. Klykova was found in the Volga. A long trial began, which received wide publicity even outside the Kostroma province, and none of the Kostroma residents doubted that Ostrovsky had used the materials of this case in “The Thunderstorm.”

Many decades passed before researchers of Ostrovsky’s work established for sure that “The Thunderstorm” was written before the Kostroma merchant Klykova rushed into the Volga. Ostrovsky began work on “The Thunderstorm” in June-July 1859 and finished it on October 9 of the same year.

We can conclude that such cases happened among the merchants, because the patriarchal foundations of society did not allow them to live freely, independently, but subjugated and enslaved. A woman could not love whoever she wanted, she was not married for love, and she had to accept her fate.

Katerina Kabanova did not accept it, just like A.P. Klykova.

Reading the dialogue between Katerina and Varvara (D.2, episode 2)

Who did Katerina fall in love with?

Why does Varvara guess about Katerina’s love?

What can be said about the principles of the Kabanov house? How did Varvara adapt?

Katerina fell in love with Boris, but Katerina’s conscience, her religiosity does not allow her to transgress the moral law - to cheat on her husband. Katerina’s torment was noticed by Varvara, who adapted to the laws of the “dark kingdom”, learned to deceive, and secretly from her mother met with her beloved Kudryash. It is Varvara who arranges a meeting between Katerina and Boris when Tikhon leaves on business.

Analysis of the scene “Tikhon’s Farewell” D2, appearances 3,4,5.

(Reading by roles)

How do the characters behave in this scene, how does this characterize them?

What significance does this scene have in the development of events?

(In this scene, Kabanikha’s despotism is revealed to the extreme, Tikhon’s complete inability not only to protect, but also to understand Katerina is revealed. This scene explains Katerina’s decision to go on a date with Boris.)

How does Tikhon behave before leaving?

(To understand Tikhon’s state of mind before leaving, you need to clearly imagine his position in his mother’s house, his desire to be free from care for at least two weeks. With a feeling of relief, Tikhon pronounces his line: “Yes, sir, mamma, it’s time.” But it turns out that That’s not all. His mother demands that he give Katerina instructions on how to live without him. Tikhon understands that by fulfilling his mother’s will, he is humiliating his wife.

When Kabanikha’s instructions become completely offensive, Tikhon tries to object to Katerina’s bullying, but his mother is adamant, and he quietly, embarrassed, as if apologizing to his wife, says: “Don’t look at the guys!” Kabanikha’s goal is to bring her family and, above all, the wayward Katerina to complete obedience)

Analysis of a monologue with a key. D 2, appearance 10.

Let's try to understand why Katerina fell in love with Boris?

We will find the answer in Dobrolyubov’s article: “For her, her whole life lies in this passion; all the strength of her nature, all her living aspirations merge here. What attracts her to Boris is not just the fact that she likes him, that he is different in appearance and speech from the rest of those around her, she is drawn to him by her need for love, which has not found a response in her husband, and by the offended feeling of a wife and woman, and the mortal melancholy of her monotonous life, and the desire for freedom, space, hot, unfettered freedom.”

Reading a monologue (read by a student)

What feelings does Katerina experience, how are these feelings reflected in her speech? What is the significance of the scene?

(Here the victory of Katerina’s natural feelings over the dogmas of the house-building is revealed. Katerina’s speech is full of short, abrupt interrogative and exclamatory sentences, repetitions, comparisons conveying the tension of Katerina’s feelings.

After the excited introduction, Katerina’s bitter thoughts about life in captivity follow. Speech becomes more restrained and balanced. Katerina disputes the initial decision to throw the key: “What a sin is it if I look at it once, even from a distance! Yes, at least I’ll talk!.. But he himself didn’t want to.” This part of the monologue is accompanied by remarks: after thinking, silence, thinking, thoughtfully looking at the key, characterizing Katerina’s condition.

The monologue ends with a strong outburst of feelings: “I would even die to see him...”

Love choice dooms Katerina to torment. She meets with Boris.

Excerpt from the film “The Thunderstorm” (scene “Date”)

What is the complexity of Katerina’s internal state?

(Katerina commits deception and stands on a par with Varvara; this is not typical of Katerina’s nature. The author shows the evolution of the heroine’s state of mind - from confusion to assertion of the right to love. Katerina “quietly walks down the path,.. with her eyes cast on the ground,” addresses to Boris “with fear, but without raising his eyes”, “raises his eyes and looks at Boris”, “throws himself at his neck.”)

How is Katerina’s struggle with herself shown in these monologues? (her monologues are intense, emotional, it is not the mind that speaks in them, but the heart.)

How is Katerina’s determination expressed? (decided on love with Boris, acted at the behest of the heart, not the law)

Conclusion: Katerina’s love is a sincere feeling, she is not capable of hypocrisy and pretending, she acts at the behest of her heart, violating the moral and religious law - cheating on her husband, and Tikhon did not strive to win Katerina’s love, but lived according to the orders and instructions of his “mama”, therefore Katerina did not find support and love in him, so she is looking for it on the side.

So. Is Katerina’s love a sincere feeling or a protest? (students' opinions )

Repentance of Katerina (D.4, Rev. 6)

After her husband’s arrival, Katerina “simply became her own person... She’s trembling all over, as if she’s got a fever; so pale, rushing around the house, as if looking for something. The eyes are like those of a madwoman."

Why did the changes occur in Katerina? (Katerina was religious, cheating on her husband, she committed a grave sin, she committed deception, which is contrary to her nature, so Katerina has a hard time in her soul, it is easier for her to confess and repent)

Since the drama is called “The Thunderstorm,” the thunderstorm motif is present throughout the entire play. Let's try to figure out how the title of the play determines the actions of the main character.

What do you think is the meaning of the title?

(Thunderstorm - in nature - the motif of an approaching thunderstorm is constantly heard.

The storm in Katerina’s soul - disagreement with the morality of the “dark kingdom”, the desire to live according to her heart’s wishes, love for Boris, leads to confusion of the soul.

There is a storm in society - a conflict is brewing, the reluctance of many to live according to the norms and

rules of house-building, in an unfree society free feelings awaken.)

Thunderstorm in nature - refreshing

Thunderstorm in the soul - cleanses

A thunderstorm in society enlightens.

How the residents of Kalinov perceived the thunderstorm (as a divine phenomenon. As punishment from God, Katerina is no exception, she is afraid of thunderstorms, following religious motives)

How is the repentance scene motivated? (read an excerpt from the play)

(A thunderstorm is approaching, which, according to the Kalinovites, “is being sent to us as punishment.” The gloomy flavor is intensified by the action scene - instead of a panorama of the Volga, there is a narrow gallery with oppressive arches. Katerina is now “unarmed.” She is hurt by both Kabanikha’s hints and Tikhon’s affectionate joke. Affection the husband to whom she is guilty is torture for her)

What is the difference in Katerina’s state of mind in D.1 and D.4?

(The difference in Katerina’s state of mind is also expressed in her exclamations after the lady’s departure in D.1: “Oh, how she scared me, I’m trembling all over, as if she was prophesying something for me; D.4: “Oh, I’m dying!” Katerina awaits God's punishment. She seeks protection from God, kneels down and sees in front of her an image of hell. This is how Ostrovsky leads to the climax of the play - the scene of repentance.)

D.4.yav.6. - Read the passage. What feelings does Katerina have now?

(If in the monologue with the key and in the meeting scene the victory of love in Katerina’s soul is revealed, then in the scene of repentance the power of the norms of religious morality weighing on Katerina is clearly revealed.)

(If Katerina had hidden her sin, learned to pretend and deceive, and continued to go on dates with Boris, then this would have meant that Katerina had adapted to the surrounding society, reconciled with its moral principles and despotism)

What explains Katerina's repentance?

(Katerina’s repentance is explained not only by the fear of God’s punishment, but also by the fact that her high morality rebels against the deception that entered her life. She said about herself: “I don’t know how to deceive, I can’t hide anything.” For Katerina’s moral assessment of her actions and thoughts constitutes an important aspect of spiritual life, and in Katerina’s popular recognition one can see an attempt to atone for her guilt, to severely punish herself, an attempt at moral cleansing.)

Could Katerina find a way to save her soul? Why? (students' opinions)

Farewell to Boris. (D.5, Rev. 3.4)

(Reading passage)

The romance “And lastly I’ll say” sounds

Katerina rushes into the Volga, not reconciled with the laws of the “dark kingdom”.

Why couldn’t Boris save Katerina (He was a “victim” of the “dark kingdom”, lived under the influence of the Wild One, and could not disobey him, obeyed him and could not, like Katerina, oppose captivity because of the fear of the “victim”)

What can be concluded?

Conclusion: Katerina never betrayed herself, she decided to love at the behest of her heart, she admitted to betrayal out of an inner sense of freedom (a lie is lack of freedom), says goodbye to Boris not only because of the feeling of love, but also because he suffered because of her, she rushed into the Volga at the request of a free soul.

Prove that Katerina's death is a protest.

(Timic Tikhon blames his mother for his wife’s death, Varvara runs away from home)

Who will pray for the heroines who died for love?

Poem by P. Vegin “Keeper of the Hearth”

You are destroying the hearth.

The blue fire is boiling

In desperate eyes.

Warrior in love

What is drama to you, what is shame?

And you destroy the house

To build a temple.

The heroine of the play, destroying her family, went to love, experienced moments of happiness, built a temple of love, probably the goddess of love will pray for her soul.

Will the city of Kalinov be able to live as before after Katerina’s death? (students' opinions)

Work according to the textbook (Reserve)

The role of Katerina was played by many actresses, everyone had different approaches to the interpretation of this image

"Performers of the roles of Katerina"

1- Kositskaya

2-Fedotova

3-Strepetova

4-Ermolova

5-Tarasova

6-Kozyreva

Work according to the textbook: How did the actresses embody the image of Katerina?

Conclusion: Diverse stage incarnations are a continuation of the debate: is it strength or weakness? Protest or humility?

6.Critics about the play.

“What is a critic supposed to do here?”

Student message

Dobrolyubov “A Ray of Light in the Dark Kingdom”

- “Thunderstorm” is the revolutionary forces maturing in the depths of Russia

The critic noted strong, rebellious motives in the character of Katerina

In Katerina we see a protest against Kabanov’s concepts of morality.

Katerina is a healthy person. Who found within herself the determination to end this rotten life at any cost.

D. Pisarev “Motives of Russian drama”

Katerina is a “crazy dreamer”

Katerina's whole life consists of internal contradictions

She constantly goes from one extreme to another

She confuses her life and the lives of others at every step.

Having confused everything, she cuts through the lingering knots with the most stupid means - suicide.

Apollon Grigoriev

I saw in Katerina the poetry of folk life

He noted the beauty of nature, the Volga, against the backdrop of which the action unfolds: “It’s as if not an artist, but an entire people created here!”

7. Fastening.

T eating task.

Lesson summary.

So, in class we looked at the image of the main character of Ostrovsky’s play “The Thunderstorm”, what conclusion can we draw about her? (strong, decisive, capable of love, defending her feelings, but unable to lie, deceive, fearing God - all this led the heroine to death)

Disassemble the diagram. (Met Zolotareva p. 196) – draw a conclusion from the lesson

Give ratings.

Lesson conclusion: Katerina is a strong personality who knew how to love, is ready to sacrifice herself in the name of love, but she is honest, sincere and therefore she is not able to pretend, deceive, i.e. to live according to the laws of the “dark kingdom”, she chose a way out - suicide, in order to rid herself and her soul of remorse and get away from the norms and rules of the city of Kalinov.

The romance “Love is a magical land” sounds

9. D/z

Compile a description of the literary hero – Katerina according to plan (see stand)