Ostrovsky domostroy. Composition Ostrovsky A.N.
Davydova Vera, 11th grade
Presentation for the lessons "Dark Kingdom" of the city of Kalinov.
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Reflection of the traditions of Domostroy in Ostrovsky's play "Thunderstorm" Performed by: student of the 10th "G" class, GBU OSH "GMLIOD", Davydova Vera. Teacher: Pukhalskaya L.V.
Statistics The Russian Department of Internal Affairs has published statistics according to which one Russian woman becomes a victim of violence/beating every two seconds. At the number of one thousand one and one thousand two, another Russian woman becomes a victim of domestic violence. Statistics show that 60-75% of women who lost their lives as a result of domestic violence were killed after they broke off relations with the abuser. Every hour one of Russian women dies at the hands of a husband or partner.
In the drama "Thunderstorm", the author showed a wild, deaf society county town Kalinova, who lives according to the laws of Domostroy, and contrasted him with the image of a freedom-loving girl who did not want to come to terms with Kalinov's norms of life and behavior.
Domostroy is a set of everyday rules and instructions. It reflects the principles of patriarchal life, is known for prescribing the strictness of the domestic way of life.
The compilers of "Domostroy" saw the main virtues of a woman in religiosity, complete subordination to her husband, caring for the family and hard work. In their opinion, it is precisely such a wife - "kind, hardworking, silent - the crown of her husband."
In the canonical and instructive books, the woman seems to be the backdrop for the man's life; acts as an object rather than a subject of action.
Images of the inhabitants of Kalinov
Thunderstorm is of particular interest to readers, as it describes not only interpersonal conflict, but also given enough complete characteristic Russian merchants mid-nineteenth century.
The nature of intra-family relations in pre-revolutionary Russia regulated by law. In accordance with Russian legislation, the woman was in a position dependent on the man. When she married, she assumed the rank and estate of her husband. The wife was obliged to "obey her husband as the head of the family", "to remain in love, respect and unlimited obedience to him", to render him "every pleasing and affection like a mistress"
Main responsibility wife in the family was an organization family life, while the man was the head of the family, the owner of all movable and immovable property, the head of trade operations. At the same time, the wife's dependence on her husband was also increased by the fact that husbands were usually much older than their wives. The dependent position of a woman was also largely facilitated by the recognition of the only form of marriage - church, and according to it, the wife was obliged to follow her husband everywhere and could be forced to do so by court. A wife could get a passport only with her husband's permission. Violation of marital fidelity could lead to imprisonment.
Our 19th writers centuries often revealed the unequal position of Russian women. “You share! - Russian female share! It is hardly more difficult to find,” exclaims Nekrasov.
Domostroy in the Kabanov family
The image of Katerina In the image of Katerina, Ostrovsky showed the whole tragedy of the soul of a Russian woman. In the 19th century, women in Russia were practically powerless. When they got married, they had to follow all the rules of family life.
The image of Kabanikha The image of the stern and domineering Marfa Ignatievna Kabanova (Kabanikha) allows us to get acquainted with another variety of representatives “ dark kingdom”, as typical as Wild, but even more sinister and gloomy. "Prude, sir! The beggars are clothed, but the household is completely stuck, ”Kuligin defines the character of the Boar so correctly and aptly.
The image of the Wild Wild frankly shows that he does not respect his nephew at all. He puts himself above everyone around him. And no one offers him the slightest resistance. Is it any wonder that Dikoy is becoming more and more convinced of the impunity of his actions, as a result he feels himself a full-fledged master of life.
The image of Tikhon Tikhon is a ruined personality. He cannot resist the orders of his mother and does everything that she requires. As a result final scene the play becomes even more tragic.
The image of Barbara It can be said that life in the house of Kabanikh morally crippled the girl. She also does not want to live according to the patriarchal laws that her mother preaches. But despite a strong character, does not dare to openly protest against them. Its principle is “Do whatever you want, as long as it’s sewn and covered.”
Katerina is a mentally vulnerable, fragile person; the cruelty and heartlessness of Kabanikha hurt her painfully, but she endures, not responding to insults, and Kabanova still provokes her to a quarrel, pricking and humiliating her with every remark. dignity.
Katerina is trying to find her happiness in love for Tikhon: “I will love my husband. Tisha, my dear, I won’t exchange you for anyone.” But the sincere manifestations of this love are suppressed by Kabanikha: “Why are you hanging around your neck, shameless? You don’t say goodbye to your lover.”
A conflict is brewing between Katerina and Kabanikha. This conflict does not reach the explosion until there was a reason for it. And the reason is Katerina's confession of infidelity to her husband. And Katerina understands that after that her life is over, because then Kabanikha will completely overwrite her.
Katerina was doomed to live with an unloved person under the constant yoke of her mother-in-law. " dark kingdom» deprived her happy life. Her only way to salvation is love, but she "poisoned" Katerina's life even more.
Conclusion In the course of our work, we studied the powerless position of Katerina on the basis of Domostroy. We can conclude that the problem main character will be relevant as long as out of consciousness Russian society the patriarchal way of life will not completely disappear.
Sources of information: http://new.hist.asu.ru/biblio/mercbook/gl52.shtml http://mixzona.ru/referat/referat/1355/ http://www.litra.ru/characters/get/ ccid/00132341225987586309/ http://www.litra.ru/composition/get/coid/00050401184864068557/woid/00090801184773070249/ http://www.litra.ru/composition/get/coid/000534011848640756 27/woid/00090801184773070249/http: //shkolazhizni.ru/archive/0/n-31289/
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Text content of presentation slides: Reflection of the traditions of Domostroy in Ostrovsky's play "Thunderstorm" Performed by: student of the 10th "G" class, GBU OSH "GMLIOD", Davydova Vera. Teacher: Pukhalskaya L.V. Contents:I. Introduction.II. Theoretical part.1. What is "Domostroy". 2. The place of a woman in the "Domostroy" .3. "Dark kingdom" of the city of Kalinov.4. "Domostroy" in the Kabanov family.5. Katerina's life in the Kabanov family.III. Conclusion. Statistics The Department of Internal Affairs of Russia has published statistics according to which one Russian woman becomes a victim of violence / beating every two seconds. At the expense of one thousand one and one thousand two, another Russian woman becomes a victim of domestic violence. Statistics show that 60-75% of women who lost their lives as a result of domestic violence, were killed after they broke off relations with the rapist. Every hour, a Russian woman dies at the hands of her husband or partner. In the drama Thunderstorm, the author showed the wild, deaf society of the county town of Kalinov, living according to the laws of Domostroy, and contrasted it with the image of a freedom-loving girl who did not want to come to terms with Kalinov's norms of life and behavior. Domostroy is a set of everyday rules and instructions. It reflects the principles of patriarchal life, is known for prescribing the strictness of the domestic way of life. The compilers of "Domostroy" saw the main virtues of a woman in religiosity, complete subordination to her husband, caring for the family and hard work. In their opinion, it is precisely such a wife - "kind, hardworking, silent - the crown of her husband." In the canonical and instructive books, the woman seems to be the backdrop for the man's life; acts as an object rather than a subject of action. The images of the inhabitants of Kalinov "Thunderstorm" is of particular interest to readers, since it describes not only an interpersonal conflict, but also gives a fairly complete description of the Russian merchants of the middle of the 19th century. The nature of intra-family relations in pre-revolutionary Russia was regulated by law. In accordance with Russian law, a woman was in a position dependent on a man. When she married, she assumed the rank and estate of her husband. The wife was obliged to "obey her husband as the head of the family", "to remain in love, respect and unlimited obedience to him", to render him "any pleasing and affection like a mistress" The main duty of the wife in the family was the organization of family life, while the man was the head of the family, the owner of all movable and immovable property, the head of trade operations. At the same time, the wife's dependence on her husband was also increased by the fact that husbands were usually much older than their wives. The dependent position of a woman was also largely facilitated by the recognition of the only form of marriage - church, and according to it, the wife was obliged to follow her husband everywhere and could be forced to do so by court. A wife could get a passport only with her husband's permission. Violation of marital fidelity could lead to imprisonment. Our writers of the 19th century often revealed the unequal position of the Russian woman. “You share! - Russian female share! It is hardly more difficult to find,” exclaims Nekrasov. Domostroy in the Kabanov family The image of Katerina In the image of Katerina, Ostrovsky showed the whole tragedy of the soul of a Russian woman. In the 19th century, women in Russia were practically powerless. When they got married, they had to follow all the rules of family life. The image of the Kabanikhi The image of the stern and domineering Martha Ignatievna Kabanova (Kabanikha) allows us to get acquainted with another variety of representatives of the "dark kingdom", as typical as the Wild, but even more sinister and gloomy. "Prude, sir! The beggars are clothed, but the household is completely stuck, ”Kuligin defines the character of the Boar so correctly and aptly. The image of the Wild Wild frankly shows that he does not respect his nephew at all. He puts himself above everyone around him. And no one offers him the slightest resistance. Is it any wonder that Dikoy is becoming more and more convinced of the impunity of his actions, as a result he feels himself a full-fledged master of life. The image of Tikhon Tikhon is a ruined personality. He cannot resist the orders of his mother and does everything that she requires. As a result, the final scene of the play becomes even more tragic. The image of Barbara It can be said that life in the house of Kabanikh morally crippled the girl. She also does not want to live according to the patriarchal laws that her mother preaches. But, despite his strong character, he does not dare to openly protest against them. Its principle is “Do whatever you want, as long as it’s sewn and covered.” Katerina is a mentally vulnerable, fragile person; the cruelty and heartlessness of Kabanikha hurt her painfully, but she endures, not responding to insults, and Kabanova still provokes her to a quarrel, pricking and humiliating her with every remark. dignity. Katerina is trying to find her happiness in love for Tikhon: “I will love my husband. Tisha, my dear, I won’t exchange you for anyone.” But the sincere manifestations of this love are suppressed by Kabanikha: “What are you hanging on your neck, shameless? You don’t say goodbye to your lover.” A conflict is brewing between Katerina and Kabanikha. This conflict does not reach an explosion until there were reasons for it. And the reason is Katerina's confession of infidelity to her husband. And Katerina understands that after that her life is over, because then Kabanikha will completely overwrite her. Katerina was doomed to live with an unloved person under the constant yoke of her mother-in-law. The "dark kingdom" deprived her of a happy life. Her only way to salvation is love, but she "poisoned" Katerina's life even more. Conclusion In the course of our work, we studied the powerless position of Katerina on the basis of Domostroy. We can conclude that the problem of the main character will be relevant until the patriarchal way of life completely disappears from the consciousness of Russian society. Information sources: http://new.hist.asu.ru/biblio/mercbook/gl52.shtmlhttp://mixzona.ru/referat/referat/1355/ http://www.litra.ru/characters/get/ccid /00132341225987586309/http://www.litra.ru/composition/get/coid/00050401184864068557/woid/00090801184773070249/http://www.litra.ru/composition/get/coid/00053401184864075627/ woid/00090801184773070249/http:/ /shkolazhizni.ru/archive/0/n-31289/
the highest artistic achievement A. N. Ostrovsky pre-reform years was the drama "Thunderstorm". The author takes us to the provincial merchant town of Kalinov, whose inhabitants stubbornly cling to the established way of life for centuries. But already at the beginning of the play it becomes clear that those human values, for which Domostroy stands up, have long lost their meaning for the ignorant inhabitants of Kalinov. For them, the essence is not important human relations, but only the form, observance of decency. It is not for nothing that in one of the first acts, "Mother Marfa Ignatievna" - Kabanikha, Katerina's mother-in-law - received a murderous characterization: "A hypocrite, sir. She clothes the poor, but eats the household." And for Katerina, the main character of the drama, patriarchal values are full of deep meaning. She, married woman, loved. And he tries with all his might to fight his feeling, sincerely believing that it is terrible sin. But Katerina sees that no one in the world cares about true essence those moral values, for which she tries to cling like a drowning man to a straw. Everything around is already collapsing, the world of the "dark kingdom" is dying in agony, and everything she tries to rely on turns out to be an empty shell. Under the pen of Ostrovsky, the planned drama from the life of the merchants develops into a tragedy.
The main idea of the work is the conflict of a young woman 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 looking into Katerina's soul, understanding her ideas about life. And this can be done thanks to the skill of A. N. Ostrovsky.
Behind the external calmness of life lie gloomy thoughts, the dark life of tyrants who do not recognize human dignity. Representatives of the "dark kingdom" are Wild and Boar. The first is the complete type of merchant-tyrant, whose meaning of life is to make capital by any means. The imperious and stern Kabanikha is an even more sinister and gloomy representative of Domostroy. She strictly observes all the customs and orders of patriarchal antiquity, eats homemade food, shows hypocrisy, bestowing gifts on the poor, does not tolerate the manifestation of personal will in anyone.
Ostrovsky draws Kabanikha as a staunch defender of the foundations of the "dark kingdom". But even in her family, where everyone resignedly obeys her, she sees the awakening of something new, alien and hated by her. And Kabanikha bitterly complains, feeling how life is destroying her usual relationships: “They don’t know anything, there’s no order. They don’t know how to say goodbye. If the light stays on, I don't know. Well, it's good that I won't see anything." Beneath this humble complaint of Kabanikhi lies misanthropy, inseparable from religious hypocrisy.
The development of the action in The Thunderstorm gradually exposes the conflict of the drama. The power of the Boar and the Wild over others is still great. “But it’s a wonderful thing,” writes Dobrolyubov in the article “A Ray of Light in the Dark Kingdom,” “the petty tyrants of Russian life begin, however, to feel some kind of discontent and fear, without knowing what and why ... another life has grown, with other beginnings, and although it is far away, it is still not clearly visible, but it already gives itself a presentiment and sends bad visions to the dark arbitrariness of tyrants. Such is the "dark kingdom" - the embodiment of the whole order of life tsarist Russia: lawlessness of the people, arbitrariness, oppression of human dignity.
Katerina, a poetic, dreamy, freedom-loving nature, enters this world of the Wild and Boars. The world of her feelings and moods was formed in parental home where she was surrounded by the care and affection of her mother. In an atmosphere of hypocrisy and importunity, petty guardianship, the conflict between the "dark kingdom" and peace of mind Katerina is maturing gradually. Katerina suffers only for the time being. “And if I get very sick of it here, then there’s no way to hold me back by any force. I’ll throw myself out the window, I’ll rush into the Volga, I don’t want to live here, so I won’t, even if you cut me!” she says.
Finding no echo in the heart of a narrow-minded and downtrodden husband, her feelings turn to a person who is unlike everyone else. Love for Boris flared up with the force characteristic of such an impressionable nature as Katerina, it became the meaning of the heroine's life.
Katerina comes into conflict not only with environment but also by itself. This is the tragedy of the position of the heroine.
If the drama ended with a scene of repentance, it would show the invincibility of the "dark kingdom". But the drama ends moral victory Katerina and over the forces that fettered her freedom, and over what fettered her will and mind. Katerina decides to commit suicide. The suicide of the heroine is a protest against a worthless life, against dark forces Domostroy kingdoms. If a woman, the most disenfranchised being, and even in the dark, inert environment of the merchant class, can no longer put up with the oppression of "tyrant power", it means that among the destitute, downtrodden people indignation is ripening, which should incite the people to a decisive struggle.
For its time, when Russia experienced a period of tremendous social upsurge before the peasant reform, the drama "Thunderstorm" was of great importance. The image of Katerina belongs to the best images women not only in the work of Ostrovsky, but throughout Russian fiction.
In 1856, Ostrovsky traveled along the Volga from the source of the river to Nizhny Novgorod. The impressions received have nourished his work for many years. They were also reflected in The Thunderstorm, the action of which takes place in the fictional remote Volga town of Kalinovo (it will later be mentioned twice more in other plays - Forest and Hot Heart).
The people of "Thunderstorm" live in a special state of the world - crisis, catastrophic. The first action introduces us into the pre-stormy atmosphere of life. The temporary triumph of the old only increases the tension. It thickens by the end of the first act: even nature, as in a folk gum, responds to this with a thunderstorm approaching Kalinov.
Kabanikha is a man of a crisis era, like other heroes of the tragedy. This is a zealot of the worst laws of the old morality. Although in reality it easily deviates not only from the spirit, but also from the letter of the Domostroy prescriptions. “... If they offend - do not take revenge, if they blaspheme - pray, do not repay evil for evil, do not condemn sinners, remember your sins, take care of them first of all, reject advice evil people, be equal to those who live in truth, write down their deeds in your heart and do the same yourself, ”says the old moral law. “Enemies must be forgiven, sir! - admonishes Tikhon Kuligin. And what does he hear in response? "Go talk to your mother and see what she has to say to you." The detail is significant! The boar is terrible not by loyalty to the old days, but by tyranny "under the guise of piety."
The willfulness of the Wild, in contrast to the tyranny of Kabanikh, is no longer strengthened on anything, it is not justified by any rules. The moral foundations in his soul are thoroughly shaken. This "warrior" is not happy with himself, he is a victim of his own willfulness. He is the richest and noblest man in the city. Capital unties his hands, gives him the opportunity to swagger freely over the poor and materially dependent on him people. The more Wild gets rich, the more unceremoniously he becomes. “Well, are you going to sue, or what, will you be with me? he says to Kuligin. So you know you're a worm. If I want - I will have mercy, if I want - I will crush. Boris's grandmother, leaving a will, in accordance with custom, made the nephew's respect for his uncle the main condition for receiving the inheritance. As long as the moral laws stood firm, everything was in favor of Boris. But now their foundations were shaken, it became possible to turn the law this way and that, according to famous proverb: "The law is that the drawbar: where you turned, it went there." “What to do, sir,” says Kuligin to Boris. “You have to try to please somehow.”
But strong financially, Savel Prokofievich Wild is weak spiritually. He can sometimes give in to those who are stronger than him in law, because the dim light of moral truth still flickers in his soul: “I was talking about fasting, about a great one, and here it’s not easy and slip a little peasant; he came for money, he carried firewood. And brought him to sin at such a time! He sinned after all: he scolded, so scolded that it was impossible to demand better, almost nailed him. Here it is, what a heart I have! After asking for forgiveness, he bowed at his feet, right, so. Truly I tell you, I bowed at the peasant's feet ... in front of everyone I bowed to him.
Of course, this "enlightenment" of Wild is just a whim, akin to his tyrant whims. This is not Katerina's repentance, born of guilt, painful moral torments. And yet, in the behavior of the Wild, this act clarifies something. Dikoi is self-willed with a secret consciousness of the lawlessness of his actions. And therefore he gives in to the power of a person who relies on the moral law, or before strong personality, defiantly crushing his authority.
The young forces of life rise up against the city fathers. These are Tikhon and Varvara, Kudryash and Katerina. Tikhon's misfortune is the lack of will and fear of his mother born from the "dark kingdom". In essence, he does not share her despotic claims and does not believe in anything. In the depths of Tikhon's soul, a kind and generous man curled up in a ball, loving Katerina, able to forgive her any offense. He tries to support his wife at the moment of repentance and even wants to hug her. Tikhon is much subtler and more morally insightful than Boris, who at this moment, guided by the weak-heartedness of "closed-closed", leaves the crowd and bows to the Kabanovs, thereby aggravating Katerina's suffering. But Tikhon's humanity is too timid and inactive. Only at the end of the tragedy does something resembling a protest awaken in him: “Mommy, you ruined her! you, you, you ... ”Tikhon dodges from oppressive tyranny at times, but even in these subterfuges there is no freedom. Revelry and drunkenness is akin to self-forgetfulness. As Katerina rightly remarks, "and in the wild, he seems to be bound."
Barbara is the exact opposite of Tikhon. It has both will and courage. But Varvara is a child of the Wild and Boars, who does not want to be responsible for her actions, she simply does not understand the moral torments of Katerina: “But in my opinion: do what you want, if only it was sewn and covered” - here is a simple life code Barbarians, justifying any deceit.
Much taller and more morally insightful than Varvara is Vanya Kudryash. In him, stronger than in any of the heroes of the Thunderstorm, excluding, of course, Katerina, triumphs folk start. This is a song nature, gifted and talented, daring and reckless in appearance, but kind and sensitive in depth. But Kudryash also gets used to Kalinov's mores, "his nature is free, but sometimes self-willed." Curly opposes the world of "fathers" with his prowess, mischief, but not with moral strength.
In the merchant Kalinov, Ostrovsky sees the world breaking with moral traditions folk life.
Only Katerina is given in The Thunderstorm to retain the fullness of viable principles in the culture of the people and to preserve a sense of moral responsibility in the face of the trials that this culture is subjected to in Kalinovo.
In Ostrovsky's Russian tragedy, two opposing cultures - rural and urban - collide, generating a powerful lightning discharge, and the confrontation between them goes into the centuries-old thickness. Russian history. "Thunderstorm" is directed to the future to the same extent, in which it is turned into the depths of centuries. To understand it, you need to get rid of the existing confusion, which originates from the Dobrolyubov times. Usually, Domostroy, with its strict religious and moral prescriptions, is confused with the mores of folk, peasant Rus'. Domostroevsky orders are attributed to the family, the rural community. This is the deepest delusion. "Domostroy" and the people's peasant moral culture– began in many ways opposite. Behind their confrontation lies a deep historical conflict zemstvo (folk) and state beginnings, the conflict of the rural community with the centralizing, formal power of the state, with the grand ducal court and the city. It is not difficult to notice the tragic confrontation in "Thunderstorm" religious culture Katerina Domostroevskaya culture of Kabanikhi. The contrast between them is drawn by sensitive Ostrovsky with amazing consistency and depth.
Is it by chance alive rural life brings smells to Kalinov from the flowering Zavolzhsky meadows? Is it by chance that Katerina stretches out her exhausted hands to this oncoming wave of refreshing space? Let us pay attention to the vital sources of the integrity of Katerina's nature, to the cultural soil that nourishes her. Without them, Katerina's character fades like cut grass.
Why did such a seemingly simple story about how a merchant's wife, brought up in strict rules and concepts of ancient morality, fall in love with a visitor from Moscow young man, “decently educated”, cheated on her husband, did not want to hide her guilt and, having publicly repented of her, rushed into the Volga from a high steep?
The fact is that Ostrovsky showed not only the external circumstances of the tragedy: the severity of the mother-in-law, the lack of will of her husband and his commitment to wine; the indifferent, formal attitude of the Kalinovites to faith, which wounds the soul of Katerina, whose religious feeling is ardent and sublime, the imperious rudeness of rich merchants, the owners of the city, the poverty and superstition of the inhabitants, the isolation of the Kalinov world.
The main thing in the play is the inner life of the heroine, the emergence in her of something new, still unclear to herself. “Something in me is so unusual, as if I’m starting to live again, or ... I don’t know,” she admits to her husband’s sister Varvara. Katerina - gradually - begins to feel like a person. In accordance with life experience For a young merchant woman, this feeling takes the form of unexpected and "illicit" love. Love and will merge inextricably in the consciousness of the heroine, but she perceives the desire for both that arose in her soul as something terrible and disastrous, contrary to her own moral ideas. Katerina's unbearable suffering is caused not only by separation from her beloved, but above all by the consciousness of sin, pangs of conscience and - at the same time - disgust for life in domestic captivity.
The spirit of the old way of life with its truly high morality, as Ostrovsky shows, has already disappeared from life - only a dead, oppressive shell remains. All the young heroes of the play only superficially fulfill the patriarchal commandments. Katerina Tikhon's husband pretends to love and honor his mother. Barbara, outwardly living "as it should", secretly meets with her lover. Katerina, who still perceives the world from the position moral ideals era, it is impossible to reconcile love and conscience. The fate of Katerina takes on a symbolic meaning in the play.
Ostrovsky can rightfully be called a great Russian playwright. In his works, he first showed the life and way of life of the merchant class. In the play "Thunderstorm", the writer described the state of provincial society in Russia on the eve of reforms. The playwright considers such issues as the position of a woman in the family, the modernity of Domostroy, the awakening in a person of a sense of personality and dignity, the relationship between the "old", the oppressor, and the "young", the voiceless.
The main idea of \u200b\u200b"Thunderstorm" is that a strong, gifted and brave man with natural aspirations and desires cannot live happily in a society dominated by " cruel morals", where "Domostroy" reigns, where everything is based on fear, deceit and submission.
The name "Thunderstorm" can be considered from several positions. Thunderstorm is a natural phenomenon, and nature plays an important role in the composition of the play. So, it complements the action, emphasizes the main idea, the essence of what is happening. For example, lovely night landscape corresponds to the date of Katerina and Boris. The expanses of the Volga emphasize Katerina's dreams of freedom, a picture of cruel nature opens up when describing the suicide of the main character. Then nature contributes to the development of action, as if pushing events, stimulates the development and resolution of the conflict. So, in the scene of a thunderstorm, the elements induce Katerina to public repentance.
So, the name "Thunderstorm" emphasizes the main idea of the play: self-esteem awakening in people; the desire for freedom and independence begins to threaten the existence of the old order.
The world of Kabanikhi and the Wild comes to an end, because in the "dark kingdom" a "beam of light" appeared - Katerina is a woman who cannot put up with the oppressive atmosphere that prevails in the family, in the city. Her protest was expressed in love for Boris, in an unauthorized departure from life. Katerina preferred death to existence in a world where she was "sick of everything". She is the first lightning of that thunderstorm that will soon break out in society. The clouds over the "old" world have been gathering for a long time. Domostroy has lost its original meaning. Kabanikha and Dikoi use his ideas only to justify their tyranny and tyranny. They failed to pass on to their children. true faith in the inviolability of their rules of life. Young people live according to the laws of their fathers as long as they can achieve a compromise through deceit. When oppression becomes unbearable, when deceit saves only partially, then a protest begins to awaken in a person, he develops and is able to break out at any moment.
Katerina's suicide woke up a man in Tikhon. He saw that there is always a way out of the current situation, and he, the most weak-willed of all the characters described by Ostrovsky, who unquestioningly obeyed his mother all his life, accuses her of the death of his wife in public. If Tikhon is already able to declare his protest, then the "dark kingdom" really does not have long to exist.
The storm is also a symbol of renewal. In nature, after a thunderstorm, the air is fresh and clean. In society, after the thunderstorm that began with Katerina's protest, renewal will also come: the oppressive and subjugating orders will probably be replaced by a society of freedom and independence.
But the storm occurs not only in nature, but also in Katerina's soul. She committed a sin and repents of it. Two feelings struggle in her: fear of the Boar and fear that “death will suddenly find you, as you are, with all your sins ...” In the end, religiosity, fear of retribution - the day for sin prevails, and Katerina publicly admits in sin. None of the inhabitants of Kalinovo can understand her: these people do not, like Katerina, have a rich spiritual world and high moral values; they do not feel remorse, because their morality is as long as everything is “covered”. However, recognition does not bring relief to Katerina. As long as she believes in Boris's love, she is able to live. But, realizing that Boris is no better than Tikhon, that she is still alone in this world, where everything is “embarrassing” to her, she finds no other way out than to rush into the Volga. Katerina broke the religious law for the sake of freedom. The storm also ends in renewal in her soul. The young woman completely freed herself from the shackles of the Kalinovsky world and religion.
Thus, the thunderstorm that occurs in the soul of the main character turns into a thunderstorm in society itself, and all the action takes place against the backdrop of the elements.
Using the image of a thunderstorm, Ostrovsky showed that a society that has become obsolete, based on deceit, and the old order, which deprives a person of the opportunity to manifest the highest feelings, is doomed to destruction. It is as natural as the purification of nature through a thunderstorm. Thus, Ostrovsky expressed the hope that renewal in society would come as soon as possible.
The play by A. N. Ostrovsky "Thunderstorm" is based on the conflict between the "dark kingdom" and the bright beginning, presented by the author in the image of Katerina Kabanova. The thunderstorm is a symbol of the heroine's spiritual confusion, the struggle of feelings, moral exaltation in tragic love, and at the same time, the embodiment of the burden of fear under the yoke of which people live.
The work depicts the musty atmosphere of a provincial town with its rudeness, hypocrisy, the power of the rich and "senior". The "Dark Kingdom" is an ominous environment of heartlessness and stupid, slavish worship of the old order. The realm of humility and blind fear is opposed by the forces of reason, common sense, enlightenment, represented by Kuligin, as well as a pure soul Katerina, who, albeit unconsciously, is hostile to this world with the sincerity and integrity of her nature.
Katerina's childhood and youth were spent in merchant environment, but at home she was surrounded by affection, mother's love, mutual respect in the family. As she herself says, "... she lived, did not grieve about anything, like a bird in the wild."
Married to Tikhon, she found herself in an ominous environment of heartlessness and stupid, slavish admiration for the power of the old, long-rotten order, which the “tyrants of Russian life” so greedily clutch at. Kabanova tries in vain to impress Katerina with her despotic laws, which, in her opinion, are the basis of domestic well-being and the strength of family ties: unquestioning obedience to the will of her husband, humility, diligence and respect for elders. This is how her son was raised.
Kabanova and from Katerina intended to mold something similar to what she turned her child into. But we see that for a young woman who finds herself in her mother-in-law's house, such a fate is excluded. Dialogues with Kabanikha
They show that "Katerina's nature will not accept base feelings." In her husband's house, she is surrounded by an atmosphere of cruelty, humiliation, suspicion. She tries to defend her right to respect, does not want to please anyone, wants to love and be loved. Katerina is lonely, she lacks human participation, sympathy, love. The need for this draws her to Boris. She sees that outwardly he does not look like other residents of the city of Kalinov, and, not being able to recognize inner essence, considers him a man of another world. In her imagination, Boris seems to be the only one who dares to take her away from the "dark kingdom" to the fairy-tale world.
Katerina is religious, but her sincerity in faith differs from the religiosity of her mother-in-law, for whom faith is only a tool that allows her to keep others in fear and obedience. Katerina, on the other hand, perceived the church, iconography, Christian chanting as a meeting with something mysterious, beautiful, taking her away from the gloomy world of the Kabanovs. Katerina, as a believer, tries not to turn special attention on the teachings of Kabanova. But this is for the time being. The patience of even the most patient person always comes to an end. Katerina, on the other hand, “endures until ... until such a demand of her nature is offended in her, without the satisfaction of which she cannot remain calm.” For the heroine, this "requirement of her nature" was the desire for personal freedom. To live without listening to stupid advice from all sorts of boars and others, to think as one thinks, to understand everything on their own, without any extraneous and worthless exhortations - this is what is of the greatest importance for Katerina. That's what she won't let anyone trample on. Her personal is the most expensive value. Even Katerina appreciates life much less.
The heroine at first reconciled, hoping to find at least some sympathy, understanding from those around her. But this turned out to be impossible. Even Katerina's dreams began to have some "sinful" dreams; as if she was rushing to a trio of frisky horses, intoxicated with happiness, next to her loved one ... Katerina protests against seductive visions, but human nature defended her rights. A woman woke up in the heroine. The desire to love and be loved grows with inexorable force. And this is a completely natural desire. After all, Katerina is only 16 years old - the heyday of the young, sincere feelings. But she doubts, reflects, and all her thoughts are concealed in themselves. panic fear. The heroine is looking for an explanation for her feelings, in her soul she wants to justify herself to her husband, she tries to tear away vague desires from herself. But reality, the real state of things, brought Katerina back to herself: “To whom am I pretending something ...”
The most important character trait of Katerina is honesty with herself, her husband and other people; unwillingness to live a lie. She says to Varvara: “I don’t know how to deceive, I can’t hide anything.” She does not want and cannot cheat, pretend, lie, hide. This is confirmed by the scene when Katerina confesses her infidelity to her husband.
Her most great value- freedom of the soul. Katerina, accustomed to living, according to her confession in a conversation with Varvara, “is like a bird in the wild,” is burdened by the fact that everything in Kabanova’s house comes “as if from bondage!” But before it was different. The day began and ended with prayer, and the rest of the time was occupied by walks in the garden. Her youth is covered with mysterious, bright dreams: angels, golden temples, paradise gardens- Can an ordinary earthly sinner dream of all this? And Katerina had such mysterious dreams. This testifies to the originality of the nature of the heroine. The unwillingness to accept the morality of the "dark kingdom", the ability to preserve the purity of one's soul is evidence of the strength and integrity of the character of the heroine. She says about herself: “And if it gets too cold for me here, they won’t hold me back by any force. I’ll throw myself out the window, I’ll throw myself into the Volga.
With such a character, Katerina, after betraying Tikhon, could not remain in his house, return to a monotonous and dreary life, endure the constant reproaches and moralizing of Kabanikh, lose her freedom. It is difficult for her to be where she is not understood and humiliated. Before her death, she says: “It doesn’t matter what goes home, what goes to the grave ... It’s better in the grave ...” She acts at the first call of her heart, at the first impulse of her soul. And that, it turns out, is her problem. Such people are not adapted to the realities of life, and all the time they feel that they are superfluous. Their spiritual and moral strength, which is able to resist and fight, will never run dry. Dobrolyubov rightly noted that "the strongest protest is the one that rises ... from the chest of the weakest and most patient."
And Katerina, without realizing it herself, challenged the tyrannical force: it is true that he led her to tragic consequences. The heroine dies defending the independence of her world. She does not want to become a liar and a pretender. Love for Boris deprives Katerina's character of integrity. She is not cheating on her husband, but on herself, which is why her judgment on herself is so cruel. But, dying, the heroine saves her soul and gains the desired freedom.
Katerina's death at the end of the play is natural - there is no other way out for her. She cannot join those who profess the principles of the "dark kingdom", become one of its representatives, since this would mean destroying in herself, in her own soul, all the brightest and purest; cannot come to terms with the position of a dependent, join the "victims" of the "dark kingdom" - live according to the principle "if only everything was covered and covered." Katerina decides to part with such a life. “Her body is here, but her soul is no longer yours, she is now before a judge who is more merciful than you!” - says Kuligin Kabanova after tragic death heroines, emphasizing that Katerina has gained the desired, hard-won freedom.
Thus, A. N. Ostrovsky protested the hypocrisy, lies, vulgarity and hypocrisy of the world around him. The protest turned out to be self-destructive, but it was and is evidence free choice a person who does not want to put up with the laws imposed on her by society.
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