What attracts Katerina to Boris Dobrolyubov. Katerina and Boris's last date

KATERINA AND BORIS IN A. N. OSTROVSKY’S DRAMA “THE THUNDER”

Alexander Nikolaevich Ostrovsky's drama "The Thunderstorm" was a real revelation for thousands of Russian viewers - they were shown a hitherto unknown layer of provincial life. You can't say this better than a playwright. Through the lips of the hero Kuligin, he describes life in Kalinov: “Cruel morals, sir, in our city, cruel! In the philistinism, sir, you will see nothing but rudeness and stark poverty. And we, sir, will never get out of this bark - Because honest work will never earn us more than our daily bread. And whoever has money, sir, is trying to spend money so that he can make even more money from his gratuitous labors.” ^ .Kuligin’s monologue sets the tone for the entire production. We will talk further about the unceremonious rich and sublime - ^ v SPICY - this is the main leitmotif of the drama, “one” = “p g we look at two characters presented by Ostrovsky: Ka-v and Boris. Katerina, married to Tikhon without love, feels the spiritual oppression of her mother-in-law in the Kabanovs’ house. The romantic nature of the young woman is disgusted by the atmosphere of food and lies that reign around. She often recalls the maternity home, where she lived among light and vague dreams, took up embroidering on velvet, went to church, and most importantly, was free to do whatever she wanted. In the Kabanovs’ house, everything is “out of captivity.” This depresses Katerina, her rebellious soul seeks a way out and finds it in love for Boris, Dikiy’s nephew. Katerina chose him because he was different from her usual surroundings. Boris told Kuligin to himself that his grandmother disliked his father because “he married a noble woman. On this occasion, my father and mother lived in Moscow.” The mother “could not get along with her husband’s relatives for three days.” But Boris received an excellent upbringing, but then his parents died of cholera, “my sister and I were left orphans.” The grandmother also died, leaving an inheritance to her uncle in order to pay the share to her nephews when they came of age, if they were respectful to him. But Boris doesn’t see any money. Dikoy will never give up what once fell into his hands. In vain Boris humiliates himself and waits for a blessing from his uncle; he will receive nothing. This is the kind of dependent person Katerina fell in love with. She doesn't know the whole truth about what's happening. She was attracted by Boris's appearance, his sharp difference from those around him. She sees in him " your soul mate". Yes, indeed, both of them are oppressed by the dark, brute force that reigns in Kalinov - Dikiy and Kabanikha. Katerina is religious, but despite this, she commits a sin - she cheats on her husband. She is unable to resist her love. In short moments of happiness, it opens up to her true opportunity be free in your choice. Ostrovsky shows a very strange combination in her character: fear of God and rebellion against family oppression. Boris simply “goes with the flow”, he doesn’t think at all about the consequences of his action - he’ll live the day and that’s fine. The mother is taking her betrayal hard. She is afraid of God's judgment, afraid of dying as an unrepentant sinner. What is human judgment for her if she has neglected God’s? This is her kind of protest against the bondage that Katerina had previously endured in her husband’s house. “Eh, Varya, you don’t know my character!.. And if I get really tired of it, they won’t hold me back by any force. I’ll throw myself out the window, throw myself into the Volga! I don’t want to live here, I won’t do this, even if you cut me!” Boris for Katerina - the only light in the window, realizing that they cannot be together, Katerina cannot live anymore. For her, continued existence makes no sense. Even the Christian ban does not stop her, her heart is tormented, now it doesn’t matter if only the end is quicker. Boris also understands this, but his forced position is hopeless. He could not deny himself the only joy. Love for Katerina was the “outlet” that consoled him in captivity. He understands perfectly well that he has ruined the woman he loves, but he cannot fix anything: he is weak, weak-willed and poor. She prays for one thing: “There is only one thing we need to ask God for, that she (Katerina) die as soon as possible, so that she does not suffer for a long time!” All that remains is to feel sorry for the heroine who did not meet a strong and brave man, who would be able to protect her, give her the happiness and peace that Katerina strove for with all her passionate and open soul. Dobrolyubov called Katerina “a ray of light in a dark kingdom” in an article of the same name, defining her role in a short but bright and tragic life. Describing the fate of Katerina, Ostrovsky does not give universal council, but shows the only way out for a woman in a “domostroevskaya” family. This is a “protest carried through to the end.”

The drama “The Thunderstorm” by Alexander Nikolaevich Ostrovsky was a real revelation for thousands of Russian viewers. They were shown a hitherto unknown layer of provincial life. You can't say this better than a playwright. Through the lips of the hero Kuligin, he describes life in Kalinov: “Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and stark poverty. AND
We will never, sir, get out of this crust! Because honest work will never earn us more than our daily bread. And whoever has money, sir, tries to enslave the poor so that his labors will be free more money make money."
Kuligin's opening monologue sets the tone for the entire work. We will talk further about the unceremonious rich and the forced poor - this is the main leitmotif of the drama.
Let's consider two characters presented by Ostrovsky: Katerina and Boris. Katerina, married to Tikhon without love, feels the spiritual oppression of her mother-in-law in the Kabanovs’ house. The romantic nature of the young woman is disgusted by the atmosphere of hypocrisy and lies that reign around. She often remembers parents' house, where she lived among the light and vague dreams, did embroidery on velvet, went to church, and most importantly, was free to do whatever she wanted. In the Kabanovs’ house, everything is “out of captivity.” This depresses Katerina, her rebellious soul seeks a way out and finds it in love for Boris, Dikiy’s nephew.
Katerina chose him because he was different from her usual surroundings. Boris told Kuligin to himself that his grandmother disliked his father because “he married a noble woman. On this occasion, my father and mother lived in Moscow.” The mother “could not get along with her husband’s relatives for three days.” But Boris received an excellent upbringing, but then his parents died of cholera, “my sister and I were left orphans.” The grandmother also died, leaving an inheritance to her uncle in order to pay the share to her nephews when they came of age, if they were respectful to him. But Boris doesn’t see any money. Dikoy will never give up what once fell into his hands. In vain Boris humiliates himself and waits for a blessing from his uncle; he will receive nothing.
This is the kind of dependent person Katerina fell in love with. She doesn't know the whole truth about what's happening. She was attracted by Boris's appearance, his sharp difference from those around him. She sees him as a “kindred spirit.” Yes, indeed, both of them are oppressed by the dark, brute force that reigns in Kalinov - Dikiy and Kabanikha.
Katerina is religious, but despite this, she commits a sin - she cheats on her husband. She is unable to resist her love. In short moments of happiness, the true opportunity to be free in her choice opens up to her.
Ostrovsky shows a very strange combination in her character: fear of God and rebellion against family oppression.
Boris simply “goes with the flow”, he does not think at all about the consequences of his action - he will live the day and that’s fine.
Katerina is taking her betrayal hard. She is afraid of God's judgment, afraid of dying as an unrepentant sinner. What is human judgment for her if she has neglected God’s? This is her kind of protest against the bondage that Katerina had previously endured in her husband’s house. “Eh, Varya, you don’t know my character!.. And if I get really tired of it, they won’t hold me back by any force. I’ll throw myself out the window, throw myself into the Volga! I don’t want to live here, I won’t do this, even if you cut me!”
Boris is the only light in the window for Katerina; having realized that they cannot be together, Katerina cannot live anymore. For her, continued existence makes no sense. Even the Christian ban does not stop her, her heart is tormented, now it doesn’t matter if only the end is quicker.
Boris also understands this, but his forced position is hopeless. He could not deny himself the only joy. Love for Katerina was the “outlet” that consoled him in captivity. He understands perfectly well that he has ruined the woman he loves, but he cannot fix anything: he is weak, weak-willed and poor. She prays for one thing: “There’s only one thing we need to ask God for, that she (Katerina) die as soon as possible, so that she doesn’t suffer for a long time!”
One can only feel sorry for the heroine, who did not meet a strong and brave man who could protect her, give her happiness and peace, which Katerina strove for with all her passionate and open soul.
Dobrolyubov called Katerina “a ray of light in a dark kingdom” in an article of the same name, defining her role in a short but bright and tragic life. Describing the fate of Katerina, Ostrovsky does not give universal advice, but shows the only way out for a woman in a “Domostroevskaya” family. This is a “protest carried through to the end.”

Alexander Nikolaevich Ostrovsky's drama "The Thunderstorm" was a real revelation for thousands of Russian viewers - they were shown a hitherto unknown layer of provincial life. You can't say this better than a playwright. Through the lips of the hero Kuligin, he describes life in Kalinov: “Cruel morals, sir, in our city, cruel! In the philistinism, sir, you will see nothing but rudeness and stark poverty. And we, sir, will never get out of this bark - Because honest work will never earn us more than our daily bread. And whoever has money, sir, is trying to spend money so that he can make even more money from his gratuitous labors.” ^ .Kuligin’s titular monologue sets the tone for the entire production. We will talk further about the unceremonious rich and sublime - ^ ‘ v SPICY - this is the main leitmotif of the drama, “onel ““=“ r g we look at two characters presented by Ostrovsky: Ka - v and Boris. Katerina, married to Tikhon without love, feels the spiritual oppression of her mother-in-law in the Kabanovs’ house. The young woman’s romantic nature is disgusted by the atmosphere of food and lies that reign around her. She often recalls the maternity home, where she lived among light and vague dreams, took up embroidery on velvet, went to church, and most importantly, was free to do whatever she wanted. In the Kabanovs’ house, everything is “out of captivity.” This depresses Katerina, her rebellious soul seeks a way out and finds it in love for Boris, Dikiy’s nephew. Katerina chose him because he was different from her usual surroundings. Boris told Kuligin to himself that his grandmother disliked his father because “he married a noble woman. On this occasion, my father and mother lived in Moscow.” The mother “could not get along with her husband’s relatives for three days.” But Boris received an excellent upbringing, but then his parents died of cholera, “my sister and I were left orphans.” The grandmother also died, leaving an inheritance to her uncle in order to pay the share to her nephews when they came of age, if they were respectful to him. But Boris doesn’t see any money. Dikoy will never give up what once fell into his hands. In vain Boris humiliates himself and waits for a blessing from his uncle; he will receive nothing. This is the kind of dependent person Katerina fell in love with. She doesn't know the whole truth about what's happening. She was attracted by Boris's appearance, his sharp difference from those around him. She sees him as a “kindred spirit.” Yes, indeed, both of them are oppressed by the dark, brute force that reigns in Kalinov - Dikiy and Kabanikha. Katerina is religious, but despite this, she commits a sin - she cheats on her husband. She is unable to resist her love. In short moments of happiness, the true opportunity to be free in her choice opens up to her. Ostrovsky shows a very strange combination in her character: fear of God and rebellion against family oppression. Boris simply “goes with the flow”, he doesn’t think at all about the consequences of his action - he’ll live the day and that’s fine. The mother is taking her betrayal hard. She is afraid of God's judgment, afraid of dying as an unrepentant sinner. What is human judgment for her if she has neglected God’s? This is her kind of protest against the bondage that Katerina had previously endured in her husband’s house. “Eh, Varya, you don’t know my character!.. And if I get really tired of it, they won’t hold me back by any force. I’ll throw myself out the window, throw myself into the Volga! I don’t want to live here, I won’t do this, even if you cut me!” Boris is the only light in the window for Katerina; having realized that they cannot be together, Katerina cannot live anymore. For her, continued existence makes no sense. Even the Christian ban does not stop her, her heart is tormented, now it doesn’t matter if only the end is quicker. Boris also understands this, but his forced position is hopeless. He could not deny himself the only joy. Love for Katerina was the “outlet” that consoled him in captivity. He understands perfectly well that he has ruined the woman he loves, but he cannot fix anything: he is weak, weak-willed and poor. She prays for one thing: “There is only one thing we need to ask God for, that she (Katerina) die as soon as possible, so that she does not suffer for a long time!” All that remains is to feel sorry for the heroine who did not meet a strong and brave man who could protect her and give her the happiness and peace that Katerina strove for with all her passionate and open soul. Dobrolyubov called Katerina “a ray of light in a dark kingdom” in an article of the same name, defining her role in a short but bright and tragic life. Describing the fate of Katerina, Ostrovsky does not give universal advice, but shows the only way out for a woman in a “Domostroevskaya” family. This is a “protest carried through to the end.”

In the play by A.N. Ostrovsky's "The Thunderstorm" Katerina can be classified as the first type, and Varvara as the second type. Katerina is a poetic person, she feels the beauty of nature. “I used to get up early in the morning, summer, so I would go to the spring, wash myself, bring some water with me and that’s it...

The premiere of “The Thunderstorm” took place on December 2, 1859 at the Alexandrinsky Theater in St. Petersburg. A.A. Grigoriev, who was present at the performance, recalled: “This is what the people will say!.. I thought, leaving the box into the corridor after the third act of “The Thunderstorm”, which ended with an explosion...

Central location in the drama “The Thunderstorm” the image of Catherine is occupied. The main thing that sets her apart from Russian women of that time is her love of freedom, that love of freedom that no one managed to strangle. Moral purity, beauty of a Russian woman from the people...

The play "The Thunderstorm", written by Alexander Nikolaevich Ostrovsky, tells about life in the small town of Kalinov, where the tyranny of rich landowners knows no bounds. " Dark Kingdom", personifying these landowners, has no control over...

Jan 27 2011

Katerina meets Boris, and her clouded heart says that this is the one she has been looking for for so long. But is it? No, Boris is far from ideal, he cannot give Katerina what she asks for, namely: understanding and protection. She cannot feel with Boris “as if stone wall". And the justice of this is confirmed by Boris’s vile act, full of cowardice and indecisiveness: he leaves Katerina alone, throwing her “to the wolves.” These “wolves” are scary, but they cannot frighten the “Russian soul”. And her soul is truly Russian. And what unites Katerina with the people is not only communication, but also involvement in Christianity. He believes in God so much that he prays every evening in his little room. She likes to go to church, look at icons, listen to the ringing of the bell. She, like the Russian people, loves freedom. And it is precisely this love of freedom that does not allow her to come to terms with the current situation.

Ours is not used to lying, and therefore she talks about her love for Boris to her husband. But instead of understanding, Katerina is met only with direct reproach. Now nothing holds her back in this world: Boris turned out to be different from what Katerina “pictured” him for herself, and in Kabanikha’s house she became even more unbearable. The poor, innocent “bird imprisoned in a cage” could not withstand the captivity - Katerina committed suicide. The girl still managed to “take off”, she stepped from the high bank into the Volga, “spread her wings” and boldly went to the bottom.

By her action, Katerina resists the “dark kingdom.” But Dobrolyubov calls her a “ray” in him, not only because her tragic death revealed all the horror of the “dark kingdom” and showed the inevitability of death for those who cannot come to terms with oppression, but also because Katerina’s death will not and cannot pass without a trace for “ cruel morals". After all, anger at these tyrants is already brewing. - and he reproached Kabanikha for the lack of mercy, even the uncomplaining executor of his mother’s wishes, Tikhon, publicly dared to accuse her of Katerina’s death in her face. Already now an ominous one is brewing over this entire “kingdom”, capable of destroying it “to smithereens.”

And this bright ray, which awakened - even if for one moment - the consciousness of destitute, unrequited people who are financially dependent on the rich, convincingly showed that there must be an end to the unbridled robbery and complacency of the Wild and the oppressive lust for power and hypocrisy of the Boars. Katerina’s significance is also important today. Yes, maybe many consider Katerina an immoral, shameless cheater, but is she to blame for this?!

Most likely, Tikhon is to blame, who did not pay due attention and affection to his wife, but only followed the advice of his “mama.” Katerina’s only fault is that she married such a weak-willed man. Her life was destroyed, but she tried to “build” a new one from the remains. Katerina boldly walked forward until she realized that there was nowhere else to go. But even then she took a brave step, the last step over the abyss leading to another world, perhaps a better one, and perhaps a worse one. And this courage, thirst for truth and freedom makes us bow to Katerina. Yes, she is probably not so ideal, she has her shortcomings, but her courage makes the heroine a role model worthy of praise.

Katerina and Boris in the play “The Thunderstorm” are characters at whose level the love conflict works. The feelings of the young people were initially doomed, the love of Katerina and Boris was tragic: Katerina was married, cheating on her husband and running away with another person was beneath her moral principles. The author does not talk about the first meeting of Katerina and Boris, the reader learns about it from Boris’s words: “And then he foolishly decided to fall in love. Who? A woman with whom you will never even be able to talk! She goes with her husband, and her mother-in-law with them! Well, am I not a fool? Look around the corner and go home.” It was not love, but rather falling in love at first sight. For Katya, feelings meant much more. In such a passion, the girl saw the very real and sincere love that her heart dreamed of. Therefore, the girl, whose upbringing did not allow her to cheat on her husband, desperately tried to calm her heart. Katya's decision to go out to Boris's garden was fatal. After ten nights of secret meetings, Katerina confessed to her husband and mother-in-law what she felt for Boris. The last meeting between Katerina and Boris took place after Katya’s conversation with Tikhon and Kabanikha.

Each of the characters is looking for a meeting with each other, each has a feeling that they should say something to each other. But both are silent. And there’s really nothing to talk about. It must be said that before the meeting Katya was in a kind of borderline state. Snatches of thoughts and phrases, as if Katya wants to confess something important. The idea of ​​terrible lynching seemed to be in the air, not yet taking clear forms, but after meeting with Boris the decision was finally made. What happened during their conversation?

Katya still hopes that she can be happy with this person, she begins to make excuses for her actions, apologize, ask for forgiveness. Her question about whether he has forgotten her makes readers understand that there have been some changes in Katya's feelings. Boris responds to all the girl’s remarks detachedly, showing that he doesn’t need anything. Katya finds out that Boris is going to Siberia. And so, the last thing the girl decides to do is: “Will you take me with you?”

The replica once again proves Katya’s strength of character, steadfastness and faith in this love. The girl desperately hopes for a positive answer. This issue actually focused on dozens of other, more important ones. “Do you love me?”, “What do our feelings mean to you?”, “Am I mistaken about you?” - and many others. Katya talks about herself, and Boris, at such an important moment for the girl, remembers his uncle: “I just asked my uncle for a minute, I wanted to at least say goodbye to the place where we met.” Note, say goodbye to the place, not Katya. At this moment, Katerina receives answers to all her unasked questions, having finally decided to commit suicide. It was after these words that such a sharp and painful insight sets in, which the girl was so afraid and at the same time waiting for.

Despite this, the girl thinks about saying something important. Really important. But Boris is rushing Katya; he doesn’t have much time. The girl is silent about the fact that she has already decided to give up her life - this is a sacrifice not for the sake of Boris, but for herself. Death is not because of unhappy love (that would vulgarize everything), but because of the inability to live honestly.
There is one remarkable detail in Katerina’s farewell to Boris: Boris begins to guess what is on Katya’s mind and wants to come closer and hug the girl. But Katerina pulls away. No, this is not resentment, not pride. Katya asks Boris to give alms to everyone who asks her, to pray for her sinful soul. The girl finally lets Boris go. And Boris leaves, not understanding the scale and significance of this conversation for Katya.

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