Ekaterina's mental anguish based on the play by Ostrov's Thunderstorm. Emotional drama of Katerina (based on the drama by A

Thunderstorm is highest achievement Ostrovsky in pre-reform years(1859)- Central conflict a play conceived as social drama gradually reaches true tragedy. This is due to the image of the central heroine of the play by Katerina Kabanova.

From the very first scenes, the heroine attracts the attention of the audience. Sincerity sounds in the story of her free life in her home, spent among flowers, icons, prayers. Religion for Katerina is a love of beauty. God is everywhere for her, but her simple-hearted faith is also filled with sincere urges to live according to conscience, according to God’s precepts: “I’m not afraid to die, but when I think that suddenly I will appear before God the way I am here with you, after this conversation , that's what's scary," Katya says in a conversation with Varvara.

In the first scenes, in conversations with Kabanikha, Katerina meekly tries to come to terms with the grumpy remarks of her mother-in-law. But Kabanikha personifies the whole way and laws of the world around. And it immediately becomes clear that the heroine with her dreamy and romantic soul is a stranger in the Kabanovs' house.

Katerina is a free soul, a poetic nature. The author captured in it the beauty of the people's soul. “You know, sometimes it seems to me that I am a bird. When you stand on a mountain, you are drawn to fly,” she says to Varvara and admits that now she seems to have been replaced and “some kind of dream creeps into my head.” Thus, the theme of the heroine's discord with the world and with herself, connected with the obscure needs of the soul, the desire for love, is outlined.

The heroine is endowed with such human qualities, which are not valued in the world of Boar and Wild. There is not a drop of falsehood in it, it is always natural and frank: "I can't deceive, I can't hide anything." Katya is modest, but not at all resigned: "And if I get sick of it here, then no force can hold me back. I will throw myself out the window, I will rush into the Volga."

Why is such a deep and whole person turned out to be broken? Why did her prophetic premonitions ("I will die soon") come true?

In the play, two conflicts develop simultaneously. One of them is called social reasons- the conflict of the free soul with the "tyranny of power" plays, according to Dobrolyubov, leading role in drama. Another - internal, affecting moral aspects - develops in the soul of the heroine. It is he who determines the tragedy of Ostrovsky's play.

Dobrolyubov is right: "The character of the heroine expressed the demand for the right and spaciousness of life, he is focused, resolute and selfless," and her nature is "filled with an instinctive sense of freedom." According to the critic, Katerina takes the path free love which is above prejudice. But soon the heroine becomes convinced that her feeling is incompatible with the life of society, because external circumstances put pressure on her. Dobrolyubov interprets the tragic ending as higher form protest, as the triumph of light over darkness.

It is impossible to motivate the drama of Katerigne only by social causes. Resolution is very important for a playwright. moral problems: Katerina's mental struggle - central theme"Thunderstorms".

So, in the first act, in a conversation with Varvara, the heroine admits that she loves someone - this is the plot of the plot. Even then, her soul is filled with confusion and horror. main topic accompanied by a thunderstorm. Katerina's soul is in tune with the surrounding world - nature is full of beauty, but also a threat, which increases the heroine's anxiety.

Here is an excellent essay in which the author analyzes state of mind Katerina - main character play "Thunderstorm" by Ostrovsky. Hope, this essay will help you prepare for the lesson on Russian literature.

The text of the essay "Emotional drama of Katerina" for grade 10.

The play "Thunderstorm" was written by Ostrovsky in 1859, shortly before the reform of 1861. In this drama, the author clearly shows social and household And family life Russia of that time. Against such a background, the central conflict of the play matures and gradually reaches a tragic intensity, the conflict of the free soul of the main character with the “tyranny of power” of the environment.

In the image of Katerina Kabanova, the main character of the play, the author captured all the beauty and broad nature of the freedom-loving Russian soul, her subtle sensitivity, deep conscience, and religiosity. From the first scenes of the play, we are imbued with Katerina's attention and sympathy. Living in the heavy atmosphere of the Kabanovsky house, she recalls with quiet anguish her free life in parental home. Katerina was surrounded maternal love Yes, caress, I spent time among my favorite flowers and embroidering. From childhood, she was used to honoring God and following his great commandments in life. Religion for Katerina is both love for the beauty of God's world, and a deep inner conscience that does not allow her to pretend and deceive. With a pure and open soul, with a heart full of love. Katerina is looking for understanding and reciprocal love in her husband's house. Katerina, according to Dobrolyubov, does not belong to this world and is completely opposed to it.

In the house of Kabanikhi, where the way of life has long been built on the principle: do what you want, as long as everything is covered “, the heroine with her daydreaming and fragile romantic soul becomes alien and lonely.

Tikhon Kabanov is a narrow-minded person, without character and will. He does not know how and is not able to understand the inner experiences of his wife, and he has no time to notice them. Tikhon is always busy looking for an opportunity to drink. Unfamiliar with spiritual impulses, languishing under the pressure of his mother, unable and unwilling to change anything, the younger Kabanov glides through life, slowly drinking himself. He has no time to listen and understand his wife: he is blinded happy opportunity escape from under the omnipresent eye of the mother. Katherine is left endure as long as «.

Katrina embodies poetic side patriarchal way of Russian life, best qualities Russian national character. But the people who surround her are terribly far from her in their spiritual properties, especially Kabanikha.

With the help of Varvara, Katerina embarks on the path of free love, which, according to Dobrolyubov, is above human prejudices.

But such a choice is not easy for her, because the fact that for a person with Dobrolyubov’s convictions is only “ prejudice “, for the folk heroine - the moral law, the basis of patriarchal morality. Break this law, break your life principles Katerina succeeds at the cost of severe mental anguish and torment, at the cost of an insurmountable struggle with shame and fear. The thirst for life and love turns out to be stronger - and the choice is made, and she confesses to Boris her forbidden feeling.

meek and a pure soul Katerina cannot come to terms with her fall into sin, she is in painful discord with her conscience. Crying incessantly, she is afraid of every sound, rustle, every glance in her direction. Katerina, unable to endure suffering, longs for repentance, seeks to alleviate her conscience with a confession. subtle soul it is consonant with nature, and in the alarming approach of a thunderstorm, the heroine catches the threat and the coming punishment. The words addressed directly to Katerina sound like a terrible prophecy: “It’s better with beauty in the pool ... Where are you hiding, stupid? You can't get away from God!" . Katerina cannot stand it and on her knees publicly confesses her sin to her husband.

The tragic outcome of the conflict is due to the fact that natural feeling Katerina is incompatible with life in the society of the Kabanovs and the Wild, it cannot withstand the pressure of external circumstances and cowardice. Boris is an ordinary inhabitant of the city of Kalinov with a petty and mercantile soul, he is not worthy

sacrificial love of Katerina. Cowardly at the last moment, he leaves his beloved, leaving the city to keep his grandmother's inheritance.

Surrounded by the malice of the Kabanikh, universal condemnation and contempt, tormented by her own mental anguish, Katerina finds the only way out in death. As something inexplicably desired, enticing and promising deliverance, she dreams of " grave » under a tree. Having cleansed her soul with repentance, Katerina is no longer afraid of death, but ardently desires it.

In the tragic finale of the play, Dobrolyubov sees the manifestation of the highest form of protest, the victory of the heroine over the reign of arbitrariness and despotism, the triumph of light over darkness, and in this we can agree with him.

I hope an essay on the topic " Soul Drama Catherine" based on the play by A.N. Ostrovsky's "Thunderstorm" you liked and helped in writing your own essay.

"Thunderstorm" is the highest achievement of Ostrovsky in the pre-reform years (1859) - The central conflict of the play, conceived as a social drama, gradually reaches true tragedy. This is due to the image of the central heroine of the play by Katerina Kabanova.

From the very first scenes, the heroine attracts the attention of the audience. Sincerity sounds in the story of her free life in her home, spent among flowers, icons, prayers. Religion for Katerina is a love of beauty. God is everywhere for her, but her simple-hearted faith is also filled with sincere urges to live according to conscience, according to God’s precepts: “I’m not afraid to die, but when I think that suddenly I will appear before God the way I am here with you, after this conversation , that's what's scary," Katya says in a conversation with Varvara.

In the first scenes, in conversations with Kabanikha, Katerina meekly tries to come to terms with the grumpy remarks of her mother-in-law. But Kabanikha personifies the whole way and laws of the world around. And it immediately becomes clear that the heroine with her dreamy and romantic soul is a stranger in the Kabanovs' house.

Katerina is a free soul, a poetic nature. The author captured in it the beauty of the people's soul. “You know, sometimes it seems to me that I am a bird. When you stand on a mountain, you are drawn to fly,” she says to Varvara and admits that now she seems to have been replaced and “some kind of dream creeps into my head.” Thus, the theme of the heroine's discord with the world and with herself, connected with the obscure needs of the soul, the desire for love, is outlined.

The heroine is endowed with such human qualities that are not valued in the world of Boar and Wild. There is not a drop of falsehood in it, it is always natural and frank: "I can't deceive, I can't hide anything." Katya is modest, but not at all resigned: "And if I get sick of it here, then no force can hold me back. I will throw myself out the window, I will rush into the Volga."

Why is such a deep and whole person turned out to be broken? Why did her prophetic premonitions ("I will die soon") come true?

In the play, two conflicts develop simultaneously. One of them - caused by social reasons - the conflict of the free soul with the "tyrant power" plays, according to Dobrolyubov, the main role in the drama. Another - internal, affecting moral aspects - develops in the soul of the heroine. It is he who determines the tragedy of Ostrovsky's play.

Dobrolyubov is right: "The character of the heroine expressed the demand for the right and spaciousness of life, he is focused, resolute and selfless," and her nature is "filled with an instinctive sense of freedom." According to the critic, Katerina embarks on the path of free love, which is above prejudice. But soon the heroine becomes convinced that her feeling is incompatible with the life of society, because external circumstances put pressure on her. Dobrolyubov interprets the tragic finale as the highest form of protest, as the triumph of light over darkness.

It is impossible to motivate the drama of Katerigne only by social causes. For the playwright, the resolution of moral problems is very important: Katerina's spiritual struggle is the central theme of "Thunderstorm".

So, in the first act, in a conversation with Varvara, the heroine admits that she loves someone - this is the plot of the plot. Even then, her soul is filled with confusion and horror. The main theme is accompanied by the image of a thunderstorm. Katerina's soul is in tune with the surrounding world - nature is full of beauty, but also a threat, which increases the heroine's anxiety.

The conflict between Kabanova and others gradually grows. This is facilitated by the departure of Tikhon, the humiliating scene of seeing off. Here, with the assistance of Barbara, a key falls into Katya's hands, which becomes a symbol of freedom and bondage at the same time.

Essence tragic conflict in its irresolvability. Having embarked on the path of struggle with social foundations, the heroine dooms herself to tragic ending She finds no way out in this life.

In the third act, Katerina, overcoming shame and fear, confesses her love to Boris. The choice is made, although she is still trying to resist the force that drags her into the abyss: "Get away from me! Get away, damned man!" But the thirst for love is stronger. The words of the crazy lady are beginning to come true.

In the fourth, culminating act, retribution approaches Katerina, for sin cannot go unpunished. The heroine is in a painful discord with her conscience. Constantly crying, she shudders at every rustle, glance, and longs to clear her conscience with repentance. With the onset of a thunderstorm, the terrible lady reappears, whose speech, full of threats, is addressed directly to Katerina.

The tragic denouement in the fifth act lies in the fact that Katerina finds no support anywhere, everything has fallen upon her. The only way out she sees in death. Thoughts about the future only frighten her, and the grave seems to be the only salvation from mental anguish. Again, the heroine turns to nature, in which she dreams of dissolving: "There is a grave under the tree ... how good! .. The sun warms it, the rain wets it ..."

Ostrovsky creates a truly folk tragedy. In his contemporary society, where there is no true love, kindness, religion, but there is only a family-cell, there is no place for a living soul. Nobody even understands Katerina's suffering. She condemns herself more severely than anyone else and dies.

Drama A.N. Ostrovsky's "Thunderstorm" - the most significant work of the playwright - appeared in 1860, at a time when the foundations of serfdom were breaking down and a thunderstorm was really gathering in the stuffy Russian atmosphere.

At the heart of the work is the conflict between the young woman Katerina and the "dark kingdom", the kingdom of tyrants, despots, and ignoramuses. To understand why this conflict arose, why the end of the drama is so tragic, can only be looked into the soul of Katerina.

From the words of Katerina, we learn about her life as a girl: “I lived, I didn’t grieve about anything, like a bird in the wild.” Her mother "doted on her soul", did not force her to work on the housework, "dressed up like a doll." Life in her native house was free: the girl got up early, went to wash herself to the spring, watered the flowers with spring water, which were many in the house, went to church with her mother, and then did needlework and listened to the stories of wanderers with which the house was always full.

By nature, Katerina is a whole, passionate, dreamy nature. She sincerely accepts faith with all her heart. “And to death I loved to go to church! It’s like, it happened, I’ll enter paradise, and I don’t see anyone, and I don’t remember the time, and I don’t hear when the service is over! In the service and in dreams, she often flew to heaven, soared above the clouds, communicated with angels. She used to get up in the middle of the night and pray and cry until morning. What she prayed for, what she cried about - she herself did not know. Everything that contradicted her idea of ​​life, she simply did not notice, carried away in her dreams to heaven.

For all her piety, Katerina is endowed by nature strong character and love of freedom. Once, at the age of six, offended by something, she ran away to the Volga at night, got into a boat and pushed off the shore! One more important detail her life was that she lived in her own world, fenced off from reality. Her life was pure and whole, her soul was at rest. A naive, kind, pious girl with the makings of a strong, holistic, freedom-loving personality - that's what Katerina is before marriage.

Marriage changes everything. Although Katerina, in a sense, was even lucky: although her husband is subordinate to his mother, he does not offend his wife and even protects in his own way. Why, from the very beginning of the play, do we understand that Katerina's soul suffers and rushes about?

The first thing Katerina lost when she got married was freedom. In a house that has not become her own, it is hard for her from the very need to live in a confined space, to be locked within four walls, limited only by the circle of household chores. Katerina respects herself, and Kabanikh's domostroev manners constantly hurt her sensitive soul. She does not know how not to notice them and not react to them, she does not want and cannot be silent, listening to undeserved reproaches. upholding dignity, Katerina speaks with her mother-in-law on “you”, as with an equal to herself.

After constant communication with nature, which filled her childhood, for Katerina, a reclusive existence is unbearable, full of deceit, hypocrisy, cruelty, lack of rights, submission to someone else's will, she is stuffy and bored in her mother-in-law's house.

In addition, she was married very early, without love, she, according to Varya, did not walk up in girls, her heart "did not leave." But according to Katerina herself, it never “leaves”: “I was born too hot.” 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 to love sincerely and openly, as the soul asks, in " dark kingdom Not accepted: The boar pulls at his daughter-in-law: “Why are you hanging around your neck, shameless? You don't say goodbye to your lover." Katerina confesses to Varvara: “Yes, everything here seems to be from captivity.”

A breath of freedom becomes for her a feeling for Boris, which flared up at first sight and became the cause of her endless mental suffering. For a pious woman, the very thoughts of love for a strange man are sinful. Hence Katerina's depression, fear, a premonition of imminent death. Outwardly, she has not yet done anything, but she has already transgressed her inner moral law and is tormented by a sense of guilt. That is why she no longer experiences the delight of going to church, cannot continue to pray, is unable to concentrate on her thoughts. Anxious thoughts that stir the soul do not allow her to admire nature. Her dreams have also changed. Instead of paradise, she sees someone who hugs her hot, hot and takes her somewhere, and she follows him. Inwardly, she has already sinned and is aware of her love as “ terrible sin", and therefore is afraid to die suddenly, without repentance, to appear before God "as ... is, with all ... sins, with all evil thoughts."

It's hard for her at home, she wants to run away from her mother-in-law, who humiliates her all the time human dignity, out of longing, she is ready to do something with herself. Struggling with her feelings, like a drowning man clutching at straws, she asks her husband not to leave her alone. But he says that he himself is tired of life in his mother's house and wants to take a walk in the wild. Katerina does not have children either, but they could brighten up her loneliness and become her support: “I don’t have children: I would sit with them and amuse them. I love talking with children very much - they are angels, after all.

So Katerina is left alone. Varya does not understand her, considers her too sophisticated, acts as a temptress, passing the key to the gate and promising to send Boris. According to her - do what you want, if only everything was sewn and covered. Once upon a time, she, like Katerina, did not know how to lie, but life taught her both lies and hypocrisy.

Why, in the struggle of motives: to see Boris or to throw away the key, the first desire “come what may, but I will see Boris!” wins? Katerina was not cunning even in front of herself, she knew that she was going to sin, but, apparently, her life became so unbearable for her that she decides: “I should at least die, but see him.” And on the first date, Katerina says to Boris: “You ruined me!”; “If I had my own will, I would not go to you. Your will is now over me, can't you see!"

live with so much grave sin Katerina cannot at heart. That is why she is so afraid of thunderstorms. She is a manifestation of the wrath of God for her. To be killed by a thunderstorm (and she is sure that it will surely kill her) and stand before God without repentance seems impossible to her. Her own judgment on herself is unbearable for her. Her inner foundations are crushed. It’s not just a “family deception” - a moral catastrophe occurred, what seemed to Katerina eternal moral standards. The only way she considers repentance to be the salvation of her soul. But no one needs her public recognition, even her husband: “No, no! do not say! What you! Mother is here!”

In the view of the townsfolk, her suffering is not a tragedy at all: there are few cases when a wife takes a walk in the absence of her husband. In addition, Tikhon loves Katerina and forgives her everything. But she is not able to forgive herself, and therefore life turns into constant torment for her, one death seems to her deliverance.

Katerina would not have become Katerina, who received literary immortality, if she had everything "sewn and covered." Just as the human court is fearless for her, so no deal with her conscience is possible for her. “No, I don’t care whether I go home or go to the grave ... It’s better in the grave.”

Katerina's emotional drama ends in tragedy. This resolute, wholesome, Russian nature appointed itself such a punishment for its sin. And if you forget for a moment that the play was written a century and a half ago, then you can see that such a drama could happen not only in that distant era, it is possible at all times. Because this is a drama of a freedom-loving personality that cannot unfold in the unbearable surrounding world of violence, primarily against a person. This is drama moral personality in a world of immorality. In the very impossibility for a person to reconcile these contradictory principles, I see the reason for Katerina's drama.

Character consists in the ability to act according to principles.

A. N. Ostrovsky wrote many plays from the life of the merchants. They are so truthful and bright that Dobrolyubov called them "plays of life." In these works, the life of the merchants is described as a world of hidden, quietly sighing sorrow, a world of dull, aching pain, a world of prison deathly silence. And if a meaningless murmur appears, then it freezes already at its birth. The critic N. A. Dobrolyubov called his article devoted to the analysis of Ostrovsky’s plays “The Dark Kingdom”. He expressed the idea that the tyranny of the merchants rests only on ignorance and humility. But a way out will be found, because in a person it is impossible to destroy the desire to exist with dignity.

“…Who will be able to throw a beam of light into the ugly darkness of the dark kingdom?” Dobrolyubov asks. The answer to that very question was the playwright's new play "Thunderstorm".

Written in 1860, the play, both in its spirit and in its title, seemed to symbolize the process of renewal of a society that was shaking off its numbness from tyranny. Thunderstorm has long been the personification of the struggle for freedom. And in the play this is not only a natural phenomenon, but a dazzling image internal struggle that began in the dark merchant life.

There are many in the play actors. But the main one is Katerina. The image of this woman is not only the most complex, but it differs sharply from all others. No wonder the critic called her "a ray of light in a dark kingdom." How is Katerina so different from other “inhabitants” of this “kingdom”?

In this world there is no free people! Neither tyrants nor their victims are such. Here you can deceive, like Barbara, but you cannot exist in truth and conscience without prevarication.

Katerina was brought up in a merchant family, she “lived at home, didn’t grieve about anything, like a bird in the wild.” But after marriage, this free nature fell into the iron cage of tyranny. ,

There were always many wanderers and pilgrims in Katerina's house, whose stories (and the whole situation in the house) made her very religious, believing from the bottom of her heart in the commandments of the church. It is not surprising that she perceives her love for Boris as a serious offense. But Katerina is a "poet" in religion. She is endowed with a vivid imagination and dreaminess. listening various stories She seems to be seeing them for real. She often dreamed paradise gardens and birds, and when she entered the church, she saw angels. Even her speech is musical and melodious, reminiscent of folk tales and songs.

However, religion, a closed life, the lack of an outlet for her outstanding sensitivity had a negative effect on her character. Therefore, when during a thunderstorm she heard the curses of a crazy lady, she began to pray. When she saw on the wall a drawing of “fiery Gehenna”, her nerves could not stand it, and she confessed to Tikhon her love for Boris.

But religiosity, moreover, somehow sets off such features of the heroine as the desire for independence and truth, courage and determination. The tyrant of the Wild and the Kabaniha, who always reproaches and hates her relatives, are never able to understand other people. In comparison with them, or with the spineless Tikhon, who only occasionally allows him to go on a spree for a few days, with her beloved Boris, unable to appreciate true love, Katerina's character becomes especially attractive. She does not want and cannot deceive and directly declares: “I don’t know how to deceive; I can't hide anything."

Love for Boris is everything for Katerina: longing for freedom, dreams of real life. And in the name of this love, she enters into an unequal duel with the “dark kingdom”. She does not perceive her protest as an indignation against the whole system, moreover, she does not think about it. But the "dark kingdom" is arranged in such a way that any manifestation of independence, self-reliance, dignity of the individual is perceived by him as a deadly offense, as a rebellion against the foundations of the domination of tyrants. That is why the play ends with the death of the heroine: after all, she is not only lonely, but also crushed by the inner consciousness of her “sin”.

The death of a brave woman is not a cry of despair. No it's a moral victory over the “dark kingdom” that fetters her freedom, will, and mind. Suicide, according to the teachings of the church, is an unforgivable offense. But Katerina is no longer afraid of this. Having fallen in love, she declares to Boris: “If I am not afraid of sin for you, will I be afraid human court?” And her last words were: “My friend! My joy! Goodbye!"

One can justify or blame Katerina for her fatal decision, but one cannot but admire the integrity of her nature, her thirst for freedom, her determination. death
and she was shocked more than that downtrodden people like Tikhon, who accuses his mother in the face of the death of his wife.

This means that Katerina's act was really "a terrible challenge to the self-indulgence of power." This means that in the "dark kingdom" light natures are capable of being born, who, with their life or death, can illuminate this "kingdom".