The old days are coming to an end!
A. Ostrovsky
The drama “Thunderstorm” is based on Katerina’s protest against the age-old traditions and the old Testament way of life of the “dark kingdom”. The author shows the deep inner drama of Katerina: a passionate impulse for freedom and happiness collides with her own ideas about morality, which were formed under the influence of the same “dark kingdom” against which she “rebelled”.
The action of the play takes place in a very beautiful place on the banks of the Volga. The landscape creates a certain mood,
Which allows, by contrast, to feel the stuffy atmosphere of the life of Kalinovites more sharply. Ignorance and complete mental stagnation are characteristic of the life of the city of Kalinov.
Behind the external calmness of life lie harsh, gloomy mores. “Cruel morals, sir, in our city, cruel!” Kuligin says. They live here according to the principle: "Whoever has money, he tries to enslave the poor." And although in The Thunderstorm attention is focused on family relationships, a picture of gross arbitrariness, robbery and money-grubbing is formed from individual replicas of the characters.
Wild frankly shortchanges the peasants, when they complain about him to the mayor, he cynically declares: “Should we, your honor, talk with you about such trifles!” He is a real despot with his household: in the attics and in the closets, family members hide from his anger, he completely hounded his nephew.
But even more difficult in domestic life is the despotism of Kabanikh. The wild one will scream, swear, even beat him in the heat of the moment, but he will immediately cool down. The boar, on the other hand, torments and pursues his victim from day to day, eats food, “like rusty iron.”
She does not tolerate contradictions in anyone, she teaches everyone, forcing them to live according to the laws of the “old life”. This is a domineering, stern, adamant guardian of the foundations of the “dark kingdom”.
But Katerina does not want and cannot put up with the deceitful and cruel atmosphere of Kabanova's house. The main conflict is outlined: the unwillingness of a bright personality to put up with the “dark kingdom”.
Katerina could not learn to lie, to be hypocritical. From the very beginning of the play, we feel her rejection of the life that is being forced on her. She is deeply offended by the instructions of her mother-in-law, who wants to bring her into complete obedience.
During her husband's departure, Katerina "stands as if in a daze." She understands that her husband did not want to offend her, that he acted against his will, and is not angry with him. But love and respect him can not.
The more Katerina is humiliated, the stronger the desire for freedom, love, and happiness awakens in her soul. Katerina considers this aspiration to be sinful, she is afraid of herself, afraid to be alone with her thoughts and feelings. Despair and doom are heard in her words: “Where can I, poor thing, go?
Who can I grab onto? My fathers, I am dying!” Katerina makes a desperate attempt to prevent trouble, to force herself to love her husband. But Tikhon is not able to understand her condition.
Katerina cannot live in deceit, she considers her love a great sin. Having fallen in love with Boris, she "just begins to live again." It has inner strength, determination: “I was born that way, hot!” She is ready to defend her freedom, at least at the cost of death: “If I get very cold here, they won’t hold me back by any force.
I'll throw myself out the window, I'll throw myself into the Volga. I don’t want to live here, I won’t, even if you cut me!”
Katerina's position is difficult, she was brought up on the same house-building customs. She is a "husband's wife" and has nowhere to go. There were two options left: to return home and submit or die.
She chose the latter. By her behavior, Katerina rejects the principles of Domostroy morality, strives for a new life and prefers death to life in captivity.
Under the influence of Katerina and her tragic fate, other heroes of the drama also protest in one form or another against the despotism of petty tyrants. Varvara and Kudryash flee from Kalinovo, Kuligin for the first time addresses the petty tyrants with a bitter reproach, and finally, the meek Tikhon, who still has not disobeyed his mother, throws her a severe accusation: “You ruined her! You! You!"
The death of Katerina is to blame for everything that so fanatically defends Kabanikh, all those established social relations that lead a person to tragedy. But in the “dark kingdom” a person is possible who is capable of protest. Dobrolyubov wrote about Katerina’s death: “This end seems to us gratifying ... it gives a terrible challenge to the self-righteous force ... In Katerina we see a protest against Kabanov’s concepts of morality, a protest carried to the end ...”
The death of Katerina confirmed the gloomy forebodings of Kabanikh and Wild: the end of their strength is coming, new times are coming.
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A.N. Ostrovsky uses in this work:
- a plot traditional for literature (it is based on a love triangle - Tikhon - Katerina - Boris)
- traditional conflict (the conflict of generations, which reflects the replacement of the old by the new), however, both the plot and the conflict reflect the national specificity of the Russian character and the historical environment in which the playwright worked.
The traditional solution to the plot and conflict of the play "Thunderstorm"
It develops in a standard way: Katerina's husband Tikhon leaves, Katerina asks to take her with him, but Tikhon cannot disobey his mother, and he himself is glad to escape from the house. Katerina admits to Varvara that she likes Boris. Varvara arranges dates for lovers. The husband returns. Tormented by the consciousness of what she has done, Katerina publicly confesses her sin. Tikhon's mother, Kabanikha, triumphs: she warned. Driven to despair, Katerina rushes to Boris, but he cannot protect her, then the heroine commits suicide, throws herself into the Volga, preferring death to life with her unloved husband and terrible mother-in-law.
Traditionally, Russian literature depicted social conflicts reflected in people's personal lives. The main conflict of the play "Thunderstorm" is the struggle between the old and the new in life, a protest against oppression and humiliation.
The theme of the play and its characters
— Dikoy and Boar — are faithful to the old dogmas that streamline the changing world. The semantics of the heroes' surnames emphasizes their commitment to the old world - the world of petty tyrants. calls this old world in Ostrovsky's plays
"dark realm"
The theme of protest is interpreted by the playwright in different ways: Kudryash and Varvara flee the city, Tikhon opposes his mother's despotism only after the death of Katerina
"It was you who killed her, mother!"
It becomes the apotheosis of protest. The girl's life of the heroine, her religiosity, poetry, rich imagination
"Why don't people fly like birds?"
faces the harsh reality of the Kabanikhi order, based on the suppression of sincere feelings, hypocrisy, oppression, humiliation.
The development of the conflict line of the play "Thunderstorm"
The development of the conflict in the drama follows several storylines, which allows us to conclude that the ongoing processes are universal: the desire of the younger generation to escape from the oppressive power of the elders and live their own life, which has changed and, accordingly, requires a change in relations between people.
Not only the main characters are involved in the solution of the confrontation, but also secondary ones, who emphasize the inertia of the old world, as, for example, the image of Feklusha embodies absurdity.
The external conflict of generations, old and new, is intensified by an internal clash in Katerina's soul. Katerina does not love and cannot love the downtrodden Tikhon, although she strives to remain faithful to her husband. But love for Boris is, in the words of Dobrolyubov, not only love for a person who is not like those around him, but also the need to be loved, the offended feeling of a woman and wife, the desire for freedom, space, hot, unrestricted freedom. The consciousness of the sinfulness of such love is clear both for Katerina and for those around her. The religiosity of the heroine does not allow her to hide her feelings and deceive
"I can't lie."
But it is impossible for Katerina to live after a confession of sin, in a family where her husband beats her on the orders of her mother, where her mother-in-law will forever reproach and torment her. From the point of view of Christian morality, suicide is a sin, which is why her reflections before death are so painful
"Sin! Will they not pray? Whoever loves will pray…”
The heroine herself perceives death as deliverance from oppression. And for other characters, this is not a sin, but a challenge to the world of the Boar and the Wild. Dobrolyubov called Katerina's suicide
"a protest brought to an end."
The conflict of generations, resolved in Ostrovsky's play with such sharpness, reveals the desire of all classes of Russia to change life, which arose in the post-reform era for the country.
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A conflict is a clash of two or more sides that do not coincide in their views, attitudes. In Ostrovsky's play<Гроза>several conflicts, but how to decide which one is the main one? In the era of sociologism in literary criticism, it was believed that social conflict was the most important in a play. Of course, if we see in the image of Katerina a reflection of the spontaneous protest of the masses against the constraining conditions<темно-го царства>and to perceive the death of Katerina as the result of her clash with a self-indulgent mother-in-law, the genre of the play should be defined as a social drama. Drama is a work in which the public and personal aspirations of people, and sometimes their very lives, are threatened with death by external forces that do not depend on them. The play also contains a generational conflict between Katerina and Kabanikha: the new always comes on the heels of the old, the old does not want to give up copyright 2005 ALLSoch.ru to the new. But the play is much deeper than it might seem at first glance. After all, Katerina primarily struggles with herself, and not with Kabanikha, the conflict develops not around her, but in herself. Therefore the play<Гроза> can be defined as a tragedy. Tragedy is a work in which there is an insoluble conflict between the personal aspirations of the hero and the super-personal laws of life that occur in the mind of the protagonist. In general, the play is very similar to an ancient tragedy: some extra-plot heroes replace the choir, the denouement ends with the death of the protagonist, as in ancient tragedy (except for the immortal Prometheus). The death of Katerina is the result of a collision of two historical epochs. Some heroes of the play seem to differ in the time in which they live. For example: Kuligin is a man of the 18th century, he wants to invent a sundial, which was known in antiquity, or a perpetuum mobile, which is a distinctive feature of the Middle Ages, or a lightning rod. He himself reaches with his mind what has long been invented, and he only dreams about it. He quotes Lomonosov and Derzhavin - this is also a trait of a man of the 18th century. Boris is already an educator of the 19th century, an educated person. Katerina is the heroine of pre-Petrine times. The story about her childhood is a story about the ideal version of patriarchal pre-Mostroy relations. In this world of kings, only all-penetrating mutual love, a person does not separate himself from society. Katerina was brought up in such a way that she could not refuse moral and moral laws, any violation of them is inevitable death. Katerina turns out to be, as it were, older than everyone in the city in her worldview, even older than Kabanikha, who remained as the last guardian of the house-building way in Kalinovo. After all, Kabanikha only pretends that everything is as it should be in her family: her daughter-in-law and her son are afraid and respected, Katerina is afraid of her husband, and she doesn’t care how everything really happens, only appearance is important for her. The main character finds herself in a world that she imagined in a completely different way, and the patriarchal way of life inside Katerina is being destroyed right before her eyes. In many ways, Varvara decides the fate of Katerina, inciting the latter to go on a date. Without Varvara, she would hardly have decided on this. Varvara belongs to the youth of the city of Kalinov, which was formed at the turning point of patriarchal relations. Katerina, getting into a new environment for her, cannot get used to society, it is alien to her. For her, the ideal husband is a support, support, ruler. But Tikhon does not confirm Katerina's expectations, she is disappointed in him, and at this moment a new feeling is born - a feeling of personality, which takes the form of a feeling of love. This feeling for Katerina is a terrible sin. If she continued to live in a patriarchal world, then this feeling would not exist. Even if Tikhon had shown his masculine will and simply taken her with him, she would have forgotten about Boris forever. The tragedy of Katerina is that she does not know how to be hypocritical and pretend like Kabanikha. The main character of the play, moral, with high moral requirements, does not know how to adapt to life. She could not live on, breaking the laws once<Домостроя>. The feeling that arose in Katerina cannot be fully embodied in her, and she, not resigning herself to what she has done, commits an even greater sin - suicide. The play<Гроза>- this is the tragedy of the main character, in which the era of the turning point of patriarchal relations played an important role.
A play by A.N. Ostrovsky's "Thunderstorm" was published in 1860, on the eve of the abolition of serfdom. In this difficult time, the culmination of the revolutionary situation of the 60s in Russia is observed. Even then the foundations of the autocratic serf system were crumbling, but new, progressive forces capable of shifting the country from its routine positions had not yet matured. In the drama of Ostrovsky, the social contradictions of that era were very clearly and fully reflected.
Groza is based on a deep social conflict that arose as a result of the irreconcilable hostility of two types of worldview: the obsolete old and the emerging new, the "dark kingdom" of petty tyrants and the proud protesting, freedom-loving character.
Let us first consider the first type of worldview, very typical of the 50s of the XIX century and embodied in the images of the Wild and Boar.
These characters - influential merchants - personify the power of wealth, which extends to almost all residents of a provincial town. During the creation of the play, the balance of political and economic forces of Russian society was such that wealth and privileges made it possible for people like Dikoy and Kabanikha to trample with impunity on the rights and freedom of those who were below them in origin and social status. And the heroes, not without success, use this opportunity, which is clearly confirmed by "tears, visible and invisible," which flow abundantly "behind locks and locks." These people's tears were then shed all over Russia, in all the cities where the power of the "tyrants" acquired such horrifying forms. Yes, and wild boars existed then at that cruel time in almost all provincial Russian towns. Therefore, these characters can be considered generalized images of tyranny and ignorance that flourished then in the country.
The position of Dikoy and Kabanikhi, people of a narrow mind, ignorant and spiritually limited, ordered them to keep the rest of Kalinov's inhabitants in the same darkness of ignorance, so as not to lose their influence, which was supported mainly by ignorance, ignorance. Therefore, it was beneficial for them that the Kalinovites listened to the stories of Feklusha the wanderer about people with dog heads and a “fiery snake”; so that, comparing another life with their own existence, they consider life in Kalinovo to be the best and fairest.
Brought up in an age-old routine, Kabanikha and Dikoy are opponents of everything new, progressive. Any attempt to deviate from old, long obsolete traditions is met with hostility by them. “The tyrants themselves ... are virtuous and even smart in their own way, within the limits prescribed for them by routine and supported by their position; but this situation is such that complete, healthy human development is impossible in it, ”wrote N.A. Dobrolyubov.
It would seem that, being the full owners of their "dark kingdom", Wild and Boar should feel absolutely safe. But in reality this is far from the case. An alternative character appears - Katerina, whom Dobrolyubov called "a new type created by Russian life." Indeed, Katerina's worldview is something new, completely different from those attitudes, views, and traditions that the pillars of the "dark kingdom" adhere to. This is a man of a completely different mindset, a character that was already beginning to take shape among the people in the 50s of the 19th century.
Raised on a religious basis, Katerina lived in a narrow, isolated world, partly invented by herself and partly reflecting the patriarchal way of life of a provincial town. But, in contrast to the closed and motionless space, fenced off from the external ebullient life, which Kalinov was, Katerina's world was a kind of model of an ideal just society in which there is no violence against a person's personality, there are no humiliated and exalted.
Once in the environment of petty tyrants, Katerina protests in her own way against bondage, violence, cruelty, inertia. She is cramped within the four walls of her husband's house, and therefore she bitterly asks: "Why don't people fly like birds?" The heroine breaks free, breaking the age-old ties of routine traditions, on which all the power of the "dark kingdom" is based. It is precisely with her protest, intransigence to cruelty that Katerina is terrible for Diky, Kabanikh and the like, unlike other residents of the town of Kalinov - Kuligin, Shapkin, Boris, who resignedly demolish any antics of tyrants.
Tyrants feel that the end of their "kingdom" is coming, that new forces are emerging that can resist them. The inner, spiritual strength of Katerina is a real threat to the very existence and prosperity of wild and wild boars. This is the meaning of the title of the drama "Thunderstorm" and the essence of the social conflict of the play.
The psychological drama of Katerina is directly conditioned by social contradictions. After all, Kabanikha is not just her mother-in-law, she is a representative of another world, a bearer of opposing moral and social convictions. Using the example of Katerina, Ostrovsky shows how social contradictions are revealed in the human drama. Therefore, it can be said that the essence of the Thunderstorm conflict lies not only in the collision of the old world with the emerging world, but also in the collision of personal beliefs with public opinion, which prompted Katerina Kabanova to commit suicide.
Thus, in Ostrovsky's play, an unusually accurate and capacious generalization of the characteristic features and contradictions of feudal Russia in the 19th century is made. The town of Kalinov is a reduced and simplified model of Russian society of the pre-reform period, looking at which we see the main feature of Russian life at that time - "the necessary need for active and energetic people."
Conflict is an essential part of a dramatic work. It is realized through the plot at various levels and is transformed along with the change in the literary direction.
Thus, in Ostrovsky's play "Thunderstorm", written just two years before the abolition of serfdom, the author describes people who do not want to live in a new way. Society clings to the patriarchal order, thereby stopping progress. Ignorance and groveling is considered the norm.
The conflict manifests itself through the relationship of the characters. A striking confrontation in the play is the pair of Katerina and Kabanikh. Women had to be under the same roof due to circumstances. The Kabanov family is influential and prosperous. Marta Ignatievna has an adult son and daughter. The mother loves to manipulate the children, especially the son. He considers only his opinion correct, does not skimp on humiliation and insults for all family members.
Katerina married Tikhon at a young age, and therefore she hoped that after marriage she would live the way she wants. In reality, the girl is faced with cruelty from her mother-in-law. Katerina and Martha are different, but both have a strong character. The young girl is trying with all her might to resist Kabanikhe.
A love conflict is observed in a pair of Katerina and Boris. Katya falls in love with a recently arrived young man. She likes that he does not look like the inhabitants of the city, his views are close to her. A romance begins between the couple. Katerina is not afraid of either condemnation or shame. However, Boris is not ready to take responsibility. For him, this is just entertainment, because the main purpose of his arrival in Kalinov is to receive an inheritance from his uncle.
A serious conflict occurs between a pair of Wild and self-taught inventor Kuligin. Wild keeps the whole city in fear: steals, insults, drinks and treats everyone down. Kuligin, on the contrary, is trying to help people, he wants to invent something useful for everyone. However, he does not have enough money for his ideas.
Thus, several conflict situations unfold in the work: between a person and society, generations, old and new, as well as a conflict within the personality itself.
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