Katerina is a woman with strong character, but meanwhile even she cannot resist the “kingdom of tyrants and despots.”

Mother-in-law (Kabanikha) is a rude, domineering, despotic, ignorant nature, she is closed to everything beautiful. Of all characters Marfa Ignatievna puts the strongest pressure on Katerina. The heroine herself admits: “If it weren’t for my mother-in-law!.. She crushed me... she made me sick of the house: the walls are even disgusting.” Kabanikha constantly accuses Katerina of almost all mortal sins, reproaches and finds fault with her with or without reason. But Kabanikha has no moral right to mock and condemn Katerina, because personal traits Her son’s wives, in their depth and purity, cannot be compared with the coarsened, callous, low soul of Marfa Ignatievna, and meanwhile Kabanikha is one of those through whose fault Katerina comes to the idea of suicide. After death main character Kuligin says: “...the soul is now not yours: it is before a judge who is more merciful than you.” Katerina cannot come to terms with the oppressive, oppressive atmosphere that prevails in Kalinov. Her soul strives for freedom at any cost, she says, “I’ll do whatever I want,” “I’ll leave, and that’s how I was.” With marriage, Katerina’s life turned into a living hell, an existence in which there are no joyful moments, and even love for Boris does not relieve her of melancholy.

In that " dark kingdom“Everything is alien to her, everything oppresses her. She, according to the customs of that time, married against her will and to an unlovable man whom she would never love. Katerina soon realized how weak and pathetic her husband was; he himself could not resist his mother, Kabanikha, and, naturally, was not able to protect Katerina from constant attacks from her mother-in-law. The main character tries to convince herself and Varvara that she loves her husband, but still later admits to her husband’s sister: “I feel very sorry for him.” Pity is the only feeling she feels for her husband. Katerina herself understands perfectly well that she will never love her husband, and the words she uttered when her husband left (“how I would love you”) are words of despair. Katerina is already possessed by another feeling - love for Boris, and her attempt to grab hold of her husband in order to prevent trouble, a thunderstorm, the approach of which she feels, is futile and useless. Tisha does not listen to her, he stands next to his wife, but in his dreams he is already far from her - his thoughts are about drinking and partying outside Kalinov, but he himself says to his wife: “I won’t understand you, Katya!” Yes, how can he “disassemble” it! Inner world Katerina is too complex and incomprehensible for people like Kabanov. Not only Tikhon, but also his sister says to Katerina: “I don’t understand what you’re saying.”

In the “dark kingdom” there is not a single person spiritual qualities whom Katerina would be equal to, and even Boris, the hero singled out by a woman from the entire crowd, is unworthy of Katerina. Her love is a stormy river, his is a small stream that is about to dry up. Boris is just going to take a walk with Katerina during Tikhon’s departure, and then... then we’ll see. He is not too concerned about how the hobby will turn out for Katerina; Boris is not stopped even by Kudryash’s warning: “You want to completely ruin her.” On last date he says to Katerina: “Who knew that we should suffer so much with you for our love,” after all, at the first meeting, the woman told him: “I ruined it, I ruined it, I ruined it.”

The reasons that prompted Katerina to commit suicide are hidden not only (and even not so much) in the society surrounding her, but in herself. Her soul is gem, and the invasion of foreign particles into it is impossible. She cannot, like Varvara, act according to the principle “if only everything is sewn and covered,” she cannot live, keeping such a terrible secret within herself, and even confessing to everyone does not bring her relief; she understands that she will never atone for her guilt before himself, and cannot come to terms with it. She has taken the path of sin, but will not aggravate it by lying to herself and everyone, and understands that the only way to get rid of her mental anguish- this is death. Katerina asks Boris to take her to Siberia, but even if she runs away from this society, she is not destined to hide from herself, from remorse. To some extent, Boris perhaps understands this and says that “there is only one thing we need to ask God for, that she die as soon as possible, so that she does not suffer for a long time!” One of Katerina’s problems is that “she doesn’t know how to deceive, she can’t hide anything.” She cannot deceive or hide NK from herself, much less from others. Katerina is constantly tormented by the consciousness of her sinfulness.

Translated from greek name Catherine means “always pure,” and our heroine certainly always strives for spiritual purity. All kinds of lies and untruths are alien to her, even if she finds herself in such a degraded society, she does not betray her inner ideal, she does not want to become the same as many people in that circle. Katerina does not absorb dirt, she can be compared to a lotus flower that grows in a swamp, but, in spite of everything, blooms with unique snow-white flowers. Katerina does not live to see the full bloom, her half-bloomed flower withered, but no toxic substances penetrated into it, it died innocent.

Katerina's protest in the drama "The Thunderstorm"

A.N. Ostrovsky, author of numerous plays about the merchants, creator of the repertoire for the Russian national theater is rightfully considered a "singer" merchant life". And he sits, sculpted by the chisel of the sculptor Andreev, at the entrance to the Maly Theater, and reminds us of the past, of the dark, funny and scary world its many heroes: the Glumovs, Bolshovs, Podkhalyuzins, Dikikhs and Kabanikhs. Image of the world of Moscow and provincial merchants, with light hand Dobrolyubov called the “dark kingdom”, became main theme Ostrovsky's creativity. The drama "The Thunderstorm", published in 1860, is no exception. The plot of the play is simple and typical for that environment and era: a young married woman Katerina Kabanova, not finding a response to her feelings in her husband, fell in love with another person. Tormented by remorse and not wanting to accept the morality of the “dark kingdom” (“Do what you want, as long as everything is covered and covered”), she publicly admits her action in church. After this confession, her life becomes so unbearable that she commits suicide. The image of Katerina is the most striking image in Ostrovsky's play "The Thunderstorm". Dobrolyubov, analyzing in detail the image of Katerina, called her “a ray of light in a dark kingdom.” Katerina's life was good and carefree. parental home. Here she felt “free.” Katerina lived easily, carefree, joyfully. She loved her garden very much, in which she so often walked and admired the flowers. Later telling Varvara about his life in home, she says: “I lived, didn’t worry about anything, like a bird in the wild. Mama doted on me, dressed me up like a doll, didn’t force me to work, whatever I wanted, I used to do it.” Katerina differs from all representatives of the “dark kingdom” in the depth of her feelings, honesty, truthfulness, courage, and determination. Growing up in a good family, she retained all the wonderful traits of the Russian character. This is a pure, sincere, ardent nature, an open soul that does not know how to deceive. “I don’t know how to deceive; I can’t hide anything,” she says to Varvara, who claims that everything in their house is based on deception. This same Varvara calls our heroine some kind of “sophisticated”, “wonderful”. Katerina is strong, decisive, strong-willed nature. Since childhood she was capable of brave deeds. Telling Varvara about herself and emphasizing her hot nature, she says: “I was born so hot!” Katerina loved nature, its beauty, and Russian songs. Therefore, her speech - emotional, enthusiastic, musical, melodious - is imbued with high poetry and sometimes reminds us folk song. Growing up in her home, our heroine accepted all the age-old traditions of her family: obedience to elders, religiosity, submission to customs. Katerina, who did not study anywhere, loved to listen to the stories of wanderers and praying mantises and perceived all their religious prejudices, which poisoned her young life, forcing Katerina to perceive love for Boris as terrible sin, which she tries and cannot escape. Once in new family, where everything is under the rule of the cruel, harsh, rude, despotic Kabanikha, Katerina does not find a sympathetic attitude towards herself. Dreamy, honest, sincere, friendly to people, Katerina takes the oppressive atmosphere of this house especially hard. Gradually, life in the house of Kabanikha, who constantly insults human dignity Katerina becomes unbearable for the young woman. A dull protest against the “dark kingdom”, which did not give her happiness, freedom and independence, begins to arise in her soul. This process develops... Katerina commits suicide. Thus, she proved that she was right, moral victory over the "dark kingdom". Dobrolyubov in his article, assessing the image of Katerina, wrote: “This is the true strength of character, which in any case you can rely on! This is the height to which our national life reaches in its development!” The fact that Katerina’s act was typical for her time is confirmed by the fact that a similar incident occurred in Kostroma in the Klykov family of merchants. And for a long time after this, the actors playing the main roles in the play wore make-up so that they could be seen to resemble the Klykovs.

The drama “The Thunderstorm” is the pinnacle of Ostrovsky’s creativity. In his work, the writer shows the imperfection of the patriarchal world, the influence of the system on the morals of people, he reveals to us society with all its vices and shortcomings, and at the same time he introduces into the drama a hero who is different from this community, alien to it, reveals the influence of society on this person, how the character enters the circle of these people. In “The Thunderstorm,” Katerina becomes this new hero, different from others, “a ray of light.” She belongs to the old patriarchal world, but at the same time enters into an irreconcilable conflict with it. Using her example, the writer shows how terrible it is to be in the “kingdom of despots and tyrants” for a person with such a pure soul as Katerina. The woman comes into conflict with this society, and, along with external problems, internal contradictions are brewing in Katerina’s soul, which, together with fatal circumstances, lead Katerina to suicide.
Katerina is a woman with a strong character, but meanwhile even she cannot resist the “kingdom of tyrants and despots.”
Mother-in-law (Kabanikha) is a rude, domineering, despotic, ignorant nature, she is closed to everything beautiful. Of all the characters, Marfa Ignatievna puts the strongest pressure on Katerina. The heroine herself admits: “If it weren’t for my mother-in-law!.. She crushed me... she made me sick of the house: the walls are even disgusting.” Kabanikha constantly accuses Katerina of almost all mortal sins, reproaches and finds fault with her with or without reason. But Kabanikha does not have the moral right to mock and condemn Katerina, because the inner qualities of her son’s wife in their depth and purity cannot be compared with the coarsened, callous, low soul of Marfa Ignatievna, and meanwhile Kabanikha is one of those through whose fault Katerina comes to thoughts of suicide. After the death of the main character, Kuligin says: “...the soul is now not yours: it is before a judge who is more merciful than you.” Katerina cannot come to terms with the oppressive, oppressive atmosphere that prevails in Kalinov. Her soul strives for freedom at any cost, she says, “I’ll do whatever I want,” “I’ll leave, and that’s how I was.” With marriage, Katerina’s life turned into a living hell, an existence in which there are no joyful moments, and even love for Boris does not relieve her of melancholy.
In this “dark kingdom” everything is alien to her, everything oppresses her. She, according to the customs of that time, married against her will and to an unlovable man whom she would never love. Katerina soon realized how weak and pathetic her husband was; he himself could not resist his mother, Kabanikha, and, naturally, was not able to protect Katerina from constant attacks from her mother-in-law. The main character tries to convince herself and Varvara that she loves her husband, but still later admits to her husband’s sister: “I feel very sorry for him.” Pity is the only feeling she feels for her husband. Katerina herself understands perfectly well that she will never love her husband, and the words she uttered when her husband left (“how I would love you”) are words of despair. Katerina is already possessed by another feeling - love for Boris, and her attempt to grab hold of her husband in order to prevent trouble, a thunderstorm, the approach of which she feels, is futile and useless. Tisha does not listen to her, he stands next to his wife, but in his dreams he is already far from her - his thoughts are about drinking and partying outside Kalinov, but he himself says to his wife: “I won’t understand you, Katya!” Yes, how can he “disassemble” it! Katerina’s inner world is too complex and incomprehensible for people like Kabanov. Not only Tikhon, but also his sister says to Katerina: “I don’t understand

“There is something refreshing and encouraging in The Thunderstorm. This “something” is, in our opinion, the background of the play, indicated by us and revealing the instability and the near end of tyranny. Then the very character of Katerina, drawn against this background, also ...

The name of Alexander Nikolaevich Ostrovsky is one of the most famous in the history of Russian literature and Russian theater. In 1812, the great Russian writer A.I. Goncharov, greeting Ostrovsky on his thirty-fifth birthday literary activity, said: "You...

A. N. Ostrovsky was the successor and continuer of realistic traditions in Russian literature. In his works, the playwright reflected contemporary reality, types and images characteristic of that time, showed existing orders, their...

Ostrovsky in his work more than once turned to the theme of patriarchal merchants. His most striking work on this topic is the drama “The Thunderstorm,” written in 1859. "Thunderstorm" is without a doubt the most decisive...

The drama "The Thunderstorm" is the pinnacle of Ostrovsky's creativity. In his work, the writer shows the imperfection of the patriarchal world, the influence of the system on the morals of people, he reveals to us society with all its vices and shortcomings, and at the same time he introduces into the drama a hero who is different from this community, alien to it, reveals the influence of society on this person, how the character enters the circle of these people. In “The Thunderstorm”, this new, different hero, “ray of light” becomes. She belongs to the old patriarchal world, but at the same time enters into an irreconcilable conflict with it. Using her example, the writer shows how terrible it is to be in the “kingdom of despots and tyrants” for a person with such a pure soul as Katerina. The woman comes into conflict with this society, and, along with external problems, internal contradictions are brewing in Katerina’s soul, which, together with fatal circumstances, lead Katerina to suicide. Katerina is a woman with a strong character, but meanwhile even she cannot resist the “kingdom of tyrants and despots.”

I’m even sick of the house because of her: the walls are even disgusting.” Kabanikha constantly accuses Katerina of almost all mortal sins, reproaches and finds fault with her with or without reason.

But Kabanikha does not have the moral right to mock and condemn Katerina, because the inner qualities of her son’s wife in their depth and purity cannot be compared with the coarsened, callous, low soul of Marfa Ignatievna, and meanwhile Kabanikha is one of those through whose fault Katerina comes to thoughts of suicide.. After the death of the main character, Kuligin says: “... the soul is now not yours: it is before a judge who is more merciful than you.”

Katerina cannot come to terms with the oppressive, oppressive atmosphere that prevails in Kalinov. Her soul strives for freedom at any cost, she says, “I’ll do whatever I want,” “I’ll leave, and I always was.” With marriage, Katerina’s life turned into a living hell, an existence in which there are no joyful moments, and even love for Boris does not relieve her of melancholy. In this “dark kingdom” everything is alien to her, everything oppresses her. She, according to the customs of that time, married against her will and to an unlovable man whom she would never love. Katerina soon realized how weak and pathetic her husband was; he himself could not resist his mother, Kabanikha, and, naturally, was not able to protect Katerina from constant attacks from her mother-in-law.

The main character tries to convince herself and Varvara that she loves her husband, but still later admits to her husband’s sister: “I feel very sorry for him.” Pity is the only feeling she feels for her husband. Katerina herself understands perfectly well that she will never love her husband, and the words she uttered upon her husband’s departure (“how I would love you”) are words of despair. Katerina was already possessed by another feeling - love for Boris, and her attempt to grab onto husband in order to prevent trouble, a thunderstorm, the approach of which she feels is futile and useless. Tisha does not listen to her, he stands next to his wife, but in his dreams he is already far from her - his thoughts are about drinking and partying outside Kalinov, but he himself says to his wife: “I won’t understand you, Katya!” Yes, how can he “dismantle” it! Katerina’s inner world is too complex and incomprehensible for people like Kabanov. Not only Tikhon, but also his sister says to Katerina: “I don’t understand what you’re saying.”

In the “dark kingdom” there is not a single person whose spiritual qualities are equal to Katerina’s, and even Boris, the hero singled out by a woman from the entire crowd, is unworthy of Katerina. Her love is a stormy river, his is a small stream that is about to dry up.

Boris is just going to take a walk with Katerina during Tikhon’s departure, and then... then we’ll see. He is not too concerned about how the hobby will turn out for Katerina; Boris is not stopped even by Kudryash’s warning: “You want to completely ruin her.” On the last date, he says to Katerina: “Who knew that we should suffer so much for our love with you,” after all, at the first meeting, the woman told him: “I ruined it, I ruined it, I ruined it.” The reasons that prompted Katerina to commit suicide are hidden not only (and even not so much) in the society surrounding her, but in herself.

Her soul is a precious stone, and the invasion of foreign particles into it is impossible. She cannot, like Varvara, act on the principle “if only everything is sewn and covered,” she cannot live keeping such a terrible secret inside herself, and even admitting it to everyone does not bring her relief; she understands that she will never atone for her guilt before himself, and cannot come to terms with it. She has not taken the path of sin, but she will not aggravate it by lying to herself and everyone, and she understands that the only deliverance from her mental torment is death. Katerina asks Boris to take her to Siberia, but even if she runs away from this society, she is not destined to hide from herself, from remorse. To some extent, Boris perhaps understands this and says that “we only need to ask God for one thing, that she die as soon as possible, so that she does not suffer for a long time! “One of Katerina’s problems is that “she doesn’t know how to deceive, she can’t hide anything.”

She can neither deceive nor hide from herself, much less from others. Katerina is constantly tormented by the consciousness of her sinfulness.

Translated from Greek, the name Catherine means “always pure,” and our heroine, of course, always strives for spiritual purity. All kinds of lies and untruths are alien to her, even if she finds herself in such a degraded society, she does not betray her inner ideal, she does not want to become the same as many people in that circle. Katerina does not absorb dirt, she can be compared to a lotus flower that grows in a swamp, but, despite everything, blooms with unique snow-white flowers. Katerina does not live to see the full bloom, her half-blooming flower withered, but no toxic substances penetrated into it, it died innocent.

What caused the death of the main character of the play?

Katerina is a woman with a strong character, but meanwhile even she cannot resist the “kingdom of tyrants and despots.”

Mother-in-law (Kabanikha) is a rude, domineering, despotic, ignorant nature, she is closed to everything beautiful. Of all the characters, Marfa Ignatievna puts the strongest pressure on Katerina. The heroine herself admits: “If it weren’t for my mother-in-law!.. She crushed me... she made me sick of the house: the walls are even disgusting.” Kabanikha constantly accuses Katerina of almost all mortal sins, reproaches and finds fault with her with or without reason. But Kabanikha does not have the moral right to mock and condemn Katerina, because the inner qualities of her son’s wife in their depth and purity cannot be compared with the coarsened, callous, low soul of Marfa Ignatievna, and meanwhile Kabanikha is one of those through whose fault Katerina comes to thoughts of suicide. After the death of the main character, Kuligin says: “...the soul is now not yours: it is before a judge who is more merciful than you.” Katerina cannot come to terms with the oppressive, oppressive atmosphere that prevails in Kalinov. Her soul strives for freedom at any cost, she says, “I’ll do whatever I want,” “I’ll leave, and that’s how I was.” With marriage, Katerina’s life turned into a living hell, an existence in which there are no joyful moments, and even love for Boris does not relieve her of melancholy.

In this “dark kingdom” everything is alien to her, everything oppresses her. She, according to the customs of that time, married against her will and to an unlovable man whom she would never love. Katerina soon realized how weak and pathetic her husband was; he himself could not resist his mother, Kabanikha, and, naturally, was not able to protect Katerina from constant attacks from her mother-in-law. The main character tries to convince herself and Varvara that she loves her husband, but still later admits to her husband’s sister: “I feel very sorry for him.” Pity is the only feeling she feels for her husband. Katerina herself understands perfectly well that she will never love her husband, and the words she uttered when her husband left (“how I would love you”) are words of despair. Katerina is already possessed by another feeling - love for Boris, and her attempt to grab hold of her husband in order to prevent trouble, a thunderstorm, the approach of which she feels, is futile and useless. Tisha does not listen to her, he stands next to his wife, but in his dreams he is already far from her - his thoughts are about drinking and partying outside Kalinov, but he himself says to his wife: “I won’t understand you, Katya!” Yes, how can he “disassemble” it! Katerina’s inner world is too complex and incomprehensible for people like Kabanov. Not only Tikhon, but also his sister says to Katerina: “I don’t understand what you’re saying.”

In the “dark kingdom” there is not a single person whose spiritual qualities would be equal to Katerina’s, and even Boris, the hero singled out by a woman from the entire crowd, is unworthy of Katerina. Her love is a stormy river, his is a small stream that is about to dry up. Boris is just going to take a walk with Katerina during Tikhon’s departure, and then... then we’ll see. He is not too concerned about how the hobby will turn out for Katerina; Boris is not stopped even by Kudryash’s warning: “You want to completely ruin her.” On the last date, he says to Katerina: “Who knew that we should suffer so much for our love with you,” after all, at the first meeting, the woman told him: “I ruined it, I ruined it, I ruined it.”

The reasons that prompted Katerina to commit suicide are hidden not only (and even not so much) in the society surrounding her, but in herself. Her soul is a precious stone, and the invasion of foreign particles into it is impossible. She cannot, like Varvara, act according to the principle “if only everything is sewn and covered,” she cannot live, keeping such a terrible secret within herself, and even confessing to everyone does not bring her relief; she understands that she will never atone for her guilt before himself, and cannot come to terms with it. She has taken the path of sin, but will not aggravate it by lying to herself and everyone, and understands that the only deliverance from her mental torment is death. Katerina asks Boris to take her to Siberia, but even if she runs away from this society, she is not destined to hide from herself, from remorse. To some extent, Boris perhaps understands this and says that “there is only one thing we need to ask God for, that she die as soon as possible, so that she does not suffer for a long time!” One of Katerina’s problems is that “she doesn’t know how to deceive, she can’t hide anything.” She can neither deceive nor hide from herself, much less from others. Katerina is constantly tormented by the consciousness of her sinfulness.

Translated from Greek, the name Catherine means “always pure,” and our heroine, of course, always strives for spiritual purity. All kinds of lies and untruths are alien to her, even if she finds herself in such a degraded society, she does not betray her inner ideal, she does not want to become the same as many people in that circle. Katerina does not absorb dirt, she can be compared to a lotus flower that grows in a swamp, but, in spite of everything, blooms with unique snow-white flowers. Katerina does not live to see the full bloom, her half-blooming flower withered, but no toxic substances penetrated into it, it died innocent.

The main character of Ostrovsky's play "The Thunderstorm" is Katerina Kabanova. This girl is extremely difficult fate, which she has to cope with day after day.

As we know, at the end of the work Katerina jumps into the river from a cliff. What are the reasons for Katerina’s death?

I found at least three such reasons:

1. Katerina married an unloved man. She had to come to terms with this life day by day.

One day Katerina understood what love is. Having met Boris for the first time, she realized that she could not live without him. She dreams of meeting him, but is afraid that God will punish her. Cheating on her own husband gnaws at her from the inside.

3. And last reason– not unimportant – Kabanikha’s mockery. She constantly instructed Katerina and her husband with all sorts of moral teachings, with which she did not agree. And Tikhon was afraid to confront his mother. Of course, this could not help but cause frustration and sadness in Katerina.

In my opinion, it was all of the above that contributed to the ending that Katerina chose for herself. It is a pity that sometimes life comes with challenges that are so difficult to cope with. And some people do not manage to overcome such difficulties at all.

Updated: 2017-06-26

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