Ostrovsky's play "The Thunderstorm" was written a year before the abolition of serfdom, in 1859. This work stands out among the playwright's other plays due to the character of the main character. In “The Thunderstorm,” Katerina is the main character through whom the conflict of the play is shown. Katerina is not like other residents of Kalinov; she is distinguished by a special perception of life, strength of character and feeling self-esteem. The image of Katerina from the play “The Thunderstorm” is formed due to a combination of many factors. For example, words, thoughts, environment, actions.
Childhood
Katya is about 19 years old, she was married off early. From Katerina's monologue in the first act, we learn about Katya's childhood. Mama “doted on her.” Together with her parents, the girl went to church, walked, and then did some work. Katerina Kabanova remembers all this with bright sadness. Varvara’s phrase that “we have the same thing” is interesting. But now Katya doesn’t have a feeling of ease, now “everything is done under duress.” In fact, life before marriage was practically no different from life after: the same actions, the same events. But now Katya treats everything differently. Then she felt supported, felt alive, and had amazing dreams about flying. “And now they dream,” but only much less often. Before marriage, Katerina felt the movement of life, the presence of certain higher powers in this world, she was devout: “she loved going to church so passionately!
» From the very early childhood Katerina had everything she needed: her mother’s love and freedom. Now, by force of circumstances, she is cut off from loved one and deprived of freedom.
Environment
Katerina lives in the same house with her husband, her husband's sister and mother-in-law. This circumstance alone is no longer conducive to happy family life. However, the situation is worsened by the fact that Kabanikha, Katya’s mother-in-law, is a cruel and greedy person. Greed here should be understood as a passionate desire for something, bordering on madness. Kabanikha wants to subjugate everyone and everything to her will. One experience with Tikhon was successful, the next victim is Katerina. Despite the fact that Marfa Ignatievna was looking forward to her son’s wedding, she is unhappy with her daughter-in-law. Kabanikha did not expect that Katerina would be so strong in character that she could silently resist her influence. The old woman understands that Katya can turn Tikhon against her mother, she is afraid of this, so she tries in every possible way to break Katya in order to avoid such a development of events. Kabanikha says that his wife has long become dearer to Tikhon than his mother.
“Kabanikha: Or maybe your wife is taking you away from me, I don’t know.
Kabanov: No, mama!What are you saying, have mercy!
Katerina: For me, mummy, it’s all the same birth mother, that you, and Tikhon loves you too.
Kabanova: It seems like you could have kept quiet if they didn’t ask you. Why did you jump out in front of your eyes to make jokes! So that they can see how much you love your husband? So we know, we know, in your eyes you prove it to everyone.
Katerina: You are in vain saying this about me, Mama. Whether in front of people or without people, I’m still alone, I don’t prove anything of myself.”Katerina's answer is quite interesting for several reasons. She, unlike Tikhon, addresses Marfa Ignatievna on a personal level, as if putting herself on an equal footing with her. Katya draws Kabanikha’s attention to the fact that she is not pretending or trying to seem like someone she is not. Despite the fact that Katya fulfills the humiliating request to kneel before Tikhon, this does not indicate her humility. Katerina is insulted by false words: “Who likes to endure falsehoods?” - with this answer Katya not only defends herself, but also reproaches Kabanikha for lying and slander.
Katerina’s husband in “The Thunderstorm” appears to be a gray man. Tikhon looks like an over-aged child who is tired of his mother’s care, but at the same time does not try to change the situation, but only complains about life. Even his sister, Varvara, reproaches Tikhon for the fact that he cannot protect Katya from the attacks of Marfa Ignatievna. Varvara is the only person who is at least a little interested in Katya, but still she persuades the girl that she will have to lie and squirm in order to survive in this family.
Relationship with Boris
In "The Thunderstorm" the image of Katerina is revealed through love line. Boris came from Moscow on business related to receiving an inheritance. Feelings for Katya flare up suddenly, as do the girl’s reciprocal feelings. It's love at first sight. Boris is worried that Katya is married, but he continues to look for meetings with her. Katya, realizing her feelings, tries to abandon them. Treason is contrary to the laws of Christian morality and society. Varvara helps the lovers meet. For ten whole days, Katya secretly meets with Boris (while Tikhon was away). Having learned about Tikhon's arrival, Boris refuses to meet with Katya; he asks Varvara to persuade Katya to remain silent about their secret meetings. But Katerina is not that kind of person: she needs to be honest with others and herself. She is afraid of God's punishment for her sin, so she regards the raging thunderstorm as a sign from above and talks about betrayal. After this, Katya decides to talk to Boris. It turns out that he is going to go to Siberia for a few days, but cannot take the girl with him. It is obvious that Boris does not really need Katya, that he did not love her. But Katya didn’t love Boris either. More precisely, she loved, but not Boris. In “The Thunderstorm,” Ostrovsky’s image of Katerina endowed her with the ability to see the good in everything, and endowed the girl with a surprisingly strong imagination. Katya came up with the image of Boris, she saw in him one of his features - non-acceptance of Kalinov's reality - and made it the main one, refusing to see other sides. After all, Boris came to ask Dikiy for money, just like other Kalinovites did. Boris was for Katya a man from another world, from the world of freedom, the one that the girl dreamed of. Therefore, Boris himself becomes a kind of embodiment of freedom for Katya. She falls in love not with him, but with her ideas about him.
The drama "The Thunderstorm" ends tragically. Katya rushes into the Volga, realizing that she cannot live in such a world. And there is no other world. The girl, despite her religiosity, commits one of the most terrible sins Christian paradigm. To decide to do such an act requires enormous willpower. Unfortunately, the girl had no other choice in those circumstances. Surprisingly, Katya maintains inner purity even after committing suicide.
A detailed disclosure of the image of the main character and a description of her relationships with others actors The play will be useful for 10th graders in preparing for an essay on the topic “The Image of Katerina in the play “The Thunderstorm”.”
Work test
– this is a nature that is not pliable, not bendable. She has a highly developed personality, she has a lot of strength and energy; her rich soul requires freedom, breadth - she does not want to secretly “steal” joy from life. It can not bend, but break. (See also the article The image of Katerina in the play “The Thunderstorm” - briefly.)
A. N. Ostrovsky. Storm. Play. Episode 1
Katerina received a purely national upbringing, developed by the ancient Russian pedagogy of Domostroy. She lived locked up throughout her childhood and youth, but the atmosphere parental love softened this life - moreover, the influence of religion prevented her soul from becoming callous in suffocating loneliness. On the contrary, she did not feel any bondage: “she lived and did not worry about anything, like a bird in the wild!” Katerina often went to churches, listened to the stories of pilgrims and pilgrims, listened to the singing of spiritual poems - she lived carefree, surrounded by love and affection... And she grew up as a beautiful, gentle girl, with a fine mental organization, a great dreamer... Raised in a religious way , she lived exclusively in the circle of religious ideas; her rich imagination was fed only by those impressions that she gleaned from the lives of saints, from legends, apocrypha and the moods that she experienced during worship...
“...to death I loved going to church! - she later recalled her youth in a conversation with her husband’s sister Varvara. - Exactly, it happened that I would enter heaven... And I don’t see anyone, and I don’t remember the time, and I don’t hear when the service ends. Mama said that everyone used to look at me, what was happening to me! And, you know, on a sunny day such a light column goes down from the dome and smoke moves in this column, like clouds. And I see, sometimes, as a girl, I’ll get up at night - we also had lamps burning everywhere - and somewhere, in a corner, I’ll pray until the morning. Or I’ll go into the garden early in the morning, the sun is just rising, and I’ll fall on my knees, pray and cry, and I myself don’t know what I’m praying for and what I’m crying about!”
From this story it is clear that Katerina was not just religious person, - she knew the moments of religious “ecstasy” - that enthusiasm that the holy ascetics were rich in, and examples of which we will find in abundance in the lives of the saints... Like them, Katerina experienced “visions” and wonderful dreams.
“And what dreams I had, Varenka, what dreams! Or golden temples, or some extraordinary gardens... And everyone is singing invisible voices, and they smell of cypress... And the mountains and the trees, as if not the same as usual, but as if they were written in images!
From all these stories of Katerina it is clear that she is not entirely ordinary person... Her soul, crushed by the ancient system of life, seeks space, does not find it around itself and is carried away “to grief”, to God ... Many such natures in the old days went into “asceticism” ...
But sometimes in her relationships with her family, the energy of her soul broke through - she did not go "against people" but, indignant, protesting, she then left "from the people"...
“I was born so hot! - she tells Varvara. “I was only six years old, no more, so I did it!” They offended me with something at home, and it was late in the evening, it was already dark; I ran out to the Volga, got into the boat, and pushed it away from the shore. The next morning they found it, about ten miles away!..
Eh, Varya, you don’t know my character! Of course, God forbid this happens! And if I get really tired of it here, 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!”
From these words it is clear that calm, dreamy Katerina knows impulses that are difficult to cope with.
Ostrovsky’s drama “The Thunderstorm” stands out from many of his plays precisely because of the image of Katerina. In dramaturgy it is very difficult to find a truly “living” positive hero. The author, as a rule, has quite a lot of colors for the negative characters, but the good ones are always portrayed as “typical”. Perhaps this is the reason that there really is so little good in this world. Katerina is the main character Ostrovsky's drama, the only good thing in the “dark kingdom” of philistinism that surrounds her. The main difference between Katerina
From those people with whom she fell into the trap after marriage - this desire to fly. But, alas, there is not always a way out of the trap, but for Katya it was the only one.
We learn about Katerina’s childhood and adolescence from her words. The girl grew up without good education, living in the village with his mother. Her childhood was cloudless and joyful. Katya got up early, then watered the flowers and went to church with her mother. Thus, Katerina grew up romantic, happy, passionate loving girl. She loved everything that surrounded her - nature, church, sun, her home, and even those beggars whom she helped all the time. But its peculiarity
It was that she lived in the world of her dreams. She chose exclusively what could not contradict her nature; she did not notice everything else. But if, nevertheless, on her way she encountered something contrary to her ideals, a rebellious and very stubborn nature immediately began to appear in her. (Artistic Features)
Katya's life changed quite a lot after marriage. From that joyful world that allowed her to live together with nature, Katya found herself in a life filled with deceit and cruelty. And it’s most likely not a matter of marrying Tikhon against her will. The point is that she lost old life, mercilessly taken away. But she created it for herself. What remains to do, endure and dream? No, because I no longer have the strength to live with my thoughts.
Katerina fell in love with Boris, who didn’t even talk to her. Why is this so? Most likely, this love was what pure feeling, which did not allow the girl to completely wither away; it was her only support. Katerina knew that this was a sin, but it was still impossible to live. The girl sacrificed the purity of her conscience to freedom.
This was a heavy stone on her heart. Katerina has become very afraid of the approaching thunderstorm, as she considers it a punishment for what she has done. She began to be afraid of her from the time she began to think about Boris. Even the thought of loving a stranger is a sin for her pure soul.
Katerina can no longer live with this sin, and in order to get rid of it, at least partially, she dies. Dobrolyubov characterized Katerina as “decisive, Russian.” Decisive, because she was not afraid of death to save herself from remorse. Russian, because who else but a Russian woman is capable of loving like that, while remaining herself, free, not a slave.
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2. The image of Katerina in the play “The Thunderstorm”
Katerina is a lonely young woman who lacks human participation, sympathy, and love. The need for this draws her to Boris. She sees that outwardly he does not look like other residents of the city of Kalinov, and, not being able to recognize him inner essence, considers him a man from another world. In her imagination, Boris seems to be a handsome prince who will take her from the “dark kingdom” to fairy world, existing in her dreams.
In terms of character and interests, Katerina stands out sharply from her environment. The fate of Katerina, unfortunately, is a vivid and typical example of the fate of thousands of Russian women of that time. Katerina is a young woman, the wife of the merchant son Tikhon Kabanov. She recently left her home and moved into her husband’s house, where she lives with her mother-in-law Kabanova, who is the sovereign mistress. Katerina has no rights in the family; she is not even free to control herself. She remembers with warmth and love parents' house, my girlhood life. There she lived at ease, surrounded by the affection and care of her mother. The religious upbringing she received in the family developed in her impressionability, daydreaming, belief in the afterlife and retribution for man's sins.
Katerina found herself in completely different conditions in her husband’s house. At every step she felt dependent on her mother-in-law, endured humiliation and insults. From Tikhon she does not meet any support, much less understanding, since he himself is under the power of Kabanikha. Out of her kindness, Katerina is ready to treat Kabanikha as her own mother. "But Katerina's sincere feelings do not meet with support from either Kabanikha or Tikhon.
Life in such an environment changed Katerina's character. Katerina’s sincerity and truthfulness collide in Kabanikha’s house with lies, hypocrisy, hypocrisy, and rudeness. When love for Boris is born in Katerina, it seems like a crime to her, and she struggles with the feeling that washes over her. Katerina's truthfulness and sincerity make her suffer so much that she finally has to repent to her husband. Katerina's sincerity and truthfulness are incompatible with the life of the “dark kingdom”. All this was the cause of Katerina’s tragedy.
"Katerina's public repentance shows the depth of her suffering, moral greatness, and determination. But after repentance, her situation became unbearable. Her husband does not understand her, Boris is weak-willed and does not come to her aid. The situation has become hopeless - Katerina is dying. It is not Katerina's fault one specific person. Her death is the result of the incompatibility of morality and the way of life in which she was forced to exist. The image of Katerina was for Ostrovsky’s contemporaries and for. subsequent generations huge educational value. He called for a fight against all forms of despotism and oppression human personality. This is an expression of the growing protest of the masses against all types of slavery.
Katerina, sad and cheerful, compliant and obstinate, dreamy, depressed and proud. Such different mental states are explained by the naturalness of each mental movement of this simultaneously restrained and impetuous nature, the strength of which lies in the ability to always be itself. Katerina remained true to herself, that is, she could not change the very essence of her character.
I think that the most important feature Katerina’s character is honesty with herself, her husband, and the world around her; it is her unwillingness to live a lie. She does not want and cannot be cunning, pretend, lie, hide. This is confirmed by the scene of Katerina’s confession of treason. It was not the thunderstorm, not the frightening prophecy of the crazy old woman, not the fear of hell that prompted the heroine to tell the truth. “My whole heart was exploding! I can’t stand it anymore!” - this is how she began her confession. For her honest and integral nature, the false position in which she found herself is unbearable. Living just to live is not for her. To live means to be yourself. Its most precious value is personal freedom, freedom of the soul.
With such a character, Katerina, after betraying her husband, could not stay in his house, return to a monotonous and dreary life, endure constant reproaches and “moral teachings” from Kabanikha, or lose freedom. But all patience comes to an end. It is difficult for Katerina to be in a place where she is not understood, humiliated and insulted human dignity, ignore her feelings and desires. Before her death, she says: “Whether going home or going to the grave, it’s all the same... It’s better in the grave...” It’s not death that she desires, but life that is unbearable.
Katerina is a deeply religious and God-fearing person. Since according to Christian religion suicide is a great sin, then by deliberately committing it, she showed not weakness, but strength of character. Her death is a challenge to the “dark power”, the desire to live in the “light kingdom” of love, joy and happiness.
The death of Katerina is the result of a collision of two historical eras. With her death, Katerina protests against despotism and tyranny, her death indicates the approaching end of the “dark kingdom.” The image of Katerina belongs to the best images Russian fiction. Katerina - new type people of Russian reality in the 60s of the 19th century.
According to one version, while writing "" Ostrovsky was in love with one of the actresses of the Maly Theater. Her name was Lyubov Kositskaya. She was married and could not reciprocate the author's feelings. Subsequently, Kositsyna played the role of Katerina and, perhaps, in words literary work predicted her fate. It is worth noting that the actress to some extent repeated the fate of her heroine, passing away early.
The image of Katerina combines all the lack of rights of Russian women of that era. It must be said that in the 19th century Russian women had virtually no rights. The lion's share of marriages was based solely on personal gain or obtaining a high rank. Young girls were forced to marry older men simply because they were rich or revered in high society. The institution of divorce did not exist at all. In the spirit of precisely these traditions, Katerina was married to a merchant's son. Marriage became a real hell for the girl, because she ended up in " dark kingdom", where the rules are tyranny and lies.
An important place in the image of Katerina is occupied by the description of her childhood. She was the daughter of a wealthy merchant. Katenka's childhood was cheerful and carefree. She could do what she loved, and no one could blame her for that. Katerina was surrounded from birth motherly love. Little Katya was dressed up like a doll.
Since childhood, Katerina has been very interested in the church. She often visited church services, getting mental pleasure from it. It was this passion for the church that played with Katerina cruel joke, because it was in the church that Boris noticed her and immediately fell in love with her.
Parental education revealed the girl’s character best features Russian soul. Katerina was sensual, open and kind person. She did not know how and did not want to deceive. At one point, all this cleanliness and care of the parental home was replaced by the Kabanovs’ house, where human relations built on fear and unconditional obedience.
Every day the girl suffered humiliation from her mother-in-law. No one, not even her husband, can protect and support her; everyone is thinking about how not to fall out of favor.
Katerina tried to treat her mother-in-law as a beloved mother, but no one needed her feelings. This atmosphere gradually “kills” the girl’s cheerful character. She fades like a flower. But strong character the girl does not allow her to fade away completely. Katerina rebels against this despotism. She becomes the only hero of the work who is ready to fight for her life, her feelings.
Katerina's protest resulted in her love for Boris. Of course, the girl reproaches herself for this act. She understands that she has violated God's commandment and deceived her husband. Katerina cannot live with this. She openly declares her actions. After this, Katerina experiences terrible mental suffering; she cannot find a place for herself. Tikhon cannot support his wife, because he is afraid of his mother’s curses. Boris also turns away from the girl. Unable to withstand this suffering, Katerina throws herself off a cliff. But her soul remained just as strong and unconquered. Only death allowed her to escape from this “dark kingdom.”
Katerina’s action was not in vain. Tikhon blamed his mother for the death of his wife. Varvara, unable to withstand Kabanikha’s tyranny, ran away with Kudryash from her mother’s house. Katerina was able to destroy this kingdom of eternal tyranny, even at the cost of her own life.