Was there another way for Katerina essay. Was there another way for Katerina? Several interesting essays

Katerina Kabanova - the heroine of the drama by A.N. Ostrovsky "Thunderstorm"
A wonderful woman, who was married to Tikhon, a weak and weak-willed man, unable to resist the iron will and despotism of his mother, Marfa Ignatievna Kabanova, who constantly mocks Katerina, is being driven out of the white light.
The action takes place in the city of Kalinov, the “dark kingdom”.
In this city there live people who are incapable of appreciating beauty, who demand complete submission, who are evil, deceitful, and mean-spirited in their essence.
That's the majority.
Katerina is one of the few who can resist this.
She is a sensitive nature, alive, capable of love, truly feeling.
With all her being, Katya strives to resist the “cruel morals” of the city.
She was happy in her parents’ home and treated her mother with great trepidation and love, “doting on her.”
“The Thunderstorm” is Ostrovsky’s highest achievement in the pre-reform years (1859)
The central conflict of the play, conceived as a social drama, gradually reaches true tragedy. This happens thanks to the image of Katerina Kabanova.
Katerina is a pure, bright nature, she loves and feels life absolutely sincerely.
Books, candles, icons - the world that Katya loved. This is a person with high spirituality and spiritual purity.
This is in herself, and the rest of the world, vicious, people living in darkness, complete darkness of their self-interest, baseness. She was too beautiful for them, for the world in which she was forced to exist.
Most of all, Katerina herself needed support, support, she is tender, fragile, like a flower, gentle, defenseless, her vulnerable soul cannot withstand rough treatment.
Previously, her mother was such a support for her.
Katya lived in her own little world, where she felt calm, warm, and comfortable.
In care, affection and love.
In marriage she loses everything. Her old world is destroyed, and the new one is too cruel, gloomy, and gloomy for her.
There is nothing in it. From her husband’s side, she receives nothing but a heightened sense of loneliness. Emptiness, cold, pain.
Katya is slowly dying. Her soul is fading.
The life of a “bird in a cage” disgusts her.
Fly away, run away, soar high into the skies as a proud and free bird, not chained to foundations and traditions, to which any renewal is alien.
She needs freedom like air, but she can’t breathe. The only salvation is in prayers, in turning to God.
I see how Katerina, praying, remembers that cheerful, carefree and happy time when you are young, you enjoy every day, moment, second, you breathe deeply and feel free, from prejudice, suffering, pain, where you are understood and loved.
Katya lives in the past, but this makes her soul groan.
She wants to be happy with her husband, to love him, but she cannot.
Katya meekly tries to come to terms with “Kabanov’s morals,” but the desire to be free is stronger.
Boris is like a saving straw for an unhappy woman; she grabs onto it in order to survive.
Passion takes over her completely. She plunges into the pool, she asks the Lord for help to get out of it, but she cannot overcome the temptation.
She needed the support of her husband and mother-in-law, but none of them supported her.

I think that for Katya there was another way, without fear and reproach, and this was not suicide.
You just need to stop feeling like a victim, not look for support and support in others, wait for someone to come and help, but become your own support. After all, her rich inner world can give her both strength and freedom.. You just need to not run away and look for support in Boris as salvation, living in the past or feeling sorry for yourself.
Confront the “dark kingdom” of Kalinov, Kabanikha and Dikiy, destroy all that evil that has subjugated the city.
Katerina is a very strong personality, but her trouble is that she does not realize this.
First of all, you need to listen to yourself, your heart, soul and not depend on external circumstances, they are not able to break and conquer, I think Katerina did this herself.
His excessive impressionability, sometimes bordering on madness, his fanatical religiosity, his resignation to fate, hope, faith, in someone, but not in himself.
Katya could not give herself over to her feelings for Boris, although it captured her completely.
I could not reveal my inner potential, my amazing abilities to subtly feel, love, feel harmony with nature and with God.
Katerina is a great woman, a great person.
They say about such people, “kissed by the Lord.”
Beautiful. Be like this, flowers, in the lives of your beloved men.
And only love, light, a “ray” of the sparkling light of the soul, coming from the depths of you, illuminates your path in any, even the “darkest” kingdom. Shine for your loved ones. Be happy. And never renounce your feelings, because that’s exactly what Katerina did when she couldn’t find a way out, find the strength to treat your loved ones with kindness and affection, so that they too feel: you love.

The main character of the drama is Katerina, a young woman, Kabanikha’s daughter-in-law. Katerina is an integral nature, brought up by the Volga expanse. In her character, the playwright emphasized the awakening of consciousness, a sincere deep feeling of love and independence, tenderness, love of beauty and an irresistible attraction to a harmonious and happy life. These character traits do not allow her to come to terms with despotism and lies; she organically cannot tolerate those house-building orders that contradict the natural needs of man, enters into a tragic conflict with them, wages a persistent unequal struggle as far as she can, and finally dies in the waters of the Volga, unhappy, but not giving up.

The image of Katerina is depicted realistically and embodies the essential character traits of a Russian woman on the eve of the liberation reform. The development of Katerina’s character is so naturally and vividly presented that it accurately conveys to us the story of the terrible, tragic life that fell to the lot of a powerless woman in old Tsarist Russia.

Since childhood, Katerina has been brought up in the spirit of religion and obedience. She was given in marriage to Tikhon Kabanov without her consent and without love. She was too young and did not understand this feeling. It all happened as if in a dream. She did not dare to resist her parents and decided to endure rather than cause trouble for her family. In Kabanova’s house, Katerina did not receive a humane attitude from either her husband or her mother-in-law. On the contrary, she was forbidden to have her own judgment, her own feeling, and in material terms she was directly dependent on her mother-in-law. Soon she develops a longing for happiness and love, a desire to find a response in the heart of a loved one.

“At night, Varya, I can’t sleep,” she says, “I keep imagining some kind of whisper: someone speaks to me so affectionately, like a dove cooing. I don’t dream, Varya, as before, of paradise trees and mountains, but as if someone is hugging me so warmly, warmly and leading me somewhere and I follow him, I go.”
As a child, Katerina loved to dream romantically. This romanticism was supported in her by religion and a painfully poor, monotonous life. Her imagination worked tirelessly and carried her into some kind of poetic world. Harsh reality, the senseless ravings of wanderers turned into golden temples and extraordinary gardens for her. Later we see how a gloomy and sorrowful life sobers her up and leads her to a real view. Finding herself in the dungeons of the Kabanovsky house, Katerina did not put up with humiliation and was eager for light, air, she wanted to indulge in a dream, look at the Volga, admire nature, but she was kept in captivity, her aspirations were trampled upon. At first, as before, she seeks an answer and support in religion, but no longer finds consolation in it, and cannot imagine an ideal world with the same clarity.

“Some kind of dream comes into my head. I won't leave her anywhere. If I start to think, I won’t be able to collect my thoughts; I’ll pray, but I won’t be able to pray. I babble words with my tongue, but in my mind it’s not at all like that: it’s as if the evil one is whispering in my ears.”
Katerina matured and developed a real outlook on life. She understands that the Kabanovs’ house is the same prison; She is disgusted with her husband because he is under his mother’s shoe and lives an animal life without any aspirations. “How can I love you,” she directly declares to Tikhon. And she will say to Varvara about Tikhon: “And in freedom, he seems to be tied up.” At first, Katerina, being captive of traditions, was afraid of new thoughts, worried about the future, and tried to restrain her impulses. But the passion that gripped her turned out to be higher than everything: she sincerely fell in love with Wild Boris’s nephew and decided to leave Kabanova’s house. She fell in love with Boris because he is not like others, he is humane, he can be a friend who recognizes the right of human dignity for others.

The tragedy of Katerina’s situation is aggravated by the fact that she, breaking the shackles of false morality, could not finally overcome in herself those traditions that religion and upbringing had instilled in her and which paralyzed and weakened her struggle. She was instilled with some kind of fear from childhood. Her life is filled with contradiction: now she boldly takes a new step, now she cries and prays. For every thought she expects some kind of punishment, she is afraid; It seems to her that the thunderstorm will kill her like a criminal. This fear is supported by those around her. Feklusha scares her with stories about the end of the world, and she is terrified by a half-crazed lady who threatens her with a stick: “You will all burn in unquenchable fire.”

But her love of freedom kindles in her hatred of the world of inertia and lies. “Who has fun in captivity? Even though I live now, I struggle, I don’t see any light,” she says. And in her actions she went so far that she could no longer return to her previous position. If you can’t enjoy the sun, joy, love, then she doesn’t want to live. When they learned about her connection with Boris and when Boris left Kalinov, Katerina tragically experienced loneliness and came to the thought of death. These are the words the playwright conveyed her mood in the last monologue:
“Where to now? Should I go home? No, I'm going home, I'm going to the grave!.. I'm going to the grave! It’s better in the grave... There’s a grave under the tree... how nice... But I don’t even want to think about life. Live again? No, no, don't... Not good! But people are disgusting to me, and the house is disgusting to me, and the walls are disgusting.”
Katerina did not want to live in slavery and preferred death to life.

Was there another way for Katerina?

The play “The Thunderstorm,” which was written by Ostrovsky in 1859, is one of the author’s most popular. Such success of the work is not at all surprising. The drama described a completely new female character, which was distinguished by strength and depth. The heroine seemed to personify a protest against the stuffy and musty world, where the patriarchal way of life reigned, according to the laws of which almost all of Rus' of that time lived. In fact, Katerina’s actions can hardly be called a conscious protest. The whole point is that “dark

kingdom” (as the Dobrolyubov world called it) considers any movement of the soul as a challenge. The forces turned out to be unequal, and in the end it all ended in the suicide of the main character. But death in the play was the beginning of Katerina’s immortality. The play, like 150 years ago, evokes a lively response from readers, and one of the most discussed questions remains: did Katerina have a different path? ­
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If you analyze the situation in which the heroine finds herself, you can consider several ways out of it.
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The path that Katerina herself dreamed of is connected with her beloved, Boris. For her, such a way out of the situation would be just a fairy tale. But Boris turned out to be a bad prince, and this fairy tale did not come true - her chosen one turned out to be too weak-willed and selfish. He leaves for Siberia without her, which completely broke Katerina.
­
Another option is to leave Tikhon. This path seems quite natural to modern people, but in those days, obtaining a divorce was accompanied by a large number of bureaucratic costs, and Katerina would have had to endure all possible humiliations. This process would take a very long time. In addition, by this act she would have completely dishonored her own name and would have taken on a great sin on her soul, since then marriages were actually concluded before God.
­­ ­
For her, salvation could be the religious path. She would become a nun and devote herself and her whole life to God, with whom all the happy moments of childhood were associated. But a married woman would never be accepted into a monastery. If they found out that she was married, they would definitely return her to her husband.

The fourth option is a path in which everything would remain as it was. She would also live with Tikhon and her mother-in-law, listening to everyday insults and reproaches from the latter. But in this case, the freedom-loving and sensitive Katerina would simply soon go crazy, especially in the absence of the support of her weak-willed husband.

So, having considered all possible options, we can conclude that Katerina’s death was natural, and it was the only possible way out for the girl. But this decision speaks not of weakness, but of the strength of her personality. She did not seek compromises with the world around her and with her conscience, but acted as her heart told her.

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The play “The Thunderstorm,” which was written by Ostrovsky in 1859, is one of the author’s most popular. Such success of the work is not at all surprising. The drama described a completely new female character, which was distinguished by strength and depth. The heroine seemed to personify a protest against the stuffy and musty world, where the patriarchal way of life reigned, according to the laws of which almost all of Rus' of that time lived. In fact, Katerina’s actions can hardly be called a conscious protest. The whole point is that the “dark kingdom” (as the world of Dobrolyubov called it) considers any movement of the soul as a challenge. The forces turned out to be unequal, and in the end it all ended in the suicide of the main character. But death in the play was the beginning of Katerina’s immortality. The play, like 150 years ago, evokes a lively response from readers, and one of the most discussed questions remains: did Katerina have a different path? ­

If you analyze the situation in which the heroine finds herself, then you can consider several ways out of it... The path that Katerina herself dreamed of is connected with her beloved - Boris. For her, such a way out of the situation would be just a fairy tale. But Boris turned out to be a bad prince, and this fairy tale did not come true - her chosen one turned out to be too weak-willed and selfish. He leaves for Siberia without her, which completely broke Katerina.

Another option is to leave Tikhon. This path seems quite natural to modern people, but in those days, obtaining a divorce was accompanied by a large number of bureaucratic costs, and Katerina would have had to endure all possible humiliations. This process would take a very long time. In addition, by this act she would have completely dishonored her own name and would have taken on a great sin on her soul, since then marriages were actually concluded before God.

For her, salvation could be the religious path. She would become a nun and devote herself and her whole life to God, with whom all the happy moments of childhood were associated. But a married woman would never be accepted into a monastery. If they found out that she was married, they would definitely return her to her husband.

The fourth option is a path in which everything would remain as it was. She would also live with Tikhon and her mother-in-law, listening to everyday insults and reproaches from the latter. But in this case, the freedom-loving and sensitive Katerina would simply soon go crazy, especially in the absence of the support of her weak-willed husband.

So, having considered all possible options, we can conclude that Katerina’s death was natural, and it was the only possible way out for the girl. But this decision speaks not of weakness, but of the strength of her personality. She did not seek compromises with the world around her and with her conscience, but acted as her heart told her.