The spiritual world of Katerina in the drama thunderstorm. Katerina's emotional drama in the play "Thunderstorm"

The emotional drama of Katerina (based on the play by A.N. Ostrovsky “The Thunderstorm”)

Character consists of the ability to act on 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-like deathly silence. And even if a senseless murmur appears, it dies away at its birth. The critic N.A. Dobrolyubov titled 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 the desire to live with dignity cannot be destroyed in a person.

“...Who will be able to throw a ray of light into the ugly darkness of the dark kingdom?” - asks Dobrolyubov. The answer to this question was new play playwright "The Thunderstorm".

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

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

In this world there is no free people! Neither tyrants nor their victims are such. Here you can deceive, like Varvara, but you cannot live according to truth and conscience without betraying your soul.

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

In Katerina’s house there were always many pilgrims and praying mantises, whose stories (and the whole situation in the house) made her very religious, sincerely believing in the commandments of the church. It is not surprising that she perceives her love for Boris as a grave sin. But Katerina is a “poet” in religion. She is endowed with a vivid imagination and dreaminess. Listening to various stories, it is as if she sees them in reality. 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 secluded life, and the lack of outlet for her extraordinary sensitivity had a negative impact on her character. Therefore, when during a thunderstorm she heard the curses of the crazy lady, she began to pray. When she saw a drawing of “fiery hell” on the wall, her nerves could not stand it, and she confessed to Tikhon her love for Boris.

But religiosity even somehow sets off such traits of the heroine as the desire for independence and truth, courage and determination. Tyrant Wild and Kabanikha, 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 sometimes allows him to go on a spree for a few days, with her beloved Boris, who is 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 couldn’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 entire system, she does not even think about it. But the “dark kingdom” is structured in such a way that any manifestation of independence, independence, and personal dignity is perceived by him as a mortal sin, as a rebellion against the foundations of the rule 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 moral victory over the “dark kingdom” that fetters her freedom, will, and reason. Suicide, according to the teachings of the church, is an unforgivable sin. But Katerina is no longer afraid of this. Having fallen in love, she declares to Boris: “If I was not afraid of sin for you, will I be afraid human court? And her last words were: “My friend! My joy! Goodbye!"

You can justify or blame Katerina for her fatal decision, but you cannot help but admire the integrity of her nature, her thirst for freedom, and her determination. Her death shocked even such downtrodden people as Tikhon, who to his face blames his mother for the death of his wife.

This means that Katerina’s act was truly “a terrible challenge to tyrant power.” This means that in the “dark kingdom” bright natures are capable of being born, who can illuminate this “kingdom” with their life or death.

Bibliography

To prepare this work, materials were used from the site http://www.ostrovskiy.org.ru/

Katerina – central character Ostrovsky's play "The Thunderstorm". Since its writing, the work has enjoyed enormous popularity. Performances based on the play never leave the stage largest theaters. main reason such popularity lies in the author’s talented disclosure of Katerina’s character.

The inevitable conflict with others and the emotional drama of the main character leads to her tragic death.

In the image of Katerina, Ostrovsky portrayed a strong independent personality held back by chains traditional society. The patriarchal way of life, which everyone in the city adheres to, stifles the slightest manifestations of the living soul. His main supporter is Tikhon’s mother. She raised her son in conditions of unquestioning obedience. Tikhon in his soul understands the stupidity of his mother’s instructions, but he does not have the will to resist her.

Katerina sincerely loves and pities her husband. She cannot look at his humiliation in front of his mother with indifference. But she is not able to fix anything. The stuffy atmosphere that reigns in the city gradually takes over her. Katerina unconsciously wants to break out of it.

Katerina’s emotional drama lies in the fact that in other conditions she would never have cheated on her husband. But in this “sleepy kingdom” she is too cramped, she is suffocating from such a life. In the famous monologue of the main character “Why don’t people fly” this is most clearly expressed spiritual aspiration. The fantastic desire to become a bird and fly “far, far away” is a passionate impulse of a tormented soul.

In reality, Katerina's liberation occurred as a result of her sudden love for Boris. The woman's decency did not allow her to speak openly about it. The rapprochement occurred with the assistance of Varvara. The affair with Boris, on the one hand, inspired Katerina and allowed her to feel real pleasure in life. On the other hand, this novel became disastrous for the main character.

The image of Katerina is extremely tragic. She cannot be considered a fallen woman who betrayed her husband for the sake of a fleeting hobby. The betrayal occurred due to the fault of an old woman who had lost her mind and her weak-willed son. The time spent without my husband flashed by in an instant. Katerina anticipates inevitable retribution for her terrible sin. She could easily hide all this, but, being a deeply religious person, she does not even allow the thought of deception.

Katerina's mental turmoil worsens with the arrival of Tikhon. She lives as if in delirium, frightening those around her with her behavior and words. Katerina awaits divine punishment for her sinful behavior. The feeling of impending death leads her to make a terrible confession to her husband and his mother. By admitting her sin, she seems to cleanse her soul before death. Katerina’s suicide is a natural outcome of the work. Her spiritual drama could not be resolved any other way.

Katerina is an excellent example of a strong spiritual personality. She is not to blame for either the betrayal or her own death. Ostrovsky convincingly showed the destructive impact that outdated concepts and prejudices have on the human soul. Katerina's emotional drama is indicative of any historical era.

Several interesting essays

• The benefits and harms of the Internet essay reasoning essay

  The Internet has appeared in our Everyday life relatively recently, but this did not prevent it from firmly taking root in many areas of activity and becoming a technology that is used by almost half of

• Essay My favorite fairy tale The Frog Princess 5th grade

  All of us from the very early childhood heard many fairy tales. Most of There is always an instructive lesson from them. It happens that in some fairy tales this lesson need to search

• Analysis of the fight between Mtsyri and the leopard

  Analyzing the poem “Mtsyri” by M. Yu. Lermontov, the first thing that comes to mind is the fight between the main character and the leopard. This episode in the work is key and fully reveals its meaning - freedom is more valuable than life in captivity.

• Essay How we once sculpted a snow woman, grade 5

  Winter is that time of year that every person waits with a certain trepidation and anticipation. The children hope that winter will bring a lot of snow, new year holidays with gifts

• Characteristics and image of Vozhevatov in the play Dowry by Ostrovsky essay

  One of the main characters of the play “Dowry” by A. N. Ostrovsky is Vasily Danilych Vozhevatov. The young man is a representative of a very wealthy European company, he likes to dress in European style

SOUL
KATERINA'S DRAMA

Character consists of 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-like deathly silence. And even if a senseless murmur appears, it dies away at its birth. The critic N.A. Dobrolyubov titled 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 the desire to exist with dignity cannot be destroyed in a person.

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

Written in 1860, the play, both in its spirit and in its title, seemed to symbolize the process of renewal of society, which was shaking off the torpor of tyranny. The 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 of the internal struggle that began in the dark life of a merchant.

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

There are no free people in this world! Neither tyrants nor their victims are such. Here you can deceive, like Varvara, but you cannot exist in truth and conscience, without betraying your soul.

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

In Katerina’s house there were always many pilgrims and praying mantises, whose stories (and the whole situation in the house) made her very religious, sincerely believing 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 to various stories, it is as if she sees them in reality. She often dreamed of 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 secluded life, and the lack of outlet for her extraordinary sensitivity had a negative impact on her character. Therefore, when during a thunderstorm she heard the curses of the crazy lady, she began to pray. When she saw a drawing of “fiery hell” on the wall, her nerves could not stand it, and she confessed to Tikhon her love for Boris.

But religiosity, moreover, somehow sets off such traits of the heroine as the desire for independence and truth, courage and determination. Tyrant Wild and Kabanikha, 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, who is 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 entire system; moreover, she does not think about it. But the “dark kingdom” is structured in such a way that any manifestation of independence, independence, and personal dignity is perceived by him as a mortal offense, as a rebellion against the foundations of the rule 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, this is a moral victory over the “dark kingdom” that fetters her freedom, will, and reason. 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 was not afraid of sin for you, will I be afraid of human judgment?” And her last words were: “My friend! My joy! Goodbye!"

“Why do living, creative, kind and decent people painfully retreat before the shapeless gray mass that fills the world?” - this phrase would become a wonderful epigraph to one of Ostrovsky’s works. The conflict of the tragedy is realized at several levels. Firstly, the playwright showed the flawed nature of the established order, the conflict between the patriarchal system and the new, free life. This aspect is realized at the level of such characters as Kuligin and Katerina. In short, the existence, and even more so the coexistence of feeling, fair people, striving for spiritual enrichment and honest work is impossible next to the angry, deprived and deceitful inhabitants of Kalinov. Moreover, it is necessary to make a reservation that Kalinov is a fictional space, which means the space becomes conditional. Secondly, Katerina’s emotional drama in “The Thunderstorm” is shown.

In this case, we are talking about conflict within the character. These types of conflicts are always interesting, because contradictions make images alive and multifaceted. Ostrovsky managed to create a character that caused completely opposite opinions among critics. Dobrolyubov called main character plays "a ray of light in dark kingdom"and sincerely believed that Katerina embodied the most best qualities Russian person. But Pisarev entered into a debate with Dobrolyubov, saying that Katerina’s problems were far-fetched and solvable. However, both critics were somehow interested in the emotional drama of Katerina Kabanova.

Katya lives with her husband, his sister and mother-in-law. The family appears on stage for the first time in this composition. The fifth phenomenon begins with a conversation between Marfa Ignatievna and her son. Tikhon supports his mother in everything, agrees even with outright lies. Katya's husband, Tikhon Kabanov, is a weak and weak-willed person. He is tired of his mother’s hysterics, but instead of expressing his opinion at least once or protecting his wife from cruelty and evil words, Tikhon goes to have a drink with Dikiy. Tikhon looks like an adult child. He loves Katya because he feels in her inner strength, but his feelings are not mutual: Katya feels only pity for Tikhon.

Varvara seems to be the only person who is at least somehow interested in Katerina. She worries about Katya and tries to help her. However, Varvara does not understand how subtly Katerina feels this world, Varvara is practical, she does not understand why it is so difficult for Katerina to learn to “tell a white lie,” why Katya wants to become a bird, why she feels approaching death.

Katya herself appreciates the moments when she manages to be alone. She regrets that she does not have children, because then she would love and care for them. The happiness of motherhood would allow Katya to realize herself as a woman, as a mother and as a person, because she would be in charge of raising her. Katya's childhood was carefree. She had everything she could dream of: loving parents, going to church, freedom and a sense of life. Before her marriage, Katya felt truly alive, and now she dreams of becoming a bird in order to fly away from this place, which deprived the girl of her inner lightness.

So, Katya lives in a house with a mother-in-law who is prone to tyranny and manipulation, and a husband who obeys his mother in everything, cannot protect his wife, and loves to drink. In addition to this, there is no person around the girl with whom she could share her experiences, who would not just listen to her, but would hear her. Agree, it is quite difficult to live in such an environment, considering that education and self-esteem do not allow one to respond to aggression with aggression.

The situation gets worse with the appearance of Boris, or rather, Katya’s feelings for Boris. The girl had a huge need to love and give her love. Perhaps in Boris Katya saw someone to whom she could give her unrealized feelings. Or she saw in him an opportunity to finally be herself. Most likely, both. The feelings of young people flare up suddenly and develop rapidly. It was very difficult for Katerina to decide to meet with Boris. She thought for a long time about her husband, about her feelings towards Tikhon, about what everything could lead to. Katya rushed from one extreme to another: either resign herself to being unhappy family life, forgetting Boris, or divorce Tikhon in order to be with Boris. And yet the girl decides to go out into the garden where her lover was waiting for her. “Let everyone know, let everyone see what I do! If I wasn’t afraid of sin for you, will I be afraid of human judgment?” - this was Katya’s position. She neglects the laws of Christianity, committing a sin, but the girl is firmly confident in her decision. Katya takes responsibility for her life: “Why feel sorry for me? I went for it myself.” The secret meetings, which lasted ten days, end with the arrival of Tikhon. Katya is afraid that the truth about her betrayal will soon become known to her husband and mother-in-law, so she wants to tell them herself. Boris and Varvara try to persuade the girl to remain silent. A conversation with Boris opens Katya's eyes: Boris is the same person as all those from whom she dreamed of escaping. The collapse of illusions was very painful for Katerina. In this case, it turns out that the exit from “ dark kingdom“No, but Katya can’t live here anymore. Gathering all her strength, Katya decides to end her life.

The emotional drama of Katerina from Ostrovsky’s play “The Thunderstorm” consists of inconsistency real life and desires, in the collapse of hopes and illusions, in the awareness of the hopelessness and immutability of the situation. Katerina could not live in a world of ignoramuses and deceivers; the girl was torn by the contradiction of duty and feelings. This conflict turned out to be tragic.

Work test