How does the boar relate to Katerina. The tragic fate of Katerina in the play by A. I. Ostrovsky "Thunderstorm

Katerina and the boar are two opposite person from one family. The boar is the hostess " dark kingdom". All the characters in this play are either victims of this kingdom, like Tikhon and Boris, or adapted to it, like Varvara and Kudryash. Katerina is one character who has not come to terms with her place in this world.

Katerina is a fragile, tender and open-minded young lady, by no means as defenseless as it seems at first glance. She is strong inside, she is a fighter against this "dark kingdom". Katerina is a girl who is able to stand up for herself, who is capable of much for the sake of her love. But she is alone in this world, and it is hard for her, so she is looking for support. Support, as it seems to her, she finds in Boris. And she strives for him in every possible way, no matter what. She chose him because Boris stood out from all the young people in this city, and also they both had a similar situation. But in the finale, Boris refuses her, and she remains alone against the "dark kingdom" to reconcile and return to the dwelling of the Kabanikh meant not to be herself. Suicide is one way out. Katerina passes away because she does not accept that very world - the world of Kabanikh, Wild, Tikhon and Boris. Kabanikha is a completely different person, she is the opposite of Katerina. She is completely satisfied with the world in which she lives. No one ever dared to argue with her, but then Katerina appears, who does not want to put up with the rudeness, rudeness and cruelty of the Kabanikh. And so Katerina, with her self-esteem, constantly irritates the Kabanikha. A conflict is brewing between Katerina and Kabanikha. The same conflict does not reach the explosion until there was a reason for it. And the reason is Katerina's confession of infidelity to her husband. And Katerina understands that after that her life is over, because then Kabanikha will completely overwrite her. And she decides to commit suicide. After the death of Katerina, Kabanikha remains satisfied, because now no one will resist her. Katerina's death is a kind of protest against this world, the world of lies and hypocrisy, to which she could never get used.

But there is something in common in Katerina and Kabanikha, because they are both able to stand up for themselves, both do not want to put up with humiliation and insult, both have a strong. But their unwillingness to be humiliated and offended manifests itself in different ways. Katerina will never respond to rudeness with rudeness. The boar, on the contrary, will try in every possible way to humiliate, offend, overwrite a person who says something unpleasant in her direction.

Katerina and Kabanikha are different in relation to God. If Katerina's feeling for God is something bright, holy, inviolable and the highest, then Kabanikha's is only an external, superficial feeling. Even going to church for Kabanikh is only to make the feeling of a pious lady on those around her.

The most appropriate comparison between Katerina and Kabanikha is something light and something dark, where Katerina is light and Kabanikha is dark. Katerina is a ray of light in the "dark kingdom". But this "beam" is not enough to illuminate this darkness so much that in the end it fades altogether.

From half a dozen female characters"Thunderstorms" in the foreground, of course, the characters of Marfa Ignatievna Kabanova and her daughter-in-law Katerina. These are two main, in many ways opposite images, which to a large extent form the reader’s and viewer’s view of the whole world, designated by Dobrolyubov as dark kingdom. As you can see, Ostrovsky, unlike Dobrolyubov, does not take Katerina beyond the confines of the patriarchal world; moreover, she is unthinkable without him. Is it possible to imagine Katerina without a sincere and deep religious feeling, without her memories of parental home, in which, it seems, everything is the same as in the Kabanovs' house, but not that, imagine it without its melodious-song language? Katerina embodies the poetic side of the patriarchal way of Russian life, best qualities Russian national character. But the people who surround her are terribly far from her in their spiritual properties, especially Kabanikha. It is worth comparing their words and actions. Kabanikhi's speech is unhurried and monotonous, movements are slow; vivid feelings awaken in her only when the conversation concerns the customs and practices of antiquity, which she fiercely defends. Kabanikha relies in everything on the authority of antiquity, which seems to her unshakable, and expects the same from others. It is a mistake to believe that Kabanikha, like the Wild One, belongs to the type of petty tyrants. Such a “selfish couple” in a drama would be redundant, but Ostrovsky does not repeat himself, each of his images is artistically unique. Wild is psychologically much more primitive than Marfa Ignatievna, he is more consistent with the type of petty tyrant discovered by Ostrovsky in his early plays; Kabanova is much more difficult. None of her demands are dictated by her whim or caprice; it requires only strict observance of the rules established by custom and tradition. These customs and traditions replace legal laws for it, dictate unshakable moral rules. Katerina treats traditions in a similar way, for her these customs and traditions, these rules are sacred, but in her speech and behavior there is no deadness of Kabanikha, she is very emotional, and she also perceives tradition emotionally, as something living and active. Katerina's experiences and feelings are reflected not only in her words - this image is accompanied by numerous author's remarks; with regard to Kabanikhi, Ostrovsky is much less verbose.
The main difference between Katerina and Kabanikha, the difference that separates them into different poles, is that following the traditions of antiquity for Katerina is a spiritual need, and for Kabanikha it is an attempt to find the necessary and only support in anticipation of the collapse of the patriarchal world. She does not think about the essence of the order that she protects, she emasculated from it the meaning, content, leaving only the form, thereby turning it into a dogma. She turned the beautiful essence of ancient traditions and customs into a meaningless ritual, which made them unnatural. It can be said that Kabanikha in The Thunderstorm (as well as Wild) personifies a phenomenon inherent in the crisis state of the patriarchal way of life, and not inherent in it from the very beginning. The deadening effect of boar and wild on living life manifests itself with special obviousness precisely when life forms are deprived of their former content and are already preserved as museum relics. Katerina, on the other hand, represents the best qualities of patriarchal life in their pristine purity.
Thus, Katerina belongs to the patriarchal world - in its original meaning - to a much greater extent than Kabanikha, Dikoy and all the other characters in the drama. artistic appointment the latter - to describe the reasons for the doom to death of the patriarchal world as fully and comprehensively as possible. So, Barbara follows the line of least resistance - adapts to the situation, accepts the "rules of the game" in the "dark kingdom", in which everything is built on deception and visibility. She learned to deceive and seize the opportunity; she, like Kabanikha,

The play by A. N. Ostrovsky "Thunderstorm" was written in 1859. The events of the drama take place in the merchant town of Kalinovo, located on the banks of the Volga, in the first half of the nineteenth century. The work depicts the musty atmosphere of a provincial town with its rudeness, hypocrisy, and the power of the rich. Let's remember famous phrase Kuligina: " Cruel morals, sir, in our city, cruel! The action of the play takes place mainly in merchant's house Kabanov, where we get to know the main characters of the play. The head of this family is Marfa Ignatievna Kabanova. Her son Tikhon, daughter Varvara and daughter-in-law Katerina live in the house with her. Ostrovsky introduces us to the world of the "dark kingdom", trying to show the characters, relationships and laws by which people live in this "dark kingdom". In order to more clearly show these laws and relationships, Ostrovsky contrasts two heroines - Marfa Ignatievna and Katerina.

Despite the fact that Marfa Ignatievna and Katerina grew up and were brought up in merchant families, their characters were formed in completely different ways. In the family where Katerina grew up, love and mutual understanding reigned. Katerina herself told about this: “I lived, didn’t grieve about anything, like a bird in the wild. Mother did not have a soul in me, dressed me up like a doll, did not force me to work; I do what I want, I do it." Such upbringing formed a kind and gentle, but, despite this, an independent character. Probably, Marfa Ignatievna was brought up in completely different conditions. Most likely, since childhood, she experienced the cruelty of merchant morals, their injustice, where everything was subordinated to profit - all this formed a character different from that of Katerina.

Katerina's nature is very poetic. Even in the “dark kingdom” (as the critic N. A. Dobrolyubov called the merchant world), she finds something bright and beautiful for herself. For example, in the chants and poems of wanderers and praying women, in nature, in church service. Possessing great imagination, she created in her dreams a bright world where her dreams come true. This is a world where "the temples are golden, the gardens are somehow unusual, and invisible voices sing all". All this enriches her nature, her ideas about the world.
If Katerina is an impressionable person, then Kabanikha, on the contrary, is a rough and limited nature. She fully trusts the "revelations" of Fek-Lushi, her idea of ​​the world is made up of these stories. Marfa Ignatievna believes the stories about the "fiery serpent" and evil spirit about the near end of the world. She builds her relationships with children according to the laws of power. Kabanikha achieves complete subordination on the part of children. She demands that her daughter-in-law live according to the same laws as everyone around.

But Katerina does not want to obey these laws, for her the main thing in relationships with people is trust, mutual understanding and sincerity. And in this house "everything seems to be from captivity." According to Varvara, you could do whatever you want, as long as everything was “sewn and covered”. This atmosphere of lies and hypocrisy in the house was created by Kabanikha herself. All this submissiveness of a mother on the part of her children is only an appearance and a lie. When Marfa Ignatyevna reads instructions to Tikhon before leaving for Moscow, he agrees with her, although he himself is only waiting to get away and walk around to his heart's content. And Katerina gives advice so that she “misses past her ears” what her mother says. And Katerina admits that she does not know how to lie and does not want to pretend. But Kabanikha demands at least visible submission, forcing Katerina to howl on the porch (so that the neighbors can see how the wife is “killed” by her husband). And when Katerina hugs her husband, Kabanova shouts: “What are you hanging around your neck, shameless, bow at your feet!” But none of its requirements is dictated by whim or caprice, it requires only strict observance of the orders established by customs and traditions, these customs and traditions replace legal law for it, dictate unshakable moral rules. Katerina treats traditions in a similar way, for her they, these rules, are sacred. But in her speech and behavior there is no trace of the deadness of Kabanikha, she is very emotional, and she also perceives tradition as something alive.

Sincerity, inability to lie and pretend lead Katerina to death. She cannot and does not want to hide her love for Boris: “Let everyone know, let everyone see what I am doing! If I was not afraid of sin for you, will I be afraid of human judgment?

The boar cannot understand or accept Katerina's behavior. She believes that for a daughter-in-law, death is not enough for this. Even when Katerina was already dead, Marfa Ignatievna cannot forgive her, she is so saturated with malice. Next to this hardness of heart, Katerina's nature seems especially soft, responsive. Katerina takes care of the poor, and for the poor she was even going to buy fabrics, sew clothes and distribute them to them. She loves children very much, calls them angels. However, in this "dark kingdom" her kindness and conscientiousness become her misfortune. Having fallen in love with Boris, she faces betrayal. Boris leaves her here, does not take her with him, but she forgives him, because her love is selfless. Katerina apologizes to Boris for having to leave the city because of her.

Kabanikhe also knows the feeling of love. For example, she talks about her love for children, but this love is very selfish and brings only misfortune to her children. Tikhon has turned into a completely weak-willed creature, and Varvara is forced to flee from home.
Kabanikha is confident in the inviolability of the laws and orders that she defends. She cannot live without these old ways. “I don’t know what will happen, how the old people will die, how the light will stand,” she complains. Therefore, when something new invades her life, she tries to either destroy this new one or is filled with hatred for it. For example, when Feklusha tells her about a new invention - a steam locomotive, she exclaims: "But even if you shower me with gold, I won't go." This new one, which she so fears and hates, invades her house in the form of Katerina and does not want to obey the rules by which the "dark kingdom" lives.

And Tikhon no longer obeys his mother so unquestioningly. Kabanikha considers Katerina to be the culprit of all this, which is why he hates her so much. Katerina, in contrast to Kabanikha, understands that it is impossible to live according to the laws by which the "dark kingdom" lives. She tries her best to oppose these rules. She counters the rude reproaches and demands of Kabanikh with self-esteem. According to Dobrolyubov, Katerina's character is not rebellious, but loving, creative. But he remains so until her self-esteem is mocked, then she is capable of rebellion. Love for Boris opened her eyes to the world. For the time being, she "tolerated" Kabanikha, because she understood that if she was openly confronted, it would be even worse. But then she realized that it is better to die than to live like this. After saying goodbye to Boris, she decides what to do next: “Where to now? Go home? No, I don't care whether I go home or go to the grave... I don't care... People are disgusting to me, and the house is disgusting to me, and the walls are disgusting! I won't go there!"

This love pushes her to an active protest. She decides to rush into the Volga. For her, the thought is terrible that they can bring her home by force: “But they will catch me and bring me back home by force ... Oh, hurry, hurry!” This protest does not cause understanding in Kabanikh, but only new anger. “Crying about her is a sin!” she exclaims, looking at the dead Katerina.

Ostrovsky introduces these two absolutely opposite images into the play in order to show that the "dark kingdom" is not eternal. There are people who can resist this world. And the more such people, the less likely that the "dark kingdom" will live. The boar is afraid of everything new, because she feels that it can destroy the moral principles by which the boar has lived all her life, and with them the entire “dark kingdom”. Throughout the play, we constantly oppose the two heroines. Kabanikha is the embodiment of the deadening principles of being, while Katerina represents the best qualities of patriarchal life in their pristine purity.