The character and characterization of Katerina Kabanova based on the play The Thunderstorm (Ostrovsky A.N.). The image of Katerina in the play "The Thunderstorm" - briefly The image of Catherine

In the play "The Thunderstorm" Ostrovsky creates a completely new female type for his work, a simple, deep character. This is no longer a "poor bride", not an indifferent kind, meek young lady, not "immorality through stupidity." Katerina differs from the previously created heroines of Ostrovsky by the harmony of her personality, strength of mind, and her attitude.

This nature is light, poetic, sublime, dreamy, with a highly developed imagination. Let's remember how she tells Varvara about her life as a girl. Church visits, embroidery, prayers, pilgrims and pilgrims, wonderful dreams in which she saw "golden temples" or "extraordinary gardens" - this is what makes up Katerina's memories. Dobrolyubov notes that she "tries to comprehend and ennoble everything in her imagination ... Rough, superstitious stories turn into golden, poetic dreams with her ...". Thus, Ostrovsky emphasizes the spiritual principle in his heroine, her desire for beauty.

Katerina is religious, but her faith is largely due to her poetic outlook. Religion is closely intertwined in her soul with Slavic pagan beliefs, with folklore concepts. So, Katerina yearns that people do not fly. “Why don't people fly! .. I say: why don't people fly like birds? You know, sometimes it seems to me that I am a bird. When you stand on a mountain, you are drawn to fly. So I would have scattered, raised my hands and flew. Nothing to try now? " She says to Varvara. In her parents' house, Katerina lived like a “bird in the wild”. She dreams of how she flies. Elsewhere in the play, she dreams of becoming a butterfly.

The theme of birds introduces into the narrative the motive of bondage, cells. Here we can recall the symbolic rite of the Slavs to release birds out of their cages. This ceremony was carried out at the very beginning of spring and symbolized "the liberation of spontaneous geniuses and souls from the bondage in which they languished, imprisoned by the evil demons of winter." At the heart of this rite is the belief of the Slavs in the ability to reincarnate the human soul.

But the theme of birds also sets the motive for death here. So, in many cultures, the Milky Way is called the "bird's way", because "the souls ascending along this road to heaven appeared to be light-winged birds." Thus, already at the beginning of the play, there are motives that serve as signs of the tragic fate of the heroine.

Let's analyze the character of Katerina. This is a strong nature, possessing self-esteem. She finds it unbearable in the Kabanikha house, where “everything seems to be out of bondage,” the endless reprimands of her mother-in-law, the stupidity and weakness of her husband are unbearable. In the house of Marfa Ignatievna, everything is built on lies, deceit, obedience. Hiding behind religious commandments, she demands complete obedience from her household, their observance of all house-building norms. Under the pretext of moral sermons, Kabanikha methodically and consistently humiliates household members. But if the children of Marfa Ignatievna in their own way "adapted" to the situation in the house, finding a way out in silence and lies, then Katerina is not like that.

“I don’t know how to deceive; I can’t hide anything, ”she says to Varvara. Katerina does not want to endure unreasonable insults from her mother-in-law. "Someone is pleased to put up with vain!" - she says to Martha Ignatievna. When Tikhon leaves, Kabanikha notices that "a good wife, after seeing her husband off, howls for an hour and a half." To which Katerina replies: “There is nothing! And I don't know how. To make people laugh. "

It is possible that Kabanova's constant attacks on her daughter-in-law are also connected with the fact that subconsciously she feels in Katerina a significant, strong character, capable of resisting her mother-in-law. And in this Marfa Ignatievna is not mistaken: Katerina will endure only up to a certain point. “Eh, Varya, you don’t know my character! Of course, God forbid this to happen! And if I am very disgusted with me, they will not 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 don’t want to, even if you cut it! " - she confesses to Varvara.

She tells Varvara about a characteristic event from her childhood: “... I was born so hot! I was still six years old, no more, so I did! They offended me with something at home, but it was towards 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 ten miles away! " In this story, the motives of the Slavic pagan culture are guessed. As noted by Yu.V. Lebedev, “this act of Katerina is consistent with the people's dream of truth and truth. In folk tales, the girl turns to the river with a request to save it, and the river shelters the girl in its banks. " Compositionally, Katerina's story precedes the play's finale. The Volga for the heroine is a symbol of will, space, free choice.

Longing for will merges in Katerina's soul with a thirst for true love. At first she tries to remain faithful to her husband, but there is no love in her heart, and Tikhon does not understand her, does not feel the state of his wife. She also cannot respect her husband: Tikhon is weak-willed, not particularly smart, his spiritual needs are limited to drinking and the desire to "take a walk" in the wild. But Katerina's love is a selective feeling. She loves Boris Grigorievich, Dikiy's nephew. This young man seems to her to be kind, intelligent and well-mannered, he is so different from those around him. His image is probably associated in the soul of the heroine with a different, "non-Kalinovskaya" life, with other values, to which she subconsciously strives.

And Katerina secretly meets with him while her husband is away. And then she begins to torment herself with the consciousness of a perfect sin. Here, in The Thunderstorm, an internal conflict arises, allowing critics to talk about the tragedy of the play: Katerina's actions not only seem sinful to her from the point of view of the Orthodox religion, but also diverge from her own ideas about morality, about good and evil.

The motive of the inevitable suffering of the heroine, which arises in the context of her character and attitude, also gives the play a tragic character. On the other hand, readers see Katerina's suffering as undeserved: in her actions she realizes only the natural needs of the human person - the desire for love, respect, the right to discriminate feelings. Therefore, Ostrovsky's heroine evokes a feeling of compassion in readers and viewers.

The concept of "duality of a tragic act" (horror and pleasure) is also preserved here. On the one hand, Katerina's love seems to her to be a sin, something terrible and terrible, on the other hand, it is an opportunity for her to feel happiness, joy, fullness of life.

Tormented by the consciousness of her own guilt, the heroine publicly confesses what she had done to her husband and mother-in-law. Katerina repents in everything in the city square, during a thunderstorm. It seems to her that thunder is God's punishment. The thunderstorm in the play is a symbol of the heroine's purification, catharsis, which is also a necessary element of the tragedy.

However, the internal conflict here cannot be resolved by the recognition of Catherine. She does not receive the forgiveness of the family, the Kalinovites, does not get rid of the feeling of guilt. On the contrary, the contempt and reproaches of those around her maintain this feeling of guilt in her - she finds them just. However, if those around her forgave, pity her - the feeling of burning shame that possesses her soul would be even stronger. This is the insolubility of Katerina's internal conflict. Unable to reconcile her actions with her feelings, she decides to commit suicide, rushes into the Volga.

Suicide, from the point of view of the Orthodox religion, is a terrible sin, but the key concepts of Christianity are love and forgiveness. And this is exactly what Katerina thinks about before she dies. “It's all the same that death comes, that it itself ... but you can't live! Sin! Will they not pray? He who loves will pray ... "

Of course, external circumstances were also reflected in this act - Boris turned out to be a timid, ordinary person, he is not able to save Katerina, give her the desired happiness, in fact, he is not worthy of her love. The image of Boris Grigorievich, unlike the local inhabitants, in Katerina's mind is nothing more than an illusion. And Katerina, I think, feels it during her last meeting with him. And the stronger becomes for her the awareness of her own wrongness, bitterness and disappointment in love itself.

It is these feelings that enhance the tragic attitude of the heroine. Undoubtedly, Katerina's impressionability, exaltation, and her unwillingness to put up further with the cruelty of the surrounding world, with the tyranny of her mother-in-law, and the inability to continue to follow Kalinov's morality - to live without love, are reflected here. “If she cannot enjoy her feeling, her will completely legitimately and sacredly, in broad daylight, in front of all the people, if what she has found and what is so dear to her is torn from her, then she does not want anything in life, she and life does not want to. The fifth act of The Thunderstorm is the apotheosis of this character, so simple, deep and so close to the position and heart of every decent person in our society, ”Dobrolyubov wrote.

2. The image of Katerina in the play "The Thunderstorm"

Katerina is a lonely young woman who lacks human sympathy, sympathy, and love. The need for this attracts her to Boris. She sees that outwardly he does not look like other residents of the city of Kalinov, and, not being able to find out his inner essence, considers him a man of another world. In her imagination, Boris appears as a handsome prince who will take her away from the “dark kingdom” to the fairy-tale world that exists in her dreams.

In terms of character and interests, Katerina stands out sharply from her environment. Unfortunately, the fate of Katerina 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's son Tikhon Kabanov. She recently left her home and moved to her husband's house, where she lives with her mother-in-law Kabanova, who is the sovereign mistress. In the family, Katerina has no rights, she is not even free to dispose of herself. With warmth and love, she recalls her parental home, her maiden life. There she lived at ease, surrounded by the affection and care of her mother .. The religious upbringing that she received in the family developed in her impressionability, daydreaming, faith 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 dependence on her mother-in-law, endured humiliation and insults. On the part of Tikhon, she does not meet any support, much less understanding, since he himself is under the rule of Kabanikha. By her kindness, Katerina is ready to treat Kabanikha like her own mother. "But Katerina's sincere feelings are not supported by either Kabanikha or Tikhon.

Living in such an environment changed Katerina's character. Katerina's sincerity and truthfulness collide in Kabanikha's house with lies, hypocrisy, hypocrisy, rudeness. When love for Boris is born in Katerina, it seems to her a crime, and she struggles with the feeling that has washed over her. Katerina's truthfulness and sincerity make her suffer so much that she finally has to repent before her husband. Katerina's sincerity, her 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, determination. But after repentance, her position became unbearable. Her husband does not understand her, Boris is powerless and does not go to her aid. The situation has become hopeless - Katerina is dying. Katerina's death is not to blame. 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 of great educational value for Ostrovsky's contemporaries and for subsequent generations. He called for the fight against all forms of despotism and oppression of the human personality. an expression of the growing protest of the masses against all forms of slavery.

Katerina, sad and cheerful, compliant and obstinate, dreamy, depressed and proud. Such different states of mind 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 character trait of Katerina is honesty before herself, her husband, the world around her; it is her unwillingness to live a lie. She does not want and cannot cheat, pretend, lie, hide. This is confirmed by the scene of Katerina's confession of treason. Not a thunderstorm, not a frightening prophecy of a crazy old woman, not a fear of the fiery hell prompted the heroine to tell the truth. “The whole heart was torn! I can’t take it any longer! ” - so she began her confession. For her honest and whole nature, the false position in which she found herself is unbearable. To live just to live is not for her. To live is 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 remain in his house, return to a monotonous dreary life, endure constant reproaches and "moralizing" Kabanikha, lose freedom. But all patience comes to an end. It is difficult for Katerina to be where she is not understood, her human dignity is humiliated and insulted, her feelings and desires are ignored. Before her death, she says: “What is home, what is in the grave - all the same ... In the grave it is better ...” She does not want death, but life is unbearable.

Katerina is a deeply religious and God-fearing person. Since, according to the Christian religion, suicide is a great sin, then knowingly committing it, she showed not weakness, but strength of character. Her death is a challenge to the “dark force”, 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. By her death, Katerina protests against despotism and tyranny, her death testifies to the approaching end of the “dark kingdom.” The image of Katerina belongs to the best images of Russian fiction. Katerina is a new type of people in Russian reality in the 1860s.

The play "The Thunderstorm" by A. N. Ostrovsky was published in 1860. A revolutionary situation was brewing in Russia, the time was quite difficult. In the summer of 1856, the writer traveled along the Volga. In the play, he conveyed his impressions of this trip, however, he did not describe specific cities and persons, but depicted generalized, but deeply typical pictures of life in Russia.

In general, Ostrovsky is considered a real "singer of merchant life". He is the author of numerous plays, the central theme of which was the depiction of the merchant world of the second half of the 19th century.

The drama is characterized by the fact that it is based on an insoluble conflict that leads to the death of the main character. A conflict arises between Katerina Kabanova and the "dark kingdom" of the merchant world, which is represented by Kabanikha and her entourage. Katerina commits suicide - an act that is considered to be a manifestation of cowardice and weakness of character. I would like to understand this issue in more detail.

So, Katerina Kabanova is the main character of the play "The Thunderstorm", Tikhon's wife and Kabanikha's daughter-in-law. The image of Katerina is endowed with a strong character and represents a person waking up in patriarchal conditions. The origins of Katerina's character are hidden in the conditions of her life before marriage. Talking about the girlhood of the heroine, the author draws the patriarchal world in its ideal manifestation. The main thing in this world is a huge and mutual feeling of love.

In the parental house of Katerina, the same rules reigned as in the house of Kabanikha. But there Katerina occupied the position of a beloved daughter, and in the house of Kabanikha - a subordinate daughter-in-law. Therefore, in girlhood, Katerina did not know the coercion and violence that she had to face after marriage. For her, the patriarchal harmony of family life is a moral ideal, but she does not find this harmony in her husband's house. Katerina was married very young, as her parents decided, and she obediently obeyed their will, because this is the custom. But it was submission with love and respect, and when she got into her mother-in-law's house, Katerina was surprised to find that there was no one to respect. After some time, a new outlook on life, a different attitude towards people and towards herself begins to form in her soul. This is manifested in her first independent choice - passionate love for Boris. Katerina is religious and the awakened strong feeling scares her. She perceives this love as a terrible sin, resisting it in every possible way. But the heroine lacks support and inner strength. A terrible thunderstorm grows in Katerina's soul. "Sinful" love flared up in her with incredible strength, the desire for the will grew every day, but the religious fear also became stronger. Katerina could no longer resist passion and cheated on her husband, and then publicly confessed her sin, not hoping for forgiveness. It was the lack of hope that pushed the heroine to an even greater sin - suicide. She could not reconcile her love for Boris with the demands of her conscience, and the thought of returning to the home prison where Kabanikha had imprisoned her aroused physical disgust. The hopelessness of such a situation led Katerina to death.

The image of Katerina personifies the spiritual beauty and moral purity of a Russian woman. In one of his articles, A. N. Dobrolyubov wrote about this heroine, calling her "a ray of light in the dark kingdom." Katerina is strikingly natural, simple and sincere. The play repeatedly mentions the image of a free bird. Indeed, the heroine resembles a bird that was locked in an iron cage. She strives for freedom, because living in captivity has become simply unbearable. In my opinion, her suicide is more a protest against the "dark kingdom" and a selfless desire for freedom than a weakness of character, although there are other points of view.

Updated: 2012-08-09

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Everything fresh, young, talented perishes in the gloomy atmosphere of the city of Kalinov depicted by Ostrovsky in The Thunderstorm. It wastes away from violence, anger, from the dead emptiness of this life. The weak drink too much, the vicious and petty natures defeat despotism with cunning and resourcefulness. For direct, bright natures, endowed with an indefatigable desire for a different life, a tragic end is inevitable when faced with the rough forces of this world.

A. N. Ostrovsky. Storm. Play

This outcome becomes inevitable for Katerina, the main character of "The Storm". Raised in her father's house, under the conditions of that time, locked up in the rooms of her home, the girl grew up surrounded by love in her own kind of world. Dreamy by nature, she found an outlet for the vague inclinations of a child's soul in religious contemplation and dreams; she loved church services, the lives of the saints, the stories of the praying moths about the holy places.

Her love for nature merged with religious ideas and dreams; a kind of religious delight burns in her soul, like Joan of Arc in childhood: at night she gets up and prays fervently, at dawn she loves to pray in the garden and cry in a vague, unconscious impulse. encouraging, calling her to some kind of sacrifice and exploits. She dreams of the wonderful beauty of the country, and invisible voices sing to her from above. At the same time, she discovers strength, straightforwardness and independence of character.

And this girl, full of bright spiritual strength, falls into the rough atmosphere of the house of the merchant Kabanova, the wife of her weak-willed, downtrodden and humiliated son, Tikhon. At first she became attached to her husband, but his lethargy, downturn and his eternal desire to leave the parental home and forget himself in the intoxication - pushed Katerina away from him. In the house of the tyrant Kabanova, Katerina began to visit her religious visions less and less; she began to languish and bored. The meeting with the nephew of the Diky merchant, Boris, decided her fate: she fell in love with Boris in the way that was characteristic of her nature - strongly and deeply.

Katerina has been struggling with this "sinful passion" for a long time, despite the persuasions of Kabanova's daughter, Varvara. But in the end, an oppressive feeling of loneliness, longing and emptiness of existence in the house. Kabanova and the passionate thirst for life in Katerina's young soul allow her fluctuations. In her struggle, she seeks help from her husband, but he leaves the hateful mother's house, where his wife is not dear to him either. The knowledge that she has transgressed some inviolable commandment does not leave Katerina; she cannot calmly surrender to love, like Varvara, cunning and hiding. Katerina is gnawing at the consciousness of guilt, her whole life is clouded; pure by nature, she cannot live in deception, in lies, in criminal joys.

Full of painful doubts and a thirst to throw off something unclean, wash some stain, once in a thunderstorm, under the thunderclaps, publicly repents of his sins, giving vent to his indignant conscience. Life in Kabanova's house after repentance becomes completely unbearable. Driven to despair, seeing that there is no longer where to wait for salvation, Katerina rushes into the Volga and dies.

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The question of choosing a soul mate has always been a problem for young people. Now we have the right to choose a companion (companion) of life ourselves, before the final decision and marriage was made by the parents. Naturally, parents first of all looked at the well-being of the future son-in-law, his moral character. Such a choice promised a wonderful material and moral existence for children, but at the same time the intimate side of marriage often suffered. The spouses understand that they should treat each other favorably and respectfully, but the lack of passion does not affect the best way. In the literature there are many examples of such dissatisfaction and searches for the realization of their intimate life.

We invite you to familiarize yourself with the summary of the play by A. Ostrovsky "The Thunderstorm"

This topic is not new in Russian literature. From time to time it is raised by writers. A. Ostrovsky in the play "The Thunderstorm" portrayed a unique image of the woman Katerina, who, in search of personal happiness under the influence of Orthodox morality and the feeling of love that has arisen, reaches a dead end.

Life story of Katerina

The main character of Ostrovsky's play is Katerina Kabanova. From childhood she was brought up in love and affection. Her mother felt sorry for her daughter, and sometimes freed her from all work, leaving Katerina to do what she wanted. But the girl did not grow up to be lazy.

After the wedding with Tikhon Kabanov, the girl lives in the house of her husband's parents. Tikhon has no father. And the mother is in charge of all the processes in the house. The mother-in-law has an authoritarian character, she suppresses all family members with her authority: her son Tikhon, and daughter Varya and young daughter-in-law.

Katerina finds herself in a completely unfamiliar world - her mother-in-law often scolds her for no reason, her husband is also not distinguished by tenderness and care - sometimes he beats her. Katerina and Tikhon have no children. The woman is incredibly upset by this fact - she likes to babysit the children.

At one point, a woman falls in love. She is married and understands perfectly well that her love has no right to life, but nevertheless, over time, she gives in to her desire while her husband is in another city.

Upon her husband's return, Katerina experiences pangs of conscience and confesses to her mother-in-law and husband in her act, which causes a wave of indignation. Tikhon beats her. The mother-in-law says that the woman must be buried in the ground. The situation in the family, which is already bleak and tense, is exacerbated to the point of impossibility. Seeing no other way out, the woman commits suicide, she drowns in the river. On the last pages of the play, we learn that Tikhon still loved his wife, and his behavior towards her was provoked by the incitement of his mother.

Appearance of Katerina Kabanova

The author does not provide a detailed description of Katerina Petrovna's appearance. We learn about the woman's appearance from the lips of other characters in the play - most of the characters consider her beautiful and adorable. We also know little about Katerina's age - the fact that she is in the prime of her life allows us to define her as a young woman. Before the wedding, she was full of aspirations, shone with happiness.

Life in her mother-in-law's house did not affect her in the best way: she noticeably faded, but was still pretty. Her girlish gaiety and cheerfulness quickly disappeared - their place was taken by despondency and sadness.

Family relationships

Katerina's mother-in-law is a very difficult person, she runs everything in the house. This applies not only to household chores, but also to all relationships within the family. It is difficult for a woman to cope with her emotions - she is jealous of her son to Katerina, she wants Tikhon to pay attention not to his wife, but to her, his mother. Jealousy eats up the mother-in-law and does not give her the opportunity to enjoy life - she is always unhappy with something, constantly nagging at everyone, especially the young daughter-in-law. She does not even try to hide this fact - those around her make fun of the old Kabanikha, they say that she tortured everyone in the house.

Katerina respects the old Kabanikha, despite the fact that she literally does not give her a pass with her nit-picking. The same cannot be said for other family members.

Katerina's husband, Tikhon, also loves his mother. The authoritarianism and despotism of his mother broke him, as did his wife. He is torn apart by feelings of love for his mother and wife. Tikhon does not try to somehow resolve the difficult situation in his family and finds solace in drunkenness and spree. The youngest daughter of Kabanikha and sister of Tikhon, Varvara, is more pragmatic, she understands that it is impossible to break through the wall with her forehead, in this case it is necessary to act with cunning and intelligence. Her respect for her mother is ostentatious, she says what her mother wants to hear, but in fact does everything in her own way. Unable to withstand life at home, Varvara escapes.

Despite the dissimilarity of the girls, Varvara and Katerina become friends. They support each other in difficult situations. Varvara incites Katerina to secret meetings with Boris, helps lovers organize dates for lovers. In these actions, Varvara does not mean anything bad - the girl herself often resorts to such dates - this is her way not to go crazy, she wants to bring at least a particle of happiness into Katerina's life, but as a result, the opposite is true.

With her husband, Katerina also has a difficult relationship. This is primarily due to Tikhon's spinelessness. He does not know how to defend his position, even if the mother's desire is clearly contrary to his intentions. Her husband has no opinion of his own - he is a "mama's son", unquestioningly fulfilling the will of the parent. He often, on the basis of his mother's incitement, scolds his young wife, sometimes beats her. Naturally, this behavior does not bring joy and harmony to the relationship of the spouses.

Katerina's discontent is growing from day to day. She feels unhappy. Understanding that the nit-picking against her is far-fetched yet does not allow her to live fully.

From time to time, intentions to change something in her life arise in Katerina's thoughts, but she cannot find a way out of the situation - the thought of suicide more and more often visits Katerina Petrovna.

Traits

Katerina has a meek and kind disposition. She doesn't know how to stand up for herself. Katerina Petrovna is a soft, romantic girl. She loves to indulge in dreams and fantasies.

She has an inquisitive mind. She is interested in the most extraordinary things, for example, why people cannot fly. Because of this, those around her find her a little strange.

Katerina is by nature patient and non-conflict. She forgives the unfair and cruel treatment of her husband and mother-in-law.

In general, those around, if you do not take into account Tikhon and Kabanikha, have a good opinion of Katerina, they think that she is a sweet and charming girl.

Striving for freedom

Katerina Petrovna has a peculiar concept of freedom. At a time when most people understand freedom as a physical state in which they are free to carry out those actions and actions that are preferable to them, Katerina prefers moral freedom, devoid of psychological pressure, allowing them to control their own destiny on their own.

Katerina Kabanova is not so decisive as to put her mother-in-law in her place, but her desire for freedom does not allow her to live according to the rules within which she found herself - the thought of death as a way of gaining freedom appears in the text several times before Katerina's romantic relationship with Boris ... The disclosure of information about Katerina's betrayal to her husband and the further reaction of a relative, in particular her mother-in-law, become just a catalyst for her suicidal aspirations.

Religiousness of Katerina

The issue of religiosity and the influence of religion on people's lives has always been quite controversial. Especially this tendency is vividly questioned in times of active scientific and technological revolution and progress.

In relation to Katerina Kabanova, this tendency does not work. A woman, not finding joy in everyday, worldly life, is imbued with a special love and reverence for religion. Strengthens her attachment to the church and the fact that her mother-in-law is religious. While the old Kabanikha's religiosity is only ostentatious (in fact, she does not adhere to the basic canons and postulates of the church that regulate human relations), Katerina's religiosity is true. She faithfully believes in the commandments of God, she always tries to observe the laws of being.

During prayer, staying in the church, Katerina experiences special pleasure and relief. At such moments, she looks like an angel.

However, the desire to experience happiness, true love prevails over the religious vision. Knowing that adultery is a terrible sin, a woman still succumbs to temptation. For happiness lasting ten days, she pays for another, the most terrible sin in the eyes of a believing Christian - suicide.

Katerina Petrovna is aware of the gravity of her act, but the notion that her life will never change forces her to ignore this prohibition. It should be noted that the thought of such an end to her life path had already arisen, but, despite the severity of her life, it was not carried out. Perhaps the fact that the pressure from the mother-in-law was painful for her played here, but the notion that it had no basis stopped the girl. After her family finds out about the betrayal - the reproaches against her become justified - she really tarnished her reputation and that of her family. Another reason for such an outcome of events could be the fact that Boris refuses the woman and does not take her with him. Katerina herself must somehow solve the current situation and she does not see the best option, how to throw herself into the river.

Katerina and Boris

Before Boris appeared in the fictional city of Kalinov, the acquisition of personal, intimate happiness for Katerina was not relevant. She did not try to make up for the lack of love from her husband on the side.

The image of Boris awakens in Katerina a fading feeling of passionate love. A woman realizes the gravity of a love relationship with another man, therefore, languish with the feeling that has arisen, but does not accept any prerequisites to turn her dreams into reality.

Varvara convinces Katerina that Kabanova needs to meet alone with her lover. The brother's sister knows very well that the feelings of young people are mutual, in addition, the coolness of relations between Tikhon and Katerina is not new to her, therefore she regards her act as an opportunity to show a sweet and kind daughter-in-law what true love is.

Katerina cannot make up her mind for a long time, but the water wears away the stone, the woman agrees to a meeting. Having found herself in captivity of her desires, reinforced by a kindred feeling on the part of Boris, a woman cannot deny herself further meetings. The absence of her husband plays into her hands - for 10 days she lived like in paradise. Boris loves her more than life, he is affectionate and gentle with her. With him, Katerina feels like a real woman. She thinks she's finally found happiness. The arrival of Tikhon changes everything. No one knows about secret meetings, but torment torments Katerina, she is seriously afraid of punishment from God, her psychological state reaches its climax and she confesses to a perfect sin.

After this event, the woman's life turns into hell - the already pouring reproaches towards her from her mother-in-law become unbearable, her husband beats her.

The woman still has a glimmer of hope for a successful outcome of the event - she believes that Boris will not leave her in trouble. However, her lover is in no hurry to help her - he is afraid to anger his uncle and be left without his inheritance, so he refuses to take Katerina with him to Siberia.

For a woman, this becomes a new blow, she is no longer able to survive it - death becomes her only way out.

Thus, Katerina Kabanova is the owner of the kindest and most tender qualities of the human soul. A woman treats the feelings of other people with special trepidation. Her inability to give a sharp rebuff becomes the cause of constant ridicule and reproaches from her mother-in-law and husband, which further drives her into a dead end. Death in her case becomes an opportunity to find happiness and freedom. Awareness of this fact causes the saddest feelings in readers.