The problem of love in the work The Thunderstorm. Essay on the topic “What is love? based on the play “The Thunderstorm” by Ostrovsky. Essay on the work on the topic: The problem of love in the drama “The Thunderstorm” by A. N. Ostrovskaya

A. N. Ostrovsky’s drama “The Thunderstorm” was written in 1859, on the eve of great changes in Russia. The writer created an image in the drama that was fundamentally new in Russian literature. According to Dobrolyubov, “the character of Katerina, as it is performed in The Thunderstorm, is a step forward not only in Ostrovsky’s dramatic activity, but also in all of our literature.” The main problem of the work, without a doubt, is the problem of liberating women in a merchant environment from family oppression. But the play also reflects other, no less important, problems: the problem of fathers and children, the problem of feelings and duty, the problem of lies and truth, and others.
The creativity of writers of this period (the second half of the 19th century) is characterized by an interest in the problem of love. The drama “The Thunderstorm” is no exception. Ostrovsky vividly portrays the love of the main character of the play, Katerina Kabanova, for Boris Grigorievich. This love becomes the heroine’s first and therefore especially strong real feeling. Despite the fact that she married Tikhon Kabanov, the feeling of love was unknown to her. While living with her parents, young people looked at Katerina, but she never understood them. She married Tikhon only because he did not dislike her. Katerina herself, when asked by Varvara whether she loved anyone, answers: “No, she only laughed.”
Having met Boris, Katerina Kabanova falls in love with him without even talking to him properly. She falls in love largely because Boris outwardly represents a sharp contrast with the society under whose yoke she lives. This new, hitherto unknown feeling even changes Katerina’s worldview. So she tells Varvara about her dreams: “At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone speaks to me so affectionately, as if he were cooing me, as if a dove was cooing. I don’t dream, Varya, as before, of paradise trees and mountains, but as if someone is hugging me so warmly and warmly and leading me somewhere, and I follow him, I go...” This poetic story is completely imbued with foreboding love. The heroine's soul strives to know this feeling and dreams about it. And Boris Grigorievich, Dikiy’s nephew, turns out to be the embodiment of her dreams in reality for Katerina.
At first, Katerina is very afraid of her sinful love. She is very pious and considers such love a terrible sin; she is horrified by the possibility of God's punishment. But she cannot resist this feeling and, after hesitating a little, takes the fatal key to the gate from Varvara. The decision has been made: she will see Boris no matter what.
The desire for love in Katerina is closely intertwined with the desire for freedom, liberation from family oppression, from a weak-willed husband and a grumpy and unfair mother-in-law. Boris, as she sees him, is the complete opposite of the “dark kingdom” of tyrants. This is not surprising: Boris is well-mannered, educated, courteous, and dressed in metropolitan fashion. But Katerina is cruelly mistaken about this man: Boris differs from the inhabitants of the city of Kalinov only in appearance. He is unable to oppose anything to the Dikiy, just as Tikhon cannot say anything against the order reigning in Kabanikha’s house. Katerina Kabanova's love leads to tragic consequences. After her confession of adultery, Katerina can no longer live as before with her husband and mother-in-law, and be subjected to constant humiliation and insults. In desperation, she seeks help from her loved one, secretly hoping to find a way out of the created psychological impasse. Katerina, going on her last date with Boris, hopes that he will take her with him, not leave her like that, and protect her. But Boris turns out to be a weak-willed, cowardly and cowardly man; he refuses to take Katerina with him. This is where his complete inability to fight, his weak character, manifests itself. He betrays the woman he loves, refusing to take her with him out of fear of his uncle. After this betrayal, Katerina Kabanova has no choice but to leave this hateful life. But even then she continues to selflessly love Boris, which is so clearly shown by the author in the last farewell scene. She says these words to him: “Go with God! Don't worry about me. At first, you, poor thing, will just be bored, and then you’ll forget.” And this is said by a woman whose whole meaning of life is love. Not a single swear word, not a single reproach will escape her lips. Her love is high, she cannot stoop to humiliation and reproaches. On the verge of death, this woman forgives her lover, who never lived up to her hopes, who never gave her the desired happiness.
Speaking about the problem of love in the drama “The Thunderstorm,” we can also mention the love of Varvara and Kudryash. But the relationship between these characters is described by the author rather for contrast, in order to more clearly highlight the feelings of the main character. The relationship between Varvara and Kudryash can hardly be called love; rather, it is affection and sympathy. These young people, although they experience the oppression of the “dark kingdom”, its foundations and customs, have already learned the morals and laws of the “dark kingdom”. Let us remember that it is Varvara who teaches Katerina worldly wisdom: “Do what you want, as long as everything is sewn and covered.” But this young couple also does not want to stay in that oppressive atmosphere. Having fallen in love with each other, they simply run away from the city of Kalinov together.
To summarize, it must be said that the desire to love and be loved in the soul of the main character is closely intertwined with the desire to free herself from the oppression of the “dark kingdom”. Therefore, the problem of love in the work is closely connected with the problem of liberating women from family oppression. Thus, the problem of love is, although not the most important, but undoubtedly one of the most important problems in the work.

“, showing the terrible, dark world of tyrants and people under their thumb, is illuminated, as if by a “ray of light,” by Ostrovsky’s strongest heroine, Ekaterina, who has become a “legendary character.” Her spiritual strength comes from her special inner world. Probably, every Kalinovite once had his own world, just as pure, but, having accepted the dominance of tyrants or even becoming them, making many compromises, they lost it, or disfigured it, or buried it in the very depths of their souls. And she kept it intact, because she did not, or rather, simply could not, compromise with her conscience and, perhaps, that is why she was not understood by others. Katerina lives by her feelings and moral concepts and tolerates Kabanikha’s attempts to subjugate them only as long as she can bear it.

She is uneducated and simply cannot check everything using reason. Perhaps, if she had been reasonable, she would have understood why Tikhon was so pitiful, and would not have demanded heroism from him, would have understood Boris’s selfishness, would have perceived the mistress’s prophecy differently, but... Did they give Zhadov from “Profitable Place” his intelligence and education of strength in the fight against life? No. Convictions, unlike his, were not read, not heard, but suffered, created and accepted by her herself, and no one and nothing could force her to abandon them. Its prophet is the heart. Her sense of the world is pagan, the strength of her feelings is extraordinary, she seems to rise above the earth on wings and asks Varvara: “Why don’t people fly?

“The excess of feelings is expressed not only in these outbursts, but also in tears in the morning, while she was still living, “like a bird in the wild.” These strong feelings had little admiration for nature and God’s temples, the charm of the stories of wanderers and praying mantises; they themselves create an extraordinary imagination, wonderful and deeply poetic. Icons, the words of wanderers about “golden temples”, “extraordinary gardens” turn into living bright pictures, dreams, the church becomes paradise, Katerina sees singing angels, feels herself flying... But Christianity for Katerina is not only the basis of imagination, not just cute folk holidays and going to church.

For her, this is a law, but not the strict law of Kabanikha, expressed by external observance of customs, sometimes outdated and humiliating, but an internal law, accepted in full and excluding any violation of it. That is why Katerina, having committed a sin under the influence of a strong feeling, experiences such terrible torment and reproaches of conscience and seeks relief in repentance before all the people. This was suggested to her by Christianity itself, but the Kalinovites are shocked: for them, human judgment is as high (if not higher) as God’s. Katerina is so much higher than these people that she cannot be understood by them. But until her death, also terribly sinful, she believes in true humane Christianity. She says: “Sin. Won't they pray?

He who loves will pray...” Kuligin confirms the same: “... and the soul is now not yours: it is now before a judge who is more merciful than you!” For Katerina, without faith, the meaning of life is lost. The human soul cannot be created only on feelings and imagination. But Katerina’s soul is so pure and bright that it fills her entire being with a glow that everyone, even Kudryash, notices; according to Boris, “she has an angelic smile on her face, and her face seems to glow.”

Katerina’s high inner world gives her the consciousness of her human dignity and pride. And this is precisely what frightens and infuriates Kabanikha most of all: after all, no one in her family possessed this dignity, she considers it touchiness or arrogance. Katerina’s feeling of resentment is really strong, it manifests itself already at the age of six, but this is not just a pagan power of feelings, it is also a subconscious concept of injustice and an insult to her dignity. Katerina does not speak out, as in, in defense of civic dignity, she does not even know the name of this feeling in her, but it manifests itself in her words when she “sharpenes” her son and daughter-in-law.

And her strongest feeling is love. Katerina’s entire being is permeated by her. Love for nature: not only in the parental home, when she was happy, but also before death, it is a hymn to life, a hymn to the impeccable beauty of nature. It seems to me that involuntarily, subconsciously, she compared the beautiful world of nature with the world where she found herself after her marriage, where “everything seemed to be out of captivity,” even the worship of God, and realized that, in the words of “this world was more terrible.” ", he had "cruel morals." This strengthened her desire for the sky, for nature, for something different from this dark world. And that is why her love for Boris takes on such extraordinary strength and depth.

She loves Varvara “to death”, and even her pity for Tikhon can be called some kind of special love; all this cannot be compared with this strongest feeling of hers. Her love is “all-forgiving”; she forgives Boris what she did not forgive Tikhon - cowardice. Blinded, she could not sense Boris's cowardice; her love is selfless: she does not think about her own death - about his, not about her dishonor - about his “eternal submission”. She does not pray before death because her strength and thoughts are given to her loved one, she cannot think about anything else. In the mother-in-law's house, deep strong feelings, Katerina's vivid imagination and the Christian foundations of Kabanikha and similar tyrants collide.

According to their ideas, God can only be worshiped, but Katerina also loves him! She “withered”, unable to naturally express her feelings. And this contradiction becomes terrible when a feeling appears in Katerina, moreover one of the most sinful, with which she is unable to cope. There is only one way out of this dead end in Kalinov's world - death. And therefore, from the very beginning, Katerina was tormented by a premonition of death: after the happiest moments, she “wanted to die...

" Without fear of human judgment, she judges herself: the world of Christian legends in which she was brought up is pure, and so is her soul. she is pure, “can’t hide anything”, can’t do things in such a way that it’s hidden. With repentance she eased her soul, but human judgment turned out to be terrible.

A. N. Ostrovsky’s drama “The Thunderstorm” was written in 1859, on the eve of great changes in Russia. The writer created an image in the drama that was fundamentally new in Russian literature. According to Dobrolyubov, “the character of Katerina, as it is performed in “The Thunderstorm,” is a step forward not only in Ostrovsky’s dramatic activity, but also in all of our literature.” The main problem of the work, without a doubt, is the problem of liberating women in a merchant environment from family oppression. But the play also reflects other, no less important, problems: the problem

Fathers and children, the problem of feelings and duty, the problem of lies and truth and others.
The creativity of writers of this period (the second half of the 19th century) is characterized by an interest in the problem of love. The drama “The Thunderstorm” is no exception. Ostrovsky vividly portrays the love of the main character of the play, Katerina Kabanova, for Boris Grigorievich. This love becomes the heroine’s first and therefore especially strong real feeling. Despite the fact that she married Tikhon Kabanov, the feeling of love was unknown to her. While living with her parents, young people looked at Katerina, but she never understood them. She married Tikhon only because he did not dislike her. Katerina herself, when asked by Varvara whether she loved anyone, answers: “No, she only laughed.”
Having met Boris, Katerina Kabanova falls in love with him without even talking to him properly. She falls in love largely because Boris outwardly represents a sharp contrast with the society under whose yoke she lives. This new, hitherto unknown feeling even changes Katerina’s worldview. So she tells Varvara about her dreams: “At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone speaks to me so affectionately, as if he were cooing me, as if a dove was cooing. I don’t dream, Varya, as before, of paradise trees and mountains, but as if someone is hugging me so warmly and warmly and leading me somewhere, and I follow him, I go...” This poetic story is completely imbued with a premonition of love. The heroine's soul strives to know this feeling and dreams about it. And Boris Grigorievich, Dikiy’s nephew, turns out to be the embodiment of her dreams in reality for Katerina.
At first, Katerina is very afraid of her sinful love. She is very pious and considers such love a terrible sin; she is horrified by the possibility of God's punishment. But she cannot resist this feeling and, after hesitating a little, takes the fatal key to the gate from Varvara. The decision has been made: she will see Boris no matter what.
The desire for love in Katerina is closely intertwined with the desire for freedom, liberation from family oppression, from a weak-willed husband and a grumpy and unfair mother-in-law. Boris, as she sees him, is the complete opposite of the “dark kingdom” of tyrants. This is not surprising: Boris is well-mannered, educated, courteous, and dressed in metropolitan fashion. But Katerina is cruelly mistaken about this man: Boris differs from the inhabitants of the city of Kalinov only in appearance. He is unable to oppose anything to the Dikiy, just as Tikhon cannot say anything against the order reigning in Kabanikha’s house. Katerina Kabanova's love leads to tragic consequences. After her confession of adultery, Katerina can no longer live as before with her husband and mother-in-law, and be subjected to constant humiliation and insults. In desperation, she seeks help from her loved one, secretly hoping to find a way out of the created psychological impasse. Katerina, going on her last date with Boris, hopes that he will take her with him, not leave her like that, and protect her. But Boris turns out to be a weak-willed, cowardly and cowardly man; he refuses to take Katerina with him. This is where his complete inability to fight, his weak character, manifests itself. He betrays the woman he loves, refusing to take her with him out of fear of his uncle. After this betrayal, Katerina Kabanova has no choice but to leave this hateful life. But even then she continues to selflessly love Boris, which is so clearly shown by the author in the last farewell scene. She says these words to him: “Go with God! Don't worry about me. At first, you, poor thing, will just be bored, and then you’ll forget.” And this is said by a woman whose whole meaning of life is love. Not a single swear word, not a single reproach will escape her lips. Her love is high, she cannot stoop to humiliation and reproaches. On the verge of death, this woman forgives her lover, who never lived up to her hopes, who never gave her the desired happiness.
Speaking about the problem of love in the drama “The Thunderstorm,” we can also mention the love of Varvara and Kudryash. But the relationship between these characters is described by the author rather for contrast, in order to more clearly highlight the feelings of the main character. The relationship between Varvara and Kudryash can hardly be called love; rather, it is affection and sympathy. These young people, although they experience the oppression of the “dark kingdom”, its foundations and customs, have already learned the morals and laws of the “dark kingdom”. Let us remember that it is Varvara who teaches Katerina worldly wisdom: “Do what you want, as long as everything is sewn and covered.” But this young couple also does not want to stay in that oppressive atmosphere. Having fallen in love with each other, they simply run away from the city of Kalinov together.
To summarize, it must be said that the desire to love and be loved in the soul of the main character is closely intertwined with the desire to free herself from the oppression of the “dark kingdom”. Therefore, the problem of love in the work is closely connected with the problem of liberating women from family oppression. Thus, the problem of love is, although not the most important, but undoubtedly one of the most important problems in the work.

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Essay on literature on the topic: The problem of love in the drama “The Thunderstorm” by A. N. Ostrovskaya

Other writings:

1. The main heroine of A. N. Ostrovsky’s drama “The Thunderstorm” - Katerina Kabanova - represents “a truly Russian image of a woman,” in the words of Apollo Grigoriev. She is deeply religious, capable of selfless love, and does not accept compromise with her conscience. Folk principles also appear in the language Read More......
2. The drama “The Thunderstorm” is one of the peaks of the work of A. N. Ostrovsky. In this work, the playwright managed to illuminate the leisurely life of a provincial town and reveal its secrets to the viewer. As in many other works by Ostrovsky, “The Thunderstorm” contains a very broad theme and problems, the author Read More ......
3. “The Thunderstorm” is one of those plays by A. N. Ostrovsky that are still popular today. The author's focus is on the crisis of the patriarchal world and patriarchal consciousness. But at the same time, the play turns out to be a hymn to a living soul that dared to Read More......
4. Throughout his career, A. N. Ostrovsky created a number of realistic works in which he depicted the contemporary reality and life of the Russian province. One of them is the play “The Thunderstorm”. In this drama, the author showed the wild, deaf society of the district town of Kalinova, living Read More ......
5. In 1845, Ostrovsky worked in the Moscow Commercial Court as a desk clerk “for cases of verbal violence.” A whole world of dramatic conflicts unfolded before him, and all the diverse richness of the living Great Russian language sounded. I had to guess a person’s character by his speech pattern, by his peculiarities Read More......
6. The drama takes place in the fictional provincial town of Kalinov. Its inhabitants do not know other lands and countries. Even about their past, they retained vague, meaningless memories: Lithuania “fell from the sky” to them. Among the characters in the play there are almost none Read More......
7. The main conflict in Ostrovsky’s play “The Thunderstorm” is the clash of Katerina, the main character, with the “dark kingdom” of cruel despotism and blind ignorance. It leads her to suicide after much torment and torment. But this did not cause Katerina’s disagreements with this “dark Read More......
8. Alexander Nikolaevich Ostrovsky’s drama “The Thunderstorm” was a real revelation for thousands of Russian viewers - they were shown a hitherto unknown layer of provincial life. You can't say it better than a playwright. Through the lips of the hero Kuligin, he describes life in Kalinov: “Cruel morals, sir, in our city, cruel! In Read More......

A. N. Ostrovsky’s drama “The Thunderstorm” was written in 1859, on the eve of great changes in Russia. The writer created an image in the drama that was fundamentally new in Russian literature. According to Dobrolyubov, “the character of Katerina, as it is performed in The Thunderstorm, is a step forward not only in Ostrovsky’s dramatic activity, but also in all of our literature.” The main problem of the work, without a doubt, is the problem of liberating women in a merchant environment from family oppression. But the play also reflects other, no less important, problems: the problem of fathers and children, the problem of feelings and duty, the problem of lies and truth, and others.
The creativity of writers of this period (the second half of the 19th century) is characterized by an interest in the problem of love. The drama “The Thunderstorm” is no exception. Ostrovsky vividly portrays the love of the main character of the play, Katerina Kabanova, for Boris Grigorievich. This love becomes the heroine’s first and therefore especially strong real feeling. Despite the fact that she married Tikhon Kabanov, the feeling of love was unknown to her. While living with her parents, young people looked at Katerina, but she never understood them. She married Tikhon only because he did not dislike her. Katerina herself, when asked by Varvara whether she loved anyone, answers: “No, she only laughed.”
Having met Boris, Katerina Kabanova falls in love with him without even talking to him properly. She falls in love largely because Boris outwardly represents a sharp contrast with the society under whose yoke she lives. This new, hitherto unknown feeling even changes Katerina’s worldview. So she tells Varvara about her dreams: “At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone speaks to me so affectionately, as if he were cooing me, as if a dove was cooing. I don’t dream, Varya, as before, of paradise trees and mountains, but as if someone is hugging me so warmly and warmly and leading me somewhere, and I follow him, I go...” This poetic story is completely imbued with foreboding love. The heroine's soul strives to know this feeling and dreams about it. And Boris Grigorievich, Dikiy’s nephew, turns out to be the embodiment of her dreams in reality for Katerina.
At first, Katerina is very afraid of her sinful love. She is very pious and considers such love a terrible sin; she is horrified by the possibility of God's punishment. But she cannot resist this feeling and, after hesitating a little, takes the fatal key to the gate from Varvara. The decision has been made: she will see Boris no matter what.
The desire for love in Katerina is closely intertwined with the desire for freedom, liberation from family oppression, from a weak-willed husband and a grumpy and unfair mother-in-law. Boris, as she sees him, is the complete opposite of the “dark kingdom” of tyrants. This is not surprising: Boris is well-mannered, educated, courteous, and dressed in metropolitan fashion. But Katerina is cruelly mistaken about this man: Boris differs from the inhabitants of the city of Kalinov only in appearance. He is unable to oppose anything to the Dikiy, just as Tikhon cannot say anything against the order reigning in Kabanikha’s house. Katerina Kabanova's love leads to tragic consequences. After her confession of adultery, Katerina can no longer live as before with her husband and mother-in-law, and be subjected to constant humiliation and insults. In desperation, she seeks help from her loved one, secretly hoping to find a way out of the created psychological impasse. Katerina, going on her last date with Boris, hopes that he will take her with him, not leave her like that, and protect her. But Boris turns out to be a weak-willed, cowardly and cowardly man; he refuses to take Katerina with him. This is where his complete inability to fight, his weak character, manifests itself. He betrays the woman he loves, refusing to take her with him out of fear of his uncle. After this betrayal, Katerina Kabanova has no choice but to leave this hateful life. But even then she continues to selflessly love Boris, which is so clearly shown by the author in the last farewell scene. She says these words to him: “Go with God! Don't worry about me. At first, you, poor thing, will just be bored, and then you’ll forget.” And this is said by a woman whose whole meaning of life is love. Not a single swear word, not a single reproach will escape her lips. Her love is high, she cannot stoop to humiliation and reproaches. On the verge of death, this woman forgives her lover, who never lived up to her hopes, who never gave her the desired happiness.
Speaking about the problem of love in the drama “The Thunderstorm,” we can also mention the love of Varvara and Kudryash. But the relationship between these characters is described by the author rather for contrast, in order to more clearly highlight the feelings of the main character. The relationship between Varvara and Kudryash can hardly be called love; rather, it is affection and sympathy. These young people, although they experience the oppression of the “dark kingdom”, its foundations and customs, have already learned the morals and laws of the “dark kingdom”. Let us remember that it is Varvara who teaches Katerina worldly wisdom: “Do what you want, as long as everything is sewn and covered.” But this young couple also does not want to stay in that oppressive atmosphere. Having fallen in love with each other, they simply run away from the city of Kalinov together.
To summarize, it must be said that the desire to love and be loved in the soul of the main character is closely intertwined with the desire to free herself from the oppression of the “dark kingdom”. Therefore, the problem of love in the work is closely connected with the problem of liberating women from family oppression. Thus, the problem of love is, although not the most important, but undoubtedly one of the most important problems in the work.

A. N. Ostrovsky’s drama “The Thunderstorm” was written in 1859, on the eve of great changes in Russia. The writer created an image in the drama that was fundamentally new in Russian literature. According to Dobrolyubov, “the character of Katerina, as it is performed in The Thunderstorm, is a step forward not only in Ostrovsky’s dramatic activity, but also in all of our literature.” The main problem of the work, without a doubt, is the problem of liberating women in a merchant environment from family oppression. But the play also reflects other, no less important, problems: the problem

Fathers and children, the problem of feelings and duty, the problem of lies and truth and others.
The creativity of writers of this period (the second half of the 19th century) is characterized by an interest in the problem of love. The drama “The Thunderstorm” is no exception. Ostrovsky vividly portrays the love of the main character of the play, Katerina Kabanova, for Boris Grigorievich. This love becomes the heroine’s first and therefore especially strong real feeling. Despite the fact that she married Tikhon Kabanov, the feeling of love was unknown to her. While living with her parents, young people looked at Katerina, but she never understood them. She married Tikhon only because he did not dislike her. Katerina herself, when asked by Varvara whether she loved anyone, answers: “No, she only laughed.”
Having met Boris, Katerina Kabanova falls in love with him without even talking to him properly. She falls in love largely because Boris outwardly represents a sharp contrast with the society under whose yoke she lives. This new, hitherto unknown feeling even changes Katerina’s worldview. So she tells Varvara about her dreams: “At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone speaks to me so affectionately, as if he were cooing me, as if a dove was cooing. I don’t dream, Varya, as before, of paradise trees and mountains, but as if someone is hugging me so hotly and warmly and leading me somewhere, and I follow him, I go...” This poetic story is completely imbued with a premonition of love. The heroine's soul strives to know this feeling and dreams about it. And Boris Grigorievich, Dikiy’s nephew, turns out to be the embodiment of her dreams in reality for Katerina.
At first, Katerina is very afraid of her sinful love. She is very pious and considers such love a terrible sin; she is horrified by the possibility of God's punishment. But she cannot resist this feeling and, after hesitating a little, takes the fatal key to the gate from Varvara. The decision has been made: she will see Boris no matter what.
The desire for love in Katerina is closely intertwined with the desire for freedom, liberation from family oppression, from a weak-willed husband and a grumpy and unfair mother-in-law. Boris, as she sees him, is the complete opposite of the “dark kingdom” of tyrants. This is not surprising: Boris is well-mannered, educated, courteous, and dressed in metropolitan fashion. But Katerina is cruelly mistaken about this man: Boris differs from the inhabitants of the city of Kalinov only in appearance. He is unable to oppose anything to the Dikiy, just as Tikhon cannot say anything against the order reigning in Kabanikha’s house. Katerina Kabanova's love leads to tragic consequences. After her confession of adultery, Katerina can no longer live as before with her husband and mother-in-law, and be subjected to constant humiliation and insults. In desperation, she seeks help from her loved one, secretly hoping to find a way out of the created psychological impasse. Katerina, going on her last date with Boris, hopes that he will take her with him, not leave her like that, and protect her. But Boris turns out to be a weak-willed, cowardly and cowardly man; he refuses to take Katerina with him. This is where his complete inability to fight, his weak character, manifests itself. He betrays the woman he loves, refusing to take her with him out of fear of his uncle. After this betrayal, Katerina Kabanova has no choice but to leave this hateful life. But even then she continues to selflessly love Boris, which is so clearly shown by the author in the last farewell scene. She says these words to him: “Go with God! Don't worry about me. At first, you, poor thing, will just be bored, and then you’ll forget.” And this is said by a woman whose whole meaning of life is love. Not a single swear word, not a single reproach will escape her lips. Her love is high, she cannot stoop to humiliation and reproaches. On the verge of death, this woman forgives her lover, who never lived up to her hopes, who never gave her the desired happiness.
Speaking about the problem of love in the drama “The Thunderstorm,” we can also mention the love of Varvara and Kudryash. But the relationship between these characters is described by the author rather for contrast, in order to more clearly highlight the feelings of the main character. The relationship between Varvara and Kudryash can hardly be called love; rather, it is affection and sympathy. These young people, although they experience the oppression of the “dark kingdom”, its foundations and customs, have already learned the morals and laws of the “dark kingdom”. Let us remember that it is Varvara who teaches Katerina worldly wisdom: “Do what you want, as long as everything is sewn and covered.” But this young couple also does not want to stay in that oppressive atmosphere. Having fallen in love with each other, they simply run away from the city of Kalinov together.
To summarize, it must be said that the desire to love and be loved in the soul of the main character is closely intertwined with the desire to free herself from the oppression of the “dark kingdom”. Therefore, the problem of love in the work is closely connected with the problem of liberating women from family oppression. Thus, the problem of love is, although not the most important, but undoubtedly one of the most important problems in the work.