Verbal portrait of a wild boar from a thunderstorm. Essay “Characteristics and image of Kabanikha in the play “The Thunderstorm”

In 1856, A. N. Ostrovsky travels along the Volga. The impressions from the trip are reflected in his work; “The Thunderstorm” was also written based on this trip. This is a story about a merchant's wife, brought up in strictness and morality, who fell in love young man. Having cheated on her husband, she is unable to hide it. Having publicly repented of treason, she rushes into the Volga.

The controversial image of Marfa Ignatievna Kabanova

The play is based on a comparison of two strong opposite images: Ekaterina and Marfa Ignatievna Kabanova. In fact, they have a lot in common: the primacy of the patriarchal world, the maximalism inherent in both, strong characters. Despite their religiosity, they do not compromise and are not inclined to mercy. This is where their similarities end. They are at different poles of the patriarchal world. Kabanikha is an earthly woman; she is concerned about maintaining order down to the smallest detail. She is not interested in human relationships. The patriarchal way of life for Katerina is characterized by dreaminess and spirituality.

The image of Kabanikha in the play “The Thunderstorm” is one of the central. She is a widow left with two children, Varvara and Tikhon. She can rightly be called harsh and merciless for Tikhon’s reproaches that he loves his mother less than his wife Katerina, and constantly strives to escape his mother’s will.

The predominant personality trait of Kabanikha can be called despotic, but not extravagant. Each of her demands on others, be it her son or daughter-in-law, is subject to the moral and everyday code of “Domostroy”. Therefore, she firmly believes in the principles it speaks of and considers it right to strictly observe them. Turning to Domostroevsky concepts, she believes that children should honor their parents so much that the will of the children does not matter at all. Relations between spouses should be built on the wife’s fear of her husband and unquestioning submission to him.

Kabanikha in the speech of strangers

The characterization of Kabanikha becomes understandable to the reader thanks to the statements of the characters in the play. The first mention of Marfa Ignatievna comes from the lips of Feklushi. This is a poor wanderer who is grateful to her for her kindness and generosity. In contrast, Kuligin’s words sound that she is generous to the poor, and not to her relatives. After these brief characteristics the reader meets Kabanikha. Kuligin's words are confirmed. The mother finds fault with the words of her son and daughter-in-law. Even with her meekness and sincerity, Katerina does not inspire confidence in her. Reproaches fly towards the son for lack of love for his mother.

Opinion of her family members about Kabanova

One of the most emotional moments of the play - scene of seeing off Tikhon's son. Kabanikha reproaches him for not bowing at his mother’s feet and does not say goodbye to his wife as he should. Katerina, after Tikhon’s departure, according to Kabanikha, should show her love for him - howl and lie on the porch. The younger generation is violating all customs and traditions, and this leads Kabanikha to sad reflections.

Katerina, the daughter-in-law, gets more than everyone else. Any word she says is cut off with harsh attacks and remarks. Noticing affection, and not fear, in Tikhon’s treatment, Kabanikha angrily reproaches her. Her ruthlessness reaches its limit after Katerina's confession. In her opinion, her daughter-in-law deserves to be buried alive in the ground.

Kabanikha treats Katerina with contempt, considering her an example of how disrespectful young people are towards the older generation. Most of all, she is burdened by the thought that she may be left without power. Her behavior leads to tragic ending plays. The suicide committed by Katerina is also her fault. The daughter-in-law endured humiliation against her for a long time and one day she could not stand it.

Obeying the orders of an extravagant mother, Tikhon becomes a spineless creature. The daughter runs away, tired of her parent’s constant interference in her personal life. The ancient way of life with true high morality disappears from life, leaving only a dead, oppressive shell. The young heroes of the play pretend to observe patriarchal commandments. Tikhon pretends to love his mother, Varvara goes on secret dates, only Katerina is tormented by conflicting feelings.

Marfa Ignatievna is busy with earthly affairs. She considers herself fair because, in her opinion, the severity of her parents will be reflected in the most in the best possible way on children - they will learn to be kind. But the old way of life is collapsing, the patriarchal system is disappearing. This is a tragedy for Marfa Ignatievna. However, hot temper and extravagance are not in her character. She is dissatisfied with the temper of her godfather Dikiy. Dikoy’s willful behavior and complaints about her family irritate her.

Kabanikha is devoted to the traditions of her family and ancestors and honors them without judging, evaluating or complaining about them. If you live according to the will of your fathers, this will lead to peace and order on earth. There is religiosity in Kabanikha’s character. She believes that a person will go to hell for committing evil deeds, but at the same time she does not consider herself guilty of anything. Humiliation of others at the expense of her wealth and power is in the order of things for her.

Kabanikha characterized by authority, cruelty and confidence in the correctness of one’s views. In her opinion, maintaining the old ways can protect her home from the unrest happening outside her home. Therefore, rigidity and firmness manifests itself more and more clearly in her character. And having eradicated his own unnecessary emotions, he cannot tolerate their manifestation in others. For disobedience to her words, those closest to her are punished with cold-blooded humiliation and insults. At the same time, this does not apply to strangers; she is pious and respectful with them.

Marfa Ignatievna Kabanova is an ambiguous character, it is difficult to feel sorry for her or just condemn her. On the one hand, she hurts her family members, and on the other, she firmly believes in the correctness of her behavior. Thus, negative qualities Kabanikha's character can be called:

• cruelty;
• authority;
• composure.

And the positive ones:

• strong unshakable character;
• religiosity;
• "kindness and generosity towards strangers."

The image of the stern and domineering Marfa Ignatievna Kabanova (Kabanikha) allows us to get acquainted with another type of representatives of “ dark kingdom”, as typical as Wild, but even more sinister and gloomy. “Prude, sir! He gives money to the poor, but completely eats up his family,” - this is how Kuligin correctly and aptly defines the character of Kabanikha.

Indeed, Kabanikha is, first of all, a hypocrite, covering up and justifying all her actions with the ideals of patriarchal, church, Domostroevskaya antiquity. Kabanikha strictly observes all the customs and orders of this patriarchal antiquity. She demands, for example, that Katerina, when parting with her husband, must “howl” (i.e., lament) and that she should not hug him, but bow at his feet.

The new order seems absurd and even funny to her. She wants to force everyone to live the old fashioned way and does not tolerate manifestations of “her will” or her initiative in anyone around her. “What does youth mean? - she reflects after the scene of Katerina’s separation from her husband. - ... They don’t know anything, no order. They don’t know how to say goodbye. It’s good that those who have elders in the house, they take care of them as long as they are alive... That’s how the old times come out... I don’t know what will happen, how the old people will die, how the light will stay on.” Like a true guardian of antiquity, Kabanikha is superstitious. She has ostentatious piety. She doesn't miss a single one church service, gives money to the poor, welcomes wanderers like Feklusha into his house. But her despotism in domestic life is even heavier than the despotism of the Wild.

The wild one will scream, swear, even beat me in the heat of the moment, but I will cool down, and Kabanikha tortures and pursues his victims systematically, day after day, torturing them in cold blood, importunately, undermining them, “like rusting iron.” She brings her family to complete collapse with her soulless despotism and hypocrisy. She brought Katerina to the grave, because of her Varvara left the house, and Tikhon, an essentially kind, albeit ashless man, lost all ability to think and live independently. The family, as Tikhon put it, “fell apart.”

If Dikoy cannot understand that there is no sin in the lightning rod, Kabanikha cannot come to terms with the fact that “for the sake of speed” people invented the “fiery serpent” steam locomotive. “Even if you shower me with gold, I won’t go,” she decisively declares in response to Feklusha’s message about the “car.”

An inexorable enemy of everything new, Kabanikha, however, already has a presentiment that the old days are coming to an inevitable end, that difficult times are coming for her. “We just wouldn’t live to see this,” Feklusha says fearfully, pointing out that “due to the sins” of people, the days are already becoming shorter and shorter. “Maybe we’ll live,” Kabanikha declares with gloomy anger. Kabanikha is typical as a representative of the despotic way of life of the “dark kingdom”. And at the same time, she is not like the Wild One in everything. This is a more complex variety of representatives of the “dark kingdom”. The Kabanikha is, first of all, smarter than the Wild. While Dikoy acts more “gut”, like brute physical and monetary force, Kabanikha acts as a kind of theoretician of the old way of life, fanatically defending house-building. Unlike the unbridled Wild One, wild in his antics and lacking self-control, she is restrained, outwardly impassive and stern. This is the only person in the city with whom Dikoy somehow reckons.

And her language is richer and more complex than the language of the Wild. Sometimes rude expressions also slip into it, but they are not characteristic of her speech. Kabanikha’s authority is reflected not in curses, but in the commanding tone of her speech (“To your feet, to your feet!”; “Well!”; “Talk again!”). A noticeable imprint on her speech was left by the atmosphere of “piety” and ancient rituals that she maintains in her home.

Wanderers and beggars, patronized and endowed by her, establish her constant connection with the folk dialect and, apparently, with the oral folk poetry, legends, spiritual poems, etc. Therefore, in Kabanikha’s speech there are proverbs and figurative expressions of folk speech. All this makes Kabanikha’s language uniquely colorful, although it does not soften the general appearance of this imperious, stern, unyielding guardian of the foundations of the “dark kingdom.”

Despotism, hypocrisy, soulless defense of outdated orders and customs - these are the features of Kabanikha’s internal appearance, making her, along with the Wild, a harsh and even more terrible guardian of the foundations of the “dark kingdom”.

Kabanikha, aka Marfa Ignatievna Kabanova, is the central heroine of Ostrovsky’s play “The Thunderstorm,” a rich merchant’s wife, widow, mother of Tikhon and Varvara, mother-in-law of Katerina.

Kabanikha is a very strong and powerful person. She is religious, but does not believe in forgiveness and mercy. This heroine is completely immersed in earthly affairs and practical interests. First of all, she is interested in strict adherence to the patriarchal order. From those around her, she requires the obligatory fulfillment of rituals and rites. Kabanikha is not interested in people’s feelings and the emotional side of the issue.

Kabanikha is dissatisfied with her family, especially her son and daughter-in-law.

She constantly nags them, interferes in their affairs, and makes harsh remarks. It seems to her that her son is Lately He has lost interest in her, and his daughter-in-law does not inspire confidence at all with her behavior. Kabanikha is sure that the correct family structure is based on fear younger generation before the elder, wife before the husband. She believes that fear and command are the main elements family life, so he doesn’t feel like a tyrant, because parents must be strict with their children in order to teach them goodness. However, Kabanikha feels that there are fewer and fewer guardians of the old way of life, the patriarchal system is gradually being destroyed, and new changes in life are coming.

For Kabanikha this is a tragedy. She is not a tyrant at all and even condemns her godfather Diky for his temper. Kabanikha considers such willful behavior and endless complaints about family members to be a manifestation of weakness of character. She herself never complains to others about her family. Kabanikha faithfully honors the traditions of her ancestors, without thinking about whether they are good or bad. She is convinced that one must live as the fathers bequeathed, this will help maintain peace and order on earth. At the end of the play, Kabanikha experiences a personal tragedy: the daughter-in-law publicly confesses her sin, the son publicly rebels against his mother, and the daughter runs away from home. Kabanikha’s world collapses, and she dies with him.

It is interesting that the play clearly shows a contrasting comparison between Kabanikha and main character Katerina. They have similar features: both belong to the patriarchal world with its ideas and life values, both have extraordinary strength in character and are maximalists. The heroines do not allow the possibility of compromise; they do not believe in forgiveness and mercy, although both are religious. This is where their similarities end, emphasizing the contrast of the heroines and creating the possibility of comparing them. Katerina and Kabanikha are two opposite poles of the patriarchal world. The boar is chained to the ground, she monitors the implementation of order and compliance with the way of life in all its petty manifestations. Inner Essence human relations she doesn't care much. Katerina, on the contrary, embodies poetry, dreaminess, spirituality, impulse and spirit of the patriarchal way of life in its ideal manifestation.

In the play, Kabanikha is characterized not only by own statements and actions, but also through discussions of it by other characters. The reader first learns about Kabanikha from the beggar wanderer Feklusha, who thanks the merchant’s wife for her generosity. Kuligin’s remark is immediately heard that Kabanikha is only kind to the poor, and is completely fed up with her family. And only after these introductory characteristics, Kabanikha herself appears, surrounded by her family. The reader is convinced that Kuligin’s words have a truthful basis. The merchant's wife nags her relatives and finds fault with them over trifles. Despite the meekness and sincerity of the daughter-in-law, she shows zealous hostility towards her and reproaches her son for indifference towards his mother. At the same time, Kabanikha, confident that she is right, feels that the patriarchal world is collapsing. Her apocalyptic expectations are revealed during the dialogue with Feklusha. At first, Kabanikha is still cheerful and convinces the wanderer that there is still peace and order in Kalinov. But at the end of the conversation, having listened to Feklusha’s exciting stories, she is no longer sure that this order will last long.

Kabanikha is a powerful and cruel woman, completely confident that she is right. She believes that maintaining the ancient order and way of life is a guarantee of protecting the home from external chaos. Therefore, she manages her household harshly and firmly, abandoning unnecessary emotions, not knowing mercy and doing without forgiveness. She strives to completely eradicate any hint of insubordination on the part of her family, and punishes every offense severely and coldly. While humiliating and insulting her loved ones, she treats strangers with piety and respect.

The image of Kabanikha is monumental, he is the living embodiment of “ cruel morals" The heroine is revealed in the work as an honest and terrible, in her strict consistency, keeper of the graceless “law”, Christian love not enlightened. She does not evoke pity, but it is also difficult to condemn her. Causing pain and suffering to loved ones, she is sincerely convinced that her behavior is absolutely correct and it is impossible to live differently.

// / Katerina and Kabanikha – two poles of Kalinov’s world

The play "" is rich in various images heroes. One of the main characters were Katerina and Marfa Kabanova. These women were the absolute opposite of each other. They belonged to different worlds who reigned in Kalinov.

Kabanova headed " dark kingdom" She was cruel and callous, domineering and aggressive. Katerina, on the other hand, was a soft and gentle person. Her soul was pure. She did not support the gentlemen from the “dark kingdom”, so she opposed the hypocrisy and disorder that reigned around.

Both women live in the same estate and conflicts constantly flare up between them. Mother-in-law and daughter-in-law couldn't find mutual language. She constantly oppressed and dishonored her daughter-in-law, and Katerina’s husband, that is, Kabanikha’s son, could not do anything about it. But Katerina was so defenseless only at first glance. In fact, she turned out to be the strongest character among all the characters in the play.

The woman follows the dictates of her heart and falls in love with Boris. It is in him that she sees liberation and salvation. She loves him more than life itself.

Unfortunately, Boris differed from the rest of the “dark kingdom” only in appearance. Inside he turned out to be a coward and a traitor. Katerina’s lover could not protect the offended woman at her most difficult moment. Without support and support, Katerina decides to commit suicide. This was the only way out.

Kabanikha was happy with this outcome, because she constantly irritated her with her independence and determination. Kabanikha disliked Katerina for her free and free spirit.

Was at the Kabanovs' estate established law- everyone obeys Kabanikha, and no one can say a word against her orders. And then Katerina appears, who violates the social order of the Kabanov estate. The boar constantly scolds and oppresses the young woman.

Katerina's confession about betrayal infuriates Kabanikha, and she, with all her vile nature, begins to mock her victim. Therefore, suicide turned out to be the surest way out in Katerina’s situation.

If we compare the images of the two women further, we can notice that they have completely different attitudes towards the Almighty. Kabanikha only pretends to be a pious lady, going to church only in order to impress those around her. Katerina, on the other hand, believes in God with bright thoughts and feelings. The Almighty is holiness for a young woman.

The images of Katerina and Kabanikha can be compared with light and darkness. They are completely opposite. Light image carries goodness and purity, and dark image breeds anger, callousness and cruelty.

Enmity between loved ones
it happens especially
irreconcilable
P. Tacitus
There is no worse retribution
for madness and delusion,
than to see as your own
children suffer because of them
W. Sumner

Play by A.N. Ostrovsky's "The Thunderstorm" tells about the life of a provincial Russia XIX century. The events take place in the city of Kalinov, located on the high Volga bank. Against the backdrop of the magnificent beauty of nature, royal tranquility, a tragedy occurs that disrupts quiet life of this city. Not all is well in Kalinov. Here, behind high fences, domestic despotism reigns, and invisible tears are shed. At the center of the play is the life of one of merchant families. But there are hundreds of such families in the city, and millions throughout Russia. However, life is structured in such a way that everyone observes certain laws, rules of behavior, and any deviation from them is a shame, a sin.
Main actor in the Kabanov family - the mother, the rich widow Marfa Ignatievna. It is she who dictates her own rules in the family and commands the household members. It is no coincidence that her last name is Kabanova. There is something animalistic about this woman: she is uneducated, but powerful, cruel and stubborn, demanding that everyone obey her, honor the foundations of the house-building and observe its traditions. Marfa Ignatievna - Strong woman. She considers the family to be the most important thing, the basis of social order, and demands the uncomplaining obedience of her children and daughter-in-law. However, she sincerely loves her son and daughter, and her remarks speak about this: “After all, it’s out of love that your parents are strict with you, everyone thinks to teach you good.” Kabanikha is lenient towards Varvara and lets her go out with the young people, realizing how hard it will be for her to be married. But Katerina constantly reproaches her daughter-in-law, controls her every step, forces Katerina to live the way she considers right. Perhaps she is jealous of her daughter-in-law for her son, which is why she is so unkind to her. “Ever since I got married, I don’t see the same love from you,” she says, turning to Tikhon. But he is unable to object to his mother, since he is a weak-willed person, brought up in obedience, and respects his mother’s opinion. Let us pay attention to Tikhon’s remarks: “How can I, Mama, disobey you!”; “I, Mama, am not one step out of your control,” etc. However, this is only the external side of his behavior. He doesn’t want to live according to the laws of house-building, he doesn’t want to make his wife his slave, a thing: “But why be afraid? It’s enough for me that she loves me.” Tikhon believes that relationships between a man and a woman in a family should be built on the principles of love and mutual understanding, and not on the subordination of one to the other. And yet he cannot disobey his domineering mother and stand up for the woman he loves. That's why Tikhon seeks solace in drunkenness. The mother, with her domineering character, suppresses the man in him, making him weak and defenseless. Tikhon is not ready to play the role of husband, protector, take care of family well-being. Therefore, in Katerina’s eyes he is a nonentity, not a husband. She doesn’t love him, but only feels sorry for him and tolerates him.
Tikhon's sister Varvara is much stronger and braver than her brother. She has adapted to life in her mother’s house, where everything is based on deception, and now lives by the principle: “Doing whatever you want, as long as everything is sewn and covered.” Varvara meets her lover Kudryash secretly from her mother, and does not report to Kabanikha for her every step. However, it is easier for her to live - an unmarried girl is free, and therefore she is not kept under lock and key, like Katerina. Varvara tries to explain to Katerina that it is impossible to live in their house without deception. But her brother’s wife is incapable of this: “I don’t know how to deceive, I can’t hide anything.”
Katerina is a stranger in the Kabanovs’ house, everything here is “as if from under captivity” for her. IN parental home she was surrounded by love and affection, she was free: “...what I want, it happened, that’s what I do.” Her soul is like a bird, she must live in free flight. And in her mother-in-law’s house, Katerina is like a bird in a cage: she yearns in captivity, endures undeserved reproaches from her mother-in-law and drunkenness unloved husband. She doesn’t even have children to give them her affection, love, attention.
Fleeing from family despotism, Katerina is looking for support in life, a person she could rely on and truly love. And therefore, Dikiy’s weak and weak-willed nephew Boris becomes in her eyes an ideal man, unlike her husband. She doesn't seem to notice his shortcomings. But Boris turned out to be a man incapable of understanding Katerina and loving her just as selflessly. After all, he throws her to the mercy of her mother-in-law. And Tikhon looks much more noble than Boris: he forgives Katerina everything because he truly loves her.
Therefore, Katerina’s suicide is a pattern. She cannot live under the yoke of Kabanikha and forgive the betrayal of Boris. This tragedy has stirred quiet life provincial town, and even the timid, weak-willed Tikhon begins to protest against his mother: “Mama, you ruined her! You, you, you..."
Using the example of the Kabanov family, we see that relationships in the family cannot be built on the principle of subordination of the weak to the strong, the foundations of Domostroev are being destroyed, and the power of the autocrats is passing. And even weak woman can challenge this to the wild world by his death. And yet I believe that suicide is not the best way out of this situation. Katerina could have acted differently. For example, go to a monastery and devote your life to serving God, because she is a very religious woman. But the heroine chooses death, and this is both her strength and her weakness.