Women's destinies and characters in A. Ostrovsky's play “The Thunderstorm. Female images in A. N. Ostrovsky's plays "The Thunderstorm" and "Dowry" Female images in the play by Ostrovsky "The Thunderstorm"

Being in many ways a turning point for Russian society as a whole, the 19th century brought many fundamental changes to all areas of public life. Since this process could not but be very significant for the Russian people, there was a need to attract public attention to it. Literature took on this function. To raise the most pressing issues of our time, many bright, colorful characters were created. It should be noted that the works have traditionally been dominated by male images, reflecting the most

Socially active representatives of society of that time. However, if you pay attention to the works of many Russian classics, starting with Fonvizin and Griboyedov, it is impossible not to notice their interest in depicting female images. Alexander Nikolaevich Ostrovsky was no exception. On the contrary, he created a whole series of very expressive female characters, capable, according to Goncharov, of “thinking, speaking and acting as they think, speak and act themselves,” each of which is deeply typical and at the same time individual and valuable in itself.
It is not difficult to note that in general, family and everyday conflicts predominate in Ostrovsky’s work, in which the dominant role is played not by a man, but by a woman. The underlying motive here is often the confrontation between old and new. Usually it is expressed by a conflict between a strong, despotic woman of the older generation and a young, socially helpless girl (a kind of motive for the relationship between the “executioner and the victim”). This situation is typical for both Ostrovsky’s comedy “The Forest” and his drama “The Thunderstorm”.
It should be emphasized that in the comedy “Forest” this conflict is revealed in a more simplified form (compared to “The Thunderstorm”). The older generation is represented here by Gurmyzhskaya. Ostrovsky creates a very colorful image of a wealthy landowner, who once shone in the world, now living in the provinces. As one of the most eloquent characteristics, the author cites her imaginary penchant for charity. According to her, she is only “a clerk with her money, and the owner of it is every poor, every unfortunate person.” Gurmyzhskaya is a characteristic type of heroine, representing a noble version of the “tyrant” principle, so fully revealed by Ostrovsky in “The Thunderstorm”. In the comedy “The Forest” this motive is not expressed so clearly. Gurmyzhskaya lives with the knowledge of her former life and does not want to part with it. To do this, she discharges a dropout high school student, Bulanov, from St. Petersburg. Ostrovsky very clearly paints a grotesque-comedy image of a careerist and “survivor”. Gurmyzhskaya falls in love with him, and Aksyusha becomes her “opponent,” according to Strakhov, “an honest and mentally strong girl,” but in many ways inferior to Katerina from “The Thunderstorm,” despite the fact that parallels in the construction of the image are clearly visible. For example, she also lives under the patronage of a strong, powerful woman, and also falls in love with a young man who is under the command of her father and completely dependent on him (it’s hard not to remember Boris and Dikiy from “The Thunderstorm”); finally, she also strives for personal freedom, for independent self-determination. However, despite some deeply meaningful psychological sketches (for example, her conversation with Peter, in which she admits: “I have no tears, and there is no great melancholy, but, I tell you, my heart is empty here”), the image is much more simplified, devoid of the deep psychological analysis characteristic of Ostrovsky in “The Thunderstorm”. N.A. Dobrolyubov points out that “he does not punish either the villain or the victim.” Indeed, neither Gurmyzhskaya with Bulanov, nor Aksyusha with Peter and other heroes receive a harsh assessment: Ostrovsky draws the readers’ attention not to specific heroes, but to the social types that they represent.
The same situation can be seen in “The Thunderstorm”, but here a much more detailed construction of the psychological portrait is evident. The local nobility gives way in this case to the merchants. The role of Gurmyzhskaya is played by Kabanikha, “a typical tyrant of Russian life.”
This is a very colorful figure, symbolizing one of the most significant parts of the “dark kingdom” and speaking on behalf of patriarchal principles. She represents the impersonal “we”, the old order, doomed to destruction even in such a “backwater” city of Kalinov, where it still has sufficient strength. The new time frightens Kabanikha, she senses the changes, notices that “they don’t really respect elders these days,” and tries by all means to maintain her authority. Ostrovsky emphasizes that she is not doing this out of malice, that her trouble is that she sincerely believes that young people “don’t know anything, have no order” and that “it’s good that those who have elders in the house, they the house lasts as long as you live.” Just like Gurmyzhskaya, Kabanikha has a strongly developed motive of imaginary charity, she welcomes “strangers, shows them favors,” listens to their words, while at the same time keeping her family in strictness and obedience.
The main character of “The Thunderstorm,” Katerina, finds herself in such conditions. This is an incomparably more complex (compared to Aksyusha) image, causing a lot of controversy in Russian criticism. Due to its deep internal contradictions, modern critics tend to highlight the “light and dark sides of Katerina’s soul.” The “bright side” includes her poetry and romanticism, sincere religiosity, as well as her “complete opposition to all tyrant principles.” Ostrovsky draws an example of a “female energetic character.” Although not particularly educated and striving for high ideals, Katerina has a strong sense of inner freedom. Any attempts to impose any restrictions on her turn all her strength and energy into protest. And here the “dark side” of her soul is revealed, indicating her connection with the “dark kingdom”. Although, according to Dobrolyubov, “Katerina does not at all belong to the violent character, never dissatisfied, loving to destroy at any cost,” she nevertheless becomes a slave to her emotions. Her wounded pride and offended self-esteem come to the fore, pushing her onto the sinful path of adultery. It should be noted that, despite her great social dependence, in Ostrovsky it is the woman who plays the leading role in the love triangle, and the lover does not always correspond to the deep inner decency of the heroine. This situation is observed both in “The Thunderstorm” and in “The Forest”. Actually, Katerina’s love for Boris is part of a protest against the growing oppression of the “dark kingdom”, a short-term consolation for her. However, having become completely confused in the current situation, she acutely feels the need for liberation and, being an idealist at heart, sees it only in death. Ostrovsky emphasizes that this is the only way out in this case, emphasizing this with the words of Boris: “Only one thing should be asked of God, that she die as soon as possible, so that she does not suffer for a long time!”, and also with a short but expressive remark from Tikhon, pronounced over the dead Katerina: “Good for you, Katya!”
Speaking about the image of Katerina, one cannot fail to mention the figure of Varvara, who here performs the function of a carefree, flighty soubrette. Ostrovsky deliberately pushes the reader to compare these two images, focusing even more on the positive traits of the main character. “You’re kind of tricky, God be with you!” - says Varvara, favorably highlighting this “wisdom” with her frivolity and, although practical, but superficial “grip”. If we turn to the comedy “The Forest”, here the role of the soubrette is played by Ulita, Gurmyzhskaya’s housekeeper, but she is by no means an antipode, but, on the contrary, a double of her ardent and amorous mistress, she is also possessed by dreams (“So sometimes she finds something like a cloud,” - admits). Gurmyzhskaya’s love affair with Bulanov is emphasized by Ulita’s love for Schastlivtsev.
Quite a few female images in Ostrovsky are satirical and grotesque in nature. In the comedy “The Forest”, according to the laws of the genre, this applies to all characters; As for “The Thunderstorm,” here it was the satirical female images that were one of the expressions of the comedy principle. This includes the wanderer Feklusha and the “girl” Glasha. Both images can be safely called grotesque-comedy. Feklusha seems to be a storyteller of folk tales and legends, pleasing those around her with her stories about how “the Saltans rule the earth” and “no matter what they judge, everything is wrong,” and about the lands “where all the people are with dog heads.” Glasha is a typical reflection of ordinary “Kalinovites” who listen with reverence to such Feklush, confident that “it’s still good that there are good people; no, no, and you’ll hear what’s going on in this world, otherwise you’d die like a fool.” Both Feklusha and Glasha belong to the “dark kingdom,” dividing this world into “theirs” and “theirs,” into patriarchal “virtue,” where everything is “cool and orderly,” and into external vanity, from which the old order and time begin “to come into humiliation.” With these characters, Ostrovsky introduces the problem of the absurd ignorance and lack of enlightenment of the old conservative way of life, its inconsistency with modern trends.
Thus, summing up all of the above, it should be emphasized that, firmly aware of all the changes and trends in society, Ostrovsky was nevertheless opposed to the ideas of violent changes and saw his educational activities in a rather traditional aspect: in moral re-education, exposing vice, the discovery of the virtue of simple and eternal values ​​of life. And an important role in revealing this topic was played by the characters so precisely selected and “written out” by him, including female ones, as dominant in many of his plays, including “The Thunderstorm” and “The Forest.” It was their presence that made possible such plot devices as the conflict between the old and new generations, the confrontation or, on the contrary, the union of a strong, thoughtful personality and carefree but practical staff, the introduction of comedic and grotesque images and much more, which ultimately ensured the completion of the task and made Ostrovsky one of the most outstanding Russian playwrights of the 19th century.

Two dramas by A. N. Ostrovsky are devoted to the same problem - the position of women in Russian society. Before us are the fates of three young women: Katerina, Varvara, Larisa. Three images, three destinies.
Katerina differs in character from all the characters in the drama “The Thunderstorm”. Honest, sincere and principled, she is not capable of deception and falsehood, of resourcefulness and opportunism. Therefore, in a cruel world where wild and wild boars reign, her life turns out to be unbearable, impossible and ends so tragically. Katerina’s protest against Kabanikha is a struggle of the bright, pure, human against the darkness of lies and cruelty of the “dark kingdom”. No wonder Ostrovsky, who paid great attention to names and surnames, gave the heroine of “The Thunderstorm” the name Ekaterina, which translated from Greek means “eternally pure.” Katerina is a poetic person. Unlike the rude people around her, she feels the beauty of nature and loves it. It is the beauty of nature that is natural and sincere. “I used to get up early in the morning; In the summer, I’ll go to the spring, wash myself, bring some water with me, and that’s it, I’ll water all the flowers in the house. I had many, many flowers,” she says about her childhood. Her soul is constantly drawn to beauty. The dreams were filled with miracles and fabulous visions. She often dreamed that she was flying like a bird. She talks about her desire to fly several times. With this, Ostrovsky emphasizes the romantic sublimity of Katerina’s soul. Married early, she tries to get along with her mother-in-law and love her husband, but in the Kabanovs’ house no one needs sincere feelings. The tenderness that fills her soul finds no application. Deep melancholy sounds in her words about children: “If only there were someone’s children!” Eco woe! I don’t have any children: I would still sit with them and amuse them. I really like talking to children - they are angels.” What a loving wife and mother she would have been under different conditions!
Katerina’s sincere faith differs from Kabanikha’s religiosity. For Kabanikha, religion is a dark force that suppresses the will of man, and for Katerina, faith is the poetic world of fairy-tale images and supreme justice. “... I loved going to church to death! Sure, it happened that I would enter heaven, and I didn’t see anyone, and I didn’t remember the time, and I didn’t hear when the service was over,” she recalls.
Bondage is Katerina's main enemy. The external conditions of her life in Kalinov seem to be no different from the environment of her childhood. The same motives, the same rituals, that is, the same activities, but “everything here seems to be from under captivity,” says Katerina. Bondage is incompatible with the freedom-loving soul of the heroine. “And captivity is bitter, oh, so bitter,” she says in the scene with the key, and these words, these thoughts push her to the decision to see Boris. In Katerina’s behavior, as Dobrolyubov said, a “decisive, integral Russian character” was revealed, which “will withstand itself, despite any obstacles, and when there is not enough strength, it will die, but will not change itself.”
Varvara is the complete opposite of Katerina. She is not superstitious, is not afraid of thunderstorms, and does not consider strict adherence to established customs obligatory. Due to her position, she cannot openly oppose her mother and therefore is cunning and deceives her. She hopes that marriage will give her the opportunity to leave this house, to escape.

Two dramas by A. N. Ostrovsky are devoted to the same problem - the position of women in Russian society. Before us are the fates of three young women: Katerina, Varvara, Larisa. Three images, three destinies.

Katerina differs in character from all the characters in the drama "The Thunderstorm". Honest, sincere and principled, she is not capable of deception and falsehood, of resourcefulness and opportunism. Therefore, in a cruel world where wild and wild boars reign, her life turns out to be unbearable, impossible and ends so tragically. Katerina's protest against Kabanikha is a struggle of the bright, pure, human against the darkness of lies and cruelty of the “dark kingdom”. It is not for nothing that Ostrovsky, who paid great attention to names and surnames, gave the heroine of “The Thunderstorm” the name Ekaterina, which translated from Greek means “eternally pure.” Katerina is a poetic person. Unlike the rude people around her, she feels the beauty of nature and loves it. It is the beauty of nature that is natural and sincere. “I used to get up early in the morning; in the summer, I’d go to the spring, wash myself, bring some water with me and that’s it, water all the flowers in the house. I had many, many flowers,” she says about her childhood. Her soul is constantly drawn to beauty. The dreams were filled with miracles and fabulous visions. She often dreamed that she was flying like a bird. She talks about her desire to fly several times. With this, Ostrovsky emphasizes the romantic sublimity of Katerina’s soul. Married early, she tries to get along with her mother-in-law and love her husband, but in the Kabanovs’ house no one needs sincere feelings. The tenderness that fills her soul finds no application. Deep melancholy sounds in her words about children: “If only there were someone’s children! Oh woe! I don’t have children: I would still sit with them and amuse them. I really love talking to children - they are angels.” What a loving wife and mother she would have been under different conditions!

Katerina’s sincere faith differs from Kabanikha’s religiosity. For Kabanikha, religion is a dark force that suppresses the will of man, and for Katerina, faith is the poetic world of fairy-tale images and supreme justice. “... I loved going to church to death! Surely, it used to be that I would enter heaven, and I didn’t see anyone, and I didn’t remember the time, and I didn’t hear when the service was over,” she recalls.

Bondage is Katerina's main enemy. The external conditions of her life in Kalinov seem to be no different from the environment of her childhood. The same motives, the same rituals, that is, the same activities, but “everything here seems to be from under captivity,” says Katerina. Bondage is incompatible with the freedom-loving soul of the heroine. “And captivity is bitter, oh, so bitter,” she says in the scene with the key, and these words, these thoughts push her to the decision to see Boris. In Katerina’s behavior, as Dobrolyubov said, a “decisive, integral Russian character” was revealed, which “will withstand itself, despite any obstacles, and when there is not enough strength, it will die, but will not change itself.”

Varvara is the complete opposite of Katerina. She is not superstitious, is not afraid of thunderstorms, and does not consider strict adherence to established customs obligatory. Due to her position, she cannot openly oppose her mother and therefore is cunning and deceives her. She hopes that marriage will give her the opportunity to leave this house, to escape from the “dark kingdom.” To Katerina’s words that she | doesn’t know how to hide anything, Varvara replies: “Well, you can’t live without it! Remember where you live! Our whole | house rests on that. And I wasn’t a liar, but I learned when it became necessary." Varvara despises her brother’s spinelessness and is indignant at her mother’s heartlessness, but she cannot understand Katerina. She is only interested and concerned about the external side of life. She resigned herself and adapted to the laws of the old world around her.

Larisa, unlike Katerina, grew up and was raised in conditions where the weak are humiliated, where the strongest survive. Her character does not have the integrity that Katerina has. Therefore, Larisa does not strive, and cannot, realize her dreams and desires. Her name means "Seagull" in Greek. This bird is associated with something white, light, and piercingly screaming. And this image fully matches Larisa.

Katerina and Larisa have different upbringings, different characters, different ages, but they are united by the desire to love and be loved, to find understanding, in a word, to become happy. And each one goes towards this goal, overcoming the obstacles created by the foundations of society.

Katerina cannot connect with her loved one and finds a way out in death.

Larisa's situation is more complicated. She became disillusioned with her loved one and stopped believing in the existence of love and happiness. Realizing that she is surrounded by lies and deception, Larisa sees two ways out of this situation: either the search for material values, or death. And given the circumstances, she chooses the first. But the author does not want to see her as an ordinary dependent woman, and she leaves this life.

Two dramas by A. N. Ostrovsky are devoted to the same problem - the position of women in Russian society. Before us are the fates of three young women: Katerina, Varvara, Larisa. Three images, three destinies.
Katerina differs in character from all the characters in the drama “The Thunderstorm”. Honest, sincere and principled, she is not capable of deception and falsehood, of resourcefulness and opportunism. Therefore, in a cruel world where wild and wild boars reign, her life turns out to be unbearable, impossible and ends so tragically. Katerina's protest

Against Kabanikha is a struggle of the bright, pure, human against the darkness of lies and cruelty of the “dark kingdom”. No wonder Ostrovsky, who paid great attention to names and surnames, gave the heroine of “The Thunderstorm” the name Ekaterina, which translated from Greek means “eternally pure.” Katerina is a poetic person. Unlike the rude people around her, she feels the beauty of nature and loves it. It is the beauty of nature that is natural and sincere. “I used to get up early in the morning; In the summer, I’ll go to the spring, wash myself, bring some water with me, and that’s it, I’ll water all the flowers in the house. I had many, many flowers,” she says about her childhood. Her soul is constantly drawn to beauty. The dreams were filled with miracles and fabulous visions. She often dreamed that she was flying like a bird. She talks about her desire to fly several times. With this, Ostrovsky emphasizes the romantic sublimity of Katerina’s soul. Married early, she tries to get along with her mother-in-law and love her husband, but in the Kabanovs’ house no one needs sincere feelings. The tenderness that fills her soul finds no application. Deep melancholy sounds in her words about children: “If only there were someone’s children!” Eco woe! I don’t have any children: I would still sit with them and amuse them. I really like talking to children – they are angels.” What a loving wife and mother she would have been under different conditions!
Katerina’s sincere faith differs from Kabanikha’s religiosity. For Kabanikha, religion is a dark force that suppresses the will of man, and for Katerina, faith is the poetic world of fairy-tale images and supreme justice. “... I loved going to church to death! Exactly, it happened that I would enter heaven, and I didn’t see anyone, and I didn’t remember the time, and I didn’t hear when the service was over,” she recalls.
Bondage is Katerina’s main enemy. The external conditions of her life in Kalinov seem to be no different from the environment of her childhood. The same motives, the same rituals, that is, the same activities, but “everything here seems to be from under captivity,” says Katerina. Bondage is incompatible with the freedom-loving soul of the heroine. “And bondage is bitter, oh, so bitter,” she says in the scene with the key, and these words, these thoughts push her to the decision to see Boris. In Katerina’s behavior, as Dobrolyubov said, a “decisive, integral Russian character” was revealed, which “will withstand itself, despite any obstacles, and when there is not enough strength, it will die, but will not change itself.”
Varvara is the complete opposite of Katerina. She is not superstitious, is not afraid of thunderstorms, and does not consider strict adherence to established customs obligatory. Due to her position, she cannot openly oppose her mother and therefore is cunning and deceives her. She hopes that marriage will give her the opportunity to leave this house, to escape from the “dark kingdom.” To Katerina’s words that she doesn’t know how to hide anything, Varvara replies: “Well, but you can’t live without it!” Remember where you live! Our whole house rests on this. And I wasn’t a liar, but I learned when it became necessary.” Varvara despises her brother’s spinelessness and is indignant at her mother’s heartlessness, but she cannot understand Katerina. She is only interested and concerned about the external side of life. She resigned herself and adapted to the laws of the old world around her.
Larisa, unlike Katerina, grew up and was raised in conditions where the weak are humiliated, where the strongest survive. Her character does not have the integrity that Katerina has. Therefore, Larisa does not strive, and cannot, realize her dreams and desires. Her name means “Seagull” in Greek. This bird is associated with something white, light, and piercingly screaming. And this image fully matches Larisa.
Katerina and Larisa have different upbringings, different characters, different ages, but they are united by the desire to love and be loved, to find understanding, in a word, to become happy. And each one goes towards this goal, overcoming the obstacles created by the foundations of society.
Katerina cannot connect with her loved one and finds a way out in death.
Larisa's situation is more complicated. She became disillusioned with her loved one and stopped believing in the existence of love and happiness. Realizing that she is surrounded by lies and deception, Larisa sees two ways out of this situation: either the search for material values, or death. And given the circumstances, she chooses the first. But the author does not want to see her as an ordinary dependent woman, and she leaves this life.

You are currently reading: Female images in A. N. Ostrovsky’s plays “The Thunderstorm” and “Dowry”

(354 words) Female images in literature play a fairly large role. It is the weaker sex who is sometimes destined to show life with all its difficulties and adversities, convey a certain idea to readers and influence society as a whole. Works by A.N. Ostrovsky are famous for the variety of female images, each of which has its own individuality, but at the same time reflects certain features characteristic of that time. This is especially noticeable in his drama “The Thunderstorm,” written in 1859.

Katerina Kabanova is the main character of the work; it is her emotional experiences that we observe throughout the play. A pure, sincere, sensitive girl, “a ray of light in a dark kingdom.” Since childhood, she was surrounded by the love and care of her parents, so she grew up to be a passionate and dreamy person. She was open to the world, she didn't have to pretend to express her emotions. But then, having married Tikhon, she found herself in a completely different world, saturated with malice and despotism on the part of her mother-in-law. She found such a life unbearable, as a result of which she fell in love with Boris. However, unfortunately, everything ended sadly: Katerina could not cope with her torments of conscience, so she died, purposefully choosing the path of death.

Another striking image in the play was Marfa Ignatievna Kabanova. A rich merchant's wife and part-time mother of Tikhon, mother-in-law of Katerina. She is the personification of tyranny and cruelty - traits inherent in this Kalinov. More than anything else, she values ​​the orders and customs regulated by Domostroy. Condemns his son and daughter-in-law because they do not act as prescribed by the law. Even when Katerina confesses her sin, Kabanikha is happy, because she has a reason to forever humiliate the young woman. However, at the end of the work, the merchant's wife is left alone, because even her only son abandoned her.

Another interesting heroine in the work was Kabanikha’s daughter, Varvara. A smart and cunning girl who despises the laws of Domostroy and tries to act differently. It was she who persuaded Katerina to meet with Boris, since in her mind you need to do whatever you want. The heroine will never openly speak out against cruel orders, but she is ready to fight for her happiness using lies. In the end, Varvara runs away with Kudryash from her home to start a different life.

In Ostrovsky's play we see completely different heroines, differing in their worldview. Each of them represents a specific group of people living at that time.