And that tears flow behind these constipations,
invisible and inaudible.
A. N. Ostrovsky
Tyranny and despotism, suppressing in those around them the dream of freedom, of independence, inevitably gives rise to people who are intimidated and downtrodden, who do not dare to live by their own will. Tikhon and Boris in the drama The Thunderstorm belong to such victims of the “dark kingdom”.
From childhood, Tikhon was accustomed to obey his mother in everything, he got used to the fact that in adulthood he was afraid to act against her will. He resignedly endures all the bullying of Kabanikh, not daring to protest. “But how can I, mother, disobey you!” he says, and then adds: “Yes, mama, I don’t want to live by my own will. Where can I live with my will!
Tikhon's only cherished desire is to escape, at least for a short time, from under the care of his mother, to drink, go on a spree, go on a spree so that he can take a walk for a whole year. In the send-off scene, Kabanikh's despotism reaches its extreme and Tikhon's complete inability to not only protect but also understand Katerina is revealed. Kabanikhi, with her instructions, brought him to complete exhaustion, and he, maintaining a respectful tone, is looking forward to when this torture will end.
Tikhon understands that by doing the will of his mother, he humiliates his wife. He is both ashamed of her and sorry for her, but he cannot disobey his mother. And so, under the dictation of his mother, he teaches Katerina, trying at the same time to soften the rudeness of words and the harshness of his mother's intonations. Powerless to protect his wife, forced to play the miserable role of a tool in the hands of Kabanikh, Tikhon does not deserve respect. Katerina’s spiritual world is incomprehensible to him, a man not only weak-willed, but also limited, rustic. “I won’t understand you, Katya! Then you won’t get a word from you, let alone affection; otherwise you climb yourself, ”he tells her. Nor did he understand the drama brewing in his wife's soul. Tikhon unwittingly becomes one of the culprits of her death, as he refused to support Katerina, pushed her away at the most critical moment.
According to Dobrolyubov, Tikhon is "a living corpse - not one, not an exception, but a whole mass of people subject to the pernicious influence of the Wild and Kabanovs!"
Boris, Dikiy's nephew, stands significantly higher than his environment in terms of his level of development. He received a commercial education, not without a "certain degree of nobility" (Dobrolyubov). He understands the savagery and cruelty of the mores of the Kalinovites. But he is powerless, indecisive: material dependence puts pressure on him and turns him into a victim of his uncle-tyrant. “Education took away from him the strength to do dirty tricks ... but did not give him the strength to resist the dirty tricks that others do,” Dobrolyubov notes.
Boris sincerely loves Katerina, is ready to suffer for her, to ease her suffering: “Do with me what you want, just don’t torture her!” He is the only one among all who understands Katerina, but is unable to help her. Boris is a kind, gentle person. But Dobrolyubov is right, who believed that Katerina fell in love with him "more in the absence of people", in the absence of a more worthy person. material from the site
Both of them - both Tikhon and Boris failed to protect and save Katerina. And the "dark kingdom", which turned them into weak-willed, downtrodden people, doomed both of them to "live and suffer." But even such weak, weak-willed, resigned to life, driven to the extreme, people like the inhabitants of Kalinovo are able to condemn the despotism of tyrants. The death of Katerina prompted Kudryash and Varvara to search for another life, for the first time forced Kuligin to turn to petty tyrants with bitter reproach. Even the unfortunate Tikhon comes out of unconditional submission to his mother, regrets that he did not die with his wife: “Good for you, Katya! Why am I left to live in the world and suffer!” Of course, the protest of Varvara, Kudryash, Kuligin, Tikhon has a different character than that of Katerina. But Ostrovsky showed that the “dark kingdom” was beginning to loosen up, and Dikoi and Kabanikha were showing signs of fear of new phenomena that they did not understand in the life around them.
If Dikoy and Kabanikha can be called petty tyrants, then Tikhon Kabanov, in fairness, is called a downtrodden and humiliated person.
He has no will of his own and no thought of his own. “But how can I, mother, disobey you!” “Yes, mother, I don’t want to live by my own will!” - only this kind of speech is heard from him by his mother. She, of course, approves of him for this; but, as is usually the case with such people, she does not respect him herself. She calls him a fool; she contemptuously tells him: "Why are you pretending to be an orphan! Why are you dissolving a nurse? Well, what kind of husband are you? Look at yourself!"
And his sister Varvara does not respect him. Tikhon is a kind man and in essence not bad: he loves his wife in his own way, he trusts her; he does not want his wife to be afraid of him. But in his soul there is not enough love to protect the poor woman from insults, and he himself inflicts insults on her by order of his mother. His own will and the opportunity to go on a spree in freedom, without supervision, is the most precious thing for him. He reproaches his wife for the fact that his mother sharpened him with reproaches; he frankly tells Katerina that he is glad to get out of the house, that he and his mother “hit him”. He himself, stupidly and blindly, destroys his wife, and himself, and the possibility of his happiness. Katerina, afraid of her impulses, asks him to take her with him, but refuses. “Have you really fallen out of love with me?” asks the poor woman.
- “Yes, I didn’t stop loving,” he answers, “but with such bondage, you will run away from whatever beautiful wife you want! Think about it: whatever it is, but I, after all, am a man; live like this all your life, as you see, you will also run away from your wife. Yes, how do I know now that there will be no thunderstorm over me for two weeks, there are no shackles on my legs, so am I up to my wife?
“How can I love you when you say such words?” Katerina exclaims mournfully.
Tikhon has a heart; when Katerina begins to repent in front of her mother-in-law, tells her misdeed, he tries to stop her in order to hide the case from her merciless mother. He then sympathizes with the torment of his wife ... But he still does what his mother orders: he beats Katerina at her command. Not having his own thoughts, he, drunk with grief, deliberately sets himself up for hostile feelings, in accordance with the views of his mother. A man of conscience and feelings defeats his blindly obedient son only when Katerina commits suicide. “Mama, you ruined her! You, you, you...” But this is already a late protest and unnecessary; yeah, it's hardly durable. Maybe Kabanikha is right, saying with confidence in response to him: “Well, I’ll talk to you at home!”
Such is one element of life, depicted in The Thunderstorm - the element of the selfish oppression of the strong over the weak, the humiliating and shameful humiliation of the weak.
In the atmosphere of the "dark kingdom", under the yoke of tyrannical power, living human feelings grow dim, wither away, the will weakens, the mind fades. If a person is endowed with energy, a thirst for life, then, applying himself to circumstances, he begins to lie, cunning, dodge.
Under the pressure of this dark force, the characters of Tikhon and Barbara develop. And this force disfigures them - each in his own way.
Tikhon is depressed, pitiful, impersonal. But even the oppression of Kabanikh did not completely kill the living feelings in him. Somewhere in the depths of his timid soul, a spark glimmers - love for his wife. He does not dare to show this love, he does not understand the complex spiritual life of Katerina and is glad to leave even from her, if only to escape from the hell at home. But the fire in his soul does not go out. Confused and depressed, Tikhon shows love and pity for his wife who cheated on him. "And I love her, I'm sorry to touch her with my finger ..." - he admits to Kuligin.
His will is paralyzed, and he does not even dare to help his unfortunate Katya. However, in the last scene, love for his wife overcomes the fear of his mother, and a man awakens in Tikhon. Over the corpse of Katerina, for the first time in his life, he turns to his mother with an accusation. Here before us is a man in whom, under the influence of a terrible misfortune, his will has woken up. Curses sound all the more menacing because they come from the most downtrodden, the most timid and weak person. This means that the foundations of the "dark kingdom" are really crumbling and the power of Kabanikha is wavering, even if Tikhon spoke like that.
Other than in Tikhon, features are embodied in the image of Barbara. She does not want to endure the power of tyrannical power, does not want to live in captivity. But she chooses the path of deceit, cunning, dodging, and it becomes habitual for her - she does it easily, cheerfully, without feeling remorse. Varvara claims that it is impossible to live without lies: their whole house is based on deceit. "And I was not a liar, but I learned when it became necessary." Her worldly philosophy is very simple: "Do whatever you want, as long as it is sewn and covered." However, Varvara was cunning as long as it was possible, but when they began to lock her up, she ran away from home. And again the old Testament ideals of Kabanikha are crumbling. The daughter "disgraced" her house, broke free from her power.
Most weak and pitiful is Diky's nephew, Boris Grigoryevich. He himself says about himself: "I walk around completely dead ... Driven, beaten down ..." This is a kind, cultured person, standing out against the background of the merchant environment. However, he is not able to protect either himself or his beloved woman, in misfortune he only rushes about and cries and is unable to object to scolding.
In the scene of the last meeting with Katerina, Boris makes us contempt. To run away with the woman he loves, like Curly, he is afraid. He is even afraid to talk to Katerina ("If they hadn't caught us here"). This is exactly the case, according to the proverb, there is only one step from weakness to meanness. Boris's powerless curses sound submissive and cowardly: "Oh, if only these people knew what it's like for me to say goodbye to you! My God! God grant that someday it would be as sweet for them as it is for me now. Farewell, Katya! .. You villains "Fiends! Oh, if only there was strength!"
He does not have this strength... However, in the general chorus of protesting voices, even this impotent protest is significant.
Among the characters of the play, opposed to the Wild and the Boar, Kuligin judges the "dark kingdom" most clearly and sensibly. This self-taught mechanic has a bright mind and a broad soul, like many talented people from the people. It is no coincidence that the name Kuligin itself resembles the name of the remarkable self-taught inventor Kulibin from Nizhny Novgorod.
Kuligin condemns the possessive instincts of the merchants, cruel attitude towards man, ignorance, indifference to everything truly beautiful. Kuligin's opposition to the "dark kingdom" is especially expressive in the scene of the encounter with Wild.
Asking for money for a sundial, Kuligin does not care about himself, he is interested in "benefit for all the townsfolk in general." And Dikoy will not even understand what is at stake, the very concept of public interests is so alien to him. The interlocutors seem to speak different languages. Wild often simply does not understand Kuligin's words, especially when he quotes his favorite poets of the 18th century. To Kuligin's respectful remarks, decorated with quotes, Dikoy reacts in a very peculiar way: "Don't you dare be rude to me!" - and scares Kuligin with the mayor.
Kuligin is an outstanding person. But Dobrolyubov did not call him "a ray of light in a dark kingdom." Why? Yes, because Kuligin is powerless, weak in his protest. Just like Tikhon, like Boris, Kuligin is afraid of tyrannical power, bows before it. "There is nothing to do, we must submit!" he says humbly. Kuligin and others teach obedience. So, he advises Curly: "It's better to endure." He recommends the same to Boris: "What to do, sir. We must try to please somehow."
Only in the fifth act, shocked by the death of Katerina, Kuligin rises to open protest. A harsh accusation sounds in his last words: "Here is your Katerina. Do with her what you want! Her body is here, take it; and the soul is now not yours: it is now before a judge who is more merciful than you!" With these words, Kuligin not only justifies Katerina's suicide, which freed her from oppression, but also blames the unmerciful judges who killed their victim for her death.
In A. Ostrovsky's play "Thunderstorm" life opens before us in the small town of Kalinovo. From the very first action, you can feel the tense atmosphere. Further, we understand that the blame for everything is the influence of two tyrants - Kabanova and Diky. They, like older and wiser people, keep everything in this city under their control.
Only all this control lies in attempts to influence the fate of the younger generation and teach them to live by their outdated rules. Life in this city is under the influence of the "dark kingdom", in which it is impossible to live freely and easily.
The first victims of such a life are the children of Kabanikh - Tikhon and Varvara. From childhood, they were under the pressure of this society. The influence of the mother affected both the son and the daughter with equal force, but she influenced them in different ways.
As for Tikhon, his portrait can be represented as a miserable, depressed person. He has no opinion of his own, he constantly has to do everything that his mother ordered him to do. But despite this constant pressure, Tikhon managed to keep his feelings alive. This can be seen in the timid display of love for his wife. But even in this case, he is not able to understand Katerina's spiritual drama, and is even ready to leave the city without a wife, just to escape from the "dark kingdom". Tikhon is such a weak-willed person that he cannot help Katerina avoid constant reproaches from her mother-in-law and protect her. But at the very end of the play, Tikhon managed to show his character and confront his mother when Katerina dies. He even curses her at the death of his wife: "Mama, you ruined her! You, you, you..." With this accusation, Tikhon is the first to destroy the foundations of this kingdom and shake the power of the Kabanikh.
The character of Varvara was formed differently than that of her brother. Her unwillingness to be under the constant control of her mother and her tyranny, she chooses the path of lies and deceit. Barbara is already so accustomed to performing these actions that she does it easily and cheerfully that no one will suspect her of deceit. The girl is sure that it is impossible to survive in the Kabanovs' house, only without lies and pretense. She believes: “When the mother began to exert even more pressure on Varvara, the girl could not endure it and was forced to run away from home with her lover. Thus, the power of Kabanikh was shaken again.
Boris turned out to be even weaker in relation to the influence of the "dark kingdom". If Tikhon and Varvara were at least to a small extent able to resist this, then Boris was not. The author presents us with a wild nephew as a kind and educated person who was able to stand out among other heroes. But under the authority of his uncle, he cannot prove himself as a courageous and resolute person. He cannot save Katerina by taking her with him, just like Curly did. On the one hand, he can be understood, because if he disobeyed the Wild, then not only he himself would suffer, but also his sister. But on the other hand, Boris is contemptible by many readers because of his weak character. He is not able to express even the slightest protest against the "dark kingdom" and is forced to obey their rules.
But the play is not so sad. Among the inhabitants of the city there is one person who sheds a ray of light into the darkness. This person is Kuligin - a tradesman, a self-taught watchmaker, eager to invent a time machine. In his dialogues with other characters, we see his contempt for the cruel attitude towards people and his indifferent attitude towards everything beautiful. Opposition to society can be seen in his conversation with Wild. Kuligin is trying to help the whole society, for example, hang a big clock on the wall or build a lightning rod. Wild refuses all his requests, simply not understanding why to try for the good of society. Kuligin's opposition cannot be open, because he is powerless, and still cannot achieve anything. That is why he has to forever obey and please others. But in the very last remark of Kuligin, we can finally hear a clear protest: "Here is your Katerina. Do what you want with her! Her body is here, take it; and the soul is no longer yours: it is now before a judge who is more merciful than you!" With his statement, he simultaneously justifies the death of Katerina, and charges the "judges" who killed their victim.
Subject. Victims of the "dark kingdom" in A.N. Ostrovsky's play "Thunderstorm".
Target: didactic: continueanalyze the image of the city of Kalinov and its inhabitants created by the author, find out which of the inhabitants of Kalinov can be called victims of the “dark kingdom”, characterize these heroes;
developing: to develop the cognitive activity of students, the skills of expressive reading and analysis of a dramatic work;
educational:to promote the education of interest in the theater, dramaturgy, to cultivate the desire for an active life position on the example of the heroes of the play.
Lesson type: practical lesson
Equipment: portrait of A.N. Ostrovsky, texts of the play "Thunderstorm".
STUDY PROCESS
І . Updating of basic knowledge
1. Checking homework
Describe the images of the Wild and Boar
2. Conversation
- Name the main characters of the play, their social position. In the drama "Thunderstorm" there are no random names and surnames. What principle is put by the author in the system of characters in the play?
- Try to define the names and surnames of the characters in this drama: Savel Prokofich Wild, Marfa Ignatievna Kabanova (Kabanikha). Tikhon, Katerina, Kuligin and others.
ІІ . Announcement of the topic and purpose of the lesson
ІІІ . Motivation for learning activities
The plot of "Thunderstorm" is defined in different ways. A. I. Revyakin considers Boris's declaration of love for Katerina, combined with Katerina's reciprocal confession, to be the plot. E. Kholodov claims that the plot is Katerina's decision to go on a date with Boris. Both points of view reflect the love conflict of the drama. But the essence of drama cannot be reduced to a love affair. The conflict is based on the clash of petty tyrants and their victims.
І V . Perception of new material
1. The word of the teacher.
Along with the representatives of the old generation, the drama also depicts the younger, new generation.
- What is the difference in their life positions?
Exercise.
- What is the life position of Kuligin?
(Kuligin speaks with pain about the “cruel morals of the city, but advises to “please somehow” petty tyrants. He is not a fighter, but a dreamer; his projects are not feasible. He spends his strength on inventing a perpetual motion machine. The peculiarities of his speech, emotional , but old-fashioned. He often uses Old Slavonic words and phraseological units, quotations from the "Holy Scripture" ("The urgency of bread", "little goodness", "there is no end to torment", etc.). Kuligin's artistic tastes are also archaic. Literature of the nineteenth century "Pushkin, Gogol, Lermontov," passed him by. He remained faithful to Lomonosov and Derzhavin.)
- Where does action II (Javl. 1.) take place? Who are the actors, their role?
(A room in the Kabanovs' house. The windows are closed with shutters, twilight; flickering flows from the lamps hanging in front of the icons, chests with the master's goods stand on the walls. Feklusha's monologue sounds especially expressive in this gloomy room.)
- Who is Feklusha? What is your first impression of her?
- What does she tell Glasha about? What hero can she be compared to?
(In the course of development, the actions of Kuligin and Feklusha do not enter into an open struggle, but are depicted in the play as antipodes.)
Kuligin brings culture to society, he is a self-taught mechanic, very smart and it is no coincidence that his last name resembles the name of the Nizhny Novgorod inventor - self-taught Kulibin. This image is sharply contrasted with the ignorant Kabanova, Dikoi, Feklusha, the half-mad lady. This opposition is particularly pronounced in the scene of his encounter with Dikiy.
Quote: d.4, yavl.2
Dikoy simply does not understand many of Kuligin’s words, and he reacts to Kuligin’s harmless remarks in his own way: “Don’t you dare be rude with me” and threatens to complain to the mayor. Giftedness, literacy of Kuligin is felt in his speech. He writes poetry, so his speech is not devoid of poetry. Prove it with text.
Quote: d.1, yavl.1
His melodious speech resembles a leisurely folk tale. Kuligin condemns the morals of the wild and boar, but he is too weak in his protest, he is afraid of this tyrannical force, he bows before it. “There is nothing to do, we must submit,” he says, and teaches others to submit:
“What to do, sir,” he says to Boris, “we must try to please somehow.”
And only, shocked by the death of Katerina, he rises to an open protest. Find a quote in the text.
Quote: d.5, yavl.7
With these words, he not only justifies Katerina, but also throws down an open challenge to the “dark kingdom”.
- How does Tikhon, Varvara, Katerina feel about Kabanikha and her teachings? What is their attitude?
(Households dependent on Kabanikha have a different attitude towards her teachings. Tikhon thinks only of pleasing his mother, seeks to convince her of his obedience. The plural appeal, the repeated word “mother” give his speech a derogatory character, and only a remark to the side ("Oh, my God!") expresses his true attitude to maternal teachings. During the dialogue, Varvara did not say a single word aloud, but she sneers at her mother to herself, condemns her ("You won't respect you, how can you!" " I found a place for instruction to read. " Varvara is convinced that you cannot live here without pretense. And only Katerina openly declares her human dignity. ("Yes, even by the way, why are you offending me?" Nice!")
Thus, already in the first manifestations, sharp clashes of heroes are revealed before us, which add up to a single conflict of petty tyrants and their victims. Kuligin's monologue takes us beyond the personal relationships of the actors and gives this conflict a broad public sound.
Quote: d. I V yavl. 1.2.
The death of Katerina aroused a protest against the "dark kingdom" not only from Kuligin, but also from the weak-willed, downtrodden Tikhon. In the son of Kabanikha, we see the living embodiment of the goal that the representatives of the “dark kingdom” were striving for. Tikhon is so saturated with fear and humility that he does not even dare to think about living his own mind.
“Yes, mother, I don’t want to live by my own will. Where can I live with my will?
But Tikhon is by nature a good person: he is kind, sympathetic, sincerely loves Katerina, but his mother drowned out all this in him with her despotism.
D. II, yavl. 3, 4, 5 "Seeing Tikhon". How do the characters behave in this scene, how does this characterize them?
- What is the significance of this scene in the development of events?
(In this scene, it is revealed to what extremes Kabanikh's despotism goes, it turns out Tikhon's complete inability not only to protect, but also to understand Katerina. This scene explains Katerina's decision to go on a date with Boris.)
- How does Tikhon behave before leaving home?
(In order to understand Tikhon's state of mind before leaving, you need to clearly imagine his position in his mother's house, his desire to be freed from guardianship for at least two weeks. With a sense of relief, Tikhon utters his remark: “Yes, sir, it’s time.” But it turns out "That's not all. His mother demands that he instruct Katerina how to live without him. Tikhon realizes that by doing his mother's will, he humiliates his wife.
When Kabanikh's instructions become completely offensive, Tikhon tries to object to the bullying of Katerina, but his mother is adamant, and he quietly, embarrassed, as if apologizing to his wife, says: "Don't look at the guys!" The goal of the Kabanikha is to bring to the complete obedience of the household and, above all, the wayward Katerina.)
And yet the death of his wife raises a storm of protest in him. And if at the beginning of the play he says: “But how can I, mother, disobey you! ”, then at the end he throws an angry accusation in her face:“ you ruined her! You! You!"
The unbearable life under the yoke of the Kabanikh, the longing for freedom, the desire for love - all this, not finding a response in Tikhon, was the reason for the emergence of Katerina's feelings for Boris.
Boris will stand out among the inhabitants of the city of Kalinov. He is educated, smart, but he, like Katerina, is oppressed. And it brings them closer. Katerina was bitterly deceived in him. He only outwardly does not look like Tikhon, it seems better than him, in reality he is worse than Tikhon. Like Tikhon, Boris has no will of his own, he blindly submits to the whims of the Wild. But if Tikhon has been downtrodden since childhood and does not suspect the possibility of another life, then Boris, an educated and cultured person, consciously submits to a petty tyrant, hoping to receive at least some kind of inheritance. Selfish calculation is the reason for his humiliation and cowardice. Even when he says goodbye to Katerina for the last time, he is afraid that someone will see them. This prudence completely reveals his insignificance. He, like Tikhon, is essentially an accomplice in the crime, but if Tikhon is a weak-willed, unconscious weapon in the hands of petty tyrants, then Boris acts consciously.
Dobrolyubov: "People who are 'expecting an inheritance', that is, materially connected with the exploiters, cannot be counted on as fighters against the exploiters."
The direct opposite of Boris is Kudryash. In terms of its cultural level, it does not differ from the inhabitants of the city. He is a native of Kalinovo and he does not understand Kuligin's admiration for the beauty of nature. But he is freedom-loving and not only condemns the despotism of Dikoy and Kabanova, but knows how to stand up for himself.
Curly sincerely loves Varvara: “I am for mine ... Yes, I don’t know what I’ll do! I'll cut my throat! »
And unlike Boris, he does not stop before running away from the city with his beloved girl and starting a new life.
In the character of Curly there are features that make him related to the images of dashing robbers from folk songs and epics. They are revealed in his songs and speech (“I won’t sell my head cheap!”).
Bold and resolute, to match Curly Varvara. She is not superstitious, she is not afraid of thunderstorms, which was rare for a woman of that time, but due to her position she cannot speak openly for her rights, so she has to cheat and deceive. To Katerina’s words that she doesn’t know how to hide anything, Varvara replies: “Well, you can’t do without it! You remember where you live! Our whole house is based on this. And I was not a liar, but I learned when it became necessary.
Brought up on a deceitful, ostentatious morality, Varvara adheres to the principle: "Do what you want, if only it was sewn and covered."
She sympathizes with Katerina, condemns her brother's spinelessness, her mother's despotism, but Katerina's spiritual impulses are not clear to her.
"The Thunderstorm" from the first appearances introduces the reader and the viewer into an atmosphere of intense struggle. We find the heroes at a moment when the contradictions between them have already reached considerable sharpness.
Katerina's speech corresponds to the image of a woman from the people. The basis of her speech is the poetics of the folk song; repetitions, inversions, rhetorical exclamations give Katerina’s speech sincerity, melodiousness (“What dreams I had, Varenka, what dreams!”), comparisons, words with diminutive suffixes (“key”, “water”). Influence on Katerina's speech of the church, spiritual verses ("golden temples", "smells of cypress", "whispering crafty"). Through speech, we see a double influence on Katerina's character: 1) from folk song art - an impulse towards freedom, happiness, light; 2) from the church - self-denial, humility. The language already reflects the profound contradiction that is the essence of Katerina's spiritual tragedy. Accustomed to independence since childhood, Katerina seeks to defend her freedom, but considers her dreams and aspirations to be sinful. The state of mind of the heroine is reflected in her speech. Remembering her home, Katerina speaks calmly, unhurriedly. When she talks about her love, emotional struggle, her speech becomes anxious, impulsive. (“What should I do! My strength is not enough. Where should I go…”). The gloomy prophecies of the crazy lady, which Katerina hears confirm her forebodings of imminent death, the pictures of the thunderstorm enhance the drama of the situation...
- What events are filled with the life of the heroine?
- What role did each character play in the fate of Katerina?
(Katerina is very laconic. The nature of her behavior speaks of self-confidence, self-sufficiency. She has no need to assert herself at the expense of others. All Katerina's thoughts are focused on love for Boris, this feeling captured her completely, she neither thinks nor talks about anything else unable.)
- How does Katerina characterize her communication style? What aspects of Katerina's character are revealed in a conversation with Varvara?
(In this conversation, Katerina confesses her love for Boris for the first time. It reveals the strength of Katerina’s feelings, the depth of her spiritual drama, the inner strength, the decisiveness of her character. (“I was born that way, hot”), the readiness to defend her independence, at least at the cost of death (“... if I get cold here, they won’t hold me back by any force ... I’ll throw myself out the window, I’ll throw myself into the Volga ...”) These words predetermine all of Katerina’s further behavior and her tragic death.)
D. II, yavl. 10. Monologue with a key.
Let's try to understand why Katerina fell in love with Boris? We will find the answer in Dobrolyubov's article “In this passion lies her whole life; all the strength of her nature, all her living aspirations merge here. She is attracted to Boris not only by the fact that she likes him, that he is not like the rest of those around her in appearance and speech, she is attracted to him by the need for love, which has not found a response in her husband, and the offended feeling of a wife and a woman, and the mortal anguish of her monotonous life, and the desire for freedom, space, hot, unrestricted freedom.
- What feelings does Katerina experience, how are these feelings reflected in her speech? What is the meaning of the scene?
(Here, the victory of Katerina’s natural feeling over the dogmas of house building is revealed. The heroine’s speech is full of short, abrupt interrogative and exclamatory sentences, repetitions, comparisons that convey the tension of Katerina’s feelings.
After an excited introduction, Katerina's bitter thoughts about life in captivity follow. Speech becomes more restrained, balanced. Katerina disputes the original decision to throw the key: “What a sin if I look at it once, at least from afar! Yes, at least I’ll talk about it! .. But he himself didn’t want to. ” This part of the monologue is accompanied by remarks: after thinking, silence, reflects, looks thoughtfully at the key, characterizing the state of Katerina.
The monologue ends with a strong outburst of feelings: “I can even die, but see him ...”).
D. III, yavl. 6-8. Compare the pictures of the date of Kudryash and Barbara, Boris and Katerina. Make a conclusion.
(These paintings are shown on the basis of contrast. There is no true poetry in the love of Varvara and Kudryash, their relationship is limited. “Katerina loves, ready to redeem this first passionate love with death, and Varvara only “walks,” said the performer of the role of Katerina, an artist of the Maly Theater P. A. Strepetova. The contrast of the state of mind of the characters is in the author's remarks. Varvara's words are accompanied by remarks "yawning", "yawning, then kissing coldly, like a long-time acquaintance", "yawning and stretching". Katerina "quietly descends the path, .. . lowering his eyes to the ground", addresses Boris "with fright, but without raising his eyes", "raises his eyes and looks at Boris", "throws on his neck". As in the scene with the key, the author shows the evolution of Katerina's state of mind - from confusion to asserting the right to love.)
D. IV, yavl. 3. What do we learn from the conversation between Barbara and Boris?
(After her husband’s arrival, Katerina “simply became not herself ... She trembles all over, as if she were having a fever; she is so pale, she rushes about the house, as if she is looking for something. Eyes like those of a crazy woman!”.)
D. I V, yavl. 4, 5. Follow how Katerina's state of mind is revealed, how tension grows in the development of the action, how the scene of Katerina's repentance is motivated.
(A thunderstorm is approaching, which, according to the Kalinovites, is sent to us as punishment. The gloomy color is intensified and the scene of action - instead of the panorama of the Volga - is a narrow gallery with oppressive vaults. Katerina "runs" onto the stage, "grabs Varvara by the hand and holds tightly!" Her jerky the remarks convey extreme shock. She is hurt both by Kabanikh's hints and Tikhon's affectionate joke. Previously, she was protected by the consciousness of her rightness. Now she is unarmed. And the caress of her husband, in front of whom she feels guilty, is torture for her. When Boris appears in the crowd, Katerina, as if asking for protection, “bows down to Varvara.”)
Again, prophecies are heard: “Already remember my word that this thunderstorm will not pass in vain ...” As in case I, a crazy lady appears; but in d. I her prophecies were of a generalized nature (“What, beauties? What are you doing here? .. You will all boil unquenchable in resin! ..”), then in d. IV the lady addresses Katerina directly: “What are you hiding! There is nothing to hide! ..” Her words are accompanied by thunder.
- What is the difference in the state of mind of Katerina in d. I and d. IV?
(The difference in Katerina’s state of mind is also expressed in her exclamations after the mistress’s departure: D. I “Oh, how she frightened me, I’m trembling all over, as if she were prophesying something to me”, D. IV “Ah! I’m dying!” Katerina is waiting God's punishment. She seeks protection from God, kneels down and sees the image of hell in front of her. Thus Ostrovsky leads to the climax of the play - the scene of Katerina's national repentance.)
Read yavl. 6.
– How does Katerina feel now?
(If the victory of love in Katerina's soul is revealed in the monologue with the key and in the meeting scene, then in the scene of repentance, the power of the norms of religious morality gravitating over Katerina is clearly revealed.)
(If Katerina had hidden her “sin”, learned to pretend and deceive, continued to go on dates with Boris, then this would mean that Katerina had adapted to the surrounding society, reconciled herself with its moral principles, despotism.)
- What explains and motivates the repentance of the heroine?
(Katerina’s repentance is explained not only by the fear of God’s punishment, but also by the fact that her high morality rebels against the deception that entered her life. She said about herself: “I don’t know how to deceive, I can’t hide anything.” Varvara’s objection: “But in my opinion: do what you want, as long as it’s sewn and covered,” Katerina replies: “I don’t want it like that. And what’s good!” For Katerina, the moral assessment of her actions and thoughts is an important aspect of spiritual life , And in Katerina's public recognition one can see an attempt to atone for her guilt, to severely punish herself, an attempt at moral purification.)
V . Summing up the lesson
Conversation
- Could Katerina find the way to salvation in her soul? Why? Let's imagine that Katerina had the opportunity to turn to a modern specialist psychologist. What advice would she receive?
Making a list "for the future life" of Katerina
Modern psychologists use special psychological mechanisms to help overcome a mental crisis. One of these mechanisms is well known to you, since it can be used not only in crisis situations, but also helps to make any decisions - this is the compilation of two lists. One list contains the positive consequences of the decision, the other - the negative consequences, let's try to make two lists "for the future life" of Katerina, based on the text of the play. Create a table using quotes:
Positive sides
"I will live, breathe, see the sky, follow the flight of birds, feel the sunlight on me..."
“I will be clean before God, I will pray again, I will atone for my sins...”
“They don’t let me perceive the whole world freely, freely - I will create my own world in the house, and if it doesn’t work out in the house, I will create my own world in my soul. This world cannot be taken away from me…”
“Lock up - that will be silence, no one will interfere ...”
"No one can take my love from me..."
"Tikhon is weak, but I can make him happier if I protect him from his mother..."
Kabanova is old, she will need my help soon...
How much joy children will bring me...
Negative sides
“They will find them, drag them home by force ...”
“The mother-in-law will seize completely ...”
"I'll never be free..."
“Tikhon will not forgive, again you will have to see his displeased face ...”
"I'll never see Boris again, those night terrors, those long nights, those long days..."
So, there are more positive things in Katerina's life. If you close the negative column with your palm, it turns out that the life of the heroine will be filled with such expectations and hopes with which you can not only improve your existence, but also build it anew.
- Why couldn't Katerina see these hopes and save her soul? What is the nature of the environment?
(The bonds of marriage at that time were considered sacred and indissoluble. It was even stronger in the patriarchal environment in which Katerina grew up. Even Varvara, who does not particularly take into account Domostroy mores, says to Katerina: "Where will you go? You are a husband's wife."
If Varvara herself runs away from her mother's house, then she is not married. Katherine's position is much more difficult. And yet she leaves home, violating all the traditions of Domostroy morality. Now she is in the position of an outcast. Katerina makes one last attempt to find help and support from her loved one. "Take me with you, from here!" - she asks Boris and is refused. For her, there were only two options: to return home and submit or die. She chose the latter. At that moment, emotions over consciousness prevailed in Katerina. And there was no one who could provide her psychological support.)
Of course, all of the above does not give reason to consider Katerina's suicide as a protest against the foundations and morality of the surrounding society. Her behavior has both strengths and weaknesses. yes, by her behavior she rejects the principles of Domostroevskaya morality, strives for a new life and prefers death to life in captivity.
V І. Homework
1. Learn the images of the victims of the "dark kingdom". Textbook "Literature"
ed. Yu.V.Lebedeva, pp. 186-187.
2. Write out quotes to the image of Katerina.
Additional material for the teacher
Strepetova characterized Katerina as a humble victim of the "dark kingdom". “She created a martyr for us, a Russian woman. And we saw this martyrdom in all its horror, but also in all its imperishable beauty.” (V. M. Doroshevich Old theatrical Moscow. - M .: Petrograd, 1923). E. Karpov recalls the performance of Strepetova in the fifth act of the drama: “... Strepetova comes out with a pale face with huge sad eyes full of sadness, black hair loose over her shoulders. Her charming voice sounds clear, although she speaks as if to herself. And how much deep, hopeless sadness, how much love, how much subtle poetry in this voice ... "
Describing Strepetova's acting, A.S. Suvorin noticed that her interpretation of the role of Katerina strongly disagrees with Dobrolyubov's interpretation. He wrote about Katerina's end as "the quiet agony of a dying heart and a darkened head." “So it just happened! No cry, no despair ... How many of them die so simply, silently ... "
Yermolova emphasized in the image of Katerina the inner energy, the readiness to protest against despotism and tyranny. “Dobrolyubov called the end of Katerina “pleasant”: such was Yermolova’s,” writes S. N. Durylin. “Her Katerina really was not a fleeting spark, but “a ray of light in a dark kingdom”, a bold, strong, bright beam, foreshadowing the sunrise dispelling darkness. Such a Katerina cannot be mourned or pitied like Katerina Stepetova, one can bow before her like a tragic heroine, one can learn from her the courage of a heroic will. This Katerina was enthusiastically received by the democratic audience of the 1870s... Yermolova proved that this "everyday drama" is a powerful Russian folk tragedy, and this role of a Russian woman from a remote town is a heroic image, revealing the sad fate of a Russian woman in the past, and her ability to defeat this evil share.
Both Strepetova and Yermolova, in their interpretations of the image, focused the viewer's attention on different sides of Katerina's personality.
Strepetova had the right to consider Katerina as a victim of society, the dark kingdom. Ostrovsky himself highly appreciated the game of Strepetova, because the artist awakened in the souls of the audience a protest against the living conditions that led Katerina to death. Katerina Yermolova herself was the personification of protest against the dark kingdom. Yermolova's game gave rise to a feeling of a new life, called for an active struggle for happiness and justice.
