The boar is very rich. This can be judged because her trading affairs go beyond Kalinov (on her behalf, Tikhon traveled to Moscow), because Dikoy respects her. But the affairs of Kabanikha are of little interest to the playwright: she has a different role in the play. If the Wild shows the brute force of tyranny, then Kabanikha is the spokesman for the ideas and principles of the "dark kingdom". She understands that some money does not give power yet, another indispensable condition is the obedience of those who do not have money. And she sees her main concern in stopping any possibility of rebelliousness. She "eats" the household in order to kill their will, any ability to resist. With Jesuit sophistication, she exhausts their souls, offends their human dignity with baseless suspicions. She skillfully uses various techniques to assert her will.
The boar can speak both benevolently and instructively (“I know, I know that my words are not to your liking, but what can you do, I’m not a stranger to you, my heart hurts about you”), and hypocritically show down (“Mother is old , stupid; well, you, young people, smart, should not exact from us fools"), and authoritatively order ("Look, remember! Kill yourself on your nose!", "Bow at your feet!"). Kabanikha tries to show his religiosity. Words: “Oh, a grave sin! How long to sin!”, “Only one sin!” - constantly accompany her speech. She supports superstitions and prejudices, strictly observes ancient customs. It is not known whether Kabanikha believes in the ridiculous tales of Feklusha and the signs of the townspeople, she herself does not say anything like that. But it resolutely suppresses all manifestations of free-thinking. She condemns Kuligin's statements against prejudices and superstitions, and she supports the superstitious prophecies of the townspeople that “this thunderstorm will not pass in vain”, and instructively tells her son: “Don't judge yourself older! They know more than you. Old people have signs of everything. An old man will not say a word to the wind. And in religion, and in ancient customs, she sees the main goal: to push a person, to keep him in eternal fear. She understands that only fear can keep people in subjection, prolong the shattered domination of petty tyrants. To the words of Tikhon, why should his wife be afraid of him, Kabanova exclaims in horror: “How, why be afraid! How, why be afraid! Yes, you're crazy, right? You will not be afraid, and even more so me. What is the order in the house will be? After all, you, tea, live with her in law. Ali, do you think the law means nothing?” She defends the law, according to which the weak must be afraid of the strong, according to which a person should not have his own will. As a faithful guardian of this order, she teaches her family in front of a crowd of citizens. After Katerina's confession, she loudly, triumphantly says to Tikhon: “What, son! Where will the will lead? I told you so you didn't want to listen. That's what I've been waiting for!"
In the son of Kabanikha, Tikhon, we see the living embodiment of the goal towards which the rulers of the "dark kingdom" are striving. They would be completely calm if they could make all people just as downtrodden and weak-willed. Thanks to the efforts of "mother" Tikhon is so saturated with fear and humility that he does not even dare to think about living his mind and his will. “Yes, mother, I don’t want to live by my own will. Where can I live with my will! he assures his mother.
But Tikhon is by nature a good person. He is kind, sympathetic, sincerely loves and pities Katerina, and is alien to any selfish aspirations. But everything human is suppressed in him by the despotism of his mother, he becomes a submissive executor of her will. However, the tragedy of Katerina makes even the humble Tikhon raise his voice of protest. If the first words of Tikhon in the play are: “Yes, how can I, mother, disobey you!” At the end of it, he desperately throws a passionate, angry accusation into his mother’s face: “You ruined her! You! You!"
The unbearable life under the yoke of the Kabanikh, the longing for freedom, the desire for love and devotion - all this, which did not find a response in Tikhon, was the reason for the emergence of Katerina's feelings for Boris. Boris is not like the other inhabitants of Kalinov. He is educated and seems like a man from another world. Like Katerina, he is also oppressed, and this causes the young woman to hope to find in him a kindred spirit capable of responding to her ardent feeling. But Katerina was bitterly deceived in Boris. Boris only outwardly seems better than Tikhon, but in reality he is worse than him. Like Tikhon, Boris does not have his own will and meekly obeys.
June 20 2010
The boar is very rich. This can be judged because her trading affairs go beyond Kalinov (on her behalf, Tikhon traveled to Moscow), because Dikoy respects her. But the affairs of Kabanikha are of little interest to the playwright: she has a different role assigned to her. If the Wild shows the brute force of tyranny, then Kabanikha is the spokesman for the ideas and principles of the "dark kingdom". She understands that some money does not give power yet, another indispensable condition is the obedience of those who do not have money. And she sees her main concern in stopping any possibility of rebelliousness. She "eats" the household in order to kill their will, any ability to resist. With Jesuit sophistication, she exhausts their souls, offends their human dignity with baseless suspicions. She skillfully uses various techniques to assert her will.
The boar can speak both benevolently and instructively (“I know, I know that my words are not to your liking, but what can you do, I’m not a stranger to you, my heart hurts about you”), and hypocritically show down (“Mother is old , stupid; well, you, young people, smart, should not exact from us fools"), and authoritatively order ("Look, remember! Kill yourself on your nose!", "Bow at your feet!"). Kabanikha tries to show his religiosity. Words: “Oh, a grave sin! How long to sin!”, “Only one sin!” - constantly accompany her speech. She supports superstitions and prejudices, strictly observes ancient customs. It is not known whether Kabanikha believes in the ridiculous Feklushi and the signs of the townspeople, she herself does not say anything like that. But it resolutely suppresses all manifestations of free-thinking. She condemns statements against prejudices and superstitions, and she supports the superstitious prophecies of the townspeople that “this one will not pass in vain”, and edifyingly says to her son: “Don’t judge yourself older! They know more than you. Old people have signs of everything. The old one will not say a word to the wind. And in religion, and in ancient customs, she sees the main goal: to push a person, to keep him in eternal fear. She understands that only fear can keep people in subjection, prolong the shattered domination of petty tyrants. To the words of Tikhon, why should his wife be afraid of him, Kabanova exclaims in horror: “How, why be afraid! How, why be afraid! Yes, you're crazy, right? You will not be afraid, and even more so me. What is the order in the house will be? After all, you, tea, live with her in law. Ali, do you think the law means nothing?” She defends the law, according to which the weak must be afraid of the strong, according to which a person should not have his own will. As a faithful guardian of this order, she teaches her family in front of a crowd of citizens. After the confession, she loudly, triumphantly says to Tikhon: “What, son! Where will the will lead? I told you so you didn't want to listen. That's what I've been waiting for!"
In the son of Kabanikha, Tikhon, we see the living embodiment of the goal towards which the rulers of the "dark kingdom" are striving. They would be completely calm if they could make all people just as downtrodden and weak-willed. Thanks to the efforts of "mother" Tikhon is so saturated with fear and humility that he does not even dare to think about living his mind and his will. “Yes, mother, I don’t want to live by my own will. Where can I live with my will! he assures his mother.
But Tikhon is by nature a good person. He is kind, sympathetic, sincerely loves and pities Katerina, and is alien to any selfish aspirations. But everything human is suppressed in him by the despotism of his mother, he becomes a submissive executor of her will. However, Katerina forces even the submissive Tikhon to raise his voice of protest. If the first words of Tikhon in the play are: “Yes, how can I, mother, disobey you!” At the end of it, he desperately throws a passionate, angry accusation into his mother’s face: “You ruined her! You! You!"
Unbearable under the yoke of Kabanikh, the longing for freedom, the desire for love and devotion - all this, which did not find a response in Tikhon, was the reason for the emergence of Katerina's feelings for Boris. Boris is not like the other inhabitants of Kalinov. He is educated and seems like a man from another world. Like him, he is also oppressed, and this gives the young woman hope to find in him a soul mate who can respond to her ardent feeling. But Katerina was bitterly deceived in Boris. Boris only outwardly seems better than Tikhon, but in reality he is worse than him. Like Tikhon, Boris does not have his own will and meekly obeys.
Need a cheat sheet? Then save it - "Characteristic of the image of Kabanikh in the play" Storm ". Literary writings!In 1856, A. N. Ostrovsky traveled along the Volga. The impressions of the trip are reflected in his work, "Thunderstorm" is 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 with a 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 built on the juxtaposition of two strong opposite characters: 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 keeping order to the smallest detail. She is not interested in human relations. The patriarchal way of life for Katerina lies in dreaminess, spirituality.
The image of Kabanikh in the play "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 get away from the will of his mother.
The predominant property of Kabanikhi's personality can be called despotism, but not madness. Each of her requirements for others, whether it be her son or daughter-in-law, is subject to the moral and everyday code "Domostroy". Therefore, she firmly believes in the principles of which it speaks, and considers their unswerving observance right. Referring to Domostroy's concepts, she believes that children should honor their parents so much that the will of the children does not matter. Relations between spouses should be built on the wife's fear of her husband, unquestioning obedience to him.
Boar in the speech of strangers
The characterization of Kabanikha is 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 Feklusha. 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 is introduced to 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. In the direction of the son, reproaches fly for the lack of love for the mother.
Opinion about Kabanova members of her family
One of the most emotional moments in the play scene of seeing off son Tikhon. The boar reproaches him for not bowing at his mother's feet, and does not say goodbye to his wife in the way 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 violates all customs and traditions, and this leads Kabanikha to sad reflections.
Katerina, the daughter-in-law, gets it more than anyone else. Any of her words is cut off by sharp attacks and remarks. Noticing affection, and not fear, in dealing with Tikhon, Kabanikha reproaches her with malice. Her ruthlessness reaches its limit after Katerina's confession. In her opinion, the daughter-in-law deserves to be buried alive in the ground.
Boar contemptuous of Katherine, considering her an example of how irreverently young people treat the older generation. Most of all, she is burdened by the thought that she can be left without power. Her behavior leads to the play's tragic ending. In the suicide committed by Katerina, there is also her fault. The daughter-in-law endured humiliation in her address for a long time and once could not stand it.
Obeying the orders of a crazy mother Tikhon becomes a spineless creature. The daughter runs away, tired of the constant interference of the parent in her personal life. The old way of life with true high morality disappears from life, leaving only a dead, oppressive shell. The young characters of the play pretend to keep the 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 parents will be reflected in the best way on children - they will learn to be kind. But the old way of life is collapsing, the patriarchal order is disappearing. This is a tragedy for Marfa Ignatievna. However, irascibility and folly are not in her character. She is unhappy with the temper of her godfather Wild. With her willful behavior and complaints about the Dikoy family, she irritates her.
The boar is devoted to the traditions of her family and ancestors and honors them without judging, judging 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 the character of Kabanikh. 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. Humiliating others at the expense of her wealth and power is in the order of things for her.
Kabanikhe characterized by dominance, cruelty and confidence in the correctness of their views. In her opinion, maintaining the old order will be able to save her house from the unrest that is happening outside of her house. Therefore, rigidity and hardness are manifested in her character more and more clearly. And having eradicated his own, superfluous emotions, he cannot bear their manifestation in others. For disobedience to her words, the closest people are punished with cold-blooded humiliation and insults. At the same time, this does not apply to strangers, with them she is pious and respectful.
Marfa Ignatievna Kabanova is an ambiguous character, it is difficult to feel sorry 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, the negative qualities of the character of Kabanikha can be called:
- cruelty;
- authority;
- composure.
And the positive ones:
- strong unshakable character;
- religiosity;
- "kindness and generosity to strangers."
Wild Savel Prokofich is a wealthy merchant, one of the most respected people in the city of Kalinov.
D. is a typical tyrant. He feels his power over people and complete impunity, and therefore creates what he wants. “There are no elders above you, so you are swaggering,” Kabanikha explains the behavior of D.
Every morning his wife begs those around her with tears: “Fathers, don’t make me angry! Doves, don't get angry! But D. is hard not to get angry. He himself does not know in what mood he can come in the next minute.
This "cruel scolder" and "piercing man" is not shy in expressions. His speech is filled with words like "parasite", "Jesuit", "asp".
But D. “attacks” only on people weaker than himself, on those who cannot fight back. But D. is afraid of his clerk Kudryash, who is reputed to be a rude man, not to mention Kabanikh. D. respects her, moreover, she is the only one who understands him. After all, sometimes the hero himself is not happy with his tyranny, but he cannot help himself. Therefore, Kabanikha considers D. a weak person. Kabanikha and D. are united by belonging to the patriarchal system, following its laws, and anxiety about the upcoming changes around.
BOAR - the central character in the drama by A. N. Ostrovsky "Thunderstorm" (1859). K. belongs to those imperious and strong natures who are aware of themselves as the keepers of “order”, the original norms and rules of life: Kukushkina (“Profitable Place”), Ulanbekova (“Pupil”), Murzavetskaya (“Wolves and Sheep”), Mavra Tarasovna ("The truth is good, but happiness is better"). Marfa Ignatyevna Kabanova, her own mistress ("a rich merchant's wife, widow"), manages the house, relying on the old law of everyday life and custom. “Order” for her is a means of curbing free life, the only defense of “home space” from the chaos of “will”. K. feels like a guardian of the “law” and therefore lives her life calmly, firmly and faithfully, eradicating any hint of disobedience at home. K.'s cruelty manifests itself in the habit of managing the "thunderstorm", not knowing love, doing without mercy, unaware of the possibility of forgiveness. Old Testament severity emanates from the wish of K. to the sinning daughter-in-law: “I bury the living in the ground so that she is executed.” Nothing can shake K.'s confidence in the correctness of her philosophy of life: neither the flight of her daughter from a hateful house, nor the suicide of her daughter-in-law, whom she "crushed", nor the sudden accusations of a hitherto weak-willed and dumb son: "Mother, it was you who ruined her." She judges Katerina mercilessly and says without regret: “It’s a sin to cry about her.” Kuligin's reminders of God, the merciful judge, are useless - K. does not respond to them in any way. But on the other hand, according to custom, he “bows low to the people” for a service in search of a poor suicide. K. "fierce", "cool" in observing the "old times" - and all "under the guise of piety". The monumental image of K. is a living embodiment of “cruel morals”, about which Boris says: “I understand that all this is our Russian, dear, but still I won’t get used to it in any way.” K. is revealed in the play as an honest and terrible in her consistency defender of the graceless "law", not enlightened by Christian love. Vassa Zheyaeznova by M. Gorky became a further development of this image in Russian dramaturgy. The first performer of the role of K. - N. V. Rykalova (1859). Among other performers are F. V. Shevchenko (1934), V. N. Pashennaya (1962).
The imperious and rude Marfa Ignatievna Kabanova or Kabanikha is one of the central female characters in Ostrovsky's play The Thunderstorm.
Characteristics of the heroine
(Faina Shevchenko as Kabanikha, drama production, 1934)
Kabanikha is a wealthy merchant and widow who lives in the provincial town of Kalinov with her daughter, son and wife. She single-handedly manages all the affairs of the family and does not accept any objections, she has a very strong and domineering nature. For her, the main concepts in the family structure, which she demands to be strictly followed, are “fear” and “order”.
Despite the fact that she is religious and is a zealous Christian, she is far from the spiritual life, and is only interested in earthly and pressing problems. She is a very hypocritical, cold-blooded and cunning old woman who gives alms to the poor in public, and at home offends and tyrannizes children and daughter-in-law. It costs nothing for her to insult or humiliate a person, she is distinguished by rigidity and severity, she likes to keep people in fear, so it is better to control and subordinate them to her will.
(Illustration by Gerasimov S, V, detgiz 1950)
Kabanikha is a typical representative of the old patriarchal way of life, for her, orders and customs are primarily important, she simply does not take into account the feelings and desires of loved ones and thinks that she has every moral right to humiliate them, “read morals” and manage them in every possible way. Moreover, justifying herself with parental care and love for children, she does not consider herself a tyrant at all and firmly believes that she acts for the good. The Kabanikha is sure that she is not at all obliged to argue whether she is acting correctly or not, the main thing is to live according to the covenant of the fathers and strictly follow their instructions, then peace and order will reign everywhere. According to her, only aged people have sufficient intelligence and wisdom, young people must do everything according to their instructions, they themselves cannot make any decisions.
Most of all, the quiet and submissive daughter-in-law Katerina suffers from the tyranny of the evil Kabanikh, whom she hates with all her heart and is madly jealous of her son. His mother considers him a rag, and manifestations of affection towards his young wife - weakness, before his departure, she advises him to reprimand Katerina as severely as possible so that she fears him and respects him. Changes in her daughter-in-law's behavior do not escape her and she suspects her of cheating on her husband. When Tikhon returns, his mother brings Katerina to the point that she confesses everything. The boar is completely satisfied, because she turned out to be right in everything - an affectionate attitude towards her wife cannot lead to anything good.
The image of the heroine in the work
The image of Kabanikhi, a tyrant and petty tyrant in a female guise, symbolizes the mores and moral principles that reigned in the merchant society in Russia in the 19th century. Steeped in outdated dogmas and unshakable traditions, they have the strength and financial capabilities to make the state better, but lacking sufficient self-awareness and bogged down in inertia and hypocrisy, they cannot decide to do so.
At the end of the work, the evil and cruel Boar is waiting for her own “thunderstorm” and the complete collapse of her world: daughter-in-law Katerina confesses her feelings for another man, her son publicly rebels against her, her daughter runs away from home. It all ends very sadly: Katerina, under the pressure of shame and morality, driven by Kabanikha to complete despair, throws herself off a cliff into the river, her daughter finds salvation in escaping, and her son Tikhon, finally discarding all the years of humiliation and indulging the whims of his mother, finally tells the truth: “You ruined her !You!".
In his work, Ostrovsky created a terrible and gloomy fictional city of Kalinov, a real embodiment of a cruel and inhuman attitude towards people. This is the kingdom of darkness, where such monsters as the merchant's wife Kabaniha and her godfather Dikoy reign supreme. Sometimes rare rays of light and kindness, such as Katerina, break through there, but having expressed their protest against the terrible and dark kingdom, they die, unable to withstand the unequal struggle with the dominance of evil and cruelty. And yet, the kingdom of darkness will sooner or later be scattered, and people in Kalinovo will begin a new, happy life.
