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The Young Generation in Ostrovsky's Plays. Ostrovsky a

The Young Generation in Ostrovsky's Plays. Ostrovsky a

25.03.2019

Youth is the most important part of society, a kind of creator of the future, a creator who passes through the prism of his own perception and his own common sense prejudices and progressive ideas of the "old men" and, thus, determining what will be embodied in public life in a few decades, and what will die with the last representatives of the older generation. By the state of youth, one can also determine the state of the whole society, because social vices primarily affect its most sensitive and vulnerable part, which is the youth. And the worst thing is that the younger generation may lose the ability to analyze and evaluate reality and turn from a judge-transformer into an accurate reflection of the older generation - then there can be no talk of any development of society.

It was precisely this situation that he showed in the drama "", depicting the deplorable situation of young people, who are left with the right to only agree with their elders in everything. One of the main qualities of children is curiosity, that is, the desire to learn something new, which subsequently turns into anti-conservatism, that is, the desire to introduce this new into life. There is no place for curiosity in the city of Kalinov, because information about the world around us comes here through wanderers like Feklusha, who fanatically convince everyone and everything that “you have paradise and silence in your city, but in other cities it’s so simple sodom.” calls Kuligin a "Tatar" for trying to explain what a thunderstorm is. In the atmosphere of the general conviction that “a thunderstorm is sent to us as a punishment,” young people believe everything: both stories about people with dog heads and Diky’s stories about their right to dispose of people. Learning from childhood that one must be afraid of elders and unquestioningly obey them, young people lose the ability to critical appraisal reality and is forced to accept as an unchanging reality both the house-building orders and the right of the old people, the “aces” of this world, to power backed up only by the authority of money. Education in the house-building traditions, when parents literally “crush the ribs” of their children, or suppress and break child character, or makes the child adapt and learn by tricks to avoid punishment for crimes against imposed morality.

An example of the first type of young people are Tikhon Kabanov and Boris Grigorievich. They are best characterized by the words of Tikhon: “No ... my own mind. And, therefore, live a century as a stranger. All their lives they are under the heel of their relatives and cannot change this situation, but can only feel sorry for themselves. They are incapable of committing any significant act: Tikhon is jealous of Katerina's death, but he himself cannot decide to commit suicide; Boris obeys his uncle, even when he tells him to leave Katerina and leave for Siberia. These people cannot really love much: Tikhon treats Katerina as one of constituent parts of his “bondage”: “There will be no thunderstorm over me for two weeks, there are no shackles on my legs, so is it up to my wife?” Boris, to Katerina’s words that her husband left for two weeks, says: “Oh, so we will take a walk! Time is enough." Parting with Katerina, he asks God "that she die as soon as possible, so that she does not suffer for a long time!" Boris and Tikhon are puppets in the hands of the "dark kingdom", weak-willed puppets, incapable of either deed or true feeling.

Kudryash stands apart from them. At first glance, it seems that Kudryash is that “revolutionary” capable of challenging the world around him, but it turns out that he, too, bears the disfiguring stamp of the “dark kingdom”. Curly belongs to the type of people who have adapted to the difficult conditions of life, he entered into an unspoken agreement with Wild: Curly is needed by Wild, therefore Wild can do nothing with Curly. Curly is satisfied with this state of affairs and does not think about the problems of society or the situation of other people. His interests are selfish, they lie in the sphere of "walking - quarreling with Wild (that is, once again enjoying the feeling of his own" inviolability ")", he may even be able to love (as evidenced by his relationship with Varvara), but he cannot and does not want to fight the "dark kingdom", his activity is similar, by definition, to "running a squirrel in a wheel." So did Barbara: she learned to ignore Kabanikh's scolding, she learned to lie. (“And I was not a liar, but I learned when it became necessary.”) So she acquires limited freedom of action and follows the basic principle: “Do what you want, if only it was sewn and covered.” In the actions of Barbara there is no protest against the orders of the "dark kingdom", she only wants to "work up" before the wedding. And with Kudryash, Varvara runs away not because of love for him (she yawns on a date), but rather from maternal tyranny. These two types of people form the basis of Kalinov's youth. There is nothing progressive about them; adapted or broken, they do not even realize their powerlessness to change anything in society, their worthlessness, they do not understand the horror of their situation. But Ostrovsky still leaves hope to the younger generation, showing the type of people who can lead society out of a deplorable situation. Katerina belongs to this type of youth. It does not break under the pressure of the house-building orders, but it cannot adapt to them either. (“I don’t know how to deceive; I can’t hide anything.”) Katerina openly protests against everything that is being imposed on her, she protests “at the call of nature”; protests because she is physically unable to live in the "dark kingdom". But her protest does not find a response, so she can only dream of " better world”, and when the oppression of the “dark kingdom” becomes unbearable, and besides, Boris leaves her, Katerina has no choice but to commit suicide.

In the "dark kingdom" there are no conditions for the appearance of people like Lopukhov, and any protest of the mind will be suppressed, and the protester will either completely submit or direct his mind to the search for "loopholes" in the morality of society. Here nature itself comes to the rescue, giving birth to people like Katerina. This single type youth able to survive and maintain their positive traits unchanged, maintain the ability to improve society. Their protest is unconscious, it comes from the depths of the soul, but it is still a protest. Their strength is in unity, the fate of singles is the fate of Katerina. Katerina is an exception that should develop into a rule, the first "ray of light", a harbinger of a new type of youth who, with the combined forces of her nature, can destroy " dark kingdom» and create new world.

The play "Thunderstorm" was written by A. N. Ostrovsky in 1859, when all Russian society was in a state of anticipation of upcoming changes. The country was brewing social conflict between the dying old conservative world of the patriarchal way of life and the young progressive forces born in the depths of this world.

old world The "dark kingdom" is represented in the play by the rich merchant Kabanova and the merchant Diky. Their power over others is still great, but they are already beginning to feel the awakening of something new, alien and hated by them. “Besides them, without asking them, another life has grown, with other beginnings, and although it is far away, it is still not clearly visible, but it already gives itself a presentiment and sends bad visions to the dark arbitrariness of tyrants,” writes N. A. in the article “ A ray of light in a dark realm.

Representatives younger generation in "Thunderstorm" are Katerina, Boris, Tikhon, Kudryash and Varvara. But are all of them and to what extent capable of repelling the tyranny of tyrants?

Can the clerk Wild Curly stand up for himself, who himself is reputed to be a rude person and does not want to “serve” before the owner? “I’m not afraid of him, but let him be afraid of me,” Kudryash boasts. But in his resistance, he himself is likened to the Wild, he responds to rudeness with rudeness. According to Dobrolyubov, “Kudryash does not need to quarrel with Wild: both of them need each other, and, it became Syt, Kudryash does not need special heroism to present his demands.”

The play "Thunderstorm" was written by A.N. Ostrovsky in 1859, when the entire Russian society was in a state of expectation of upcoming changes. A social conflict was brewing in the country between the obsolete old conservative world of the patriarchal way of life and the young progressive forces born in the depths of this world.
The old world of the “dark kingdom” is presented in the play by the rich merchant Kabanova and the merchant Diky. Their power over others is still great, but they are already beginning to feel the awakening of something new, alien and hated by them. “In addition to them, without asking them, another life has grown, with other beginnings, and although it is far away, it is still not clearly visible, but it already gives itself a presentiment and sends bad visions to the dark arbitrariness of tyrants,” writes N. A. Dobrolyubov in the article "A ray of light in a dark kingdom."
Representatives of the younger generation in Groz are Katerina, Boris, Tikhon, Kudryash and Varvara. But are all of them and to what extent capable of repelling the tyranny of tyrants?
Can the clerk Wild Curly stand up for himself, who himself is reputed to be a rude person and does not want to “serve” before the owner? “I’m not afraid of him, but let him be afraid of me,” Kudryash boasts. But in his resistance, he himself is likened to the Wild, he responds to rudeness with rudeness. According to Dobrolyubov, “Kudryash does not need to quarrel with Dikiy: both of them need each other, and, it became Syt, Kudryash does not need special heroism to present his demands.”
Kabanova's daughter, Varvara, also easily adapts to the morality of the "dark kingdom". Not wanting to live in captivity, to endure the power of her mother, she easily takes the path of deceit, which is becoming habitual for her. She claims that it is impossible to live otherwise: their whole house is based on deceit. “And I was not a liar, but I learned when it became necessary,” the girl justifies herself. “Do whatever you want, as long as it’s covered and covered,” she teaches Katerina. However, Varvara was cunning as long as there was an opportunity, when they began to lock her up, she ran away from home, broke free from the power of Kabanikha.
The son of Kabanova, Tikhon, is by nature simple-minded and gentle. He loves and pities his wife in his own way, according to Dobrolyubov, “he has a conscience, a desire for good, but he constantly acts against himself and serves as a submissive instrument of his mother.” This weak-willed man is so exhausted by the endless reproaches, admonitions and moralizing of his despotic mother that he is ready to rush headlong into revelry, leaving his wife in a desperate state, unable and unwilling to understand her restless soul.
But crushed under the yoke of Kabanikhs best qualities Tikhon did not die completely. The death of his wife awakens them from their sleep. Freed at last from eternal fear and trembling before his mother, Tikhon dares to blame her for the first time in his life. “Mommy, you ruined her! You, you, you...” he shouts in despair, and in response to her menacing call he repeats again: “You ruined her! You! You!" In the face of tragedy, he was born terrible understanding that life in the "dark kingdom" is worse than death. Throwing himself on the corpse of his wife, he shouts in a frenzy: “It's good for you, Katya! And why did I stay in the world and suffer!”
Of the younger generation, Boris, Diky's nephew, is the weakest and most miserable. In character, he is very similar to Tikhon. “Boris is the same in essence, only “educated”. Education took away from him the power to do dirty tricks ... but it did not give him the strength to resist the dirty tricks that others do, ”the critic notes. Boris is unable to protect himself or the woman he loves. Realizing his impotence, he only rushes around helplessly and laments: “Oh, if only these people and people knew what it feels like to say goodbye to you!.. Oh, if only the strength!”
This powerless, weak-willed person becomes the subject of Katerina's great passion, pure, sublime, poetic nature. How different she is from other young people of Kalinov! The bondage of the patriarchal foundations of the “dark kingdom” is a burden to all of them, but they stand on the position of worldly compromises, they have learned to bypass the oppression of the elders, each according to his character. But it is precisely against the background of their unconscious and compromise position that the suffering Katerina looks morally lofty.
The suddenly awakened feeling of love is perceived by her as a terrible unforgivable sin. A young woman resists her “sinful” passion with all her might, but does not find support in this struggle: “It’s as if I’m standing over an abyss, and someone is pushing me there, but there’s nothing to hold on to.” Alien to the slightest lie and falsehood, Katerina is not capable of deceit and pretense. “Let everyone know, let everyone see what I'm doing! If I was not afraid of sin for you, will I be afraid of human judgment? she says to Boris. Katerina does not want and cannot cheat, pretend. This is confirmed by the scene of confession of treason. Neither a thunderstorm, nor a frightening prophecy of a mad lady, nor a fear of a “fiery hell” prevented the heroine from telling the truth. “The whole heart is broken! I can't take it anymore!" - so she began her confession. For her honest and whole nature, the false position in which she found herself is unbearable. To live just to live is not for her. To live means for her to be herself. Her most precious value is personal freedom, the freedom of the soul. But after public repentance of her sin, Katerina had only to submit to her mother-in-law, to become a meek slave of her husband. This freedom-loving nature could not come to terms with such a fate. She finds a way out of an unbearable situation in death.
Katerina is a deeply religious and God-fearing person. Since according to Christian religion suicide is a great sin, then by consciously committing it, she showed not weakness, but strength of character! Her death is a challenge dark power”, the desire to live in the “bright kingdom” of love, joy and happiness.
Tragic as such an outcome may be, Dobrolyubov notes that “this end seems to us gratifying...: it presents a terrible challenge to the tyrannical force... with its violent, deadening beginnings.” According to the critic, the image of Katerina embodied the "great people's idea" - the idea of liberation.

Young people are the most important part of society, a kind of creator of the future, a creator who passes through the prism of their own perception and their own common sense the prejudices and progressive ideas of the “old people” and, thus, determines what will be embodied in public life in a few decades and what will die together with the last representatives of the older generation. By the state of youth, one can also determine the state of the whole society, because social vices primarily affect its most sensitive and vulnerable part, which is the youth. And the worst thing is that the younger generation may lose the ability to analyze and evaluate reality and turn from a judge-transformer into an accurate reflection of the older generation - then there can be no talk of any development of society. It is precisely this situation that Ostrovsky showed in the drama "Thunderstorm", depicting the deplorable situation of young people, who are left with the right to only agree with their elders in everything. One of the main qualities of children is curiosity, that is, the desire to learn something new, which subsequently turns into anti-conservatism, that is, the desire to introduce this new into life. There is no place for curiosity in the city of Kalinov, because information about the world around us comes here through wanderers like Feklusha, who fanatically convince everyone and everything that “you have paradise and silence in your city, but in other cities it’s so simple sodom.” Dikoy calls Kuligin a "Tatar" for trying to explain what a thunderstorm is. In the atmosphere of the general conviction that “a thunderstorm is sent to us as a punishment,” young people believe everything: both stories about people with dog heads and Diky’s stories about their right to dispose of people. Learning from childhood that one must be afraid of elders and unquestioningly obey them, young people are deprived of the ability to critically assess reality and are forced to accept as an unchanging reality both the house-building orders and the right of the old people, the “aces” of this world, to power backed up only by the authority of money. Education in the home-building traditions, when parents literally “crush the ribs” of their children, either suppresses and breaks the child’s character, or forces the child to adapt and learn by tricks to avoid punishment for crimes against imposed morality. An example of the first type of young people are Tikhon Kabanov and Boris Grigorievich. They are best characterized by the words of Tikhon: “No ... my own mind. And, therefore, live a century as a stranger. All their lives they are under the heel of their relatives and cannot change this situation, but can only feel sorry for themselves. They are incapable of committing any significant act: Tikhon is jealous of Katerina's death, but he himself cannot decide to commit suicide; Boris obeys his uncle, even when he tells him to leave Katerina and leave for Siberia. These people cannot truly love strongly: Tikhon treats Katerina as one of the components of his “bondage”: “There won’t be any thunderstorm over me for two weeks, there are no shackles on my legs, so am I up to my wife?” Boris, to Katerina’s words that her husband left for two weeks, says: “Oh, so we will take a walk! Time is enough." Parting with Katerina, he asks God "that she die as soon as possible, so that she does not suffer for a long time!" Boris and Tikhon are puppets in the hands of the "dark kingdom", weak-willed puppets, incapable of either an act or a true feeling. Kudryash stands apart from them. At first glance, it seems that Kudryash is that “revolutionary” capable of challenging the world around him, but it turns out that he, too, bears the disfiguring stamp of the “dark kingdom”. Curly belongs to the type of people who have adapted to the difficult conditions of life, he entered into an unspoken agreement with Wild: Curly is needed by Wild, therefore Wild can do nothing with Curly. Curly is satisfied with this state of affairs and does not think about the problems of society or the situation of other people. His interests are selfish, they lie in the sphere of "walking - quarreling with Wild (that is, once again enjoying the feeling of his own" inviolability ")", he may even be able to love (as evidenced by his relationship with Varvara), but he cannot and does not want to fight the "dark kingdom", his activity is similar, according to Pisarev's definition, to "running a squirrel in a wheel." So did Barbara: she learned to ignore Kabanikh's scolding, she learned to lie. (“And I was not a liar, but I learned when it became necessary.”) So she acquires limited freedom of action and follows the basic principle: “Do what you want, if only it was sewn and covered.” In the actions of Barbara there is no protest against the orders of the "dark kingdom", she only wants to "work up" before the wedding. And with Kudryash, Varvara runs away not because of love for him (she yawns on a date), but rather from maternal tyranny. These two types of people form the basis of Kalinov's youth. There is nothing progressive about them; adapted or broken, they do not even realize their powerlessness to change anything in society, their worthlessness, they do not understand the horror of their situation. But Ostrovsky still leaves hope to the younger generation, showing the type of people who can lead society out of a deplorable situation. Katerina belongs to this type of youth. It does not break under the pressure of the house-building orders, but it cannot adapt to them either. (“I don’t know how to deceive; I can’t hide anything.”) Katerina openly protests against everything that is being imposed on her, she protests “at the call of nature”; protests because she is physically unable to live in the "dark kingdom". But her protest does not find a response, so she can only dream of a "better world", and when the oppression of the "dark kingdom" becomes unbearable, and besides, Boris leaves her, Katerina has no choice but to commit suicide. In the "dark kingdom" there are no conditions for the appearance of people like Bazarov or Lopukhov, and any protest of the mind will be suppressed, and the protester will either completely submit or direct his mind to the search for "loopholes" in the morality of society. Here nature itself comes to the rescue, giving birth to people like Katerina. This is the only type of youth capable of surviving and retaining its positive qualities unchanged, retaining the ability to improve society. Their protest is unconscious, it comes from the depths of the soul, but it is still a protest. Their strength is in unity, the fate of singles is the fate of Katerina. Katerina is an exception that should develop into a rule, the first "ray of light", a harbinger of a new type of youth who, with the combined forces of her nature, will be able to destroy the "dark kingdom" and create a new world. The play "Thunderstorm" was written by A. N. Ostrovsky in 1859, when the entire Russian society was in a state of expectation of upcoming changes. A social conflict was brewing in the country between the obsolete old conservative world of the patriarchal way of life and the young progressive forces born in the depths of this world. The old world of the "dark kingdom" is presented in the play by the rich merchant Kabanova and the merchant Diky. Their power over others is still great, but they are already beginning to feel the awakening of something new, alien and hated by them. “In addition to them, without asking them, another life has grown, with other beginnings, and although it is far away, it is still not clearly visible, but it already gives itself a presentiment and sends bad visions to the dark arbitrariness of tyrants,” writes N. A. Dobrolyubov in the article "A ray of light in a dark kingdom." Representatives of the younger generation in Groz are Katerina, Boris, Tikhon, Kudryash and Varvara. But are all of them and to what extent capable of repelling the tyranny of tyrants? Can the clerk Wild Curly stand up for himself, who himself is reputed to be a rude person and does not want to “serve” before the owner? “I’m not afraid of him, but let him be afraid of me,” Kudryash boasts. But in his resistance, he himself is likened to the Wild, he responds to rudeness with rudeness. According to Dobrolyubov, “Kudryash does not need to quarrel with Wild: both of them need each other, and, it became Syt, Kudryash does not need special heroism to present his demands.”

It is precisely this situation that Ostrovsky showed in the drama "Thunderstorm", depicting the deplorable situation of young people, who are left with the right to only agree with their elders in everything. One of the main qualities of children is curiosity, that is, the desire to learn something new, which subsequently turns into anti-conservatism, that is, the desire to introduce this new into life. There is no place for curiosity in the city of Kalinov, because information about the world around us comes here through wanderers like Feklusha, who fanatically convince everyone and everything that “you have paradise and silence in your city, but in other cities it’s so simple sodom.” Dikoy calls Kuligin a "Tatar" for trying to explain what a thunderstorm is. In the atmosphere of the general conviction that “a thunderstorm is sent to us as a punishment,” young people believe everything: both stories about people with dog heads and Diky’s stories about their right to dispose of people. Learning from childhood that one must be afraid of elders and unquestioningly obey them, young people are deprived of the ability to critically assess reality and are forced to accept as an unchanging reality both the house-building orders and the right of the old people, the “aces” of this world, to power backed up only by the authority of money. Education in the home-building traditions, when parents literally “crush the ribs” of their children, either suppresses and breaks the child’s character, or forces the child to adapt and learn by tricks to avoid punishment for crimes against imposed morality.

An example of the first type of young people are Tikhon Kabanov and Boris Grigorievich. They are best characterized by the words of Tikhon: “No ... - my own mind. And, therefore, live a century as a stranger. All their lives they are under the heel of their relatives and cannot change this situation, but can only feel sorry for themselves. They are not able to commit any significant act: Tikhon is jealous of Katerina's death, but he himself cannot decide to commit suicide; Boris obeys his uncle, even when he tells him to leave Katerina and leave for Siberia. These people cannot truly love strongly: Tikhon treats Katerina as one of the components of his “bondage”: “There won’t be any thunderstorm over me for two weeks, there are no shackles on my legs, so am I up to my wife?” Boris, to Katerina’s words that her husband left for two weeks, says: “Oh, so we will take a walk! Time is enough." Parting with Katerina, he asks God "that she die as soon as possible, so that she does not suffer for a long time!" Boris and Tikhon are puppets in the hands of the "dark kingdom", weak-willed puppets, incapable of either an act or a true feeling.

Kudryash stands apart from them. At first glance, it seems that Kudryash is that “revolutionary” capable of challenging the world around him, but it turns out that he, too, bears the disfiguring stamp of the “dark kingdom”. Curly belongs to the type of people who have adapted to the difficult conditions of life, he entered into an unspoken agreement with Wild: Curly is needed by Wild, therefore Wild can do nothing with Curly. Curly is satisfied with this state of affairs and does not think about the problems of society or the situation of other people. His interests are selfish, they lie in the sphere of "walking - quarreling with Wild (that is, once again enjoying the feeling of his own" inviolability ")", he may even be able to love (as evidenced by his relationship with Varvara), but he cannot and does not want to fight the "dark kingdom", his activity is similar, according to Pisarev's definition, to "running a squirrel in a wheel." So did Barbara: she learned to ignore Kabanikh's scolding, she learned to lie. (“And I was not a liar, but I learned when it became necessary.”) So she acquires limited freedom of action and follows the basic principle: “Do what you want, if only it was sewn and covered.” In the actions of Barbara there is no protest against the orders of the "dark kingdom", she only wants to "work up" before the wedding. And with Kudryash, Varvara runs away not because of love for him (she yawns on a date), but rather from maternal tyranny. These two types of people form the basis of Kalinov's youth. There is nothing progressive in them - adapted or broken, they do not even realize their powerlessness to change anything in society, their worthlessness, they do not understand the horror of their situation. But Ostrovsky still leaves hope to the younger generation, showing the type of people who can lead society out of a deplorable situation. Katerina belongs to this type of youth. It does not break under the pressure of the house-building orders, but it cannot adapt to them either. (“I don’t know how to deceive, I can’t hide anything.”) Katerina openly protests against everything that is being imposed on her, she protests “at the call of nature” - she protests because she is physically unable to live in the “dark kingdom”. But her protest does not find a response, so she can only dream of a "better world", and when the oppression of the "dark kingdom" becomes unbearable, and besides, Boris leaves her, Katerina has no choice but to commit suicide.

In the "dark kingdom" there are no conditions for the appearance of people like Bazarov or Lopukhov, and any protest of the mind will be suppressed, and the protester will either completely submit or direct his mind to the search for "loopholes" in the morality of society. Here nature itself comes to the rescue, giving birth to people like Katerina. This is the only type of youth capable of surviving and retaining its positive qualities unchanged, retaining the ability to improve society. Their protest is unconscious, it comes from the depths of the soul, but it is still a protest. Their strength is in unity, the fate of singles is the fate of Katerina. Katerina is an exception that should develop into a rule, the first "ray of light", a harbinger of a new type of youth who, with the combined forces of her nature, will be able to destroy the "dark kingdom" and create a new world.

The play "Thunderstorm" was written by A. N. Ostrovsky in 1859, when the entire Russian society was in a state of expectation of the upcoming changes. A social conflict was brewing in the country between the obsolete old conservative world of the patriarchal way of life and the young progressive forces born in the depths of this world.

The old world of the "dark kingdom" is presented in the play by the rich merchant Kabanova and the merchant Diky. Their power over others is still great, but they are already beginning to feel the awakening of something new, alien and hated by them. “In addition to them, without asking them, another life has grown, with other beginnings, and although it is far away, it is still not clearly visible, but it already gives itself a presentiment and sends bad visions to the dark arbitrariness of tyrants,” writes N. A. Dobrolyubov in article "A Ray of Light in the Dark Realm".

Representatives of the younger generation in Groz are Katerina, Boris, Tikhon, Kudryash and Varvara. But are all of them and to what extent capable of repelling the tyranny of tyrants?

Kabanova's daughter, Varvara, also easily adapts to the morality of the "dark kingdom". Not wanting to live in captivity, to endure the power of her mother, she easily takes the path of deceit, which is becoming habitual for her. She claims that it is impossible to live otherwise: their whole house is based on deceit. “And I was not a liar, but I learned when it became necessary,” the girl justifies herself. “Do whatever you want, as long as it’s covered and covered,” she teaches Katerina. However, Varvara was cunning as long as there was an opportunity, when they began to lock her up, she ran away from home, broke free from the power of Kabanikha.

The son of Kabanova, Tikhon, is by nature simple-minded and gentle. He loves and pities his wife in his own way, according to Dobrolyubov, “he has a conscience, a desire for good, but he constantly acts against himself and serves as a submissive instrument of his mother.” This weak-willed man is so exhausted by the endless reproaches, admonitions and moralizing of his despotic mother that he is ready to rush headlong into revelry, leaving his wife in a desperate state, unable and unwilling to understand her restless soul.

But the best qualities of Tikhon, crushed under the yoke of Kabanikh, did not die completely. The death of his wife awakens them from their sleep. Freed at last from eternal fear and trembling before his mother, Tikhon dares to blame her for the first time in his life. “Mama, you ruined her! You, you, you ... - ”he shouts in despair and, in response to her formidable call, repeats again:“ You ruined her! You! You!" In the face of tragedy, a terrible understanding was born in him that life in the "dark kingdom" is worse than death. Throwing himself on the corpse of his wife, he shouts in a frenzy: “It’s good for you, Katya! Why am I left to live in the world and suffer!”

Of the younger generation, Boris, Diky's nephew, is the weakest and most miserable. In character, he is very similar to Tikhon. “Boris is the same in essence, only “educated”. Education took away from him the power to do dirty tricks ... - but it did not give him the strength to resist the dirty tricks that others do, ”the critic notes. Boris is unable to protect himself or the woman he loves. Realizing his impotence, he only rushes about helplessly and laments: “Oh, if only they knew this. and people, what a feeling it is for me to say goodbye to you! .. Oh, if only there was strength!

This powerless, weak-willed person becomes the subject of Katerina's great passion, pure, sublime, poetic nature. How different she is from other young people of Kalinov! All of them are burdened by the bondage of the patriarchal foundations of the "dark kingdom", but they stand on the position of worldly compromises, they have learned to bypass the oppression of the elders, each according to his character. But it is precisely against the background of their unconscious and compromise position that the suffering Katerina looks morally lofty.

The suddenly awakened feeling of love is perceived by her as a terrible unforgivable sin. The young woman resists her “sinful” passion with all her might, but does not find support in this struggle: “It’s as if I’m standing over an abyss, and someone is pushing me there, but there’s nothing to hold on to.” Alien to the slightest lie and falsehood, Katerina is not capable of deceit and pretense. “Let everyone know, let everyone see what I'm doing! If I was not afraid of sin for you, will I be afraid of human judgment? she says to Boris. Katerina does not want and cannot cheat, pretend. This is confirmed by the scene of confession of treason. Neither the storm, nor the frightening prophecy of the mad lady, nor the fear of "gehenna fiery" prevented the heroine from telling the truth. “The whole heart is broken! I can't take it anymore!" - so she began her confession. For her honest and whole nature, the false position in which she found herself is unbearable. To live just to live is not for her. To live means for her to be herself. Her most precious value is personal freedom, the freedom of the soul. But after public repentance of her sin, Katerina had only to submit to her mother-in-law, to become a meek slave of her husband. This freedom-loving nature could not come to terms with such a fate. She finds a way out of an unbearable situation in death.

Katerina is a deeply religious and God-fearing person. Since, according to the Christian religion, suicide is a great sin, by deliberately committing it, she showed not weakness, but strength of character! Her death is a challenge to the "dark force", a desire to live in the "bright kingdom" of love, joy and happiness.

No matter how tragic such an outcome, Dobrolyubov notes that “this end seems to us gratifying ... -: it gives a terrible challenge to the self-conscious force ... - with its violent, deadly beginnings." According to the critic, the image of Katerina embodied the "great people's idea" - the idea of liberation.

Folk origins of the character of Katerina (based on the play by A. N. Ostrovsky "Thunderstorm")

“The public garden on the high bank of the Volga, beyond the Volga, is a rural view,” Ostrovsky opens Thunderstorm with such a remark. The action of the Russian tragedy rises above the Volga expanse, swings open to the all-Russian expanse, it is immediately given poetic inspiration: "A city cannot hide, standing at the top of a mountain."

In the mouth of Kuligin, the song “Among the Flat Valley” sounds - the epigraph and poetic grain of “Thunderstorm”. This is a song about the tragedy of goodness and beauty: the richer spiritually and a more moral person, the fewer supports it has, the more dramatic its existence. This song already anticipates the fate of the heroine with her human restlessness, with the inability to find support and support, with her inability to adapt to circumstances.

And here we have Katerina, who alone in The Thunderstorm is given to hold the fullness of viable principles. folk culture. Where does Katerina get the vital sources of this wholeness from? In order to understand this, one must turn to the cultural soil that nourishes it. Without her, Katerina's character withers like cut grass.

Katerina's worldview harmoniously combines Slavic pagan antiquity with Christian culture, spiritualizing and morally enlightening the old pagan beliefs. Katerina's religiosity is inconceivable without sunrises and sunsets, dewy herbs in flowering meadows, flights of birds, butterflies fluttering from flower to flower. In the monologues of the heroine, familiar Russian motifs come to life folk songs. In Katerina's worldview, a spring of primordially Russian song culture beats and acquire new life Christian beliefs.

Let's see how Katerina prays, "what an angelic smile she has on her face, but it seems to glow from her face." There is something iconic in this face, from which a light radiance emanates. But the earthly heroine of A. N. Ostrovsky, who radiates spiritual light, is far from the asceticism of official Christian morality. Her prayer is Holy holiday spirit, a feast of the imagination: “For sure, it happened that I would enter paradise, and I don’t see anyone, and I don’t remember the time, and I don’t hear when the service is over.” Katerina's life-loving religiosity has gone far from the norms of the old patriarchal morality.

She experiences the joy of life in the temple, bows down to the sun in the garden, among the trees, herbs, flowers, morning freshness, awakening nature: I don’t know what I’m praying for and what I’m crying about - that’s how they will find me. ”

In the dreams of young Katerina, there are echoes of Christian legends about paradise, the divine garden of Eden. It is obvious that her legend of paradise includes all the beauty of earthly life: prayers rising sun, morning visits to the keys-students, bright images of angels and birds. In the key of these dreams, there is another serious desire - to fly: “ Why do people they don’t fly! .. That’s how they would run away, raise their hands and fly.”

Where do these fantastic dreams come from to Katerina? Are they not the fruit of a morbid imagination, are they not the caprice of a refined nature? No. In the mind of Katerina, those who have entered the flesh and blood of the Russian awaken folk character ancient pagan myths, deep layers are exposed Slavic culture».

Freedom-loving impulses in childhood memories are also not spontaneous. They also feel the influence of folk culture. “I was born so hot! I was still six years old, no more, so I did it! They offended me with something at home, but it was in the evening, it was already dark, I ran out to the Volga, got into the boat, and pushed it away from the shore. The next morning they already found it, ten miles away! After all, this act is consistent with the folk tale of truth-truth. IN folk tales the girl turns to the river with a request to save her, and the river shelters the girl in its banks. So the impulse of little Katerina to seek protection from the Volga is quite fabulous and quite social: here is a departure from untruth and evil to the land of truth and goodness, here is the rejection of slander from childhood and a resolute readiness to leave this world if everything in it becomes disgusting to her.

And in the house of the Kabanovs, Katerina finds herself in the "dark realm" of spiritual unfreedom. “Everything here seems to be from under bondage,” a stern religious spirit has settled here, democracy has faded here, the cheerful generosity of the people's worldview has disappeared.

In the course of the action, Katerina does not hear Feklusha, but it is generally accepted that it was precisely such wanderers that she had seen and heard a lot in her short life. The heroine's monologue, which plays a key role in the tragedy, refutes this view. Even the wanderers in the house of Kabanikha are different, from among those hypocrites who “due to their weakness did not go far, but heard a lot.” And they talk about last times about the coming end of the world. These wanderers are alien to the pure world of Katerina, they are in the service of Kabanikh, and therefore they cannot have anything in common with Katerina.

The monologues of the heroine of the play embody the cherished aspirations and hopes of the people. Tenderness and daring, dreaminess and earthly passion are combined in the character of Katerina - the main thing in it is not a mystical impulse away from the earth, but a moral force that inspires earthly existence.

In Katerina, the love of life of the Russian people triumphs, who sought in religion not the denial of life, but its affirmation. The soul of Ostrovsky's heroine is one of those chosen Russian souls who are alien to compromises, who crave universal truth and do not agree to anything less.

The play by A. N. Ostrovsky "Thunderstorm" tells about life provincial Russia XIX century. Events unfold in the city of Kalinov, located on the high bank of the Volga. Against the backdrop of the magnificent beauty of nature, the royal tranquility, a tragedy occurs that disrupts the quiet life of this city. Not all is well in Kalinov. Here, behind high fences, domestic despotism reigns, tears that no one sees are shed. In the center of the play is the life of one of the merchant families. But there are hundreds of such families in the city, and millions throughout Russia. However, life is arranged in such a way that everyone observes certain laws, rules of conduct, and any deviation from them is a shame, a sin.

Main actor in the Kabanov family - a mother, a wealthy widow Marfa Ignatievna. It is she who dictates her own rules in the family and commands the household. It is no coincidence that her last name is Kabanova. There is something animal in this woman: she is uneducated, but powerful, cruel and stubborn, she demands that everyone obey her, honor the foundations of house building and observe its traditions. Marfa Ignatievna - Strong woman. She considers the family to be the most important, the basis of social order, and demands the uncomplaining obedience of her children and daughter-in-law. However, she sincerely loves her son and daughter, and her remarks speak of this: “After all, out of love, parents are strict with you, everyone thinks to teach good.” The boar is condescending to Varvara, lets her go for a walk with the youth, realizing how hard it will be for her in marriage. But she constantly reproaches her daughter-in-law Katerina, controls her every step, makes Katerina live the way she considers right. Perhaps she is jealous of her daughter-in-law for her son, which is why she is so unkind to her. “Since I got married, I don’t see the same love from you,” she says, turning to Tikhon. And he is not able to object to his mother, since the person is weak-willed, brought up in obedience, respects the opinion of his mother. Let us pay attention to Tikhon’s remarks: “Yes, how can I, mother, disobey you!” - “I, mother, do not take a single step out of your will,” etc. However, this is only outer side his behaviour. He does not want to live according to the laws of house building, he does not want to make his wife his slave, a thing: “But why be afraid? It's enough for me that she loves me." Tikhon believes that relations between a man and a woman in a family should be based on the principles of love and mutual understanding, and not on the subordination of one to the other. And yet he cannot disobey an imperious mother and stand up for his beloved woman. Therefore, Tikhon seeks solace in drunkenness. Mother to her domineering character suppresses a man in him, making him weak and defenseless. Tikhon is not ready to play the role of a husband, a protector, to take care of family well-being. Therefore, in the eyes of Katerina, he is a nonentity, and not a husband. She does not love him, but only regrets, suffers.

Tikhon's sister Varvara is much stronger and bolder than her brother. She adapted to life in her mother's house, where everything is based on deceit, and now lives by the principle: "Doing whatever you want, as long as everything is sewn and covered." Barbara, secretly from her mother, meets with her beloved Curly, does not report to Kabanikha for her every step. However, it is easier for her to live - unmarried girl free, and therefore she is not kept under lock and key, like Katerina. Varvara tries to explain to Katerina that it is impossible to live in their house without deception. But her brother's wife is incapable of this: "I don't know how to deceive, I can't hide anything."

Katerina is a stranger in the Kabanovs' house, everything here is "as if from under captivity" for her. IN parental home she was surrounded by love and affection, she was free: "... what I want, it happened, I do it." Her soul is like a bird, she must live in free flight. And in the mother-in-law's house, Katerina is like a bird in a cage: she yearns in captivity, endures the undeserved reproaches of her mother-in-law and the drunkenness of her unloved husband. She does not even have children to give them her affection, love, attention.

Fleeing from family despotism, Katerina is looking for support in life, such a person whom she could rely on, truly love. And so the weak and weak-willed nephew Wild Boris becomes in her eyes the ideal of a man, unlike her husband. She does not seem to notice his shortcomings. But Boris turned out to be a man unable to understand Katerina, to love her just as selflessly. After all, he throws her at the mercy of her mother-in-law. And Tikhon looks much nobler than Boris: he forgives Katerina everything, because he truly loves her.

Therefore, Katerina's suicide is a pattern. She cannot live under the yoke of the Kabanikh and forgive the betrayal of Boris. This tragedy shook quiet life provincial town, and even the timid, weak-willed Tikhon begins to protest against his mother: “Mother, it was you who ruined her! You, you, you…”

On the example of the Kabanov family, we see that relations in the family cannot be built on the principle of subordinating the weak to the strong, the house-building foundations are being destroyed, the power of the autocrats is passing. And even weak woman can challenge it wild world by his death. And yet I believe that suicide is not the best way out of this situation. Katherine could have done differently. For example, go to a monastery and devote your life to serving God, because she is a very religious woman. But the heroine chooses death, and this is both her strength and her weakness.

1. Tikhon Kabanov and Boris, Diky's nephew. 2. Ivan Kudryash. 3. Katerina and Barbara.

In the drama of A. N. Ostrovsky "Thunderstorm", the action takes place against the backdrop of tense relationships between representatives of the elder and younger generations. The tyrannical oppression of the Boar and the Wild on loved ones does not weaken at the sight of external manifestations obedience.

How do representatives of the younger generation behave in similar conditions? Tikhon Ivanych Kabanov is a wealthy merchant. He received a good inheritance from his late father, got married. It would seem that this person may well independently dispose of his house. But it was not there!

In fact, his mother runs everything, and Tikhon listens to her orders with a look of doom: "I, it seems, mother, not a step out of your will." Tikhon performs all any significant actions at the direction of his mother: she gives him orders regarding the upcoming trip to his son, at her request Tikhon got married. Tikhon himself feels himself a deeply unhappy person, unable to please his mother in any way, so that she stops, at least for a while, scolding and teaching him. So he got married in order to fulfill the will of his mother, and now the mother reproaches her son: "Since I got married, I don’t see the same love from you."

However, Tikhon does not even think about expressing his indignation at maternal tyranny: “Yes, mother, I don’t want to live by my will. Where can I live by my will!” Traditions merchant life and his own spinelessness show Tikhon a different path: in order to distract himself from the hateful problems, he now and then applies himself to drinking. The upcoming trip is a long-awaited and desired event for Tikhon: "...

For two weeks there will be no thunderstorm over me, there are no shackles on my legs, so am I up to my wife? "In this phrase, Tikhon's infantile egoism is clearly manifested - he does not care about experiences. He does not know how and does not try to protect his wife from his mother's attacks, on the contrary ", reproaches her that it is because of her that he gets even more. However, in the course of the play it becomes clear that Tikhon, despite all his shortcomings, sincerely loves his wife. He is willing to forgive her her sin. When Katerina confesses her misdeed , Tikhon tries to stop her: "Don't, don't, don't say! What you!

Mother is here! "It is not so much anger as compassion that causes Tikhon's sin of his wife. However, Tikhon is still unable to resist the pressure of his mother. He would be happy to forgive Katerina, forget everything and start a new life, but will his mother allow him to forget?" ... I love her, I'm sorry to touch her with my finger. He beat me a little, and even then my mother ordered.

It’s a pity for me to look at her ... ". But the main trouble is that the most strong love to his wife appears in Tikhon not in Everyday life when Katerina needed protection and support, and at fateful moments when nothing can be changed. And even in despair, Tikhon is not able to go against the will of his mother, who forbade him to go to pull his wife out of the river. Only when he sees the dead Katerina, Tikhon repeats in a frenzy: "Mama, you ruined her!" We see that Tikhon's spinelessness turns into a tragedy for himself, and for his wife, and, in fact, for his mother. What is the use of his obedience if everything goes to dust, and more and more Tikhon gets used to pouring wine over grief? Boris Grigoryevich, Katerina's lover, is in a position that is in no way more enviable than that of her husband. Like Tikhon, Boris is well aware of this: "And I, apparently, will ruin my youth in this slum." Like Tikhon, Boris lacks the determination to try to change his life, although it is easier for the latter. It is clear that it is difficult for Tikhon to argue with his own mother, who raised him and who, despite her lust for power, sincerely believes that she cares about the welfare of her children. Boris lives with his uncle, hoping to someday receive a share of the inheritance bequeathed by his grandmother, however, even on a superficial examination, it becomes clear that the chances of this are very small. The condition under which the inheritance can pass into the hands of Boris and his sister is too unsteady - if they are respectful to their uncle. But Wild is by no means a man of honor. In general, he hardly gives back to people what he has earned or is due for any product. "... Someone who will forbid him to say something that you are disrespectful?" - Kuligin aptly remarks, reasonably believing that Boris will never receive his inheritance. It would seem that he should leave and forget than to endure uncle's antics, which are quite consistent with his last name! On the one hand, Boris is held back by a seemingly noble feeling - caring for his sister. But on the other hand, if the case is hopeless, is it worth it to remain practically in slavery? Having fallen in love with Katerina, Boris is also not able to decide or undertake something on his own. Their date is entirely arranged - one might even say rigged - by Varvara. Boris's attitude towards Katerina is similar to Tikhon's attitude towards her: when he returns earlier than expected, Boris is first of all disappointed that the nightly dates are cancelled. He does not think about Katerina's feelings. But, like Tikhon, Boris sincerely loves her: only in the moments of farewell does he understand how seriously the woman took this love, how difficult the retribution for sin became for her. Another young man in Ostrovsky's play is Ivan Kudryash, Diky's clerk. At first glance, he also depends on the tyrant merchant, since he serves with him. But Kudryash easily relates to the abuse of his employer: "... He is a word, and I am ten ... No, I will not become a slave to him." Curly's decisiveness is also manifested in love affairs: "I'm for mine ... and I don't know what I'll do! I'll cut my throat!" According to rumors, Kudryash and Varvara ran away together, broke with the hateful situation. Both of them turned out to be more adapted to life, more enterprising people than other representatives of their generation in Ostrovsky's play. Barbara, despite her youth, sensibly evaluates people and their relationships. She pities Katerina, bluntly says that there is nothing to love Tikhon for. Varvara also guesses about Katerina's love for Boris. But with all her participation in Katerina, Varvara does not understand her experiences, like everyone around her. Sister Tikhon is a person of action, reflection is alien to her. In accordance with her concepts, Varvara is ready to help Katerina - if possible, arrange a date for her with her loved one, which the girl does. Barbara understands that to exist in a hypocritical environment home without resorting to lies is extremely difficult. the girl calmly perceives it as a necessity, an integral part of life. Of course, this does not decorate Varvara too much, but it should be understood that she became such under the influence of the situation. As for Katerina, her tragedy is that she is absolutely unable and unwilling to adapt, cannot choose one line of behavior and follow it. Katerina was not able to meekly endure the reproaches of her mother-in-law - her love for Boris, in fact, is a protest against existence in an atmosphere of tyranny and hypocrisy. However, Katerina was unable to keep her passion a secret (at least from her mother-in-law), did not want to pretend at home, and when possible, still run on dates with her beloved. According to Katerina herself, her love for B
Orisu is a terrible sin for which she must be punished. But, knowing this in advance, Katerina did not find the strength to resist the temptation, surrendering to her love, she could not calmly accept this as a given. Thus, we see that Katerina is not able to find herself in a way of life that is accessible to her: neither sedate nor faithful wife, a candidate for the future Kabanikhs, nor an ardent lover, calmly listening to the teachings of her mother-in-law during the day - none of these paths satisfies Katerina's restless soul. Therefore, the outcome of Ostrovsky's drama is logical - if a person is unable to come to terms with reality, he often seeks deliverance in death.