Alexander Nikolaevich covered the most important and especially relevant problem at that time human dignity. The arguments that allow us to consider it as such are very convincing. The author proves that his play is really important, if only by the fact that the issues raised in it continue to excite many years later and the current generation. Drama is being addressed, studied and analyzed, and interest in it has not weakened to this day.
In the 50-60s of the 19th century, the following three topics attracted special attention of writers and poets: the emergence of a diverse intelligentsia, serfdom and the position of women in society and the family. In addition, there was another topic - the tyranny of money, tyranny and old Testament authority among the merchants, under the yoke of which were all family members, and especially women. A. N. Ostrovsky in his drama "Thunderstorm" set the task of exposing the spiritual and economic tyranny in the so-called "dark kingdom".
Who can be considered the bearer of human dignity?
The problem of human dignity in the drama "Thunderstorm" is the most important in this work. It should be noted that there are very few characters in the play about whom one could say: "This worthy person". Majority actors either definitely bad guys or inexpressive, neutral. Wild and Boar - idols, devoid of elementary human feelings; Boris and Tikhon are spineless beings capable of only obeying; Curly and Varvara are reckless people, drawn to momentary pleasures, incapable of serious feelings and reflections. Only Kuligin, an eccentric inventor, and main character Katerina is knocked out of this series. The problem of human dignity in the drama "Thunderstorm" can be briefly described as the opposition of these two heroes to society.
Inventor Kuligin
Kuligin is a rather attractive person with considerable talents, sharp mind, poetic soul desire to selflessly serve people. He is honest and kind. It is no coincidence that Ostrovsky trusts him with an assessment of the backward, limited, self-satisfied Kalinov society that does not recognize the rest of the world. However, Kuligin, although he evokes sympathy, is still unable to stand up for himself, therefore he calmly endures rudeness, endless ridicule and insults. This is an educated, enlightened person, but these best qualities in Kalinov are considered only a whim. The inventor is disparagingly referred to as an alchemist. He longs for the common good, he wants to install a lightning rod, a clock in the city, but a rigid society does not want to accept any innovations. The boar, who is the embodiment of the patriarchal world, will not take the train, even if the whole world has been using the railway for a long time. Wild will never understand that lightning is actually electricity. He doesn't even know that word. The problem of human dignity in the drama "Thunderstorm", the epigraph to which can serve as a replica of Kuligin " Cruel morals sir, in our city, cruel!", thanks to the introduction of this character receives deeper coverage.
Kuligin, seeing all the vices of society, is silent. Only Katerina protests. Despite its weakness, it is still strong nature. Plot basis plays is tragic conflict between the way of life and the real feeling of the main character. The problem of human dignity in the drama "Thunderstorm" is revealed in the contrast between the "dark kingdom" and the "ray" - Katerina.
"Dark Kingdom" and its victims
The inhabitants of Kalinov are divided into two groups. One of them is made up of representatives of the "dark kingdom", personifying power. This is Boar and Wild. The other group includes Kuligin, Katerina, Kudryash, Tikhon, Boris and Varvara. They are victims of the "dark kingdom", feeling its cruel power, but protesting against it in different ways. Through their actions or inaction, the problem of human dignity is revealed in the drama "Thunderstorm". Ostrovsky's plan was to show off different parties the influence of the "dark kingdom" with its suffocating atmosphere.
Katerina's character
Interests and strongly stands out against the background of the environment in which she unwittingly found herself. The reason for the drama of life lies precisely in its special, exceptional character.
This girl is a dreamy and poetic nature. She was raised by a mother who spoiled her and loved her. The daily activities of the heroine in her childhood were caring for flowers, visiting church, embroidery, walking, stories of praying women and wanderers. Under the influence of this way of life, the girls developed. Sometimes she fell into daydreams, dreamlike dreams. Katerina's speech is emotional, figurative. And this poetically minded and impressionable girl, after marriage, finds herself in Kabanova's house, in an atmosphere of importunate guardianship and hypocrisy. The atmosphere of this world is cold and soulless. Naturally, the conflict between bright world Katerina and the atmosphere of this "dark kingdom" ends tragically.
The relationship between Katerina and Tikhon
The situation is further complicated by the fact that she married a man whom she could not love and did not know, although she tried with all her might to become faithful to Tikhon and loving wife. The heroine's attempts to get closer to her husband are shattered by his narrow-mindedness, slavish humiliation and rudeness. Since childhood, he has been accustomed to obey his mother in everything, he is afraid to say a word across to her. Tikhon resignedly endures the tyranny of Kabanikh, not daring to object and protest to her. His only wish- at least for a short time to break out from under the care of this woman, go on a spree, drink. This weak-willed man, being one of the many victims of the "dark kingdom", not only could not help Katerina in any way, but simply could not understand her as a human being, since inner world the heroine is too tall, complex and inaccessible to him. He could not foresee the drama brewing in the heart of his wife.
Katerina and Boris
Dikiy's nephew, Boris, is also a victim of a sanctimonious, dark milieu. In terms of his inner qualities, he is much higher than the "benefactors" surrounding him. The education he received in the capital at the commercial academy developed his cultural needs and views, therefore this character it is difficult to survive among the Wild and Boar. The problem of human dignity in the play "Thunderstorm" also confronts this hero. However, he lacks the character to break free from their tyranny. He is the only one who managed to understand Katerina, but was unable to help her: he lacks the determination to fight for the girl's love, so he advises her to reconcile, submit to fate and leaves her, anticipating the death of Katerina. The inability to fight for happiness doomed Boris and Tikhon not to live, but to suffer. Only Katherine was able to challenge this tyranny. The problem of human dignity in the play is thus also a problem of character. Only strong people can challenge the "dark kingdom". They were only the main character.
Dobrolyubov's opinion
The problem of human dignity in the drama "Thunderstorm" was revealed in an article by Dobrolyubov, who called Katerina "a ray of light in a dark kingdom." Death of a gifted young woman, strong, passionate nature illuminated for a moment the sleeping "kingdom", like a ray of the sun against the background of gloomy dark clouds. Dobrolyubov considers the suicide of Katerina Dobrolyubov as a challenge not only to the Wild and Kabanovs, but to the whole way of life in a gloomy, despotic feudal serf country.
inevitable ending
It was an inevitable ending, despite the fact that the main character so honored God. It was easier for Katerina Kabanova to leave this life than to endure the reproaches of her mother-in-law, gossip and remorse. She pleaded guilty in public, because she did not know how to lie. Suicide and public repentance should be regarded as actions that elevated her human dignity.
Katerina could be despised, humiliated, even beaten, but she never humiliated herself, did not commit unworthy, low deeds, they only went against the morality of this society. Although what kind of morality can such limited, stupid people have? The issue of human dignity in The Thunderstorm is the issue of the tragic choice between accepting or challenging society. The protest at the same time threatens with serious consequences, up to the need to lose one's life.
Look for some more scolding like Savel Prokofich with us! .. Kabanikha is also good. A. Ostrovsky. Thunderstorm In his drama "Thunderstorm" A. N. Ostrovsky vividly and vividly portrayed " dark kingdom» Russian province overwhelming best human feelings and aspirations. The author was not only the first to introduce the word "tyrant" into literature, but also developed in art form the very phenomenon of tyranny, when people in power act arbitrarily, according to their own whim, without regard for others. In the drama "Thunderstorm", the phenomenon of tyranny is described on the example of the images of "significant persons" of the city of Kalinov - Diky and Kabanikhi. For Wild, the main goal in life, the only law is money. Rude, greedy, ignorant, Wild cowards over every penny. He is the richest man in the city, but everything is not enough for him, because he is sure that money is power. And this attitude allows him to cruelly exploit people and put himself above everyone: “So you know that you are a worm. If I want - I will have mercy, if I want - I will crush. In accumulating money, Dikoy does not choose means: he appropriates the inheritance of his nephews, mocking them at the same time, shamelessly shortchanges the poor peasants working for him: "he will not count a single one." It operates on the principle: “A lot of people stay with me a year ... I won’t pay them extra for a penny per person, but I have thousands of them, so it’s good for me!” Wild used to think only about himself. No wonder they say about this merchant: "His whole life is based on swearing." Dikoy simply cannot speak like a human being: he screams, swears, does not give life to his family. Rude and unceremonious, he is aware of his impunity and therefore often insults the poor and disenfranchised: "They must obey me ..." However, before those who are able to rebuff him, before strong personalities or before people who have more money, Wild passes, retreats. Darkness, lack of culture, limited mental horizons are traits that characterize a merchant far from the best. The boar is an ardent defender of the old foundations of life and the customs of the "dark kingdom". Conservatism of views and hatred for everything new are its hallmarks: “That's how old things are brought out. I don't want to go to another house. And if you go up, you will spit, but get out as soon as possible. What will happen, how the old people will die, how the light will stand, I don’t know.” The strong, domineering, despotic character of the Kabanikh, combined with the most serious attitude to domostroevsky orders makes life at home in her family unbearable. She raised her son spineless, weak, devoid of independence, slavishly submissive to the mother's will. But Kabanikha wants to make him a "master" in her family, whom his wife not only obeys unquestioningly, but is also afraid. Therefore, she not only suppresses the will of her son, but also torments, finds fault, and constantly reproaches her daughter-in-law. Kabanikha strictly adheres to customs and rituals, many of which have become outdated and ridiculous; for her, the main thing is the observance of the form, despite the fact that living people suffer from her inertia and ignorance. Hypocrisy and hypocrisy are typical traits of Kabanikh's character. She knows how to cover up her actions with a mask of obedience to God's will: “A hypocrite, sir. She clothes the poor, but eats the household.” However, the religiosity of Kabanikhi is external, a tribute to traditions. The unlimited power of wild and wild boars is strangling the city, about the life of which Dobrolyubov wrote: "The absence of any law, any logic - this is the law and logic of this life." Quite often we meet today with tyrants in life. They can be distinguished by the fact that "the tyrant is still trying to prove that no one has a decree for him and that he will do whatever he wants." I think that the only way to combat tyranny is the development of the inner qualities of each person, the revival true culture in your own heart.The role of Ostrovsky in the history of Russian literature is extremely important. His plays are the most important for us. cognitive value. Ostrovsky was not a calm, impassive writer of Russian life. It was a public tribune, a democrat. Through his plays, we get acquainted with the difficult, gloomy life of the “dark kingdom”, we follow with sympathy the struggle of a free, freedom-loving personality with the deadening foundations of the past, we learn to recognize the richness of a person’s spiritual strength and hate the oppression that prevented free development in the past personality. Among the topics put forward by life, there was one that required urgent coverage. This is the tyranny of tyranny, money and old-fashioned authority in merchant life, a tyranny under the yoke of which not only members of merchant families, especially women, but also the working poor were suffocated. The task of exposing the economic and spiritual tyranny of the "dark kingdom" was set by Ostrovsky in the drama "Thunderstorm".
The action of the drama "Thunderstorm" takes place in the provincial town of Kalinov, located on the banks of the Volga. Ignorance and complete mental stagnation are characteristic of the life of the city of Kalinov. Behind the external calmness of life here lie harsh, gloomy customs. "Cruel morals, sir, in our city, cruel!" says poor Kuligin, a self-taught mechanic who has experienced all the futility of trying to soften the customs of his city and bring people to reason. Two groups of inhabitants of the city of Kalinov perform in the play. Some personify the oppressive power of the "dark kingdom" (Wild, Boar), and others - the victims of the "dark kingdom" (Katerina, Kuligin, Tikhon, Boris, Kudryash, Varvara). They equally feel the brute force of the "dark kingdom", but express their protest against this force in different ways.
Despotism, unbridled arbitrariness, ignorance, rudeness - these are the features that characterize the image of the tyrant Wild, typical representative"dark kingdom" The meaning of life for the Wild is to acquire, increase wealth, and for this all means are good. He is the richest and noble person in the city. Capital unties his hands, gives him the opportunity to freely swagger over the poor and materially dependent on him people. This is how the heroes of the play talk about Wild. Shapkin: “Look for such and such a scolder as Savel Prokofich among us, look for more! For no reason will a person be cut off. ”; Kudryash: “... his whole life is based on swearing ... And most of all because of money; not a single calculation can be done without scolding ... And the trouble is, how someone will annoy him in the morning. He picks on everyone all day.” Rough and unceremonious Di-Koy swaggers in front of his nephew Boris, in front of his family. Boris remarks: “Auntie begs everyone with tears every morning: “Fathers, don’t make me angry! Darlings, don't get angry!"; “But the trouble is when he is offended by such a person whom he does not dare to scold; stay at home here!” Tightness and unbridledness are not purely individual qualities of the Wild. This typical features patriarchal merchant class.
The image of the stern and domineering Marfa Ignatievna Kabanova allows us to get acquainted with another variety of representatives of the "dark kingdom", as typical as the Wild, but even more sinister and gloomy. Kabanikha loves unquestioning obedience, in her speeches there are constant reproaches, complaints of disrespect. An atmosphere of cruelty and humiliation reigns in the house of Kabanikhi. She tyrannizes her loved ones, “eats with food”, “sharpens iron like rust”; "Prude, sir! She clothes the beggars, but eats the household ones completely. ” Kabanikha considers what is accepted, what order requires, honors the traditions and rituals that have developed in her estate. According to her deepest conviction, the wife must submit to her husband, live in fear of him, as “order requires”. She admonishes Tikhon, who does not understand why Katerina should be afraid of him: “Why be afraid? Yes, you're crazy, right? You will not be afraid, and even more so me. What will be the order in the house? Kabanova firmly holds on to order, to keeping the form. This was especially evident in the scene of farewell to Tikhon. The mother demands that the son give orders to his wife for order: not to be rude to the mother-in-law, not to sit idle, so that she does not look at other people's men. The wife is obliged to howl long and loudly, seeing her husband off. Kabanikha not only observes house building standards, she fights for them. She appears to be pious and pious. But religion for her is only a means to keep others in obedience ("The whole house ... rests on deceit").
Evil, hypocrisy, lies - these are the features of the moral face of the "dark kingdom".
And how do the other characters of the play relate to the morality of the Wild and Boar? Kuligin condemns the merchants for cruelty, dreams of "common benefit, of general welfare", but these are just dreams. In relations with petty tyrants, he considers it best to endure and please. Barbara's life philosophy is "do whatever you want, as long as everything is sewn and covered." Curly gets along with the Wild, adapts to the environment and finds opportunities to live happily in the environment of the Wild. Tikhon, a kind but weak-willed man, lost all ability to think and live independently under pressure from his mother.
And only Katerina was able to protest the world of cruelty and despotism. Katerina's protest is, of course, spontaneous. But in his own way he reflected dissatisfaction with social and family inequality, the tyranny of the haves. Dobrolyubov called Katerina "a ray of light in a dark kingdom." Her suicide, as if for a moment, illuminated the deep darkness of the “dark kingdom”.
The play "Thunderstorm" occupies a special place in the work of Ostrovsky. In this play, the playwright most vividly described the "world of the dark kingdom", the world of tyrant merchants, the world of ignorance, arbitrariness and despotism, domestic tyranny.
The play takes place in small town on the Volga - Kalinov. Life here, at first glance, is a kind of patriarchal idyll. The whole city is immersed in greenery, beyond the Volga an “unusual view” opens up, on its high banks there is a public garden where residents of the town often stroll. Life in Kalinovo flows quietly and unhurriedly, there are no upheavals, no exceptional events. News from big world the wanderer Feklusha brings to the town, telling tales to the Kalinovites about people with dog heads.
However, in reality, not everything is so safe in this small, abandoned world. This idyll is already destroyed by Kuligin in a conversation with Boris Grigoryevich, Dikiy's nephew: “Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and naked poverty ... And whoever has money, ... he tries to enslave the poor, so that he can make even more money on his free labors. However, there is no agreement between the rich either: they “feud with each other”, “scribble malicious slander”, “sue”, “undermine trade”. Everyone lives behind oak gates, behind strong locks. “And they don’t lock themselves up from thieves, but so that people don’t see how they eat their own home and tyrannize their family. And what tears flow behind these locks, invisible and inaudible!.. And what, sir, behind these locks is the debauchery of dark and drunkenness!” exclaims Kuligin.
One of the richest influential people in the city is a merchant Savel Prokofievich Wild. The main features of the Wild are rudeness, ignorance, irascibility and absurdity of character. “Look for such and such a scolding, like Savel Prokofich with us, to look for more! For no reason will a person be cut off, ”Shapkin says about him. The whole life of Wild is based on "cursing". Neither cash settlements, nor trips to the market - "he does nothing without scolding." Most of all, he gets from Wild to his family and his nephew Boris, who came from Moscow.
Savel Prokofievich is stingy. “...Just give me a hint about money, it will start to kindle my whole interior,” he says to Kabanova. Boris came to his uncle hoping to receive an inheritance, but actually fell into bondage to him. Savel Prokofievich does not pay him a salary, constantly insults and scolds his nephew, reproaching him for laziness and parasitism.
Repeatedly quarrels with Dika and with Kuligin, a local self-taught mechanic. Kuligin is trying to find a reasonable reason for Savel Prokofievich's rudeness: "Why, sir Savel Prokofievich, would you like to offend an honest man?" To which Dikoy replies: “A report, or something, I will give you! I don't report to anyone more important than you. I want to think about you like that, I think so! For others you fair man, and I think that you are a robber, that's all ... I say that you are a robber, and that's the end. Well, are you going to sue, or what, will you be with me? So you know that you are a worm. If I want, I will have mercy, if I want, I will crush.
“What theoretical reasoning can stand where life is based on such principles! The absence of any law, any logic is the law and logic of this life. This is not anarchy, but something even much worse ... ”, Dobrolyubov wrote about the tyranny of Wild.
Like most Kalinovites, Savel Prokofievich is hopelessly ignorant. When Kuligin asks him for money to install a lightning rod, Dikoi declares: “The storm is sent to us as a punishment, so that we feel, and you want to defend yourself with poles and horns.”
Wild represents the "natural type" of the petty tyrant in the play. His rudeness, rudeness, mockery of people are based, first of all, on an absurd, unbridled character, stupidity and lack of opposition from other people. And only then already on wealth.
It is characteristic that practically no one offers Wild active resistance. Although it is not so difficult to calm him down: an unfamiliar hussar “cursed” him on the ferry, and Kabanikha is not shy in front of him. “There are no elders above you, so you are swaggering,” Marfa Ignatyevna bluntly declares to him. It is characteristic that here she is trying to fit Wild to her vision of the world order. Kabanikha explains the constant anger, irascibility of Wild by his greed, but Savel Prokofievich himself does not even think about denying her conclusions. "Who does not feel sorry for his own good!" he exclaims.
Much more complex in the play is the image of Kabanikha. This is an exponent of the "ideology of the dark kingdom", which "created for itself a whole world of special rules and superstitious customs."
Marfa Ignatievna Kabanova is a wealthy merchant's wife, a widow who cultivates the customs and traditions of antiquity. She is grumpy, constantly dissatisfied with others. It gets from her, first of all, at home: she “eats” her son Tikhon, reads endless moralizing to her daughter-in-law, and tries to control her daughter’s behavior.
The boar zealously defends all the laws and customs of Domostroy. A wife, in her opinion, should be afraid of her husband, be silent and submissive. Children should honor their parents, unquestioningly follow all their instructions, follow their advice, respect them. None of these requirements, according to Kabanova, is fulfilled in her family. Marfa Ignatyevna is dissatisfied with the behavior of her son and daughter-in-law: “They don’t know anything, there is no order,” she argues alone. She reproaches Katerina with the fact that she does not know how to see off her husband "in the old way" - therefore, she does not love him enough. "Another good wife, after seeing off her husband, she howls for an hour and a half, lies on the porch ... ”, she instructs her daughter-in-law. Tikhon, according to Kabanova, is too soft in dealing with his wife, not respectful enough in relation to his mother. “They don’t really respect elders nowadays,” says Marfa Ignatievna, reading instructions to her son.
The boar is fanatically religious: she constantly remembers God, sin and retribution, and there are often wanderers in her house. However, the religiosity of Marfa Ignatievna is nothing but hypocrisy: “The hypocrite ... She clothes the poor, but she completely ate the household,” Kuligin remarks about her. In her faith, Marfa Ignatievna is severe and adamant, there is no place for love, mercy, forgiveness in her. So, at the end of the play, she does not even think about forgiving Katerina her sin. On the contrary, she advises Tikhon to bury his wife alive in the ground so that she is executed.
Religion, ancient rites, pharisaical complaints about his life, playing on filial feelings - Kabanikha uses everything to assert his absolute power in the family. And she "gets her way": in the harsh, overwhelming atmosphere of domestic tyranny, Tikhon's personality is mutilated. “Tikhon himself loved his wife and would be ready to do everything for her; but the oppression under which he grew up has so disfigured him that there is no strong feeling, no resolute striving can develop. He has a conscience, there is a desire for good, but he constantly acts against himself and serves as a submissive tool of his mother, even in his relationship with his wife, ”writes Dobrolyubov.
The simple-hearted, gentle Tikhon lost the integrity of his feelings, the opportunity to show best features of his nature. Family happiness was closed to him from the very beginning: in the family where he grew up, this happiness was replaced by “Chinese ceremonies”. He cannot show his love for his wife, and not because “a wife should be afraid of her husband”, but because he simply “does not know how” to show his feelings, which have been cruelly suppressed since childhood. All this led Tikhon to a certain emotional deafness: he often does not understand Katerina's condition.
Depriving her son of any initiative, Kabanikha constantly suppressed his masculinity and at the same time reproached him for his lack of masculinity. Subconsciously, he seeks to make up for this "lack of masculinity" in drinking and rare "partying" "in the wild." Tikhon cannot realize himself in some business - probably, his mother does not allow him to manage affairs, considering his son unsuitable for this. Kabanova can only send her son on an assignment, but everything else is under her strict control. It turns out that Tikhon is deprived and own opinion, And own feelings. It is characteristic that Marfa Ignatievna herself is to some extent dissatisfied with her son's infantilism. It slips through her intonation. However, she probably does not realize the extent of her involvement in this.
In the Kabanov family formed and life philosophy Barbarians. Her rule is simple: “do whatever you want, as long as it’s sewn and covered.” Varvara is far from Katerina's religiosity, from her poetry, exaltation. She quickly learned to lie and dodge. We can say that Varvara, in her own way, "learned" the "Chinese ceremonies", having perceived their very essence. The heroine still retains immediacy of feelings, kindness, but her lie is nothing more than reconciliation with Kalinov's morality.
It is characteristic that in the finale of the play both Tikhon and Varvara, each in their own way, rebel against the "power of mother". Varvara runs away from home with Kuryash, while Tikhon expresses his opinion openly for the first time, reproaching his mother for the death of his wife.
Dobrolyubov noted that “some critics even wanted to see in Ostrovsky a singer of broad natures”, “they wanted to assign arbitrariness to a Russian person as a special, natural quality of his nature - under the name“ breadth of nature ”; they also wanted to legitimize cheating and cunning in the Russian people under the name of sharpness and deceit". In the play "Thunderstorm" Ostrovsky debunks both that and another phenomenon. Arbitrariness turns out to be "heavy, ugly, lawless", he sees in it nothing more than tyranny. Roguery and cunning turn into not sharpness, but vulgarity , reverse side tyranny.
Essay text:
Look for some more scolding like Savel Prokofich with us! .. Kabanikha is also good.
A. Ostrovsky. Storm
In his drama "Thunderstorm" A. N. Ostrovsky vividly and vividly portrayed the "dark kingdom" of the Russian provinces, suppressing the best human feelings and aspirations. The author was not only the first to introduce the word "tyrant" into literature, but also developed in an artistic form the very phenomenon of tyranny, when people in power act arbitrarily, according to their own whim, without regard for others.
In the drama "Thunderstorm" the phenomenon of tyranny is described on the example of the images of "significant persons" of the city of Kalinov Diky and Kabanikhi.
For Wild, the main goal in life, the only law is "money. Rude, greedy, ignorant, Wild coward over every penny." He is the richest man in the city, but everything is not enough for him, because he is sure that money is power. And this attitude allows him to cruelly exploit people and at the same time put himself above everyone else: "So you know that you are a worm. In accumulating money, Dikoi does not choose means: he appropriates the inheritance of his nephews, mocking them at the same time, shamelessly cheats the poor peasants working for him: "he will not count a single one by the way." It operates on the principle: "A lot of people stay with me every year ... I won’t pay them extra for a penny per person, but I make up a thousand of this, so it’s good for me!" Wild used to think only about himself.
It is not for nothing that they say about this merchant: "He has his whole life OCHQ-ia on cursing." As a human being, Wild talk simply does not know how: screaming, swearing, does not give life to him. Rude and unceremonious, he is aware of his impotence and lyricist often offends the poor and demonic: "They must submit to me ..." However, before THEM, who is able to rebuff him, before strong personalities or in front of people with more money, Wild Naps backs off. Darkness, lack of culture, limited mental horizons are traits that characterize the merchant far from the best side.
Kabanikha is an ardent defender of the old foundations of life and customs of the "dark kingdom". Conservatism of views and hatred for everything new is her hallmarks: “That’s how the old man is taken out. You don’t want to go to another house. But if you go up, you’ll spit, but get out as soon as possible. What will happen, how the old people will die, how the light will stand, I don’t know ".
The strong, domineering, despotic character of Kabanikha, combined with the most serious attitude to the house-building orders, makes life at home in her family unbearable. She raised her son as a spineless, weak, devoid of independence, slavishly submissive mother.
Sterin's will. But Kabanikha wants to make him the "master" in his family, whose wife not only unquestioningly
but he obeys, but he is also afraid. Therefore, she not only suppresses the will of her son, but also torments, finds fault, and constantly reproaches her daughter-in-law.
Kabanikha strictly adheres to customs and rituals, many of which have become outdated and ridiculous; for her, the main thing is the observance of the form, despite the fact that living people suffer from its inertia and ignorance.
Hypocrisy and hypocrisy are typical traits of Kabanikh's character. She knows how to cover up her actions with a mask of obedience to God's will: "The hypocrite, sir. She clothes the poor, but eats the household." However, the religious quality of Kabanikhi is external, a tribute to traditions.
The unlimited power of wild and boar souls is the city, about the life of which Dobrolyubov wrote: "The existence of every law, every logic is the law and logic of this life."
Quite often we meet today with tyrants in life. They can be distinguished by the fact that "the tyrant is trying to prove that no one orders him and that he will do whatever he wants." I think that the only way to combat tyranny is the development of the inner qualities of each person, the revival of true culture in one's own heart.
The rights to the essay "Images of petty tyrants in A. N. Ostrovsky's drama "Thunderstorm"" belong to its author. When citing material, it is necessary to indicate a hyperlink to
