Already such and such a scolder, like ours
Savel Prokofich, look for more!
A. N. Ostrovsky
The drama of Alexander Nikolaevich Ostrovsky "Thunderstorm" for many years became a textbook work depicting the "dark kingdom" that suppresses the best human feelings and aspirations, trying to force everyone to live according to their rough laws. No free-thinking - unconditional and complete obedience to elders. The carriers of this "ideology" are Wild and Kabanikha. Internally, they are very similar, but there is some external difference in their characters.
The boar is a hypocrite and a hypocrite. Under the guise of piety, she, “like rusty iron,” eats her household, completely suppressing their will. The boar raised a weak-willed son, she wants to control his every step. The very idea that Tikhon can make decisions on his own without looking back at his mother is unpleasant to her. “I would believe you, my friend,” she says to Tikhon, “if I didn’t see with my own eyes and hear with my own ears, what kind of respect for parents from children has now become! If only they remembered how many diseases mothers endure from children.
The boar not only humiliates the children herself, she teaches Tikhon to do the same, forcing him to torture his wife. This old woman is suspicious. If she had not been so ferocious, Katerina would not have rushed first into the arms of Boris, and then into the Volga. Wild, just like a "chain" pounces on everyone. Curly, however, is sure that “... we don’t have enough guys for me to become, otherwise we would wean him to be mischievous.” This is absolutely true. Wild does not meet with due resistance, and therefore suppresses everyone. Behind him, capital is the basis of his outrages, which is why he keeps himself that way. For Wild there is one law - money. With them, he determines the “value” of a person. Swearing is a normal state for him. They say about him: “To look for such a scolder as Savel Prokofich is with us. No way will a person be cut off. ”
Kabanikha and Wild are "pillars of society", spiritual mentors in the city of Kali-nova. They have established unbearable orders, from which one rushes into the Volga, others run wherever their eyes look, and still others become drunkards.
The boar is quite sure of her rightness, she alone knows the ultimate truth. That is why he behaves so unceremoniously. She is the enemy of everything new, young, fresh. “That’s how the old thing is being brought out. I don't want to go to another house. And if you go up, you will spit, but get out more quickly. What will happen, how the old people will die, how the light will stand, I don’t know. Well, at least it’s good that I don’t see anything. ”
Dikoy has a pathological love for money. In them, he sees the basis of his unlimited power over people. Moreover, for him, all means are good in getting money: he shortchanges the townspeople, “he will not count a single one by way”, he has “thousands made up of unpaid kopecks”, quite calmly appropriates the inheritance of his nephews. Wild is not scrupulous in the choice of means.
Under the yoke of the Scavs and Boars, not only their households, but the whole city, groan. "Tolstoy is powerful" opens before them an unlimited possibility of arbitrariness and tyranny. “The absence of any law, any logic - this is the law and logic of this life,” Dobrolyubov writes about the life of the city of Kalinov, and, consequently, of any other city in Tsarist Russia.
In the play "Thunderstorm" Ostrovsky gives a true picture of the musty atmosphere of the provincial city. A terrifying impression is made on the reader and the viewer, but why is the drama still relevant 140 years after its creation? Little has changed in the psychology of people. Who is rich, in power, he is right, unfortunately, to this day.
The play "Thunderstorm" is one of the most famous in the work of Ostrovsky. A bright, social drama, the events of which take place in the 19th century in the town of Kalinovo. The female images in the play deserve special attention. They are colorful and unique. The image and characterization of Kabanikha in the play "Thunderstorm" is undoubtedly important in the work. She is the main despot and tyrant in the play. She is responsible for Katerina's death. The goal of Kabanikha is to subjugate as many people as possible in order to hang on them the customs, traditions and laws that she sacredly observes. True fear crept into her soul when she realized that a new time was approaching, a time of change that she could not resist.
Marfa Ignatievna Kabanova- she is a Kabanikha. Widow. Merchant. Mother of Barbara and Tikhon.
Image and characteristics
The surname Kabanova suits the main character very accurately, characterizing her from the first minutes. A wild animal is able to pounce on a person for no good reason, so is the Boar. Furious, ferocious. She is able to “bite to death” a person if he is not pleasing to her, which happened to Katerina, whom the widow simply died from the light. It's impossible to please her. She will always find something to complain about, no matter how hard she tries.
Kabanikha, after the death of her husband, was left with two small children in her arms. There was no time to despair. I had to take care and raise Varvara and Tikhon. Brother and sister are completely different in character and outwardly, although they were brought up the same way.
Powerful, domineering woman, keeping in fear not only the household, but the entire district.
“Mommy is painfully cool with you ...”
To subdue and rule is her credo. I am absolutely convinced that the family is built on fear and subordination of the younger to the elders. “Don’t judge yourself older! They know more than you. Old people have signs of everything.” He does not see anything abnormal in his attitude towards children.
“After all, out of love, parents are strict with you, out of love they scold you, everyone thinks to teach good.”
Religious. This is not the faith of a religious fanatic who sacredly observes all fasts and God's laws. More like a tribute to tradition. She performs rituals on the machine, not really delving into the process and its meaning. She has no faith in forgiveness and mercy. For her, the main thing is the strict implementation of patriarchal orders. This is sacred.
“Well, I’ll go pray to God; Do not bother me…".
She is as demanding of others as she is of herself. What people themselves think about this and what feelings they experience is deeply indifferent to her.
Nerd. Always dissatisfied with everything. Buzzing about and without. It's hard to please her. Her own family annoys her, especially her son and daughter-in-law. That's where Kabanikha comes off in full. Sticks his nose into their lives, climbs with advice. He believes that the son, after marriage, cooled off towards his mother, turning into a rag and henpecked.
“Maybe you loved your mother while you were single. Do you care about me, you have a young wife.
Daughter-in-law is a separate issue. The behavior of the daughter-in-law is out of the ordinary. She doesn’t follow traditions, she doesn’t put her husband in anything. Completely out of hand. Old age does not respect and does not honor.
Self-confident. She is convinced that she is doing everything right. He sincerely believes that if you maintain the old order and way of life, then the house will not suffer from external chaos. The economy is managed harshly, worse than a peasant. She doesn't show emotions. In her opinion, this is redundant. At the slightest manifestation of rebellion on the part of the household, the Kabanikha stops everything in the bud. Any misconduct on their part entails punishment. She is immediately infuriated if they young people try to go against her. Strangers are dearer to her than her son and daughter-in-law.
"Prude, sir! She clothes the poor, but she eats the household completely ... ”.
He will say a good word, he will reward with alms.
Loves money. The boar is accustomed to keeping the entire household on her own. She is sure that the one who has more cash in his pocket is right. Having settled at her place, she hears their laudatory speeches addressed to her every day. Flattering grandmothers completely fooled her head. The boar does not even allow the thought that he can do something wrong. With their talk about the end of the world, the old women support Kabanikh's idea of life on earth.
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 action in the play takes place in a 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 the big world is brought to the town by the pilgrim Feklusha, who tells Kalinovtsy fables 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, most influential people in the city is the 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 are an honest person, but 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 grouchy, 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 her husband off, 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 no strong feeling, no resolute striving can develop in him. 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, ”dobrolyubov writes.
The simple-hearted, gentle Tikhon lost the integrity of his feelings, the opportunity to show the 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 “the 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 of both his own opinion and his 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.
The life philosophy of Varvara was also formed in the Kabanov family. 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. It can be said that Varvara, in her own way, "learned" the "Chinese ceremonies", perceiving 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 , the reverse side of tyranny.
Tyranny and Ignorance in the drama by A. N. Ostrovsky "Thunderstorm"
1. Realism of the drama "Thunderstorm".
2. Portrait of Savel Prokofievich Wild.
3. Boar - the head of the "dark kingdom".
4. Completion of power Tyranny and ignorance in the drama of A. N. Ostrovsky "Thunderstorm"
The idea of creating the drama "Thunderstorm" came to Alexander Nikolayevich Ostrovsky in 1859 after a long journey through the Volga cities. It is generally accepted that the prototype of the main character of this play - Katerina Kabanova - was a real-life woman, Alexandra Klykova. The story of her life was very similar to the fate of Katerina. Of interest is the fact that Ostrovsky completed his work about a month before Klykova drowned herself in the Volga, unable to withstand the bullying of her relatives. This circumstance, of course, indicates that the author very clearly and realistically showed in the drama "Thunderstorm" a tough conflict taking place between different generations in the same merchant family.
Tyranny and ignorance in the drama of A. N. Ostrovsky "Thunderstorm" shown by the author with the help of two very vivid images - Savel Prokofievich Diky and Marfa Ignatievna Kabanova ("Boars"), the mother-in-law of the main character.
Wild - one of the typical representatives of the provincial wealthy merchants. This is a person who has certain rights in the city and believes that he is allowed, if not everything, then a lot. This is evidenced by the following statement:
Kuligin. Why, sir, Savel Prokofievich, do you want to offend an honest man?
Wild. Report, or something, I'll give you! I don’t give an account to anyone more important than you ...
Further, Ostrovsky points out that tyranny, the unworthy behavior of Wild is not at all a vicious quality, but a natural property of his "hot masterful heart." The trouble with Savel Prokofievich is that he does not make any attempts to curb his indomitable temper, and therefore he does whatever he wants with impunity.
Surrounding people perceive Savel Prokofievich ambiguously. For example, Kuligin argues that Diky should yield in everything so as not to run into rudeness, but Kudryash quite reasonably objects to him: “... who will please him if his whole life is built on swearing? And most of all because of the money; not a single calculation can do without scolding ... ".
But no capital, no means can contribute to the enrichment of the spiritual life of the Wild. Despite the unshakable conviction of his own rightness, he quickly turns his tail, colliding by chance with a more significant person. At the same time, self-criticism is not at all alien to him: for example, having shouted at an innocent peasant who brought him firewood during Lent, he publicly apologized to the offended so as not to take sin on his soul. But this "good" act is just another whim of a rich tyrant, and not sincere repentance.
Savel Prokofievich's life is built around money, capital - in his opinion, everything good can be bought, and money should be given away "just like that" only in exceptional cases. He himself directly says this: "I will give back, but I will scold."
Unlike Diky, Marfa Ignatyevna Kabanova, whom others call "Kabanikha", adheres to the established norms of the old morality, or rather, its worst side. Observing the rules and laws of Domostroy, she scrupulously selects only those that are beneficial to her, not paying attention to the rest. Unfortunately, she does not observe the most important, key law - you cannot condemn people who accidentally sinned, you should first of all think about your own sins and take care of it. The boar, on the other hand, finds negative aspects in everything - even at the moment of Katerina’s farewell to her husband, who is leaving on business on the afternoon of the week, the unkind mother-in-law finds a reason for a malicious statement: “Why are you hanging around your neck, shameless! 11th you say goodbye to your lover! He is your husband, head! Al order do not know? Bow down at your feet!" At the same time, Marfa Ignatievna treats her son too harshly, imposing her own views, not allowing him to live independently.
Perhaps such despotism, the desire for unlimited power over the household was not the main character trait of Kabanova. She tried with all her might to maintain strict order in the house, to manage not only the household, but also human relationships. Unfortunately, due to its ignorance, it is not able to delicately resolve emerging conflicts, aggravating the tense situation even more with its dictatorship. The opinion of strangers is indifferent to her; she does not know how to learn from her own mistakes.
The tragic denouement of the drama "Thunderstorm" is the suicide of Katerina, tired of the constant oppression of her mother-in-law, emotional stress, constant excuses due to fictitious sins and "wrong" actions. This is not just a departure from a disgusted life, but, above all, an unconscious challenge to that power Selfishness and ignorance which governs the surrounding world, a protest against the imposed false "morality". And even Katerina's husband, downtrodden and depressed by his mother, Tikhon, understands this. Leaning over the body of his drowned wife, he says: “Good for you, Katya! And why am I left to live in the world and suffer! He begins to understand the depravity and insincerity of the relations prevailing in his family, but his soft, weak-willed nature does not allow him to decide on a serious act, to resist psychological pressure.
Tikhon's words make us understand that life in the "dark kingdom", where tyranny and ignorance rule, is worse than death. Otherwise, how can living people envy the departed, especially suicides (after all, according to the laws of the Orthodox Church, voluntary “escape” from life is one of the gravest sins)? And the very existence of this vicious circle is coming to an end. A normal person cannot exist in an atmosphere of oppression, resentment, ignorance and false morality, which means that liberation from the power of Kabanikha and her ilk is nearing.
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.
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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."
