According to N.A. Dobrolyubova, "Thunderstorm" - "the most decisive work Ostrovsky. In this play, the author depicts the tragedy of a freedom-loving, rebellious soul in an atmosphere of silence and tyranny. Thus, the playwright expresses his strong disagreement with the soulless system of the "dark kingdom".
Dramatic end of life main character plays by Katerina Kabanova. She is driven to the extreme and forced to commit suicide. How to evaluate this act? Was he a sign of strength or weakness?
Katerina's life cannot be called a struggle in the full sense of the word, and, therefore, it is difficult to talk about defeat or victory. There were no direct clashes between Katerina and the "dark kingdom". The suicide of the heroine can rather be called a moral victory, a victory in the desire to gain freedom. Her voluntary departure from life is a protest against the semi-prison order in a provincial town and heartlessness in Katerina's family.
The play describes merchant life with its patriarchal way of life, with its own well-established concepts of morality, largely indirect and hypocritical. People living in this closed little world either fully support its order (Wild and Boar), or are forced to come to terms with it outwardly (Barbara, Tikhon). But Katerina, finding herself in these conditions, is not able to come to terms with her situation.
Katerina is strikingly different from the people around her. Love for freedom and susceptibility to beauty have been inherent in her since childhood. “I lived, didn’t grieve about anything, like a bird in the wild,” recalls the heroine. Katerina finds beauty in nature, in the songs of pilgrims, in church services.
For her, God moral law which cannot be transgressed. Religiosity Katerina is bright and poetic. Ostrovsky portrays a strong and whole nature, incapable of deceit or pretense. Living in the house of Kabanikha, Katerina does not humiliate herself by pretending to be obedient. She always remains true to herself: “With people, that without people, I’m all alone, I don’t prove anything from myself.”
Life with an unloved husband under the supervision of a despotic mother-in-law seems to the heroine to be hell. Katerina "withered completely" in this unfriendly house - a miniature copy of the "dark kingdom". However, her heart did not rest in captivity. The heroine fell in love with a man who stood out from the merchant environment. For Katerina, he personifies a different - brighter, free, kind - world.
For the sake of her love, Katerina is ready to betray her husband and is faced with a choice: either duty or deceit. The heroine decides to commit adultery, considering it the gravest sin and suffering from it. Having done nothing yet, she already experiences the horror of a moral fall in advance: “It’s as if I’m standing over an abyss and someone is pushing me there, but there’s nothing for me to hold on to.” However, this desperate step is for Katerina a chance to break free.
Having cheated on her husband, Katerina is tormented by the realization of her guilt, she wants to atone for her sin. Following Christian morality, she sincerely believes that repentance partially atones for guilt. Moreover, the heroine cannot live by deceit, since this disgusts her open, ingenuous nature. This is her essential difference from the position of Varvara.
Thus, Katerina confesses everything to her husband, thereby cutting off her path to salvation. Now life in the house of Kabanikha begins to weigh Katerina doubly. Life in a spiritual vacuum loses all meaning for her: “Why should I live now, well, why? I don’t need anything ... ”, the heroine decides. She sees no other way to break free, except to take her own life.
Katerina cannot leave the house, because a woman in the 19th century was almost powerless, belonged to her husband in body and soul, and could not independently manage herself. Katerina also could not leave with Boris, since he turned out to be a completely insignificant, weak, spineless person, incapable of decisive action.
It can be said that, taking her own life, Katerina went against God, became a great sinner, for whom one could not even pray. However, the heroine is sure: "Who loves, he will pray ...". Death doesn't scare her. Even in death, Katerina sees beauty: she draws a picture of calm and peace.
So, Katerina's suicide, in my opinion, is to a certain extent a justified action, which the heroine saw for herself as the only possible one under the given conditions. Katerina's death is a kind of moral victory, a manifestation not of weakness, but of fortitude. The death of Katerina is another step towards the already begun destruction of the "dark kingdom" of petty tyrants.
Homework for the lesson
1. Collect quote material to characterize Katherine.
2. Read II and III actions. Mark phrases in Katerina's monologues that testify to the poetic nature of her nature.
3. What is Katerina's speech?
4. How is life in your parents' house different from life in your husband's house?
5. What is the inevitability of Katerina's conflict with the world of the "dark kingdom", with the world of Kabanova and Dikoy?
6. Why next to Katerina Varvara?
7. Does Katerina Tikhon love?
8. Fortune or misfortune on life path Katerina Boris?
9. Can Katerina's suicide be considered a protest against the "dark kingdom"? Maybe the protest is in love with Boris?
Exercise
Using the material prepared at home, characterize Katerina. What traits of her character appear in the very first remarks?
Answer
D.I, yavl. V, p.232: Inability to be hypocritical, lie, directness. The conflict is planned immediately: Kabanikha does not tolerate feelings in people dignity, disobedience, Katerina does not know how to adapt and submit. In Katerina there is - along with spiritual softness, trembling, songfulness - and firmness hated by Kabanikh, strong-willed determination, which can be heard in her story about sailing on a boat, and in her individual actions, and in her patronymic Petrovna, derived from Peter - " stone". D.II, yavl. II, pp. 242–243, 244.
Therefore, Katerina cannot be brought to her knees, and this greatly complicates the conflict confrontation between the two women. A situation arises when, according to the proverb, the scythe found a stone.
Question
How else does Katerina differ from the inhabitants of the city of Kalinov? Find places in the text where the poetic nature of Katerina is emphasized.
Answer
Katerina is a poetic nature. Unlike the rude Kalinovites, she feels the beauty of nature and loves it. In the morning I got up early ... Oh, yes, I lived with my mother, like a flower bloomed ...
“I used to get up early; if in the summer, I’ll go to the spring, wash myself, bring water with me and that’s it, water all the flowers in the house. I had many, many flowers,” she says about her childhood. (d.I, yavl. VII, p. 236)
Her soul is constantly drawn to beauty. Her dreams were filled with wonderful, fabulous visions. She often dreamed that she was flying like a bird. She talks about her desire to fly several times. (d.I, yavl. VII, p. 235). With these repetitions, the playwright emphasizes the romantic sublimity of Katerina's soul, her freedom-loving aspirations. Married early, she tries to get along with her mother-in-law, to love her husband, but in the house of the Kabanovs sincere feelings no one needs.
Catherine is religious. With her impressionability, the religious feelings instilled in her in childhood firmly took possession of her soul.
“Until death, I loved to go to church! It’s like, it happened, I’ll go into paradise, and I don’t see anyone, and I don’t remember the time, and I don’t hear when the service ends,” she recalls. (d.I, yavl. VII, p. 236)
Question
How would you characterize the character's speech?
Answer
Katerina's speech reflects all her wealth inner peace: the power of feelings, human dignity, moral purity, truthfulness of nature. The strength of feelings, the depth and sincerity of Katerina's experiences are also expressed in the syntactic structure of her speech: rhetorical questions, exclamations, unfinished sentences. And in especially tense moments, her speech takes on the features of a Russian folk song, becomes smooth, rhythmic, melodious. In her speech there are vernacular, words of a church-religious nature (lives, angels, golden temples, images), means of expression folk-poetic language ("Wild winds, transfer my sadness and longing to him"). Speech is rich in intonations - joyful, sad, enthusiastic, sad, anxious. The intonations express Katerina's attitude towards others.
Question
Where did these traits come from in the heroine? Tell us how Katerina lived before marriage? How is life in your parents' house different from life in your husband's house?
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In childhood “It’s like a bird in the wild”, “mother didn’t have a soul”, “she didn’t force me to work.” Katerina's occupations: she looked after flowers, went to church, listened to wanderers and praying women, embroidered on velvet with gold, walked in the garden Katerina's features: love of freedom (the image of a bird): independence; self-esteem; dreaminess and poetry (a story about visiting a church, about dreams); religiosity; decisiveness (a story about an act with a boat) For Katerina, the main thing is to live according to your soul. |
In the Kabanov family “I have withered completely”, “yes, everything here seems to be from bondage.” The atmosphere at home is fear. “You will not be afraid, and even more so me. What kind of order will this be in the house? The principles of the house of Kabanovs: complete submission; renunciation of one's will; humiliation by reproaches and suspicions; lack of spiritual principles; religious hypocrisy For Kabanikh, the main thing is to subdue. Don't let me live my way |
Answer
S.235 d.I, yavl. VII ("Was I like that!")
Conclusion
Outwardly, the living conditions in Kalinovo are no different from the environment of Katerina's childhood. The same prayers, the same rituals, the same activities, but "here," the heroine notes, "everything is as if from bondage." And captivity is incompatible with her freedom-loving soul.
Question
What is Katerina's protest against the "dark kingdom"? Why can't we call her either "victim" or "mistress"?
Answer
Katerina is different in character from all actors"Thunderstorms". Whole, honest, sincere, she is incapable of lies and falsehood, therefore, in a cruel world where the Wild and Kabanovs reign, her life is tragic. She does not want to adapt to the world of the "dark kingdom", but she cannot be called a victim either. She protests. Her protest is love for Boris. This is freedom of choice.
Question
Does Katerina Tikhon love?
Answer
Given in marriage, apparently not of her own free will, she is at first ready to become exemplary wife. D.II, yavl. II, p. 243. But such a rich nature as Katerina cannot love a primitive, limited person.
D. V, yavl. III, p.279 "Yes, he has disgusted me, he has disgusted me, his caress is worse for me than beatings."
Already at the beginning of the play, we learn about her love for Boris. D. I, yavl.VII, p.237.
Question
Happiness or misfortune on the life path of Katerina Boris?
Answer
The very love for Boris is a tragedy. D.V, yavl. III, p. 280 "Unfortunately, I saw you." Even the dim-witted Kudryash understands this, warning with alarm: “Oh, Boris Grigoryevich! (...) After all, this means you want to ruin her completely, Boris Grigoryich! (...) But what kind of people are here! You know yourself. They will eat her, (...) Just look - don’t make trouble for yourself, but don’t get her into trouble! Suppose, even though she has a husband and a fool, but her mother-in-law is painfully fierce.
Question
What is the difficulty internal state Katerina?
Answer
Love for Boris is: free choice dictated by the heart; deceit that puts Katerina on a par with Varvara; renunciation of love is submission to the world of Kabanikhi. Love-choice dooms Katerina to torment.
Question
How is the heroine's torment, her struggle with herself, her strength shown in the scene with the key and the scenes of meeting and parting with Boris? Analyze vocabulary, sentence structure, folklore elements, connections with folk song.
Answer
D.III, scene II, yavl. III. pp. 261–262, 263
D.V, yavl. III, p. 279.
Scene with the key: “What am I saying, that I am deceiving myself? I have to die to see him." Date scene: "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? Farewell scene: “My friend! My joy! Goodbye!" All three scenes show the determination of the heroine. She never betrayed herself: she decided on love at the behest of her heart, confessed to treason from an inner sense of freedom (a lie is always not free), she came to say goodbye to Boris not only because of a feeling of love, but also because of guilt: he suffered because of for her. She rushed into the Volga at the request of her free nature.
Question
So what lies at the heart of Katerina's protest against the "dark kingdom"?
Answer
Katerina's protest against the oppression of the "dark kingdom" is based on a natural desire to defend the freedom of her personality. Captivity is the name of her main enemy. With all her being, Katerina felt that to live in " dark kingdom"Worse than death. And she preferred death to captivity.
Question
Prove that Katerina's death is a protest.
Answer
Katerina's death is a protest, a riot, a call to action. Varvara ran away from home, Tikhon blamed his mother for the death of his wife. Kuligin reproached him with unmercifulness.
Question
Will the city of Kalinov be able to live in the old way?
Answer
Most likely no.
The fate of Katerina acquires in the play symbolic meaning. Not only the heroine of the play perishes - patriarchal Russia, patriarchal morality perishes and goes into the past. Drama Ostrovsky, as it were, captured people's Russia at a turning point, on the threshold of a new historical era.
For conclusion
The play still asks a lot of questions. First of all, it is necessary to understand genre nature, the main conflict of "Thunderstorm" and understand why N.A. Dobrolyubov wrote in his article "A Ray of Light in a Dark Kingdom": "Thunderstorm" is, without a doubt, Ostrovsky's most decisive work. The author himself called his work a drama. Over time, researchers increasingly began to call "Thunderstorm" a tragedy, based on the specifics of the conflict (obviously tragic) and the nature of Katerina, who raised big questions that remained somewhere on the periphery of society's attention. Why did Katherine die? Because she got a cruel mother-in-law? Because she, being a husband's wife, committed a sin and could not stand the pangs of conscience? If we confine ourselves to these problems, the content of the work is significantly impoverished, reduced to a separate, private episode from the life of such and such a family, and loses its high tragic intensity.
At first glance, it seems that the main conflict of the play is Katerina's clash with Kabanova. If Marfa Ignatievna had been kinder, gentler, more humane, there would hardly have been a tragedy with Katerina. But the tragedy might not have happened if Katerina knew how to lie, adapt, if she had not judged herself so severely, if she had looked at life more simply and calmly. But Kabanikha remains Kabanikha, and Katerina remains Katerina. And each of them reflects a certain life position, each of them acts in accordance with its own principles.
The main thing in the play inner life heroine, the emergence in her of something new, still unclear to herself. “Something in me is so unusual, as if I’m starting to live again, or ... I really don’t know,” she admits to her husband’s sister Varvara.
The image of Katerina in the play "Thunderstorm" contrasts perfectly with the gloomy realities of Russia in the pre-reform period. At the epicenter of the unfolding drama is the conflict between the heroine, who seeks to defend her human rights, and a world in which strong, rich and powerful people rule everything.
Katerina as the embodiment of a pure, strong and bright people's soul
From the very first pages of the work, the image of Katerina in the play "Thunderstorm" cannot but attract attention and make one feel sympathy. Honesty, the ability to feel deeply, the sincerity of nature and a penchant for poetry - these are the features that distinguish Katerina herself from the representatives of " dark kingdom". In the main character, Ostrovsky tried to capture all the beauty of the people's simple soul. The girl expresses her emotions and experiences unpretentiously and does not use distorted words and expressions common in merchant environment. This is not difficult to see, Katerina's speech itself is more like a melodic chant, it is replete with diminutive and caressing words and expressions: "sun", "grass", "rain". The heroine shows incredible candor when she talks about her free life in her father's house, among icons, calm prayers and flowers, where she lived "like a bird in the wild."
The image of a bird is an accurate reflection of the state of mind of the heroine
The image of Katerina in the play "Thunderstorm" perfectly echoes the image of a bird, in folk poetry symbolizing freedom. Talking with Varvara, she repeatedly refers to this analogy and claims that she is "a free bird that has fallen into an iron cage." In captivity, she is sad and painful.
Katerina's life in the Kabanovs' house. Love of Katerina and Boris
In the house of the Kabanovs, Katerina, who is dreamy and romantic, feels completely alien. The humiliating reproaches of the mother-in-law, who is used to keeping all the household in fear, the atmosphere of tyranny, lies and hypocrisy oppress the girl. However, Katerina herself, who by nature is a strong, whole person, knows that there is a limit to her patience: “I don’t want to live here, I won’t, even if you cut me!” Varvara's words that one cannot survive in this house without deceit cause Katerina's sharp rejection. The heroine opposes the "dark kingdom", his orders did not break her will to live, fortunately, they did not make her become like other residents of the Kabanovs' house and begin to hypocrite and lie at every turn.
The image of Katerina in the play "Thunderstorm" is revealed in a new way, when the girl makes an attempt to break away from the "hateful" world. She does not know how and does not want to love the way the inhabitants of the “dark kingdom” do, freedom, openness, “honest” happiness are important to her. While Boris convinces her that their love will remain a secret, Katerina wants everyone to know about it, so that everyone can see. Tikhon, her husband, however, the bright feeling awakened in her heart seems to her And just at this moment the reader comes face to face with the tragedy of her suffering and torment. From that moment on, Katerina's conflict occurs not only with the outside world, but also with herself. It is difficult for her to make a choice between love and duty, she tries to forbid herself to love and be happy. However, the fight against own feelings beyond the strength of the fragile Katerina.
The way of life and the laws that reign in the world around the girl put pressure on her. She seeks to repent of her deed, to purify her soul. Seeing a picture on the wall in the church " Last Judgment”, Katerina cannot stand it, falls to her knees and begins to publicly repent of sin. However, even this does not bring the girl the desired relief. Other heroes of the drama "Thunderstorm" by Ostrovsky are not able to support her, even a loved one. Boris refuses Katerina's requests to take her away from here. This person is not a hero, he is simply not able to protect either himself or his beloved.
The death of Katerina is a ray of light that illuminated the "dark kingdom"
Evil is attacking Katerina from all sides. Constant harassment from the mother-in-law, throwing between duty and love - all this eventually leads the girl to a tragic ending. Having managed to know happiness and love in her short life, she is simply not able to continue living in the Kabanovs' house, where such concepts do not exist at all. She sees the only way out in suicide: the future frightens Katerina, and the grave is perceived as salvation from mental anguish. However, the image of Katerina in the drama "Thunderstorm", in spite of everything, remains strong - she did not choose a miserable existence in the "cage" and did not allow anyone to break her living soul.
Nevertheless, the death of the heroine was not in vain. The girl won a moral victory over the "dark kingdom", she managed to dispel a little darkness in the hearts of people, induce them to action, open their eyes. The life of the heroine herself became a "beam of light" that flashed in the darkness and left its glow over the world of madness and darkness for a long time.
This is the most "favorite" occupation of Russian classics - to look for a "hero of our time." Ostrovsky conducts the search for his hero on Katerina. Katerina is female image who entered the fight against dark force and dooms himself to certain death. Among the victims, Katerina stands out open character, courage and directness. Everything I wrote in the essay is the reason further fate Catherine.
Katerina - young married woman, was born and spent her childhood in another city or village in the circle of her mother. Ekaterina was free as a child and flew like a bird. My mother did not have a soul in her, she dressed me like a doll, she did not force me to work. Having married the son of a tyrant, this light went out. Living in the house of Kabanikha, Katerina's personality is suppressed. Katerina is humiliated by everything, that is, Kabanova. Kabanova is one of the representatives of this gloomy dark corner, and believed that he was the only one. She shows everyone that she is a saint and wants everyone to be. Kabanova lived and forced Katerina to live according to a book about home economics. It's like dragging a beam of light into a dark realm. No wonder the Russian proverb says that a house for a woman is hard labor.
Everything else is added to the fire of love for Boris, into which someone constantly pours oil. Katerina’s idea of love is rooted in the patriarchal idea of \u200b\u200blove as a criminal, demonic obsession, since Katerina is a woman of the patriarchal way of life and she was devoted with all her heart to her husband Baranov. And Tikhon himself by type small man. The cruel Boar suppressed in her son everything that is inherent in a man. He is looking for a little hole to break out and live a normal life. In fact, Kabanov traded his wife for the opportunity to get drunk. He refuses to understand her, and under the influence of Barbara, she commits a sin. And further, having changed Tikhon, in the soul of Katerina arises internal conflict everything starts to crumble like House of cards.. I would compare Katerina with a kettle that stands on fire, where the fire is the jealousy of her husband and Kabanikh. The kettle boils, boils, and then the water spills and...
Katerina cheats on her husband during his departure with Boris. Only a fleeting affair with Boris stirred her up, but even then, tormented by emotions, she told her husband about her adventure ... And she could not hide her feelings from worst enemies, primarily from Marfa Ignatievna. She, as a person who is different in her inner way from her peers, young residents of Kalinov, does not accept lies and opportunism, which people around her have accepted as an integral part of their lives. Cheating on her husband was also big sin. Some, probably, of course, cheated in marriage, but this did not frighten them.
Catherine thinks about the Thunderstorm, that this is God's punishment, and hides from her all the time, and when there is a thunderstorm over the city, the most terrible things happen to her. It is during a thunderstorm that she faints and after this natural phenomenon she decides to commit the worst sin for a person, suicide. By Christian faith a person who commits suicide will roast in hell for the rest of his existence. No wonder Katerina cried out: "Oh fiery hyena!" .
Kabanikha sets her son hostile to her, and Dikoi sends Boris to Siberia. Left Katerina alone, she thought for a long time what to do. Katerina is exhausted, she wants to die. She runs away from home and runs to the Volga, remembering Boris' caresses. Katerina is at the crossroads of two roads: love, which means death and shame, or a painful life under the yoke of Kabanikh, which forced her to do what she herself did with pleasure. And in the middle is the high bank of the river, from which Katerina threw herself, pushed by the “thunderstorm”, that is, the ever-increasing conflict between these two worlds. She did not have a friend who would understand and support her, perhaps Katerina would not jump. Then she presents the grave from an aesthetic point of view. And despite the fact that suicide is a huge sin in Christian beliefs, Katerina remembered the proverb “He came out of the earth, entered the earth”, looking at the chirping birds, Katya made her last choice. Katerina begins to go crazy and commits suicide. After that, the whole Kabanov family suddenly got hurt.
If the hero commits suicide, then everyone pities him, but in N.A. Ostrovsky's drama "Thunderstorm" one can only be glad for the death of Katerina. Indeed, the death of Katerina is an open protest of a personality driven to the chapel against all forms. Having committed suicide, Katerina believes that this is the only solution in her position. It is not clear what caused this murder: a mental state or not wanting to submit to the dark kingdom. Making mistakes, for which you later pay, our conscience torments us, and we often do not find better option than to shoot himself, hang himself or drown himself Death by suicide is better than moral death from the kingdom. No one understood Katerina, and she died from her hopelessness.
To answer the question: "What does Katerina's suicide mean - her victory or defeat?", it is necessary to investigate the circumstances of her life, study the motives of her actions, pay special attention to the complexity and contradictory nature of the heroine and the unusual originality of her character.
Katerina is a poetic nature, full of deep lyricism. She grew up and was brought up in a bourgeois family, in a religious atmosphere, but she absorbed all the best that a patriarchal way of life could give. She has a sense of self-esteem, a sense of beauty, she is characterized by the experience of beauty, brought up in her childhood. N. A. Dobrolyubov saw the greatness of the image of Katerina precisely in the integrity of her character, in the ability to be herself everywhere and always, never and never change herself in anything.
Arriving at her husband's house, Katerina faced a completely different way of life, in the sense that it was a life in which violence, tyranny, and humiliation of human dignity reigned. Katerina's life has changed dramatically, and events have become tragic character, but this might not have happened if it were not for the despotic nature of her mother-in-law, Marfa Kabanova, who considers fear to be the basis of "pedagogy". Her life philosophy- to frighten and keep in obedience to fear. She is jealous of her son for the young wife and believes that he is not strict enough with Katerina. She is afraid that her youngest daughter Barbara can be "infected" with such a bad example, and how would her future husband didn't reproach
Then the mother-in-law in insufficient severity in raising her daughter. Outwardly humble Katerina becomes for Marfa Kabanova the personification hidden danger which she feels intuitively. So Kabanikha seeks to subdue, break the fragile character of Katerina, force her to live according to her own laws, and here she sharpens her "like rusty iron." But Katerina, endowed with spiritual softness, trembling, is able in some cases to show both firmness and strong-willed determination - she does not want to put up with such a situation. “Oh, Varya, you don’t know my character! she says. - Of course, God forbid this happens! And if I get really disgusted here, then you can’t hold me back by any force. I'll throw myself out the window, I'll throw myself into the Volga. I don’t want to live here, I won’t, even if you cut me!” She feels the need to love freely and therefore enters into a struggle not only with the world of the "dark kingdom", but also with her own convictions, with her own nature, incapable of lies and deceit. A heightened sense of justice makes her doubt the correctness of her actions, and she perceives the awakened feeling of love for Boris as a terrible sin, because, having fallen in love, she violated those moral principles that she considered sacred.
But she also cannot give up her love, because it is love that gives her a much-needed sense of freedom. Katerina is forced to hide her dates, but living a lie is unbearable for her. Therefore, she wants to free herself from them with her public repentance, but only further complicates her already painful existence. Katerina's repentance shows the depth of her suffering, moral greatness, and determination. But how can she continue to live, if even after she repented of her sin before everyone, it did not become easier. It is impossible to return to her husband and mother-in-law: everything is alien there. Tikhon does not dare to openly condemn the tyranny of his mother, Boris is a weak-willed person, he will not come to the rescue, and it is immoral to continue living in the Kabanovs' house. Previously, they could not even reproach her, she could feel that she was right in front of these people, but now she is to blame for them. She can only submit. But it is no coincidence that the image of a bird deprived of the opportunity to live in the wild is present in the work. For Katerina, it is better not to live at all than to put up with the "miserable vegetative life" that is destined for her "in exchange for her living soul." N. A. Dobrolyubov wrote that Katerina’s character “is full of faith in new ideals and is selfless in the sense that death is better for him than life under those principles that are contrary to him.” To live in a world of “concealed, quietly sighing sorrow... prison, deathly silence...”, where “there is no space and freedom for a living thought, for a sincere word, for a noble deed; a heavy tyrannical ban is imposed on a loud, open, wide activity There is no way for her. If she cannot enjoy her feelings, her will legally, "in the light white day, in front of all the people, if they tear out from her what is so dear to her, then she doesn’t want anything in life, she doesn’t want life either ... ”.
Katerina did not want to put up with the reality that kills human dignity, she could not live without moral purity, love and harmony, and therefore got rid of suffering in the only way possible in those circumstances. “... Just as a human being, it is gratifying for us to see Katerina’s deliverance - even through death, if it’s impossible otherwise ... A healthy person breathes a gratifying, fresh life on us, finding in herself the determination to end this rotten life at all costs !..” - says N.A. Dobrolyubov. And that's why tragic ending dramas - Katerina's suicide - not a defeat, but an assertion of strength free man, is a protest against Kabanov's concepts of morality, "proclaimed under domestic torture, and over the abyss into which the poor woman rushed," this is "a terrible challenge to tyrannical power." And in this sense, Katerina's suicide is her victory.
