The name of Ostrovsky is well known and remembered by everyone who cherishes the national Russian culture. Dobrolyubov called Ostrovsky's plays "Plays of Life". His contemporaries and descendants were struck by the naturalness of the works, their simplicity, uncommon for that time truthfulness. A thoughtful reader or viewer sees in Ostrovsky not only a descriptor of everyday life, but also a sharp satirist, lyric poet, and dramatic poet.

Most critics appreciated in A. Ostrovsky not so much the talent of a writer as his gift of an outstanding playwright; many of his plays were staged during the writer's life at the Moscow Maly Theater, or "Ostrovsky House", as the residents of the capital called him. Many of them are going there now.

Ostrovsky deeply understood the life of people, was able to vividly depict its most characteristic features. The play by A. Ostrovsky "The Thunderstorm" is in this sense another manifestation of his talent.

The "Groza" caused a lot of different opinions from the Russian criticism, many of which were directly opposite to each other. The most controversial was the image of the main character of the play - Katerina. The outstanding Russian critic Dobrolyubov considered her "a ray of light in the dark kingdom of Russian reality" with a character "predominantly creative, loving, ideal."

Dobrolyubov compares Katerina to a large, abounding river. Katerina withstands all adversity, withstands everything, in spite of any obstacles; "and when he is not strong enough, he will perish, but will not betray himself." According to N. A. Dobrolyubov, Katerina was condemned to fight; obeying or going to deception, it will still "reach its end." Dobrolyubov highly appreciates Katerina's ability to protest against "Kabanov's" concepts of morality. He sees in her a woman "unwilling to put up or take advantage of miserable vegetation."

Another point of view on this image is expressed in the article by DI Pisarev "Motives of the Russian Drama". Pisarev emphasizes that Katerina's life is full of internal contradictions. In her soul, "two different women are constantly colliding." Katerina, according to the critic, "confuses her life herself," and having entangled the knot to the end, she cuts it "in the simplest and stupidest way — suicide."

In my opinion, the point of view of FM Dostoevsky is closest to the truth. He considers Katerina's personal drama to be quite natural and thus rejects the arguments of those who are trying to deduce from The Storm the idea of ​​"the perniciousness of patriarchal despotism." He claims that "... the wicked one who tortured Katerina loves such natures. If she was surrounded by the kindest people, she, having committed her sin, would have been punished and grieved in the same way. There could be no suicide, but her life is all - so it would be broken. " And this is really so, you just have to carefully read the text of the play. Katerina is so sincere, honest, pure in soul that, having fallen in love with Boris and thereby accepting a "grave" sin on her soul, she cannot but feel the pangs of conscience. And, of course, it was not the patriarchal way of life that forced her to take the most terrible step - suicide, but simply truthfulness, deep faith and purity of moral principles did not allow Katerina to continue her "sinful" existence on earth.

We remember that in her parents' house she "lived, did not grieve about anything, like a bird in the wild." Mother in her "doted on the soul, did not force her to work." And although, in the mother-in-law's house, everything is "the same", but Katerina feels some kind of oppression, everything is "as if out of bondage." The members of the family that Katerina got into have different attitudes towards the atmosphere in the house. Tikhon completely submitted to his mother, he does not want to "live by his own will," although he is sometimes glad to break free. Varvara adapted herself more successfully, slowly deceiving her mother and pursuing, above all, her own interests.

Katerina is firmly convinced that, having married, she is "like being buried." However, this does not prevent her, having fallen in love with Boris, to give vent to her feelings, thus violating age-old traditions. But Katerina is deeply devout. Having cheated on her husband, she cannot live with such a sin in her heart, which seems even worse to her than suicide. In her last monologue, after saying goodbye to Boris, Katerina says that she cannot return home, that "she does not even want to think about life ... people, house, walls - everything is disgusting," and whoever loves, "does not care will pray. " Thus, the discord between what is happening in Katerina's soul, between her feelings, desires and the norms of Kalinov's reality is becoming more and more tragic. The last exclamation of Tikhon, in which his envy of his deceased wife appears, emphasizes, in my opinion, all the horror of everyday life in which the living "envy" the dead.

You can interpret the image of Katerina in different ways, you can see in her actions a manifestation of human weakness, but, as it seems to me, one cannot blame Katerina for them and one cannot help but sympathize with the heroine so rare in her inner beauty.

Was the love of Katerina Kabanova from the play by A. N. Ostrovsky "The Thunderstorm" a crime? Did the poor woman deserve such a terrible punishment? Katerina's misfortunes begin after, after marrying Tikhon Kabanov, she moves to his house. There is a young ...

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   Look for such and such a scolder like ours Savel Prokofich! .. Kabanikha is also good. A. Ostrovsky. The Thunderstorm In his drama "The Thunderstorm" A. N. Ostrovsky vividly and vividly depicted the "dark kingdom" of the Russian province, overwhelming the best human ...

Enmity between loved ones is especially irreconcilable P. Tacitus There is no worse retribution for insanity and delusion than to see how one's own children suffer because of them W. Sumner A.N. Ostrovsky's "Thunderstorm" tells about the life of a provincial ...

The title of Ostrovsky's drama "The Thunderstorm" plays a big role in the understanding of this play. The image of a thunderstorm in Ostrovsky's drama is unusually complex and ambiguous. On the one hand, a thunderstorm is a direct participant in the action of the play, on the other hand, a symbol of the idea of ​​this work ...

MY ATTITUDE TO KATERINA. A. N. Ostrovsky - the great Russian playwright of the 19th century. Forty years of his fruitful work in the field of drama were marked by the creation of a highly artistic repertoire of the Russian national theater. He wrote about fifty plays of various genres. Mostly these were social and everyday plays, comedies from noble, bureaucratic and merchant life. Dobrolyubov called these plays "plays of life". Noting the originality of Ostrovsky's dramatic action, he said: "We want to say that in his foreground there is always a common life situation that does not depend on any of the actors." It is no coincidence that Ostrovsky was spoken of as the creator of a new Russian comedy - "sketch" in composition and "physiological" in style. In his works, the author continued the humanistic traditions of Russian literature, considering, following Belinsky, the highest criteria of artistry, realism and nationality.

The pinnacle of Ostrovsky's creativity in the late 50s - early 60s was the drama "The Thunderstorm". She raised the complex questions of modern life in the 19th century, appearing in print and on the stage on the eve of the so-called "liberation" of the peasants.

In The Thunderstorm, the social system of Russia is sharply denounced, and the death of the main character is shown by the playwright as a consequence of her hopeless position in the “dark kingdom” of lies, opportunism, tyranny and violence.

Katerina is faced with the terrible world of wild boars and wild ones, with its bestial laws of humiliation and humiliation of the human person. It is on this collision that the conflict in the play is built. The heroine, armed only with the power of her feelings for a loved one, rebelled against tyranny and obscurantism, realizing the right to a better life, happiness and love. She, according to Dobrolyubov, "... is striving for a new life, even if I had to die in this impulse." This is how we see the main character in the play - Katerina.

Since childhood, she was brought up in an environment that developed in her romance and religiosity, a thirst for freedom and daydreaming. Her character is complex and multifaceted. But the main thing in her, in my opinion, is her love, to which she surrenders with all the spontaneity of a young and strong nature. Yes, Katerina is very young and inexperienced in life. She needs a strong and intelligent leader, mentor, life partner. Katerina does not find all this in her husband, for whom all the joy and delight in life consists in breaking free, at least for a short time, from the imperious care of her own mother, to find relaxation in the fuss and hop, finding herself far from the parental eye. This is how Tikhon appears before us - the husband of Katerina. He knows how to adapt to the situation and live as the moral foundations of his society dictate, without going beyond the so-called decency.

Katerina, on the other hand, does not know how to hypocrite and adapt, dodge and lie. She directly declares this to Varvara: “I don’t want to live here, I don’t want to, even if you cut it!” Her character is shown in the play in motion, in development. It is no longer enough for her to contemplate nature or to quietly prayers to her. She is looking for a more effective sphere of application of her spiritual forces, which, unexpectedly for her, became a feeling for Boris. It was this love that ultimately caused her tragedy.

Many may condemn the passion and immediacy of Katerina's nature, perceiving her deep mental struggle as a manifestation of weakness. But this is not the case. The heroine is strong precisely because of her feelings and her tragic choice: either to live a full-blooded life with her beloved, or not to live at all. She comes to the conclusion that it is impossible to live the way she used to live, that this, perhaps, is an even greater sin than her "illegal" love of a married woman who for a long time was only an obedient daughter, wife, daughter-in-law.

She was given out without love to the Kabanov family, where everything was not the same as in her parents' quiet and cozy house with his sweet heart of the joys of a girl's life. Katerina turned out to be connected for life with a stupid, unloved, narrow-minded husband, an angry and grumpy mother-in-law. She is looking for a way out for her romantic impulses and finds it in love.

Naturally, passion causes a storm of doubts in the heroine's soul, a hard struggle between the feelings and duty of a married woman. The heroine is confused. Her religiosity dictates her to abandon her love, to repent of her sin. But the impulses for freedom, the desire, at least at the cost of life, to break out of the Domostroy prison in her is stronger than the consciousness of duty. Having betrayed her husband, Katerina repents before him, but, exhausted by domestic moral torture, unable to hypocrite and adapt, like Barbara, she nevertheless decides to escape. However, Boris turns out to be not ready to connect his life with a woman who has violated the moral laws of the society in which he lives. He renounces his love and leaves Katerina. Abandoned by her beloved, Katerina prefers death to return to her husband and mother-in-law, into family bondage.

At all times, suicide was considered one of the most terrible sins. Katerina, being devout, I think, also understood this well, but nevertheless she took such a terrible step. I cannot justify this act of her, even making allowances for the unbearable conditions of her life, disappointment in love, the inability to return to her parental home or a life full of humiliation and insults in the house of her hated mother-in-law. This act is unworthy of such a strong and integral nature, as we see Katerina throughout the play. Despair pushed the heroine to such a rash step. In him, it seems to me, is the weakness of a young and inexperienced woman, driven to despair, cornered. You can try to understand her, knowing the mores and customs of the society in which Katerina lived, but I cannot justify her act.

MY ATTITUDE TO KATERINA

MY ATTITUDE TO KATERINA. A. N. Ostrovsky - the great Russian playwright of the 19th century. Forty years of his fruitful work in the field of drama were marked by the creation of a highly artistic repertoire of the Russian national theater.

A. N. Ostrovsky - the great Russian playwright of the 19th century. Forty years of his fruitful work in the field of drama were marked by the creation of a highly artistic repertoire of the Russian national theater. He wrote about fifty plays of various genres. Mostly these were social and everyday plays, comedies from noble, bureaucratic and merchant life. Dobrolyubov called these plays "plays of life." Noting the originality of Ostrovsky's dramatic action, he said: "We want to say that in his foreground there is always a common life situation that does not depend on any of the actors." It is no coincidence that Ostrovsky was spoken of as the creator of a new Russian comedy - "sketch" in composition and "physiological" in style. In his works, the author continued the humanistic traditions of Russian literature, considering, following Belinsky, the highest criteria of artistry, realism and nationality.

The pinnacle of Ostrovsky's creativity in the late 50s - early 60s was the drama "The Thunderstorm". She posed the difficult questions of modern life in the 19th century. appearing in print and on the stage on the eve of the so-called "liberation" of the peasants.

In The Thunderstorm, the social system of Russia is sharply denounced, and the death of the main character is shown by the playwright as a consequence of her hopeless position in the “dark kingdom” of lies, opportunism, tyranny and violence.

Katerina is faced with the terrible world of wild boars and wild ones, with its bestial laws of humiliation and humiliation of the human person. It is on this collision that the conflict in the play is built. The heroine, armed only with the power of her feelings for a loved one, rebelled against tyranny and obscurantism, realizing the right to a better life, to happiness and love. She, according to Dobrolyubov, "... is striving for a new life, even if I had to die in this impulse." This is how we see the main character in the play - Katerina.

Since childhood, she was brought up in an environment that developed in her romance and religiosity, a thirst for freedom and daydreaming. Her character is complex and multifaceted. But the main thing in her, in my opinion, is her love, to which she surrenders with all the spontaneity of a young and strong nature. Yes, Katerina is very young and inexperienced in life. She needs a strong and intelligent leader, mentor, life partner. Katerina does not find all this in her husband, for whom all the joy and delight in life consists in breaking free, at least for a short time, from the imperious care of her own mother, to find relaxation in the binge and hop, finding herself far from the parental eye. This is how Tikhon appears before us - the husband of Katerina. He knows how to adapt to the situation and live as the moral foundations of his society dictate, without going beyond the so-called decency.

Katerina, on the other hand, does not know how to hypocrite and adapt, dodge and lie. She directly declares this to Varvara: “I don’t want to live here, I don’t want to, even though you cut me!” Her character is shown in the play in motion, in development. It is no longer enough for her to contemplate nature or to quietly prayers to her. She is looking for a more effective sphere of application of her spiritual forces, which, unexpectedly for her, became a feeling for Boris. It was this love that ultimately caused her tragedy.

Many may condemn the passion and spontaneity of Katerina's nature, perceiving her deep spiritual struggle as a manifestation of weakness. But this is not the case. The heroine is strong precisely because of her feelings and her tragic choice: either to live a full life with her beloved, or not to live at all. She comes to the conclusion that it is impossible to live the way she used to live, that this, perhaps, is an even greater sin than her "illegal" love of a married woman who for a long time was only an obedient daughter, wife, daughter-in-law.

She was given out without love to the Kabanov family, where everything was not the same as in her parents' quiet and cozy house with his sweet heart of the joys of a girl's life. Katerina turned out to be connected for life with a stupid, unloved, narrow-minded husband, an angry and grumpy mother-in-law. She is looking for a way out for her romantic impulses and finds it in love.

Naturally, passion causes a storm of doubts in the heroine's soul, a hard struggle between the feelings and duty of a married woman.

The heroine is confused. Her religiosity dictates her to abandon her love, to repent of her sin. But the impulses for freedom, the desire, at least at the cost of life, to break out of the Domostroy prison in her is stronger than the consciousness of duty. Having betrayed her husband, Katerina repents before him, but, exhausted by domestic moral torture, unable to hypocrite and adapt, like Barbara, she decides to run away. However, Boris turns out to be not ready to connect his life with a woman who has violated the moral laws of the society in which he lives. He renounces his love and leaves Katerina. Abandoned by her beloved, Katerina prefers death to return to her husband and mother-in-law, into family bondage. At all times, suicide was considered one of the most terrible sins. Katerina, being a devout, I think, also understood this well, but nevertheless she took such a terrible step. I cannot justify this act of her, even making allowances for the unbearable conditions of her life, disappointment in love, the inability to return to her parental home or a life full of humiliation and insults in the house of her hated mother-in-law. This act is unworthy of such a strong and integral nature, as we see Katerina throughout the play. Despair pushed the heroine to such a rash step. In him, it seems to me, is the weakness of a young and inexperienced woman, driven to despair, cornered.

You can try to understand her, knowing the mores and customs of the society in which Katerina lived, but I cannot justify her act.

Other works on the topic:

In 1856, Alexander Nikolaevich Ostrovsky had to get to know the Volga and the Volgars better. The Ministry of the Navy equipped that year an expedition to describe the life, everyday life and trades of the population living on the shores of the seas, lakes and large rivers of European Russia. Ostrovsky was supposed to compose a description of the upper Volga - from the sources to Nizhny Novgorod.

In Katherine, we saw a protest against Kaban's notions of morality, a protest brought to an end. A bold and determined character. Katerina manifests itself in childhood. She says. Varvara I was no more than six years old, so I did.

The play by A. N. Ostrovsky The Thunderstorm is one of his best works. The main character of the play acts as a fighter against the dark kingdom. Katerina. In the image. Katerina Ostrovsky showed a decisive and solid Russian character.

The drama Thunderstorm published in d was a kind of result of creative achievements. Ostrovsky. In it, his satirical power and his ability to affirm progressive trends emerging in life were more clearly revealed.

The Thunderstorm alignjustifyThe drama of Alexander Nikolaevich Ostrovsky The Thunderstorm is the most significant and final work of the first half of the writer's work. In the Thunderstorm, Ostrovsky returned to his favorite theme, to the depiction of family and everyday conflict, brought his internal dramatic development to a decisive denouement and thus for the first time went beyond the limits.

The play Thunderstorm written. Alexander Nikolaevich Ostrovsky is the only one of the cycle conceived by the writer. Nights on the Volga. The main theme of the drama is the conflict in a merchant family, first of all, the despotic attitude of the representatives of a hundred.

The genre of the play by A. N. Ostrovsky The Thunderstorm is a controversial issue in Russian literature. This play combines features of both tragedy and drama, ie everyday tragedy. In addition to external conflict, there is also a conflict of internal conflict between passion and duty.

Life and customs of the city. Kalinov in the play by A. N. Ostrovsky Thunderstorm. Cruel manners, sir, are cruel in our city. We'll learn the story later. Boris's nephew. Wild. Dikoy robbed him by saying that he would pay part of the inheritance if.

Drama A.N. Ostrovsky's "Thunderstorm" tells about the tragic fate of a woman who could not cross the patriarchal foundations of the house building, could not fight for her love, and therefore voluntarily passed away. The scene of the explanation of the main character of the play Katerina with her beloved Boris takes place in the finale; it is the tragic denouement of the relationship between these characters.

Alexander Nikolaevich Ostrovsky is a great Russian playwright, the author of many plays describing Russian life. "The Thunderstorm" is, without a doubt, the pinnacle of his work, where he raised the most pressing issue of his era - the liberation of a woman from family slavery, her emancipation. The creation of "The Thunderstorm" has long been associated with Ostrovsky's impressions of his stay in Kostroma, where tragic events took place in November 1859, which largely coincide with the plot of the drama.

“Thunderstorm in the Mountains” is a work that I have chosen for analysis, considering that it perfectly conveys the relationship between man and nature. The work was written in the period 1958 - 1966, when Solzhenitsyn was in his prime. "Thunderstorm in the Mountains" - has an artistic direction. It reveals the problem of the relationship between man and nature.

In Ostrovsky's drama The Thunderstorm, the problems of morality are widely posed. Using the example of the provincial town of Kalinov, the playwright showed the truly cruel customs reigning there. The personification of these mores is the Kabanovs' house.

The drama "The Thunderstorm" is one of the wonderful works of Alexander Nikolaevich Ostrovsky. In the play, Ostrovsky showed the eternal struggle of the "dark kingdom" with the people of the "hot heart", among whom is the eye heroine of the drama - Katerina Kabanova. It is in the conflicts between people whose views and beliefs diverge that clearly shows all the power of the kingdom of the wild and boar over people who cannot come to terms with life in slavery.

The play by A. N. Ostrovsky "The Thunderstorm" depicts the era of the 60s of the nineteenth century. At this time, revolutionary actions of the people are brewing in Russia. They are aimed at. improving the life and life of ordinary people, to overthrow tsarism. The works of great Russian writers and poets also take part in this struggle, among them Ostrovsky's play "The Thunderstorm", which shook the whole of Russia.

What artistic image more vividly embodies the "cruelty of morals" of the city of Kalinov: Wild or Kabanikha? Author: Ostrovsky A.N. In the drama A.N. Ostrovsky's "Thunderstorm" presents the world of the "dark kingdom", "the cruelty of morals" that suppress human feelings, freedom, will.

Author: Ostrovsky A.N. Ostrovsky wrote the play "The Thunderstorm" in 1859, at a time when a change in social foundations was ripe in Russia, on the eve of the peasant reform. Therefore, the work was perceived as an expression of the spontaneous revolutionary sentiments of the masses. The title is symbolic. A thunderstorm occurs not only as a natural phenomenon (the action unfolds to the sounds of thunder), but also as an internal one - the heroes are characterized through their attitude to the thunderstorm.

Why is Katerina - "A ray of light in the dark kingdom"? Author: Ostrovsky A.N. Katerina is the main character of the drama by A.N. Ostrovsky's "Thunderstorm". ON. Dobrolyubov defined her as the embodiment of "a strong Russian character", called her "a ray of light in the dark kingdom." But despite her spiritual strength and strong character, Katerina dies.

""). Author: Ostrovsky A.N. Katerina is a strong Russian character, for whom truth and a deep sense of duty are above all. The striving for harmony with peace and freedom is extremely developed in it. The origins of this are in childhood. As we can see, in this carefree time, Katerina was first of all surrounded by beauty and harmony, she “lived like a bird in the wild”, amid maternal love and fragrant nature.

Was there a different path for Katerina? (based on the play by A. Ostrovsky "The Thunderstorm") Author: Ostrovsky A.N. Is Katerina's death accidental? Could it have been avoided? And, finally, did the heroine have a different path? There is no single answer to all these questions.

Mini-composition "In the city of Kalinovo" (based on the play "The Thunderstorm" by A. Ostrovsky) Author: Ostrovsky A.N. The city of Kalinov is a province that lags far behind in terms of development. Here, it seems, everything is frozen, and will never move from its place - it will remain under a layer of dust and a web of ignorance. How does the hero's fear increase with the approach of a thunderstorm? (based on the story of Leo Tolstoy "Childhood") Author: Tolstoy L.N. The thunderstorm in the soul can be different. It can be thought of as a little mushroom rain. Such a thunderstorm occurs in children 4-6 years old. (the good thing before this "thunderstorm" as such can not be) It seems to them that this mushroom rain (and for us it is a mushroom rain) is a real storm.

The beauty of Katerina's soul (Based on the play by A. N. Ostrovsky "The Thunderstorm") Author: Ostrovsky A. N. The sun is high in the sky, the path runs far, the red maiden walks along it. She was exhausted, exhausted: during her long journey, she trampled three pairs of iron shoes, broke three iron staffs, and devoured three stone prosvirs.

In Ostrovsky's plays, a wonderful gallery of Russian national characters has been created: from the selfish Lipochka Bolynova from the play “Our people - we will be numbered!”, The tender and defenseless Katerina from “The Groza” to the impetuous and reckless Larisa Ogudalova.

The theater critic A. Kupel said well about Ostrovsky that he is "a worldly man, he writes his characters, crowding his backs and bumping the backs of their heads."

Ostrovsky in his work was able to show the changes that took place in Russian society in the second half of the 19th century. In nature, after a thunderstorm, the air becomes cleaner, then in life after a "thunderstorm" it is unlikely that anything will change, most likely, everything will remain in place

The fate of Katerina. Drama A.N. Ostrovsky's "Thunderstorm". Her strength lies in the fact that she alone rebelled against the "dark kingdom", but died like a bird, failed to break free. Misunderstanding, hatred, pride reigned everywhere.

(1963) is a professor in the Department of Computer Science and a Professor in the Department of Mathematics at the University of California, Los Angeles. He is a renowned scientist in the field of algorithms and cryptography. Prof. Ostrovsky received his PhD in 1992 from the Massachusetts Institute of Technology.

The theater critic A. Kupel said well about Ostrovsky that he is "a worldly man, he writes his characters, crowding his backs and bumping the backs of their heads." Just as in real life there are no only bad or only good people, so in the play "The Thunderstorm" there are no exclusively "black" or "white" characters. Each person perceives them in his own way, and some, perhaps, will even approve of Kabanikha. Therefore, it is not surprising, and the debate that continues to this day, as to whether to consider Katerina "a ray of light in the dark kingdom" or a fallen woman who has become a victim of circumstances. However, trying to express your opinion, one should not forget about the author's intention, which endowed his heroine with precisely these, and not other features, and put his, sometimes hidden meaning into her words.

My attitude towards Katerina is also probably ambiguous. On the one hand, she is a really tortured woman and her mother-in-law, who does not find the strength to break with her husband and his family, and seeks consolation in prayers and crying. What are even these words of her uttered after she learned that Boris, whom she loves so much, is leaving: “The winds are violent, you will transfer my sadness and longing to him. Fathers, I'm bored, bored. "

Boredom is one of the main motives that run through Ostrovsky's play. The city of Kalinovo is boring, there are no events there. So Kabanikha, one of the pillars of the "dark kingdom", confirms this: "We have nowhere to hurry, ... we live leisurely." It is difficult for a weak woman to protest in such conditions. A society that lives by the laws of boredom will condemn it. And she doesn't know how to protest. He can only gently reproach her husband - Tikhon, or politely answer the mother-in-law to her reproaches. But, reading the play, with each new page you understand that it must protest, and also, with each new page, you are convinced that this is not possible ...

However, Katerina is trying. Her protest is her love for Boris, which he probably did not deserve. And even in her protest, Katerina's pure soul is not capable of deceiving: “My whole heart was torn! I can't stand it anymore! " She is honest and pure, like rain after a thunderstorm, and for this she cannot be disrespected or disliked!

But Katerina is not only a "downtrodden creature", she is quite capable of making decisions and has her own opinion about what is happening around. She does not listen to either Varvara or Tikhon when they try to stop her, to keep her confession of adultery. And first of all, this is a confession to Kabanikha, and not to Tikhon or others. Realizing that she is dying, Katerina does not realize that she is knocking out the first brick from the foundation of the "dark kingdom" of wild boars and boars, but we, the readers, understand this.

Pity and love for Katerina are closely intertwined in my mind, sometimes it is even difficult to distinguish them, but in my understanding there are still more strengths in Katerina than submissiveness, although suicide is nevertheless the lot of weak people who have not coped with the circumstances. Still, we must not forget about time, because this is the 19th century, and the spirit of Domostroi still hovers over every house and orders the doors to be locked, and not to keep the gate through which that inevitably dangerous edge passes open.

The play "The Thunderstorm" appeared in 1859, when the terrible reign of Nicholas I and the Crimean War were replaced by the expectation of benevolent changes, and hopes for renewal came. But the changes did not improve much - this is also reflected in the play. So is Katerina. She loves and rejoices, but cannot free herself from the sad forebodings of her unacceptability to ordinary life. “I can't live,” she says. “If I died a little, it would have been better,” she says. And her feelings are more like a feat. Katerina loves Boris, apparently, first of all, because he is different, not from here, not Kalinovsky, and this is precisely the need to break away, to rise, to rebel, to resist. Maybe suicide in her case is also a feat? After all, feats are performed only by heroes, real heroes. So for me, Katerina is a real heroine, capable of feats in the name of love and in the name of herself.

Bibliography

For the preparation of this work were used materials from the site easyschool.ru/

Darkness of bitter truths are dearer to us
A deception that elevates us.
A.S. Pushkin

Looking at the same thing, we all see different things. There is a joke about this:

- What is the difference between an optimist and a pessimist?

- An optimist says that the hall is half full, and a pessimist that it is half empty.

Here's a look at what Dobrolyubov saw in the heroine of the drama “Thunderstorm”: “The extraordinary originality of this character is striking. There is nothing external, alien in it, but somehow comes out from within him; every impression is processed in him and then organically fuses with him. We see this, for example, in Katerina's innocent story about her childhood and about life in her mother's house. It turns out that her upbringing and young life gave her nothing; in her mother's house it was the same as in Kabanikha's: they went to church, sewed in gold on velvet, listened to the stories of the pilgrims, dined, walked in the garden, again talked with the pilgrims and prayed themselves.<...>Katerina does not at all belong to violent characters, never content, loving to destroy at all costs ... On the contrary, this character is predominantly creative, loving, ideal. "

When I read this far, I wanted to demand proof from the critic. Show what is built by this "creative" character! And I will show what is destroyed! She crushed her family, her husband. Even if it was not the best model, then what in return? Russian variation on the theme of Madame Bovary. It would be interesting to look at her parents' family, disgraced by adultery and daughter's suicide. Dobrolyubov, however, writes something about poetic visions after the stories of wanderers - not frightening, but clear and kind. As I understand it, here we are talking about a woman's panic fear of the wrath of God (thunderstorm) and fiery hell. That's right, we see what we want.

As for the "loving" character ... It is difficult to understand why a person loves this and not the other. "Love is blind". But of all the possible "goats" Katerina chooses the most vulgar and insignificant - Boris. She walked past the meek but selfless Tikhon, who, in my opinion, showed rare generosity in forgiving the prodigal wife. She walked past the violent, brave and in his own way noble Curly (he did not betray his Barbara, but took her away) ... She chose Boris, who patiently endures the rudeness of the Wild, spreading his dignity under his feet. True, he has an undeniable "value": he is "packed" in a Western manner, unlike other characters dressed in Russian. Announced in advance and more than once about what threatens Katerina in case of their dates, he really ruins her, hypocritically saying: "Who knew that it would be so!"

Dobrolyubov declares that "Katerina does not at all belong to violent characters ..." Meanwhile, living in a house where she was not forced or forced to do what she did not like, she rushed to the Volga as a child, sat down into the boat and pushed off the shore. Only in the morning this "humble woman" was found downstream. And now she does not even remember the reason for her resentment, so that, most likely, was insignificant. Then she grew up, got married and calls her mother-in-law “you”, contrary to the “you” accepted in the family. And she does not want to endure the fact that she liked it so much in her father's house. Material from the site

Perhaps, hating the reality of his day, Dobrolyubov saw in the young merchant Katerina Kabanova the sprouts of a future, bright and beautiful. Out of respect for the classics, we do not really contradict him. Moreover, "The Thunderstorm" seems to us a long time outdated work. But Katerina is really from the future, which really took place. We live in it.

Modern Wilds pat modern mayors on the shoulder so that the authorities know who is the boss. Without an imported outfit, even if only second-hand, modern Katerinas won't even look at you. But Dobrolyubov did not want this, I think, even more than the "dark kingdom". And I saw in the absurd selfish a ray of light and hope.

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