The emotional tragedy of Katerina Groza. Katerina's tragedy

The play by A. N. Ostrovsky "Thunderstorm" depicts the era of the 60s of the nineteenth century. At this time, revolutionary uprisings of the people are brewing in Russia. They are aimed at. improvement of life and life of ordinary people, to overthrow tsarism. The works of great Russian writers and poets are also involved in this struggle, among them is Ostrovsky's play "Thunderstorm", which shocked all of Russia. On the example of the image of Katerina, the struggle of the whole people against the "dark kingdom" and its patriarchal orders is depicted.

The main character in A. N. Ostrovsky's play "Thunderstorm" is Katerina. Her protest against the "boar" order, the struggle for her happiness and depicts the author in the drama.

Katerina grew up in the house of a poor merchant, where she matured spiritually and morally. Katerina was an outstanding personality, and there was some kind of extraordinary charm in her features. All of her "breathed" Russian, truly folk beauty; this is how Boris says about her: “There is some kind of angelic smile on her face, but it seems to glow from her face.”

Before her marriage, Katerina “lived, didn’t grieve about anything, like a bird in the wild,” did what she wanted and when she wanted, no one ever forced her or forced her to do what she, Katerina, didn’t want to.

Her spiritual world was very rich and diverse. Katerina was a very poetic nature with a rich imagination. In her conversations we hear folk wisdom and folk sayings. Her soul yearned to fly; “Why don't people fly like birds? Sometimes I feel like I'm a bird. When you stand on a mountain, you are drawn to fly. That’s how I would run up, raise my hands and fly.”

Katerina’s soul was “educated” both on the stories of the praying women who were in the house every day, and on sewing on velvet (sewing brought her up and led her into the world of beauty and kindness, into the world of art).

After marriage, Katerina's life changed dramatically. In the house of the Kabanovs, Katerina was alone, her world, her soul could not be understood by anyone, This loneliness was the first step towards tragedy. The attitude of the family towards the heroine has also changed dramatically. The Kabanovs' house adhered to the same rules and customs as Katerina's parental house, but here "everything seems to be from captivity." The cruel orders of Kabanikha dulled Katerina's desire for the sublime, since then the heroine's soul fell into the abyss.

Another pain for Katerina is her husband's misunderstanding. Tikhon was a kind, vulnerable person, very weak compared to Katerina, he never had his own opinion - he obeyed the opinion of another, stronger person. Tikhon could not understand the aspirations of his wife: "I will not understand you, Katya." This misunderstanding brought Katerina one step closer to disaster.

The love for Boris was also a tragedy for Katerina. According to Dobrolyubov, Boris was the same as Tikhon, only educated. Because of his education, he came to the attention of Katerina. From the entire crowd of the "dark kingdom" she chose him, who was slightly different from the rest. However, Boris turned out to be even worse than Tikhon, he only cares about himself: he only thinks about what others will say about him. He leaves Katerina to the mercy of fate, to the massacre of the “dark kingdom”: “Well, God bless you! Only one thing must be asked of God that she die as soon as possible, so that she does not suffer for a long time! Goodbye!".

Katerina sincerely loves Boris, worries about him: “What is he doing now, poor thing? .. Why did I bring him into trouble? I would die alone! And then she ruined herself, ruined him, dishonor herself - he is eternal shame!

The manners of the city of Kalinov, its rudeness and “sheer poverty” were not acceptable to Katerina: “If I want, I’ll leave wherever my eyes look. Nobody can stop me, that's it

I have character."

Dobrolyubov gave a high rating to the work. He called Katerina "a ray of light in the" dark kingdom ". At its tragic end, "a terrible challenge was given to self-conscious force ... In Katerina we see a protest against Kabanov's concepts of morality, a protest carried to the end, proclaimed both under domestic torture and over the abyss into which the poor woman threw herself." In the image of Katerina Dobrolyubov sees the embodiment of "Russian living nature." Katerina prefers to die than to live in captivity. Katerina's action is ambiguous.

The image of Katerina in Ostrovsky's play "Thunderstorm" is an excellent image of a Russian woman in Russian literature.

Written on the eve of the abolition of serfdom, The Thunderstorm rightfully ranks among the best plays in Russian drama. A.N. Ostrovsky raises in it the themes of freedom, happiness, conscience, love.

Against the backdrop of the difficult fate of the inhabitants of the provincial Kalinov, the personal tragedy of the central heroine, Katerina, unfolds. It is unbearable for a young woman, married to the son of a local merchant Kabanova, to live in an environment of heartlessness and admiration for her evil mother-in-law.

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The ignorant Kabanikha is trying to impose laws on her daughter-in-law, which, in her opinion, are the basis of family well-being. The weak-willed Tikhon does not dare to argue with his mother and is unable to protect his wife from attacks.

Katerina dreamed of a different life. Her childhood was spent in love and care, the ideal was a strong family with a reliable head and many children. But fate decreed otherwise, the life of a young woman turned into hard labor. Religious precepts say that she needs to come to terms with her share, but she is trying to defend the right to respect and love, she does not want to please her wayward mother-in-law. Involuntarily, Katerina is looking for at least some kind of ray in her hopeless life. And such a light seems to her Diky's nephew - Boris. He is not like the other inhabitants of Kalinov, the heroine hopes that the young man will be able to realize his dream - to transfer her from the "dark kingdom" to the fairy-tale world. Katerina is trying to find an explanation for her feelings, to reject vague desires, but nature takes its toll...

Two weeks later, Boris leaves the town and his beloved. He was not the same as Katherine saw. Like her husband, Boris is completely dependent on the will of his rich uncle. Honesty does not allow the heroine to hide what happened: she publicly confesses to treason. The character does not allow Katerina to stay in the Kabanikh's house after what happened, but she cannot leave either. A woman sees the only way to free herself from torment and humiliation - to rush into the Volga from a cliff. Only deep despair could move the heroine to the worst of sins.

Thus, the tragedy of Katerina was the inability to accept the beliefs of the merchant environment in which she found herself. Her character did not allow her to lie and pretend, so she paid with her life for the opportunity to gain spiritual freedom. With her death, Katerina protested against the hypocrisy, hypocrisy and morality of the "dark kingdom".

Updated: 2017-01-18

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The play by A. N. Ostrovsky "Thunderstorm" depicts the era of the 60s of the nineteenth century. At this time, revolutionary uprisings of the people are brewing in Russia. They are aimed at. improvement of life and life of ordinary people, to overthrow tsarism. The works of great Russian writers and poets are also involved in this struggle, among them is Ostrovsky's play "Thunderstorm", which shocked all of Russia. On the example of the image of Katerina, the struggle of the whole people against the "dark kingdom" and its patriarchal orders is depicted.

The main character in A. N. Ostrovsky's play "Thunderstorm" is Katerina. Her protest against the "boar" order, the struggle for her happiness and depicts the author in the drama.

Katerina grew up in the house of a poor merchant, where she matured spiritually and morally. Katerina was an outstanding personality, and there was some kind of extraordinary charm in her features. All of her "breathed" Russian, truly folk beauty; this is how Boris says about her: “There is some kind of angelic smile on her face, but it seems to glow from her face.”

Before her marriage, Katerina “lived, didn’t grieve about anything, like a bird in the wild,” did what she wanted and when she wanted, no one ever forced her or forced her to do what she, Katerina, didn’t want to.

Her spiritual world was very rich and diverse. Katerina was a very poetic nature with a rich imagination. In her conversations we hear folk wisdom and folk sayings. Her soul yearned to fly; “Why don't people fly like birds? Sometimes I feel like I'm a bird. When you stand on a mountain, you are drawn to fly. That’s how I would run up, raise my hands and fly.”

Katerina’s soul was “educated” both on the stories of the praying women who were in the house every day, and on sewing on velvet (sewing brought her up and led her into the world of beauty and kindness, into the world of art).

After marriage, Katerina's life changed dramatically. In the house of the Kabanovs, Katerina was alone, her world, her soul could not be understood by anyone, This loneliness was the first step towards tragedy. The attitude of the family towards the heroine has also changed dramatically. The Kabanovs' house adhered to the same rules and customs as Katerina's parental house, but here "everything seems to be from captivity." The cruel orders of Kabanikha dulled Katerina's desire for the sublime, since then the heroine's soul fell into the abyss.

Another pain for Katerina is her husband's misunderstanding. Tikhon was a kind, vulnerable person, very weak compared to Katerina, he never had his own opinion - he obeyed the opinion of another, stronger person. Tikhon could not understand the aspirations of his wife: "I will not understand you, Katya." This misunderstanding brought Katerina one step closer to disaster.

The love for Boris was also a tragedy for Katerina. According to Dobrolyubov, Boris was the same as Tikhon, only educated. Because of his education, he came to the attention of Katerina. From the entire crowd of the "dark kingdom" she chose him, who was slightly different from the rest. However, Boris turned out to be even worse than Tikhon, he only cares about himself: he only thinks about what others will say about him. He leaves Katerina to the mercy of fate, to the massacre of the “dark kingdom”: “Well, God bless you! Only one thing must be asked of God that she die as soon as possible, so that she does not suffer for a long time! Goodbye!".

Katerina sincerely loves Boris, worries about him: “What is he doing now, poor thing? .. Why did I bring him into trouble? I would die alone! And then she ruined herself, ruined him, dishonor herself - he is eternal shame!

The manners of the city of Kalinov, its rudeness and “sheer poverty” were not acceptable to Katerina: “If I want, I’ll leave wherever my eyes look. Nobody can stop me, that's it

I have character."

Dobrolyubov gave a high rating to the work. He called Katerina "a ray of light in the" dark kingdom ". At its tragic end, "a terrible challenge was given to self-conscious force ... In Katerina we see a protest against Kabanov's concepts of morality, a protest carried to the end, proclaimed both under domestic torture and over the abyss into which the poor woman threw herself." In the image of Katerina Dobrolyubov sees the embodiment of "Russian living nature." Katerina prefers to die than to live in captivity. Katerina's action is ambiguous.

The image of Katerina in Ostrovsky's play "Thunderstorm" is an excellent image of a Russian woman in Russian literature.

Katerina is the main character in Ostrovsky's drama "Thunderstorm", Tikhon's wife, daughter-in-law of Kabanikhi. The main idea of ​​the work is the conflict of this girl with the "dark kingdom", the kingdom of tyrants, despots and ignoramuses.

You can find out why this conflict arose and why the end of the drama is so tragic by understanding Katerina's ideas about life. The author showed the origins of the character of the heroine. From the words of Katerina, we learn about her childhood and adolescence. Here, an ideal version of patriarchal relations and the patriarchal world in general is drawn: “I lived, didn’t grieve about anything, like a bird in the wild, what I want, it happened, I do it.” But it was a “will” that did not at all conflict with the age-old way of a closed life, the whole circle of which was limited to homework. Katya lived freely: she got up early, washed herself with spring water, went to church with her mother, then sat down to do some work and listened to wanderers and praying women, who were many in their house. This is a story about a world in which it does not occur to a person to oppose himself to the general, since he has not yet separated himself from this community. That is why there is no violence and coercion. The idyllic harmony of patriarchal family life for Katerina is an unconditional moral ideal. But it lives in an era when the very spirit of this morality has disappeared and its ossified form rests on violence and coercion. Sensitive Katerina catches this in her family life in the Kabanovs' house. After listening to a story about the life of her daughter-in-law before marriage, Varvara (Tikhon's sister) exclaims in surprise: "But we have the same thing." “Yes, everything here seems to be from captivity,” Katerina drops, and this is the main drama for her.

Katerina was given in marriage young, her family decided her fate, and she accepts this as a completely natural, common thing. She enters the Kabanov family, ready to love and honor her mother-in-law (“For me, mother, it’s all the same as my own mother, what are you ...” she says to Kabanikha), expecting in advance that her husband will be master over her, but also her support, and protection. But Tikhon is not suitable for the role of the head of a patriarchal family, and Katerina speaks of her love for him: “I feel sorry for him very much!” And in the fight against illegal love for Boris, Katerina, despite her attempts, cannot rely on Tikhon.

Katya's life has changed a lot. From a free, joyful world, she ended up in a world full of deceit and cruelty. She wants to be pure and perfect with all her heart.

Katerina no longer feels such delight from visiting church. Katerina's religious moods intensify as her mental storm grows. But it is precisely the discrepancy between her sinful inner state and what religious commandments require that prevents her from praying as before: Katerina is too far from the hypocritical gap between the external performance of rituals and worldly practice. She feels fear of herself, of striving for will. Katerina can not do her usual business. Sad, disturbing thoughts do not allow her to calmly admire nature. Katya can only endure, while she is patient, and dream, but she can no longer live with her thoughts, because the cruel reality brings her back to earth, where there is humiliation and suffering.

The environment in which Katerina lives requires her to lie and deceive. But Catherine is not like that. She is attracted to Boris not only by the fact that she likes him, that he is not like the others around her, but by her need for love, which has not found a response in her husband, the offended feeling of her wife, the mortal anguish of her monotonous life. It was necessary to hide, to be cunning; she didn't want to, and she didn't know how; she had to return to her dreary life, and this seemed to her bitterer than before. Sin lies on her heart like a heavy stone. Katerina is terribly afraid of the approaching thunderstorm, considering it a punishment for what she has done. Katya cannot live on with her sin, and she considers repentance to be the only way to at least partially get rid of it. She confesses everything to her husband and Kabanikh.

What is left for her? It remains for her to submit, renounce independent life and become an unquestioning servant of her mother-in-law, a meek slave of her husband. But this is not the nature of Katerina - she will not return to her former life: if she cannot enjoy her feelings, her will, then she does not want anything in life, she does not want life either. She decided to die, but she is terrified by the thought that it is a sin. She doesn't complain about anyone, she doesn't blame anyone, she just can't live anymore. At the last moment, all domestic horrors flash especially vividly in her imagination. No, she will no longer be a victim of a soulless mother-in-law and will not languish locked up with a spineless and disgusting husband. Death is her release.

WHAT IS KATERINA'S TRAGEDY? The play by A. N. Ostrovsky "Thunderstorm" depicts the era of the 60s of the nineteenth century. At this time, revolutionary uprisings of the people are brewing in Russia. They are aimed at improving the life and life of ordinary people, at overthrowing tsarism. The works of great Russian writers and poets are also involved in this struggle, among them is Ostrovsky's play "Thunderstorm", which shocked all of Russia. On the example of the image of Katerina, the struggle of the whole people against the "dark kingdom" and its patriarchal orders is depicted.

The main character in A. N. Ostrovsky's play "Thunderstorm" is Katerina. Her protest against the “Kabatsov’s” order, the struggle for her own happiness is depicted in the drama by the author.

Katerina grew up in the house of a poor merchant, where she matured spiritually and morally. Katerina was an outstanding personality, and there was some kind of extraordinary charm in her features. All of her "breathed" Russian, truly folk beauty; this is how Boris says about her: “There is some kind of angelic smile on her face, but it seems to glow from her face.”

Before her marriage, Katerina “lived, didn’t grieve about anything, like a bird in the wild,” did what she wanted and when she wanted, no one ever forced her or forced her to do what she, Katerina, didn’t want to.

Her spiritual world was very rich and diverse. Katerina was a very poetic nature with a rich imagination. In her conversations we hear folk wisdom and folk sayings. Her soul longed for flight: “Why don't people fly like birds? Sometimes I feel like I'm a bird. When you stand on a mountain, you are drawn to fly. That’s how I would run up, raise my hands and fly.”

Katerina's soul was "educated" both on the stories of the pilgrims who were in the house every day, and on sewing in arhat (sewing brought her up and led her into the world of beauty and Kh®bra, into the world of art).

After marriage, Katerina's life changed dramatically. In the Kabanovs' house, Katerina was alone, no one could understand her world, her soul. This loneliness was the first step towards tragedy. The attitude of the family towards the heroine has also changed dramatically. The Kabanovs' house adhered to the same rules and customs as Katerina's parental house, but here, "everything seems to be from captivity." The cruel orders of Kabanikha dulled Katerina's desire for the sublime, since then the heroine's soul fell into the abyss.

Another pain for Katerina is her husband's misunderstanding. Tikhon was a kind, vulnerable person, very weak compared to Katerina, he never had his own opinion - he obeyed the opinion of another, stronger person. Tikhon could not understand the aspirations of his wife: "I will not understand you, Katya." This misunderstanding brought Katerina one step closer to disaster.

The tragedy for Katerina was also lgbbov to Boris. According to Dobrolyubov, Boris was the same as Tikhon, only educated. Because of his education, he came to the attention of Katerina. From the entire crowd of the "dark kingdom" she chose him, who was slightly different from the rest. However, Boris turned out to be even worse than Tikhon, he only cares about himself: he only thinks about what others will say about him. He leaves Katerina to the mercy of fate, to the massacre of the “dark kingdom”: “Well, God bless you! Only one thing must be asked of God that she die as soon as possible, so that she does not suffer for a long time! Goodbye!".

Katerina sincerely loves Boris, worries about him: “What is he doing now, poor thing? .. Why did I bring him into trouble? I would die alone! And then she ruined herself, ruined him, dishonor herself - he is eternal shame!

The manners of the city of Kalinov, its rudeness and “sheer poverty” were not acceptable to Katerina: “If I want, I’ll leave wherever my eyes look. No one can stop me, that's my nature."

Dobrolyubov gave a high rating to the work. He called Katerina "a ray of light in the" dark kingdom ". At its tragic end, "a terrible challenge was given to self-conscious force ... In Katerina we see a protest against Kabanov's concepts of morality, a protest carried to the end, proclaimed both under domestic torture and over the abyss into which the poor woman threw herself." In the image of Katerina Dobrolyubov sees the embodiment of "Russian living nature." Katerina prefers to die than to live in captivity. Katerina's action is ambiguous.

The image of Katerina in Ostrovsky's play "Thunderstorm" is an excellent image of a Russian woman in Russian literature.