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The tragedy of Katerina in the play by Ostrovsky Groz. "The image of Katerina. Her spiritual tragedy" (based on the play "The Thunderstorm" by A.N. Ostrovsky)

15.04.2019

The play “The Thunderstorm” by A. N. Ostrovsky 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 everyday life ordinary people to overthrow tsarism. The works of great Russian writers and poets also participate in this struggle, among them Ostrovsky’s play “The Thunderstorm,” which shocked all of Russia. Using the example of the image of Katerina, the struggle of the entire people against the “dark kingdom” and its patriarchal order is depicted.

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

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

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

Her spiritual world was very rich and diverse. Katerina was a very poetic person with a rich imagination. In her conversations we hear folk wisdom and popular 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 feel the urge to fly. That’s how I would run, raise my hands and fly.”

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

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

Another pain of Katerina is misunderstanding by her husband. Tikhon was a kind, vulnerable person, very weak compared to Katerina, he never had his own opinion - he obeyed the opinion of another, more strong man. Tikhon could not understand his wife’s aspirations: “I can’t understand you, Katya.” This misunderstanding brought Katerina one step closer to disaster.

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 cares only about himself: he only thinks about what others will say about him. He leaves Katerina to the mercy of fate, to the punishment of the “dark kingdom”: “Well, God bless you! There is only one thing we need to ask God for: that she die as soon as possible, so that she does not suffer for a long time! Goodbye!".

Katerina sincerely loves Boris and worries about him: “What is he doing now, poor thing?.. Why did I get him into trouble? I should die alone! Otherwise, she ruined herself, she ruined him, it’s a disgrace to herself—he’s an eternal shame!”

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

I have character."

Dobrolyubov gave the work a high rating. He called Katerina “a ray of light in the “dark kingdom.” At her tragic end, “a terrible challenge was given to tyrant power... In Katerina we see a protest against Kabanov’s concepts of morality, a protest brought 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 “The Thunderstorm” is an excellent image of a Russian woman in Russian literature.

Katerina – main character Ostrovsky's drama "The Thunderstorm", Tikhon's wife, Kabanikha's daughter-in-law. 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 heroine's character. From Katerina's words we learn about her childhood and adolescence. Here is an ideal version of patriarchal relations and the patriarchal world in general: “I lived, I didn’t worry about anything, like a bird in the wild, I did what I wanted.” But it was “will”, which did not at all conflict with the age-old way of closed life, the entire circle of which is limited 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 the pilgrims and praying men, of whom there 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 or coercion here. Idyllic patriarchal harmony family life for Katerina – unconditional moral ideal. But she lives in an era when the very spirit of this morality has disappeared and the ossified form rests on violence and coercion. Sensitive Katerina catches this in her family life in the Kabanovs' house. After listening to the story about her daughter-in-law’s life before marriage, Varvara (Tikhon’s sister) exclaims in surprise: “But it’s the same with us.” “Yes, everything here seems to be from under captivity,” Katerina says, and this is the main drama for her.

Katerina was given away to marry young, her fate was decided by her family, and she accepts this as a completely natural, ordinary thing. She enters the Kabanov family, ready to love and honor her mother-in-law (“For me, mamma, it’s all the same, like my own mother, like you...” she says to Kabanikha), expecting in advance that her husband will be her master, 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 her 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 came to a world full of deceit, cruelty. She wants with all her soul to be pure and impeccable.

Katerina no longer feels such delight from visiting church. Katerina's religious sentiments intensify as her spiritual thunderstorm. But it is precisely the discrepancy between her sinful inner state and what the religious commandments require that does not allow her to pray as before: Katerina is too far from the sanctimonious gap between the external performance of rituals and everyday practice. She feels fear of herself, of the desire for will. Katerina cannot do her usual activities. Sad, anxious thoughts do not allow her to calmly admire nature. Katya can only endure as long as she can and dream, but she can no longer live with her thoughts, because cruel reality returns her to earth, to where there is humiliation and suffering.

The environment in which Katerina lives requires her to lie and deceive. But Katerina 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, by the offended feeling of her wife, by the mortal melancholy of her monotonous life. It was necessary to hide, to be cunning; she didn’t want it, and she couldn’t do it; she had to return to her dreary life, and this seemed to her more bitter than before. Sin lies like a heavy stone on her heart. Katerina is terribly afraid of the approaching thunderstorm, considering it a punishment for what she did. Katya cannot continue to live with her sin, and she considers repentance the only way to at least partially get rid of it. She confesses everything to her husband and Kabanikha.

What can she do? All that remains is for her to submit, to renounce independent life and become an unquestioning servant of the mother-in-law, a meek servant of her husband. But this is not Katerina’s character - she will never return to her former life: if she cannot enjoy her feelings, her will, then she doesn’t want anything in life, she doesn’t even want life. She decided to die, but she is afraid of the thought that this is a sin. She doesn’t complain about anyone, she doesn’t blame anyone, she just can’t live anymore. IN 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.

Whole, honest, sincere, she is incapable of lies and falsehood, which is why in a cruel world where wild and wild boars reign, her life turns out so tragically. Katerina’s protest against Kabanikha’s despotism is a struggle of the bright, pure, human against the darkness, lies and cruelty of the “dark kingdom”. No wonder Ostrovsky, who is very great attention paid attention to the selection of names and surnames characters, gave this name to the heroine of “Thunderstorms”: translated from Greek “Ekaterina” means “eternally pure”. Katerina is a poetic person. IN […]
Katerina Varvara Character Sincere, sociable, kind, honest, pious, but superstitious. Tender, soft, and at the same time, decisive. Rough, cheerful, but taciturn: “... I don’t like to talk a lot.” Decisive, can fight back. Temperament Passionate, freedom-loving, courageous, impetuous and unpredictable. She says about herself, “I was born so hot!” Freedom-loving, intelligent, prudent, courageous and rebellious, she is not afraid of either parental or heavenly punishment. Upbringing, […]
A conflict is a clash between two or more parties that do not coincide in their views and worldviews. There are several conflicts in Ostrovsky’s play “The Thunderstorm,” but how can you decide which one is the main one? In the era of sociology in literary criticism, it was believed that social conflict the most important in the play. Of course, if we see in the image of Katerina a reflection of the spontaneous protest of the masses against the constraining conditions of the “dark kingdom” and perceive Katerina’s death as the result of her collision with her tyrant mother-in-law, one should […]
Dramatic events of the play by A.N. Ostrovsky's "The Thunderstorm" takes place in the city of Kalinov. This town is located on the picturesque bank of the Volga, from the high cliff of which the vast Russian expanses and boundless distances open up to the eye. “The view is extraordinary! Beauty! The soul rejoices,” enthuses local self-taught mechanic Kuligin. Pictures of endless distances, echoed in a lyrical song. Among the flat valleys,” which he hums, have great importance to convey a sense of the immense possibilities of Russian […]
In general, the history of the creation and concept of the play “The Thunderstorm” is very interesting. For some time there was an assumption that this work was based on real events that occurred in the Russian city of Kostroma in 1859. “In the early morning of November 10, 1859, Kostroma bourgeois Alexandra Pavlovna Klykova disappeared from her home and either rushed into the Volga herself, or was strangled and thrown there. The investigation revealed the silent drama that played out in an unsociable family living narrowly with commercial interests: […]
In the drama "The Thunderstorm" Ostrovsky created a very complex psychologically image - the image of Katerina Kabanova. This young woman charms the viewer with her huge, pure soul, childish sincerity and kindness. But she lives in the musty atmosphere of the “dark kingdom” merchant morals. Ostrovsky managed to create a bright and poetic image of a Russian woman from the people. Main story line plays are tragic conflict the living, feeling soul of Katerina and the dead way of life of the “dark kingdom”. Honest and […]
Alexander Nikolaevich Ostrovsky was endowed with great talent as a playwright. He is deservedly considered the founder of the Russian national theater. His plays, varied in theme, glorified Russian literature. Ostrovsky's creativity had a democratic character. He created plays that showed hatred of the autocratic serfdom regime. The writer called for the protection of the oppressed and humiliated citizens of Russia and longed for social change. Ostrovsky’s enormous merit is that he opened the enlightened [...]
In “The Thunderstorm,” Ostrovsky shows the life of a Russian merchant family and the position of women in it. Katerina's character was formed in a simple merchant family, where love reigned and the daughter was given complete freedom. She acquired and retained all the wonderful traits of the Russian character. This is a pure, open soul that does not know how to lie. “I don’t know how to deceive; I can’t hide anything,” she tells Varvara. In religion Katerina found the highest truth and beauty. Her desire for the beautiful and the good was expressed in prayers. Coming out […]
In The Thunderstorm, Ostrovsky, using a small number of characters, managed to reveal several problems at once. Firstly, this is, of course, a social conflict, a clash between “fathers” and “children”, their points of view (and if we resort to generalization, then two historical eras). Kabanova and Dikoy belong to the older generation, who actively express their opinions, and Katerina, Tikhon, Varvara, Kudryash and Boris to the younger generation. Kabanova is sure that order in the house and control over everything that happens in it are the key right life. Correct […]
“The Thunderstorm” was published in 1859 (on the eve of the revolutionary situation in Russia, in the “pre-storm” era). Its historicism lies in the conflict itself, the irreconcilable contradictions reflected in the play. It responds to the spirit of the times. "The Thunderstorm" represents the idyll of the "dark kingdom". Tyranny and silence are brought to the extreme in her. A real heroine from the people's environment appears in the play, and it is the description of her character that receives the main attention, while the little world of the city of Kalinov and the conflict itself are described in a more general way. "Their life […]
The play “The Thunderstorm” by Alexander Nikolaevich Ostrovsky is historical for us, as it shows the life of the philistinism. "The Thunderstorm" was written in 1859. It is the only work of the “Nights on the Volga” series conceived but not realized by the writer. The main theme of the work is a description of the conflict that arose between two generations. The Kabanikha family is typical. The merchants cling to their old morals, not wanting to understand the younger generation. And since young people do not want to follow traditions, they are suppressed. I'm sure, […]
Let's start with Katerina. In the play "The Thunderstorm" this lady - main character. What is the problem? of this work? The problematic is the main question that the author asks in his work. So the question here is who will win? Dark Kingdom, which is represented by the bureaucrats of a county town, or the bright beginning that our heroine represents. Katerina is pure in soul, she has a gentle, sensitive, loving heart. The heroine herself is deeply hostile to this dark swamp, but is not fully aware of it. Katerina was born […]
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The focus of the writers of the 19th century is on a person with a rich spiritual life and a changeable inner world. The new hero reflects the state of the individual in an era of social transformation. The authors do not ignore the complex conditioning of the development of the human psyche by the external material environment. The main feature of the depiction of the world of heroes of Russian literature is psychologism , that is, the ability to show the change in the soul of the hero in the center different works we see “extra […]
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The play “The Thunderstorm” by A. N. Ostrovsky 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 lives and livelihoods of ordinary people, to overthrow tsarism. The works of great Russian writers and poets also participate in this struggle, among them Ostrovsky’s play “The Thunderstorm,” which shocked all of Russia. Using the example of the image of Katerina, the struggle of the entire people against the “dark kingdom” and its patriarchal order is depicted.

Another pain of Katerina is misunderstanding by her husband. 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 his wife’s aspirations: “I can’t understand you, Katya.” This misunderstanding brought Katerina one step closer to disaster.

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

I have character."

The image of Katerina in Ostrovsky’s play “The Thunderstorm” is an excellent image of a Russian woman in Russian literature.

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Composition

Topic: “What is the tragedy of Katerina in Ostrovsky’s play “The Thunderstorm””

The main character in A. N. Ostrovsky's play "The Thunderstorm" is Katerina. She grew up in the house of a poor merchant. Her spiritual world was very rich and diverse. Katerina was a very poetic person with a rich imagination. In her conversations we hear folk wisdom and popular sayings. Her soul longed for flight: “Why don’t people fly like birds? Sometimes it seems to me that I am a bird. When you stand on a mountain, you are drawn to fly. That’s how you would take a run, raise your hands and fly.”

After marriage, her life changed. She enters the Kabanov family, ready to love and honor her mother-in-law “For me, mummy, it’s all the same as my own mother, as you...” she says to Kabanikha, expecting in advance that her husband will be her master, but also her support and protection . Her beloved Tikhon turned out to be a “mama’s boy.” In the Kabanovs’ house, Katerina found herself alone, no one could understand her world, her soul. This loneliness was the first step towards tragedy. Kabanikha’s cruel orders dulled Katerina’s desire for the sublime. From then on, her soul became closed. From a free, joyful world, she found herself in a world full of deception and cruelty. She wants with all her soul to be pure and impeccable. The rule established by Kabanova forced her to hide and be cunning. She didn't want it, and she couldn't do it. She says to Varvara: “I don’t know how to deceive, I can’t hide anything.” Her tragedy is in her meekness of character. In my opinion, Katerina and Tikhon could only become happy after the death of their mother-in-law. If Katerina had been different, Tikhon would never have left without his beloved. There would be no betrayal if her husband supported her: attention, love.

Out of loneliness she is drawn to Boris. She likes that he, both in appearance and in speech, is different from the others around her. The need for love, which has not found a response in the husband, also attracts. The offended feeling of a wife and woman, and the mortal melancholy of her monotonous life, and the desire for space and freedom.

Many people commit actions without realizing the consequences. The consequences of Katerina's action are mental wounds and anxiety about the Fall. Sin lies like a heavy stone on her heart. Not knowing how to be cunning and pretend, she confesses everything to her husband. By insulting and humiliating Katerina, the mother-in-law puts the finishing touches on the relationship.

Katerina is terribly afraid of the approaching thunderstorm, considering it a punishment for what she did. She acts at the first call of her heart, at the first impulse of her soul. And this is where her trouble lies. People like Katerina are not adapted to real life and all the time they feel that they are superfluous. She cannot live any longer with her sin, and decides to commit suicide. She doesn’t complain about anyone, doesn’t blame anyone, she just can’t live “in captivity” anymore. At the last moment, all the domestic horrors flash especially vividly in her imagination.

Katerina's death is a protest to society and her release. Many women of that era lived their lives this way, not daring to free themselves.

Katerina Ostrovsky thunderstorm

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The tragedy of Katerina in the play by Ostrovsky Groz. "The image of Katerina. Her spiritual tragedy" (based on the play "The Thunderstorm" by A.N. Ostrovsky)

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Composition

Topic: “What is the tragedy of Katerina in Ostrovsky’s play “The Thunderstorm””

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