The finale of the play is a thunderstorm. Essay “Analysis of the final scene of A. Ostrovsky’s drama “The Thunderstorm”.” Essay on the work on the topic: Analysis of the final scene of A. N. Ostrovsky’s drama “The Thunderstorm”

Analysis of the final scene of the drama by A.N. Ostrovsky "Thunderstorm"

The drama "The Thunderstorm" appeared in print in 1860. Its plot is quite simple. Main character, Katerina Kabanova, not finding a response to her feelings in her husband, fell in love with another person. Tormented by remorse, and also not wanting to lie, she confesses her act in church, publicly. After this, her life becomes so unbearable that she commits suicide.

This is the eventual outline of the work, with the help of which the author reveals to us a whole gallery human types. Here are merchants - tyrants, and honorary mothers of families - guardians of local morals, and pilgrims - pilgrims, telling fables, taking advantage of the darkness and lack of education of the people, and home-grown scientists - projectors. However, with all the variety of types, it turns out to be easy to notice that they all seem to fall into two camps, which could roughly be called: “ dark kingdom" and "victims of the dark kingdom."

The “Dark Kingdom” consists of people in whose hands power is concentrated, those who can influence public opinion in the city of Kalinov. First of all, this is Marfa Ignatievna Kabanova, who is respected in the city, considered a model of virtue and a keeper of traditions. “A prude,” Kuligin says about Kabanova, “she favors the beggars, but completely eats up her family...” And indeed, Marfa Ignatievna’s behavior in public differs in many ways from her behavior at home, in everyday life. The whole family lives in fear of her. Tikhon, completely suppressed by his mother’s power, lives only with one simple desire - to escape, even if only for a short time, from home, to feel like a free person. Tikhon's sister, Varvara, also experiences all the hardships of the family situation. However, unlike Tikhon, she has a stronger character and she has the audacity, albeit secretly, to disobey her mother.

The last scene of the drama is the culmination of the work, in which the confrontation between representatives of the “dark kingdom” and its victims is maximally aggravated. Having neither wealth nor high social status“victims” dare to challenge the inhumane order prevailing in the city.

The action begins with Tikhon returning home and learning about his wife’s betrayal. He, as he himself admits to Kuligin, is ready to forgive Katerina, but at the same time understands that his mother will not allow him to do this. Tikhon does not have the will to resist Kabanova. And although he beat Katerina, he feels sorry for her.

The death of Katerina, who fell in love as only very strong natures can love, at the end of the drama is natural - for her there is no other way out. Life according to the laws of the “dark kingdom” is worse for her than death, the death of the soul is worse than the death of the body. She does not need such a life, and she prefers to part with it. The confrontation between representatives of the “dark kingdom” and its victims reaches its highest point precisely in the last scene, over the body of the dead Katerina. Kuligin, who previously preferred not to get involved with either Dikiy or Kabanikha, throws it in the latter’s face: “Her body is here, ... but her soul is now not yours: she is now before a judge who is more merciful than you!” Tikhon, completely downtrodden and crushed by his domineering mother, also raises his voice of protest: “Mama, you ruined her.” However, Kabanova quickly suppresses the “rebellion,” promising her son to “talk” to him at home.

Katerina’s protest could not be effective, since her voice was lonely and no one from the heroine’s circle, from those who can also be classified as “victims” of the “dark kingdom,” was able not only to support her, but even to fully understand her. The protest turned out to be self-destructive, but it was and is evidence of the free choice of an individual who does not want to put up with the laws imposed on her by society, with sanctimonious morality and the dullness of everyday life.

So, in the last scene of the drama, the confrontation between representatives of the “dark kingdom” and its victims was reflected with particular force. The accusations that Kuligin and Tikhon throw in the face of those who “run the show” in the city of Kalinov show the emerging shift in society, the emerging desire of young people to live in accordance with their conscience, and not with the sanctimonious, hypocritical morality of their “fathers.”

References

To prepare this work, materials were used from the site http://www.ostrovskiy.org.ru/

It’s not for nothing that the author’s sparse stage directions for the last act of the play “The Thunderstorm” read: “The scenery of the first act. Twilight". The twilight world is presented to us by a talented playwright, a world in which a “thunderstorm” is not capable of dispelling the darkness except at the everyday level. And the death of Katerina, despite all the efforts of the author to give it the volume of a symbol, is tragic, but not dramatic. Katerina was destroyed by her own concepts of good and evil, her dreams of flying remained dreams, she could not escape from the twilight reality of that time. It's a pity...

Katerina Kabanova is romantic with her indomitable desire for beauty and freedom human manifestations, organic hatred of tyranny and violence. She says: “Why don’t people fly? Sometimes I feel like I'm a bird. When you stand on a mountain, you feel the urge to fly. That's how she would run up, raise her hands and fly. Anything to try now?

She, striving for the extraordinary, dreams wonderful dreams: “Either golden temples, or some extraordinary gardens, and invisible voices all sing, and the smell of cypress, and the mountains and trees seem not the same as usual, but as they are written in images . And it’s like I’m flying, and I’m flying through the air”...

Sharply at odds with the moral and everyday ideas of the bourgeois merchant environment, not wanting to live with a husband she does not love and respect, and not submitting to her tyrant mother-in-law, she thinks: “Where to now? Should I go home? No, it doesn’t matter to me whether I go home or go to the grave. Yes, to home, to the grave!., to the grave! It’s better in the grave... And even think about life; I don't want to. Live again? No, no, don't... not good! And people are disgusting to me, and the house is disgusting to me, and the walls are disgusting!”

There were only two paths before Katerina - bondage and the grave. Her hatred of despotism and love of freedom are extremely strong, her spontaneous protest against everything that oppresses the human personality is so effective that she prefers death to captivity. At that time, in her environment, Katerina could find liberation only in death. N. A. Dobrolyubov writes: “Sad, bitter is such liberation; but what to do when there is no other way out?

Struck by the death of Katerina, even the weak-willed, quiet Tikhon raises his voice against Kabanikha. Overcoming his submission, he frantically shouts: “Mama, you ruined her! You, you, you..."

Unfortunately, Katerina’s protest and her death were in vain. Tikhon’s pathetic rebellion will soon be suppressed, this is clear, it’s not in vain that Kabanikha promises to deal with him at home. Boris, in fact, himself asked God for a quick death for Katerina - a pitiful creature, unworthy of such high love, a slave of his uncle, of everyday life, of the twilight world. Kuligin, for all his scientific knowledge, is also not a fighter, all he is capable of is sarcasm: “Her body is here, but her soul is not yours now, she is before a judge who is more merciful than you!”

...The scenery of the first act. Twilight.

The drama “The Thunderstorm” was written by Ostrovsky on the eve of the revolutionary situation in Russia, in the pre-storm era. The play is based on a conflict of irreconcilable contradictions between a separate person and the surrounding society.

yours. The cause of the conflict and everyone

Misfortune is money, the division of society into rich and poor. In Ostrovsky's plays there is a protest against despotism, lies, and the oppression of man by man. This protest reached its greatest strength in the drama “The Thunderstorm”. The struggle for a person for his right to freedom, happiness, a meaningful life - this is the problem that Ostrovsky solves in the play “The Thunderstorm”.

How does the main conflict of the drama develop? A strong, freedom-loving person finds himself in an environment alien to him, in a family where his personality is stifled. Katerina’s tragedy lies in the fact that she is alien to the Kabanov family: she was brought up in a free atmosphere. Favorite daughter in the family. In the Kabanov family, everything is built on deception and lies. There is no sincere respect between family members; everyone lives under fear of their mother, under dull submission.

Katerina is a poetic person, she feels the beauty of nature and loves it, she very sincerely wants to love, but who?! She wants to love her husband, mother-in-law.

Can a woman imbued with freedom, love for nature, with the heart of a bird, come to terms with the violence and lies that reigned in the Kabanov family?

The mutual relationship of tyranny and voicelessness led her to tragic consequences.

Religion brought poetry to Katerina, because she did not read books, did not know how to read and write, but the features of folk wisdom, presented in religious form, were brought to her by the church - this beautiful world folk art, folklore in which Katerina was immersed. Suffocating in the Kabanovs’ house, yearning for will, for love, for truly good human relations Katerina does not put up with bondage; the thought of how to leave her disgusted home is vaguely and unclearly born in her mind. But these feelings must be suppressed (she is Tikhon’s wife). A terrible struggle takes place in the heart of a young woman. We see her in the midst of tension internal struggle. She fell deeply and honestly in love with Boris, but is trying in every possible way to suppress the living, motivating feeling within herself.

She doesn’t want to see her loved one, she’s suffering.

What about the thunderstorm? Why does the first act talk about an approaching thunderstorm? This is a natural phenomenon. A spiritual storm seems sinful and terrible to her. The world of religious ideas contradicts the living feelings that awaken in her. Sin

Scares Katerina.

How does the conflict develop in her own soul?

To Katerina’s words that she doesn’t know how to deceive! Varvara objects: “Our whole house rests on this.” But Katerina does not accept the morality of the “dark kingdom”. “...I don’t want to do this!...I’ll better endure it as long as I can endure it!” “And if he can’t stand it...there’s no way he can hold me back by any force. I’ll throw myself out the window, throw myself into the Volga. I don’t want to live here, I won’t, even if you cut me.”

“Eh, Varya, you don’t know my character. Of course, God forbid this happens!” “And I want to break myself, but I just can’t”... “Last night the enemy confused me again. After all, I had left home.” There is an internal struggle. What is reflected in this painful struggle? Strength? Weakness? To change oneself means to remain a faithful wife of a man whom she does not love. (And there’s no reason to love him.) But a woman with the heart of a free bird cannot be a slave in Kabanikha’s house.

A woman with the heart of a free bird cannot be an abaniha. And it seems to her that her call to will is a temptation from the devil.

A turning point comes: Katerina is finally convinced that her husband is not worth not only love, but also respect. And here is the last outbreak of intense internal struggle. First, throw away the key: after all, destruction lurks in it (spiritual destruction, she is afraid not of her family, but of destroying her soul.)

“Leave him?!” No, not for anything in the world!” The date scene opens with a drawn-out folk song, which emphasizes the tragedy of Katerina’s love for Boris.

Katerina's first meeting with her beloved is deeply tragic. “Why have you come, my destroyer?” “You ruined me!” How strong her feeling must be if, in his name, she consciously goes to certain death. Strong character! deep feeling! An enviable feeling! Not everyone can love like that. I am convinced of Katerina’s extraordinary spiritual strength. “No, I can’t live!” She is sure of this, but the fear of death does not stop her. Love is stronger than this fear! Love conquered even those religious ideas that shackled her soul. “After all, I can’t forgive this sin, I’ll never forgive it.” “After all, he will fall like a stone on the soul,” says Katerina when she meets Boris, and admits to him that for the sake of love “I was not afraid of sin.” Her love turned out to be stronger than religious prejudices.

The thunderstorm that gathers in the first act here breaks out over the poor victim of the “dark kingdom.” But the struggle in Katerina’s soul is not over yet. But I am sure that Katerina is not an unrequited victim, but a person with a strong, decisive character, with a living, freedom-loving heart of a bird.

Not afraid of punishment, she ran away from home to say goodbye to Boris. Not only does she not hide, she calls out to her beloved at the top of her voice: “My joy, my life, my soul, my love!”... “Answer!”

No! She is not a slave, she is free. If only because she has lost everything, she has nothing more to value, not even life, in the name of love. “Why should I live now?!”

In the scene with Boris, Katerina envies him: “You are a free Cossack.” But Katerina does not know that Boris is weaker than Tikhon, he is shackled by fear of his uncle. He is not worthy of Katerina.

In the finale, victory is achieved over the internal enemy: over the dark religious ideas. Katerina is convinced of her right to freedom of choice between life and death. “It’s all the same that death will come, that it itself...”, but you can’t live like that!” – she thinks about suicide. "Sin!" “Won’t they pray? He who loves will pray.”

The thought of love is stronger than the fear of God. Last words– an appeal to a loved one: “My friend! My joy!

Goodbye!"

Ostrovsky showed the complex tragic process of emancipation of the reviving soul. Here darkness clashes with light, ups give way to downs. Liberation develops into protest. And “the strongest protest is the one that finally rises from the chests of the weakest and most patient.” (Dobrolyubov.)

The drama "The Thunderstorm" appeared in print in 1860. Its plot is quite simple. The main character, Katerina Kabanova, not finding a response to her feelings in her husband, fell in love with another person. Tormented by remorse, and also not wanting to lie, she confesses her act in church, publicly. After this, her life becomes so unbearable that she commits suicide.
This is the eventual outline of the work, with the help of which the author reveals to us a whole gallery of human types. Here are merchants - tyrants, and honorary mothers of families - guardians of local morals, and pilgrims - pilgrims, telling fables, taking advantage of the darkness and lack of education of the people, and home-grown scientists - projectors. However, with all the variety of types, it is not difficult to notice that they all seem to fall into two camps, which could be conditionally called: “the dark kingdom” and “victims of the dark kingdom.”
The “Dark Kingdom” consists of people in whose hands power is concentrated, those who can influence public opinion in the city of Kalinov. First of all, this is Marfa Ignatievna Kabanova, who is respected in the city, considered a model of virtue and a keeper of traditions. “A prude,” Kuligin says about Kabanova, “she favors the beggars, but completely eats up her family...” And indeed, Marfa Ignatievna’s behavior in public differs in many ways from her behavior at home, in everyday life. The whole family lives in fear of her. Tikhon, completely suppressed by his mother’s power, lives only with one simple desire - to escape, even if only for a short time, from home, to feel like a free person. Tikhon's sister, Varvara, also experiences all the hardships of the family situation. However, unlike Tikhon, she has a stronger character and she has the audacity, albeit secretly, to disobey her mother.
The last scene of the drama is the culmination of the work, in which the confrontation between representatives of the “dark kingdom” and its victims is maximally aggravated.
The action begins with Tikhon returning home and learning about his wife’s betrayal. He, as he himself admits to Kuligin, is ready to forgive Katerina, but at the same time understands that his mother will not allow him to do this. Tikhon does not have the will to resist Kabanova. And although he beat Katerina, he feels sorry for her.
Then it becomes known that Katerina has disappeared from home. She appears on the banks of the Volga, says that she is unable to live like this any longer, and throws herself into the water from a cliff. They try to save her, but to no avail.
The death of Katerina, who fell in love as only very strong natures can love, at the end of the drama is natural - for her there is no other way out. Life according to the laws of the “dark kingdom” is worse for her than death, the death of the soul is worse than the death of the body. She does not need such a life, and she prefers to part with it. The confrontation between representatives of the “dark kingdom” and its victims reaches its highest point precisely in the last scene, over the body of the dead Katerina. Kuligin, who previously preferred not to get involved with either Dikiy or Kabanikha, throws it in the latter’s face: “Her body is here, ... but her soul is now not yours: she is now before a judge who is more merciful than you!” Tikhon, completely downtrodden and crushed by his domineering mother, also raises his voice of protest: “Mama, you ruined her.” However, Kabanova quickly suppresses the “rebellion,” promising her son to “talk” to him at home.
Katerina’s protest could not be effective, since her voice was lonely and no one from the heroine’s entourage, from those who can also be classified as “victims” of the “dark kingdom,” was able not only to support her, but even to fully understand her. The protest turned out to be self-destructive, but it was and is evidence of the free choice of an individual who does not want to put up with the laws imposed on her by society, with sanctimonious morality and the dullness of everyday life.
So, in the last scene of the drama, the confrontation between representatives of the “dark kingdom” and its victims was reflected with particular force.

In the play by A.N. Ostrovsky's "The Thunderstorm" Katerina can be classified as the first type, and Varvara as the second type. Katerina is a poetic person, she feels the beauty of nature. “I used to get up early in the morning, summer, so I would go to the spring, wash myself, bring some water with me and that’s it...

Enmity between loved ones can be especially irreconcilable P. Tacitus There is no more terrible retribution for follies and errors than to see how one’s own children suffer because of them W. Sumner Play by A.N. Ostrovsky's "The Thunderstorm" tells about the life of a provincial...

Play by A.N. Ostrovsky's "The Thunderstorm" was published in 1860, on the eve of the abolition of serfdom. At this difficult time, the culmination of the revolutionary situation of the 60s in Russia is observed. Even then the foundations of the autocratic-serf system were crumbling, but still...

A. N. Ostrovsky is rightfully considered a singer of the merchant milieu, the father of Russian everyday drama, Russian theater. He is the author of about 60 plays, the most famous of which are “The Dowry”, “Late Love”, “The Forest”, “Enough for Every Wise Man...

This is the eventual outline of the work, with the help of which the author reveals to us a whole gallery of human types. Here are merchants - tyrants, and honorary mothers of families - guardians of local morals, and pilgrims - pilgrims, telling fables, taking advantage of the darkness and lack of education of the people, and home-grown scientists - projectors. However, with all the variety of types, it is not difficult to notice that they all seem to fall into two camps, which could be conditionally called: “the dark kingdom” and “victims of the dark kingdom.”

The last scene of the drama is the culmination of the work, in which the confrontation between representatives of the “dark kingdom” and its victims is maximally aggravated. Having neither wealth nor high social status, the “victims” dare to challenge the inhumane order prevailing in the city.

It’s not for nothing that the author’s sparse stage directions for the last act read: “The scenery of the first act. Twilight". The twilight world is presented to us by a talented playwright, a world in which a “thunderstorm” is not capable of dispelling the darkness except at the everyday level. And the death of Katerina, despite all the efforts of the author to give it the volume of a symbol, is tragic, but not dramatic.
Katerina was ruined by her own concepts of good and evil, her dreams of flying remained dreams, she could not escape from the twilight reality of that time. What a pity... Katerina Kabanova

romantic with an indomitable desire for beauty, for freedom of human expression, and an organic hatred of tyranny and violence. It is she who says: “Why don’t people fly!.. sometimes it seems to me that I am a bird. When you stand on a mountain, you feel the urge to fly. That's how she would run up, raise her hands and fly. Something to try now? “
She, striving for the extraordinary, dreams wonderful dreams: “Either golden temples, or some extraordinary gardens, and invisible voices all sing, and the smell of cypress, and the mountains and trees seem not the same as usual, but as they are written in images . And it’s like I’m flying, and I’m flying through the air.”
Sharply at odds with the moral and everyday ideas of the bourgeois merchant environment, not wanting to live with a husband she does not love and respect, and not submitting to her tyrant mother-in-law, she thinks: “Where to now? Should I go home? No, it doesn’t matter to me whether I go home or go to the grave. Yes, to home, to the grave!.. to the grave! It’s better in the grave... But I don’t even want to think about life. Live again? No, no, don't... not good! And people are disgusting to me, and the house is disgusting to me, and the walls are disgusting!”
There were only two paths before Katerina - bondage and the grave. Her hatred of despotism and love of freedom are so strong, her spontaneous protest against everything that oppresses the human personality is so effective that she prefers death to captivity.
At that time, in her environment, Katerina could find liberation only in death. N.A. Dobrolyubov writes: “Sad, bitter is such liberation; but what to do when there is no other way out..."
Struck by the death of Katerina, even the weak-willed, quiet Tikhon raises his voice against Kabanikha. Overcoming his submission, he frantically shouts: “Mama, you ruined her! You, you, you..."
Katerina’s protest and her death were in vain. Tikhon’s pathetic rebellion will soon be suppressed, this is clear, it’s not in vain that Kabanikha promises to deal with him at home. Boris, in fact, himself asked God for a quick death for Katerina - a pitiful creature, unworthy of such high love, a slave of his uncle, of everyday life, of the twilight world. Kuligin, with all his scientific knowledge, is also not a fighter, all he is capable of is sarcasm: “Her body is here, but her soul is not yours now, she is before a judge who is more merciful than you!”