What is the meaning of the confrontation between Katerina and Kabanikha in the work "The Thunderstorm"? Katerina and the boar as two poles of folk life.

Katerina is an outwardly fragile, tender and open-to-feeling young woman, not at all as defenseless as she seems at first glance. She is strong inside, she is a fighter against this." dark kingdom" Katerina is a girl who is able to stand up for herself, who is capable of much for the sake of her love. But she is alone in this world, and it’s hard for her, so she is looking for support. It seems to her that she finds support in Boris. And she strives for him in every possible way, no matter what. She chose him because Boris stood out from all the young people in this city, and they both had a similar situation. But in the finale, Boris abandons her, and she is left alone against the “dark kingdom.” To accept and return to Kabanikha’s house meant not to be herself. Suicide is the only way out. Katerina passes away because she does not accept this world - the world of Kabanikha, Dikiy, Tikhon and Boris. Kabanikha is a completely different person, she is the opposite of Katerina. She is completely satisfied with the world in which she lives. No one ever dared to contradict her, but then Katerina appears, unwilling to put up with Kabanikha’s rudeness, rudeness and cruelty. And therefore Katerina, with her self-esteem, constantly irritates Kabanikha. A conflict is brewing between Katerina and Kabanikha. This conflict does not explode until there are reasons for it. And the reason is Katerina’s confession of cheating on her husband. And Katerina understands that after this her life is over, because Kabanikha will then completely bully her. And she decides to commit suicide. After the death of Katerina, Kabanikha remains satisfied, because now no one will resist her. Katerina’s death is a kind of protest against this world, a world of lies and hypocrisy, to which she could never get used to. But Katerina and Kabanikha have something in common, because they are both capable of standing up for themselves, both do not want to put up with humiliation and insult, both a strong character. But their reluctance to be humiliated and insulted manifests itself in different ways. Katerina will never respond to rudeness with rudeness. Kabanikha, on the contrary, will try in every possible way to humiliate, offend, and bully a person who says something unpleasant in her direction. Katerina and Kabanikha have different attitudes towards God. If Katerina’s feeling for God is something bright, holy, inviolable and highest, then for Kabanikha it is only an external, superficial feeling. Even going to church for Kabanikha is only to make the impression of a pious lady on those around her. The most suitable comparison between Katerina and Kabanikha is something light and something dark, where Katerina is light and Kabanikha is dark. Katerina is a ray of light in “ dark kingdom" But this “ray” is not enough to illuminate this darkness that in the end it fades out altogether. The hero's mental flabbiness and the heroine's moral generosity are most obvious in their scene. last date. Katerina’s hopes are in vain: “If only I could live with him, maybe I would see some kind of joy.” “If only”, “maybe”, “some kind”... Little consolation! But even here she finds the strength to think not about herself. This is Katerina asking her beloved for forgiveness for the troubles she has caused him. Boris couldn’t even imagine such a thing. He won’t really be able to save or even feel sorry for Katerina: “Who knew that we should suffer so much with you for our love! It would be better for me to run then!” But didn’t she remind Boris of the price to pay for loving married woman folk song performed by Kudryash, didn’t Kudryash warn him about the same thing: “Eh, Boris Grigoryich, stop annoying me! Isn’t that what you told Boris? Alas, the hero simply did not hear any of this. Dobrolyubov soulfully saw an epochal meaning in the “Thunderstorm” conflict, and in the character of Katerina - “a new phase of our folk life" But, idealizing free love in the spirit of the then popular ideas of female emancipation, he impoverished the moral depth of Katerina’s character. Dobrolyubov considered the hesitation of the heroine, who fell in love with Boris, and the burning of her conscience, “the ignorance of a poor woman who has not received a theoretical education.” Duty, loyalty, conscientiousness, with the maximalism characteristic of revolutionary democracy, were declared “prejudice”, “artificial combinations”, “conditional instructions” old morality", "old rags." It turned out that Dobrolyubov looked at Katerina’s love with the same un-Russian ease as Boris. Explaining the reasons for the heroine’s nationwide repentance, we will not repeat, following Dobrolyubov’s words, about “superstition,” “ignorance,” and “religious prejudices.” We will not see cowardice and fear of external punishment in Katerina’s “fear”. After all, such a look turns the heroine into a victim of the dark kingdom of the Boars. The true source of the heroine’s repentance lies elsewhere: in her sensitive conscience. “It’s not so scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts. I’m not afraid to die, but when I think that I’ll suddenly appear before God as I am here with you, after this conversation, that’s what’s scary.” “My heart really hurts,” says Katerina in a moment of confession. “Whoever has fear, there is also God,” echoes her folk wisdom. From time immemorial, “fear” was understood by the Russian people as a heightened moral self-awareness. IN " Explanatory dictionary V. I. Dahl “fear” is interpreted as “consciousness moral responsibility" This definition corresponds to the heroine’s state of mind. Unlike Kabanikha, Feklushi and other heroes of “The Thunderstorm,” Katerina’s “fear” is the inner voice of her conscience. Katerina perceives the thunderstorm as the chosen one: what is happening in her soul is akin to what is happening in the stormy skies. This is not slavery, this is equality. Katerina is equally heroic both in her passionate and reckless love affair and in her deeply conscientious public repentance. “What a conscience!.. What a mighty Slavic conscience!.. What moral strength... What huge, sublime aspirations, full of power and beauty,” wrote V. M. Doroshevich about Katerina Strepetova in the scene of repentance. And S.V. Maksimov told how he happened to sit next to Ostrovsky during the first performance of “The Thunderstorm” with Nikulina-Kositskaya in the role of Katerina. Ostrovsky watched the drama in silence, absorbed in himself. But in that “pathetic scene when Katerina, tormented by remorse, throws herself at the feet of her husband and mother-in-law, repenting of her sin, Ostrovsky, all pale, whispered: “It’s not me, not me: it’s God!” Ostrovsky, obviously, did not believe that he could write such an amazing scene.” It's time for us to appreciate not only the love, but also the repentant impulse of Katerina. Having gone through the stormy trials, the heroine is morally cleansed and leaves this sinful world with the consciousness of her rightness: “He who loves will pray.” “Death due to sins is terrible,” people say. And if Katerina is not afraid of death, then her sins have been atoned for. Her departure takes us back to the beginning of the tragedy. Death is sanctified by the same full-blooded and life-loving religiosity that has entered the heroine’s soul since childhood. “There is a grave under the tree... The sun warms it... birds will fly to the tree, they will sing, they will bring out the children...” Katerina dies surprisingly. Her death is the last flash of spiritualized love for God's world: trees, birds, flowers and herbs. Monologue about the grave - awakened metaphors, folk mythology with its belief in immortality. A person, dying, turns into a tree growing on a grave, or into a bird making a nest in its branches, or into a flower that gives a smile to passers-by - these are the constant motives folk songs about death. When leaving, Katerina retains all the signs that, according to popular belief, distinguished the saint: she is dead as if she were alive. “And exactly, guys, like alive! There’s only a small wound on the temple, and there’s only one drop of blood.”

// / Katerina and Kabanikha – two poles of Kalinov’s world

The play "" is rich in various images of heroes. One of the main characters were Katerina and Marfa Kabanova. These women were the absolute opposite of each other. They belonged to different worlds that reigned in Kalinov.

Kabanova headed the “dark kingdom”. She was cruel and callous, domineering and aggressive. Katerina, on the other hand, was a soft and gentle person. Her soul was pure. She did not support the gentlemen from the “dark kingdom”, so she opposed the hypocrisy and disorder that reigned around.

Both women live in the same estate and conflicts constantly flare up between them. Mother-in-law and daughter-in-law couldn't find mutual language. She constantly oppressed and dishonored her daughter-in-law, and Katerina’s husband, that is, Kabanikha’s son, could not do anything about it. But Katerina was so defenseless only at first glance. In fact, she turned out to be the strongest character among all the characters in the play.

The woman follows the dictates of her heart and falls in love with Boris. It is in him that she sees liberation and salvation. She loves him more than life itself.

Unfortunately, Boris differed from the rest of the “dark kingdom” only in appearance. Inside he turned out to be a coward and a traitor. Katerina’s lover could not protect the offended woman at her most difficult moment. Without support and support, Katerina decides to commit suicide. This was the only way out.

Kabanikha was happy with this outcome, because she constantly irritated her with her independence and determination. Kabanikha disliked Katerina for her free and free spirit.

Was at the Kabanovs' estate established law- everyone obeys Kabanikha, and no one can say a word against her orders. And then Katerina appears, who violates the social order of the Kabanov estate. The boar constantly scolds and oppresses the young woman.

Katerina’s confession about betrayal infuriates Kabanikha, and she, with all her vile nature, begins to mock her victim. Therefore, suicide turned out to be the surest way out in Katerina’s situation.

If you compare the images of two women further, you will notice that they have absolutely different attitude to the Almighty. Kabanikha only pretends to be a pious lady, going to church only in order to impress those around her. Katerina, on the other hand, believes in God with bright thoughts and feelings. The Almighty is holiness for a young woman.

The images of Katerina and Kabanikha can be compared with light and darkness. They are completely opposite. A light image carries goodness and purity, while a dark image gives rise to anger, callousness and cruelty.

Katerina and Kabanikha - two very bright and equally interesting character. Both women are quite determined individuals, although each in their own way. Katerina and Kabanikha are not just dissimilar people, they are representatives of two different worlds. It would seem that both were brought up in the same environment, both cherish family traditions, so where do these come from? different views for life? After all, both, in principle, are united by the fact that they do not know any other way of life than that established in Kalinov once and for all. Both are supporters of house-building, both believe that a wife should obey her husband in everything. How else,; if the husband feeds, waters, clothes, gives shelter? But Kabanikha is more concerned about conventions: the daughter-in-law must obey her mother-in-law, howl on the porch when her husband leaves, and work tirelessly. Katerina, quite sincerely, without unnecessary conventions, wants to be a “husband’s wife.” To do this, it is not at all necessary to obey the strictest canons. It is not Katerina’s fault that her sincere impulses are completely suppressed by the domineering Marfa Ignatievna. It is completely useless to contact your husband with pleas and requests. But Katerina could become, if not a loving, then a faithful and devoted wife. The trouble is that Tikhon is too weak to meet his wife halfway, to support her in anything. Even his name is “quiet”, weak. Let us at least remember that moment in the play when he is jealous deceased wife, although he could well have followed her. But he is not strong enough for this. Therefore, the husband is in conflict between two strong women cannot be seen as either support or enemy of Katerina. He is just a character who, like everyone else, pushes the heroine to death. Among those who caused the tragedy, vital role- at Kabanikha's. Her conflict with Katerina is not just a confrontation between mother-in-law and daughter-in-law, but also the irreconcilability of two radically opposite natures. Kabanova's undoubted advantage is her strength. But what does she spend it on? To tyranny in the full sense of the word. Already the reader’s first meeting with her reveals her character in the best possible way. In the fifth scene of the first act, she literally wears out the whole soul of her son, and at the same time of the reader. Her endless teachings, which have no basis in themselves, are very reminiscent of the reasoning of Saltykov’s Judushka Golovlev. Kabanikha, one might say, has become a somewhat softened version of it. Constant petty nagging and pious speeches - why not Judas? Kabanikha has one characteristic quality - respect for traditions (Judushka again). In this, in essence, there is nothing reprehensible, but in her love for small conventions and rituals grows to incredible limits. She lives according to the established order once and for all and does not want to change. Moreover, she forces her children to live the same way. Of course she wishes them well; As you know, many old people try to force their children to behave according to certain canons with the best intentions. But this strange expression of love for children leads the Kabanovs to disastrous results: Tikhon becomes an alcoholic, Varvara, who was given the most concessions, runs away, Katerina dies. The trouble is that for Kabanikha there is no other reality than the one she created for herself. And let the whole world move forward - she will stubbornly stand still, she does not care about the rest of the world. She knows that a wife must howl when her husband leaves, which means it cannot be otherwise. The main thing is to follow the conventions. You can howl, but you can’t throw yourself on your neck.

Katerina is not like that. Of course, she is not alien to conventions and dogmas, but, unlike her mother-in-law, she has alive soul. The soul is loving, bright, peace-loving, submissive and patient ( perfect wife!). Patience is one of Katerina’s main virtues. She knows how to obey circumstances, but only to certain limits. She will meekly endure being kept locked up or being forced to throw herself at her husband’s feet. But when her feelings become stronger than established moral standards, then even this angelic patience comes to an end. It should be noted that Kabanikha constantly pushed Katerina to take a decisive step with her eternal grumbling for no reason. But already at the first meeting with Katerina and Kabanikha on a walk, we understand that Katerina is not the kind of person who will obey, this can be heard in her few remarks. Suicide became not a concession, not a sign of weakness or submission, but, on the contrary, a manifestation of strength. Katerina is a free soul. Her dream is to fly. It’s even strange that thoughts of flying came to the mind of a girl who grew up in an environment that was not very conducive to free thoughts. Although one can argue the other way around - the lack of external information gives freedom-loving souls enormous scope for imagination. Be that as it may, Katerina has the ability to deeply feel, dream, and fantasize. And Kabanikha suppresses this beginning in her. If Katerina had not been so decisive in nature, she would have remained under the yoke of Kabanikha and buried her dreams within herself. But the fact of the matter is that the heroine has enough determination to meet with Boris, and to publicly repent of betraying her husband, and to throw herself into the river. The ordinary conflict between mother-in-law and daughter-in-law between Kabanikha and Katerina turns into a much more serious one - a confrontation between two different worlds. Kabanikha is a representative of the old, inert, limited world, Katerina is a new, bright one, striving for free air, away from far-fetched moral principles and conventions, j Kabanikha crawls on the ground, Katerina strives to fly. Such two personalities will never find a compromise. The conflict between Katerina and Kabanikha is eternal and will never go away as long as there are old and young, down-to-earth and dreamy, spiritually poor and spiritually rich.

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She is completely satisfied with the world in which she lives. No one ever dared to contradict her, but then Katerina appears, unwilling to put up with Kabanikha’s rudeness, rudeness and cruelty. And therefore Katerina, with her self-esteem, constantly irritates Kabanikha. A conflict is brewing between Katerina and Kabanikha. This conflict does not explode until there are reasons for it. And the reason is Katerina’s confession of cheating on her husband. And Katerina understands that after this her life is over, because Kabanikha will then completely bully her. And she decides to commit suicide. After the death of Katerina, Kabanikha remains satisfied, because now no one will resist her. Katerina’s death is a kind of protest against this world, a world of lies and hypocrisy, to which she could never get used to.

But Katerina and Kabanikha have something in common, because they are both able to stand up for themselves, both do not want to put up with humiliation and insult, both have a strong character. But their reluctance to be humiliated and insulted manifests itself in different ways. Katerina will never respond to rudeness with rudeness. Kabanikha, on the contrary, will try in every possible way to humiliate, offend, and bully a person who says something unpleasant in her direction.

Katerina and Kabanikha have different attitudes towards God. If Katerina’s feeling for God is something bright, holy, inviolable and highest, then for Kabanikha it is only an external, superficial feeling. Even going to church for Kabanikha is only to make the impression of a pious lady on those around her.
The most suitable comparison between Katerina and Kabanikha is something light and something dark, where Katerina is light and Kabanikha is dark. Katerina is a ray of light in the “dark kingdom”. But this “ray” is not enough to illuminate this darkness that in the end it fades out altogether.

The hero's mental flabbiness and the heroine's moral generosity are most obvious in the scene of their last date. Katerina’s hopes are in vain: “If only I could live with him, maybe I would see some kind of joy.” “If only”, “maybe”, “some”.

“would”, “maybe”, “some kind”... Little consolation! But even here she finds the strength to think not about herself. This is Katerina asking her beloved for forgiveness for the troubles she has caused him. Boris couldn’t even imagine such a thing. He won’t really be able to save or even feel sorry for Katerina: “Who knew that we should suffer so much with you for our love! It would be better for me to run then!” But didn’t the folk song sung by Kudryash remind Boris of the retribution for loving a married woman, didn’t Kudryash warn him about the same: “Eh, Boris Grigoryich, stop annoying me!.. After all, this means you want to ruin her completely.. “During the poetic nights on the Volga, didn’t Katerina herself tell Boris about this? Alas, the hero simply did not hear any of this.

Dobrolyubov soulfully saw an epochal meaning in the “Thunderstorm” conflict, and in the character of Katerina - “a new phase of our people’s life.” But, idealizing free love in the spirit of the then popular ideas of female emancipation, he impoverished the moral depth of Katerina’s character. Dobrolyubov considered the hesitation of the heroine, who fell in love with Boris, and the burning of her conscience, “the ignorance of a poor woman who has not received a theoretical education.” Duty, loyalty, conscientiousness, with the maximalism characteristic of revolutionary democracy, were declared “prejudices”, “artificial combinations”, “conventional instructions of the old morality”, “old rags”. It turned out that Dobrolyubov looked at Katerina’s love with the same un-Russian ease as Boris.

Explaining the reasons for the heroine’s nationwide repentance, we will not repeat, following Dobrolyubov’s words, about “superstition,” “ignorance,” and “religious prejudices.” We will not see cowardice and fear of external punishment in Katerina’s “fear”. After all, such a look turns the heroine into a victim of the dark kingdom of the Boars. The true source of the heroine’s repentance lies elsewhere: in her sensitive conscience. “It’s not so scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts. I’m not afraid to die, but when I think that I’ll suddenly appear before God as I am here with you, after this conversation, that’s what’s scary.” “My heart really hurts,” says Katerina in a moment of confession. “Whoever has fear, there is God,” echoes popular wisdom. From time immemorial, “fear” was understood by the Russian people as a heightened moral self-awareness.

In V. I. Dahl’s Explanatory Dictionary, “fear” is interpreted as “consciousness of moral responsibility.” This definition corresponds to the heroine’s state of mind. Unlike Kabanikha, Feklushi and other heroes of “The Thunderstorm,” Katerina’s “fear” is the inner voice of her conscience. Katerina perceives the thunderstorm as the chosen one: what is happening in her soul is akin to what is happening in the stormy skies. This is not slavery, this is equality. Katerina is equally heroic both in her passionate and reckless love affair and in her deeply conscientious public repentance. “What a conscience!.. What a mighty Slavic conscience!.. What moral strength... What huge, sublime aspirations, full of power and beauty,” V. wrote about Katerina Strepetova in the scene of repentance.

V. M. Doroshevich wrote about Katerina Strepetova in the scene of repentance. And S.V. Maksimov told how he happened to sit next to Ostrovsky during the first performance of “The Thunderstorm” with Nikulina-Kositskaya in the role of Katerina. Ostrovsky watched the drama in silence, absorbed in himself. But in that “pathetic scene when Katerina, tormented by remorse, throws herself at the feet of her husband and mother-in-law, repenting of her sin, Ostrovsky, all pale, whispered: “It’s not me, not me: it’s God!” Ostrovsky, obviously, did not believe that he could write such an amazing scene.” It's time for us to appreciate not only the love, but also the repentant impulse of Katerina. Having gone through the stormy trials, the heroine is morally cleansed and leaves this sinful world with the consciousness of her rightness: “He who loves will pray.”

“Death due to sins is terrible,” people say. And if Katerina is not afraid of death, then her sins have been atoned for. Her departure takes us back to the beginning of the tragedy. Death is sanctified by the same full-blooded and life-loving religiosity that has entered the heroine’s soul since childhood. “There is a grave under the tree... The sun warms it... birds will fly to the tree, they will sing, they will bring out the children...”

Katerina dies amazingly. Her death is the last flash of spiritualized love for God's world: trees, birds, flowers and herbs. Monologue about the grave - awakened metaphors, folk mythology with its belief in immortality. A person, dying, turns into a tree growing on a grave, or into a bird making a nest in its branches, or into a flower that gives a smile to passers-by - these are the constant motifs of folk songs about death. When leaving, Katerina retains all the signs that, according to popular belief, distinguished the saint: she is dead as if she were alive. “And exactly, guys, like alive! There’s only a small wound on the temple, and there’s only one drop of blood.”

Katerina and the boar are two opposite people from the same family. Kabanikha is the mistress of the “dark kingdom”. All the characters in this play are either victims of this kingdom, like Tikhon and Boris, or have adapted to it, like Varvara and Kudryash. Katerina, on the other hand, is one character who has not come to terms with her place in this world.

Katerina appears to be a fragile, tender and open-to-feeling young lady, by no means as defenseless as she seems at first glance. She is strong inside, she is a fighter against this “dark kingdom”. Katerina is a girl who is able to stand up for herself, who is capable of much for the sake of her love. But she is alone in this world, and it’s hard for her, so she is looking for support. It seems to her that she finds support in Boris. And she strives for him in every possible way, no matter what. She chose him because Boris stood out among all the young people in this city, and they both had a similar situation. But in the finale, Boris abandons her, and she is left alone against the “dark kingdom.” To resign herself and return to Kabanikha’s home meant not to be herself. Suicide is one way out. Katerina passes away because she does not accept that very world - the world of Kabanikha, Dikiy, Tikhon and Boris. Kabanikha is a completely different person, she is the opposite of Katerina. She is completely satisfied with the world in which she lives. No one ever dared to contradict her, but then Katerina appears, unwilling to put up with Kabanikha’s rudeness, rudeness and cruelty. And therefore Katerina, with her self-esteem, constantly irritates Kabanikha. A conflict is brewing between Katerina and Kabanikha. The same conflict does not come to an explosion until there are reasons for it. And the reason is Katerina’s confession of cheating on her husband. And Katerina understands that after this her life is over, because Kabanikha will then completely bully her. And she decides to commit suicide. After the death of Katerina, Kabanikha remains satisfied, because now no one will resist her. Katerina’s death is a kind of protest against this world, a world of lies and hypocrisy, to which she could never get used to.

But Katerina and Kabanikha have something in common, because they are both able to stand up for themselves, both do not want to put up with humiliation and insult, both have a strong personality. But their reluctance to be humiliated and insulted manifests itself in different ways. Katerina will never respond to rudeness with rudeness. Kabanikha, on the contrary, will try in every possible way to humiliate, offend, and bully a person who says something unpleasant in her direction.

The most suitable comparison between Katerina and Kabanikha is something light and something dark, where Katerina is light and Kabanikha is dark. Katerina is a ray of light in the “dark kingdom”. But this “ray” is not enough to illuminate this darkness that in the end it fades out altogether.