What is the spiritual appearance of a boar. The image and characteristics of the Kabanikh in the play "Thunderstorm" by Ostrovsky: a description of the character, a portrait in quotes
Images of the Wild Boar and Boar in the play. The play "Thunderstorm" occupies a special place in the work of Ostrovsky. In this play, the playwright most vividly described the "world of the dark kingdom", the world of tyrant merchants, the world of ignorance, arbitrariness and despotism, domestic tyranny.
The play takes place in small town on the Volga - Kalinov. Life here, at first glance, is a kind of patriarchal idyll. The whole city is immersed in greenery, beyond the Volga there is an “unusual view”, on its high banks there is a public garden, where the inhabitants of the town often stroll. Life in Kalinovo flows quietly and unhurriedly, there are no upheavals, no exceptional events. News from big world the wanderer Feklusha brings to the town, telling tales to the Kalinovites about people with dog heads.
However, in reality, not everything is so safe in this small, abandoned world. This idyll is already being destroyed by Kuligin in a conversation with Boris Grigorievich, Diky's nephew: Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and naked poverty... more money make money." However, there is no agreement between the rich either: they “feud with each other”, “scribble malicious slander”, “sue”, “undermine trade”. Everyone lives behind oak gates, behind strong locks. “And they don’t lock themselves up from thieves, but so that people don’t see how they eat their own home and tyrannize their family. And what tears flow behind these locks, invisible and inaudible!..
And what, sir, behind these locks is the debauchery of the dark and drunkenness! exclaims Kuligin.
One of the richest, most influential people in the city is the merchant Savel Prokofievich Wild. The main features of the Wild are rudeness, ignorance, irascibility and absurdity of character. “Look for some more scolding like Savel Prokofich is! For no reason will a person be cut off, ”Shapkin says about him. The whole life of Wild is based on "cursing". Neither cash settlements, nor trips to the market - "he does nothing without scolding." Most of all, he gets from Wild to his family and his nephew Boris, who came from Moscow.
Savel Prokofievich is stingy. “... Just give me a hint about money, I will start to inflame my whole interior,” he says to Kabanova. Boris came to his uncle hoping to receive an inheritance, but actually fell into bondage to him. Savel Prokofievich does not pay him a salary, constantly insults and scolds his nephew, reproaching him for laziness and parasitism.
He repeatedly quarrels with Dikaya and with Kuligin, a local self-taught mechanic. Kuligin is trying to find a reasonable reason for Savel Prokofievich's rudeness: "Why, sir Savel Prokofievich, would you like to offend an honest man?" To which Dikoy replies: “A report, or something, I will give you! I don't report to anyone more important than you. I want to think about you like that, I think so! For others you fair man, and I think that you are a robber, - that's all ... I say that you are a robber, and the end. Well, are you going to sue, or what, will you be with me? So you know that you are a worm. If I want, I will have mercy, if I want, I will crush.
“What theoretical reasoning can stand where life is based on such principles! The absence of any law, any logic is the law and logic of this life. This is not anarchy, but something even much worse ... ”, - wrote Dobrolyubov about the tyranny of Wild.
Like most Kaliians, Savel Prokofievich is hopelessly ignorant. When Kuligin asks him for money to install a lightning rod, Dikoi declares: “The storm is sent to us as a punishment, so that we feel, and you want to defend yourself with poles and horns ...”
Wild represents the "natural type" of the petty tyrant in the play. His rudeness, rudeness, mockery of people are based, first of all, on an absurd, unbridled character, stupidity and lack of opposition from other characters. And only then already on wealth.
It is characteristic that practically no one offers Wild active resistance. However, it turns out to be not so difficult to calm him down: on the ferry he was “cursed” by an unfamiliar hussar, Kabanikha is not shy in front of them. “There are no elders above you, so you are swaggering,” Marfa Ignatyevna bluntly declares to him. It is characteristic that here she is trying to fit Wild to her vision of the world order.
Kabanikha explains the constant anger, irascibility of Diky by his greed, but Savel Prokofievich himself does not even think of denying her conclusions: “Who cares about his own good!” he exclaims.
Much more complex in the play is the image of Kabanikha. This is an exponent of the “ideology of the dark kingdom”, which “created for itself the whole world ok special rules and superstitious customs.
Marfa Ignatievna Kabanova is a rich merchant's wife, a widow who cultivates the customs and traditions of antiquity. She is grumpy, constantly dissatisfied with others. It gets from her, first of all, at home: she “eats” her son Tikhon, reads endless moralizing to her daughter-in-law, and tries to control her daughter’s behavior.
The boar zealously defends all the laws and customs of Domostroy. A wife, in her opinion, should be afraid of her husband, be silent and submissive. Children should honor their parents, unquestioningly follow all their instructions, follow their advice, respect them. None of these requirements, according to Kabanova, is fulfilled in her family. Marfa Ignatievna is dissatisfied with the behavior of her son and daughter-in-law: “They don’t know anything, there is no order,” she argues alone. She reproaches Katerina with the fact that she does not know how to see off her husband "in the old way" - therefore, she does not love him enough. “Another good wife, after seeing her husband off, howls for an hour and a half, lies on the porch ...”, she instructs her daughter-in-law. Tikhon, according to Kabanova, is too soft in dealing with his wife, not properly respectful towards his mother. “They don’t really respect elders nowadays,” says Marfa Ignatievna, reading instructions to her son.
The boar is fanatically religious: she constantly remembers God, sin and retribution, and there are often wanderers in her house. However, the religiosity of Marfa Ignatievna is nothing but hypocrisy: “The hypocrite ... She clothes the poor, but she completely ate the household,” Kuligin remarks about her. In her faith, Marfa Ignatievna is severe and adamant, there is no place for love, mercy, forgiveness in her. So, at the end of the play, she does not even think about forgiving Katerina her sin. On the contrary, she advises Tikhon to bury his wife alive in the ground so that she is executed.
Religion, ancient rites, pharisaical complaints about their lives, playing on filial feelings - Kabanikha uses everything to assert his absolute power in the family. And she "gets her way": in the harsh, overwhelming atmosphere of domestic tyranny, Tikhon's personality is mutilated. “Tikhon himself loved his wife and would be ready to do everything for her; but the oppression under which he grew up has so disfigured him that there is no strong feeling, no resolute striving can develop. He has a conscience, there is a desire for good, but he constantly acts against himself and serves as a submissive tool of his mother, even in his relationship with his wife, ”dobrolyubov writes.
The simple-hearted, gentle Tikhon lost the integrity of his feelings, the opportunity to show the best features of his nature. Family happiness was closed to him from the very beginning: in the family where he grew up, this happiness was replaced by “Chinese ceremonies”. He cannot show his love for his wife, and not because “the wife should be afraid of her husband”, but because he simply “does not know how” to show his feelings, which have been cruelly suppressed since childhood. All this led Tikhon to a certain emotional insensitivity: he often does not understand Katerina's condition.
Depriving her son of any initiative, Kabanikha constantly suppressed his masculinity and at the same time reproached him for his lack of masculinity. Subconsciously, he seeks to make up for this "lack of masculinity" in drinking and rare "partying" "in the wild." Tikhon cannot realize himself in some business - probably, his mother does not allow him to manage affairs, considering his son unsuitable for this. Kabanova can only send her son on an assignment, but everything else is under her strict control. It turns out that Tikhon is deprived of both his own opinion and his own feelings. It is characteristic that Marfa Ignatievna herself is to some extent dissatisfied with her son's infantilism. It slips through her intonation. However, she probably does not realize the extent of her involvement in this.
In the Kabanov family formed and life philosophy Barbarians. Her rule is simple: “do whatever you want, as long as it’s sewn and covered.” Varvara is far from Katerina's religiosity, from her poetry, exaltation. She quickly learned to lie and dodge. We can say that Varvara, in her own way, "learned" the "Chinese ceremonies", having perceived their very essence. The heroine still retains immediacy of feelings, kindness, but her lie is nothing more than reconciliation with Kalinov's morality.
It is characteristic that in the finale of the play both Tikhon and Varvara, each in their own way, rebel against the "power of mother". Varvara runs away from home with Kudryash, while Tikhon expresses his opinion openly for the first time, reproaching his mother for the death of his wife.
Dobrolyubov noted that “some critics even wanted to see in Ostrovsky a singer of wide natures”, “they wanted to assign arbitrariness to a Russian person as a special, natural quality of his nature - under the name “breadth of nature”; trickery and cunning also wanted to be legitimized among the Russian people under the name of sharpness and cunning. In the play "Thunderstorm" Ostrovsky debunks both of these phenomena. Arbitrariness comes out for him "heavy, ugly, lawless", he sees in it nothing but tyranny. Roguery and cunning do not turn into sharpness, but vulgarity, reverse side tyranny.
As is known, in classical works and fairy tales there are several types of heroes. In this article we will talk about a pair of antagonist - protagonist. This opposition will be considered on the example of Alexander Nikolayevich Ostrovsky's play "Thunderstorm". main character of this play, in other words, the protagonist is a young girl, Katerina Kabanova. She is opposed, that is, she is an antagonist, Marfa Ignatievna Kabanova. On the example of comparisons and analysis of actions, we will give more complete description Kabanikhi in the play "Thunderstorm".
Let's start with the list actors: Marfa Ignatievna Kabanova (Kabanikha) - an old merchant's wife, a widow. Her husband died, so the woman had to raise two children alone, manage the household and take care of business. Agree, it is quite difficult at the present time. Despite the fact that the nickname of the merchant's wife is indicated in brackets, the author never calls her that. The text contains replicas of Kabanova, not Kabanikha. With a similar technique, the playwright wanted to emphasize that people call a woman that among themselves, but they personally treat her with respect.
That is, in fact, the inhabitants of Kalinov do not like this person, but they are afraid of him.
Initially, the reader learns about Marfa Ignatievna from the lips of Kuligin. A self-taught mechanic calls her "a hypocrite who ate all the household." Curly only confirms these words. Then a wanderer, Feklusha, appears on the stage. Her judgment about Kabanikh is just the opposite: a quote. As a result of this disagreement, there is additional interest in this character. Marfa Ignatievna appears on stage already in the first act, and the reader or viewer is given the opportunity to verify the veracity of Kuligin's words.
The boar is not happy with the way her son is behaving. She teaches him to live, despite the fact that the son is already an adult and has been married for a long time. Marfa Ignatievna shows herself as a grumpy domineering woman. Her sister-in-law Katerina behaves differently. In general, it is quite interesting to trace the similarities and differences between these characters throughout the play.
In theory, both Kabanikha and Katerina should love Tikhon. For one he is a son, for another he is a husband. However, neither Katya nor Marfa Ignatievna to Tikhon true love do not feed. Katya pities her husband, but does not love him. And Kabanikha treats him like a guinea pig, as a creature on which you can vent your aggression and try manipulation methods, hiding behind maternal love. Everyone knows that for every mother the most important thing is the happiness of her child. But Marfa Kabanova in The Thunderstorm is not at all interested in Tikhon's opinion. Through years of tyranny and dictatorship, she was able to accustom her son to the fact that the absence of her own point of view is quite normal. Even observing how carefully and, at some points, gently Tikhon treats Katerina, Kabanikha is constantly trying to destroy their relationship.
Many critics argued about the strength or weakness of Katerina's character, but no one doubted the strength of Kabanikh's character.
This is a truly cruel person who tries to subjugate others. She would have to rule the state, otherwise she has to waste her “talents” on her family and a provincial town. Varvara, daughter of Marfa Kabanova, has chosen pretense and lies as a way of coexisting with her domineering mother. Katerina, on the contrary, strongly opposes her mother-in-law. They seemed to take two positions, truth and lies, defending them. And in their conversations that Kabanikha should not categorically accuse Katya of mistakes and various sins, the struggle between light and darkness, truth and " dark kingdom”, whose representative is Kabanikha.
Katerina and Kabanikha are Orthodox Christians. But their faith is completely different. For Katerina, faith that comes from within is much more important. For her, the place of prayer is not important. The girl is pious, she sees the presence of God all over the world, and not just in the church building. The religiosity of Marfa Ignatievna can be called outward. For her, rituals and strict observance of the rules are important. But behind all this obsession with practical manipulation, faith itself disappears. It is also important for Kabanikha to observe and maintain old traditions, despite the fact that many of them are already outdated: “You will not be afraid, and even more so. What is the order in the house will be? After all, you, tea, live with her in law. Ali, do you think the law means nothing? Yes, if you keep such stupid thoughts in your head, you would at least not chatter in front of her and in front of your sister, in front of the girl. The characterization of Kabanikha in Ostrovsky's The Thunderstorm is impossible without mentioning her almost maniacal attention to detail. Tikhon, the son of Kabanova Sr., becomes an inveterate drunkard, the daughter of Varvara lies, walks with whomever she wants, and looks like she will run away from home, disgracing her family. But Marfa Ignatievna is worried that they enter the threshold without bowing, not as her great-grandfathers taught. Her behavior is reminiscent of the behavior of the priestesses of a dying cult, who are trying with all their might to keep it alive with the help of external paraphernalia.
Katerina Kabanova was a somewhat suspicious girl: in the "prophecies" of the half-witted lady, she seemed to her own fate, and in the thunderstorm the girl saw the punishment of the Lord. The boar is too mercantile and mundane for that. She is closer to the material world, practicality and utility. Thunderstorm and thunder don’t scare Kabanova at all, she just doesn’t want to get wet. While the inhabitants of Kalinovo are talking about the raging elements, Kabanikha grumbles and expresses his dissatisfaction: “Look what kind of races he spread. There is so much to hear, nothing to say! The times have come, some teachers have appeared. If the old man thinks like that, what can you demand from the young!”, “Don’t judge yourself older! They know more than you. Old people have signs of everything. an old man won't say a word to the wind."
The image of Kabanikh in the play "Thunderstorm" can be called a kind of generalization, a conglomeration of negative human qualities. It is difficult to call her a woman, a mother, and a person in principle. Of course, she is far from the fools of the city of Foolov, but her desire to subdue and rule killed all human qualities in Marfa Ignatievna.
Characterization of the image of the Kabanikh in the play "Thunderstorm" by Ostrovsky |
In 1845, Ostrovsky worked as a clerical clerk at the Moscow Commercial Court.
A whole world of dramatic conflicts opened before him. This is how the talent of the future master of speech characterization of characters in his plays was brought up.
Ostrovsky in the drama "Thunderstorm" very clearly shows the whole global difference between the old patriarchal views and the new ones. All the most important character traits of the characters are clearly visible, their reactions to developing events. Consider speech characteristic Boars.
Morals. She always observes the rules of the house-building. In everything new, she sees a threat to the established course of things, she condemns the youth for not having “proper respect”. Kabanova is terrible not by loyalty to the old days, but by tyranny "under the guise of piety."
“It’s funny to look at them ... they don’t know anything, there’s no order. They don’t know how to say goodbye in a way ... What will happen, how the old people will die, how the light will stand, I don’t know.”
Kabanova.
Homemade dance to your own tune. She makes Tikhon say goodbye to his wife in the old way, causing laughter and a feeling of regret among those around him. The whole family lives in fear of her. Tikhon, completely depressed by his domineering mother, lives with only one desire - to escape somewhere and take a walk.
“I, it seems, mother, not a single step is out of your will.”
“As soon as he leaves, he will drink. Now he is listening, and he himself is thinking how he could break out as soon as possible.
She says that she “dresses the poor, but ate the household completely.” This characterizes the merchant from a bad side. The boar, in his speech, tries to pretend to be kind and affectionate, although sometimes it is speech that reveals negative traits her character, such as a passion for money.
“Complete, complete, don’t worry! Sin! I have long seen that your wife is dearer to you than your mother. Since I got married, I already see love from you, I don’t see it.
Katerina.
Experiences all the hardships of a family environment. However, unlike Tikhon, she has a more solid character, and lacks the audacity, albeit secretly, not to obey her mother.
“And I was not a liar, but I learned when it became necessary.”
One of the most striking heroes of the play "Thunderstorm" is Marfa Ignatievna Kabanova, also known as Kabanikha. Marfa Ignatievna is a rich merchant Kalinova, mother of Tikhon and Varvara Kabanovs. With her despotic behavior, she cornered all the household - her children and daughter-in-law. From her first appearance in the play, her imperiousness and grumpiness are remembered. hallmark Kabanikhi in the play becomes obsessive conservatism, as a result of which she looks down on her son, daughter and daughter-in-law, considering them stupid, naughty children, whom she is obliged to educate in every way.
Because of her pressure, Tikhon, already an adult married man, continues to be dependent on her opinion and is not capable of independent living. "... I, it seems, mother, not a single step out of your will ...", he says to his mother. The Kabanikha is also formidable and strict, her overwhelming nature makes all households be subordinate to her, or lie to her in order to have at least some independence. She is cruel and jealous, which explains her dislike for Katerina, who, in her opinion, takes her son away from her. And even when Katerina is dead, she refuses to forgive her, even though this is against the laws of Christianity.
Despite a very clearly folded image, the behavior of Kabanikh is sometimes contradictory. So, she considers herself the main mentor of her children and daughter-in-law, without whom they would not have learned the right life.
“It’s good, whoever has elders in the house, they keep the house ...”, - this is how she characterizes the state of affairs in the Kabanovs’ house. Generally speaking, those who do not know Kabanikha and do not see constant family quarrels could decide that she is a very decent woman. She often prays, adheres to traditional human values, she helps those in need, and generally presents herself as an exemplary mother. Let in reality the Kabanikha arranged a domestic dictatorship, she is driven by a maternal desire to protect the family from troubles.
Thus, Marfa Ignatievna, being the main antagonist of the play, does not want to be like that at all. She sees herself as a benefactor, although she herself is a tyrant. As the saying goes, the road to hell is paved with good intentions. So no matter how correct Kabanikh's motives are, her formidable, cruel and stubborn nature would never allow her to become who she considers herself to be.
Updated: 2018-04-02
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Marfa Ignatievna Kabanova is one of the main images of the play "Thunderstorm". An elderly rich merchant's wife - a widow, focuses all her attention on children, dominates and commands in the house. She was born and lived in a house-building environment, she likes this way of life and is implanted in the family.
First of all, the young generation of the Kabanovs suffers from such reactionary orders: daughter Varvara and son Tikhon with his wife Katerina. Kabanikha believes that fear should dominate in relations between people and tries to instill it.
"... You will not be afraid, and even more so of me. What kind of order will this house be? .."
She constantly finds fault with Tikhon for his softness and love for his wife. In her opinion, a wife should fear and respect her husband, and not love. Love is an empty and even shameful feeling:
“What are you hanging around your neck, shameless! Don't say goodbye to your lover! He is your husband - the head! Al order do not know? Bow down at your feet!"
She does not know the feeling of love even in relation to children. The most important thing is that the children obey and respect her in everything, follow the traditions, and do not go out of their mother's will. The boar strangles any disobedience in the bud, "eats" the household, killing in them the desire to resist and live by their own mind.
Such an upbringing made Tikhon a weak-willed and downtrodden person who not only cannot defend himself, but also throws his wife to the "eating" of his mother. He leaves her alone with Kabanikha, not even trying to stand up for her:
"... I, it seems, mother, not a step out of your will ..."
To survive in such an environment, you need to be able to deceive, which Barbara does:
"... you remember where you live! Our whole house rests on that. And I was not a liar, but I learned when it became necessary ..."
The boar is religious: she prays a lot, gives alms to the poor:
"...Well, I'll go pray to God; don't bother me..."
She sees sin everywhere and constantly frightens everyone with hellish torments for sins. The boar is ignorant and an ardent opponent of progress, she is frightened and frightened by everything new and unknown, she believes in the absurd inventions of the wanderer Feklusha.
The stuffy, musty atmosphere destroys the family: Katerina dies, Varvara runs away from home, even Tikhon dares to blame his mother for the death of his wife. Kabaniha's world is falling apart despite her efforts. After all, she simply did business, as her parents taught her, and then her husband. She, too, always obeyed and did as she was told.
"... Don't judge your older self! They know more than you. Old people have signs of everything. An old man won't say a word to the wind..."
But then her husband died, a huge household and family fell on the shoulders of Kabanikh, and she conducted business strictly, sternly, according to the precepts of her ancestors. And everything collapsed, life had already ceased to fit into the old framework, and Kabanikha was helpless.
