Two dramas by A. N. Ostrovsky are devoted to the same problem - the position of women in Russian society. Before us are the fates of three young women: Katerina, Varvara, Larisa. Three images, three destinies.
Katerina is different in character from everyone else characters drama “The Thunderstorm”. Honest, sincere and principled, she is not capable of deception and falsehood, of resourcefulness and opportunism. Therefore, in a cruel world where wild and wild boars reign, her life turns out to be unbearable, impossible and ends so tragically. Katerina's protest

Against Kabanikha is a struggle of the bright, pure, human against the darkness of lies and cruelty of the “dark kingdom”. No wonder Ostrovsky, who paid great attention to names and surnames, gave the heroine of “The Thunderstorm” the name Ekaterina, which translated from Greek means “eternally pure.” Katerina is a poetic person. Unlike the rude people around her, she feels the beauty of nature and loves it. It is the beauty of nature that is natural and sincere. “I used to get up early in the morning; In the summer, I’ll go to the spring, wash myself, bring some water with me, and that’s it, I’ll water all the flowers in the house. I had many, many flowers,” she says about her childhood. Her soul is constantly drawn to beauty. The dreams were filled with miracles and fabulous visions. She often dreamed that she was flying like a bird. She talks about her desire to fly several times. With this, Ostrovsky emphasizes the romantic sublimity of Katerina’s soul. Married early, she tries to get along with her mother-in-law and love her husband, but in the Kabanovs’ house no one needs sincere feelings. The tenderness that fills her soul finds no application. Deep melancholy sounds in her words about children: “If only there were someone’s children!” Eco woe! I don’t have any children: I would still sit with them and amuse them. I really like talking to children – they are angels.” What a loving wife and mother she would have been under different conditions!
Katerina’s sincere faith differs from Kabanikha’s religiosity. For Kabanikha, religion is a dark force that suppresses the will of a person, and for Katerina, faith is poetic world fairy tale images and supreme justice. “... I loved going to church to death! Exactly, it happened that I would enter heaven, and I didn’t see anyone, and I didn’t remember the time, and I didn’t hear when the service was over,” she recalls.
Bondage is Katerina’s main enemy. The external conditions of her life in Kalinov seem to be no different from the environment of her childhood. The same motives, the same rituals, that is, the same activities, but “everything here seems to be from under captivity,” says Katerina. Bondage is incompatible with the freedom-loving soul of the heroine. “And bondage is bitter, oh, so bitter,” she says in the scene with the key, and these words, these thoughts push her to the decision to see Boris. In Katerina’s behavior, as Dobrolyubov said, a “decisive, integral Russian character” was revealed, which “will withstand itself, despite any obstacles, and when there is not enough strength, it will die, but will not change itself.”
Varvara is the complete opposite of Katerina. She is not superstitious, is not afraid of thunderstorms, and does not consider strict adherence to established customs obligatory. Due to her position, she cannot openly oppose her mother and therefore is cunning and deceives her. She hopes that marriage will give her the opportunity to leave this house, to escape from the “dark kingdom.” To Katerina’s words that she doesn’t know how to hide anything, Varvara replies: “Well, but you can’t live without it!” Remember where you live! Our whole house rests on this. And I was not a liar, but I learned when it became necessary.” Varvara despises her brother’s spinelessness and is indignant at her mother’s heartlessness, but she cannot understand Katerina. She is only interested and concerned about the external side of life. She resigned herself and adapted to the laws of the old world around her.
Larisa, unlike Katerina, grew up and was raised in conditions where the weak are humiliated, where the strongest survive. Her character does not have the integrity that Katerina has. Therefore, Larisa does not strive, and cannot, realize her dreams and desires. Her name means “Seagull” in Greek. This bird is associated with something white, light, and piercingly screaming. And this image fully matches Larisa.
Katerina and Larisa have different upbringings, different tempers, different ages, but they are united by the desire to love and be loved, to find understanding, in a word, to become happy. And each one goes towards this goal, overcoming the obstacles created by the foundations of society.
Katerina cannot connect with her loved one and finds a way out in death.
Larisa's situation is more complicated. She became disillusioned with her loved one and stopped believing in the existence of love and happiness. Realizing that she is surrounded by lies and deception, Larisa sees two ways out of this situation: either the search for material values, or death. And given the circumstances, she chooses the first. But the author does not want to see her as an ordinary dependent woman, and she leaves this life.

You are currently reading: Women's images in the plays by A. N. Ostrovsky “The Thunderstorm” and “Dowry”

Being in many ways a turning point for Russian society as a whole, the 19th century brought many fundamental changes in all areas state life. Since this process could not but be very significant for the Russian people, there was a need to attract public attention to it. Literature took on this function. To raise the most pressing issues of our time, many bright, colorful characters were created. It should be noted that the works were traditionally dominated by men's images, displaying the most

Socially active representatives of society of that time. However, if you pay attention to the works of many Russian classics, starting with Fonvizin and Griboyedov, it is impossible not to notice their interest in depicting female images. Alexander Nikolaevich Ostrovsky was no exception. On the contrary, he created whole line very expressive female characters, capable, in the words of Goncharov, “to think, speak and act as they think, speak and act themselves,” each of whom is deeply typical and at the same time individual and valuable in itself.
It is not difficult to note that in general, family and everyday conflicts predominate in Ostrovsky’s work, in which the dominant role is played not by a man, but by a woman. The underlying motive here is often the confrontation between old and new. Usually it is expressed by a conflict between a strong, despotic woman of the older generation and a young, socially helpless girl (a kind of motive for the relationship between the “executioner and the victim”). This situation is typical for both Ostrovsky’s comedy “The Forest” and his drama “The Thunderstorm”.
It should be emphasized that in the comedy “Forest” this conflict is revealed in a more simplified form (compared to “The Thunderstorm”). Older generation here represented by Gurmyzhskaya. Ostrovsky creates a very colorful image of a wealthy landowner, who once shone in the world, now living in the provinces. As one of the most eloquent characteristics, the author cites her imaginary penchant for charity. According to her, she is only “a clerk with her money, and the owner of it is every poor, every unfortunate person.” Gurmyzhskaya is a characteristic type of heroine, representing a noble version of the “tyrant” principle, so fully revealed by Ostrovsky in “The Thunderstorm”. In the comedy “The Forest” this motive is not expressed so clearly. Gurmyzhskaya lives with the knowledge of her former life and does not want to part with it. To do this, she discharges a dropout high school student, Bulanov, from St. Petersburg. Ostrovsky very clearly paints a grotesque-comedy image of a careerist and “survivor”. Gurmyzhskaya falls in love with him, and Aksyusha becomes her “opponent,” according to Strakhov, “an honest and mentally strong girl,” but in many ways inferior to Katerina from “The Thunderstorm,” despite the fact that parallels in the construction of the image are clearly visible. For example, she also lives under the patronage of a strong, powerful woman, and also falls in love with young man, under the command of his father and completely and completely dependent on him (it’s hard not to remember Boris and Dikiy from “The Thunderstorm”); finally, she also strives for personal freedom, for independent self-determination. However, despite some deeply meaningful psychological sketches (for example, her conversation with Peter, in which she admits: “I have no tears, and there is no great melancholy, but, I tell you, my heart is empty here”), the image is much more simplified, devoid of deep psychological analysis, characteristic of Ostrovsky in “The Thunderstorm”. N.A. Dobrolyubov points out that “he does not punish either the villain or the victim.” Indeed, neither Gurmyzhskaya with Bulanov, nor Aksyusha with Peter and other heroes receive a harsh assessment: Ostrovsky draws the readers’ attention not to specific heroes, but to the social types that they represent.
The same situation can be seen in “The Thunderstorm”, but here a much more detailed construction is obvious psychological portrait. Local nobility In this case, it gives way to the merchants. The role of Gurmyzhskaya is played by Kabanikha, “a typical tyrant of Russian life.”
This is a very colorful figure, symbolizing one of the most significant parts of the “dark kingdom” and speaking on behalf of patriarchal principles. It represents the impersonal “we”, the old order, doomed to destruction even in such a “backwater” city of Kalinov, where it still has sufficient strength. The new time frightens Kabanikha, she senses the changes, notices that “they don’t really respect elders these days,” and tries by all means to maintain her authority. Ostrovsky emphasizes that she is not doing this out of malice, that her trouble is that she sincerely believes that young people “don’t know anything, have no order” and that “it’s good that those who have elders in the house, they the house lasts as long as you live.” Just like Gurmyzhskaya, Kabanikha has a strongly developed motive of imaginary charity, she welcomes “strangers, shows them favors,” listens to their words, while at the same time keeping her family in strictness and obedience.
The main character of “The Thunderstorm,” Katerina, finds herself in such conditions. This is an incomparably more complex (compared to Aksyusha) image, causing a lot of controversy in Russian criticism. Due to its deep internal contradictions, modern critics tend to highlight the “light and dark sides of Katerina’s soul.” The “bright side” includes her poetry and romanticism, sincere religiosity, as well as her “complete opposition to all tyrant principles.” Ostrovsky draws an example of a “female energetic character.” Although not particularly educated and striving for high ideals, Katerina has a strong sense of inner freedom. Any attempts to impose any restrictions on her turn all her strength and energy into protest. And here the “dark side” of her soul is revealed, indicating her connection with the “dark kingdom”. Although, according to Dobrolyubov, “Katerina does not at all belong to the violent character, never dissatisfied, loving to destroy at any cost,” she nevertheless becomes a slave to her emotions. Her wounded pride and offended self-esteem come to the fore, pushing her onto the sinful path of adultery. It should be noted that, despite her great social dependence, in Ostrovsky it is the woman who plays the leading role in love triangle, and the lover does not always correspond to the deep inner decency of the heroine. This situation is observed both in “The Thunderstorm” and in “The Forest”. Actually, Katerina’s love for Boris is part of a protest against the growing oppression of the “dark kingdom”, a short-term consolation for her. However, having become completely confused in the current situation, she acutely feels the need for liberation and, being an idealist at heart, sees it only in death. Ostrovsky emphasizes that this is the only way out in this case, emphasizing this with the words of Boris: “Only one thing should be asked of God, that she die as soon as possible, so that she does not suffer for a long time!”, and also with a short but expressive remark from Tikhon, pronounced over the dead Katerina: “Good for you, Katya!”
Speaking about the image of Katerina, one cannot fail to mention the figure of Varvara, who here performs the function of a carefree, flighty soubrette. Ostrovsky deliberately pushes the reader to compare these two images, focusing even more on the positive features main character. “You’re kind of tricky, God bless you!” - says Varvara, favorably highlighting this “wisdom” with her frivolity and, although practical, but superficial “grip”. If we turn to the comedy “The Forest”, here the role of the soubrette is played by Ulita, Gurmyzhskaya’s housekeeper, but she is by no means an antithesis, but, on the contrary, a double of her ardent and amorous mistress, she is also possessed by dreams (“So sometimes she finds something like a cloud,” - admits). Gurmyzhskaya’s love affair with Bulanov is emphasized by Ulita’s love for Schastlivtsev.
Many of Ostrovsky’s female images are satirical and grotesque in nature. In the comedy “The Forest”, according to the laws of the genre, this applies to all characters; As for “The Thunderstorm,” here it was the satirical female images that were one of the expressions of the comedy principle. This includes the wanderer Feklusha and the “girl” Glasha. Both images can be safely called grotesque-comedy. Feklusha seems to be a storyteller of folk tales and legends, pleasing those around her with her stories about how “the Saltans rule the earth” and “no matter what they judge, everything is wrong,” and about the lands “where all the people are with dog heads.” Glasha is a typical reflection of ordinary “Kalinovites” who listen with reverence to such Feklush, confident that “it’s still good that good people There is; no, no, and you’ll hear what’s going on in this world, otherwise you’d die like a fool.” Both Feklusha and Glasha belong to the “dark kingdom,” dividing this world into “theirs” and “theirs,” into patriarchal “virtue,” where everything is “cool and orderly,” and into external vanity, from which the old order and time begin “to come into humiliation.” With these characters, Ostrovsky introduces the problem of the absurd ignorance and lack of enlightenment of the old conservative way of life, its inconsistency with modern trends.
Thus, summing up all of the above, it should be emphasized that, firmly aware of all the changes and trends in society, Ostrovsky was nevertheless opposed to the ideas of violent changes and saw his educational activities in a rather traditional aspect: in moral re-education, exposing vice, the discovery of the virtue of simple and eternal life values. And an important role in revealing this topic was played by the characters so precisely selected and “written out” by him, including female ones, as dominant in many of his plays, including “The Thunderstorm” and “The Forest.” It was their presence that made possible such plot devices as the conflict between the old and new generations, the confrontation or, on the contrary, the union of a strong, thoughtful personality and carefree but practical staff, the introduction of comedic and grotesque images and much more, which ultimately ensured the completion of the task and made Ostrovsky one of the most outstanding Russian playwrights of the 19th century.

Some of them have long lost their relevance due to changing historical realities. But that doesn't stop me from still finding life truth in wonderful dialogues and characters. One of the greatest dramas that still excites the hearts of readers and theater fans is the play created by A. N. Ostrovsky, “The Thunderstorm.” The confrontation of the emotional, hot-tempered and sensitive girl Katerina with the patriarchal family even today finds many responses in the souls of people. First of all, because it's a tragedy. human feelings, which in one form or another comes to life in every generation and under any social system.

Katerina and her entourage

Katerina Kabanova - central character plays "The Thunderstorm". Ostrovsky portrayed her as an extremely integral person. Her very first words in a dialogue with her mother-in-law say a lot: Katya is clearly a very direct, honest girl who does not know how to bend her heart. When she hears indirect attacks about herself, she immediately intervenes to clarify the situation. And in a fairly direct, albeit friendly manner, resolve the conflict face to face with its instigator. But the rest of the Kabanov family is not like that. An oppressive mother-in-law in no way needs to be spoken to directly and openly. What helps her divide and rule in her home is precisely the atmosphere of omissions, hidden hostility and the ability to subtly and imperceptibly provoke. That's really true" dark kingdom"! An open conversation, sorting out relationships without involving third parties and the desire to live in harmony are absolutely not in use here. The hypocritical Varvara and the timid, obedient Tikhon can do nothing to change the order of things established by Kabanova once and for all. Bringing the few heroes of the drama “The Thunderstorm” onto the stage, Ostrovsky painted them very carefully and endowed each with a bright, recognizable character.

Were there alternatives?

Having married and fallen in love with another person, Katerina herself slammed the trap, which led her to a tragic end. But even if the ill-timed feeling for another man had not led her to a mental crisis and suicide, it is hard to believe that her life could have turned out happily. The inability to fit into either the existing patriarchal system or the husband’s family, mired in lies and hypocrisy - all this would sooner or later lead to collapse, the metaphor of which is the impending thunderstorm. Ostrovsky skillfully created a depressing atmosphere with just a few remarks and showed the approaching denouement of the tragedy that was brewing in the soul of the main character.

Duplicity is the only alternative

Initially brought up to sharply oppose any doublethink, Katerina was not used to hiding something from loved ones. Varvara, her husband's sister, in this sense is her complete opposite. She, by her own admission, long ago realized “what kind of house she lives in,” and learned to lie to her strict mother and spineless brother Tikhon. Katerina exaggeratedly does not accept any lies - she constantly subjects even her own conscience to strict interrogations. Naturally, for her even death turns out to be closer than a double life in which there would be a place for a lover. Ostrovsky portrayed her so extremely truthfully. “The Thunderstorm” in abbreviation will give an idea of ​​the plot and characters, and will introduce you to the most striking dialogues. But in order to make an objective judgment about the work, it is better to read it in its entirety. The way “The Thunderstorm” was originally created. Ostrovsky, without a doubt, is an excellent playwright, and reading will give moments of pleasure to all lovers of good drama.

At all times, in life and in works of literature, at home and not at balls, with a man or with friends, women remained and remain different. Each of them has its own character, its own ideals, hobbies and aspirations. One half of the female part of humanity is completely opposite to the second, and this is normal, this is the course of life, but sometimes it happens that these very antipodes are at enmity with each other and, of course, the one who is stronger and more powerful wins. So, for example, in Alexander Nikolaevich Ostrovsky’s work “The Thunderstorm” two completely opposite images fit under one roof.

The first female image - Katerina. It's very honest and kind girl who loves and respects everyone, she never insults, builds or lectures anyone. The girl grew up in a very good family, where she was loved, and she was free all her girlhood until she met Tikhon and married him. Since childhood, Katerina was open to everything new, the world and people, and she also sincerely believed in God and helped her parents. Once in Tikhon’s house, she also fell into the hands of his mother, and was amazed at how different everything was here. The girl had no choice but to listen to Kabanova and suffer and suffer until death came for her, or, as it turned out in reality, she would not go towards her death.

Kabanova- a powerful and despotic woman who, on the one hand, believed that the man in the family is the boss and must be obeyed, and on the other hand, she commanded her son and his wife. The Domostroy order reigned in Kabanova’s house; she demanded that you obey her, respect her, and do any work she gives. She constantly humiliated Katerina, treated her not as a person, put pressure on her, and when she, having committed a sin, repented, the woman was happy, because this was a new reason to torment the poor girl. Everyone understands that this could not last forever. Unfortunately, nothing good came of this, and Katerina committed suicide, and Kabanikha, who tried to impose her opinion on everyone, force them to obey her and live according to traditions and follow customs, was eventually left alone, even her son, whom she had high hopes. But, as you know, good is always stronger than evil, it defeats it, and justice ultimately triumphs. So in this work, Kabanikha received what she deserved, albeit at such a price as the death of the unfortunate young girl.

Unfortunately, Kabanova still managed to bring her daughter-in-law to such a state, but Katerina, being pious and very honest, could not live with the thought that she had committed a huge sin, and not like Kabanova - she herself would never forgive herself for it .

Of course, in life there is not only black and white. So in “The Thunderstorm”, there is another image - Varvara. This is the daughter of the despotic Kabanikha, who, despite her mother’s morals, continued to walk with her lover. She was not like her brother, she was freer. That is why Varvara helped the main character. She arranged a date with Boris and always supported her with words. Varvara was undoubtedly kind, but this kindness ceases to be so when we remember who her mother is. Varvara is broken by Kabanikha, so a priori she cannot be a positive character.

This is how such different women fit under one roof and on the pages of one book.

Option 2

The female image occupies a significant part in Russian literature. It is women who become examples real life with experiences and difficulties in the works of the great Russian classics.

Known not only in the 19th century, but also in modern world playwright Alexander Ostrovsky also paid special attention to the female image. All the heroines in his works are diverse, with imperfect characters, bright behavior and their own individuality. You can clearly see the variety of images in the dramatic story “The Thunderstorm”.

"The Thunderstorm" was written in 1859. The action takes place in a fictional city on the banks of the Volga River. The main characters are the Kabanov family. The young girl Katerina, on the instructions of her parents, married the drunkard Tikhon, because he came from a noble family. In the new house, Tikhon’s mother, Kabanikha, rules everything. The mistress of the house humiliates and oppresses her daughter-in-law in every possible way, forcing her to do stupid things. And only in Varvara, Kabanikha’s daughter, does Katerina find understanding and sympathy. At the center of the work are social conflict and bright female images that are contrasted with each other.

The first female image is the image of the main character Katerina. The heroine is presented as a sincere, dreamy and romantic girl. Having married Tikhon, Katerina finds herself in a completely different house, filled with anger and hatred. The girl finds solace in Varvara and her new lover Boris. But Katerina cannot cope with her feelings and chooses the path of suicide.

Marfa Kabanova or Kabanikha speaks in the following way. Ostrovsky contrasted this female image with Katerina. Kabanikha is a powerful and cruel merchant who finds joy in humiliating those around her. Everyone living in her house should act only according to the instructions of the mistress. Marfa Kabanova is a symbol of cruelty, tyranny and despotism.

No less in a bright way is Varvara, daughter of Kabanikha. Alive, going against the system and the rules of her mother, Varvara helps Katerina and provides support. But the heroine does not act openly, she prefers cunning and lies. At the end, Varvara runs away with her lover Kudryash, disregarding her mother’s laws.

Each of the heroines is interesting in its own way, because each represents an era of that time.

As we often hear from others, and we ourselves often use in speech, many sayings and proverbs. It’s not for nothing that they are called the grains of wisdom of the people. It’s true: the statements are short – the grains are also small, and from the grains a fruit grows

* This work is not a scientific work, is not a final qualification work and is the result of processing, structuring and formatting the collected information intended for use as a source of material for independent preparation of educational works.

A.N. Ostrovsky spent a very long time looking for the main characters of his plays “The Thunderstorm” and “Dowry.” He went through many options, he needed a hero who would at the same time evoke in the reader: contempt, pity, delight and sympathy. And as they say, “those who seek will always find,” so Ostrovsky found what he wanted. And it seems to me that it was not for nothing that he chose the main characters so carefully, since they really fit these roles, even if it was the main character of the story “thunderstorm” - Katerina, or the main character of the story “dowry” - Larisa. They are both very interesting characters, to some extent they are even very similar, but it is impossible to say that they are the same, since they are not.

In the story “Thunderstorm,” the main character Katerina had a hard time taking into account. Yes, at the beginning we see a faithful wife who loves her husband, one might even say daughter-in-law, who is trying to find have a common language with the husband's mother, i.e. with my mother-in-law. But then, when we begin to learn more and more new things about Katerina, we begin to understand that she does not love her husband at all, she remains faithful only because she knows that it is her duty. And she tries not to conflict with her mother-in-law just so that it will be at least a little easier for her to live in a house where there are only scandals, and which, of course, did not pass without the presence of her grumpy mother-in-law Marfa Ignatievna Kabanova.

And so we see that Katerina seems to find her happiness and fall in love. But even here she cannot be happy, since she is married and there can be no talk of anything like that. But still she goes against the rules and cheats on her husband with a young man, Boris Grigorievich. We also see that Katerina could not live with such a sin in her soul, and publicly admitted her betrayal. Of course, almost no one understood her and treated her with contempt. Out of shame, she wants to leave with Boris, whom she loves, but he refuses her and leaves alone. And Katerina decides to commit suicide and jumps off a cliff.

As for the story “The Dowry,” it is easier for the main character Larisa, since she is not married and is a completely free girl. But for some reason this does not stop her from ruining her life, at least by the fact that she gives consent to marriage to someone whom she does not love at all. And she loves her ex-fiancé Paratov, who left her and left. And he returned only when Larisa was almost a married girl. And as you might guess, of course it ruins the lives of both Larisa and her fiancé Karandyshev. Paratov deceives the naive Larisa, one might even say he simply uses her as a toy. And of course he leaves her and is not at all going to marry her, as he promised her earlier. And she remains alone, unhappy and deceived. Since Larisa cheated on her fiancé, she now cannot return to him, and besides, Karandyshev himself already knows about everything and is in anger looking for Paratov and Larisa. A Larisa, meanwhile, in despair approaches the cliff and wants to commit suicide, but does not dare to do so, and exclaims: “As if someone would kill me now...” And some minutes pass and her desire comes true. Or more precisely, Larisa dies at the hands of her deceived fiancé Karandyshev.

And so, personally, I think that the plays “THE STORM” and “THE MESS” are not so similar, or rather similar only in that both main characters die tragically at the end of the plays. And so, in their very essence, these two plays are completely different and the fates of Katerina and Larisa are not at all similar.

Of course, if these events took place in our time, then perhaps the endings of plays “D” and “B” would have turned out completely differently.