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”
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 differs in character from all the characters in the 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 man, and for Katerina, faith is the poetic world of fairy-tale images and supreme justice. “... I loved going to church to death! Sure, 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 captivity 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.
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.
Essay on the topic “Female images of Ostrovsky”
Alexander Nikolaevich Ostrovsky in his works revealed events taking place in the nineteenth century through female images. His heroines most often personify the prism through which a large number of conflicts, both social and public, pass. Women in the plays appear to readers as living personifications of the era and the vices and ideals reigning in it. At the same time, as a rule, heroines are not ready to accept the injustice or dirt of society that is imposed on them by everyone around them. On the contrary, women are ready to fiercely defend their individuality, their own ideals and purity.
If you remember the play “The Thunderstorm” by A.N. Ostrovsky, it contains a large number of colorful female characters, each of which is unique and attractive to the reader in its own way. Katerina is a young girl, inspired by her ideals, who recently got married. In her mind, marriage was a great joy. She passionately wanted to become a wife and mother; for her this would be the greatest happiness. But when her dream came true and she married Tikhon, the harsh reality sobered her up. She does not feel those feelings of love for her husband that she was waiting for. But then Boris appears. In it, Katerina finds a response to her ardent feelings. Finally, what she had dreamed of happened. She met her love. However, the tragedy is that the heroine cannot be with him. Betrayal and remorse lead Katerina to despair. For the sake of love, she sacrificed her previously unshakable principles. But this did not give her happiness either. She sees no reason for further existence, and decides to commit suicide.
Varvara appears completely different in the play “The Thunderstorm”. Her image is more resourceful, cunning and far-sighted. For her, marriage is not a sublime and romantic union of two loving hearts, but an excellent deal to get out from under the yoke of a tyrant mother who controls absolutely everything in the house. Varvara is the complete opposite of Katerina. In my opinion, these two images are placed so close to each other in the play specifically to show readers what could have become of Catherine if she had acted differently, more cunningly, and indulged all the whims and desires of Kabanikha. Thus, with such behavior, Catherine would turn into Varvara. This very thoughtful move is used by Ostrovsky not only in the play “The Thunderstorm”.
A slightly different situation is played out in the play "Dowry". In it, the main character is Larisa Ogudalova. For her, marriage is also a successful deal that would ensure her a comfortable existence. Her fate is also not very successful. The man she loved abandoned her and disappeared in an unknown direction. Therefore, she decides to marry the first person who wooes her. It turns out that he is not a particularly rich tradesman Karandyshev. He is happy that Larisa finally responded to his advances with consent, because the hero has been trying to get her attention for a long time, but to no avail. The wedding should take place very soon, but all plans are disrupted by the arrival of Paratov, Larisa’s unhappy love. He gives her a lot of promises and hopes for a better future, which he has no intention of fulfilling. But the heroine trusts him again and succumbs to temptation. Karandyshev finds out about this and is going to take terrible revenge. Shooting his beloved girl Larisa ends both her and his own shame. She accepts death with gratitude, because it would be very difficult to survive such a shame.
So, Ostrovsky’s female images are very diverse, but one certainly cannot help but empathize with them and cannot help but admire them.
Bright female characters in the play by A.N. Ostrovsky "Thunderstorm"
A.N. Ostrovsky is not only a wonderful playwright, but also a true innovator in the field of plays. No one before him had examined the merchant environment, its characters, types, and destinies in such a multifaceted way.
Ostrovsky introduced the problem of the “dark kingdom” into Russian literature. He showed that behind the walls of handsome merchant houses, lawlessness, tyranny, and cruelty were happening. Here young lives and destinies are ruined, any attempts to bring something new, free, and individual into life are suppressed.
It is especially difficult for women in this atmosphere. One of the most striking and famous female images of A.N. Ostrovsky is Katerina, main character plays "The Thunderstorm". This is a young woman who ended up in the Kabanovs’ house after marrying the weak-willed Tikhon. In her husband’s family, Katerina encountered an abyss of misunderstanding, rejection, and the atmosphere of the “dark kingdom.” All this oppresses her, but Katerina endures it because she considers it her duty and God’s providence.
There is another young woman in the Kabanovs’ house – Tikhon’s sister Varvara. She is also oppressed by the atmosphere in the family, the tyranny of her mother, and the weak-willedness of her brother. But despite all their external similarities, Varvara and Katerina are strikingly different from each other.
As you know, a person learns the basis of his nature from childhood. Therefore, it is important to remember that these heroines grew up in completely different families. Katerina grew up in a patriarchal but loving family: “I lived, didn’t worry about anything, like a bird in the wild. Mama doted on me, dressed me up like a doll, and didn’t force me to work; I used to do whatever I want.” An atmosphere of goodness, light, understanding, love for God and people reigned in the heroine’s house. The girl grew up freedom-loving. The ideal of family was firmly established in her head. The heroine dreamed of loving husband, who would become her support and protection. In addition, Katerina could not imagine her life without large quantity children. The main thing in life for her was peace and harmony in the family.
Varvara was born and raised in the Kabanikha family. Their family is one of the most respected and influential in Kalinov. Therefore, the heroine always had to fit in. This meant that in the eyes of the entire city she had to live according to the laws of Domostroy. But for a young girl such a life was tantamount to voluntary slavery. Having a fairly cheerful character, Varvara could not exist like that.
Thus, both heroines are faced with a choice: to live, obeying the laws of the “dark kingdom” and ruining their soul, or to try to live in their own way. Katerina and Varvara each solve this problem in their own way. Katerina tries to obey the laws of Domostroy, because they correspond to her internal laws. She feels obligated to love her husband, please her mother-in-law, and do housework. Therefore, Katerina regards her love for Boris as an irredeemable sin.
Varvara only outwardly observes the laws of the “dark kingdom.” But in fact, these laws do not correspond to her internal ideas about life. Therefore, since childhood, the heroine has become accustomed to lying, dodging, concealing and, ultimately, adapting. She herself speaks about this: “Our house rests on this. And I was not a liar, but I learned when it became necessary.” Varvara will never protest openly. But she will always do what she wants.
So, the heroine indulges her whim to walk with Curly. At night she secretly leaves home and returns only in the morning.
Each of the heroines has a lover. Katerina, unfortunately, is not her husband, but Boris, Dikiy’s nephew. The heroine resists this forbidden feeling for a long time, denies her obvious love for Boris Grigorievich. But when Tikhon leaves home for a long time, Katerina, succumbing to Varvara’s persuasion, goes on a date with Dikiy’s nephew. In this regard, the episode with the key is very important. In this scene, not just two heroines come into confrontation, but their worldviews, their theories regarding truth, honesty, righteousness. Varvara’s theory – do whatever you want, as long as everything is “closed and hidden” – prevails over Katerina’s desire to remain faithful to herself and her family. moral ideals. Katerina goes on a date with Boris, becomes his mistress and betrays herself. From this moment on inner world The heroine splits. Now she has no peace anywhere. No one except Varvara knows about her betrayal, there is no one to condemn her, but Katerina condemns and punishes herself. A woman cannot live with such a heavy burden on her heart. Upon her husband’s arrival, she confesses everything to Tikhon and Kabanikha and commits suicide.
I think that Varvara is largely to blame for the death of the heroine, because it was she who pushed Katerina to betrayal. But she proceeded from her life ideas. I think Varvara never loved anyone. She is not capable of sacrificing her life for love. For this heroine, she herself, her desires and whims, come first. Varvara is unfamiliar with life “according to God’s laws”; she even loves for herself, not knowing how to give or sacrifice. Therefore, she will never suffer the same fate as Katerina.
In the play “The Thunderstorm” the reader gets acquainted with two bright female characters. Both heroines suffer in the atmosphere of the “dark kingdom,” but each has their own path in life, because each of them has their own life basis, their own “inner core.” Katerina dies, unable to withstand the internal discord, and Varvara... I think this heroine will sooner or later leave her parents’ home and live simply for herself, for her own pleasure.