The meaning of the image of a bird in the drama is a thunderstorm. The meaning of the name and figurative symbolism of the drama "The Thunderstorm" by A.N.

The drama of A.N. Ostrovsky "The Thunderstorm" is one of the most famous works a writer. It contains many themes: love, freedom, and serfdom. And of course, the main idea, which runs through the entire work as a red thread, is reflected in the title of the play.

A thunderstorm is both a natural phenomenon, and a danger hanging over the city, and a symbol of the era.

From the very beginning of the narrative, in the first act, we hear the conversation of the two heroes about Kalinov's morals. Kudryash and Kuligin are minor characters, but despite this they carry an important semantic load... Their conversation is tied around the Wild. This hero is gifted by the author with a speaking surname, indeed, human concepts seem to be alien to him. This hero is a kind of thunderstorm for all households, as well as for courtyard people, his sudden anger keeps the whole neighborhood in fear.

Another episode in which Dikoy is present and one of the heroes who first appear on the stage, Kuligin. In this episode, Kuligin asks Dikiy for money to build a clock and a lightning rod, the hero wants to do something useful and good, at least somehow move the ossified society. But he receives a refusal, it turns out that Dikiy's stupidity and shortsightedness is even deeper than it seems to us, he is categorically against the construction, because a thunderstorm, in his opinion, is sent to people as punishment, and the clock is not needed at all (the absence of a clock, the author probably emphasizes the fact that the development of Kalinov lags behind, education is absent and rough serfdom still reigns).

The main character of the work, Katerina, lives with her husband in the house of his mother Kabanikha. Kabanovs, such is their speaking surname, and it does not require unnecessary clarification. Freedom-loving Katerina languishes under the yoke of this cruel woman, a real thunderstorm for her entire house. Only Katerina's good manners and wisdom allowed her to hold out for a long time under her rule, but only externally, internally, the heroine always remains free.

Much in Katerina's life is associated with a thunderstorm. She is afraid of this natural phenomenon, faints, her intuition tells her that something should happen that will decide her fate. And she admits her act with Boris, and understands: she can no longer live in the Kabanovs' house. After all, Kabanikha became a thunderstorm not only for her, but also for her son. He runs away from home to spend several days free.

As for Katerina, then she herself can be called a thunderstorm for the outdated foundations of the Kalinovites. In the ending, she seems to be challenging the slavery and oppression that reigns in the city. Throughout the entire action, tension is felt, a thunderstorm hung over Kalinov's tyrants.

Much indicates that the power of Kabanikha and the Wild is in danger. Kudryash refuses to obey them, and in the end disappears along with Barbara, who also only creates the appearance of submission to Kabanikha, but in fact does what she sees fit.

And, of course, the words of Kuligin at the end of the play confirm in the thought that the power of the Wild and Kabanovs is short-lived, a storm is approaching them. Kuligin reminds them that Katerina's body may belong to them, but her soul is free.

The meaning of the title of this play is very significant. Many times she meets as a natural phenomenon, is reflected in the images and characters of the characters, and she herself seems to be a character. The whole atmosphere of the work is reflected in the title of the remarkable and still popular and beloved play by A. N. Ostrovsky "The Thunderstorm".

The meaning of the title, the title of the play by Ostrovsky Storm

A.N. Ostrovsky is one of the most outstanding writers XIX centuries, his works tell us about the struggle of humanity, kindness, responsiveness with meanness, greed and malice. The author in each of his books shows kind, naive heroes who are faced with brutal reality the world, which leads them to complete disappointment in life, kills all the good that is in them.

"The Thunderstorm" is the pinnacle of the playwright's creative quest. After all, this play laid the foundation for such a monumental theme, which later, more than once, as the main one in their works, was used by various writers of their contemporaries and subsequent centuries. What has so impressed readers for three centuries?

Katerina in translation from Greek means "pure", Ostrovsky tells us about how people rotten to the very bones around her oppress her and drive her into a corner, because they feel the strength in her and understand that she is the beginning of the end for them.
This fragile, naive girl cannot be called strong-willed or strong, she did not accomplish the feat, on the contrary, her act can be perceived as weakness, but the death of the heroine became a protest against the existing order, with her example she untied the hands of all the oppressed. Her image is a "ray of light", a symbol of the struggle against cruel, selfish people who break the lives of everyone around, that is, with the "dark kingdom".

V the last days, weeks of her life, Katerina was terribly afraid of thunder, believing that she condescended to god's punishment for her sins, she was so blameless that she did not understand, the storm did not come to kill her, lightning and thunder split the world of those who offended her, the darkness came to an end.

Katerina played the role of a soldier who runs ahead of everyone with a flag urging them to fight, the role of a soldier who awakens strength and resistance in souls. After all, after her death, all those who were silent and endured protested. Kabanov finally realized and understood that his mother, a tyrant, is to blame for what happened, but his conscience is not calm, because he could not prevent the tragedy. Kudryash and Varvara decide to flee, leave behind the Wild and Kabanikha, whose life will become unbearable if they have no one to oppress and no one to pour their dirt on.

A thunderstorm bringing death to the dark kingdom, to the former terrible foundations - this is the main meaning and significance of Ostrovsky's play.

Alexander Nikolaevich's hackneyed and banal theme of the struggle between good and evil is shown in a completely unique light and is perceived quite sharply. I find it very important piece worth reading for everyone.

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The title of the play contains all the main motives for understanding it. The thunderstorm is the ideological symbol of Ostrovsky's work. In the first act, when Catherine made a hint to her mother-in-law about her secret love, a thunderstorm began almost immediately. An impending thunderstorm it is a commemoration of the tragedy in the play. But she bursts out only when the main character tells her husband and mother-in-law about her sin.

The image of a thunderstorm-threat is closely related to the feeling of fear. “Well, what are you afraid of, please tell me! Now every grass, every flower rejoices, but we are hiding, we are afraid, as if we are in trouble! The storm will kill! This is not a thunderstorm, but grace! Yes, grace! You all have a thunderstorm! " - Kuligin shames fellow citizens who tremble at the sound of thunder. Indeed, a thunderstorm as a natural phenomenon is as necessary as sunny weather. The rain washes away the dirt, cleans the ground, promotes better plant growth. A person who sees in a thunderstorm a phenomenon that is natural in the cycle of life, and not a sign of divine anger, does not feel fear. The attitude to thunderstorms characterizes the heroes of the play in a certain way. The fatalistic superstition associated with a thunderstorm and widespread among the people is voiced by the tyrant Dikoy and the woman who hid from the thunderstorm: "A thunderstorm is sent to us as a punishment, so that we feel ..."; “Yes, no matter how you hide! If it’s written to someone, you won’t go anywhere. ” But in the perception of Dikiy, Kabanikha and many others, fear of a thunderstorm is something familiar and not too vivid experience. “That's it, you have to live in such a way as to be always ready for anything; fear wouldn’t have happened, ”Kabanikha remarks coolly. She has no doubt that a thunderstorm is a sign of God's wrath. But the heroine is so convinced that she is leading a correct lifestyle that she does not feel any anxiety.

Only Katerina experiences the liveliest awe before the thunderstorm in the play. We can say that this fear clearly demonstrates her mental discord. On the one hand, Katerina longs to challenge the hateful existence, to meet her love. On the other hand, she is not able to renounce the ideas inspired by the environment in which she grew up and continues to live. Fear, according to Katerina, is an integral part of life, and it is not so much fear of death as such, as fear of the impending punishment, of his spiritual failure: “Everyone should be afraid. Not that it is scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all evil thoughts. "

In the play, we find a different attitude to the thunderstorm, to the fear, which it supposedly must invariably evoke. “I'm not afraid,” say Varvara and the inventor Kuligin. The attitude to thunderstorms also characterizes the interaction of a particular character in the play with time. Dikoy, Kabanikhs and those who share their view of a thunderstorm as a manifestation of heavenly displeasure, of course, are inextricably linked with the past. Internal conflict Katerina stems from the fact that she is not able to break with the ideas that are receding into the past, nor to keep the precepts of Domostroi in inviolable purity. Thus, she is at the point of the present, in a contradictory, turning point, when a person must choose what to do. Varvara and Kuligin are looking into the future. In the fate of Varvara, this is emphasized due to the fact that she leaves her home to no one knows where, almost like heroes of folklore going in search of happiness, and Kuligin is constantly in scientific search.

M.Yu. Lermontov (Hero of our time)

The works of the realistic direction are characterized by the endowment of objects or phenomena symbolic meaning... A. Griboyedov was the first to use this technique in the comedy "Woe from Wit", and this became another principle of realism.
A.N. Ostrovsky continues the tradition of Griboyedov and
divides the meaning of natural phenomena, the words of other characters, the landscape, which is important for the heroes. But Ostrovsky's plays also have their own peculiarity: see-through images - symbols are given in the titles of the works, and therefore, only by understanding the role of the symbol in the title, we can understand the whole pathos of the work.
An analysis of this topic will help us to see the whole complex of symbols in the drama "The Thunderstorm" and to determine their meaning and role in the play.
One of the important symbols is the Volga River and the rural view on the other side. The river as a border between the dependent, unbearable for many life on the bank, on which the patriarchal Kalinov stands, and a free, cheerful life there, on the other bank. The opposite bank of the Volga is associated with Katerina, the main character plays, with childhood, with life before marriage: “How frisky I was! I have completely withered ”. Katerina wants to be free from her weak-willed husband and despotic mother-in-law, to “fly away” from the family with domostroev principles. "I'm talking: why people do not fly like birds? You know, sometimes it seems to me that I am a bird. When you stand on the torus, you are drawn to fly, ”says Katerina to Varvara. Katerina recalls birds as a symbol of freedom before throwing herself off the cliff into the Volga: “It's better in the grave ... There is a grave under the tree ... how good! ... The sun warms her up, wets her with rain ... the grass grows, so soft ... the birds will fly to the tree, they will sing, the children will be taken out ... "
The river also symbolizes an escape towards freedom, but it turns out that this is an escape towards death. And in the words of a lady, a half-crazy old woman, the Volga is a pool that draws in beauty: “This is where beauty leads. Here, here, in the very whirlpool! "
For the first time, the lady appears before the first thunderstorm and frightens Katerina with her words about the disastrous beauty. These words and thunder in the mind of Katerina become prophetic. Katerina wants to run away to the house from the thunderstorm, as she sees God's punishment in her, but at the same time she is not afraid of death, but is afraid to appear before God after talking with Barbara about Boris, considering these thoughts to be sinful. Katerina is very religious, but this perception of a thunderstorm is more pagan than Christian.
Heroes perceive thunderstorms differently. For example, Dikoy believes that a thunderstorm is sent by God as a punishment so that people remember about God, that is, he perceives a thunderstorm in a pagan way. Ku-ligin says that a thunderstorm is electricity, but this is a very simplified understanding of the symbol. But then, calling the storm a grace, Kuligin thereby reveals the highest pathos of Christianity.
Some motives in the monologues of the heroes also have a symbolic meaning. In act 3, Kuligin says that the home life of the rich people of the city is very different from the public one. Locks and closed gates, behind which “the household eat and tyrannize the family” are a symbol of secrecy and hypocrisy.
In this monologue, Kuligin denounces the “dark kingdom” of tyrants and tyrants, whose symbol is a lock on a closed gate so that no one can see and condemn them for bullying family members.
The motive of the trial sounds in the monologues of Kuligin and Feklushi. Fek-lusha speaks of the judgment, which is unjust, even though it is Orthodox. Kuligin, on the other hand, talks about the trial between the merchants in Kalinova, but this trial cannot be considered fair, since the main reason the emergence of court cases is envy, and because of the bureaucracy in the judiciary, cases are dragged out, and every merchant is happy only that "yes, he will be a penny already." The motive of judgment in the play symbolizes the injustice that reigns in the “dark kingdom”.
A definite meaning they also have pictures on the walls of the gallery, where everyone runs in during a thunderstorm. The paintings symbolize obedience in society, and "fiery hell" is hell, which Katerina is afraid of, who was looking for happiness and independence, and is not afraid of Kabanikh, since outside the house she is a respectable Christian and she is not afraid of God's judgment.
Have another meaning and last words Tikhona: “Good for you, Katya! Why am I left to live in the world and suffer! "
The point is that Katerina, through death, found freedom in a world unknown to us, and Tikhon will never have enough fortitude and strength of character to fight his mother or end his life, since he is weak-willed and weak-willed.
Summarizing what has been said, we can say that the role of symbolism is very important in the play.
Endowing phenomena, objects, landscape, words of heroes with one more, more deep meaning, Ostrovsky wanted to show how serious conflict existed at that time not only between, but also within each of them.

Essay plan
1. Introduction. Variety of symbolism in the play.
2. The main part. Motives and themes of the play, artistic anticipations, symbolism of images, phenomena, details.
— Folklore motives as an artistic anticipation of the heroine's situation.
- Katerina's dreams and symbolism of images.
- A story about childhood as a compositional introduction.
- The motive of sin and retribution in the play. Kabanov and Dikoy.
- The motive of sin in the images of Feklusha and the half-mad lady.
- The motive of sin in the images of Kudryash, Barbara and Tikhon.
- Katerina's perception of sin.
- The idea of ​​the play.
- The symbolic meaning of the images of the play.
- Symbols of objects.
3. Conclusion. Philosophical and poetic overtones of the play.

Symbolism in the play by A.N. Ostrovsky is diverse. The name of the play itself, the theme of a thunderstorm, motives of sin, judgment are symbolic. Symbolic landscape paintings, objects, some images. Allegorical meaning acquire some motives, themes folk songs.
At the very beginning of the play, the song "Among the flat valley ..." (sung by Kuligin) sounds, which already at the very beginning introduces the motive of a thunderstorm and the motive of death. If we recall the entire lyrics of the song, then there are the following lines:

Where can I rest my heart
When will the thunderstorm rise?
A gentle friend sleeps in damp earth,
Will not come to the rescue.

The theme of loneliness, orphanhood, life without love also arises in it. All these motives seem to precede life situation Catherine's at the beginning of the play:

Ah, the lonely one is bored
And the tree will grow!
Ah, bitterly, bitterly well done
Without a cute life to lead!

The heroine's dreams in The Storm also acquire a symbolic meaning. So, Katerina yearns that people do not fly. “Why don't people fly! .. I say: why don't people fly like birds? You know, sometimes it seems to me that I am a bird. When you stand on a mountain, you are drawn to fly. So I would have scattered, raised my hands and flew. Nothing to try now? ”She says to Varvara. V parental home Katerina lived like a "free bird". She dreams of how she flies. Elsewhere in the play, she dreams of becoming a butterfly. The theme of birds introduces into the narrative the motive of bondage, cells. Here we can recall the symbolic rite of the Slavs to release birds out of their cages, which is based on the belief of the Slavs in the ability of reincarnation human soul... As noted by Yu.V. Lebedev, “the Slavs believed that the human soul is capable of turning into a butterfly or a bird. V folk songs A woman yearning for a stranger in an unloved family turns into a cuckoo, flies into the garden to her beloved mother, complains to her about her dashing lot. " But the theme of birds also sets the motive for death here. So, in many cultures Milky Way it is called the "bird's way" because the souls flying along this road to heaven appeared to be birds. Thus, already at the beginning of the play, we notice the motives preceding the death of the heroine.
Katerina's story about her childhood also becomes a kind of artistic foreshadowing: “… I was born so hot! I was still six years old, no more, so I did! They offended me with something at home, but it was towards evening, it was already dark; I ran out to the Volga, got into the boat and pushed it away from the shore. The next morning they found it ten miles away! " But Katerina's story is also a compositional anticipation of the play's finale. The Volga for her is a symbol of will, space, free choice. And in the final, she makes her choice.
Final scenes"Thunderstorms" are also preceded by Kudryash's song:

Like a Don Cossack, a Cossack led a horse to drink,
Good fellow, he is already at the gate.
Stands at the gate, he himself thinks
Duma thinks about how he will ruin his wife.
As a wife, a wife begged for her husband,
Soon my feet bowed to him:
Oh, you, father, are you a dear friend of the heart!
Don't hit me, don't ruin me from the evening!
Kill me, ruin me since midnight!
Let my little kids sleep
To small children, to all close neighbors.

This song develops in the play the motive of sin and retribution, which runs through the entire narrative. Marfa Ignatievna Kabanova constantly recalls sin: “How long to sin! A conversation close to your heart will go, well, you will sin, you will be angry ”,“ Full, full, do not swear! Sin! ”,“ What to say with a fool! Only one sin! " Judging by these remarks, the sin for Kabanova is irritation, anger, lies and deceit. However, in this case, Marfa Ignatievna sins constantly. She is often irritated, angry with her son and daughter-in-law. Preaching religious commandments, she forgets about love for her neighbor and therefore lies to those around her. "The hypocrite ... clothe the beggars, but ate the household completely," says Kuligin about her. Kabanova is far from true mercy, her faith is harsh and merciless. Dikoy also mentions sin in the play. Sin for him is his "curse", anger, absurdity of character. Dikoy often "sins": it gets from him to his family, his nephew, Kuligin, and the peasants.
The wanderer Feklusha thoughtfully reflects on sin in the play: “It is impossible, mother, without sin: we live in the world,” she says to Glasha. For Feklusha, sin is anger, quarrel, absurdity of character, gluttony. She admits for herself only one of these sins - gluttony: “I have one sin, for sure; I myself know what is. I love to eat sweet food. " However, at the same time, Feklusha is also inclined to deceptions, to suspicion, she tells Glasha to look after "the wretched one" so that she "does not pull off something." The motive of sin is embodied in the image of a half-crazy lady who sinned a lot from her youth. Since then, she has prophesied to everyone "a pool", "fire ... inextinguishable."
In a conversation with Boris, Kudryash also mentions sin. Noticing Boris Grigorich near the Kabanovs' garden and considering at first his rival, Kudryash warns young man: "I love you, sir, and I am ready for any service to you, but on this path you do not meet with me at night, so that, God forbid, what sin does not work out." Knowing Kudryash's disposition, we can assume what kind of "sins" are behind him. Varvara, in the play, “sins” without discussing sin. This concept lives in her mind only in the usual everyday life plan, but she obviously does not consider herself a sinner. Tikhon also has his sins. He himself admits this in a conversation with Kuligin: “I went to Moscow, you know? On the way, mamma read, read instructions to me, but as soon as I left, I went on a spree. I’m very glad that I broke free. And he drank all the way, and in Moscow he drank everything, so it’s a bunch of things! So that already on whole year take a walk. I never remembered about the house. " Kuligin advises him to forgive his wife: "You yourself, tea, is also not without sin!" Tikhon unconditionally agrees: "What can I say!"
Katerina often thinks about sin in the play. This is how she views her love for Boris. Already in the first conversation about this with Varya, she clearly indicates her feelings: “Ah, Varya, sin is on my mind! How much I, poor, cried, what I really did not do on myself! I cannot get away from this sin. Don't go anywhere. It’s not good, because it’s terrible sin, Varenka, that I love someone else? " Moreover, for Katerina, not only the act as such, but also the thought of it is a sin: “I’m not afraid to die, but when I think that suddenly I will appear before God as I am here with you, after this conversation, - that's what's scary. What's on my mind! What a sin! It's scary to say it! " Katerina is also aware of her sin at the moment when she meets Boris. “If I was not afraid of sin for you, will I be afraid of human judgment? They say that it is even easier when one suffers for some sin here on earth. " However, then the heroine begins to torment herself with the consciousness of her own sin. Her own behavior is at odds with her perfect views about the world, of which she herself is a particle. Katerina introduces into the narrative the motive of repentance, retribution for sins, and God's punishment.
And the theme of God's punishment is connected both with the title of the play, and with a thunderstorm as natural phenomenon... Ostrovsky's theme is symbolic. However, what is the meaning of the playwright in the concept of "thunderstorms"? If we remember the Bible, the thunderclaps there are like the voice of the Lord. Almost all Kalinovites relate to the storm unequivocally: it inspires them with mystical fear, reminds them of God's wrath, of moral responsibility. Dikoy says: "... a thunderstorm is sent to us as a punishment, so that we feel ...". The prophecies of the mad lady also hint at the punishment of God: "For everything ... you will have to answer ... You cannot leave God." In the same way, Katerina perceives a thunderstorm: she is convinced that this is nothing but retribution for her sins. However, the Bible also has a different meaning of this phenomenon. The Gospel sermon is compared with thunder. And this is thought to be the true meaning of this symbol in the play. The thunderstorm is "designed" to crush the stubbornness and cruelty of the Kalinovites, to remind them of love and forgiveness.
This is exactly what the Kalinovites should have done with Katerina. The heroine's public repentance is an attempt at her reconciliation with the world, reconciliation with herself. In the subtext of the play, the biblical wisdom sounds: "Do not judge, lest you be judged, for with what judgment you judge, so you will be judged ..." parable.
In addition to themes and motives, we note the symbolic meaning of some images of the play. Kuligin introduces ideas and themes of educational thinking into the play, and this character also introduces the image of natural harmony and grace. Ostrovsky's image of a half-crazy lady is a symbol of Katerina's ailing conscience, Feklusha's image is a symbol of the old patriarchal world, the foundations of which are crumbling.
Last times The "dark kingdom" is also symbolized by some objects in the play, in particular the old gallery and the key. In the fourth act, we see in the foreground a narrow gallery with an old building that is beginning to collapse. Its painting reminds of quite definite subjects - "fiery hell", the battle of Russians with Lithuania. However, now it has almost completely collapsed, everything is overgrown, after the fire it was never repaired. The key that Varvara gives to Katherine is also a symbolic detail. The scene with the key is playing crucial role in the development of the play's conflict. In Katerina's soul there is internal struggle... She perceives the key as a temptation, as a sign of impending doom. But the thirst for happiness wins: “What am I saying, that I’m deceiving myself? I should at least die and see him. Who am I pretending to be! .. Throw the key! No, not for anything in the world! He's mine now ... Come what may, and I'll see Boris! Ah, if the night is quick! .. ". The key here becomes a symbol of freedom for the heroine, as if it unlocks her soul, languishing in captivity.
Thus, Ostrovsky's play has both poetic and philosophical overtones, expressed in motives, images and details. The thunderstorm that swept over Kalinov becomes "a cleansing storm that swept away deep-rooted prejudices, clearing the way for other" mores ".

1. Lebedev Yu.V. Russian Literature XIX century. Second half. Book for the teacher. M., 1990, p. 169-170.

2. Lyon P.E., Lokhova N.M. Decree. cit., p. 255.

3. Buslakova T.P. Russian literature of the XIX century. The educational minimum for the applicant. M., 2005, p. 531.

The realistic method of writing has enriched literature with symbolic images. Griboyedov used this technique in the comedy Woe from Wit. The bottom line is that objects are endowed with a certain symbolic meaning. Images-symbols can be end-to-end, that is, repeated several times throughout the text. In this case, the meaning of the symbol becomes significant for the plot. Particular attention should be paid to those images-symbols that are included in the title of the work. That is why it is necessary to focus on the meaning of the name and figurative symbolism of the drama "The Thunderstorm".

To answer the question of what the symbolism of the title of the play "The Thunderstorm" contains, it is important to know why and why the playwright used this particular image. The thunderstorm in the drama appears in several guises. The first is a natural phenomenon. Kalinov and its inhabitants seem to live in anticipation of thunderstorms and rain. The events unfolding in the play take about 14 days. All this time from passers-by or from the main actors there are phrases and the fact that a thunderstorm is approaching. The riot of the elements is the culmination of the play: it is a thunderstorm and thunderclaps that make the heroine confess to treason. Moreover, thunderclaps accompany almost all of the fourth action. With each beat, the sound becomes louder: Ostrovsky seems to be preparing readers for highest point the intensity of the conflict.

The symbolism of a thunderstorm includes another meaning. "Thunderstorm" is understood different heroes differently. Kuligin is not afraid of a thunderstorm, because he does not see anything mystical in it. Dikoy considers a thunderstorm a punishment and a reason to remember the existence of God. Katerina sees in a thunderstorm a symbol of fate and destiny - after the most rolling thunderclap, the girl confesses her feelings for Boris. Katerina is afraid of a thunderstorm, because for her it is equivalent Last judgment... At the same time, the thunderstorm helps the girl to decide on a desperate step, after which she became honest with herself. For Kabanov, Katerina's husband, the thunderstorm has its own meaning. He talks about this at the beginning of the story: Tikhon needs to leave for a while, which means that he must lose his mother's control and orders. “There won't be any thunderstorm over me for two weeks, there are no shackles on my legs…”. Tikhon compares the riot of nature with the incessant hysterics and whims of Marfa Ignatievna.

One of the main symbols in Ostrovsky's "Thunderstorm" is the Volga River. She seems to be separating two worlds: the city of Kalinov, " dark kingdom"And that ideal world that each of the characters invented for themselves. The words of the Barynya are indicative in this respect. Twice the woman said that the river is a pool that draws in beauty. From a symbol of supposed freedom, the river turns into a symbol of death.

Katerina often compares herself to a bird. She dreams of flying away, breaking out of this addictive space. “I say: why do people not fly like birds? You know, sometimes it seems to me that I am a bird. When you stand on a mountain, you are drawn to fly, ”says Katya to Varvara. The birds symbolize the freedom and lightness that the girl lacks.

The symbol of the court is not difficult to trace: it appears several times throughout the work. Kuligin, in conversations with Boris, mentions the trial in the context of “ cruel morals cities". The court appears to be a bureaucratic apparatus that is not called upon to seek the truth and punish violations. He can only take time and money. Feklusha talks about refereeing in other countries. From her point of view, only a Christian court and a court according to the laws of house building can judge righteously, while the rest are mired in sin.
Katerina, on the other hand, talks about the Almighty and about human judgment when she tells Boris about her feelings. For her, Christian laws come first, and not public opinion: "if I was not afraid of sin for you, will I be afraid of human judgment?"

On the walls of the dilapidated gallery, past which the residents of Kalinov stroll, scenes from the Holy Letter are depicted. In particular, the pictures of fiery hell. Katerina herself recalls this mythical place. Hell becomes synonymous with mustiness and stagnation, which Katya fears. She chooses death, knowing that this is one of the worst Christian sins. But at the same time, through death, the girl gains freedom.

The symbolism of the drama "The Thunderstorm" is elaborated in detail and includes several images-symbols. Using this technique, the author wanted to convey the severity and depth of the conflict that was both in society and within each person. This information will be useful for 10 grades when writing an essay on the topic "The meaning of the name and symbolism of the play" The Thunderstorm ".

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