Comparative psychological analysis of the heroes of the work of A.N. Ostrovsky "Thunderstorm"

25.02.2021

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Answer from Galina [Guru]
Katerina married the son of Kabanii not by love, but because her parents wanted so much, because the concepts of "marriage" and "love" had completely different meanings.
Marriage is a worthy life, and love is something sinful and forbidden.
Tikhon Kabanov is a heroine husband, a merchant son. He married Katerina, because Mama demanded that, and believes that he himself loves Katerina, but is it? He himself is lost and completely subordinate to the mother, he does not even decide to protect his wife from the attacks of the mother-in-law. Everything he can advise her is to skip Mamienekina reproach past the ears. He himself is so and makes all his life, givest mother and dreaming at the same time to escape to neighbor Saveel Prokofyeich and drink with him. Happiness for Tikhon is departure for two weeks to Moscow for affairs. Katerina In this case, he is no longer interested in it, and when she asks him to take her with him, he frankly admits: "Yes, I know Terecheric that there are no two weeks for two weeks, there are no shackles on the legs, so to my wife Do me? "Katerina is sorry for her husband, but can she love him? Without seeing from him, neither understanding nor support, she involuntarily begins to dream of other love, and her dreams appeal to another hero, and Boris. Is he a hero? It differs from the inhabitants of Kalinov - he was educated, studied at the Commercial Academy, he only among the citizens goes to a European costume. But this is all the differences external, and in fact Boris is also lost and dissatisfied.
After marriage, Kati has changed a lot. From free
joyful, sublime world in which she felt her
merge with nature, the girl got into life, complete deception,
cruelty and omitting.
It is not even the fact that Katerina came out for Tikhon not in his will:
she didn't love anyone at all and she was still for whom to leave.
The fact is that the girl took her former life she
created for yourself. Katerina no longer feels like delight from
visit the church, she can not do their usual affairs.
Sad, disturbing thoughts do not let her calmly admire
nature. Kate stays tolerate while waiting, and dream, but she is already
can't live with your thoughts because the cruel validity
returns it to Earth, where humiliation and suffering.
Katerina is trying to find his happiness in love for Tikhon: "I will be a husband
be in love. Tische, my dove, I will not exchange you anyone. "But
sincere manifestations of this love are hampered by Kabanchi: "What to
need something hang, shameless? Not with the lover you are forgiven. "In
Katerina is strongly a sense of external submission and debt, so she and
forces himself to love the unloved husband. Tikhon and himself because of
samodoguny of his mother can not love his wife truly
although, probably, wants. And when he, leaving for a while, leaves Katya,
to stick to the binding, the girl becomes quite
lonely.
Why can Katerina love Boris?
Probably the reason is that she lacked something clean in a stuffy
the atmosphere of the house of Kabanih. And love for Boris was this clean, not
givered Katerina to finally comprehend, somehow supported it.
Katya cannot live on with his sin, and the only way
though partially get rid of it, she considers repentance she confesses
in all husbands and boa. Such an act in our time seems very
strange, naive. "I do not know how to deceive; hide nothing
i can "- Such is Katerina. Tikhon forgave his wife, but did she forgive himself
ourselves? Being very religious. Katya is afraid of God, and her God lives in
she, God - her conscience. The girl is tormented by two questions: how will it come back
home and will look into the eyes of my husband who changed and how she
will live with a stain on your conscience. The only way out of this
situations of Katerina sees death: "No, I feel home, that in the grave -
anyway ... in the grave is better ... to live again? No, no, no need ... not good"
Pursued by his sin, Katerina leaves life to save
his soul.

Answer from 3 response[guru]

Hey! Here is a selection of topics with answers to your question: Katerina and Tikhon Island is a thunderstorm.

Alexander Nikolayevich was covered by the most important and particularly relevant problem of human dignity at that time. In arguments, allowing to consider it such, they are very convincing. The author proves that his play is really important at least the fact that the issues affected in it continue to worry many years later and the current generation. They are treated to the drama, it is studied and analyzed, and interest in it does not weaken so far.

In the 50s and 1960s of the 19th century, the following three topics attracted special attention to the writers and poets: the emergence of the discharge intelligentsia, the serfdom and the position of the woman in society and the family. In addition, there was another topic - the tyranny of money, self-employment and old-fashioned authority in the merchandise environment, under the oppression of which there were all family members, and especially women. A. N. Ostrovsky in his drama "Thunderstorm" set the task of crushing the spiritual and economic tyranny in the so-called "dark kingdom".

Who can be considered a carrier of human dignity?

The problem of human dignity in the drama "Thunderstorm" is the most important thing in this work. It should be noted that there are very few characters in the play, about which it would be possible to say: "This is the majority of acting persons - either certainly negative heroes, or inexpressive, neutral. Wild and Kabaniha - Istukans, deprived of elementary human feelings; Boris and Tikhon - Nemeless, Could only obey the creatures; Kudryash and Varbara - people who stretch to the minute pleasure people who are incapable of serious experiences and reflections. Only Kuligin, an eccentric inventor, and the main character of Katerina is knocked out of this series. The problem of human dignity in the drama "Thunderstorm" briefly may be Described as opposition to these two heroes to society.

Inventor Kuligin

Kuligin is a rather attractive person with considerable talents, a sharp mind, a poetic soul, the desire to be disinterested to serve people. He is honest and kind. It is not by chance that it is his island trusts the assessment of a backward, limited, self-satisfied Kalinovsky society that does not recognize the rest of the world. However, Kuligin although it causes sympathy, nevertheless is unable to stand up for himself, so the rudeness is calmly, endless ridicule and insults. This is educated, enlightened person, but these best qualities in Kalinov are considered only to Blazh. The inventors are negligiously called the alchemist. He is eager to universal good, wants to establish a raw, clock in the city, but the oblique society does not want to take any innovations. Kabaniha, which is the incarnation of the patriarchal world, will not sit on the train, even if the whole world has long been using the railway. Wildly will never understand that lightning is actually electricity. He does not even know such a word. The problem of human dignity in the drama "Thunderstorm", the epigraph to which the culinine replica "culish morals, sir, in our city, cruel!" Can serve, thanks to the introduction of this character gets deeper lighting.

Kuligin, seeing all the vices of society, is silent. Protests only Katerina. Despite its weakness, it is still a strong nature. The plot base of the play is a tragic conflict between lifestyle and a real feeling of the main character. The problem of human dignity in the drama "Thunderstorm" is revealed on the contrast of the "Dark Kingdom" and "Ray" - Katerina.

"Dark Kingdom" and his victim

The inhabitants of Kalinov are divided into two groups. One of them is representatives of the "Dark Kingdom", personifying power. This is Kabaniha and Wild. To the other belongs to Kuligin, Katerina, Kudryash, Tikhon, Boris and Varvara. They are the victims of the "Dark Kingdom" that feel His cruel force, but expressing protest against it in different ways. Through their actions or inaction, the problem of human dignity in the drama "Thunderstorm" is revealed. The island plan was to show from different sides the influence of the "Dark Kingdom" with his suffocating atmosphere.

Character of Katerina

Interests and strongly stand out against the background of the medium in which it involuntarily was. The cause of the life drama is precisely in its special, exceptional character.

This girl is a dreamy and poetic nature. She is brought up by her mother, who was balobal, loved. Daily heroine classes in childhood were caring for flowers, visiting the church, embroidery, walks, the stories of the mantom and strangers. Under the influence of this lifestyle and there was a girl. Sometimes she immersed in dreams in reality, fabulous dreams. Catherine emotional speech, shaped. And this poetically tuned and impressionable girl after marriage falls into the house of Kabanova, to the atmosphere of annoying guardianship and a chandeliness. The atmosphere of this world is cold and soulless. Naturally, the conflict between the bright world of Katerina and the situation of this "Dark Kingdom" is tragically ends.

Katerina and Tikhon relationships

The situation is also complicated by the fact that she married a man who could not love and did not know, although it was sought to become Tikhon to be true and loving his wife. Attempts by heroine to get close to her husband breaking about his nearestness, slave gentity and rudeness. He since childhood got used to obey the mother, is afraid to tell her the word across. Tikhon suffers from the kabani's self-smuggling, not daring to object and protest. His only desire - at least to break out from under the care of this woman, thickening, drink. This brown man, being one of the many victims of the "Dark Kingdom", not only could not at least help Katerina, but simply to understand her, because the inner world of the heroine is too high, complicated and unavailable for him. He could not predict the drama that was brewing in his wife's heart.

Katerina and Boris.

Wild nephew, Boris, is also a sacrifice by Hangeysk, the dark environment. According to its internal qualities, it is significantly higher "benefactors" surrounding it. Education obtained in the capital in the Commercial Academy developed its cultural needs and views, so this character is difficult to survive in the Wild and Kabanov environments. The problem of human dignity in the play "Thunderstorm" stands up before this hero. However, he lacks character to break out from under their tyranny. He is the only one who managed to understand Katerina, but was unable to help her: he lacks the determination to fight for the love of the girl, so he advises her to accept her, to conquer fate and leaves her, the sinic death of Katerina. The inability to fight for the happiness of Boris and Tikhon's happiness is not to live, but to suffer. Only Katerina managed to challenge this tyranny. The problem of human dignity in the play in this way, this is the problem of character. Only strong people can challenge the "dark kingdom". They were only the main heroine.

Opinion Dobrolyubov

The problem of human dignity in the drama "Thunderstorm" was disclosed in the article Dobrolyubov, who called Katerina "Light Light in the Dark Kingdom." The death of a gifted young woman, strong, passionate nature illuminated on a moment sleeping "kingdom" as a ray of the sun against the background of gloomy dark clouds. The suicide of Katerina Dobrolyzov considers as a challenge not only wild and kabanov, but also the entire estate of life in a gloomy, despotic feudal-serf country.

Inevitable final

It was the inevitable final, despite the fact that the main character so honored God. Katerina Kabanova was easier to leave this life, than to endure the reproaches of mother-in-law, gossip and remorse. She pleaded guilty of publicly, because I did not know how to lie. Suicide and public repentance should be regarded as actions that elevated her human dignity.

Katerina could despise, humiliate, even beat, but she never humiliated, did not commit unworthy, low actions, they only walked against the morality of this society. Although what morale can be so limited, stupid people? The problem of human dignity in the drama "Thunderstorm" is the problem of tragic choice between to come to terms or challenge society. At the same time, the protest threatens with severe consequences, until the need to lose life.

The writing: Ostrovsky A.N. - Thunderstorm - "The peculiarity of the conflict in the play A. N. Ostrovsky" Thunderstorm ""

"The peculiarity of the conflict in the play by A. N. Ostrovsky" Thunderstorm ""

Originality

Conflict

In the play A. N.

Ostrovsky "Thunderstorm"

dramatic product communication between

composition, conflict and genre very

tesne, these three terms

just not may not cross each other with

friend, and often reading genre

the definition allocated in small fonts on

title page, we are already guessing not only

form, but sometimes the plot, and with it and

the idea, the topic of all works,

accordingly, the conflict generating these

ideas. Sometimes genre definition itself (in

may just not fit the main

traditions of genre division in literature.

suddenly does not match the form or

here is much deeper than the frames dictate

one favorite genre. If the writer

indoor emphasizes this inconsistency

between form and content, then

researchers, critics face more

one mystery, the resolution of which is important

to understand the conflict, and therefore, and

the ideas of the work. A bright example can

serve Gogol's "Dead Souls", not

accidentally called poems. Own

by the work of N. V. Gogol as if brings

the result of the entire preceding literature

forcing honed to perfection already

existing genres

work in a new way, and the purpose of such work

is detection

new deep conflict.

Situation B.

piez "Thunderstorm", the history of its creation and

loomed and varies

from the observations expressed above. A.N.

Ostrovsky did not let out the results, not

synthesized new genres, nevertheless

genre definition of "thunderstorms" as household

social drama given to them by himself is

not quite right, and accordingly, and

one lying on the surface conflict by

essentially replaced by another, deeper and

difficult. Genre definition of A.

Ostrovsky was only tribute

literary tradition. Conflict here

it is destined to play a completely different role. If a

consider "thunderstorm" as a socio-household

drama, then facing conflict

it looks pretty simple: it is like an external,

social; The attention of the audience is equally

distributed between heroes, they all

like checkers

on the board, play almost the same roles,

necessary to create a story canvas,

they are confused and then fastened and

rebuilding as in the tricks, help

allow confusing plot. If system

characters declined in this way

that the conflict arises and is allowed as

with the help of all actors. Here we are I.

dealing with a domestic necessity, her

the conflict is simple and easily guessed. What

happens in "thunderstorm"? Married woman,

pretty God-fearing, loved another

man secretly meets with him changes

husband. The only thing that worries her is her

relationship with mother-in-law, which is

representative of the "century past" and holy

guards the letter of the law,

Katerina with such a layout of the conflict and

so his understanding in the light of genre

definitions of "thunderstorms" as a social consumer

drama is the personification of the new

time, "century of the present", and along with

Tikhon, Barbara, Kudryash struggles against

remnants of the past, against the housework,

against the atmosphere of the stack of dead

rules and orders whose personification

is pre-reformed kalins. Easily

the main antagonists are detected -

Katerina and Kabaniha. In such a spirit understood

"Thunderstorm" many critics and, in particular, N. A.

Dobrolyubs. Here are strengths

personality, two antagonists, one of them

must leave, and suddenly ... it would seem

doomed man does not turn out

Kabaniha with his archaic

looks for life, and young, full forces

Katerina, surrounded by his

like-minded people. What is the matter? What

occurred? Conflict of old and new, "century

the current and century last "seemingly

allowed, but somewhat strange way.

All this leads us to the thoughts that

the conflict in the play is much deeper, more difficult and

thinnight than at first glance it seems.

Of course, skillfully built plot

line, confrontation of two strong

personalities - Katerina and Kabanii have

place and give us the opportunity to observe

socially-domestic conflict,

reminds any current television series. But

deeply hidden conflict detected here

with a somewhat other reading the play and the other

genre definition, with another interpretation

scene "Thunderstorms". Determination of the genre "thunderstorms"

and understanding of the conflict as a socially domestic,

a. N. Ostrovsky, is not here.

only tribute tradition, but also, perhaps,

the only possible option at the time.

A. I. Zhuravleva so explains this phenomenon:

"... the whole story of the preceding

Ostrovsky Russian Dramaturgia did not give

samples of such a tragedy in which heroes

would private individuals, and not historical

fatails, at least legendary. " So,

genre definition of "thunderstorm" at the other

interpretus - tragedy, and tragedy,

accordingly, it assumes a higher

stage of conflict than in drama.

The contradiction is carried out not at the level

characters system, and on more complex

level. Conflict arises primarily in

the consciousness of the hero who fights with himself

tragedy goes far away in the depths of centuries, but

usually acting persons starting from

antique tragedy, were historical

personality. Enough to remember the antigonus

Sofokla, who does not know how to do it,

without violating their moral, internal

moral principles (and not "external",

synthesized state laws).

classic estimated situation in Side

Root, it is permitted only by way

elimination fighting in Rhodri-go

moral doubt. Such and conflict at A.

N. Ostrovsky, he is internal, moral,

only he is experiencing not a royal daughter or

notable lady, and a simple merchant wife.

Brought up on christian morality and

domostroevsky principles, she is horrified

sees their wreck not only around, but also

within himself, in his soul. All around it

collapsed, "time has become in the defense of coming",

he says Feklusha's wanderer. Consciousness of Ov

sinfulness and at the same time understanding

that she is not to blame for anything and not in her power

resist passion, brings it to

unresolved contradiction inside

Katerina can not not like Tikhon - after all

so she betrays God in his soul, but nevertheless

less happened terrible, and Katerina is not in

forces to change anything. Conflict consists

not in the antagonism of Kabani and Katerina,

which at first glance seeks the right

to the freedom to choose feelings, conflict is laid

in Katerina, who saw in such a struggle

crime against God and failed

deal with it. And not kaba niche rupts

Katerina, as Tikhon exclaims in the final,

perceiving everything that happens from the point

human view of a man of new time, - Katerina

robs his own oppressive

the inconsistency of her feelings. But understanding

internal experiences of Katerina

not available to Tikhon, like all other

pieces characters. They seem to be moved

on the background, serve only by the background,

decoration for character manifestation

Katerina, such as wild or lady. BUT

in essence, one of the main characters, Boris,

generally characterized as "belonging

more to the setting. " All heroes like

form a single integer - their disbelief is associated with

progressive worldview Kuligin

speakers a kind of counterweight

fanatical faith of Katerina. In the same time

almost sectarian faith Katerina leads to

insoluble contradiction in her soul, then

the rest have long been reconciled with their

conscience. This contradiction cannot peacefully

resolve, and Katerina is not able to go

on a compromise with yourself.

Katerina

differently different from all other heroes,

nevertheless, she is very similar to the boa.

Both fanatically believe, both are aware of the horror

caterina's offense, but if Kabaniha

guards the old, taught, then Katerina to

the same believes all the soul, and for her all these

tests are many times heavier than for

Kabani. Without standing state

uncertainty, Katerina sees a way out

repentance, but it does not bring her relief.

Repentance no longer plays a special role

retribution is inevitable, Katerina, like all

true believers, fatalist and does not believe in

what can be changed. S.

the tragic conflict in the shower can only be

in one way - to lose her, deprive her

immortality and Katerina performs the most

grave sin - suicide.

A sense of love for a person, the desire to find a refilled feedback in another heart, the need for gentle pleasures naturally opened in Katerina and changed her former, indefinite and disembodied dreams. "At night, cooking, I won't sleep," she says, "he says some kind of whisper: Someone is so gentle by me with me, accurately dove worshi. I'm not shot, cooking, as before, the paradise trees and the mountains; And for sure, someone hugs me so hotly, and leads me somewhere, and I go after him, I go ... "She was aware and caught these dreams already quite late; But, of course, they pursued and languid it long before she herself could give themselves a report in them. With the first appearance, she immediately turned his feeling that everything was closer to her, - on her husband. She intensified for a long time to fry her soul with him, asshient himself that she did not need anything to her, that in him there is bliss that she was so disturbing. She looked at the opportunity to look for mutual love in someone with fear and inappropriate. In the play that Count Katerina already with the beginning of love for Boris Grigoryech, still visible, the last, desperate efforts of Katerina - make themselves a cute her husband. The scene of her farewell gives us to feel that and here is not all lost for Tikhon, that he can still save his rights to the love of this woman; But the same scene in short, but sharp essays transmits us a whole story of thestringers that made it endure to Katerina to push her first feeling from her husband. Tikhon is an innocent and duty, not at all evil, but to the extreme of the inactive creature, not daring to do anything against the mother. And the mother is the essence of a soulless, Kulak-Baba, enclosing in Chinese ceremonies - both love, and religion, and morality. Between her and between his wife, Tikhon represents one of the many of those miserable types, which are usually called harmless, although they are generally so harmful as self-made because they themselves, because they serve their faithful assistants.

Tikhon himself loved his wife and would be ready to do everything for her; But the oppression, under which he grew, so I was worn out that it could not develop any strong desire to develop. It has a conscience, there is a goodness of good, but he constantly acts against himself and serves as a submissive mother's instrument, even in his relations to his wife. In the first scene, the appearance of the Kabanov family on the boulevard, we see what the position of Katerina between her husband and mother-in-law. Kabaniha scolds the Son that his wife is not afraid of him; He decides to argue: "Why should she be afraid? With me, quite pretty that she loves me. " The old woman immediately throws on him: "How, why be afraid? How, why be afraid! Yes, you crushed, or what? You will not be afraid of, I am suppressed: what kind of order it will be in the house! After all, you, tea, you live in the law. Ali, in your opinion, the law does not mean anything? " Under such bections, of course, the feeling of love in Katerina does not find an expanser and hides inside it, affecting it only at the time of convulsive gusts. But the husband does not know how to use these gusts: he is too clogged to understand the power of her passionate fat. "I do not figure out you, Katya," he says to her: "They will not succeed from you, not something that caresses, otherwise you are climbing." So, commonly dozen and spoiled natures are judged about the nature of strong and fresh: they, judging by themselves, do not understand the feelings that have shoved in the depths of the soul, and all the concentrations are taken for Apathia; When finally, it is not able to hide a share, the inner strength comes from the soul to a wide and rapid flow, they are surprised and consider it in some focus, the fancy, like how it sometimes comes fantasy to fall into pathos or ride. Meanwhile, these gusts make up the need for a strong nature and are the more striking than they do not find themselves longer. They are unintentional, not recognized, but caused by a natural necessity. The power of nature, which is not possible to develop actors, is expressed and passively - patience, restraint. But just do not mix this patience with the one that comes from the weak development of the person in a person and which cums the fact that it gets used to insults and the burden of all kinds. No, Katerina will never get used to them; She still does not know what and how she will decide, she does not violate his duties for mother-in-law, she does all possible to worship well with her husband, but it is clear that she feels his position and that she pulls her out of him. It never complains, does not scold mother-in-law; The old woman herself cannot get it on it; And, however, the mother-in-law feels that Katerina is something inappropriate for her, hostile. Tikhon, who as a fire is afraid of the mother and, moreover, does not differ in particularly delicacy and tenderness, consuar, however, before the wife, when, according to the command of the mother, she should punish it, so that she does not spot without him in the window of the eye. "And" did not look at the . He sees that bitterly insults it with such speeches, although it is pretty and cannot understand her states. At the output of the mother from the room, he consotes his wife in this way: "Everything to take everything to the heart, so you will come to the Cachotka. What to listen to her! After all, something needs to talk. Well, and let her say, and you pass by your ears! " This indifference is exactly bad and hopeless; But Katerina never can walk to him; Although it is even less upset by the outside, rather than Tikhon, it is less complaining, but in essence it suffers much more. Tikhon also feels that it does not have something necessary; It also has discontent; But it is in it to such an extent to which, for example, there may be an attraction to a woman in a ten-year-old boy with a depraved imagination. He cannot be very strongly achieving independence and his rights - already because he does not know what to do with them; His desire is more head, external, and his own way, yielding to the oppression of the upbringing, and remained almost deaf to natural aspirations. Therefore, the very selection of freedom in it receives the nature of the ugly and is being done, as the cynicism of the ten-year-old boy, without the meaning of the inner need of repeating nastiness, heard from large. Tikhon, you see, heard from someone that he is also a man and therefore must have a well-known share of power and importance in the family; Therefore, he puts himself much higher than his wife and, believing that she was so and God tried to endure and humble, - at his position under the start of the mother looks like a bitter and humiliating. Then, he is tilted to ragleg, and in it mainly and puts freedom: just like the same boy who does not know how to comprehend the real essence, which is so sweet women's love, and knowing only the external side of the case, which is in her salinity : Tikhon, going to leave, with shameless cynicism tells his wife who caresses him to take her with him: "With a certain captivity from what kind of beautiful wife you want to run! You think that: what is neither there is, and I'm still, a man, - all my life there is a soak to live, as you see, you want to kill and from my wife. Yes, as I know Terecherich, that two weeks there will be no thunderstorm on me, there are no shackles on the legs, so to my wife? " Katerina only can answer it to it: "How can I love you when you say such words? "But Tikhon does not understand the importance of this gloomy and decisive repayment; As a person who has already mastered his mind on his mind, he responds carelessly: "Words - like words! What other words to me! " - And in a hurry to get rid of my wife. What for? What does he want to do, what to remove the soul, breaking on the will? He himself tells about it later by Kuligina: "Mama read-readed on the road, I read the instructions to me, and I went away, so touched. I am very glad that I broke out. And the whole road drank, and in Moscow everything drank; So it's a pitch, that Na-socks. So that for the whole year to go together! .. "That's all! And I must say that in the old time, when another personality consciousness and her rights did not rise in most, almost only similarities and limited protests against the Samogne Move. And now it is still possible to meet many Tikhonov, reveling if not wine, then some reasoning and speakers and the gaze in the noise of verbal orgies. These are precisely people who constantly complain about their cramped position, and meanwhile they are infected with pride thinking about their privileges and about their superiority over others: "What is neither there, but I'm still a man," so I suffer something. " That is: "You are terply, because you are a woman and, therefore, rubbish, and I need the will, - not because it was a human, natural requirement, but because these are the right of my privileged personnel" ... Clearly, That from such people and the peeing ever could never and can not get out.

But it does not seem to be a new movement of the people's life, which we talked above and the reflection of which was found in the character of Katerina. In this person, we already see the mature, from the depths of the whole body the emergence of the right and exposure of life. There is no longer an imagination, not a hearing, not artificially an excited gust is us, but the vital necessity of nature. Katerina does not capricious, does not kill his discontent and anger, it's not in her nature; She does not want to impression on others, put up and boast. On the contrary, she lives very peacefully and is ready to comply with everything that only not disgusting her nature; The principle of her if she could aware and determine it, would be that as. It is possible to arid others and disturb the total amount of affairs. But but, recognizing and respecting the aspirations of others, it requires the same respect for themselves, and any violence, every constraint perters her blood, deeply. If she could, she would have driven away from themselves everything that lives wrong and harms others; But, not being able to do this, she goes back - herself runs away from destroyers and offenders. Only, not to obey their origins, contrary to their nature, just not to reconcile with their unnatural demands, and there what will come out - the best share for her or death, - she does not look at it: in the other case, it is for her to get rid. .. About your character, Katerina reports Vare one line from childhood memories: "Such I originated hot! I was still six years old, no more - so I did! They offended me with something at home, and the case was in the evening, it was dark - I ran out on the Volga, got into the boat, and he paused her from the coast. On the other morning, they already found, the vert for ten ... "This children's hotness was preserved in Katerina; Only together with general matureness, the power was added to it and the power to withstand impressions and dominate them. Adult Katerina, assigned to the need to endure offenses, finds the power for a long time to endure them, without in vain complaints, semi-resistants and any noisy tricks. She suffers until he spokes up in it, especially her heart and legitimate in her eyes, until he was offended in it there will be such a requirement of her nature, without satisfaction that she cannot stay calm. Then she will never look at anything, she will not resort to diplomatic tricks, to deceptions and plows, - it is not. If you already need to deceive, it will better try to move yourself better. Varya advises Katerina to hide his love for Boris; She says: "I can't deceive something, I can not hide anything," and after what makes an effort on your heart and again turns to Vare with such a speech: "Don't tell me about him, do mercy, do not say! I don't want to know him! I will love my husband. Tisch, my dove, I will not exchange you! " But the effort is above its possibility; A minute later she feels that she did not get rid of any love. "Do I want to think about him," she says: "What should I do from my head?" In these simple words, it is very clearly expressed as the strength of natural aspirations, inconspicuous for the Katerina itself, wins in it over all external requirements, prejudices and artificial combinations, in which her life is entangled. Note that the theoretical way, Katerina could not reject any of these requirements, could not be freed from any backward opinions; She went against all of them, armed with the only power of his feeling, instinctive consciousness of his direct, inalienable right to life, happiness and love ... She does not resonate, but with surprising ease he allows all the difficulties of his position. Here is her conversation with Barbara:

Barbarian. You are some kind of wisdom, God is with you! And in my opinion - do what you want, if only Shito, it was.

Katerina. I do not want so, and that's good! I will be better to endure while waiting.

Barbarian. And it does not bother, what will you do?

Katerina. What will I do?

Barbarian. Yes, what do you do?

Katerina. What I still wants, I will do.

Barbarian. Make Try, so you will be shown here.

Katerina. And what to me! I will leave, and it was like that.

Barbarian. Where are you going! You are a husband's wife.

Katerina. Eh, cooking, you do not know my character! Of course, God forbid this happen, and if I very much will fight here, so it will not keep me any force. I'll finish the window, throwing into the Volga. I do not want to live here, so I will not become, even though you cut me.

Here is the true power of character, which in any case can be reeded! Here is the height that our folk life comes in its development, but to which in the literature we knew how to climb very few, and no one knew how to keep it so well as Island. He felt that did not abstract beliefs, but the life facts manage the person that not the image of thoughts, not the principles, and the nature is needed for education and manifestation of a good nature, and he knew how to create such a person who serves as a representative of the Great People's Idea, not wearing great ideas Neither in the language, nor in the head, selflessly goes to the end in uneven struggle and dypsy, not at all condemn yourself for high self-demission. Her acts are in harmony with her nature, none naturally needed, it cannot refuse them, at least it had the most disastrous consequences. Changeant in other creations of our literature, strong characters are similar to the fountains, drowning quite beautifully and Boyko, but dependent in their manifestations from the outside mechanism, subordinated to them; Katerina, on the contrary, can be likened to a multi-water river: it flows, as its natural property requires; The nature of its flow changes according to the terrain through which it passes, but the flow does not stop: a flat bottom - she flows calmly, the stones met the bigges - she jumps through them, the break - poured a cascade, damage it - she rages and breaks around elsewhere. Not therefore, she will burst, so that the water suddenly wanted to hang or get angry with an obstacle, and simply because it is necessary to fulfill its natural requirement - for further flow. So in the character that is reproduced by Ostrovsky: we know that it will endure himself, in spite of any obstacles; And when the strength is not enough, it will die, but will not change himself ...

Dobrolyubov N.A. "Light of Light in the Dark Kingdom"

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