Living soul in the "dark kingdom".

Alive soul v " dark kingdom"

The heroines of Russian literature amaze with their moral purity and a rare spiritual strength that enables them to courageously challenge the strict laws and conventions of society. Such is Pushkin's Tatiana, Turgenev's Liza Kalitina. Such is also Katerina Kabanova from Ostrovsky's drama "The Thunderstorm". What makes it stand out among others actors plays this young merchant's wife, who has not received any education, does not participate in a socially significant cause? Her sphere is the family, easy homework: handicrafts, flower care, church visits.

The first words of Katerina, when she calls Kabanikha her own mother, are clearly insincere, hypocritical. This means that at first the heroine is perceived as a bonded, submissive woman, accustomed to a dependent position. But already the next remark of Katerina takes us out of this delusion, since here she is already openly protesting against the unfair accusations of her mother-in-law. In the subsequent conversation between Katerina and Varvara, she says unusual words: "Why do people do not fly like birds? "They seem strange and incomprehensible to Varvara, but they mean a lot for understanding the character of Katerina and her position in the boar house. Comparison with a bird that can flap its wings and fly, eloquently speaks of how hard it is captivity, the despotism of a powerful and cruel mother-in-law.The heroine's involuntarily escaped words speak of her secret dream of freeing from this dungeon, where every living feeling is suppressed and killed.

The character of Katerina cannot be fully understood without her stories about the happy period of childhood and girlhood in parental home... Carried away by a dream into this wonderful, full of harmony world, Katerina recalls the constant feeling of happiness, joy, merging with everything around her, which she is deprived of in her mother-in-law's house. "Yes, everything here seems to be out of bondage," - says the heroine, pointing to the sharp contrast of her present life with a sweet and dear past. It is this inability of Katerina to come to terms with the boar oppression to the end that aggravates her conflict with the "dark kingdom." The story that happened to the heroine in childhood reveals in her such defining character traits as love of freedom, courage, and decisiveness. And, becoming an adult, Katerina is still the same. Her words, addressed to Varvara, sound prophetic: "And if I really get sick of it here, they won't hold me back by any force. Throw myself out the window, throw myself into the Volga. I don't want to live here, I won't, even though you cut me!"

Love for Boris became for Katerina the reason for the awakening and revival of her soul. She was prepared by her whole forced life in the boar house, her longing for the lost harmony, her dream of happiness. But throughout the play, the author intensifies the contrast between Katerina's sublime, soulful, boundless love and Boris's down-to-earth, cautious passion. This ability of Katerina to love deeply and strongly, sacrificing everything for the sake of her beloved, speaks of her living soul, which was able to survive in the dead boar's world, where all sincere feelings wither and dry up. The motive of bondage is constantly intertwined with Katerina's thoughts about love. This is especially clear in her famous monologue with a key. In a state of the hardest spiritual struggle between the duty of a faithful wife and love for Boris, Katerina constantly returns to the thoughts of the hated mother-in-law and the hateful walls of the Kabanov house. Suppressing the love in oneself, which promises so much happiness, for the sake of a dull vegetation in captivity, is an overwhelming task for a young woman. After all, giving up love means forever giving up all the best that life can give. This means that Katerina deliberately commits a sin in order to preserve her living soul, thereby challenging Kaban's notions of morality. What are these concepts? They are quite clearly and concretely formulated by a kind of ideologue of the "dark kingdom" - Martha Ignatievna Kabanova. She is absolutely convinced that a strong family should be based on the wife's fear of her husband, that freedom leads a person to moral decline. Therefore, she so persistently "nags" Tikhon, who is not able to shout at his wife, threaten her or beat her. Katerina's public repentance further confirms Kabanikha in the correctness and inviolability of her views on the family.

What is the reason for Katerina's public repentance? Maybe this is the fear of a formidable divine retribution? I think that the point here is not cowardice or fear of punishment, but in Katerina's exceptional conscientiousness, in her inability to lie to her husband and mother-in-law, to pretend to people. After all, this is how the first words of her repentance are understood: "My whole heart was torn! I can not endure it any longer!" Neither the mother-in-law, who now locks her daughter-in-law, nor the husband, who beat her a little, because her mother told her to, cannot condemn and punish Katerina more strongly than she herself. After all, she feels her guilt not only before Tikhon and Kabanikha, but also before the whole world, before higher powers goodness and truth. Having committed a sin, Katerina loses the harmony with the world that lived in her. Having passed through difficult spiritual trials, through exhausting pangs of conscience, she is morally cleansed. Through suffering, Katerina expiates her sin. Farewell to Boris kills last hope heroine for a life in which joy is still possible. She is ready to follow her beloved man to distant Siberia as an unmarried wife, but he cannot and does not want to resist the formidable uncle, hoping for a mythical inheritance.

Katerina has only one way out - suicide. And not because she was sick of life. On the contrary, in the last monologue of the heroine, when she says goodbye to the sun, grass, flowers, birds, one can feel her great desire to live, to love the beauty of the earth. But Katerina nevertheless chooses death, because only in this way can she preserve the best, bright, pure and sublime that lives in her soul. And the years of living in the gloomy house of the mother-in-law are tantamount to a slow, prolonged dying. Katerina rejects this miserable semblance of life and, throwing herself into the Volga, claims true life full of joyful selfless love for flowers, trees, birds, for the beauty and harmony of the world. Maybe Tikhon subconsciously feels this when he envies his dead wife. He has boring, monotonous months and years ahead of him, which will kill his soul to the end, because it is possible to keep it alive in the boar's "dark kingdom" only at the cost of life. This means that in the image of Katerina A. N. Ostrovsky embodied the living soul of the people, his protest against the pre-construction religion, oppressive conditions of reality, dependence and lack of freedom.

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After the publication of the play by A.N. Ostrovsky The Thunderstorm, many responses appeared in the periodicals but most attention attracted the articles of N.A. Dobrolyubov A ray of light in the dark kingdom and D.I.

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The heroines of Russian literature amaze with their moral purity and rare spiritual strength, which allows them to boldly challenge the strict laws and conventions of society. Such is Pushkin's Tatiana, Turgenev's Liza Kalitina. Such is also Katerina Kabanova from Ostrovsky's drama "The Thunderstorm". What distinguishes this young merchant's wife from other characters in the play, who has not received any education, does not participate in a socially significant cause? Her sphere is the family, easy homework: handicrafts, flower care, church visits.

The first words of Katerina, when she calls Kabanikha her own mother, are clearly insincere, hypocritical. This means that at first the heroine is perceived as a bonded, submissive woman, accustomed to a dependent position. But already the next remark of Katerina takes us out of this delusion, since here she is already openly protesting against the unfair accusations of her mother-in-law. In the subsequent conversation between Katerina and Varvara, she utters unusual words: "Why don't people fly like birds?" They seem strange and incomprehensible to Varvara, but they mean a lot for understanding the character of Katerina and her position in the boar house. Comparison with a bird that can flap its wings and fly eloquently speaks of how hard it is for Katerina to endure oppressive bondage, the despotism of a domineering and cruel mother-in-law. The heroine's involuntarily escaped words speak of her secret dream of freeing from this dungeon, where every living feeling is suppressed and killed.

The character of Katerina cannot be fully understood without her stories about the happy period of childhood and girlhood in her parents' house. Carrying away with a dream into this wonderful world full of harmony, Katerina recalls the constant feeling of happiness, joy, merging with everything around her, which she is deprived of in her mother-in-law's house. “Everything here seems to be out of bondage,” says the heroine, pointing out the sharp contrast between her present life and her dear and dear past. It is this inability of Katerina to come to terms with the boar oppression to the end that aggravates her conflict with the "dark kingdom." The story that happened to the heroine in childhood reveals in her such defining character traits as love of freedom, courage, and decisiveness. And, becoming an adult, Katerina is still the same. Her words, addressed to Varvara, sound prophetic: "And if I get very sick of it here, they won't hold me back with any force. I will throw myself out the window, throw myself into the Volga. I don't want to live here, I won't, even though you cut me!"

Love for Boris became for Katerina the reason for the awakening and revival of her soul. She was prepared by her whole forced life in the boar house, her longing for the lost harmony, her dream of happiness. But throughout the play, the author intensifies the contrast between Katerina's sublime, soulful, boundless love and Boris's down-to-earth, cautious passion. This ability of Katerina to love deeply and strongly, sacrificing everything for the sake of her beloved, speaks of her living soul, which was able to survive in the dead boar's world, where all sincere feelings wither and dry up. The motive of bondage is constantly intertwined with Katerina's thoughts about love. This is especially clear in her famous monologue with a key. In a state of the hardest spiritual struggle between the duty of a faithful wife and love for Boris, Katerina constantly returns to the thoughts of the hated mother-in-law and the hateful walls of the Kaban's house. Suppressing the love in oneself, which promises so much happiness, for the sake of a dull vegetation in captivity, is an overwhelming task for a young woman. After all, giving up love means forever giving up all the best that life can give. This means that Katerina deliberately commits a sin in order to preserve her living soul, thereby challenging Kaban's notions of morality. What are these concepts? They are quite clearly and concretely formulated by a kind of ideologue of the "dark kingdom" - Martha Ignatievna Kabanova. She is absolutely convinced that a strong family should be based on the wife's fear of her husband, that freedom leads a person to moral decline. Therefore, she so persistently "nags" Tikhon, who is not able to shout at his wife, threaten her or beat her. Katerina's public repentance further confirms Kabanikha in the correctness and inviolability of her views on the family.

What is the reason for Katerina's public repentance? Maybe this is the fear of a formidable divine retribution? I think that the point here is not cowardice or fear of punishment, but in Katerina's exceptional conscientiousness, in her inability to lie to her husband and mother-in-law, to pretend to people. After all, this is how the first words of her repentance are understood: "My whole heart was torn! I can not endure it any longer!" Neither the mother-in-law, who now locks her daughter-in-law, nor the husband, who beat her a little, because her mother told her to, cannot condemn and punish Katerina more than she herself. After all, she feels her guilt not only before Tikhon and Kabanikha, but also before the whole world, before the higher forces of good and truth. Having committed a sin, Katerina loses the harmony with the world that lived in her. Having passed through difficult spiritual trials, through exhausting pangs of conscience, she is morally cleansed. Through suffering, Katerina atone for her sin. Farewell to Boris kills the heroine's last hope for a life in which joy is still possible. She is ready to follow her beloved man to distant Siberia as an unmarried wife, but he cannot and does not want to resist the formidable uncle, hoping for a mythical legacy.

Katerina has only one way out - suicide. And not because she was sick of life. On the contrary, in the last monologue of the heroine, when she says goodbye to the sun, grass, flowers, birds, one can feel her great desire to live, to love the beauty of the earth. But Katerina still chooses death, because only in this way can she preserve the best, bright, pure and sublime that lives in her soul. And the years of living in the gloomy house of the mother-in-law are tantamount to a slow, prolonged dying. Katerina rejects this miserable semblance of life and, throwing herself into the Volga, asserts a true life, full of joyful selfless love for flowers, trees, birds, for the beauty and harmony of the world. Maybe Tikhon subconsciously feels this when he envies his dead wife. He has boring, monotonous months and years ahead of him, which will kill his soul to the end, because it is possible to keep it alive in the boar's "dark kingdom" only at the cost of life. This means that in the image of Katerina A. N. Ostrovsky embodied the living soul of the people, his protest against the pre-construction religion, oppressive conditions of reality, dependence and lack of freedom.

Living soul in the "dark kingdom"

The heroines of Russian literature amaze with their moral purity and rare spiritual strength, which allows them to boldly challenge the strict laws and conventions of society. Such is Pushkin's Tatiana, Turgenev's Liza Kalitina. Such is also Katerina Kabanova from Ostrovsky's drama "The Thunderstorm". What distinguishes this young merchant's wife from other characters in the play, who has not received any education, does not participate in a socially significant cause? Her sphere is the family, easy homework: handicrafts, flower care, church visits.

The first words of Katerina, when she calls Kabanikha her own mother, are clearly insincere, hypocritical. This means that at first the heroine is perceived as a bonded, submissive woman, accustomed to a dependent position. But already the next remark of Katerina takes us out of this delusion, since here she is already openly protesting against the unfair accusations of her mother-in-law. In the subsequent conversation between Katerina and Varvara, she utters unusual words: "Why don't people fly like birds?" They seem strange and incomprehensible to Varvara, but they mean a lot for understanding the character of Katerina and her position in the boar house. Comparison with a bird that can flap its wings and fly eloquently speaks of how hard it is for Katerina to endure oppressive bondage, the despotism of an overbearing and cruel mother-in-law. The heroine's involuntarily escaped words speak of her secret dream of freeing from this dungeon, where every living feeling is suppressed and killed.

The character of Katerina cannot be fully understood without her stories about the happy period of childhood and girlhood in her parents' house. Carrying away with a dream into this wonderful world full of harmony, Katerina recalls the constant feeling of happiness, joy, merging with everything around her, which she is deprived of in her mother-in-law's house. “Everything here seems to be out of bondage,” the heroine says, pointing out the sharp contrast between her present life and her dear and dear past. It is this inability of Katerina to come to terms with the boar oppression to the end that aggravates her conflict with the "dark kingdom." The story that happened to the heroine in childhood reveals in her such defining character traits as love of freedom, courage, and decisiveness. And, becoming an adult, Katerina is still the same. Her words, addressed to Varvara, sound prophetic: "And if I get very sick of it here, they won't hold me back with any force. I will throw myself out the window, throw myself into the Volga. I don't want to live here, I won't, even though you cut me!"

Love for Boris became for Katerina the reason for the awakening and revival of her soul. She was prepared by her whole forced life in the boar house, her longing for the lost harmony, her dream of happiness. But throughout the play, the author intensifies the contrast between Katerina's sublime, soulful, boundless love and Boris's down-to-earth, cautious passion. This ability of Katerina to love deeply and strongly, sacrificing everything for the sake of her beloved, speaks of her living soul, which was able to survive in the dead boar's world, where all sincere feelings wither and dry up. The motive of bondage is constantly intertwined with Katerina's thoughts about love. This is especially clear in her famous monologue with a key. In a state of the hardest spiritual struggle between the duty of a faithful wife and love for Boris, Katerina constantly returns to the thoughts of the hated mother-in-law and the hateful walls of the Kaban's house. Suppressing the love in oneself, which promises so much happiness, for the sake of a dull vegetation in captivity, is an overwhelming task for a young woman. After all, giving up love means forever giving up all the best that life can give. This means that Katerina deliberately commits a sin in order to preserve her living soul, thereby challenging Kaban's notions of morality. What are these concepts? They are quite clearly and concretely formulated by a kind of ideologue of the "dark kingdom" - Martha Ignatievna Kabanova. She is absolutely convinced that a strong family should be based on the wife's fear of her husband, that freedom leads a person to moral decline. Therefore, she so persistently "nags" Tikhon, who is not able to shout at his wife, threaten her or beat her. Katerina's public repentance further confirms Kabanikha in the correctness and inviolability of her views on the family.

What is the reason for Katerina's public repentance? Maybe this is the fear of a formidable divine retribution? I think that the point here is not cowardice or fear of punishment, but in Katerina's exceptional conscientiousness, in her inability to lie to her husband and mother-in-law, to pretend to people. After all, this is how the first words of her repentance are understood: "My whole heart was torn! I can not endure it any longer!" Neither the mother-in-law, who now locks her daughter-in-law, nor the husband, who beat her a little, because her mother told her to, cannot condemn and punish Katerina more strongly than she herself. After all, she feels her guilt not only before Tikhon and Kabanikha, but also before the whole world, before the higher forces of good and truth. Having committed a sin, Katerina loses the harmony with the world that lived in her. Having passed through difficult spiritual trials, through exhausting pangs of conscience, she is morally cleansed. Through suffering, Katerina atone for her sin. Farewell to Boris kills the heroine's last hope for a life in which joy is still possible. She is ready to follow her beloved man to distant Siberia as an unmarried wife, but he cannot and does not want to resist the formidable uncle, hoping for a mythical legacy.

Katerina has only one way out - suicide. And not because she was sick of life. On the contrary, in the last monologue of the heroine, when she says goodbye to the sun, grass, flowers, birds, one can feel her great desire to live, to love the beauty of the earth. But Katerina still chooses death, because only in this way can she preserve the best, bright, pure and sublime that lives in her soul. And the years of living in the gloomy house of the mother-in-law are tantamount to a slow, prolonged dying. Katerina rejects this miserable semblance of life and, throwing herself into the Volga, asserts a true life, full of joyful selfless love for flowers, trees, birds, for the beauty and harmony of the world. Maybe Tikhon subconsciously feels this when he envies his dead wife. He has boring, monotonous months and years ahead of him, which will kill his soul to the end, because it is possible to keep it alive in the boar's "dark kingdom" only at the cost of life. This means that in the image of Katerina A. N. Ostrovsky embodied the living soul of the people, his protest against the pre-construction religion, oppressive conditions of reality, dependence and lack of freedom.

Bibliography

For the preparation of this work were used materials from the site kostyor.ru/student/

Living soul in the "dark kingdom"

The heroines of Russian literature amaze with their moral purity and rare spiritual strength, which allows them to boldly challenge the strict laws and conventions of society. Such is Pushkin's Tatiana, Turgenev's Liza Kalitina. Such is also Katerina Kabanova from Ostrovsky's drama "The Thunderstorm". What distinguishes this young merchant's wife from other characters in the play, who has not received any education, does not participate in a socially significant cause? Her sphere is the family, easy homework: handicrafts, flower care, church visits.

The first words of Katerina, when she calls Kabanikha her own mother, are clearly insincere, hypocritical. This means that at first the heroine is perceived as a bonded, submissive woman, accustomed to a dependent position. But already the next remark of Katerina takes us out of this delusion, since here she is already openly protesting against the unfair accusations of her mother-in-law. In the subsequent conversation between Katerina and Varvara, she utters unusual words: "Why don't people fly like birds?" They seem strange and incomprehensible to Varvara, but they mean a lot for understanding the character of Katerina and her position in the boar house. Comparison with a bird that can flap its wings and fly eloquently speaks of how hard it is for Katerina to endure oppressive bondage, the despotism of a domineering and cruel mother-in-law. The heroine's involuntarily escaped words speak of her secret dream of freeing from this dungeon, where every living feeling is suppressed and killed.

The character of Katerina cannot be fully understood without her stories about the happy period of childhood and girlhood in her parents' house. Carrying away with a dream into this wonderful world full of harmony, Katerina recalls the constant feeling of happiness, joy, merging with everything around her, which she is deprived of in her mother-in-law's house. “Everything here seems to be out of bondage,” the heroine says, pointing out the sharp contrast between her present life and her dear and dear past. It is this inability of Katerina to come to terms with the boar oppression to the end that aggravates her conflict with the "dark kingdom." The story that happened to the heroine in childhood reveals in her such defining character traits as love of freedom, courage, and decisiveness. And, becoming an adult, Katerina is still the same. Her words, addressed to Varvara, sound prophetic: "And if I get very sick of it here, they won't hold me back with any force. I will throw myself out the window, throw myself into the Volga. I don't want to live here, I won't, even though you cut me!"

Love for Boris became for Katerina the reason for the awakening and revival of her soul. She was prepared by her whole forced life in the boar house, her longing for the lost harmony, her dream of happiness. But throughout the play, the author intensifies the contrast between Katerina's sublime, soulful, boundless love and Boris's down-to-earth, cautious passion. This ability of Katerina to love deeply and strongly, sacrificing everything for the sake of her beloved, speaks of her living soul, which was able to survive in the dead boar's world, where all sincere feelings wither and dry up. The motive of bondage is constantly intertwined with Katerina's thoughts about love. This is especially clear in her famous monologue with a key. In a state of the hardest spiritual struggle between the duty of a faithful wife and love for Boris, Katerina constantly returns to the thoughts of the hated mother-in-law and the hateful walls of the Kabanov house. Suppressing the love in oneself, which promises so much happiness, for the sake of a dull vegetation in captivity, is an overwhelming task for a young woman. After all, giving up love means forever giving up all the best that life can give. This means that Katerina deliberately commits a sin in order to preserve her living soul, thereby challenging Kaban's notions of morality. What are these concepts? They are quite clearly and concretely formulated by a kind of ideologue of the "dark kingdom" - Martha Ignatievna Kabanova. She is absolutely convinced that a strong family should be based on the wife's fear of her husband, that freedom leads a person to moral decline. Therefore, she so persistently "nags" Tikhon, who is not able to shout at his wife, threaten her or beat her. Katerina's public repentance further confirms Kabanikha in the correctness and inviolability of her views on the family.

What is the reason for Katerina's public repentance? Maybe this is the fear of a formidable divine retribution? I think that the point here is not cowardice or fear of punishment, but in Katerina's exceptional conscientiousness, in her inability to lie to her husband and mother-in-law, to pretend to people. After all, this is how the first words of her repentance are understood: "My whole heart was torn! I can not endure it any longer!" Neither the mother-in-law, who now locks her daughter-in-law, nor the husband, who beat her a little, because her mother told her to, cannot condemn and punish Katerina more strongly than she herself. After all, she feels her guilt not only before Tikhon and Kabanikha, but also before the whole world, before the higher forces of good and truth. Having committed a sin, Katerina loses the harmony with the world that lived in her. Having passed through difficult spiritual trials, through exhausting pangs of conscience, she is morally cleansed. Through suffering, Katerina atone for her sin. Farewell to Boris kills the heroine's last hope for a life in which joy is still possible. She is ready to follow her beloved man to distant Siberia as an unmarried wife, but he cannot and does not want to resist the formidable uncle, hoping for a mythical legacy.

Katerina has only one way out - suicide. And not because she was sick of life. On the contrary, in the last monologue of the heroine, when she says goodbye to the sun, grass, flowers, birds, one can feel her great desire to live, to love the beauty of the earth. But Katerina still chooses death, because only in this way can she preserve the best, bright, pure and sublime that lives in her soul. And the years of living in the gloomy house of the mother-in-law are tantamount to a slow, prolonged dying. Katerina rejects this miserable semblance of life and, throwing herself into the Volga, asserts a true life, full of joyful selfless love for flowers, trees, birds, for the beauty and harmony of the world. Maybe Tikhon subconsciously feels this when he envies his dead wife. He has boring, monotonous months and years ahead of him, which will kill his soul to the end, because it is possible to keep it alive in the boar's "dark kingdom" only at the cost of life. This means that in the image of Katerina A. N. Ostrovsky embodied the living soul of the people, his protest against the pre-construction religion, oppressive conditions of reality, dependence and lack of freedom.

Living soul in the "dark kingdom"

Heroin Russian literature is striking in its moral purity and rare spiritual strength, which allows them to boldly challenge the strict laws and conventions of society. Such is Pushkin's Tatiana, Turgenev's Liza Kalitina. Such is also Katerina Kabanova from Ostrovsky's drama "The Thunderstorm". What distinguishes this young merchant's wife, who has not received any education, and does not participate in a socially significant cause, among the other characters in the play? Her sphere is the family, easy homework: handicrafts, flower care, church attendance.

The first words of Katerina, when she calls Kabanikha her own mother, are clearly insincere, hypocritical. This means that at first the heroine is perceived as a bonded, submissive woman, accustomed to a dependent position. But already the next remark of Katerina leads us out of this delusion, since here she is already openly protesting against the unfair accusations of her mother-in-law. In the subsequent conversation between Katerina and Varvara, she utters unusual words: "Why don't people fly like birds?" They seem strange and incomprehensible to Varvara, but they mean a lot for understanding Katerina's character and her position in the boar house. The comparison with a bird that can flap its wings and fly eloquently speaks of how hard it is for Katerina to endure oppressive bondage, the despotism of a domineering and cruel mother-in-law. The heroine's involuntarily escaped words speak of her hidden dream of freeing from this dungeon, where all living feelings are suppressed and killed.

The character of Kateryna cannot be fully understood without her stories about the happy period of childhood and playing in the parental home. Carrying away with a dream into this wonderful world, full of harmony, Katerina recalls the constant feeling of happiness, joy, merging with those around her, which she is deprived of in her mother-in-law's house. “Yes, everything here seems to be out of bondage,” says the heroine, pointing out the sharp contrast between her present life and her dear and dear past. It is this inability of Katerina to come to terms with the boar oppression to the end that aggravates her conflict with the "dark kingdom." The story that happened to the heroine in childhood reveals in her such defining character traits as freedom, courage, and determination. And, becoming an adult, Katerina is still the same. Her words, addressed to Varvara, sound prophetic: “And if I get very sick of it here, they won't hold me back by any force. I'll throw myself out into the window, I'll throw myself into the Volga. I don’t want to live here, so I won’t, even though you change the cut! "

Lyubovk Boris became for Katerina the reason for the awakening and revival of her soul. She is prepared by her whole forced life in the boar house, her longing for lost harmony, her dream of happiness. But throughout the entire play, the author reinforces the contrast between Catherine's sublime, soulful, boundless love and Boris's down-to-earth, cautious hobby. This ability of Katerina to love deeply and strongly, sacrificing everything for the sake of her beloved, speaks of her living soul, which was able to survive in the dead boar's world, where all sincere feelings wither and dry up. The motive of bondage is constantly intertwined with Katherine's thoughts about love. This is especially clear in her famous monologue with a key. In a state of the hardest spiritual struggle between the duty of a faithful wife and love for Boris, Katerina constantly returns to the thoughts of the hated mother-in-law and the hateful walls of the boar house. Suppressing the love in oneself, which promises so much happiness, for the sake of a dull life in captivity, is an impossible task for a young woman. After all, giving up love means forever giving up all the best that life can give. This means that Katerina deliberately commits a sin in order to preserve her living soul, challenging Kaban's notions of morality. What are these concepts? They are quite clearly and concretely formulated by a kind of ideologue of the "dark kingdom" - Martha Ignatievna Kabanova. She is absolutely convinced that a strong family should be based on the wife's fear of her husband, which will lead a person to moral decline. That is why she so persistently "nags" Tikhon, who is not able to shout at his wife, threaten or beat her. Katerina's public repentance further confirms Kabanikha in the correctness and unshakeability of her views on the family.

What is the reason for Katerina's public repentance after all? Could it be the fear of a formidable divine retribution? I think that the point here is not cowardice or fear of punishment, but in Katerina's exceptional conscientiousness, in her inability to lie to her husband and in-law, to pretend to people. After all, this is how the first words of her repentance are understood: “All my heart was torn! I can’t take it anymore! ” The in-law, who now locks her daughter-in-law, nor her husband, who beat her a little, because her mother told her, cannot condemn and punish Katherine more than she herself. After all, she feels her guilt not only before Tikhon and Kabanikha, but also before the whole world, before the higher forces of good and truth. Having committed a sin, Katerina loses the harmony with the world that lived in her. Having passed through severe spiritual tests, through exhausting pangs of conscience, she is morally cleansed. Through suffering, Katerina atone for her sin. Farewell to Boris kills the heroine's last hope for a life in which joy is still possible. She is ready to follow her beloved man to distant Siberia as an unmarried wife, but he cannot and does not want to resist the formidable uncle, hoping for a mythical inheritance.

Katerina has only one way out - suicide. And not because she was sick of life. On the contrary, in the last monologue of the heroine, when she says goodbye to the sun, grass, flowers, birds, one can feel her great desire to live, to love the beauty of the earth. But Katerina nevertheless chooses death, because only in this way can she preserve the best, bright, pure and sublime that lives in her soul. And the years of life in the gloomy home of the mother-in-law are tantamount to a slow, prolonged dying. Katerina rejects this miserable semblance of life and, throwing herself into the Volga, asserts a true life, full of joyful selfless love for flowers, trees, birds, for the beauty and harmony of the world. Maybe Tikhon subconsciously feels this when he envies his dead wife. He has boring, monotonous months and years ahead of him, which will kill his soul until the end, for it is possible to keep it alive in the boar's "dark kingdom" only at the cost of life. This means that in the image of Katerina A. N. Ostrovsky embodied the living soul of the people, his protest against the housebuilding religion, oppressive conditions of reality, dependence and lack of freedom.

Bibliography

For the preparation of this work were used materials from the site kostyor.ru/student/