The image of Katerina in the tragedy Thunderstorm. Composition “The tragedy of Katerina (based on the play by A

Katerina is an energetic, noble personality of a young woman. She cannot submit to selfish oppression and humble herself; she cannot make deals with her conscience, enter the path of lies.
The poetic image of Katerina is undoubtedly one of the most important images of Ostrovsky's work.

A gifted, impressionable and strong-minded personality, Katerina grew up under the influence of the most important phenomena of Russian life and under the impressions of the wide and mighty Volga nature. A frisky child, a beloved child in her own family, she lived at home, “did not grieve about anything, like a bird in the wild”; her mother "did not have a soul" in her.

It was fun in the heart of a lively and sensitive girl. Getting up early in the morning, washing herself on the little key and watering her favorite flowers, Katerina and her mother went to church. Their house was old and pious; it was always full of wanderers and pilgrims; these wanderers narrated when the household sat at work (and worked more with gold on velvet), narrated where they were, in what holy places, told the lives of the saints, sang spiritual verses. Then the whole house went to Vespers; then Katerina walked in the garden, "and in the evening again stories and singing."

Katerina loved to pray, she prayed with love and inspiration: in the temple she felt like in paradise - she did not remember the time, she did not see anyone, she dreamed of angels, she followed her fantasy for their flight and singing in the pillar of light going down the temple from the windows domes. God's peace, the morning in the garden, the sunrise evoked in her soul religious tenderness, tears of delight, pure, pointless prayer. And she dreamed wonderful and pure dreams: golden temples, trees and mountains, as she saw them on the icons; she heard heavenly singing, and flew in a dream through the air, light and enlightened.

Religious impressions sublimely tuned the soul of a young girl and remained in her for life.
Having married, Katerina also enthusiastically loved church and prayer.

“Ah, Curly, how she prays, if only you looked! - says Boris Grigorievich. “What an angelic smile she has on her face, but it seems to glow from her face.”
For the rest of her life, in Katerina’s soul, a bright dreaminess was also preserved: “Why don’t people fly like birds! - she says to her sister-in-law Varvara. - You know, sometimes it seems to me that I am a bird. When you stand on a mountain, you are drawn to fly. That's how it would have run up, raised its hands and flew. Try something now? Katerina's soul is passionate and energetic.

- “I was born so hot!” she says. “I was still six years old, no more, so I did it. They offended me with something at home, but it was in the 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 ten miles away!
Strength of mind, not submitting to oppression, noble perseverance does not leave Katerina to death: violence meets a hot, fiery protest from her side; Katerina cannot be belittled, made unresponsive and silent. When Varvara is surprised that she is somehow tricky - she does not want to live and act in such a way that everything is sewn and covered, Katerina tells her:

I don't want that. Yes, and what a good thing! I'd rather endure as long as I endure.
- If you don't mind, what are you going to do? - asks Varvara.
- What will I do?
- Yes, what will you do?
- Whatever I want, I'll do it. - Do it, try it, so you'll be taken here.
- What about me! I'm leaving, and I was.
- Where are you going? You are a husband's wife.
- Oh, Varya; you don't know my character! Of course, God forbid this happens! And if I get really disgusted here, then no force can hold me back. I'll throw myself out the window, I'll throw myself into the Volga. I don’t want to live here, so I won’t, even if you cut me!

The idealism of religious beliefs and pure sublime dreaminess raised Katerina's soul high above the vulgarity and vice of life; it is impossible for her to deal with her conscience; Seriously, with reverent respect, Katerina looks at what she recognizes as the moral law. She married almost as a child, not understanding, perhaps, the meaning of marriage, not knowing the man who became her husband. In her husband, Katerina did not find a loving heart that would meet her spiritual requirements, to whom she could give her heart. Meanwhile, youth was doing its job: Katerina wanted love, happiness - and she fell in love with a stranger. She was afraid of this feeling:

“Oh, girl,” she says to Varvara, “something bad is happening to me, some kind of miracle. This has never happened to me. There is something so extraordinary about me. It's as if I'm starting to live again, or... I really don't know... be some kind of sin! Such a fear on me, such a fear on me! It’s as if I’m standing over an abyss, and someone is pulling me there, but there’s nothing for me to hold on to. At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone is talking to me so affectionately, it’s like he’s dove me, like a dove is cooing. I no longer dream, Varya, as before, paradise trees and mountains; but it’s as if someone is embracing me so passionately, and leading me somewhere, and I follow him, I follow ... It will make me so stuffy, so stuffy at home, that I would run away. And such a thought will come to me that if it were my will, I would now ride along the Volga, on a boat, with songs, or on a good troika, embracing ... "
Katerina cannot recognize her love as true, because she wants to be faithful, and, indeed, is faithful to the moral laws of the life around her. She considers her feeling and calls it a sin: “After all, this is not good, this is a terrible sin, Varenka, that I love another!” she says.

Katerina wants to be not only in peace with her mother-in-law, she wants to love Kabanikha with a daughter's love: “For me, mother, it’s all the same, that my own mother, that you are,” she says sincerely.
And just as sincerely and truthfully she wants to live with her husband in love and advice, to be his faithful wife. She is looking for support in him against her feelings for Boris Grigorievich.
“Tisha, don't leave,” the poor woman asks, already realizing the illegal love that has arisen in her heart. - For God's sake, don't leave! Dove, please!"
And when Tikhon tells her that it’s impossible not to go if mother sends, she asks:

“Well, take me with you, take me! ... Tisha, my dear, if only you would stay, or take me with you, how I would love you, how I would dove you, my dear!”
She expresses her fears to him that without him "there will be trouble, there will be trouble!" She finally asks him to take from her "some terrible oath..." soul, do such a favor for me!”
Then, when Tikhon did not heed her pleas and left, she still does not lose hope of remaining faithful to the law. She regrets that she has no children, they would have saved her.

- “Eco woe! I don't have kids; I wish I could sit with them and amuse them. I love talking with children very much, because they are angels.
And now, left to the mercy of fate, without support and sympathy, Katerina, pushed into sin by the only person who pities her, if not lovingly, Barbara, indulges in her feelings for Boris, indulges with all her soul, sincerely and ardently. “I should even die - but see him!” - she exclaims, and makes an appointment with Boris, and on a date she says to him, throwing herself on his neck: “Your will is now over me, don’t you see?”
But rapprochement with a loved one brings her not happiness, but grief and torment. And she cannot console these torments with any excuses, any considerations, such as: “Whoever has fun in captivity! You never know what comes to mind ... How long to get into trouble! .. And bondage is bitter, oh, how bitter!

At the very moment of the meeting, she is tormented by a difficult internal struggle.
"Why did you come? Why did you come, my destroyer? she says to Boris. “After all, I’m married, because my husband and I live to the grave ... understand me, you are my enemy: after all, to the grave!”
Happy in reciprocity, she desires, at the same time, death. Saying to Boris: “If I am not afraid of sin for you, will I be afraid of human judgment?”, She, however, painfully, painfully desires this court as her salvation.
“They say it’s even easier,” says Katerina, “when you suffer for some sin here on earth.”
The torment of a poor woman comes, firstly, from the fact that she considers her very feeling to be a sin: “you have ruined me ... ruined, ruined,” she says to Boris; secondly, because her truthful nature cannot stand lies and deceit: “I don’t know how to deceive, I can’t hide anything,” she declares sincerely and simply to Varvara; and indeed, when Tikhon returns, she becomes not herself. Varvara is afraid that she will throw herself at her husband's feet and reveal everything. And so it happens. In the threatening words of the crazy lady, in the peals of thunder, in the picture of fiery Gehenna, Katerina hears the reproaches of her conscience, threatening punishment in the afterlife for the joys of earthly happiness. And she rushes to her husband and, in front of her mother-in-law, in front of the people, reveals everything to him.
This is Katerina's secondary, already unconscious attempt to come to terms with the world around her... If this world had generously forgiven her and accepted her, she would have attached herself to her husband with all her soul and would have suppressed her personal impulses with the energy of her will.
But the spirit of the poor woman is not yet completely exhausted: she still wants to see Boris, she still places some hopes on him: “Take me from here with you!” she asks him, as she asked her husband before. And as before her husband, so now Boris, also a humiliated and weak-willed person, albeit in more educated and softer forms, refuses her: “I can’t, Katya; I am not going of my own accord; uncle sends, and the horses are ready ... "
This is the last drop that overflowed the cup; for Katerina there is no longer any support in life - and she does not need more life.
In her meek heart, no evil feeling arises against a person who unwittingly deceived her hopes. “Ride with God; don’t worry about me,” she asks Boris. And from that moment on, all her thoughts focus on death and the grave. Everything earthly was removed from her, and her former, pure daydreaming with a sublime religious tinge returned to her. She cannot go into the house, return to life: everything there is disgusting to her.
"Die now!" she dreams. “It's all the same that death will come, that itself ... but you can't live! ... Sin! Will they not pray? Whoever loves will pray...
“In the grave it is better, under the tree there is a little grave ... how good! The sun warms her, wets her with rain ... in the spring grass will grow on her, so soft ... birds will fly to the tree, they will sing, they will take the children out; flowers will bloom: yellow, red, blue... all sorts... all sorts... So quiet, so good!.. And I don't even want to think about life. Live again? No, no, don't... not good!"
And she leaves life - she leaves calmly, forever, into the deep pool of the Volga.

The play by A. N. Ostrovsky "Thunderstorm" depicts the era of the 60s of the nineteenth century. At this time, revolutionary actions of the people are brewing in Russia. They are aimed at. improvement of life and life of ordinary people, to overthrow tsarism. The works of great Russian writers and poets are also involved in this struggle, among them is Ostrovsky's play "Thunderstorm", which shocked all of Russia. On the example of the image of Katerina, the struggle of the whole people against the "dark kingdom" and its patriarchal orders is depicted.

The main character in A. N. Ostrovsky's play "Thunderstorm" is Katerina. Her protest against the "boar" order, the struggle for her happiness and depicts the author in the drama.

Katerina grew up in the house of a poor merchant, where she matured spiritually and morally. Katerina was an outstanding personality, and there was some kind of extraordinary charm in her features. All of her "breathed" Russian, truly folk beauty; this is how Boris says about her: “There is some kind of angelic smile on her face, but it seems to glow from her face.”

Before her marriage, Katerina “lived, didn’t grieve about anything, like a bird in the wild,” did what she wanted and when she wanted, no one ever forced her or forced her to do what she, Katerina, didn’t want to.

Her spiritual world was very rich and diverse. Katerina was a very poetic nature with a rich imagination. In her conversations we hear folk wisdom and folk sayings. Her soul yearned to fly; “Why don't people fly like birds? Sometimes I feel like I'm a bird. When you stand on a mountain, you are drawn to fly. That’s how I would run up, raise my hands and fly.”

Katerina’s soul was “educated” both on the stories of the praying women who were in the house every day, and on sewing on velvet (sewing brought her up and led her into the world of beauty and kindness, into the world of art).

After marriage, Katerina's life changed dramatically. In the house of the Kabanovs, Katerina was alone, her world, her soul could not be understood by anyone, This loneliness was the first step towards tragedy. The attitude of the family towards the heroine has also changed dramatically. The Kabanovs' house adhered to the same rules and customs as Katerina's parental house, but here "everything seems to be from captivity." The cruel orders of Kabanikha dulled in Katerina the desire for the sublime, since then the heroine's soul fell into the abyss.

Another pain for Katerina is her husband's misunderstanding. Tikhon was a kind, vulnerable person, very weak compared to Katerina, he never had his own opinion - he obeyed the opinion of another, stronger person. Tikhon could not understand the aspirations of his wife: "I can't figure you out, Katya." This misunderstanding brought Katerina one step closer to disaster.

The love for Boris was also a tragedy for Katerina. According to Dobrolyubov, Boris was the same as Tikhon, only educated. Because of his education, he came to the attention of Katerina. From the entire crowd of the "dark kingdom" she chose him, who was slightly different from the rest. However, Boris turned out to be even worse than Tikhon, he only cares about himself: he only thinks about what others will say about him. He leaves Katerina to the mercy of fate, to the massacre of the “dark kingdom”: “Well, God bless you! Only one thing must be asked of God that she die as soon as possible, so that she does not suffer for a long time! Goodbye!".

Katerina sincerely loves Boris, worries about him: “What is he doing now, poor thing? .. Why did I bring him into trouble? I would die alone! And then she ruined herself, ruined him, dishonor herself - he is eternal shame!

The manners of the city of Kalinov, its rudeness and “sheer poverty” were not acceptable to Katerina: “If I want, I’ll leave wherever my eyes look. Nobody can stop me, that's it

I have character."

Dobrolyubov gave a high rating to the work. He called Katerina "a ray of light in the" dark kingdom ". At its tragic end, “a terrible challenge was given to self-conscious force ... In Katerina we see a protest against Kabanov’s concepts of morality, a protest carried to the end, proclaimed both under domestic torture and over the abyss into which the poor woman threw herself.” In the image of Katerina Dobrolyubov sees the embodiment of "Russian living nature." Katerina prefers to die than to live in captivity. Katerina's action is ambiguous.

The image of Katerina in Ostrovsky's play "Thunderstorm" is an excellent image of a Russian woman in Russian literature.

WHAT IS KATERINA'S TRAGEDY? The play by A. N. Ostrovsky "Thunderstorm" depicts the era of the 60s of the nineteenth century. At this time, revolutionary actions of the people are brewing in Russia. They are aimed at improving the life and life of ordinary people, at overthrowing tsarism. The works of great Russian writers and poets are also involved in this struggle, among them is Ostrovsky's play "Thunderstorm", which shocked all of Russia. On the example of the image of Katerina, the struggle of the whole people against the "dark kingdom" and its patriarchal orders is depicted.

The main character in A. N. Ostrovsky's play "Thunderstorm" is Katerina. Her protest against the “Kabatsov’s” order, the struggle for her own happiness is depicted in the drama by the author.

Katerina grew up in the house of a poor merchant, where she matured spiritually and morally. Katerina was an outstanding personality, and there was some kind of extraordinary charm in her features. All of her "breathed" Russian, truly folk beauty; this is how Boris says about her: “There is some kind of angelic smile on her face, but it seems to glow from her face.”

Before her marriage, Katerina “lived, didn’t grieve about anything, like a bird in the wild,” did what she wanted and when she wanted, no one ever forced her or forced her to do what she, Katerina, didn’t want to.

Her spiritual world was very rich and diverse. Katerina was a very poetic nature with a rich imagination. In her conversations we hear folk wisdom and folk sayings. Her soul longed for flight: “Why don't people fly like birds? Sometimes I feel like I'm a bird. When you stand on a mountain, you are drawn to fly. That’s how I would run up, raise my hands and fly.”

Katerina's soul was "educated" both on the stories of the pilgrims who were in the house every day, and on sewing in arhat (sewing brought her up and led her into the world of beauty and Kh®bra, into the world of art).

After marriage, Katerina's life changed dramatically. In the Kabanovs' house, Katerina was alone, no one could understand her world, her soul. This loneliness was the first step towards tragedy. The attitude of the family towards the heroine has also changed dramatically. The Kabanovs' house adhered to the same rules and customs as Katerina's parental house, but here, "everything seems to be from captivity." The cruel orders of Kabanikha dulled in Katerina the desire for the sublime, since then the heroine's soul fell into the abyss.

Another pain for Katerina is her husband's misunderstanding. Tikhon was a kind, vulnerable person, very weak compared to Katerina, he never had his own opinion - he obeyed the opinion of another, stronger person. Tikhon could not understand the aspirations of his wife: "I can't figure you out, Katya." This misunderstanding brought Katerina one step closer to disaster.

The tragedy for Katerina was also lgbbov to Boris. According to Dobrolyubov, Boris was the same as Tikhon, only educated. Because of his education, he came to the attention of Katerina. From the entire crowd of the "dark kingdom" she chose him, who was slightly different from the rest. However, Boris turned out to be even worse than Tikhon, he only cares about himself: he only thinks about what others will say about him. He leaves Katerina to the mercy of fate, to the massacre of the “dark kingdom”: “Well, God bless you! Only one thing must be asked of God that she die as soon as possible, so that she does not suffer for a long time! Goodbye!".

Katerina sincerely loves Boris, worries about him: “What is he doing now, poor thing? .. Why did I bring him into trouble? I would die alone! And then she ruined herself, ruined him, dishonor herself - he is eternal shame!

The manners of the city of Kalinov, its rudeness and “sheer poverty” were not acceptable to Katerina: “If I want, I’ll leave wherever my eyes look. No one can stop me, that's my nature."

Dobrolyubov gave a high rating to the work. He called Katerina "a ray of light in the" dark kingdom ". At its tragic end, “a terrible challenge was given to self-conscious force ... In Katerina we see a protest against Kabanov’s concepts of morality, a protest carried to the end, proclaimed both under domestic torture and over the abyss into which the poor woman threw herself.” In the image of Katerina Dobrolyubov sees the embodiment of "Russian living nature." Katerina prefers to die than to live in captivity. Katerina's action is ambiguous.

The image of Katerina in Ostrovsky's play "Thunderstorm" is an excellent image of a Russian woman in Russian literature.

From what moment did Katerina's tragedy begin? From the very moment she ended up in the Kabanovs' house. Since the very beginning to live by their laws. Although the customs in their house were the same as in her own, only here they were carried out as if under duress.

In her native land, the girl lived freely and freely. She could listen carelessly to stories and the singing of wanderers all day long. Never did hard work. But as soon as the girl moved into her husband's house, it began to seem to her that she could no longer breathe deeply, she had nowhere to roam.

The reason was the strained relationship between mother-in-law and daughter-in-law. The boar, who loves strict rules and order, constantly clung to Katerina, brought her up. The reason was that she was too jealous of her beloved son for another woman. Indeed, after the wedding, Tikhon's love began to fall not only to her, but also to Katerina.

But how strong was her husband's love? Did her freedom-loving heroine have enough? It would seem that you can find solace from your dear and beloved husband, you can ask him for protection from his tough mother. But it was not there. Tikhon turned out to be a spineless man, unable to argue with his mother. You can not feel behind him, like behind a stone wall.

Well, what to take from such a husband? She wanted thrills and strong feelings. Was he really loved by Katerina, if the girl's eyes fell on Boris, who seemed to her special in this world? But the poor man was not lucky with him either. Selfish Boris thought of no one but himself. Worried only about the public opinion that could develop if he had an affair with a married woman.

Did Katerina get support from Boris? You can't say that. The guy refused to take her with him when he went to Siberia. He only wished the girl a speedy death so that she would not suffer for a long time.

Exhausted by remorse, the heroine decides to confess her betrayal to Tikhon and Kabanikha. After a while, Tikhon tells the girl that he forgives her, because he sees how she suffers from this.

But Katerina understands that the rest will condemn her, that she will not have a quiet life. She does not want to return to the house where everything has become disgusting to her, where her freedom is so infringed upon, where her heart does not feel peace and tranquility. The heroine does not want to live in a world where no one can understand her feelings, so she decides to free her soul by throwing herself into the river.

The tragedy of Katerina lies in the fact that close people did not want to understand her, support her, that they only infringed on the freedom of her actions and soul.

Option 2

"Thunderstorm" by Ostrovsky, a work showing Katerina's conflict with despots, fools and ignoramuses. Katerina is the main character of the drama. This heroine has her own views on life. The reader must see this, after which only the conflict that has arisen and the sad ending of the drama become clear. Katerina tells us about her childhood, as well as about the places where she was born and lived.

The life of the heroine was quite free and uninhibited. She got up early every day. Then, together with her mother, they went to church, after which Katerina was engaged in work. With such a life, in principle, there can be no conflict and hatred for loved ones. The heroine lives in an hour when the patriarchal family is based only on violence and anger. The heroine realized this only in the Kabanovs' house.

The girl got married early, perhaps she understood that this was a hasty action, but she could not do anything. It was the decision of her family, to which the heroine reacted calmly, as if it should be so. Katerina comes to the Kabanov family with her own idea of ​​family life, with her own hopes and expectations. Katerina waited for her husband to dominate her, but at the same time protect her. But, this doesn't happen. Tikhon does not fit this role in any way. From that moment on, the old life is over. Now the heroine is surrounded by deceitful and hypocritical people.

The heroine now attends church, but does not experience any relief and feelings. Religion begins to attack Katerina when she is restless inside. The heroine can no longer say prayers, because her lifestyle is now completely contrary to the commandments. Katerina is scared for herself, the girl wants freedom. Many of the things she loved to do before are now alien. Every minute there are negative thoughts in her head that prevent her from perceiving the beauty of nature. Now the only thing left for the heroine is to dream and endure. But, all this becomes in vain, because reality will always win over dreams.

Katerina now lives in a world that provokes and pushes the girl to lie and deceive. The heroine is by nature a different person. Boris attracts her not only because he is a different person than those who surround the heroine. It’s just that Katerina didn’t find reciprocal love in her husband, she wants attention and love, but he doesn’t have it. She needed to deceive and show cunning, but this is not for her. The heroine is tired, and she decides to tell her mother-in-law and her husband about her sin.

She has no other options but recognition. All she can do in this situation is to humble herself and become the obedient wife and slave of the mother-in-law. But, again, the heroine shows that she is a different person, she has a different character. Katerina has found a way out, she will die. In recent days, she does not blame anyone, she is simply tired and can no longer live in this world. Everything is decided, and already irrevocably. Katerina no longer intends to live such a miserable life. The mother-in-law for her became an evil and inhuman woman, and her husband, as he was weak, remained the same. The only way out of all this is death.

The tragedy of Katerina in the play by Ostrovsky Thunderstorm

Actions of the play by A.N. Ostrovsky's "Thunderstorm" is deployed on the banks of the Volga, in the city of Kalinov. The name is fictitious, these events could take place in any city of Russia, both in the Volga region and not. But still, the power and beauty of the great Russian river plays a certain role in history. After all, it is the Volga that the main character of the story trusts herself.

Cruel morals in the city, the tradesman and mechanic Kuligin tells us about this. A poor man cannot earn more than a piece of bread, no matter how hard he works. Ordinary residents of the city sleep no more than three hours a day. And those who are rich in their labors “gratuitously” profit even more. Russia at the end of the 19th century is a world of petty tyrants, tyrants, despots, rich merchants. In such a harsh world, called the "dark kingdom" by the critic Nikolai Dobrolyubov, the heroes of the work have to survive.

Everyone here adapts as best they can. Someone takes root and becomes part of the dark kingdom, someone suffers and suffers. Dikoy and Kabanova run Kalinov. One is getting richer, the second is charitable for show, but completely "jammed her family." Kuligin is warmed by the thought of finding a perpetual motion machine and a prize that he can spend on changing life in the city. The clerk Vanya Kudryash is cheerful, "toothy", does not let Wild go down in a verbal skirmish and easily reacts to everything. Boris Grigoryevich suffers attacks and bullying from his uncle, hoping to receive part of his grandmother's inheritance. Tikhon, the son of Kabanikha, suffers from a harsh mother, but fulfills all her requirements unquestioningly. Therefore, from time to time he goes on a spree, drinks a lot, escaping from the strict control of his beloved "mother". Varvara adapted to the conditions of the family and the nature of her mother, learned to adapt.

Each with his own. And only Katerina, Tikhon's wife, cannot find her place here. She is a modest, kind girl, benevolent, but with a hot temper. When she was not married, my mother did not look for a soul in her, dressed her “like a doll”, did not force her to work, she allowed everything, and it was difficult for her to forbid something. Somehow Katya, while still a child, was offended by her parents for something. So she ran out into the night onto the river, climbed into the boat and pushed off the shore. They found her only in the morning. She has such an ardent, freedom-loving disposition. She does not tolerate injustice and captivity at all. But in the house of the Kabanovs, with an outward resemblance to the customs of their own family, everything is just “out of captivity”.

Katya dreams of becoming a bird and flying away, so as not to endure more reproaches, unfair insults, the darkness of her mother-in-law and her home. She does not love her husband, but regrets. And if he were an independent man, and not a weak-willed son with his mother, he would become his good and faithful wife. Tikhon loves his wife in his own way. But he will never say a word across his mother. Marfa Ignatievna just likes to tyrannize her son and daughter-in-law especially. She covers this vice with a great benefactor. After all, stupid young people will not be able to live without it with their minds, they will make mistakes and disappear.

And there is no one person's fault in Katerina's tragedy. Everyone is to blame, some more, some less. Someone's tyranny, someone's silence and indifference. After all, with all her heart she wanted to be pure, impeccable, a good wife, she dreamed of children. There is also Boris' fault in the tragedy. He did not try to change the situation in any way, to save his beloved, and leaving only prays for her imminent death as deliverance from torment. This path is chosen by Katya. She sees no other way to get rid of the oppression and bondage of the dark kingdom. Even if her actions are contradictory. N. Dobrolyubov, in his critical article, noted that the suicide of the heroine: "given a terrible challenge to tyrannical power." And he called the girl herself a ray of set in the dark kingdom.

Since my early childhood, I have liked the profession of a designer. What I like most about it is that I can show all my creative potential as much as possible.

Ostrovsky's "Thunderstorm" is a complex and multifaceted work, allowing for various interpretations and interpretations. Even the genre of this play is defined in different ways: it is sometimes called a drama, sometimes a folk tragedy, depending on how the conflict underlying it is understood. If we consider it as intra-family, domestic, then the reason for Katerina's drama is obvious: the wife cheated on her husband, which she herself admitted to everyone, and then, unable to endure the pangs of conscience and the reproaches of her mother-in-law, who had previously tyrannized her daughter-in-law, committed suicide. But Ostrovsky's contemporary critics refused such a simplified interpretation: too much in this play remains “behind the scenes” with this approach.

Critic Dobrolyubov in the article "A Ray of Light in the Dark Kingdom" substantiated Katerina's drama from the point of view of social contradictions, which determined not only the feeling of a pre-stormy atmosphere in society on the eve of reforms, but also affected family foundations. From his point of view, the reason for Katerina's drama is that she turned out to be more sensitive and receptive to these new processes and perceived the need to overcome the inert forms and traditions of life as her personal task. She is unbearable family bondage, with which she can still put up with for the time being. But the free soul of Katerina, who fell in love in spite of all the norms and laws of the patriarchal family, is eager for freedom. The drama is aggravated by the fact that she has nowhere to wait for help: her beloved Boris is a weak and indecisive person, like her husband Tikhon, only she is capable of an effective protest against the "dark kingdom". According to the critic, Katerina's outdated religious ideas, forcing her to regard her feelings as a terrible sin, make her choose such a form of protest as suicide. In fact, the critic reproaches Katerina only for the fact that instead of actively fighting the conservative orders that have outlived their time, she sacrifices herself. But he agrees that this follows from the nature of Katerina's character, her nature, and does not require more. It is enough that it becomes clear to everyone that even in the most downtrodden part of the people a protest is brewing. Such is the conclusion of this critic about the causes of Katerina's drama.

But how does this conclusion correspond to the author's position? After all, it is not for nothing that the writer introduces into the play a whole group of symbols that allow us to understand Katerina's inner world, filled with the poetry of the church service, angelic singing, the smell of cypress and unearthly light. Katerina is a pure soul who lives for a time in the reserved world of that deep patriarchal past, when the norms and postulates of the world of wild boars and wild ones were not an external form, but the internal content of each person. That is why it is not so important for her whether, according to the rules or not, she says goodbye to her husband - the main thing is that she does it sincerely. When Katerina feels the birth of a new feeling in her soul - love for Boris - she loses her inner harmony: while continuing to sincerely believe that family relationships are holy and betrayal is a terrible sin, she simultaneously believes her feeling just as strongly and sincerely. Love for Boris is what makes up the essence of Katerina's personality, which is being born before our eyes. She is forced to fight her way not only through external obstacles, but also, which is much more difficult, overcoming internal resistance. Such a conflict cannot be resolved, even if the mother-in-law is kinder, and others treat the poor woman with great understanding. Escape with Boris would not have helped her - after all, you can’t run away from yourself! It is necessary that the whole system of life change, so that the rights of the individual to free choice, happiness and dignity become the norm - but this does not exist in the reality surrounding Katerina and will not be for a long time. So her death is natural, like the death of any tragic heroine. But the feeling of inner purification, similar to what is called catharsis, and the joy that the miracle of the birth of a personality has happened before us, makes us see in The Thunderstorm not only a drama unfolding in the depths of the “dark kingdom”, but also a “beam of light”, illuminating us with hope.