The highest artistic achievement of A. N. Ostrovsky in the pre-reform years was the drama "Thunderstorm". The author takes us to the provincial merchant town of Kalinov, whose inhabitants stubbornly cling to the established way of life for centuries. But already at the beginning of the play, it becomes clear that those universal values ​​for which Domostroy advocates have long lost their meaning for the ignorant inhabitants of Kalinov. For them, it is not the essence of human relations that is important, but only the form, the observance of decency. It is not for nothing that in one of the first acts “mother Marfa Ignatievna” - Kabanikha, Katerina's mother-in-law - received a deadly characterization: “Honge, sir. He clothes the poor, but eats the household.” And for Katerina, the main character of the drama, patriarchal values ​​are full of deep meaning. She, a married woman, fell in love. And he tries with all his might to fight his feelings, sincerely believing that this is a terrible sin. But Katerina sees that no one in the world cares about the true essence of those moral values ​​for which she tries to cling like a drowning man to a straw. Everything around is already collapsing, the world of the “dark kingdom” is dying in agony, and everything she tries to rely on turns out to be an empty shell. Under the pen of Ostrovsky, the planned drama from the life of the merchants develops into a tragedy.

The main idea of ​​the work is the conflict of a young woman with the “dark kingdom”, the kingdom of tyrants, despots and ignoramuses. You can find out why this conflict arose and why the end of the drama is so tragic by looking into Katerina's soul, understanding her ideas about life. And this can be done thanks to the skill of A. N. Ostrovsky.

Behind the outward calmness of life lie gloomy thoughts, the dark life of tyrants who do not recognize human dignity. Representatives of the "dark kingdom" are Wild and Boar. The first is the finished type of a tyrant merchant, whose meaning of life is to make capital by any means. The imperious and stern Kabanikha is an even more sinister and gloomy representative of Domostroy. She strictly observes all the customs and orders of patriarchal antiquity, eats homemade food, shows hypocrisy, bestowing gifts on the poor, does not tolerate the manifestation of personal will in anyone.

Ostrovsky draws Kabanikha as a convinced defender of the foundations of the “dark kingdom”. But even in her family, where everyone resignedly obeys her, she sees the awakening of something new, alien and hated by her. And Kabanikha bitterly complains, feeling how life is destroying her usual relationships: “They don’t know anything, there’s no order. They don't know how to say goodbye. So that's the old something and displayed. What will happen, how the old people will die, how the light will stand, I don’t know. Well, it’s good that I don’t see anything.” Beneath this humble complaint of Kabanikhi is misanthropy, inseparable from religious bigotry.

The development of the action in The Thunderstorm gradually exposes the conflict of the drama. The power of the Boar and the Wild over others is still great. “But it’s a wonderful thing,” writes Dobrolyubov in the article “A Ray of Light in the Dark Kingdom,” “the tyrants of Russian life, however, begin to feel some kind of discontent and fear, without knowing what and why ... another life has grown, with other beginnings, and although it is far away, it is still not clearly visible, but it already gives itself a presentiment and sends bad visions to the dark arbitrariness of tyrants. Such is the "dark kingdom" - the embodiment of the whole system of life of tsarist Russia: the lack of rights of the people, arbitrariness, oppression of human dignity.

Katerina, a poetic, dreamy, freedom-loving nature, enters this world of the Wild and Boars. The world of her feelings and moods was formed in her parents' house, where she was surrounded by the care and affection of her mother. In an atmosphere of hypocrisy and importunity, petty guardianship, the conflict between the “dark kingdom” and Katerina’s spiritual world is gradually maturing. Katerina suffers only for the time being. “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, I won’t, even if you cut me!” she says.

Finding no echo in the heart of a narrow-minded and downtrodden husband, her feelings turn to a person who is unlike everyone else. Love for Boris flared up with the force characteristic of such an impressionable nature as Katerina, it became the meaning of the heroine's life. Katerina comes into conflict not only with the surrounding feda, but also with herself. This is the tragedy of the position of the heroine.

If the drama ended with a scene of repentance, it would show the invincibility of the “dark kingdom”. But the drama ends with Katerina's moral victory both over the forces that fettered her freedom and over what fettered her will and mind. Katerina decides to commit suicide. The suicide of the heroine is a protest against a worthless life, against the dark forces of the Domostroy kingdom. If a woman, the most disenfranchised creature, and even in the dark, inert environment of the merchant class, can no longer put up with the yoke of “tyranny of power,” then among the destitute, downtrodden people, indignation is ripening, which should induce the people to a decisive struggle.

For its time, when Russia experienced a period of tremendous social upsurge before the peasant reform, the drama "Thunderstorm" had importance. The image of Katerina belongs to the best images women not only in the work of Ostrovsky, but throughout Russian fiction.

Ostrovsky's drama "Thunderstorm" is the most significant work of the famous playwright. She was
written in 1860 during a period of social upsurge, when the foundations of serfdom were cracking, and in a stuffy
a thunderstorm was gathering in the atmosphere of reality.
Ostrovsky's play takes us to a merchant environment, where the house-building orders were maintained
most stubbornly. Inhabitants provincial town live a life closed and alien to public interests in
ignorance of what is happening in the world, in ignorance and indifference. Their interests are limited
household worries. Behind the external calmness of life lie gloomy thoughts, the dark life of petty tyrants, not
recognizing human dignity.
Representatives of the "dark kingdom" are Wild and Boar.
The first is the finished type of a tyrant merchant, the meaning of life of which lies in the fact that any
means to raise capital. Ostrovsky showed this from life.
The domineering and stern Kabanikha is an even more sinister and gloomy representative of the house-building. She is
strictly observes all the customs and orders of patriarchal antiquity, "eats" domestic ones, breeds hypocrisy,
endowing the poor, does not tolerate in anyone the manifestation of personal will. Ostrovsky draws Kabanikha as convinced
defender of the foundations of the "dark kingdom". But even in her family, where everyone resignedly obeys her, she sees
the awakening of something new, alien and hateful to her. And Kabanikha bitterly complains, feeling how life
destroys her usual relationships: “They don’t know anything, there is no order. Say goodbye somehow
know how. So that's the old something and displayed. What will happen, how the old people will die, how the light will stand, I don’t know.
Well, it’s good that I don’t see anything.” Beneath this humble complaint of Kabanikhi is misanthropy,
inseparable from religious hypocrisy.
The development of the action in The Thunderstorm gradually exposes the conflict of the drama. Still great is the power of the Boar and the Wild
over the surroundings. “But it’s a wonderful thing,” writes Dobrolyubov in the article “A Ray of Light in the Dark Kingdom,” “tyrants
Russian life begins, however, to feel some kind of discontent and fear, without knowing what and why ..,
another life has grown up, with other beginnings, and although it is far away, it is still not clearly visible, but it already gives itself
to foresee and sends bad visions to the dark arbitrariness of petty tyrants. Such is the "dark kingdom" -
the embodiment of the whole system of life of tsarist Russia: the lack of rights of the people, arbitrariness, oppression of the human
dignity.
Katerina, a poetic, dreamy, freedom-loving nature, enters this world of the Wild and Boars.
The world of her feelings and moods was formed in her parents' house, where she was surrounded by care and affection.
mother. In an atmosphere of hypocrisy and importunity, petty guardianship, the conflict between the "dark kingdom" and
Katerina's spiritual world matures gradually. Katerina suffers only for the time being. “And if I am very here
disgusted, so 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 don’t
I will, even if you cut me!” she says.

I’ll throw myself out, I’ll throw myself into the Volga, I don’t want to live here, so don’t
I’ll even cut me!” she says.
refer to a person who is different from everyone else. Love for Boris flared up with the force characteristic of
to such an impressionable nature as Katerina, she became the meaning of the heroine's life.
Katerina comes into conflict not only with environment but also by itself. This is tragedy
the position of the heroine. If the drama ended with a scene of repentance, it would show invincibility
"dark kingdom" But the drama ends with the moral victory of Katerina and over the forces that fettered her.
freedom, and over the dark representatives that fettered her will and mind. Katherine decides to
suicide.
The suicide of the heroine is a protest of a worthless life, to the dark forces of the house-building kingdom. If a woman
the most disenfranchised creature, and even in the dark, inert environment of the merchant class, can no longer put up with oppression
"tyrannical power", which means that among the destitute, downtrodden people, indignation is ripening, which should prompt
people to a decisive struggle.
For its time, when Russia experienced a period of tremendous social upsurge before
peasant reform, the drama "Thunderstorm" was of great importance. The image of Katerina belongs to the best
images of women not only in the work of Ostrovsky, but also in the entire Russian and world art
literature.

The idea of ​​the doom of the "dark kingdom" in the drama "Thunderstorm"

Where are you, thunderstorm - a symbol of freedom?

A. S. Pushkin

Ostrovsky's drama "Thunderstorm" is the most significant work of the famous playwright. It was written in 1860 during a period of social upsurge, when the foundations of serfdom were cracking, and a thunderstorm was gathering in the stuffy atmosphere of reality. Ostrovsky's play takes us to a merchant environment, where the house-building order was most stubbornly maintained. The inhabitants of a provincial town live a life closed and alien to public interests, in ignorance of what is going on in the world, in ignorance and indifference. The range of their interests is limited to household chores. Behind the outward calmness of life lie gloomy thoughts, the dark life of tyrants who do not recognize human dignity.

Representatives of the "dark kingdom" are Wild and Boar. The first is the finished type of a tyrant merchant, whose meaning of life is to make capital by any means. Ostrovsky showed from life. The domineering and stern Kabanikha is an even more sinister and gloomy representative of the house-building. She strictly observes all the customs and orders of patriarchal antiquity, "eats" the household, breeds hypocrisy, bestowing gifts on the poor, does not tolerate the manifestation of personal will in anyone. Ostrovsky draws Kabanikha as a staunch defender of the foundations of the "dark kingdom".

But even in her family, where everyone resignedly obeys her, she sees the awakening of something new, alien and hated by her. And Kabanikha bitterly complains, feeling how life is destroying her usual relationships: “They don’t know anything, there’s no order. They don’t know how to say goodbye. If the light stays on, I don't know. Well, it's good that I won't see anything." Beneath this humble complaint of Kabanikhi is misanthropy, inseparable from religious bigotry. The development of the action in The Thunderstorm gradually exposes the conflict of the drama. The power of the Boar and the Wild over others is still great.

“But it’s a wonderful thing,” Dobrolyubov writes in the article “A Ray of Light in the Dark Kingdom,” “the tyrants of Russian life begin, however, to feel some kind of discontent and fear, without knowing what and why ..., another life has grown, with other beginnings, and although it is far away, it is still not clearly visible, but it already gives itself a presentiment and sends bad visions to the dark arbitrariness of tyrants.

Such is the "dark kingdom" - the embodiment of the whole system of life in tsarist Russia: the lack of rights of the people, arbitrariness, oppression of human dignity. Katerina, a poetic, dreamy, freedom-loving nature, enters this world of the Wild and Boars. The world of her feelings and moods was formed in her parents' house, where she was surrounded by the care and affection of her mother.

In an atmosphere of hypocrisy and importunity, petty tutelage, the conflict between the "dark kingdom" and Katerina's spiritual world is gradually maturing. Katerina suffers only for the time being. “And if I get really sick of it here, then no force can hold me back. I’ll throw myself out the window, throw myself into the Volga, I don’t want to live here, so I won’t, even if you cut me!” she says.

Finding no echo in the heart of a narrow-minded and downtrodden husband, her feelings turn to a person who is unlike everyone else. Love for Boris flared up with the force characteristic of such an impressionable nature as Katerina, it became the meaning of the heroine's life. Katerina comes into conflict not only with the environment, but also with herself. This is the tragedy of the position of the heroine. If the drama ended with a scene of repentance, it would show the invincibility of the "dark kingdom".

But the drama ends with Katerina's moral victory both over the forces that fettered her freedom and over the dark representatives that fettered her will and mind. Katerina decides to commit suicide. The suicide of the heroine is a protest of a worthless life, to the dark forces of the house-building kingdom. If a woman, the most disenfranchised creature, and even in the dark, inert environment of the merchant class, can no longer put up with the yoke of "tyranny power", it means that among the destitute, downtrodden people, indignation is ripening, which should induce the people to a decisive struggle.

For its time, when Russia experienced a period of tremendous social upsurge before the peasant reform, the drama "Thunderstorm" was of great importance. The image of Katerina belongs to the best images of women not only in the work of Ostrovsky, but also in all Russian and world fiction.

The highest artistic achievement of A. H. Ostrovsky in the pre-reform years was the drama "Thunderstorm". The author takes us to the provincial merchant town of Kali-nov, whose inhabitants stubbornly cling to the established way of life for centuries. But already at the beginning of the play, it becomes clear that those universal human values ​​that domostroy stands for have long lost their meaning for the ignorant inhabitants of Kalinov. For them, it is not the essence of human relations that is important, but only the form, the observance of decency. It is not for nothing that in one of the first acts, “Mother Marfa Ignatievna” — Kabanikha, Katerina’s mother-in-law — received a deadly characterization: “Honge, sir. He clothes the poor, and eats the household. And for Katerina, the main character of the drama, patriarchal values ​​are full of deep meaning. She, a married woman, fell in love. And he tries with all his might to fight his feelings, sincerely believing that this is a terrible sin. But Katerina sees that no one in the world cares about the true essence of those moral values ​​that she tries to cling to, like a drowning man at a straw. Everything around is already collapsing, the world of the “dark kingdom” is dying in agony, and everything she tries to rely on turns out to be an empty shell. Under the pen of Ostrovsky, the conceived drama from the life of the merchants develops into a tragedy.

"Thunderstorm". The main idea of ​​the work is the conflict of this girl with the "dark kingdom", the kingdom of tyrants, despots and ignoramuses. You can find out why this conflict arose and why the end of the drama is so tragic by looking into Katerina's soul, understanding her ideas about life. And this can be done thanks to the skill of the playwright Ostrovsky.

Behind the outward calmness of life lie gloomy thoughts, the dark life of tyrants who do not recognize human dignity. Representatives of the "dark kingdom" are Wild and Boar. The first is the finished type of merchant-tyrant, the meaning of life of which is to make capital by any means. The imperious and stern Kabanikha is an even more sinister and gloomy representative of the house-building. She strictly observes all the customs and orders of patriarchal antiquity, does not tolerate the manifestation of personal will in anyone.

Ostrovsky draws Kabanikha as a convinced defender of the foundations of the "dark kingdom". But even in her family, where everyone resignedly obeys her, she sees the awakening of something new, alien and hated by her. And Kabanikha bitterly complains, feeling how life is destroying her usual relationships: “They don’t know anything, there is no order. They don't know how to say goodbye. So it's old-for-something and is deduced. What will happen, how the old people will die, how the light will stand, I don’t know. Well, it’s good that I don’t see anything.” Beneath this humble complaint of Kabanikhi lies misanthropy, inseparable from religious hypocrisy.

The development of the action in The Thunderstorm gradually exposes the conflict of the drama. Still great is the power of the Boar and the Wild over those around them. “But it’s a wonderful thing,” Dobrolyubov writes in the article “A Ray of Light in the Dark Kingdom,” “the petty tyrants of Russian life begin, however, to feel some kind of discontent and fear, without themselves knowing what and why ... a different life has grown, with other beginnings, and although it is far away, it is still not clearly visible, but it already gives itself a presentiment and sends bad visions to the dark arbitrariness of tyrants. Such is the "dark kingdom" - the embodiment of the whole system of life of tsarist Russia: the lack of rights of the people, arbitrariness, oppression of human dignity.

Katerina, a poetic, dreamy, freedom-loving nature, enters this world of the Wild and Boars. The world of her feelings and moods was formed in her parents' house, where she was surrounded by the care and affection of her mother. In an atmosphere of hypocrisy and intrusiveness, petty guardianship, the conflict between the "dark kingdom" and the spiritual world of Katerina is gradually maturing. The girl suffers only for the time being. “And if I get very sick of 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, I won’t, even if you cut me!” she says.

Finding no echo in the heart of a narrow-minded and beaten husband, her feelings turn to a person who is unlike everyone around her. Love for Boris flared up with the force characteristic of such an impressionable nature as Katerina, she became the meaning of the heroine's life. Katerina comes into conflict not only with the environment, but also with herself. This is the tragedy of the position of the heroine.

If the drama ended with a scene of repentance, it would show the invincibility of the “dark kingdom”. But the drama ends with Katerina's moral victory both over the forces that fettered her freedom and over the dark representatives that fettered her will and mind. Katerina decides to commit suicide. The heroine's suicide is a protest against a worthless life, against the dark forces of the house-building kingdom. If a woman, the most disenfranchised creature, and even in the dark, inert environment of the merchant class, can no longer put up with the oppression of "tyrant power", it means that among the destitute, downtrodden people, indignation is ripening, which should induce the people to a decisive struggle.

For its time, when Russia went through a period of tremendous social upsurge before the peasant reform, the drama "Thunderstorm" was of great importance. The image of Katerina belongs to the best female images not only in the work of Ostrovsky, but also in all Russian and world literature.