December 2, 1859. She was immediately a great success, talked about and argued about. They argued mainly about the interpretation of the fate and character of the main character, Katerina Kabanova, as well as about the main idea of ​​the play, which outlined a new "hero of the time." "Katerina's suicide - strength or weakness?" - this is the main question that many critics have tried to answer. Among them, N.A. Dobrolyubov.

Opinion N.A. Dobrolyubova

Nikolai Aleksandrovich devoted his article "A Ray of Light in the Dark Kingdom", written in 1860, to this work. In the article, the critic of Sovremennik gives detailed analysis plays from the point of view of "real criticism", from a revolutionary-democratic position. This was Dobrolyubov's second article about Groz. The first, "The Dark Kingdom", was written a year ago, in 1859.

The main theme of these and many other articles devoted to this work is the character of the main character. The fate of Katerina Kabanova really makes you think a lot, and in this article I would like to consider in detail the nature of the main character and the reasons for her unfortunate fate. Nikolai Alexandrovich used the images of the "dark kingdom" and the "ray of light", which were often quoted later in the analysis of this work. To the question: "Katerina's suicide - strength or weakness?" - he replies that this act testifies to the courage of the main character, who opposes the evil of the "dark kingdom".

Opinion D.I. Pisarev

However, not all critics agreed with Dobrolyubov's point of view; controversy often arose between them. For example, D.I. Pisarev, in his article "Motives of Russian Drama", written in 1864, did not agree with the opinion of Nikolai Alexandrovich that Katerina was a new historical heroine that the era brought to us. According to Dmitry Ivanovich, such a character is Yevgeny Bazarov, a raznochinets-democrat from Turgenev's work "Fathers and Sons".

Opinion A.A. Grigorieva

The point of view of another critic, Grigoriev, is interesting. Even a few months before the publication of the article "A Ray of Light in a Dark Kingdom" he reproached its author for offering a one-sided approach to understanding Ostrovsky, to his portrayal of life. According to this critic, in the first article by Nikolai Aleksandrovich, "The Dark Kingdom", Ostrovsky appears as a punisher and denouncer of tyranny.

However, in assessing the main character, the opinions of these two writers coincide. They both say that Katerina is a heroic character who came out of the people's environment, they note the poetry of her soul and the tragedy of fate. Let's try to answer the question together: "Katerina's suicide - strength or weakness?", dwelling in detail on the outer and inner side of the character of the main character.

Patriarchal merchants in the image of Ostrovsky

It should be said that this was not the first work by Ostrovsky depicting the patriarchal merchant class. His life was also described in other plays by the author of the late 1840s - early 1850s, for example, in the comedy "Own people - let's settle!". However, in the early plays of Alexander Nikolayevich there was not yet such bright image like Katherine. The character of the heroine, who came from a merchant environment, is a real artistic discovery, which is created by Ostrovsky Alexander Nikolaevich ("Thunderstorm").

At first glance, the appearance of the heroine, who has such an uncharacteristic view of life for the patriarchal environment of the city of Kalinov, seems accidental. However, this was not the case. Her fate, her striving for happiness at the behest of her heart, and not according to "law", is the result of the deep processes taking place in society at that time, gradually destroying the patriarchal structure of the merchant class. The play "Thunderstorm" is full of dialogues about the "end of the world", "last times", about the fact that young people have ceased to honor traditions and customs; And against this background, the plot of the work unfolds.

Symbolism of "Thunderstorm"

The Thunderstorm is a symbolic play, its symbolism is connected with folklore, and in this it differs from Ostrovsky's early plays. In the work, much resembles a fairy tale world, even the very image of the city of Kalinov evokes associations with the world of a fairy tale. The characters seem to live in their own closed reality, limited by the limits of Kalinov's narrow worldview.

In reality, which was created by Ostrovsky Alexander Nikolaevich ("Thunderstorm"), there is no actors, at least slightly outside these limits. Even Katerina, aspiring to another life, has a very vague idea of ​​what this other life is like. She only realizes that her current existence is disgusting to her. Beloved of Katerina, the nephew of Wild Boris, is like a foreigner who arrived in this sleepy city from a foreign country in which there was a completely different life. However, he also turns into a subject of the "dark kingdom" of Kalinov, and does not at all resemble the image of Ivan Tsarevich saving his beloved.

Katerina is like a "sleeping beauty". But her "awakening" was by no means joyful. Sweet dream of Katerina Kabanova - life in the house loving parents- was rudely interrupted by marrying an unloved person. Tikhon is weak-willed, obeys his mother in everything, who is a true tyrant in the play.

External conflict

What led to such a tragic ending? Katerina's suicide - strength or weakness? There are no specific culprits in the play. The whole Kalinovsky world is to blame. The main character was a victim of a way of life that has developed as if under the influence of evil spells that keep the whole city in submission. The inhabitants of Kalinov are not able to resist them. At best, they only silently sympathize with Katerina or give her advice on how to deceive the Kabanikha and arrange a date with her lover. However, any proposal of the Kalinovites arouses protest in her soul, since they all involve some compromise with the mores of the city, with her position as a merchant's wife.

The Kalinovites are used to obeying fate, but Katerina challenges her, and the city rejects her. The main character personifies dreams of change. They attract her, beckon, unlike, for example, Kabanikha, who imagines " end times"and" the end of the world ". Katerina realizes that she is doomed in her striving for a new one, and, having made sure that this closed world is unable to change and there is no one to wait for support, the heroine decides to die. However, when trying to give an answer to the question: "Katerina's suicide - victory or defeat?" It is worth considering also the internal conflict of the heroine.

Internal conflict

The tragedy "Thunderstorm" defines Katerina's suicide not only as her external conflict with the "dark kingdom", but also as an internal conflict of the heroine. In her soul there is a struggle between the old and the new. The thought of violating moral duty haunts Katerina: she believes that she has sinned, that she will never receive forgiveness. This sin is especially hard and painful for the main character. She is alternately possessed by consciousness of her own guilt and heroic despair. Every act of yours main character perceives as a step towards the abyss, believing that there is no turning back. Katerina does not see any hope for salvation; the thought of the possibility of forgiveness of sins and the salvation of the soul never comes to her.

Social, philosophical and psychological aspects of tragedy

Thus, in understanding tragic fate The main character can be divided into several aspects.

The first aspect is social, because in order to become happy, Katerina must either leave Kalinov or destroy the entire social and everyday life of this city. Neither one nor the other is possible in this situation, the heroine is a prisoner of this enchanted world.

Katherines include and philosophical aspect- this is an unwillingness to obey, opposition to one's own fate. Here the heroine also cannot be the winner. She has two choices: either accept her fate, her role as a victim of the "dark kingdom", or die. In the play, Katerina's suicide is presented as a natural ending.

The psychological aspect of the tragedy is an internal contradiction between the awareness of one's grave sin and free will, which encourages the heroine to transcend internal moral prohibitions. It should be noted that the form that this prohibition takes with Katerina - religious - is of no particular importance. After all, suicide is an even more serious sin than adultery.

All three aspects are interrelated, and all of them are important for a complete understanding of the causes tragic death heroine and the answer to the question: "Katerina's suicide - victory or defeat?". So, the usual adultery turned into a large-scale tragedy of the individual in "Thunderstorm", and in itself this betrayal is rather not a cause, but only a consequence of her opposition to the Kalinov world.

Katerina's love for Boris

Love in Katerina is not the highest need of the soul, as in the heroine of "The Dowry". It is only a form of protest against the life of the merchant environment, a symbol of freedom. Katerina treats Boris not as a lover, but as the embodiment of her dream of freedom.

These characters never find a common language: the main character was able to rise above the life of Kalinov's society, and Boris was unable to do so. So why did Katerina decide to commit suicide?

The heroine decided to drown herself not from "unhappy love" and not even from sinful, "impossible" - she was pushed to this by Kalinov's life, since such a desire could not be realized within the narrow confines of this city. Thus, for Ostrovsky, everyday life for the first time becomes a form of life, a reflection of a person's aspirations, the so-called "philosophy of everyday life" appears.

Philosophy of life

In this work, he is endowed with a special function: a reflection of the base, material in people's lives, under which everything sublime and spiritual is hidden. The destruction of everyday life portends the imminent collapse of familiar social relations.

Even the plot-compositional elements of "Thunderstorm" are subject to attention to it. The work notes the static nature of the plot, the omission of the love affair itself, as well as many scenes that are not related to the development of the plot, but are necessary to describe the everyday environment of the city. The unhurried development of events corresponds to the pace of life of the Kalinovites, measured and unhurried. The extensive backstory of the main character, as well as the backstories of secondary characters, create the feeling that events begin long before the start of the story. The final scene does not completely exhaust its meaning, hinting at the possibility of repeating the described events in reality.

Katerina in "Thunderstorm": the strength and weakness of the heroine

The fate of Katerina in the drama "Thunderstorm" causes pity and at the same time respect. This simple Russian woman differs from the people around her not only in her unfortunate fate and terrible death, but also in her rare spiritual qualities. Russian critics dubbed her "a ray of light in a dark kingdom." Why, if she could not change anything and passed away as defeated?

Initially, Katerina is a strong spiritual person, with a rich original imagination. Thanks to her upbringing, her dreams were directed towards religiosity. But Katerina knew how to poetically rethink church truths. So, she often dreamed of paradise gardens and birds, and when she entered the church, she saw angels.

Katerina's religiosity makes her more vulnerable (she cannot lie, because it is a sin), and at the same time gives her the power of truth in an implicit struggle with the hypocrite Kabanikha. Love for Boris brings Katerina face to face with the "dark kingdom", although she does not perceive her protest as indignation against the existing system. And yet, for every resident of Kalinov, Katerina’s loneliness in their “dark kingdom” is obvious.

It is emphasized by the composition of the work. Katerina is the only hero who does not have a couple (unlike the pairs of Kabanova - Wild (rich tyrants), Tikhon - Boris (their weak-willed slaves), Varvara - Kudryash (successfully adapted). Katerina, by her origin, is a stranger in Kalinov.

Katerina is the highest, most poetic embodiment of the ideas and principles of the patriarchal world. It is no coincidence that her image was clearly inspired by the images of Russian poetry to the author. The motive of Katerina’s desire for Boris, her “destroyer”, seems to be borrowed from a folk song (“You kill, ruin me from midnight ...”): “Why did you come? Why have you come, my destroyer? "Why do you want my death?"; "You ruined me!" How strong her feeling must be if she goes to certain death in the name of him! "Do not be sorry, destroy me!" - she exclaims, deciding to answer Boris in return. And gradually Katerina comes to the conclusion: “If I get sick of it here, they won’t hold me back by any force. I’ll throw myself out the window, I’ll throw myself into the Volga.

But the patriarchal world around is no longer what it is in Katerina's soul. A lump of contradictions grows, and, finally, in Katerina there is no longer anything similar to what surrounds her.

In the first phenomenon, listening to the dialogue between Kuligin and Tikhon, we imagine Katerina as a humble victim, a person with a broken will and a crushed soul. “Mama eats her, and she walks like a shadow, unanswered. It only cries and melts like wax, ”says Tikhon about his wife.

We are ready to see a powerless victim, but on the stage there is a person capable of dreaming, of loving; still able to live. She is a person with a strong, resolute character, with a lively, freedom-loving heart. She ran away from home to say goodbye to Boris, not being afraid of punishment for this act. She not only does not hide, does not hide, but “loudly, at the top of her voice” calls her beloved: “My joy, my life, my soul, I love you! Reply!"

Katerina's last monologue depicts her inner victory over the forces of the "dark kingdom". “To live again? No, no, don't... not good!" The word “not good” is characteristic here: to live under the yoke of Kabanikh, from the point of view of Katerina, is unnatural and immoral: “But they will catch me, but they will bring me back home by force ...” “Oh, hurry, hurry!” The thirst for liberation also triumphs over dark religious ideas. Katerina is imbued with the conviction of her right to freedom of feelings, to the freedom to choose between life and death. “It’s all the same that death will come, that itself ... but you can’t live!” she reflects on suicide, which from the point of view of the church is one of the worst sins. But she found the strength to question this notion: “Sin! Will they not pray? Whoever loves will pray...

As a thunderstorm on a hot summer day brings coolness, so after the death of Katerina, the victims of the "dark kingdom" wake up with self-esteem and the desire to escape from a humiliating situation. Varvara and Kudryash flee from Kalinov. Kuligin addresses those gathered on the shore with a reproach. Even Tikhon finds the strength to blame his mother: “You ruined her! You! You!"

The death of Katerina, like the sun, illuminated the "dark kingdom" with all the ugly inhabitants.

In Ostrovsky's forty original plays from contemporary life, there are practically no male heroes. Heroes in the sense of positive characters that occupy a central place in the play. Instead, Ostrovsky's heroines have loving, suffering souls. Katerina Kabanova is one of their many.

Goals: deepen students' ideas about the main character of Ostrovsky's play; reveal the strength and weakness of Katerina's character; develop the ability to analyze images-characters; improve skills independent work over the text of a dramatic work; determine the meaning of the title of the play.

During the classes

I. Conversation with students on the issue m:

1. How is Katerina different from other characters in the drama "Thunderstorm"?

2. Tell us about her interests and hobbies as a girl.

3. What is the difference between Katerina's life in her parents' house and in the Kabanikh's house?

4. Could Katerina find her happiness with the family? Under what conditions?

5. What is the heroine struggling with: with a sense of duty or with the "dark kingdom"?

6. What is the tragedy of her situation?

7. Final drama. Prove that the development of the action inevitably leads to it.

8. Could Katerina have found a way out other than suicide?

9. The death of the heroine - defeat or victory?

N. Dobrolyubov writes about Katerina: “Here true strength character." The heroine of Ostrovsky, unlike the people around her, is a sincere, poetic nature. Katerina is looking for beauty everywhere: in work, in communication with people, with God. Everything that happens in the soul is for her more important than events outside world.

But it is impossible not to notice the decisiveness and love of freedom in the character of Katerina. It is useless to “remake” such a heroine or subjugate to anyone. And such a woman finds herself in an atmosphere of arbitrariness and hypocrisy. Katerina is trying to oppose the despotism and hypocrisy of Kabanikh with self-esteem. This is the beginning of her death.

The tragedy of Katerina is due to the fact that she does not love her husband. She understands that Tikhon is not worthy not only of her love, but also of respect. During the send-off, Tikhon repeats the insulting instructions of his mother to Katerina.

But in Katerina's soul there was already a feeling for Boris. Awakened love is perceived by her as a terrible sin, a shame, because the feeling for a stranger for her, married woman, there is a breach of moral duty. The emotional drama rages on.

Katerina cannot live deceiving. During this period, she is lonely, even a loved one is not able to support her ... Earthly torments seem to her worse than hell, and she perceives death as deliverance from them. On Katerina's part, suicide is a force, even a protest, obviously, in the case when other forms of struggle are impossible.

Who is responsible for her death? There are plenty of them. This is the imperious Kabanikha, and the weak-willed Tikhon, and the indecisive Boris. Katerina won a moral victory over all these people and circumstances.

“Katerina’s death had significant consequences in the Kalinovsky consciousness and actions of the townsfolk,” writes A. Anastasyev.

II. Discussion of the article by N. A. Dobrolyubov “A Ray of Light in the Dark Kingdom”.

An article devoted to the analysis of the play "Thunderstorm" was published after the drama was staged at the Moscow Maly Theater in 1860 (The critic gave a brilliant analysis of the ideological content, as well as artistic features play "Thunderstorm". He characterized all the characters, but paid the most attention to the main heroine - Katerina.)

Questions:

1. "A ray of light in a dark kingdom" - what did Dobrolyubov mean by giving this title to his article?

2. Read the most striking, in your opinion, the provisions of the article.

3. “This end seems to us gratifying,” says Dobrolyubov about the fate of Katerina. Is this thought correct?

4. What is the essence of the dispute between D. I. Pisarev and N. A. Dobrolyubov about The Thunderstorm and the main character? Whose point of view do you find more profound?

(D. I. Pisarev. Articles "Motives of Russian drama" and "Let's see!".

“Upbringing and life could not give Katerina either a strong character or a developed mind ... Katerina, like all dreamers offended by God and upbringing, sees things in a rosy light ... She cuts the tightened knots in the most stupid way, suicide, which is completely unexpected for herself” .)

"A ray of light in the dark kingdom" called Katerina N. A. Dobrolyubov. According to the critic, in the tragic end "a terrible challenge is given to self-foolish power." The suicide of the heroine, as if for a moment, illuminated the "unbreakable darkness of the" dark kingdom ".

“In Katerina we see a protest against Kabanov’s notions of morality, a protest carried to the end, proclaimed both under domestic torture and over the abyss into which the poor woman threw herself.”

III. Discussing the meaning of the title of the drama "Thunderstorm".

Interview with students on:

1. What does the word "thunderstorm" mean in Ostrovsky's work?

2. What is the meaning of each of the characters in it?

Storm…The peculiarity of this image is that, symbolically expressing main idea plays, he at the same time directly participates in the actions of the drama as a very real phenomenon of nature, determines (in many respects) the actions of the heroine.

A thunderstorm broke out over Kalinov in act I. She caused confusion in the soul of Katerina.

In act IV, the thunderstorm motif no longer ceases. (“It’s raining, no matter how the storm gathers? ..”; “The storm is sent to us as a punishment so that we feel ...”; “The storm will kill! It’s not a thunderstorm, but grace ...”; “You remember my word, that this storm will not pass in vain ... ")

A thunderstorm is an elemental force of nature, terrible and not fully understood.

A thunderstorm is a "stormy state of society", a thunderstorm in the souls of the inhabitants of the city of Kalinov.

A thunderstorm is a threat to the outgoing, but still strong, world of the new and wild.

The storm is the good news of new forces designed to free society from despotism.

3. How do the heroes of the play feel about a thunderstorm?

For Kuligin, a thunderstorm is God's grace. For Wild and Boar - heavenly punishment, for Feklusha - Ilya the Prophet rolls across the sky, for Katerina - retribution for sins. But after all, the heroine herself, her last step, from which the Kalinovsky world staggered, is also a thunderstorm.

Thunderstorm in Ostrovsky's play, as in nature, combines destructive and creative forces. That is why the poetic image of a thunderstorm also expresses that “refreshing and encouraging feeling” about which the critic N. A. Dobrolyubov spoke.

Homework.

1. Reading the drama "Dowry".

2. Answer the question:

1) What is the main conflict of the drama?

2) What are the main character traits of Larisa Ogudalova? Katerina Kabanova and Larisa Ogudalova.

Ostrovsky's play was written in 1859, during the rise of the revolutionary movement of the masses, in an era when the individual stood up to fight for his emancipation. "Thunderstorm", according to N. A. Dobrolyubov, "the most decisive work of Ostrovsky", as it shows the complex, tragic process of emancipation of the reviving soul.

In the play, darkness struggles with light, ups and downs give way to downs, it shows both the vitality of the morality of the "dark kingdom", and its precariousness, and the strength of character that could overcome it even at the cost of

own life. And with all the cruelty, injustice of the "dark kingdom" Katerina, the main character of the play by A. N. Ostrovsky, is fighting.

Her childhood was bright and quiet. Katerina went to church, listened to the stories of wanderers, embroidered with gold on velvet. But Katerina's religiosity is faith in fairy tales that she listened to as a child. In religion, Katerina is attracted primarily by the beauty of legends, church music, icon painting, "her imagination works tirelessly and takes her into new world, "quiet and bright".

The courageous and decisive nature of Katerina is manifested in childhood. She tells Varvara: “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 a boat and pushed it away from the shore. another morning has already been found, ten versts away!"

A bright childhood has passed, and Katerina is married to an unloved person. Katerina did not immediately like life in the mother-in-law's house. The absurd and cruel Boar, who "eats up" her relatives, "grinds iron like rust," seeks to suppress Katerina's freedom-loving nature. But the heroine boldly enters into a fight with the Boar. Honest and truthful, Katerina cannot adapt to the life of the "dark kingdom". "I don't want to live here, so I won't, even if you cut me!" she says decisively to Varvara.

Tenderly and passionately Katerina loves Boris. Her love is also a protest against the moral foundations of the "dark kingdom". The strength of her feelings is such that she is ready to disregard social customs and religious concepts: "Let everyone know, let everyone see what I'm doing!"

But happiness only beckoned Katerina. For two weeks she met with Boris, but now Tikhon arrives. Frightened by a thunderstorm and the lamentations of a half-mad lady, Katerina confesses everything to her husband.

“What, son? Where will the will lead? - Kabanikha says angrily to Tikhon. She gloats that she has defeated Katerina.

But we see that Katerina, not Kabanikha, is morally victorious in this struggle. Katerina's protest grows. She is ready for anything, so she asks Boris to take her with him. But Boris "not of his own free will" leaves, he is completely dependent on his uncle, the merchant Diky.

The last hope went out in Katerina's soul. "Live again? No, no, don't... not good!" she thinks. Katerina understands that living in the Kabanovs' house is immoral. It's better not to live at all than to put up with "miserable vegetation".

N. A. Dobrolyubov writes: "... she is eager for a new life, even if she had to die in this impulse." Here it is, Katerina's protest, a protest against evil and philistinism, cruelty and lies, a protest "carried to the end!"

In response to an article by N. A. Dobrolyubov, four years later, an article by D. I. Pisarev "Motives of Russian Drama" was published. In it, Pisarev criticizes Dobrolyubov's article "A Ray of Light in the 'Dark Kingdom'" and is surprised that the critics could not "make a single objection to Dobrolyubov." Pisarev says about Katerina: "What kind of love is this that arises from the exchange of several views? .. Finally, what kind of suicide is this, caused by such petty troubles, which are tolerated quite safely by all members of all Russian families?" The critic claims that Dobrolyubov, seeing something good in every act of Katerina, made up an ideal image, saw as a result of this "a ray of light in the" dark kingdom." Pisarev cannot agree with this, since "upbringing and life could not give Katerina either a strong character or a developed mind. The mind is the most precious thing, or rather, the mind is everything."

Why are the views of Pisarev and Dobrolyubov so divergent? What makes one write about the strength of Katerina's character, and the other about the weakness of this character? Recall that Dobrolyubov's article was published in 1860, during a revolutionary upsurge, when bold and resolute heroes stood in the foreground, striving for a new life, ready to die for its sake. At that time there could be no other protest, but even such a protest affirmed the strength of the personality's character.

Pisarev's article was written in 1864, in the era of reaction, when thinking people were needed. Therefore, D. I. Pisarev writes about Katerina's act: "... Having done many stupid things, he throws himself into the water and thus does the last and greatest absurdity."

How do I feel about Katherine? Do I consider it "a ray of light in a dark kingdom"? Yes, I love Katerina, I love her kindness and tenderness, the sincerity of her feelings, her determination and truthfulness. I believe that Katerina can be called "a ray of light in a dark kingdom", as she protests against Kaban's concepts of morality, "does not want to put up, does not want to use the miserable vegetative life that they give her in exchange for her living soul."

This, in my opinion, is the strength of Katerina's character.

Lesson 35. Topic: STRENGTH AND WEAKNESS OF KATERINA'S CHARACTER.

Goals: deepen students' ideas about the main character of Ostrovsky's play;

reveal the strength and weakness of Katerina's character;

develop the ability to analyze images-characters;

improve the skills of independent work on the text of a dramatic work;

determine the meaning of the title of the play.

During the classes

I. Conversation with students on:

1. How is Katerina different from other characters in the drama "Thunderstorm"?
2. Why can't we call her either "victim" or "mistress"?(The answer is in her character traits.)
3. What traits of her character appear in the very first remarks?(Inability to be hypocritical, lie, directness. The conflict is outlined immediately: Kabanikha does not tolerate self-esteem, disobedience in people, Katerina does not know how to adapt and submit.)
4. Where did these traits come from in the heroine? Why does the author only talk about Katerina in such detail, talk about her family, childhood? How was Katerina brought up? What atmosphere surrounded her in her childhood and in her husband's family?

(The relationships of the characters are in a state of sharp contrast and give rise to an irreconcilable conflict.)

1. What is Katerina's protest expressed in? Why can we call her love for Boris a protest. What is the difficulty internal state heroines?(Love for Boris is: a free choice dictated by the heart; a deceit that puts Katerina on a par with Barbara; rejection of love is submission to the world of the Boar. Love-choice dooms Katerina to torment.)
2. How are the heroine's torments, the struggle with herself and her strength shown in the scene with the key and the scenes of meeting and parting with Boris? Analyze vocabulary, sentence structure, folklore elements, connection with folk song.
3. Prove that Katerina's death is a protest. Then the problem of choice is solved: what does Katerina do to change her life? Which path will she take? I think she had 3 ways:

Reconcile and live according to the laws imposed on her by the “dark kingdom”

Run with your loved one - Boris

Commit suicide, which she did.

Teacher: Why did she choose the 3rd way?

Student: Katerina chose death because she came into conflict with herself, she overstepped her own moral laws on which she lived, but circumstances led her to this. Lies, hypocrisy, Kabanikha's pressure on all family members, the lack of any opportunity to live the way they wanted, lack of freedom in everything made life itself, the house, unbearable.

Katerina asks Tikhon to take her on a trip, but he refuses her. Behaves cowardly.

He is his mother's slave. And Katerina realized that she would not wait for joy in this house. And then she decides to meet with Boris, although she is tormented, tormented, but the desire to do what she wants at least once wins: “Come what may, and I will see Boris. Ah, if only the night would come sooner!”

Teacher: Were Katerina's hopes justified?

Group work:

1. The first group: analysis of the scene of the 1st date (d3, yavl.3) and conclusion.
2. The second group: analysis of the thunderstorm scene (D.4 yavl1,4,6), its symbolic meaning.
3. Third group: analysis d.5 - yavl.2

Conclusion: Katerina's hopes of love for Boris were not only not justified, but even worse. The conscientious Katerina, who cannot live in a lie, experiences strong moral torments, feels like a sinner who can only be cleansed in hell. Boris, too, like Tikhon, turned out to be a weak person, he could not be her couple, although spiritually he was closer to her than Tikhon. He leaves, urging Katerina to reconcile, to submit to her mother-in-law. Now she has to be left alone with shame and mental anguish. And she comes to the conclusion that it is better to die. Her monologue sounds tragic (analysis d.5, yavl.6).

In the first three lines, the word grave is repeated 4 times, and, finally, she (for the 5th time!) repeats it: “There is a grave under the tree ... how good ... ..”

“... And the people are disgusting to me, and the house is disgusting to me, and the walls are disgusting! I won't go there!"

In her monologue, the grave is opposed to the house, and therefore to life itself.

In the graves - good, at home - bad, but there is nowhere else to go. So it turns out that she has only one way out - the grave. It follows from her monologue that she does not want to live the way she is forced to live. So there is no other choice. This is the tragedy of her life. And her death can be regarded as a protest against the foundations of the life of the “dark kingdom”.

1. Will the city of Kalinov be able to live in the old way?

Conclusion: N. Dobrolyubov writes about Katerina: "Here is the true strength of character." The heroine of Ostrovsky, unlike the people around her, is a sincere, poetic nature. Katerina is looking for beauty everywhere: in work, in communication with people, with God. Everything that happens in the soul is more important for it than the events of the external world.

But it is impossible not to notice the decisiveness and love of freedom in the character of Katerina. It is useless to “remake” such a heroine or subjugate to anyone. And such a woman finds herself in an atmosphere of arbitrariness and hypocrisy. Katerina is trying to oppose the despotism and hypocrisy of Kabanikh with self-esteem. This is the beginning of her death.

The tragedy of Katerina is due to the fact that she does not love her husband. She understands that Tikhon is not worthy not only of her love, but also of respect. During the send-off, Tikhon repeats the insulting instructions of his mother to Katerina.

But in Katerina's soul there was already a feeling for Boris. Awakened love is perceived by her as a terrible sin, a shame, because the feeling for a stranger for her, a married woman, is a violation of her moral duty. The emotional drama rages on.

Katerina cannot live deceiving. During this period, she is lonely, even a loved one is not able to support her ... Earthly torments seem to her worse than hell, and she perceives death as deliverance from them. On Katerina's part, suicide is a force, even a protest, obviously, in the case when other forms of struggle are impossible.

Who is responsible for her death? There are plenty of them. This is the imperious Kabanikha, and the weak-willed Tikhon, and the indecisive Boris. Katerina won a moral victory over all these people and circumstances.

“Katerina’s death had significant consequences in the Kalinovsky consciousness and actions of the townsfolk,” writes A. Anastasyev.

Homework.

Synopsis of Dobrolyubov's articles "Ray of light in dark kingdom"And Pisarev" Motives of Russian drama "(according to options). Compare the provisions on the genre of the work, views on the image of Katerina.