Thunderstorm Ostrovsky read the full version. The play by Alexander Nikolayevich Ostrovsky "Thunderstorm": analysis, history of creation
Admiring the river view and talking with the young clerk Kudryash and the tradesman Shapkin. In the distance, a local buoy, a merchant Savyol Dykoy, is shown. Waving his arms, he scolds his nephew, Boris Grigorievich, who is walking next to him. Shapkin and Kudryash exchange remarks that one rarely sees such a brawler as Dikoy: every now and then, as if breaking loose, he lashes out with abuse at acquaintances and strangers. Curly, a dashing and perky guy, says that it would be nice to catch Wild somewhere in an alley and scare him well.
A. N. Ostrovsky. Thunderstorm. Spectacle
Ostrovsky "Thunderstorm", act 1, phenomenon 2 - briefly
Dikoy and Boris approach. Savel Prokofievich scolds his nephew as a "parasite" and "Jesuit". Boris's "guilt" is also revealed: he just caught his uncle's eye at the wrong time.
Ostrovsky "Thunderstorm", act 1, phenomenon 3 - briefly
Wild leaves in anger, and Boris Grigoryevich approaches Kuligin, Kudryash and Shapkin. They sympathetically ask him: is it not hard to live with an uncle and listen to scolding every day? Boris says that he lives at the Wild involuntarily. Boris's father, the brother of Savel Prokofievich, quarreled with his mother, a rich merchant's wife, because he married a noble woman. The mother in her will wrote off all her huge fortune to Savel - so that he would still pay some part to Boris and his sister when they reached the age of majority, but only on the condition that "they would be respectful to him." Boris now has to show "respect" to his uncle. The wild, tyrant and “warrior”, who daily fights with his domestic women and children, has already tortured Boris so much that he is ready to leave, giving up hope for an inheritance, but one must think about the fate of an indigent sister.
Kudryash and Shapkin leave. Kuligin, on the other hand, pronounces his famous monologue in front of Boris - “Cruel morals, sir, in our city”, vividly drawing in it the ignorance, greed and arbitrariness that prevail in Kalinov. A simple but rather educated man, Kuligin cherishes the dream of opening a “perpetual mobile” (perpetual motion machine), earning a million from it and turning this money for public benefit. But he doesn't even have the funds for a model.
Ostrovsky "Thunderstorm", act 1, phenomenon 4 - briefly
Kuligin also leaves. Boris, left alone, reflects on his sad fate, which has recently been complicated by a new misfortune: he fell in love with a married woman.
Ostrovsky "Thunderstorm", act 1, phenomenon 5 - briefly
Boris just notices the object of his passion. This young beauty Katerina, the wife of the merchant Tikhon Kabanov, who is now walking with her mother-in-law, her husband and his sister Varvara from the church. Tikhon's mother - Marfa Kabanova (Kabanikha) - in character resembles Savel the Wild. But unlike him, she does not so much scold her family furiously as she torments them with tedious moralizing, which she reads "under the guise of piety."
Now, on the way from the church, Kabanikha, right in the presence of Katerina, scolds her son for the fact that he began to love his wife more than his mother, and is ready to "exchange his mother for her." The weak-willed Tikhon barely objects to the parent: “why change? I love you both." Kabanova sternly tells him "not to pretend to be an orphan", scolds him for the fact that he rarely yells at Katerina and rarely threatens her. “It won’t be like that. One sin! So at least get your wife a lover!
Modest and meek Katerina is silent, listening to all this. Tikhon's sister, Varvara, looks at her mother with disgust and dislike.
Ostrovsky "Thunderstorm", act 1, phenomenon 6 - briefly
The boar goes home. The spineless Tikhon began to blame Katerina that “because of her, his mother scolds him,” but Varvara, outraged by this unfair reproach, tells him to shut up. Taking advantage of the absence of his mother, Tikhon runs away to Savel the Wild: to have a drink with this constant drinking companion.
Ostrovsky "Thunderstorm", act 1, phenomenon 7 - briefly
Varvara takes pity on Katerina. She, touched, utters a sad monologue in front of her. “Why don’t people fly like birds…” she asks. “I would run, raise my hands and fly.” Katerina recalls her childhood in parental home: “I withered with you, but was I like that!” She tells Varvara how her mother did not have a soul in her. They went to church with her, and the girl Katerina prayed there so earnestly that all the people around looked at her. For her, the church was almost a paradise, during the service she almost saw angels in reality, and in the morning she went to pray in the garden, crying, on her knees - she herself did not know what. Katerina recalls her girlish dreams with pictures, as on icons. And suddenly he says: “I will die soon. I'm scared. It’s as if I’m standing over an abyss, and someone is pushing me there.”
Varvara says that she guessed a long time ago: Katerina does not love her husband, but another. Katerina with tears admits this as a terrible sin. Varvara reassures her and promises to arrange a meeting with her lover for Katerina when Tikhon leaves the other day on merchant business. Katerina listens to these words with great fear.
Ostrovsky "Thunderstorm", act 1, phenomenon 8 - briefly
A crazy old lady appears, who walks around the city with two lackeys in three-cornered hats. "What, beauties? Are you waiting for the good fellows, gentlemen? Your beauty leads to a whirlpool! Everything in the fire will burn inextinguishable!” Leaves.
Ostrovsky "Thunderstorm", act 1, phenomenon 9 - briefly
Katerina trembles after the mistress's prophecy, but Varvara reassures her: “Don't listen to her. She herself sinned all her life from a young age - now she is afraid to die from this.
A storm is gathering. Katerina looks at the sky with fear: “It’s not that the thunder will kill you, but the fact that death will suddenly find you as you are, with all your sins and evil thoughts. And how will I appear before God after this conversation with you!
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Boris Grigorievich, his nephew, a young man, decently educated.
Marfa Ignatievna Kabanova (Boar), wealthy merchant, widow.
Tikhon Ivanovich Kabanov, her son.
Katerina, his wife.
barbarian, sister of Tikhon.
Kuligin, tradesman, self-taught watchmaker, looking for a perpetuum mobile.
Vanya Kudryash, young man, clerk Dikov.
Shapkin, tradesman.
Feklusha, stranger.
Glasha, a girl in Kabanova's house.
Lady with two footmen, an old woman of 70 years old, half crazy.
City dwellers of both sexes.
The action takes place in the city of Kalinovo, on the banks of the Volga, in the summer. There are 10 days between steps 3 and 4.
Act one
Public garden on the high bank of the Volga; beyond the Volga, a rural view. There are two benches and several bushes on the stage.
The first phenomenon
Kuligin sits on a bench and looks over the river. Curly and Shapkin are walking.
Kuligin (sings). "In the midst of a flat valley, at a smooth height..." (Stops singing.) Miracles, truly it must be said, miracles! Curly! Here, my brother, for fifty years I have been looking beyond the Volga every day and I can’t see enough.
Curly. And what?
Kuligin. The view is extraordinary! The beauty! The soul rejoices.
Curly. Something!
Kuligin. Delight! And you: "something!" You took a closer look, or you don’t understand what beauty is spilled in nature.
Curly. Well, what's the deal with you! You are an antique, a chemist!
Kuligin. Mechanic, self-taught mechanic.
Curly. All the same.
Silence.
Kuligin (pointing to the side). Look, brother Curly, who is waving his arms like that?
Curly. This is? This is Dikoy scolding his nephew.
Kuligin. Found a place!
Curly. He has a place everywhere. Afraid of what, he of whom! He got Boris Grigoryevich as a sacrifice, so he rides on it.
Shapkin. Look for such and such a scolder as Savel Prokofich among us! Will cut off a person for nothing.
Curly. A poignant man!
Shapkin. Good, too, and Kabanikha.
Curly. Well, yes, at least the other one is all under the guise of piety, but this one has broken loose from the chain!
Shapkin. There is no one to appease her, so he is fighting!
Curly. We don’t have many guys like me, otherwise we would wean him to be naughty.
Shapkin. What would you do?
Curly. They would have done well.
Shapkin. Like this?
Curly. Four of them, five of them in an alley somewhere would talk to him face to face, so he would become silk. And about our science, I wouldn’t utter a word to anyone, if only I would walk and look around.
Shapkin. No wonder he wanted to give you to the soldiers.
Curly. I wanted to, but I didn’t give it away, so it’s all one thing. He will not give me away: he smells with his nose that I will not sell my head cheaply. He's scary to you, but I know how to talk to him.
Shapkin. Oy!
Curly. What's here: oh! I am considered a brute; why is he holding me? So, he needs me. Well, that means I'm not afraid of him, but let him be afraid of me.
Shapkin. Like he doesn't scold you?
Curly. How not to scold! He can't breathe without it. Yes, I do not let go: he is the word, and I am ten; spit, and go. No, I will not be a slave to him.
Kuligin. With him, that eh, an example to take! It's better to be patient.
Curly. Well, now, if you are smart, then you should learn it before courtesy, and then teach us! It’s a shame that his daughters are teenagers, there aren’t any big ones.
Shapkin. What would it be?
Curly. I would respect him. It hurts dashing for girls!
Pass wild and Boris. Kuligin takes off his hat.
Shapkin (curly). Let's go to the side: it will still be attached, perhaps.
The second phenomenon
The same, wild and Boris.
wild. Buckwheat, you came here to beat! Parasite! Get lost!
Boris. Holiday; what to do at home!
wild. Find the job you want. Once I told you, twice I said to you: “Do not dare to meet me”; you get it all! Is there enough space for you? Wherever you go, here you are! Pah you damned! Why are you standing like a pillar! Are you being told al no?
Boris. I'm listening, what else can I do!
wild (looking at Boris). You failed! I don't even want to talk to you, to the Jesuit. (Leaving.) Here it is imposed! (Spits and leaves.)
The third phenomenon
Kuligin, Boris, Curly and Shapkin.
Kuligin. What is your business with him, sir? We will never understand. You want to live with him and endure abuse.
Boris. What a hunt, Kuligin! Captivity.
Kuligin. But what a bondage, sir, let me ask you. If you can, sir, tell us so.
Boris. Why not say? Did you know our grandmother, Anfisa Mikhailovna?
Kuligin. Well, how not to know!
Curly. How not to know!
Boris. After all, she disliked the father because he married a noble woman. On this occasion, father and mother lived in Moscow. Mother said that for three days she could not get along with her relatives, it seemed very wild to her.
Kuligin. Still not wild! What to say! You must have a great habit, sir.
Boris. Our parents raised us well in Moscow, they spared nothing for us. I was sent to the Commercial Academy, and my sister was sent to a boarding school, but both suddenly died of cholera; my sister and I were left orphans. Then we hear that my grandmother also died here and left a will so that our uncle would pay us the part that should be when we come of age, only with a condition.
Kuligin. With what, sir?
Boris. If we are respectful to him.
Kuligin. This means, sir, that you will never see your inheritance.
Boris. No, that's not enough, Kuligin! He first breaks down on us, abuses us in every possible way, as his heart desires, but all the same ends up giving us nothing or just a little. Moreover, he will begin to tell that he gave out of mercy, that this should not have been.
Curly. This is such an institution in our merchant class. Again, even if you were respectful to him, someone would forbid him to say something that you are disrespectful?
Boris. Well, yes. Even now he sometimes says: “I have my own children, for which I will give money to strangers? Through this, I must offend my own!
Kuligin. So, sir, your business is bad.
Boris. If I were alone, it would be nothing! I would drop everything and leave. And I'm sorry sister. He used to write her out, but mother's relatives did not let her in, they wrote that she was sick. What would her life here be, and it's scary to imagine.
Curly. Of course. Do they understand something?
Kuligin. How do you live with him, sir, in what position?
Boris. Yes, on no one: “Live, he says, with me, do what you are ordered, and I’ll pay what I put.” That is, in a year he will count as he pleases.
Curly. He has such an establishment. With us, no one even dare to utter a peep about a salary, scolds what the world is worth. “You, he says, how do you know what I have in mind? Somehow you can know my soul! Or maybe I will come to such an arrangement that five thousand ladies will be given to you. So you talk to him! Only he had never in his entire life come to such and such an arrangement.
Kuligin. What to do, sir! You have to try to please somehow.
Boris. The fact of the matter, Kuligin, is that it is absolutely impossible. They cannot please him either; but where am I!
Curly. Who will please him, if his whole life is based on cursing? And most of all because of the money; not a single calculation without scolding is complete. Another is glad to give up his own, if only he calms down. And the trouble is, how someone will make him angry in the morning! He picks on everyone all day long.
Boris. Every morning my aunt begs everyone with tears: “Fathers, don’t make me angry! doves, do not anger!
Curly. Yes, save something! Got to the market, that's the end! All the men will be scolded. Even if you ask at a loss, you still won’t leave without a scolding. And then he went for the whole day.
Shapkin. One word: warrior!
Curly. What a warrior!
Boris. But the trouble is when he is offended by such a person whom he does not dare to scold; stay at home here!
Curly. Fathers! What a laugh! Somehow, on the Volga, on the ferry, the hussar scolded him. Here he worked wonders!
Boris. And what a home it was! After that, for two weeks everyone hid in attics and closets.
Kuligin. What is it? No way, the people moved from Vespers?
Pass several persons at the back of the stage.
Curly. Let's go, Shapkin, in revelry! What's there to stand?
They bow and leave.
Boris. Eh, Kuligin, it is painfully difficult for me here without a habit! Everyone looks at me somehow wildly, as if I were superfluous here, as if I were disturbing them. I don't know the customs. I understand that all this is our Russian, native, but still I can’t get used to it.
Kuligin. And you'll never get used to it, sir.
Boris. From what?
Kuligin. Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and bare poverty. And we, sir, will never get out of this bark! Because honest labor will never earn us more daily bread. And whoever has money, sir, he tries to enslave the poor, so that for his free labors more money make money. Do you know what your uncle, Savel Prokofich, answered the mayor? The peasants came to the mayor to complain that he would not read any of them by the way. The mayor began to say to him: “Listen, he says, Savel Prokofich, you count the peasants well! Every day they come to me with a complaint!” Your uncle patted the mayor on the shoulder, and said: “Is it worth it, your honor, to talk about such trifles with you! A lot of people stay with me every year; you understand: I’ll underpay them for some penny per person, and I make thousands of this, so it’s good for me! That's how, sir! And among themselves, sir, how they live! They undermine each other's trade, and not so much out of self-interest, but out of envy. They quarrel with each other; they lure drunken clerks into their tall mansions, such, sir, clerks, that there is no human appearance on him, his human appearance is lost. And those to them, for a small blessing, on stamp sheets malicious slander scribble on their neighbors. And they will begin, sir, the court and the case, and there will be no end to the torment. They sue, they sue here, but they will go to the province, and there they are already waiting for them and splashing their hands with joy. Soon the fairy tale is told, but the deed is not soon done; lead them, lead them, drag them, drag them; and they are also happy with this dragging, that's all they need. “I, he says, will spend money, and it will become a penny for him.” I wanted to describe all this in verses ...
Boris. Are you good at poetry?
Kuligin. The old fashioned way, sir. After all, I read Lomonosov, Derzhavin ... Lomonosov was a wise man, a tester of nature ... But also from ours, from a simple title.
Boris. You would have written. It would be interesting.
Kuligin. How can you, sir! Eat, swallow alive. I already get it, sir, for my chatter; Yes, I can’t, I like to scatter the conversation! Here's something else about family life I wanted to tell you, sir; yes some other time. And also something to listen to.
Enter Feklusha and another woman.
Feklusha. Blah-alepie, honey, blah-alepie! Beauty is wondrous! What can I say! Live in the promised land! And the merchants are all pious people, adorned with many virtues! Generosity and alms by many! I'm so happy, so, mother, happy, neck-deep! For our failure to leave them even more bounty will be multiplied, and especially the house of the Kabanovs.
Boris. Kabanov?
Kuligin. Hypnotize, sir! She clothes the poor, but eats the household completely.
Silence.
If only I, sir, could find a quail-mobile!
Boris. What would you do?
Kuligin. How, sir! After all, the British give a million; I would use all the money for society, for support. Work must be given to the bourgeoisie. And then there are hands, but there is nothing to work.
Boris. Are you hoping to find a perpetuum mobile?
Kuligin. Certainly, sir! If only now I could get some money on the model. Farewell, sir! (Exits.)
The fourth phenomenon
Boris (one). Sorry to disappoint him! What a good man! Dreaming and happy. And I, apparently, will ruin my youth in this slum. After all, I walk completely dead, and then another nonsense climbs into my head! Well, what's up! Should I start tenderness? Driven, beaten, and then foolishly decided to fall in love. Yes, to whom! In a woman with whom you will never even be able to talk. (Silence.) But still, it won't get out of my head, no matter what you want. Here she is! She goes with her husband, and the mother-in-law with them! Well, am I not a fool! Look around the corner, and go home. (Exits.)On the opposite side enter Kabanova, Kabanov, Katerina and barbarian.
Fifth phenomenon
Kabanova, Kabanov, Katerina and barbarian.
Kabanova. If you want to listen to your mother, then when you get there, do as I ordered you.
Kabanov. But how can I, mother, disobey you!
Kabanova. There is not much respect for elders these days.
barbarian (About myself). Do not respect you, how!
Kabanov. I, it seems, mother, not a step out of your will.
Kabanova. I would have believed you, my friend, if I had not seen with my own eyes and heard with my own ears, what is now the reverence for parents from children! If only they remembered how many diseases mothers endure from children.
Kabanov. I mama...
Kabanova. If a parent that when and insulting, in your pride, says so, I think it could be transferred! What do you think?
Kabanov. But when did I, mother, not endure from you?
Kabanova. Mother is old, stupid; well, and you, smart young people, should not exact from us, fools.
Kabanov (sighing to the side). Oh you, Lord! (Mothers.) Do we dare, mother, to think!
Kabanova. After all, out of love, parents are strict with you, out of love they scold you, everyone thinks to teach good. Well, now I don't like it. And the children will go to people to praise that the mother is grumbling, that the mother does not give a pass, she shrinks from the light. And, God forbid, one cannot please the daughter-in-law with some word, well, the conversation began that the mother-in-law completely ate.
Kabanov. Something, mother, who is talking about you?
Kabanova. I didn’t hear, my friend, I didn’t hear, I don’t want to lie. If only I had heard, I would not have spoken to you, my dear, then. (Sighs.) Oh, a grave sin! That's a long time to sin something! A conversation close to the heart will go on, well, you will sin, get angry. No, my friend, say what you want about me. You won’t order anyone to speak: they won’t dare to face it, they will stand behind your back.
Kabanov. Let your tongue dry...
Kabanova. Complete, complete, don't worry! Sin! I have long seen that your wife is dearer to you than your mother. Since I got married, I don’t see the same love from you.
Kabanov. What do you see, mother?
Kabanova. Yes, everything, my friend! What a mother cannot see with her eyes, she has a prophetic heart, she can feel with her heart. Al wife takes you away from me, I don’t know.
Kabanov. No, mother! what are you, have mercy!
Katerina. For me, mother, it’s all the same that your own mother, that you, and Tikhon loves you too.
Kabanova. You would, it seems, could be silent, if you are not asked. Do not intercede, mother, I will not offend, I suppose! After all, he is also my son; you don't forget it! What did you jump out in the eyes of something to poke! To see, or what, how you love your husband? So we know, we know, in the eyes of something you prove it to everyone.
barbarian (About myself). Found a place to read.
Katerina. You are talking about me, mother, in vain. With people, that without people, I'm all alone, I don't prove anything from myself.
Kabanova. Yes, I didn’t want to talk about you; and so, by the way, I had to.
Katerina. Yes, even by the way, why do you offend me?
Kabanova. What an important bird! Already offended now.
Katerina. It’s nice to endure slander!
Kabanova. I know, I know that my words are not to your liking, but what can you do, I am not a stranger to you, my heart aches for you. I have long seen that you want the will. Well, wait, live and be free when I'm gone. Then do what you want, there will be no elders over you. Or maybe you remember me.
Kabanov. Yes, we pray to God for you, mother, day and night, that God will give you, mother, health and all prosperity and success in business.
Kabanova. Okay, stop it, please. Maybe you loved your mother while you were single. Are you up to me; you have a young wife.
Kabanov. One does not interfere with the other, sir: the wife is in itself, and I have respect for the parent in itself.
Kabanova. So will you trade your wife for your mother? I don't believe this for the rest of my life.
Kabanov. Why should I change, sir? I love both.
Kabanova. Well, yes, yes, it is, smear it! I can already see that I'm a hindrance to you.
Kabanov. Think as you wish, everything is your will; only I don’t know what kind of unfortunate person I was born into the world that I can’t please you with anything.
Kabanova. What are you pretending to be an orphan! What did you nurse something dismissed? Well, what kind of husband are you? Look at you! Will your wife be afraid of you after that?
Kabanov. Why should she be afraid? It's enough for me that she loves me.
Kabanova. Why be afraid! Why be afraid! Yes, you're crazy, right? You will not be afraid, and even more so me. What is the order in the house will be? After all, you, tea, live with her in law. Ali, do you think the law means nothing? Yes, if you keep such stupid thoughts in your head, you would at least not chatter in front of her and in front of your sister, in front of the girl; she, too, to get married: that way she will hear enough of your chatter, so after that the husband will thank us for science. You see what other mind you have, and you still want to live by your will.
Kabanov. Yes, mother, I don’t want to live by my own will. Where can I live with my will!
Kabanova. So, in your opinion, you need all the caress with your wife? And not to shout at her, and not to threaten?
Kabanov. Yes, mama...
Kabanova (hot). At least get a lover! BUT! And this, maybe, in your opinion, is nothing? BUT! Well, speak!
Kabanov. Yes, by God, mama...
Kabanova (completely cool). Fool! (Sighs.) What a fool and talk! only one sin!
Silence.
I'm going home.
Kabanov. And we now, only once or twice will pass along the boulevard.
Kabanova. Well, as you wish, only you look so that I don't have to wait for you! You know I don't like it.
Kabanov. No, mother! Save me Lord!
Kabanova. That's it! (Exits.)
The sixth phenomenon
The same without Kabanova.
Kabanov. You see, I always get it for you from my mother! Here is my life!
Katerina. What am I to blame?
Kabanov. Who is to blame, I don't know.
barbarian. Where do you know!
Kabanov. Then she kept pestering: “Get married, get married, I would at least look at you, at the married one!” And now he eats food, does not allow passage - everything is for you.
barbarian. So it's her fault! Her mother attacks her, and so do you. And you say you love your wife. I'm bored looking at you. (Turns away.)
Kabanov. Interpret here! What am I to do?
barbarian. Know your business - keep quiet if you can't do anything better. What are you standing - shifting? I can see in your eyes what's on your mind.
Kabanov. So what?
barbarian. It is known that. I want to go to Savel Prokofich, have a drink with him. What's wrong, right?
Kabanov. You guessed it brother.
Katerina. You, Tisha, come quickly, otherwise mamma will begin to scold again.
barbarian. You are quicker, in fact, otherwise you know!
Kabanov. How not to know!
barbarian. We, too, are not very willing to accept scolding because of you.
Kabanov. I instantly. Wait! (Exits.)
The seventh phenomenon
Katerina and barbarian.
Katerina. So you, Varya, pity me?
barbarian (looking to the side). Of course, it's a pity.
Katerina. So you love me, then? (Kissing her hard.)
barbarian. Why shouldn't I love you!
Katerina. Well, thank you! You are so sweet, I love you to death myself.
Silence.
Do you know what came to my mind?
barbarian. What?
Katerina. Why don't people fly?
barbarian. I do not understand what you say.
Katerina. I say: why don't people fly like birds? You know, sometimes I feel like I'm 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? (Wants to run.)
barbarian. What are you inventing?
Katerina (sighing). How frisky I was! I completely screwed up with you.
barbarian. Do you think I can't see?
Katerina. Was I like that! I lived, did not grieve about anything, like a bird in the wild. Mother did not have a soul in me, dressed me up like a doll, did not force me to work; Whatever I want, I do it. Do you know how I lived in girls? Now I'll tell you. I used to get up early; if it’s summer, I’ll go to the spring, wash myself, bring water with me and that’s it, water all the flowers in the house. I had many, many flowers. Then we’ll go to church with my mother, all of them wanderers - our house was full of wanderers and pilgrims. And we will come from the church, we will sit down for some work, more like gold velvet, and the wanderers will begin to tell: where they were, what they saw, different lives, or they sing poetry. So it's time for lunch. Here the old women lie down to sleep, and I walk in the garden. Then to vespers, and in the evening again stories and singing. That was good!
barbarian. Yes, we have the same thing.
Katerina. Yes, everything here seems to be out of captivity. And I loved going to church to death! For sure, it used to happen that I would enter paradise, and I didn’t see anyone, and I didn’t remember the time, and I didn’t hear when the service was over. Exactly how it all happened in one second. Mom said that everyone used to look at me, what was happening to me! And you know: on a sunny day, such a bright column goes down from the dome, and smoke moves in this column, like clouds, and I see, it used to be that angels in this column fly and sing. And then, a girl, I would get up at night - we also had lamps burning everywhere - but somewhere in a corner and pray until the morning. Or, early in the morning, I’ll go into the garden, as soon as the sun rises, I’ll fall on my knees, pray and cry, and I myself don’t know what I’m praying for and what I’m crying about; so they will find me. And what I prayed for then, what I asked for, I don’t know; I don't need anything, I've had enough of everything. And what dreams I had, Varenka, what dreams! Or golden temples, or some extraordinary gardens, and invisible voices sing all the time, and the smell of cypress, and the mountains and trees seem not to be the same as usual, but as they are written on the images. And it's like I'm flying, and I'm flying through the air. And now sometimes I dream, but rarely, and not that.
barbarian. But what?
Katerina (after a pause). I will die soon.
barbarian. Completely you!
Katerina. No, I know that I will die. Oh, girl, 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 like I'm starting to live again, or ... I really don't know.
barbarian. What is the matter with you?
Katerina (takes her hand). But what, Varya, to 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 pushing me there, but there’s nothing for me to hold on to. (He grabs his head with his hand.)
barbarian. What happened to you? Are you well?
Katerina. I'm healthy ... It would be better if I were sick, otherwise it's not good. A dream comes into my head. And I won't leave her anywhere. If I start thinking, I can’t collect my thoughts, I can’t pray, I won’t pray in any way. I babble words with my tongue, but my mind is completely different: it’s as if the evil one is whispering in my ears, but everything about such things is not good. And then it seems to me that I will feel ashamed of myself. What happened with me? Before trouble before any it! 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 hugs me so hot, hot, and leads me somewhere, and I follow him, I go ...
barbarian. Well?
Katerina. Why am I telling you: you are a girl.
barbarian (looking around). Speak! I'm worse than you.
Katerina. Well, what can I say? I'm ashamed.
barbarian. Speak, there is no need!
Katerina. It will make me so stuffy, so stuffy at home, that I would run. And such a thought would come to me that, if it were my will, I would now ride along the Volga, in a boat, with songs, or in a troika on a good one, embracing ...
barbarian. Just not with my husband.
Katerina. How much do you know?
barbarian. Still not to know!..
Katerina. Ah, Varya, sin is on my mind! How much I, poor thing, cried, what I did not do to myself! I can't get away from this sin. Nowhere to go. It's not good, it's a terrible sin, Varenka, why do I love my friend?
barbarian. Why should I judge you! I have my sins.
Katerina. What should I do! My strength is not enough. Where should I go; I will do something for myself out of longing!
barbarian. What you! What happened to you! Just wait, my brother will leave tomorrow, we'll think about it; maybe you can see each other.
Katerina. No, no, don't! What you! What you! Save the Lord!
barbarian. What are you so afraid of?
Katerina. If I see him even once, I will run away from home, I will not go home for anything in the world.
barbarian. But wait, we'll see there.
Katerina. No, no, and don't tell me, I don't want to listen!
barbarian. And what a hunt to dry something! Even if you die of longing, they will pity you! How about, wait. So what a shame to torture yourself!
Included lady with a stick and two lackeys in triangular hats at the back.
The eighth phenomenon
The same and lady.
Lady. What beauties? What are you doing here? Are you waiting for the good fellows, gentlemen? Are you having fun? Funny? Does your beauty make you happy? This is where beauty leads. (Pointing to the Volga.) Here, here, in the very pool!
Barbara smiles.
What are you laughing at! Don't rejoice! (Knocks with a stick.) Everything in the fire will burn inextinguishable. Everything in resin will boil unquenchable! (Leaving.) Wow, where beauty leads! (Exits.)
The ninth phenomenon
Katerina and barbarian.
Katerina. Oh, how she frightened me! I tremble all over, as if she were prophesying something to me.
barbarian. On your own head, old hag!
Katerina. What did she say, huh? What she said?
barbarian. All nonsense. You really need to listen to what she is talking about. She prophesies to everyone. I have sinned all my life since I was young. Ask what they say about her! That's why he's afraid to die. What she fears, scares others. Even all the boys in the city are hiding from her - he threatens them with a stick and shouts (mimicking): "You will all burn in fire!"
Katerina (squinting). Ah, ah, stop it! My heart sank.
barbarian. There is something to fear! Fool old...
Katerina. I'm afraid, I'm scared to death! She is all in my eyes.
Silence.
barbarian (looking around). That this brother is not coming, out, no way, the storm is coming.
Katerina (with fear). Thunderstorm! Let's run home! Hurry!
barbarian. What are you, crazy, or something, gone! How can you show yourself home without a brother?
Katerina. No, home, home! God bless him!
barbarian. What are you really afraid of: the storm is still far away.
Katerina. And if it's far away, then perhaps we'll wait a little; but it would be better to go. Let's go better!
barbarian. Why, if anything happens, you can’t hide at home.
Katerina. Yes, all the same, everything is better, everything is calmer; At home, I pray to the images and pray to God!
barbarian. I didn't know you were so afraid of thunderstorms. I'm not afraid here.
Katerina. How, girl, do not be afraid! Everyone should be afraid. It’s not so terrible that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts. I'm not afraid to die, but when I think that all of a sudden I will appear before God the way I am here with you, after this conversation, that's what's scary. What's on my mind! What a sin! scary to say!
Kabanov is included.
barbarian. Here comes the brother. (Kabanov.) Run quickly!
Katerina. Oh! Hurry, hurry!
The play "Thunderstorm" by the famous Russian writer of the XIX century Alexander Ostrovsky, was written in 1859 in the wake of a public upsurge on the eve of social reforms. She became one of the best works author, opening the eyes of the whole world to mores and moral values the then merchant class. It was first published in the Library for Reading magazine in 1860 and, due to the novelty of its subject matter (descriptions of the struggle of new progressive ideas and aspirations with old, conservative foundations), immediately after publication caused a wide public outcry. She became a topic for writing a large number critical articles of that time (“Ray of Light in the Dark Kingdom” by Dobrolyubov, “Motives of Russian Drama” by Pisarev, criticism by Apollon Grigoriev).
History of writing
Inspired by the beauty of the Volga region and its vast expanses during a trip with his family to Kostroma in 1848, Ostrovsky began writing the play in July 1859, after three months he finished it and sent it to the court of St. Petersburg censorship.
Having worked for several years in the office of the Moscow Conscientious Court, he knew well what the merchants were like in Zamoskvorechye (the historical district of the capital, on the right bank of the Moscow River), more than once, on duty, faced with what was happening behind the high fences of the merchants' choir , namely with cruelty, tyranny, ignorance and various superstitions, illegal transactions and scams, tears and suffering of others. The basis for the plot of the play was tragic fate daughter-in-law in the wealthy merchant family of Klykovs, which happened in reality: a young woman rushed into the Volga and drowned, unable to withstand the harassment from the imperious mother-in-law, tired of her husband’s spinelessness and secret passion for the postal clerk. Many believed that it was stories from the life of the Kostroma merchants that became the prototype for the plot of the play written by Ostrovsky.
In November 1859, the play was performed on the stage of the Maly Academic Theater in Moscow, and in December of the same year at the Alexandrinsky Drama Theater in St. Petersburg.
Analysis of the work
Story line
At the center of the events described in the play is the wealthy merchant family of the Kabanovs, who live in the fictional Volga city of Kalinov, a kind of peculiar and closed little world, symbolizing the general structure of the entire patriarchal Russian state. The Kabanov family consists of a domineering and cruel woman-tyrant, and in fact the head of the family, a wealthy merchant and widow Marfa Ignatievna, her son, Tikhon Ivanovich, weak-willed and spineless against the backdrop of the heavy temper of his mother, the daughter of Varvara, who learned by deceit and cunning to resist the despotism of her mother , as well as daughter-in-law Katerina. A young woman, who grew up in a family where she was loved and pitied, suffers in the house of her unloved husband from his lack of will and the claims of her mother-in-law, in fact, having lost her will and becoming a victim of the cruelty and tyranny of the Kabanikh, left to the mercy of fate by a rag-husband.
From hopelessness and despair, Katerina seeks solace in love for Boris Diky, who also loves her, but is afraid to disobey her uncle, the wealthy merchant Savel Prokofich Diky, because the financial situation of him and his sister depends on him. Secretly, he meets with Katerina, but at the last moment he betrays her and runs away, then, at the direction of his uncle, he leaves for Siberia.
Katerina, being brought up in obedience and submission to her husband, tormented by her own sin, confesses everything to her husband in the presence of his mother. She makes the life of her daughter-in-law completely unbearable, and Katerina, suffering from unhappy love, remorse and cruel persecution of the tyrant and despot Kabanikh, decides to end her torment, the only way in which she sees salvation is suicide. She throws herself off a cliff into the Volga and dies tragically.
Main characters
All the characters in the play are divided into two opposing camps, some (Kabanikha, her son and daughter, the merchant Dikoy and his nephew Boris, the maids Feklusha and Glasha) are representatives of the old, patriarchal way of life, others (Katerina, self-taught mechanic Kuligin) are new, progressive.
A young woman, Katerina, the wife of Tikhon Kabanov, is the central character of the play. She was brought up in strict patriarchal rules, in accordance with the laws of the ancient Russian Domostroy: a wife must obey her husband in everything, respect him, fulfill all his requirements. At first, Katerina tried with all her might to love her husband, to become a submissive and good wife for him, but due to his complete spinelessness and weakness of character, she can only feel pity for him.
Outwardly, she looks weak and silent, but in the depths of her soul there is enough willpower and perseverance to resist the tyranny of her mother-in-law, who is afraid that her daughter-in-law can change her son Tikhon and he will no longer obey the will of his mother. Katerina is cramped and stuffy in the dark realm of life in Kalinovo, she literally suffocates there and in her dreams she flies away like a bird away from this terrible place for her.
Boris
Having fallen in love with a visitor young man Boris, the nephew of a wealthy merchant and businessman, she creates in her head the image of an ideal lover and a real man, which is completely untrue, breaks her heart and leads to a tragic ending.
In the play, Katerina's character is opposed not to a specific person, her mother-in-law, but to the entire existing patriarchal way of life at that time.
Boar
Marfa Ignatievna Kabanova (Kabanikha), like the tyrant merchant Dikoi, who tortures and insults his relatives, does not pay wages and deceives his workers, are prominent representatives the old, petty-bourgeois way of life. They are distinguished by stupidity and ignorance, unjustified cruelty, rudeness and rudeness, complete rejection of any progressive changes in the ossified patriarchal way of life.
Tikhon
(Tikhon, in the illustration near the Kabanikhi - Marfa Ignatievna)
Tikhon Kabanov throughout the play is characterized as a quiet and weak-willed person, who is under the complete influence of a despotic mother. Distinguished by his gentle nature, he makes no attempt to protect his wife from the attacks of his mother.
At the end of the play, he finally breaks down and the author shows his rebellion against tyranny and despotism, it is his phrase at the end of the play that leads readers to a certain conclusion about the depth and tragedy of the current situation.
Features of compositional construction
(Fragment from a dramatic production)
The work begins with a description of the city on the Volga of Kalinov, whose image is a collective image of all Russian cities of that time. The landscape of the Volga expanses depicted in the play contrasts with the musty, dull and gloomy atmosphere of life in this city, which is emphasized by the dead isolation of the life of its inhabitants, their underdevelopment, dullness and wild lack of education. The author described the general state of urban life as if before a thunderstorm, when the old, decrepit way of life is shaken, and new and progressive trends, like a gust of furious thunderstorm wind, will carry away the obsolete rules and prejudices that prevent people from living normally. The period of life of the inhabitants of the city of Kalinov described in the play is just in a state when outwardly everything looks calm, but this is only the calm before the coming storm.
The genre of the play can be interpreted as a social drama, as well as a tragedy. The first is characterized by the use of a thorough description of living conditions, the maximum transfer of its "density", as well as the alignment of characters. The attention of readers should be distributed among all participants in the production. The interpretation of the play as a tragedy suggests its deeper meaning and solidity. If we see in the death of Katerina the consequence of her conflict with her mother-in-law, then she looks like a victim of a family conflict, and all the unfolding action in the play seems small and insignificant for a real tragedy. But if we consider death main character as a conflict of a new, progressive time with a fading, old era, then her act is interpreted in the best way possible in a heroic key, characteristic of a tragic narrative.
The talented playwright Alexander Ostrovsky from a social drama about the life of the merchant class gradually creates a real tragedy in which, with the help of a love and domestic conflict, he showed the onset of an epoch-making turning point in the minds of the people. Simple people they are aware of the awakening sense of their own dignity, they begin to relate to the world around them in a new way, they want to decide their own destinies and fearlessly express their will. This nascent desire comes into irreconcilable contradiction with the real patriarchal way of life. The fate of Katerina acquires a social historical meaning, expressing the state of the people's consciousness at the turning point of two eras.
Alexander Ostrovsky, who noticed in time the doom of decaying patriarchal foundations, wrote the play "Thunderstorm" and opened the eyes of the entire Russian public to what was happening. He depicted the destruction of the usual, outdated way of life, with the help of the ambiguous and figurative concept of a thunderstorm, which, gradually growing, will sweep away everything from its path and open the way for a new, better life.
Ostrovsky's play "Thunderstorm" was written in 1859. The idea of the work came to the writer in the middle of summer, and on October 9, 1859, the work was already completed. This is not a classic, but a realistic play. The conflict is a clash dark kingdom with the need for a new life. The work caused a great resonance not only in the theatrical, but also in the literary environment. The prototype of the main character was the theater actress Lyubov Kositskaya, who later played the role of Katerina.
The plot of the play is an episode from the life of the Kabanov family, namely, the meeting and subsequent betrayal of his wife with a young man who arrived in the city. This event becomes fatal not only for Katerina herself, but for the whole family. For a better understanding of the conflict and storylines, you can read the chapter-by-chapter summary of The Storm below.
main characters
Katerina- a young girl, the wife of Tikhon Kabanov. Modest, pure, correct. She keenly feels the injustice of the world around her.
Boris- a young man, "decently educated", came to his uncle, Savl Prokofievich Wild. In love with Catherine.
Boar(Marfa Ignatievna Kabanova) - a rich merchant's wife, widow. An imperious and despotic woman, subjugates people to her will.
Tikhon Kabanov- the son of Kabanikha and the husband of Katerina. He acts as his mother pleases, has no opinion.
Other characters
barbarian- Daughter of Kabanikhi. A self-willed girl who is not afraid of her mother.
Curly- Beloved of Barbara.
Dikoy Savel Prokofievich- a merchant, an important person in the city. Rude and uneducated person.
Kuligin- a tradesman obsessed with the ideas of progress.
Lady- half crazy.
Feklusha- a stranger.
Glasha- servant of the Kabanovs.
Action 1
Kudryash and Kuligin talk about the beauty of nature, but their opinions are different. For Curly, landscapes are nothing, but they delight Kuligin. From afar, the men see Boris and Diky, who is actively waving his arms. They begin to gossip about Savla Prokofievich. Dikoy approaches them. He is unhappy with the appearance in the city of his nephew, Boris, and does not want to talk to him. From the conversation between Boris and Savl Prokofievich, it becomes clear that apart from Diky, Boris and his sister have no one else left from their relatives.
In order to receive an inheritance after the death of his grandmother, Boris is forced to establish good relationship with his uncle, but he does not want to give back the money that Boris's grandmother bequeathed to her grandson.
Boris, Kudryash and Kuligin discuss the difficult character of Dikoy. Boris admits that it is difficult for him to be in the city of Kalinovo, because he does not know the local customs. Kuligin believes that it is impossible to earn money here by honest labor. But if Kuligin had money, the man would spend it for the benefit of mankind by collecting a Perpeta mobile. Feklusha appears, praising the merchants and life in general, saying: "we live in the promised land ...".
Boris is sorry for Kuligin, he understands that the inventor's dreams of creating mechanisms useful for society will forever remain only dreams. Boris himself does not want to ruin his youth in this outback: "driven, beaten, and even foolishly decided to fall in love ..." with the one with whom he could not even talk. This girl turns out to be Katerina Kabanova.
On stage Kabanova, Kabanov, Katerina and Varvara.
Kabanov speaks with his mother. This dialogue is shown as a typical conversation in this family. Tikhon is tired of his mother's moralizing, but he still fawns over her. Kabanikha asks to recognize his son that his wife has become more important than his mother, as if Tikhon will soon completely cease to respect his mother. Katerina, present at the same time, denies the words of Marfa Ignatievna. Kabanova, with a vengeance, begins to slander herself so that those around her will convince her otherwise. Kabanova calls herself a hindrance to married life, but there is no sincerity in her words. In a moment, she takes control of the situation, accusing her son of being too soft: “Look at you! Will your wife be afraid of you after this?
In this phrase, not only her imperious character is visible, but also her attitude towards her daughter-in-law and family life generally.
Kabanov admits that he has no will of his own. Marfa Ignatyevna leaves. Tikhon complains about life, blaming his despotic mother for everything. Varvara, his sister, replies that Tikhon is responsible for his own life. After these words, Kabanov leaves for a drink with Wild.
Katerina and Barbara talk heart to heart. “Sometimes it seems to me that I am a bird” - this is how Katya characterizes herself. She completely withered in this society. This is especially evident against the background of her life before marriage. Katerina spent a lot of time with her mother, helped her, walked: “I lived, didn’t grieve about anything, like a bird in the wild.” Katerina feels the approach of death; confesses that she no longer loves her husband. Varvara is concerned about Katya's condition, and in order to improve her mood, Varvara decides to arrange a meeting with another person for Katerina.
The Lady appears on the stage, she points to the Volga: “This is where beauty leads. Into the whirlpool." Her words will turn out to be prophetic, although no one in the city believes her predictions. Katerina was frightened by the words spoken by the old woman, but Varvara was skeptical about them, since the Lady sees death in everything.
Kabanov is back. While married women it was impossible to walk around alone, so Katya had to wait for him to go home.
Action 2
Varvara sees the reason for Katerina's suffering in the fact that Katya's heart "hasn't left yet", because the girl was married off early. Katerina feels sorry for Tikhon, but she has no other feelings for him. Varvara noticed this a long time ago, but she asks to hide the truth, because lies are the basis of the existence of the Kabanov family. Katerina is not used to living dishonestly, so she says that she will leave Kabanov if she can no longer be with him.
Kabanov urgently needs to leave for two weeks. The carriage is ready, things are packed, it remains only to say goodbye to relatives. Tikhon orders Katerina to obey her mother, repeating the phrases after Kabanikha: “tell her not to be rude to her mother-in-law ... to honor her mother-in-law like her own mother, ... so that she doesn’t sit idly by, ... so that she doesn’t look at young guys!” This scene was humiliating for both Tikhon and his wife. Words about other men confuse Katya. She asks her husband to stay or take her with him. Kabanov refuses his wife and he is embarrassed for his mother's phrase about other men and Katerina. The girl foresees the impending disaster.
Tikhon, saying goodbye, bows to his mother at the feet, fulfilling her will. The boar does not like that Katerina said goodbye to her husband with hugs, because the man in the family is the main one, and she has become on a par with him. The girl has to bow at Tikhon's feet.
Marfa Ignatievna says that the current generation does not know the rules at all. The boar is unhappy that Katerina does not cry after her husband leaves. It's good when there are elders in the house: they can teach. She hopes not to live to see the time when all the old people will die: “I don’t know what the world will stand on ...”
Katya is left alone. She likes silence, but at the same time it scares her. Silence for Katerina becomes not rest, but boredom. Katya regrets that she does not have children, because she could be a good mother. Katerina again thinks about flying and freedom. The girl imagines how her life could have turned out: “I will start some work according to the promise; I will go to the Gostiny Dvor, buy canvas, and I will sew linen, and then I will distribute it to the poor. They will pray to God for me." Varvara leaves for a walk, reporting that she has changed the lock on the gate in the garden. With the help of this little trick, Varvara wants to arrange a meeting with Boris for Katerina. Katerina blames Kabanikha for her misfortunes, but nevertheless does not want to succumb to the "sinful temptation" and secretly meet with Boris. She does not want to be led by her feelings and violate the sacred bonds of marriage.
Boris himself also does not want to go against the rules of morality, he is not sure that Katya has similar feelings for him, but still wants to see the girl again.
Action 3
Feklusha and Glasha are talking about moral principles. They are glad that Kabanikha's house is the last "paradise" on earth, because the rest of the city's residents have a real "sodom". They also talk about Moscow. From the point of view of provincials, Moscow is too fussy a city. Everything and everyone there is as if in a fog, that's why they walk tired, and there is sadness in their faces.
A drunk Dikoy enters. He asks Marfa Ignatievna to talk to him in order to ease his soul. He is unhappy with the fact that everyone constantly asks him for money. Especially Wild is annoyed by his nephew. At this time, Boris passes near the Kabanovs' house, he is looking for his uncle. Boris regrets that, being so close to Katerina, he cannot see her. Kuligin invites Boris for a walk. Young people are talking about the poor and the rich. From Kuligin's point of view, the rich close themselves in their homes so that others do not see their violence against relatives.
They see Varvara kissing Curly. She also informs Boris about the place and time of the upcoming meeting with Katya.
At night, in a ravine under the garden of the Kabanovs, Kudryash sings a song about a Cossack. Boris tells him about his feelings for married girl, Ekaterina Kabanova. Varvara and Kudryash leave for the banks of the Volga, leaving Boris to wait for Katya.
Katerina is frightened by what is happening, the girl drives Boris away, but he calms her down. Katerina is terribly nervous, admits that she does not have her own will, because “now she has the will ...” of Boris. In a fit of feelings, she hugs the young man: “If I was not afraid of sin for you, will I be afraid of human court?” Young people confess their love to each other.
The hour of parting is near, as the Boar may soon wake up. The lovers agree to meet the next day. Kabanov unexpectedly returns.
Action 4
(events unfold 10 days after the third act)
Residents of the city walk along the gallery overlooking the Volga. It looks like a storm is coming. On the walls of the destroyed gallery, one can discern the outlines of a picture of fiery hell, an image of the battle near Lithuania. Kuligin and Dikoy are talking in raised tones. Kuligin enthusiastically talks about a good deed for everyone, asks Savl Prokofievich to help him. Wild refuses quite rudely: “so know that you are a worm. If I want - I will have mercy, if I want - I will crush. He does not understand the value of Kuligin's invention, namely the lightning rod, with which it will be possible to obtain electricity.
Everyone leaves, the stage is empty. Thunder is heard again.
Katerina increasingly has a premonition that she will soon die. Kabanov, noticing the strange behavior of his wife, asks her to repent of all sins, but Varvara quickly ends this conversation. Boris comes out of the crowd, greets Tikhon. Katerina turns even paler. The boar may suspect something, so Varvara gives a signal to Boris to leave.
Kuligin urges not to be afraid of the elements, because it is not she who kills, but grace. Nevertheless, residents continue to discuss the impending storm, which "will not pass in vain." Katya tells her husband that a thunderstorm will kill her today. Neither Varvara nor Tikhon understand Katerina's inner torment. Varvara advises to calm down and pray, and Tikhon suggests going home.
The lady appears, turns to Katya with the words: “Where are you hiding, stupid? You can't leave God! … into the whirlpool is better with beauty! Hurry!” In a frenzy, Katerina confesses her sin to both her husband and mother-in-law. All those ten days when her husband was not at home, Katya secretly met with Boris.
Action 5
Kabanov and Kuligin discuss Katerina's confession. Tikhon again shifts part of the blame to Kabanikha, who wants to bury Katya alive. Kabanov could forgive his wife, but he is afraid of his mother's wrath. The Kabanov family completely crumbled: even Varvara ran away with Kudryash.
Glasha reports Katerina missing. Everyone goes in search of the girl.
Katerina is alone on stage. She thinks that she has ruined both herself and Boris. Katya sees no reason to live on, asks for forgiveness and calls her lover. Boris came to the call of the girl, he is gentle and affectionate with her. But Boris needs to leave for Siberia, and he cannot take Katya with him. The girl asks him to give alms to those in need and to pray for her soul, assuring her that she did not intend anything bad. After saying goodbye to Boris, Katerina throws herself into the river.
People are screaming that some girl threw herself off the shore into the water. Kabanov realizes that it was his wife, so he wants to jump after her. The boar stops his son. Kuligin brings Katerina's body. She is as beautiful as she was in life, only a small drop of blood appeared on her temple. "Here's your Katherine. Do what you want with her! Her body is here, take it; and the soul is now not yours: it is now before a judge who is more merciful than you!”
The play ends with the words of Tikhon: “Good for you, Katya! And for some reason I stayed to live in the world and suffer!
Conclusion
The work "Thunderstorm" by A. N. Ostrovsky can be called one of the main plays among all creative way writer. Social and everyday topics, of course, were close to the viewer of that time, as they are close today. However, against the background of all these details, it is not just a drama that unfolds, but a real tragedy, ending with the death of the main character. The plot, at first glance, is uncomplicated, but only Katerina's feelings for Boris, the novel "Thunderstorm" is not limited. At the same time, several storylines, and, accordingly, several conflicts that are implemented at the level of secondary characters. This feature of the play is fully consistent with the realistic principles of generalization.
From the retelling of "Thunderstorm" one can easily draw a conclusion about the nature of the conflict and content, however, for a more detailed understanding of the text, we recommend that you familiarize yourself with the full version of the work.
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The unenviable fate of young girls who married not for love, but for duty, is reflected in the image of Katerina from Ostrovsky's play. At that time in Russia, society did not accept divorces, and unfortunate women, forced to obey the customs, quietly suffered from a bitter fate.
It is not in vain that the author describes in detail through Katerina's memories her childhood - happy and carefree. In her married life, the exact opposite of the happiness she dreamed of was waiting for her. The author compares it with a ray of immaculate, pure light in the dark realm of despotism, lack of will and vices. Knowing that for a Christian, suicide is the most serious mortal sin, she still gave up, throwing herself off the Volga cliff.
Action 1
The action takes place in a public garden near the banks of the Volga. Sitting on a bench, Kuligin enjoys the beauty of the river. Curly and Shapkin are walking slowly. From afar comes the scolding of the Wild, he scolds his nephew. Those present begin to discuss the family. Kudryash acts as a defender of the destitute Boris, believing that he suffers, like other people who have resigned to fate, from the despot-uncle. Shapkin replies to this that it was not in vain that Dikoy wanted to send Kudryash to serve. To which Kudryash says that Dikoy is afraid of him and knows that you can’t take his head cheaply. Curly complains that Diky has no marriageable daughters.
Then Boris and his uncle approach those present. Dikoy continues to scold his nephew. Then Dikoi leaves, and Boris explains the family situation. She and her sister were left orphans, even when they were studying. Parents died of cholera. Orphans lived in Moscow, until their grandmother died in the city of Kalinovo (where the action takes place). She bequeathed an inheritance to her grandchildren, but they will be able to receive it after the age of majority from their uncle (Wild), on the condition that they honor him.
Kuligin argues that Boris and his sister are unlikely to receive an inheritance, because Dikoy can consider any word as disrespectful. Boris is completely subordinate to his uncle, works for him without a salary, but there is little sense. The nephew, like the whole family, is afraid of the Wild One. He shouts at everyone, but no one can answer him. It happened once that Diky was scolded by the hussars when they collided at the crossing. He could not answer the serviceman, which made him very angry and then took his anger out on his family for a long time.
Boris keeps complaining about hard life. Feklusha approaches with a lady who praises the Kabanovs' house. Like, allegedly glorious and pious people live there. They leave, and now Kuligin expresses his opinion about Kabanikh. He says that she completely ate her family. Then Kuligin says that it would be nice to invent a perpetual motion machine. He is a young developer who has no money to make models. Everyone leaves, and Boris is left alone. He thinks about Kuligin and calls him a good man. Then, remembering his fate, he sadly says that he will have to spend all his youth in this wilderness.
Kabanikha appears with his family: Katerina, Varvara and Tikhon. The boar saws his son that his wife has become dearer to him than his mother. Tikhon argues with her, Katerina intervenes in the conversation, but Kabanikha does not allow her to say a word. Then he again pounces on his son that he cannot keep his wife strict, hints that it is so close to a lover.
The boar leaves, and Tikhon accuses Katerina of maternal reproaches. Frustrated, he goes to Dikoy to have a drink. Katerina stays with Varvara and remembers how freely she lived with her parents. She was not particularly forced to do business, she only carried water, watered flowers, and prayed in church. She saw beautiful vivid dreams. What now? She feels like she is standing on the edge of an abyss. She anticipates trouble, and her thoughts are sinful.
Varvara promises that as soon as Tikhon leaves, she will think of something. Suddenly, a half-witted lady appears, accompanied by two lackeys, she loudly shouts that beauty can lead into the abyss, and frightens the girls with fiery hell. Katerina is scared, and Varvara tries to calm her down. A thunderstorm begins, the women run away.
Action 2
Kabanov's house. In the room, Feklusha and Glasha are talking about human sins. Feklusha argues that it is impossible without sin. At this time, Katerina tells Varvara the story of her childhood resentment. Someone offended her and she ran away to the river, got into a boat, and then they found her ten miles away. Then she confesses that she is in love with Boris. Varvara convinces her that he likes her too, but they have nowhere to meet. But here Katerina is frightened of herself and assures that she will not change her Tikhon, and says that when she is completely sick of life in this house, she will either throw herself out the window or drown herself in the river. Varvara again reassures her, and says that as soon as Tikhon leaves, she will think of something.
Kabanikha and his son come in. Tikhon is going on a journey, and the mother continues his instructions so that he instructs his wife how she needs to live while her husband is away. Tikhon repeats her words. The boar and Varvara leave, and, left alone with her husband, Katerina asks him not to leave her or take her with him. Tikhon resists and says he wants to be alone. Then she throws herself on her knees in front of him and asks to take an oath from her, but he does not listen to her and picks her up from the floor.
Women accompany Tikhon. The boar makes Katerina say goodbye to her husband as expected, bowing at her feet. Katherine ignores her. Left alone, Kabanikha is indignant that the elderly are no longer respected. Katerina enters, and the mother-in-law begins to reproach her daughter-in-law again for not saying goodbye to her husband as it should be. To which Katerina says that she doesn’t want to make people laugh, and she doesn’t know how.
Alone, Katerina regrets that she does not have children. Then she regrets that she did not die as a child. Then she would certainly become a butterfly. Then she sets herself up to wait for her husband's return. Varvara enters and persuades Katerina to ask her to take a nap in the garden. There the gate is locked, Kabanikha has the key, but Varvara changed it and gives it to Katerina. She doesn't want to take the key, but then she does. Katerina is confused - she is afraid, but she also really wants to see Boris. He puts the key in his pocket.
Action 3
Scene 1
On the street near the Kabanovs' house stands Kabanikha and Feklusha, who reflects that life has become fussy. City noise, everyone is running somewhere, but in Moscow everyone is in a hurry. Kabanikha agrees that one should live measuredly, and says that she would never go to Moscow.
Dikoy appears, having pretty much taken on his chest, and starts a skirmish with Kabanova. Then Dikoy cooled down and began to apologize, pushing the reason for his condition to the workers, who from the very morning began to demand wages from him. Wild leaves.
Boris sits upset because he has not seen Katerina for a long time. Kuligin comes and, admiring the beauty of nature, thinks that the poor have no time to walk and enjoy this beauty, while the rich sit behind the fences, their house is guarded by dogs so that no one sees how they rob orphans and relatives. Varvara appears in Kudryash's company. They kiss. Kudryash and Kuligin leave. Varvara is busy about meeting Boris with Katerina, appointing a place in the ravine.
Scene 2
Night. Behind the Kabanovs' garden in the ravine, Kudryash sings a song while playing the guitar. Boris arrives and they start arguing over a date spot. Curly is not inferior, and Boris admits that he is in love with a married woman. Curly, of course, guessed who she was.
Varvara appears and goes for a walk with Kudryash. Boris is left alone with Katerina. Katerina accuses Boris of ruined honor. She is afraid to move on. Boris reassures her, offering not to think about the future, but to enjoy unity. Katerina confesses her love for Boris.
Kudryash comes with Varvara and asks how the lovers are doing. They talk about their confessions. Kudryash offers to continue using this gate for meetings. Boris and Katerina agree on their next date.
Action 4
A dilapidated gallery, on the walls of which are paintings of the Last Judgment. It's raining, people are hiding in the gallery.
Kuligin talks to Diky, begging him to donate money for the installation of a sundial in the center of the boulevard, along the way persuading him to install lightning rods. Dikoy refuses, yells at Kuligin, believing superstitiously that the thunderstorm is God's punishment for sins, he calls the developer an atheist. Kuligin leaves him and says that they will return to the conversation when he has a million in his pocket. The storm is ending.
Tikhon returns home. Katerina becomes not herself. Varvara reports to Boris about her condition. The storm is coming again.
Kuligin, Kabanikha, Tikhon and a frightened Katerina come out. She is afraid and it shows. She perceives the storm as God's punishment. She notices Boris and gets even more frightened. Words of people reach her that a thunderstorm happens for a reason. Katerina is already sure that lightning should kill her and ask to pray for her soul.
Kuligin tells people that the storm is not punishment, but grace for every living blade of grass. The half-witted lady and her two lackeys reappear. Turning to Katerina, she shouts for her not to hide. There is no need to be afraid of God's punishment, but you need to pray that God will take away her beauty. Katerina already sees fiery hell, and she tells everyone about her connection on the side.
Action 5
Twilight fell on the public garden on the banks of the Volga. Kuligin sits alone on a bench. Tikhon comes up to him and talks about his trip to Moscow, where he drank all the time, but did not remember the house, complains that his wife cheated on him. She says that she should be buried alive in the ground, as mama advises. But he feels sorry for her. Kuligin persuades him to forgive his wife. Tikhon is pleased that Dikoy sent Boris to Siberia for three whole years. His sister Varvara ran away from home with Kudryash. Glasha said that Katerina was nowhere to be found.
Katerina is alone and really wants to see Boris to say goodbye. She complains about her unfortunate fate and about the human court, which is worse than execution. Boris comes and says that his uncle sent him to Siberia. Katerina is ready to follow him and asks to take her with him. She says that her drunkard husband is disgusting to her. Boris looks around all the time, afraid that they will be seen. In parting, Katerina asks to give alms to the poor so that they pray for her. Boris leaves.
Katerina goes to the shore. At this time, Kuligin is talking to Kabanikha, accusing her of instructing her son against her daughter-in-law. There are screams that a woman has thrown herself into the water. Kuligin and Tikhon rush to help, but Kabanikha stops his son, threatening to curse him. He will stay. Katerina crashed to death, people bring her body.
Ostrovsky made his heroine of the play "Thunderstorm" a woman of high morals, spiritual, but so airy and dreamy that she was simply not able to survive in the environment prepared for her by fate. "Thunderstorm!" This fatal name is fraught with several meanings. It seems that everything is the fault of the thunderstorm that frightened the already guilty Katerina. She was very pious, but life with an indifferent husband and a tyrannical mother-in-law forced her to rebel against the rules. She paid the price for this. But one can wonder if her fate would have ended in this way if there had not been this thunderstorm. Considering Katerina's natural inability to lie, treason would still be revealed. And if she had not given herself to love, she would simply have gone crazy.
The husband, crushed by the authority of his mother, treated Katerina indifferently. She was desperately looking for love. She initially felt that this would lead her to death, but she could not resist the feelings - she lived in prison for too long. She was ready to run after Boris to Siberia. Not from great love, but from these disgusting walls, where she could not breathe freely. But the lover is also weak in spirit, like her unloved husband.
The outcome is tragic. Disappointed in life and in men, childless and unhappy Katerina is no longer kept on earth by anything. Her final thoughts are about saving the soul.
