The scene of Katerina's farewell to Tikhon plays an important role in the plot of the work.

Main characters in the episode - Kabanov and Katerina. The latter, terribly, does not want to be left without a husband for two reasons: firstly, a girl is afraid to be alone with her mother-in-law and her tyranny; secondly, Katerina is afraid that in the absence of her husband she will do something unacceptable to her. This is proved by the oath that Tikhon never took from his wife. Kabanov takes pity on Katerina and sincerely asks for her forgiveness, but he does not give in to persuasion not to leave or take his wife with him, and does not even try to hide his desire to escape from his family, bondage, and his wife will only be a hindrance to him.

Also, Kabanov does not understand Katerina's fear, as evidenced by the many interrogative sentences at the end of the episode. Katerina's speech, on the contrary, contains a plea expressed in exclamations.

The author's remarks indicate Kabanov's equanimity and inflexibility to requests and Katerina's ardent rejection of her husband's departure. The girl either hugs Tikhon, then falls to her knees, then cries - she is in despair. He is indifferent to the persuasion of his wife and only wants to escape from the house that has become hated.

In general, this episode plays great importance in the work, as it affects key events that unfold later, such as Katerina's meeting with Boris.

Updated: 2016-08-17

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Tikhon apologizes to Katerina for the humiliating scene when he repeated everything his mother demanded with a parrot. With this forgiveness, he seems to return Katerina's hope. It is in the hope of seeing Tikhon in a different environment, away from his mother, and if not to love, then at least to respect her husband, Katerina so persistently persuades Tikhon to take her with him. But by the end of the scene, Katerina is finally convinced that Tikhon is focused only on himself and there is nothing to love, even respect him for.

Scene with a gate key

The inner monologue of the heroine is evidence of a mental struggle. At first, Katerina decides to distract herself with sewing and humbly wait for Tikhon, drowning out her feelings. But the key to the gate (a symbolic detail!), offered by Varvara, can turn into the key to the cage in which the free bird beats. It is no coincidence that the motive of will and bondage becomes the main one in the internal monologue. The desire of will eventually becomes more important than the patience of bondage.

In some of Katerina’s thoughts, Varvara’s influence is evident: “Yes, maybe such a case will never happen again in my whole life. Then cry at yourself: there was a case, but I didn’t know how to use it. ” These words smack of practicality. But, of course, it is not this motive that wins in Katerina. “Why am I saying that I am deceiving myself?” The desire of a free person not to change his soul, to follow his nature wins.

3rd act

The development of the conflict seems to be slowing down for a while. The scenes of Katerina's meeting with Boris and Varvara's meeting with Kudryash, drawn in contrast to poetry and everyday life, precede the pilgrim Feklusha's thoughts about the "last times" and Kuligin's monologue about "invisible and inaudible constipation." All this reinforces the motive of captivity.

An interesting conversation between Boris and Kudryash before a date. For all the simplicity of Kudryash's nature, his moral superiority over Boris is felt: he asks his friend to think about Katerina, but he is only concerned about his own joy.

Let's pay attention to Katerina's imperfection in the first part of the scene of a meeting with Boris (scene 2, scene 3). Being a prisoner of her fears, she does not notice how she begins to reproach her lover, transferring only responsibility for what happened to him. But is Boris ready for any responsibility? At first, he easily shifts her back, onto her shoulders, not at all like a man (“you yourself ordered me to come ... Your will was for that ...”), and then complacency and the same “shit-covered” philosophy wins in him (“Why die, if we live so well? .. Fortunately, we feel good now ... How long has my husband left?”)

    General characteristics of the hero.

    The volume of speech of the hero (says a lot or little and in what situations and why).

    The predominant structure of speech (logically built, inconsistent, melodious, expressive, rude, etc.).

    Lexical features.

    Syntactic constructions, punctuation, shaping the character's speech.

    The manifestation in speech of the character and actions of the hero.

The culmination of the development of the conflict. The scene of Katerina's confession. Episode analysis.

The scene of Katerina's confession of sin takes place at the end of the 4th act. Her compositional role is the culmination of Katerina's conflict with Kabanikha and one of the culminations of the development of an internal conflict in Katerina's soul, when the desire for a lively and free feeling struggles with the religious fears of punishment for sins and the moral duty of the heroine.

The aggravation of conflicts is caused and prepared by a number of previous circumstances:

    in the 3rd appearance, the sensitive and quick-witted Varvara warns Boris that Katerina is suffering very much and can confess, but Boris was only afraid for himself;

    it is no coincidence that it is at the end of their conversation that the first thunderclaps are heard, a thunderstorm begins;

    secondary characters passing by, with their remarks about the inevitability of punishment and that “this thunderstorm will not pass in vain”, increase the fear of a thunderstorm and prepare, predict trouble; Katerina also foresees this misfortune;

    Kuligin's “blasphemous” speeches about electricity and that “thunderstorm is grace” contrast with these remarks, and this also exacerbates what is happening;

    finally, the words of a half-mad lady, addressed directly to Katerina, are heard, and the thunderstorm is also intensifying.

Katerina exclaims in a fit of fear and shame: “I am a sinner before God and before you!” The reason for its recognition is not only in religious fear, but also in moral torments, torments of conscience, and a sense of guilt. Indeed, in the fifth act, at the moment of parting with life, she will overcome religious fears, the moral feeling will triumph (“Whoever loves, he will pray”), and the decisive factor for her will no longer be the fear of punishment, but the fear of losing freedom again (“and they will catch and return home …”).

The motif of the bird, flight, outlined in the monologues of the first act, reaches its climax, developing the conflict of Pushkin's Prisoner: captivity is impossible for a free being.

The death of Katerina is the only way for her to regain her freedom.

The reaction of other heroes to Katerina's confession is interesting and important:

    Barbara, as a true friend, is trying to prevent trouble, to calm Katerina, to protect her ("She's lying ...");

    Tikhon suffers not so much from treason, but from the fact that this happened under his mother: he does not want upheavals, he does not need this truth, and even more so in its public version, which destroys the usual principle of “shit-covered”; besides, he himself is not without sin;

    for Kabanova, the moment of the triumph of her rules comes (“I said ...”);

    where is Boris? At the decisive moment, he cowardly withdrew.

Recognition itself occurs when everything comes together for the heroine: pangs of conscience, fear of a thunderstorm as a punishment for sins, predictions of passers-by and their own premonitions, Kabanikh’s speeches about beauty and whirlpool, Boris’s betrayal, and, finally, the thunderstorm itself.

Katerina confesses her sin publicly, in the church, as is customary in the Orthodox world, which confirms her closeness with the people, shows the heroine's truly Russian soul.

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essay: Cruel morals of the city of Kalinov 6250 "Cruel morals" of the city of Kalinov Sample text compositions based on the drama "Thunderstorm" by Nostrovsky A talented self-taught mechanic Kuligin calls his morals "cruel". What does he see as a manifestation of this? First of all, in the poverty and rudeness that reigns in the philistine environment. The reason is extremely clear - the dependence of the working population on the power of money, concentrated in the hands of the rich merchants of the city. But, continuing the story of Kalinov's morals, Kuligin by no means idealizes the relationship of the merchant class, which, according to him, undermines trade with each other, writes "malicious slander". Kalinov, the only educated person, draws attention to one important detail, clearly visible in the amusing story about how Dikoy explained to the mayor about the peasants' complaint against him. Let us recall Gogol's The Government Inspector, in which the merchants did not even dare to utter a word in the presence of the mayor, but dutifully put up with his tyranny and endless requisitions. And in "Thunderstorm", in response to the remark of the main person of the city about his dishonest act, Dikoy only condescendingly pats the representative of the authorities on the shoulder, not even considering it necessary to make excuses. So, money and power have become synonymous here. Therefore, there is no uprava on the Wild, who offends the whole city. No one can please him, no one is immune from his violent abuse. Wild is self-willed and tyrannical, because he does not meet resistance and is sure of his impunity. This hero, with his rudeness, greed and ignorance, personifies the main features of Kalinov's "dark kingdom". Moreover, his anger and irritation especially increase in cases where it is either about money that needs to be returned, or about something inaccessible to his understanding. Therefore, he scolds his nephew Boris so much, for the mere sight of him reminds of the inheritance, which, according to the will, must be divided with him. That is why he lashes out at Kuligin, who is trying to explain to him the principle of the lightning rod. Diky is outraged by the idea of ​​a thunderstorm as electrical discharges. He, like all Kalinovites, is convinced that a thunderstorm is sent to people as a reminder of responsibility for their actions. This is not just ignorance and superstition, this is a folk mythology passed down from generation to generation, before which the language of the logical mind falls silent. This means that even in the violent, uncontrollable tyrant Dick lives this moral truth, forcing him to publicly bow at the feet of the peasant, whom he scolded during fasting. Even if Diky has fits of repentance, the wealthy merchant widow Marfa Ignatyevna Kabanova seems at first even more religious and pious. Unlike Wild, she will never raise her voice, will not rush at people like a chain dog. But the despotism of her nature is not at all a secret for the Kalinovites. Even before the appearance of this heroine on the stage, we hear biting and well-aimed remarks of the townspeople addressed to her. "A hypocrite, sir. She gives clothes to the poor, but she completely ate the household," Kuligin says about her to Boris. And the very first meeting with Kabanikha convinces us of the correctness of this characterization. Her tyranny is limited to the sphere of the family, which she ruthlessly tyrannizes. The boar crippled her own son, turning him into a miserable, weak-willed person who does nothing but justify himself to her for non-existent sins. The cruel, despotic Kabanikha turned the life of her children and daughter-in-law into hell, constantly torturing them, harassing them with reproaches, complaints and suspicions. Therefore, her daughter Varvara, a brave, strong-willed girl, is forced to live by the principle: "... do what you want, as long as it is sewn and covered." Therefore, Tikhon and Katerina cannot be happy. Such a feeling as love is incompatible for Katerina with the hateful walls of a boar's house, with its oppressive stuffy atmosphere. silent extra.

The scene of Tikhon's departure is one of the most important in the play both in terms of revealing the psychology and characters of the characters in it and in terms of its function in the development of intrigue: on the ONE hand, Tikhon's departure removes an insurmountable external obstacle to meeting Boris, and on the other hand, all Katerina's hopes collapse find inner support in the love of her husband. In terms of the depth and subtlety of the psychological elaboration, this scene is not only the first of its kind in Ostrovsky, but in general one of the best in Russian classical dramaturgy.

In essence, in this scene Tikhon, refusing to take an oath from his wife, behaves humanely. Yes, and all his attitude towards Katerina is not at all domostroevsky, it has a personal, even humane connotation. After all, it is he who tells Kabanikha in response to her threat that his wife will not be afraid of him: “But why should she be afraid? It's enough for me that she loves me." As paradoxical as it is, it is precisely Tikhon's softness (combined, however, with a general weakness of character), in Katerina's eyes, that is not so much a virtue as a disadvantage. He does not meet her moral ideal, her ideas about what a husband should be. And indeed, he cannot help her and protect her either when she is struggling with "sinful passion" or after her public repentance. Tikhon's reaction to Katerina's "crime" is also completely different from what is dictated by authoritarian morality in such a situation. She is individual, personal: he is “sometimes affectionate, then angry, but he drinks everything,” according to Katerina.

The fact is that Kalinov's youth no longer wants to adhere to patriarchal orders in everyday life. However, both Varvara, Tikhon, and Kudryash are alien to the moral maximalism of Katerina, for whom both the collapse of traditional moral norms in the world around her, and her own violation of these covenants are a terrible tragedy. Unlike Katerina, true tragic heroine, they all stand on the position of everyday compromises and do not see any drama in this. Of course, the oppression of their elders is hard for them, but they have learned to get around it, each to the best of their characters. Ostrovsky draws them objectively and obviously not without sympathy. According to the scale of their personalities in the play, they are precisely established: they are ordinary, ordinary, not too picky people who no longer want to live in the old way, formally recognizing the power of their elders and the power of customs "they are constantly going against them in practice and By this, too, they undermine and gradually destroy the Kalinovsky world. But it is precisely against the background of their unconscious and compromise position of a large and significant, morally high that the suffering heroine of The Thunderstorm looks.

Thunderstorm is not a tragedy of love, but a tragedy of conscience. When Katerina’s “fall” has taken place, caught up in a whirlwind of liberated passion, merging for her with the concept of will, she becomes bold to the point of insolence, deciding - she does not retreat, does not feel sorry for herself, does not want to hide anything, “I was not afraid of sin for you, will I be afraid human court! - she says to Boris, But this “she was not afraid of sin /, just foreshadows the further development of the tragedy, the death of Katerina. Consciousness of sin is preserved even in the rapture of happiness and takes possession of it with great force as soon as this short-lived happiness, this life in freedom, has ended. It's all the more painful. Katerina's faith somehow excludes the concepts of forgiveness and mercy.

She sees no way out of her torment except death, and it is precisely the complete absence of hope for forgiveness that pushes her to commit suicide, a sin even more serious from the point of view of Christian morality. “I’ve lost my soul anyway,” Katerina drops when the thought of the possibility of living her life with Boris occurs to her. How it does not look like a dream of happiness! Katerina's death is predetermined and inevitable, no matter how the people on whom she depends behave. It is inevitable because neither its self-consciousness, nor the whole way of life in which it exists, allow the personal feeling awakened in it to be embodied in everyday forms.
“Mama, you ruined her! You, you, you ... ”Tikhon shouts in despair and, in response to her menacing cry, repeats again:“ You ruined her! You! You!" But this is the measure of understanding of Tikhon, loving and suffering, over the corpse of his wife, who decided to buzz against his mother. But it would be a mistake to think that this is "a certain result of the play and that Tikhon is entrusted with expressing the author's point of view, the author's assessment of events and the share of guilt of the characters.
In The Thunderstorm, in general, all causal relationships are extremely complicated, and this distinguishes it from Ostrovsky's previous plays. The degree of generalization of the analyzed life phenomena outgrows that which was achieved in Muscovite comedies with their clear moralistic tendency. There, just the connection between the act and its inevitable consequences was always drawn very clearly, and therefore the direct, direct fault of the negative characters in all the troubles and misadventures of the heroes was clear. In "Thunderstorm" things are much more complicated.

The scene of Tikhon's departure is one of the most important in the play both in terms of revealing the psychology and characters of the characters in it and in terms of its function in the development of intrigue: on the ONE hand, Tikhon's departure removes an insurmountable external obstacle to meeting Boris, and on the other hand, all Katerina's hopes collapse find inner support in the love of her husband. In terms of the depth and subtlety of the psychological elaboration, this scene is not only the first of its kind in Ostrovsky, but in general one of the best in Russian classical dramaturgy.

In essence, in this scene Tikhon, refusing to take an oath from his wife, behaves humanely. Yes, and all his attitude towards Katerina is not at all domostroevsky, it has a personal, even humane connotation. After all, it is he who tells Kabanikha in response to her threat that his wife will not be afraid of him: “But why should she be afraid? It's enough for me that she loves me." As paradoxical as it is, it is precisely Tikhon's softness (combined, however, with a general weakness of character), in Katerina's eyes, that is not so much a virtue as a disadvantage. He does not meet her moral ideal, her ideas about what a husband should be. And indeed, he cannot help her and protect her either when she is struggling with "sinful passion" or after her public repentance. Tikhon's reaction to Katerina's "crime" is also completely different from what is dictated by authoritarian morality in such a situation. She is individual, personal: he is “sometimes affectionate, then angry, but he drinks everything,” according to Katerina.

The fact is that Kalinov's youth no longer wants to adhere to patriarchal orders in everyday life. However, both Varvara, Tikhon, and Kudryash are alien to the moral maximalism of Katerina, for whom both the collapse of traditional moral norms in the world around her, and her own violation of these covenants are a terrible tragedy. Unlike Katerina, a truly tragic heroine, they all stand on the position of worldly compromises and see no drama in this. Of course, the oppression of their elders is hard for them, but they have learned to get around it, each to the best of their characters. Ostrovsky draws them objectively and obviously not without sympathy. According to the scale of their personalities in the play, they are precisely established: they are ordinary, ordinary, not too picky people who no longer want to live in the old way, formally recognizing the power of their elders and the power of customs "they are constantly going against them in practice and By this, too, they undermine and gradually destroy the Kalinovsky world. But it is precisely against the background of their unconscious and compromise position of a large and significant, morally high that the suffering heroine of The Thunderstorm looks.

Thunderstorm is not a tragedy of love, but a tragedy of conscience. When Katerina’s “fall” has taken place, caught up in a whirlwind of liberated passion, merging for her with the concept of will, she becomes bold to the point of insolence, deciding - she does not retreat, does not feel sorry for herself, does not want to hide anything, “I was not afraid of sin for you, will I be afraid human court! - she says to Boris, But this “she was not afraid of sin /, just foreshadows the further development of the tragedy, the death of Katerina. Consciousness of sin is preserved even in the rapture of happiness and takes possession of it with great force as soon as this short-lived happiness, this life in freedom, has ended. It's all the more painful. Katerina's faith somehow excludes the concepts of forgiveness and mercy.

She sees no way out of her torment except death, and it is precisely the complete absence of hope for forgiveness that pushes her to commit suicide, a sin even more serious from the point of view of Christian morality. “I’ve lost my soul anyway,” Katerina drops when the thought of the possibility of living her life with Boris occurs to her. How it does not look like a dream of happiness! Katerina's death is predetermined and inevitable, no matter how the people on whom she depends behave. It is inevitable because neither its self-consciousness, nor the whole way of life in which it exists, allow the personal feeling awakened in it to be embodied in everyday forms.
“Mama, you ruined her! You, you, you ... ”Tikhon shouts in despair and, in response to her menacing cry, repeats again:“ You ruined her! You! You!" But this is the measure of understanding of Tikhon, loving and suffering, over the corpse of his wife, who decided to buzz against his mother. But it would be a mistake to think that this is "a certain result of the play and that Tikhon is entrusted with expressing the author's point of view, the author's assessment of events and the share of guilt of the characters.
In The Thunderstorm, in general, all causal relationships are extremely complicated, and this distinguishes it from Ostrovsky's previous plays. The degree of generalization of the analyzed life phenomena outgrows that which was achieved in the Muscovite comedies with their clear moralistic tendency. There, just the connection between the act and its inevitable consequences was always drawn very clearly, and therefore the direct, direct fault of the negative characters in all the troubles and misadventures of the heroes was clear. In "Thunderstorm" things are much more complicated.