Ostrovsky, "Thunderstorm": an analysis of the work
The play of Ostrovsky which you can find in this article is a famous work by a Russian playwright, written in the era of pre-reform social uplift. It first saw the light in 1859. This is a play in five acts, the events of which take place in the small fictional town of Kalinovo, located on the banks of the Volga.
Plot of the play
The play "The Thunderstorm" by Ostrovsky, the analysis of which you are currently reading, is still a program work of this author. In order to better understand it, turn to the plot.
In the center of the narrative is the Kabanov family, they live according to the house-building. But at the same time manages all the woman - Marfa Ignatievna. The main character is the spouse of her son Tikhon, whose name is Katerina. She grew up surrounded by love and affection in her own family, so she feels uncomfortable with the Kabanovs. Hard morals reign here.
After she became the wife of Tikhon, her life changed dramatically. In fact, Katerina became servitude.A few years later she falls in love with Dikiy's nephew named Boris Grigorievich. True, he turns out to be a petty tyrant, besides cruel and greedy.
At the same time he is ready to reciprocate her. Aware of the difficult situation in which they find themselves, lovers arrange a meeting stealthily. But after a while, the God-fearing Katerina confesses to her spouse her adultery. Yes, and with his strict and forgiving mother nothing. After that, her life finally becomes completely unbearable. And when Boris receives an order to go to Siberia, Katerina does not withstand the psychological pressure and ends with herself. She rushes off a steep cliff into the Volga.
The setting in which the play is written
In order to make an analysis of the work of Ostrovsky "The Thunderstorm", it is necessary to recall at what time this play was written. The pre-revolutionary situation reigned in Russia, the clouds were gathering over almost all spheres of public life.
At the heart of the play "Thunderstorm" by Ostrovsky, an analysis of which you will find in this article, lies the conflict between an individual person and the surrounding society. The reason is banal, as always. This is social inequality and money.
As in most other works of Ostrovsky, here the themes of despotism, the oppression of man by man and lies come to the fore. This protest is gaining the greatest strength in the play “The Storm” by A. N. Ostrovsky. Analysis of the work necessarily includes the problem of the struggle of a person for his rights and freedom, personal happiness, meaningful life. These issues and tries to solve the playwright.
In Ostrovsky’s play The Thunderstorm, the analysis of which we are now doing, there is a key conflict. It lies in the fact that a strong and free man finds himself in an alien environment. He falls into his plate, his personality is actually beginning to choke. This is what happens with the main character Katerina.
Her tragedy lies in the fact that the girl is alien to the Kabanov family, since she had been brought up in a free atmosphere before. She was the only and beloved daughter. And in this world everything is built on lies and deception, family members themselves do not respect each other, everyone lives in fear of Marfa Ignatievna, afraid of something to be disagreeable to her.
Even in the shortest analysis of Ostrovsky's The Thunderstorm, it is necessary to characterize the image of Katerina.This sublime and poetic nature, who admires nature and beauty, dreams of love. Here are just in her life constantly meet rude and uncouth loons.
She is trying with all her heart to feel love for her husband, her mother-in-law, but it is not so easy to put up with the reigning violence in the family. The tyranny and voicelessness that prevail in the Kabanovs' house bring the story to tragic consequences.
Perhaps the only outlet for Katerina was religion. Because she did not read books, she did not know letters, but the church immersed her in the wonderful world of folk art and folklore.
In the Kabanovs' house, she actually suffocates, longing for sincere and kind human relations. She does not want to put up with the bondage in which she found herself, so she begins to invent ways to permanently leave this hateful house. At the same time, she is trying to suppress these feelings in herself.
A serious struggle takes place in the heart of a woman. The reader finds her against the background of internal intense struggle. She falls in love with Boris sincerely and deeply, but at the same time tries in every possible way to suppress a lively and stimulating feeling in herself.She seeks as little as possible to see her beloved, she suffers greatly from this.
Image of thunderstorms
In a brief analysis of Ostrovsky's The Thunderstorm, an important place is occupied by the image of the thunderstorm itself. This looming natural phenomenon is mentioned in the first act. But it is not only about the phenomenon of nature, but also about the thunderstorm that rages in Catherine herself.
In the world of religious ideas in which she lives, her actions seem to Catherine terrible and sinful. A woman is frightened by sin; meanwhile, living feelings are waking up in her more and more.
In her own soul, a dangerous conflict is brewing, of which Ostrovsky must be said in the analysis of Thunderstorm by actions. The main character admits that she does not know how to lie, to which Varvara objects to her, that this is the only way for the Kabanovs to keep up, so that it will be very difficult for her. But Katerina categorically refuses to accept the morality of the “dark kingdom” in which she finds herself. Even then, she says bluntly that, in a pinch, she is ready for drastic measures — to throw herself out of a window or to drown herself in a river.
Katerina admits to Varvara that she would like to change herself, but cannot yet.In her soul is an internal struggle. She asks the question: what does it mean to change oneself? Stay with a man who does not love her and does not appreciate her? But in the house of the Kabanihi (all households are so scornfully called to Marfa Ignatievna) it is impossible to live with a free heart and soul. Moreover, under the influence of religious literature, Catherine thinks that her craving for will is a temptation prepared for her by the devil.
Fracture in the main character
In the analysis of Ostrovsky's The Thunderstorm, it is important to note when a change occurs in the soul of the main character. At some point, Katerina comes to the final conclusion that her husband is not worth not only her love, but also respect. The reader observes the last flash of her inner struggle.
First, she throws out the key, and the date of the meeting opens with a protracted folk song, which emphasizes the whole tragedy of Katerina’s love for Boris.
As a result, we see that the thunderstorm, which began to gather in the first act, by the end of the play still broke out over the captive of the "dark kingdom." But at the same time the struggle in the soul of the main character is not yet completed. Many literary critics are convinced that Katerina is not an unrequited victim, but a character with a strong and decisive character, with a freedom-loving heart.
She decides to run away from home, not being afraid of the future probable punishment. All this is only to say goodbye to Boris, who received the order to go to Siberia. Moreover, she no longer hides from others, does not hide her relationship with her beloved and sincere feelings. She screams at the top of her voice, calls her lover, asks to respond.
At this moment we are convinced that in reality Katerina is free, if only because she does not value anything anymore, but lives in the name of love, which she could not afford before. In one scene, Katerina envies Boris, calling him a free Cossack. But in fact, her inner freedom is much stronger than that of Boris. Togo is actually holding off the fear of his uncle. He is unworthy of Catherine.
In the finale of the play, the main character wins, finally, her inner enemy — her religious ideas about the world are crumbling. Katerina is convinced that she herself is free to choose what to do next - live or die. Reflecting on the impending suicide, she comes to the conclusion that death is all the same, sooner or later, will come itself, and you cannot live like it does. She is not even embarrassed that this is considered a sin and no one will pray for her. Katerina is sure who truly loves will surely pray.