What is the double meaning of the title of A. N. Ostrovsky’s drama “The Thunderstorm”?
Ostrovsky's plays reflected, as if in a mirror, the whole life of the Russian merchants. The drama “The Thunderstorm” shows the reader a reliable picture of the tragedy, which can be considered a completely common occurrence for the merchant environment. The life and customs of the Russian merchants were capable of bringing a person to moral and physical death, and Ostrovsky in his works shows all the circumstances, terrible in their everydayness and typicality, accompanying such a tragedy. One of the city residents, Kuligin, says: “Cruel morals, sir, in our city, cruel!” Cruelty is so closely woven into the life of the city and its inhabitants that it does not even occur to anyone to resist or be indignant about it. Everyone around them is forced to put up with existing orders and morals. The only thing that is bright, clean and beautiful in the city is the amazingly beautiful nature. It is no coincidence that at the very beginning of the work, tribute is paid to this eternal beauty, which does not depend on the anger and cruelty of people. Kuligin speaks about the beauty of his native nature: “Here, my brother, for fifty years I have been looking at the Volga every day and I can’t get enough of it.”
The Volga symbolizes freedom, and any person in the city of Kalinov depends on those around him, on cruel morals and other people’s opinions, often unfair. That is why there is clearly some stuffiness in the air. In nature, this occurs before the start of a thunderstorm.
The “Dark Kingdom” tries to enslave everyone who has even the slightest prerequisites for thinking or acting independently. Everyone obeys, so such representatives of the “dark kingdom” as Kabanova and Dikoy can freely establish their own rules.
Kabanikha is an extremely disgusting character, she is cruel, power-hungry, but at the same time stupid and limited. She is hypocritical, in her soul there is neither pity nor compassion for others. They say about her that she is a prude, “she favors the poor, but completely eats up her family.” Kabanikha constantly reproaches everyone around her for not showing her due deference and respect. However, there is absolutely nothing to respect her for. Kabanova pesters her household so much that they quietly hate her. There is simply no other way to treat her.
Kabanova demands that everyone obey her. Deep down, she feels how fragile her power over those around her is. And this makes her even more angry and hate everyone around her. She is also an unfortunate victim of the “dark kingdom”. Perhaps she was different in her youth, but the existing order led her to turn into an evil and cruel creature.
Kabanikha cannot even understand the members of her own family, among whom different relationships are gradually being established than those to which she is accustomed. It is difficult for Marfa Ignatievna to understand that each person is a whole world, a whole Universe. And therefore, each person has the right to his own life, which is built according to principles other than those that she preaches.
Kabanova is considered a respected and influential woman in the city. She and the merchant Dikoy constitute the “color” of the city nobility. It is no wonder that such a suffocating atmosphere reigns in the city, because all the rules are established by such narrow-minded and evil people. Just look at how the merchant Dikoy treats those around him: he embezzled the money of his nephew, who was left an orphan. And he blackmails his nephew in every possible way, threatening that he will not receive his money if he is not respectful enough to him and obedient to his will. Dikoy does not pay money to the peasants; he humiliates people, trampling on their human dignity. Wild and Kabanikha are birds of a feather. They are extremely selfish people who value only themselves, and try not to take others into account.
Katerina initially appears to have completely opposite qualities than those characteristic of representatives of the merchant environment. Katerina is dreamy and imprudent. Despite the fact that she grew up in the same merchant family, her parents treated her completely differently. Katerina herself remembers with sadness about her girlhood: “I lived, didn’t worry about anything, like a bird in the wild. Mama doted on me, dressed me up like a doll, and didn’t force me to work...” Katerina is given in marriage by force, as, indeed, was customary in the merchant society of that time. She does not have any feelings for her husband, so life itself in the Kabanovs’ house depresses her. Katerina dreams of freedom, of joy, of a real life full of events. And she has to vegetate in an atmosphere of all-consuming stupidity, hypocrisy and falsehood.
The mother-in-law is trying to humiliate Katerina, but she can only endure it. Katerina is tender and dreamy, she suffers from a lack of love and care. She is bored, sad and sad. She is absolutely unhappy. Katerina's husband is a weak-willed and weak person, Katerina does not love him, and he does not even try to protect his wife from her evil and unfair mother-in-law.
Love for Boris is for Katerina a escape from the dullness and monotony of everyday joyless life. Katerina cannot refuse her feelings. After all, love is the only thing she has that is pure, bright and beautiful. Katerina is an open and straightforward person, so she cannot hide her feelings, adapting to the prevailing orders in society. Katerina can no longer stay in this city, again endure the humiliation of her mother-in-law. And she decides to leave with her loved one. But he refuses: “I can’t, Katya. Food is not of my own free will: my uncle sends it.” Katerina realizes with horror that she will again have to live with her husband and endure Kabanikha’s orders. Katerina's soul can't stand it. She decides to throw herself into the Volga and find freedom in death.
Katerina gives up her life at the moment when a thunderstorm breaks out over the city. A thunderstorm in nature radically changes the atmosphere, the hot and suffocating haze disappears. Katerina’s death was the same thunderstorm for society that forced people to look at their own lives differently. Now even Katerina’s husband understands who is to blame for the woman’s death. He blames his own mother for the tragedy: “Mama, you ruined her! You, you, you...”
Katerina’s death was the sign that made those around her wake up and open their eyes, which had long been closed by a veil of lies, hypocrisy and hypocrisy. Tyranny, indifference and human indifference to the fate of others destroy people not only physically, but also spiritually. The drama is called “The Thunderstorm” because in this work the thunderstorm is not only a natural, but also a social phenomenon. An explosive situation was brewing in the city, and finally it happened - under the influence of the environment and the people around her, the unfortunate woman voluntarily gave up her life.
Bibliography
To prepare this work, materials from the site were used http://www.ostrovskiy.org.ru/
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What is the double meaning of the title of A. N. Ostrovsky’s drama “The Thunderstorm”?
Ostrovsky's plays reflected, as if in a mirror, the whole life of the Russian merchants. The drama “The Thunderstorm” shows the reader a reliable picture of the tragedy, which can be considered a completely common occurrence for the merchant environment. The life and customs of the Russian merchants were capable of bringing a person to moral and physical death, and Ostrovsky in his works shows all the circumstances, terrible in their everydayness and typicality, accompanying such a tragedy. One of the city residents, Kuligin, says: “Cruel morals, sir, in our city, cruel!” Cruelty is so closely woven into the life of the city and its inhabitants that it does not even occur to anyone to resist or be indignant about it. Everyone around them is forced to put up with existing orders and morals. The only thing that is bright, clean and beautiful in the city is the amazingly beautiful nature. It is no coincidence that at the very beginning of the work, tribute is paid to this eternal beauty, which does not depend on the anger and cruelty of people. Kuligin speaks about the beauty of his native nature: “Here, my brother, for fifty years I have been looking at the Volga every day and I can’t get enough of it.”
The Volga symbolizes freedom, and any person in the city of Kalinov depends on those around him, on cruel morals and other people’s opinions, often unfair. That is why there is clearly some stuffiness in the air. In nature, this occurs before the start of a thunderstorm.
The “Dark Kingdom” tries to enslave everyone who has even the slightest prerequisites for thinking or acting independently. Everyone obeys, so such representatives of the “dark kingdom” as Kabanova and Dikoy can freely establish their own rules.
Kabanikha is an extremely disgusting character, she is cruel, power-hungry, but at the same time stupid and limited. She is hypocritical, in her soul there is neither pity nor compassion for others. They say about her that she is a prude, “she gives favors to the poor, but completely eats up her family.” Kabanikha constantly reproaches everyone around her for not showing her due deference and respect. However, there is absolutely nothing to respect her for. Kabanova pesters her household so much that they quietly hate her. There is simply no other way to treat her.
Kabanova demands that everyone obey her. Deep down, she feels how fragile her power over those around her is. And this makes her even more angry and hate everyone around her. She is also an unfortunate victim of the “dark kingdom”. Perhaps she was different in her youth, but the existing order led her to turn into an evil and cruel creature.
Kabanikha cannot even understand the members of her own family, among whom different relationships are gradually being established than those to which she is accustomed. It is difficult for Marfa Ignatievna to understand that each person is a whole world, a whole Universe. And therefore, each person has the right to his own life, which is built according to principles other than those that she preaches.
Kabanova is considered a respected and influential woman in the city. She and the merchant Dikoy constitute the “color” of the city nobility. It is no wonder that such a suffocating atmosphere reigns in the city, because all the rules are established by such narrow-minded and evil people. Just look at how the merchant Dikoy treats those around him: he embezzled the money of his nephew, who was left an orphan. And he blackmails his nephew in every possible way, threatening that he will not receive his money if he is not respectful enough to him and obedient to his will. Dikoy does not pay money to the peasants; he humiliates people, trampling on their human dignity. Wild and Kabanikha are birds of a feather. They are extremely selfish people who value only themselves, and try not to take others into account.
Katerina initially appears to have completely opposite qualities than those characteristic of representatives of the merchant environment. Katerina is dreamy and imprudent. Despite the fact that she grew up in the same merchant family, her parents treated her completely differently. Katerina herself remembers with sadness about her girlhood: “I lived, didn’t worry about anything, like a bird in the wild. Mama doted on me, dressed me up like a doll, and didn’t force me to work...” Katerina is given in marriage by force, as, indeed, was customary in the merchant society of that time. She does not have any feelings for her husband, so life itself in the Kabanovs’ house depresses her. Katerina dreams of freedom, of joy, of a real life full of events. And she has to vegetate in an atmosphere of all-consuming stupidity, hypocrisy and falsehood.
The mother-in-law is trying to humiliate Katerina, but she can only endure it. Katerina is tender and dreamy, she suffers from a lack of love and care. She is bored, sad and sad. She is absolutely unhappy. Katerina’s husband is a weak-willed and weak person, Katerina doesn’t love him, and he doesn’t even try to protect his wife from her evil and unfair mother-in-law.
Love for Boris is for Katerina a escape from the dullness and monotony of everyday joyless life. Katerina cannot refuse her feelings. After all, love is the only thing she has that is pure, bright and beautiful. Katerina is an open and straightforward person, so she cannot hide her feelings, adapting to the prevailing orders in society. Katerina can no longer stay in this city, again endure the humiliation of her mother-in-law. And she decides to leave with her loved one. But he refuses: “I can’t, Katya. Food is not of my own free will: my uncle sends it.” Katerina realizes with horror that she will again have to live with her husband and endure Kabanikha’s orders. Katerina's soul can't stand it. She decides to throw herself into the Volga and find freedom in death.
Katerina gives up her life at the moment when a thunderstorm breaks out over the city. A thunderstorm in nature radically changes the atmosphere, the hot and suffocating haze disappears. Katerina’s death was the same thunderstorm for society that forced people to look at their own lives differently. Now even Katerina’s husband understands who is to blame for the woman’s death. He blames his own mother for the tragedy: “Mama, you ruined her! You, you, you...”
Katerina’s death was the sign that made those around her wake up and open their eyes, which had long been closed by a veil of lies, hypocrisy and hypocrisy. Tyranny, indifference and human indifference to the fate of others destroy people not only physically, but also spiritually. The drama is called “The Thunderstorm” because in this work the thunderstorm is not only a natural, but also a social phenomenon. An explosive situation was brewing in the city, and finally it happened - under the influence of the environment and the people around her, the unfortunate woman voluntarily gave up her life.
“The Thunderstorm” was the pinnacle of A.N.’s creativity. Ostrovsky. In terms of artistic expressiveness, "The Thunderstorm" can be compared with other major and significant works of Russian and world literature.
When creating their main work, great artists sometimes have a desire to go beyond the designated topic. So, for example, when Gogol was working on “Dead Souls,” he wanted to depict “all of Rus', at least from one side.” This is nothing more than an attempt to go beyond the boundaries of a narrow topic. In the same way, in “The Thunderstorm,” Ostrovsky, perhaps, unwittingly turned to a question that, in its essence, goes far beyond the scope of the events depicted.
The playwright addressed the question of how a person should behave in “stormy” conditions, what should he do if he feels the presence of bright spiritual forces in himself, if he wants to join something pure, perfect, especially when he is endowed with character and does not tolerate humiliation. How can he live in this world where cruel morals, lies and obedience reign? This is the question posed by Ostrovsky. He, as we know, did not find an answer to it, and it is not his fault. But Ostrovsky’s merit as a playwright is that he showed the drama of the tragic discrepancy between spiritual purity, conscience, and beauty with the heavy force of human tyranny, lies and moral oppression.
In the play, everything is subordinated to the disclosure of this drama not as a private case, but as an event that has a deep moral, psychological and social meaning.
The name of the play is symbolic - "The Thunderstorm". This is primarily a thunderstorm within human social relations. One goes against the other, and everyone goes against one. The law of the jungle reigns in this society - every man for himself. In principle, no one cares about what is going on around them. People become interested in their surroundings only if what is happening in one way or another concerns them.
Almost in front of the entire boulevard, Kabanikha quarrels with her son and daughter-in-law, shouts throughout the street, unfairly accusing them of almost all mortal sins. And no one cares at all about this. In Tikhon’s house, his mother runs everything, and he himself does not dare to set foot or say a word against her. Almost the same situation is observed in the house of Dikiy, who tyranls not only his relatives, but also his hired workers. Therefore, the symbol of a thunderstorm takes on a second meaning here - it is also a thunderstorm of family life. In fact, Katerina’s life in her husband’s house is filled with the feeling of an approaching catastrophe. Even before she met Boris, Katerina felt that she would not stay long in this world, that thunderstorms would touch her too, that clouds were gathering over her head.
Finally, the third meaning of the play's title. A thunderstorm is also a symbol of punishment for unrighteous living, with particular violation of moral laws. In addition, this is Katerina’s punishment for the sin she committed. After all, whatever you say, betrayal of marital debt has always been considered a sin in Rus'. And Katerina is also very religious. Therefore, she is very tormented by her action, which constitutes a genuine and insoluble drama.
Of course, we completely understand the impulse of a young woman, the attempt of a bright personality to break through to a bright beginning. Katerina is trying to find herself in love with Boris and through this state to feel at least a piece of happiness. But this attempt by a strong personality to defend himself leads to sin.
Oppression from the cruel human environment gives rise to the desire of gifted natures to overcome oppression and defend their right to happiness. However, the path to achieving it turns out to be false. This is exactly the situation Katerina found herself in.
The key to unraveling the character of Katerina, and with it the symbol of the thunderstorm, is given to us by the seventh scene of the first act. Here the exposition still takes place, the very beginning of the drama.
Let us remember Katerina’s famous monologue (“Why don’t people fly...”) and the entire subsequent conversation with Varvara. This episode reveals Katerina as a poetic, beautiful nature, which in no way agrees with the world around her. And we understand that such an exalted soul will face trouble one way or another. There is a sort of premonition of a thunderstorm. This feeling is strengthened in us after Katerina’s meeting with the madwoman.
Katerina already realizes the sinfulness of her love, and then this crazy woman begins to accuse her of human dissipation, of vulgarizing beauty... Of course, we understand that her words do not apply specifically to Katerina, and earlier this scene was perceived as a characteristic of a dark , ignorant environment. But at the same time, the symbolic meaning of the old woman’s words was also obscured.
Beauty as a means of satisfying personal interests is not only a sin, but also the destruction of a person. Such beauty is soulless and leads to a tragic outcome.
As for Katerina, she perceives the old woman as the personification of the dark side of fate. And so the girl decides to commit suicide before retribution befalls her. She wanted to cleanse herself, and she saw cleansing in getting closer to God.
It may seem strange that Katerina dared to do such an act - after all, suicide is no less a sin than treason. But it seems to me that a soul that loves and has suffered a lot in this life deserves forgiveness. And it turned out that with her decisive movement, her desire to go to trial, the heroine partially atoned for her sin.
Hence another meaning of the name: a thunderstorm is not only punishment, it is also cleansing. After all, after a thunderstorm, the air becomes fresher and the earth cleaner. This means that Katerina’s impulse did not go unnoticed. Perhaps it will make some of the residents of Kalinov think. And with them, us.
The meaning of the name of the drama by A.N. Ostrovsky “Thunderstorm”
A.N. Ostrovsky is the largest playwright of the second half of the 19th century. His plays reflect almost all aspects of Russian life. He was one of the first to give a broad description of the merchants in Russia. Alexander Nikolaevich wrote his drama “The Thunderstorm” under the impression of a trip along the Volga. This play can safely be called a pearl of Russian literature. In it, the main place is occupied by the description of the life and customs of the merchants, but the role of the landscape is also important.
The drama itself begins with Kuligin’s story about the beauty of nature in the city of Kalinov: “... Here you are, my brother, for fifty years I have been looking across the Volga every day and I still can’t see enough.” But this splendor is disrupted by cruel morals and some kind of stuffiness before the onset of a thunderstorm. Kuligin says: “Cruel morals, sir, in our city, cruel!” The order in Kalinov is established by two main and rich people, according to Dobrolyubov, representatives of the “dark kingdom”: Kabanov and Dikiy. Kabanova is “a hypocrite, she favors the beggars, but completely eats up her family,” says Kuligin in a conversation with Boris. Indeed, at the first appearance of Marfa Ignatievna on stage, we hear the imperious intonations of the mistress of the house, accustomed to unquestioning obedience. She pesters her loved ones not so much with abuse, but with eternal reproaches for disrespect and disobedience. Kabanova is angry because her heart senses some trouble around her, some trends that are deeply hostile to her. Even in her family, where they meekly obey her, she sees the awakening of new feelings, new relationships, despite the fact that her son Tikhon says: “Yes, I’m a mother and I don’t want to live by my own will.”
Kabanova is the most influential woman in the city; Dikoy himself, the noble merchant Kalinova, even reports to her. They are both evil, cruel people, but the Wild One is distinguished by boundless greed. He took his own nephew's money into his hands and tells him to be more subservient to him if he wants to get it back. Savel Prokofievich does not pay any money to the peasants. Kuligin talks about the men who came to the mayor to complain “that Dikoy would not disrespect any of them.” Just like Kabanikha, he takes pleasure in humiliating people, subordinating them to his will. It should be noted that Dikoy is afraid of Marfa Ignatievna, Savel Prokofievich allows himself to raise his voice at Kabanikha and hears in response: “Well, don’t let your throat loose! Find me cheaper! And I’m dear to you!”
In the drama, Katerina, Kabanova’s daughter-in-law, a girl from a merchant family who was forcibly married, takes the path of fighting tyranny. She recalls with tenderness and sadness her days spent in her parents’ house, the carefree time that passed: “I lived, didn’t worry about anything, like a bird in the wild. Mama doted on me, she dressed me up like a doll, she didn’t force me to work...” After marriage, Katerina found herself in captivity, her bright and pure soul was constantly reaching out for freedom, she wanted to escape from the strong clutches of her mother-in-law. And despite all that she had to endure, she said: “And if I get really tired of it here, no force can hold me back.” It’s hard for Katerina in Kabanova’s house, who strives to bring her family and, above all, the willful Katerina, to complete obedience. But the more they humiliate her, the stronger the impulse for freedom, love and happiness awakens. She cannot fall in love with Tikhon; he is not able to protect his wife from his mother’s attacks, since he himself is a tool in her hands. Therefore, the feeling for Boris expresses both a mortal melancholy from a monotonous life, and a burning desire for freedom and space. Having fallen in love with all her soul, Katerina does not want and cannot pretend and deceive, that is, adapt to the “dark kingdom.”
She makes an attempt to find help and support from her loved one: “Take me with you from here,” she asks Boris and hears in response: “I can’t Katya. I’m not eating of my own free will: “my uncle sends me.” Thus, there are two options left for Katerina: one is to live with her husband, subdued and trampled, the other is to die. She chose the latter - liberation at the cost of death.
After Katerina passed away, the residents of the city of Kalinova saw everything that was happening to them. Even Kabanikha’s obedient and submissive son Tikhon has seen the light; he dares to blame his mother for the death of his beloved wife, bending over her lifeless body: “Mama, you ruined her! You, you, you...” Residents of the city of Kalinov seemed to have created this tragic situation themselves, failing, being afraid to speak out in time against tyranny and evil!
What is the double meaning of the title of A. N. Ostrovsky’s drama “The Thunderstorm”?
What is the double meaning of the title of A. N. Ostrovsky’s drama “The Thunderstorm”?
Ostrovsky's plays reflected, as if in a mirror, the whole life of the Russian merchants. The drama “The Thunderstorm” shows the reader a reliable picture of the tragedy, which can be considered a completely common occurrence for the merchant environment. The life and customs of the Russian merchants were capable of bringing a person to moral and physical death, and Ostrovsky in his works shows all the circumstances, terrible in their everydayness and typicality, accompanying such a tragedy. One of the city residents, Kuligin, says: “Cruel morals, sir, in our city, cruel!” Cruelty is so closely woven into the life of the city and its inhabitants that it does not even occur to anyone to resist or be indignant about it. Everyone around them is forced to put up with existing orders and morals. The only thing that is bright, clean and beautiful in the city is the amazingly beautiful nature. It is no coincidence that at the very beginning of the work, tribute is paid to this eternal beauty, which does not depend on the anger and cruelty of people. Kuligin speaks about the beauty of his native nature: “Here, my brother, for fifty years I have been looking at the Volga every day and I can’t get enough of it.”
The Volga symbolizes freedom, and any person in the city of Kalinov depends on those around him, on cruel morals and other people’s opinions, often unfair. That is why there is clearly some stuffiness in the air. In nature, this occurs before the start of a thunderstorm.
The “Dark Kingdom” tries to enslave everyone who has even the slightest prerequisites for thinking or acting independently. Everyone obeys, so such representatives of the “dark kingdom” as Kabanova and Dikoy can freely establish their own rules.
Kabanikha is an extremely disgusting character, she is cruel, power-hungry, but at the same time stupid and limited. She is hypocritical, in her soul there is neither pity nor compassion for others. They say about her that she is a prude, “she favors the poor, but completely eats up her family.” Kabanikha constantly reproaches everyone around her for not showing her due deference and respect. However, there is absolutely nothing to respect her for. Kabanova pesters her household so much that they quietly hate her. There is simply no other way to treat her.
Kabanova demands that everyone obey her. Deep down, she feels how fragile her power over those around her is. And this makes her even more angry and hate everyone around her. She is also an unfortunate victim of the “dark kingdom”. Perhaps she was different in her youth, but the existing order led her to turn into an evil and cruel creature.
Kabanikha cannot even understand the members of her own family, among whom different relationships are gradually being established than those to which she is accustomed. It is difficult for Marfa Ignatievna to understand that each person is a whole world, a whole Universe. And therefore, each person has the right to his own life, which is built according to principles other than those that she preaches.
Kabanova is considered a respected and influential woman in the city. She and the merchant Dikoy constitute the “color” of the city nobility. It is no wonder that such a suffocating atmosphere reigns in the city, because all the rules are established by such narrow-minded and evil people. Just look at how the merchant Dikoy treats those around him: he embezzled the money of his nephew, who was left an orphan. And he blackmails his nephew in every possible way, threatening that he will not receive his money if he is not respectful enough to him and obedient to his will. Dikoy does not pay money to the peasants; he humiliates people, trampling on their human dignity. Wild and Kabanikha are birds of a feather. They are extremely selfish people who value only themselves, and try not to take others into account.
Katerina initially appears to have completely opposite qualities than those characteristic of representatives of the merchant environment. Katerina is dreamy and imprudent. Despite the fact that she grew up in the same merchant family, her parents treated her completely differently. Katerina herself remembers with sadness about her girlhood: “I lived, didn’t worry about anything, like a bird in the wild. Mama doted on me, dressed me up like a doll, and didn’t force me to work...” Katerina is given in marriage by force, as, indeed, was customary in the merchant society of that time. She does not have any feelings for her husband, so life itself in the Kabanovs’ house depresses her. Katerina dreams of freedom, of joy, of a real life full of events. And she has to vegetate in an atmosphere of all-consuming stupidity, hypocrisy and falsehood.
The mother-in-law is trying to humiliate Katerina, but she can only endure it. Katerina is tender and dreamy, she suffers from a lack of love and care. She is bored, sad and sad. She is absolutely unhappy. Katerina's husband is a weak-willed and weak person, Katerina does not love him, and he does not even try to protect his wife from her evil and unfair mother-in-law.
Love for Boris is for Katerina a escape from the dullness and monotony of everyday joyless life. Katerina cannot refuse her feelings. After all, love is the only thing she has that is pure, bright and beautiful. Katerina is an open and straightforward person, so she cannot hide her feelings, adapting to the prevailing orders in society. Katerina can no longer stay in this city, again endure the humiliation of her mother-in-law. And she decides to leave with her loved one. But he refuses: “I can’t, Katya. Food is not of my own free will: my uncle sends it.” Katerina realizes with horror that she will again have to live with her husband and endure Kabanikha’s orders. Katerina's soul can't stand it. She decides to throw herself into the Volga and find freedom in death.
Katerina gives up her life at the moment when a thunderstorm breaks out over the city. A thunderstorm in nature radically changes the atmosphere, the hot and suffocating haze disappears. Katerina’s death was the same thunderstorm for society that forced people to look at their own lives differently. Now even Katerina’s husband understands who is to blame for the woman’s death. He blames his own mother for the tragedy: “Mama, you ruined her! You, you, you...”
Katerina’s death was the sign that made those around her wake up and open their eyes, which had long been closed by a veil of lies, hypocrisy and hypocrisy. Tyranny, indifference and human indifference to the fate of others destroy people not only physically, but also spiritually. The drama is called “The Thunderstorm” because in this work the thunderstorm is not only a natural, but also a social phenomenon. An explosive situation was brewing in the city, and finally it happened - under the influence of the environment and the people around her, the unfortunate woman voluntarily gave up her life.
Bibliography
To prepare this work, materials were used from the site http://www.ostrovskiy.org.ru/
What is the double meaning of the title of A. N. Ostrovsky’s drama “The Thunderstorm”?
Ostrovsky's plays reflected, as if in a mirror, the whole life of the Russian merchants. Drama “Thunderstorm”
