Analysis of the final scene of A. N. Ostrovsky’s drama “The Thunderstorm. The final scene of A Ostrovsky’s drama “The Thunderstorm Ostrovsky thunderstorm analysis of the last scene

It’s not for nothing that the author’s sparse stage directions for the last act of the play “The Thunderstorm” read: “The scenery of the first act. Twilight". The twilight world is presented to us by a talented playwright, a world in which a “thunderstorm” is not capable of dispelling the darkness except at the everyday level. And the death of Katerina, despite all the efforts of the author to give it the volume of a symbol, is tragic, but not dramatic. Katerina was destroyed by her own concepts of good and evil, her dreams of flying remained dreams, she could not escape from the twilight reality of that time. It's a pity…

Katerina Kabanova is romantic with her indomitable desire for beauty, for freedom of human expression, and organic hatred of tyranny and violence. She says: “Why don’t people fly? Sometimes I feel like I'm a bird. When you stand on a mountain, you feel the urge to fly. That's how she would run up, raise her hands and fly. Anything to try now?

She, striving for the extraordinary, dreams wonderful dreams: “Either golden temples, or some extraordinary gardens, and invisible voices all sing, and the smell of cypress, and the mountains and trees seem not the same as usual, but as they are written in images . And it’s like I’m flying, and I’m flying through the air”...

Sharply at odds with the moral and everyday ideas of the bourgeois merchant environment, not wanting to live with a husband she does not love and respect, and not submitting to her tyrant mother-in-law, she thinks: “Where to now? Should I go home? No, it doesn’t matter to me whether I go home or go to the grave. Yes, to home, to the grave!., to the grave! It’s better in the grave... And even think about life; I do not want. Live again? No, no, don't... not good! And people are disgusting to me, and the house is disgusting to me, and the walls are disgusting!”

There were only two paths before Katerina - bondage and the grave. Her hatred of despotism and love of freedom are extremely strong, her spontaneous protest against everything that oppresses the human personality is so effective that she prefers death to captivity. At that time, in her environment, Katerina could find liberation only in death. N.A. Dobrolyubov writes: “Sad, bitter is such liberation; but what to do when there is no other way out?

Struck by the death of Katerina, even the weak-willed, quiet Tikhon raises his voice against Kabanikha. Overcoming his submission, he frantically shouts: “Mama, you ruined her! You, you, you..."

Unfortunately, Katerina’s protest and her death were in vain. Tikhon’s pathetic rebellion will soon be suppressed, this is clear, it’s not in vain that Kabanikha promises to deal with him at home. Boris, in fact, himself asked God for a quick death for Katerina - a pitiful creature, unworthy of such high love, a slave of his uncle, of everyday life, of the twilight world. Kuligin, for all his scientific knowledge, is also not a fighter, all he is capable of is sarcasm: “Her body is here, but her soul is not yours now, she is before a judge who is more merciful than you!”

...The scenery of the first act. Twilight.

The drama “The Thunderstorm” was written by Ostrovsky on the eve of the revolutionary situation in Russia, in the pre-storm era. The play is based on a conflict of irreconcilable contradictions between an individual and the surrounding society.

yours. The cause of the conflict and everyone

Misfortune is money, the division of society into rich and poor. In Ostrovsky's plays there is a protest against despotism, lies, and the oppression of man by man. This protest reached its greatest strength in the drama “The Thunderstorm”. The struggle for a person for his right to freedom, happiness, a meaningful life - this is the problem that Ostrovsky solves in the play “The Thunderstorm”.

How does the main conflict of the drama develop? A strong, freedom-loving person finds himself in an environment alien to him, in a family where his personality is stifled. Katerina’s tragedy lies in the fact that she is alien to the Kabanov family: she was brought up in a free atmosphere. Favorite daughter in the family. In the Kabanov family, everything is built on deception and lies. There is no sincere respect between family members, everyone lives under fear of their mother, under dull submission.

Katerina is a poetic person, she feels the beauty of nature and loves it, she very sincerely wants to love, but who?! She wants to love her husband, mother-in-law.

Can a woman imbued with freedom, love for nature, with the heart of a bird, come to terms with the violence and lies that reigned in the Kabanov family?

The mutual relationship of tyranny and voicelessness led her to tragic consequences.

Religion brought poetry to Katerina, because she didn’t read books, didn’t know how to read and write, and the features of folk wisdom, expressed in religious form, were brought to her by the church - this is the wonderful world of folk art, folklore, in which Katerina was immersed. Choking in the Kabanovs’ house, yearning for by will, out of love, out of truly good human relationships, Katerina does not put up with bondage; the thought of leaving her hateful home is vaguely and unclearly born in her mind. But these feelings must be suppressed (she is Tikhon’s wife). A terrible struggle takes place in the heart of a young woman. We see her in the midst of an intense internal struggle. She fell deeply and honestly in love with Boris, but is trying in every possible way to suppress the living motivating feeling within herself.

She doesn’t want to see her loved one, she’s suffering.

What about the thunderstorm? Why does the first act talk about an approaching thunderstorm? This is a natural phenomenon. A spiritual storm seems sinful and terrible to her. The world of religious ideas contradicts the living feelings that awaken in her. Sin

Scares Katerina.

How does the conflict develop in her own soul?

To Katerina’s words that she doesn’t know how to deceive! Varvara objects: “Our whole house rests on this.” But Katerina does not accept the morality of the “dark kingdom”. “...I don’t want to do this!...I’ll better endure it as long as I can!” “And if he can’t stand it...there’s no way he can hold me back by any force. I’ll throw myself out the window, throw myself into the Volga. I don’t want to live here, I won’t, even if you cut me.”

“Eh, Varya, you don’t know my character. Of course, God forbid this happens!” “And I want to break myself, but I just can’t”... “Last night the enemy confused me again. After all, I had left home.” There is an internal struggle. What is reflected in this painful struggle? Force? Weakness? To change oneself means to remain a faithful wife of a man whom she does not love. (And there’s no reason to love him.) But a woman with the heart of a free bird cannot be a slave in Kabanikha’s house.

A woman with the heart of a free bird cannot be an abaniha. And it seems to her that her call to will is a temptation from the devil.

A turning point comes: Katerina is finally convinced that her husband is not worth not only love, but also respect. And here is the last outbreak of intense internal struggle. First, throw away the key: after all, destruction lurks in it (spiritual destruction, she is afraid not of her family, but of destroying her soul.)

“Leave him?!” No, not for anything in the world!” The date scene opens with a drawn-out folk song, which emphasizes the tragedy of Katerina’s love for Boris.

Katerina's first meeting with her beloved is deeply tragic. “Why have you come, my destroyer?” “You ruined me!” How strong her feeling must be if, in his name, she consciously goes to certain death. A strong character! Deep feeling! An enviable feeling! Not everyone can love like that. I am convinced of Katerina’s extraordinary spiritual strength. “No, I can’t live!” She is sure of this, but the fear of death does not stop her. Love is stronger than this fear! Love conquered even those religious ideas that shackled her soul. “After all, I can’t forgive this sin, I will never forgive it.” “After all, he will fall like a stone on the soul,” says Katerina when she meets Boris, and admits to him that for the sake of love “I was not afraid of sin.” Her love turned out to be stronger than religious prejudices.

The thunderstorm that gathers in the first act here breaks out over the poor victim of the “dark kingdom.” But the struggle in Katerina’s soul is not over yet. But I am sure that Katerina is not an unrequited victim, but a person with a strong, decisive character, with a living, freedom-loving heart of a bird.

Not afraid of punishment, she ran away from home to say goodbye to Boris. Not only does she not hide, she calls out to her beloved at the top of her voice: “My joy, my life, my soul, my love!”... “Answer!”

No! She is not a slave, she is free. If only because she has lost everything, she has nothing more to value, not even life, in the name of love. “Why should I live now?!”

In the scene with Boris, Katerina envies him: “You are a free Cossack.” But Katerina does not know that Boris is weaker than Tikhon, he is shackled by fear of his uncle. He is not worthy of Katerina.

In the finale, victory is achieved over the internal enemy: over dark religious ideas. Katerina is convinced of her right to freedom of choice between life and death. “It’s all the same that death will come, that it itself...”, but you can’t live like that!” – she thinks about suicide. "Sin!" “Won’t they pray? He who loves will pray.”

The thought of love is stronger than the fear of God. The last words are an appeal to your loved one: “My friend! My joy!

Goodbye!"

Ostrovsky showed the complex tragic process of emancipation of the reviving soul. Here darkness clashes with light, ups give way to downs. Liberation develops into protest. And “the strongest protest is the one that finally rises from the chests of the weakest and most patient.” (Dobrolyubov.)

A. N. Ostrovsky's drama "The Thunderstorm" caused lively debate among critics.
The most famous discrepancy between N. A. Dobrolyubov and D. I. Pisarev
about the character of the main character. Dobrolyubov saw
Katerina has a strong nature, expressing protest in extreme form
against false relationships not only in the family, but also in society. home
the heroine embodies, according to the critic, popular discontent
outdated orders. Revolutionary pathos of the article
Dobrolyubova is explained by intense political controversy
before the abolition of serfdom. Pisarev, on the contrary, argued
that Katerina lacks neither strength of character nor common sense
and she is a victim of the “dark kingdom”. Let's try to compose
your opinion about the character of the main character and the reasons for her life
tragedy by analyzing the ending of the play.
The last action represents the denouement of events after
climax - Katerina's confession during a thunderstorm. main character
publicly repented of her infidelity to her husband. Act five begins
since Tikhon complains to Kuligin about the consequences of his action
wives. Events take place, as at the beginning of the play, on a high bank
Volga, in a public garden. Again the contrast between
the wondrous beauty of nature and the “cruel morals” of people, and family
it’s as if the Kabanovs’ story is being brought to the attention of the people
court. The deceived Tikhon does not hold a grudge against his wife, he is ready to forgive her,
but Kabanikha does not allow him to even think about it. Kuligin notes:
that it’s time for Tikhon to “live by his own mind.” However, Tikhon since childhood
accustomed to obeying mother, passive protest against her power
results in constant drunkenness. Varvara endured despotism
mother, while she had at least secret freedom. When Kabanikha
after Katerina’s confession, she began to lock up her daughter, Varvara ran away
with Kudryash. Tikhon does not hate his wife’s lover,
Boris Grigorievich, who is obediently going to go according to orders
uncles to Siberia for three years. Having confessed to treason, Katerina found herself
in an unbearable situation: Tikhon and Boris Grigorievich are too
weak-willed to support her and protect her from cruel
Kabanikha. It is Tikhon’s mother who considers the main culprit of the misfortune
their families: “She’s the reason for everything.” If already Varvara and Tikhon
they don’t want to return home, so what can we say about Katerina!
The main character leaves the Kabanovs' house, never to
don't go back there. From her monologue it becomes clear that Katerina
doesn't want to live. She is supported only by the desire to see Boris Grigorievich:
“I just have to say goodbye to him, and then... I’ll even die.”
The last meeting of lovers takes place. Katerina grabs
for a straw: asks Boris Grigorievich to take her with him. In reply
she hears: “I can’t, Katya. I’m not going of my own free will...” Boris
Grigorievich loves Katerina, suffers, looking at her suffering, but
he does not have the strength to fight and protest. He even wishes Katerina
death as relief from suffering: “Only one thing is needed from God
ask her to die quickly, so that she doesn’t suffer for a long time!”
Having said goodbye to Boris Grigorievich, Katerina says
dying monologue. She saw her loved one for the last time,
the faint hope of his support disappeared, nothing more
keeps Katerina in this world. Death seems like a release to her
from torment: “It’s better in the grave...” Katerina knows that suicide is a sin,
but hopes for the prayers of people who love her. I was much more worried
the main character about her sin of treason. A thunderstorm has broken out
seemed to her like divine punishment. It is the fear of dying without repentance,
forced Katerina to publicly admit her infidelity. About the afterlife
Katerina does not think about torment due to suicide. Her life
so unbearable that she cannot imagine a greater punishment
Maybe. Katerina is even afraid that they will find her, forcefully return her home and
I will have to continue to drag out a painful existence. She runs to
cliff to throw myself into the Volga.
Townspeople appear looking for Katerina. Kuligin and Tikhon
they are worried, and Kabanikha continues to reproach the “shameless woman”:
“See what she does! What a potion! How is her character
wants to endure!” When screams are heard about someone throwing herself into the water
woman, Tikhon and Kabanikha immediately understand who we are talking about. But here too
Kabanikha does not allow her son to run to the rescue: “Because of her and himself
ruin, is it worth it! For Kabanikha, the main thing is the execution of old
customs based on fear and submission. unknown to her
living feelings that can drown out the mind. Show some pity
to a fallen woman - means, according to Kabanikha, to disgrace
in front of people. She threatens Tikhon, who is rushing to Katerina
curse. However, there was nothing he could have done. People endure
the body of the deceased Katerina, and Kuligin addresses her tormentors:
“Here is your Katerina. Do what you want with her! her body
here, take it; but the soul is no longer yours: it is now before the judge,
who is more merciful than you! Only at this moment Tikhon cannot stand it:
he rushes to the deceased, sobs in front of her and openly accuses
mother: “You ruined her!” For the first time Tikhon decides to protest against
despotism of Kabanikha, and she does not believe her ears: “Although
remember! I forgot who you’re talking to!” Kabanikha doesn’t feel well at all
defeated and promises her rebellious son to deal with him at home.
The play ends with Tikhon’s exclamation: “Good for you, Katya! A
Why did I stay in the world and suffer!”
So, at the end of the work there is a tragic denouement
events. The main character, despite her religiosity, decides to
the worst sin is suicide. Life is so painful for her
that she is not afraid of God's punishment for sin. The main tormentor
Katerina is Kabanikha, personifying the “dark kingdom”
old orders. In this “kingdom” there is no place for living feelings. People,
those around Katerina are too weak to support her.
However, the actions of the main character have a destructive effect
to the rotten foundations of the “dark kingdom”: Varvara runs away
with Kudryash, rebels against Tikhon’s mother. Kabanikha feels that
her power is coming to an end. Katerina dies, but does not resign herself, and therefore
her character can be called strong.

Love is higher than the sun and stars,
She moves the sun and the stars,
But if it's true love.
The drama “The Thunderstorm” was written by Ostrovsky on the eve of the revolutionary situation in Russia, in the pre-storm era. At the heart of the play
There is a conflict of irreconcilable contradictions between an individual and the surrounding society. The reason for the conflict and all
Misfortune is money, the division of society into rich and poor. In Ostrovsky's plays there is a protest against despotism, lies,
Oppression of man by man.
This protest reached its greatest strength in

Drama “Thunderstorm”.
The struggle for a person for his right to freedom, happiness, a meaningful life - this is the problem that Ostrovsky
Decides in the play “The Thunderstorm”.
How does the main conflict of the drama develop? A strong, freedom-loving man finds himself in an environment alien to him, in a family,
Where personality is stifled.
Katerina’s tragedy lies in the fact that she is alien to the Kabanov family: she was brought up in a free atmosphere.
Favorite daughter in the family. In the Kabanov family, everything is built on deception and lies. There is no sincere respect between family members, everything
They live under the fear of their mother, under dull submission.
Katerina is a poetic person, she feels the beauty of nature and loves it, she very sincerely wants to love, but
Whom?! She wants to love her husband, mother-in-law.
Can a woman imbued with freedom, love for nature, with the heart of a bird, come to terms with violence, lies that
Reigned in the Kabanov family.
The mutual relationship of tyranny and voicelessness led her to tragic consequences.
Religion brought poetry to Katerina, because she didn’t read books, didn’t know how to read and write, but the features of folk wisdom,
Dressed in a religious form, the church brought it to her - this is the wonderful world of folk art, folklore, in which there was
Katerina is submerged.
But these feelings are necessary
Suppress (she is Tikhon’s wife). A terrible struggle takes place in the heart of a young woman. We see her in the midst of tension
Internal struggle. She fell deeply and honestly in love with Boris, but is trying in every possible way to suppress the living motivating feeling within herself.
She doesn’t want to see her loved one, she’s suffering.
What about the thunderstorm? Why does the first act talk about an approaching thunderstorm? This is a natural phenomenon. It seems like a mental storm
She is sinful and terrible. The world of religious ideas contradicts the living feelings that awaken in her. Sin
Scares Katerina.
How does the conflict develop in her own soul?
To Katerina’s words that she doesn’t know how to deceive! Varvara objects: “Our whole house rests on this.” But
Katerina does not accept the morality of the “dark kingdom”. “.I don’t want to do this! I’ll better endure it as long as I can!” “But not
It will be tolerated, so no force can hold me back. I’ll throw myself out the window, throw myself into the Volga. I don’t want to live here, I never will,
Even if you cut me.”
“Eh, Varya, you don’t know my character. Of course, God forbid this happens!” “And I want to break myself, but not
There’s no way I can.” “Last night the enemy confused me again. After all, I had left home.” There is an internal struggle. What
Does this painful struggle affect you? Force? Weakness? To change oneself means to remain a faithful wife of a man,
Which she doesn't like. (And there’s no reason to love him.) But a woman with a free heart cannot be a slave in Kabanikha’s house
Birds. And it seems to her that her call to will is a temptation from the devil.
A turning point comes: Katerina is finally convinced that her husband is not worth not only love, but also respect. AND
Here is the latest outbreak of intense internal struggle. First, throw away the key: after all, destruction lurks in it (destruction
Spiritual, she is afraid not of her family, but of destroying her soul.
Katerina's first meeting with her beloved is deeply tragic. “Why have you come, my destroyer?” “You ruined me!” What
Her feeling must be just as strong if, in his name, she consciously goes to certain death. A strong character! Glubokoe
Feeling! An enviable feeling! Not everyone can love like that. I am convinced of Katerina’s extraordinary spiritual strength. "No,
I can’t live!” She is sure of this, but the fear of death does not stop her. Love is stronger than this fear! Love
Her soul also conquered those religious ideas that bound her. “After all, I cannot atone for this sin, I cannot atone for
Never". “After all, he will fall like a stone on the soul,” says Katerina when she meets Boris, and admits to him that for the sake of love “sin
I wasn’t afraid.” Her love turned out to be stronger than religious prejudices.
The thunderstorm that gathers in the first act here breaks out over the poor victim of the “dark kingdom.” And the fight in
Katerina's soul is not yet complete. But I am sure that Katerina is not an unrequited victim, but a person with a strong, decisive
Character, with a living, freedom-loving heart of a bird.
Not afraid of punishment, she ran away from home to say goodbye to Boris. Not only does she not hide, she speaks loudly
Calls her beloved: “My joy, my life, my soul, my love!” “Answer!”
No! She is not a slave, she is free. If only because she has lost everything, she has nothing more to value, not even life, in the name of
Love. “Why should I live now?!”
In the scene with Boris, Katerina envies him: “You are a free Cossack.” But Katerina does not know that Boris is weaker than Tikhon, he
Shackled by fear of his uncle. He is not worthy of Katerina.
In the finale, victory is achieved over the internal enemy: over dark religious ideas.
“It’s all the same whether death comes or not.”, but live like that
It is forbidden!" – she thinks about suicide. "Sin!" “Won’t they pray? He who loves will pray.”
The thought of love is stronger than the fear of God. The last words are an appeal to your loved one: “My friend! My joy!
Goodbye!"
Ostrovsky showed the complex tragic process of emancipation of the reviving soul. Here the darkness fights with the light,
Ups give way to downs. Liberation develops into protest. And “the strongest protest is the one that
It finally rises from the breasts of the weakest and most patient.” (Dobrolyubov.)

1. PODKHALYUZIN is the central character of A. N. Ostrovsky’s comedy “Our People – We Will Be Numbered” (1849). In the name of the hero, Ostrovsky plays with soft “l” and sliding “z” (Lazar Elizarych Podkhalyuzin), hinting at the grain of the image of a rogue clerk...
2. In connection with the 35th anniversary of Ostrovsky’s work, Goncharov wrote to him: “You alone built the building, the foundation of which was laid by Fonvizin, Griboyedov, Gogol. But only after you, we Russians can...
3. ZHADOV is the hero of A. N. Ostrovsky’s comedy “Profitable Place” (1856). A young man, a recent university graduate, J. comes to his uncle, a high-ranking official, an ardent denouncer of bureaucratic morals. J.'s intolerance, his harshness and lack of respect...
4. The drama “Dowry” was written by A. N. Ostrovsky in 1879, when the results of the 1861 reform had already become clear. The “dark kingdom” has changed - trade and industry began to develop faster, the former...
5. A special hero in Ostrovsky’s world, who belongs to the type of poor official with self-esteem, is Yuliy Kapitonovich Karandyshev. At the same time, his pride is hypertrophied so much that it becomes a substitute for other feelings....
6. A. N. Ostrovsky entered literature as a writer of unprivileged sections of society; heroes from the nobility appeared in his works only sporadically. In the 60s, the attempt to master the image of a noble hero ended...
7. Paratov Sergei Sergeevich - “a brilliant gentleman, one of the ship owners, over 30 years old.” P. is a chic playmaker, a spectacular and handsome man, who at the end of the play turns out to be an ordinary dowry seeker for rich merchants....
8. The drama “Dowry” was written by A. N. Ostrovsky in 1879, when the results of the 1861 reform had already become clear. The “dark kingdom” has changed - trade and industry began to develop faster, no longer...
9. Respect for elders has been considered a virtue at all times. One cannot but agree that the wisdom and experience of those who belong to the older generation usually helps the youth. But in some cases...
10. Ostrovsky wrote a wonderful play “Dowry”. It describes the life of one beautiful, young and beautiful girl - Larisa Dmitrievna Ogudalova, who turned out to be a victim of unfortunate circumstances. “Dowry” is similar in meaning to the drama...
11. Alexander Nikolaevich Ostrovsky in his work sought to combine the severity of contradictory views and aspirations with the breadth of understanding of life processes and problems. This was served by the unusual composition of Ostrovsky’s plays, which allowed the appearance...
12. Human! We must respect the Man! A. M. Gorky “Dowry” is one of the best plays by A. N. Ostrovsky. She is constantly on stage and has been filmed twice. For the modern reader and viewer in this drama...
13. It's no secret that the drama of the great Russian playwright Alexander Nikolaevich Ostrovsky is one of the pinnacles of not only domestic but also world literature, and perhaps one of the central works...
14. Lipochka's character also comically combines complacency and spiritual backwardness. She considers herself a young lady who has received an “education,” but treats the servants, clerks, and even her mother with cold, rude disdain. Especially...
15. All the heroes and heroines of A. N. Ostrovsky can be divided into those who have power over others and those without rights. In Ostrovsky’s later plays, the former acquire the traits of “tyranny,” and the latter become victims of these “tyrants.” The main character of A. N. Ostrovsky’s play “Dowry” is Larisa Dmitrievna, the daughter of Kharita Ignatievna Ogudalova. Her mother has a “small fortune”, there is nothing to give a dowry from, since she lives openly, everyone...
16. The theme of sin, retribution and repentance is highly traditional in Russian classical literature. It is enough to recall such works as “The Enchanted Wanderer” by N. S. Leskov, “Who Lives Well in Rus'” by N. A....
17. The female image, its inconsistency and true beauty have always attracted playwrights - gov. One of the main features of Russian literature is attention to female images, and often the presentation of the female image as...

Analysis of the final scene of the drama by A.N. Ostrovsky "Thunderstorm"

The drama "The Thunderstorm" appeared in print in 1860. Its plot is quite simple. The main character, Katerina Kabanova, not finding a response to her feelings in her husband, fell in love with another person. Tormented by remorse, and also not wanting to lie, she confesses her act in church, publicly. After this, her life becomes so unbearable that she commits suicide.

This is the eventual outline of the work, with the help of which the author reveals to us a whole gallery of human types. Here are merchants - tyrants, and honorary mothers of families - guardians of local morals, and pilgrims - pilgrims, telling fables, taking advantage of the darkness and lack of education of the people, and home-grown scientists - projectors. However, with all the variety of types, it is not difficult to notice that they all seem to fall into two camps, which could be conditionally called: “the dark kingdom” and “victims of the dark kingdom.”

The “Dark Kingdom” consists of people in whose hands power is concentrated, those who can influence public opinion in the city of Kalinov. First of all, this is Marfa Ignatievna Kabanova, who is respected in the city, considered a model of virtue and a keeper of traditions. “A prude,” Kuligin says about Kabanova, “she favors the beggars, but completely eats up her family...” And indeed, Marfa Ignatievna’s behavior in public differs in many ways from her behavior at home, in everyday life. The whole family lives in fear of her. Tikhon, completely suppressed by his mother’s power, lives only with one simple desire - to escape, even if only for a short time, from home, to feel like a free person. Tikhon's sister, Varvara, also experiences all the hardships of the family situation. However, unlike Tikhon, she has a stronger character and she has the audacity, albeit secretly, to disobey her mother.

The last scene of the drama is the culmination of the work, in which the confrontation between representatives of the “dark kingdom” and its victims is maximally aggravated. Having neither wealth nor high social status, the “victims” dare to challenge the inhumane order prevailing in the city.

The action begins with Tikhon returning home and learning about his wife’s betrayal. He, as he himself admits to Kuligin, is ready to forgive Katerina, but at the same time understands that his mother will not allow him to do this. Tikhon does not have the will to resist Kabanova. And although he beat Katerina, he feels sorry for her.

The death of Katerina, who fell in love as only very strong natures can love, at the end of the drama is natural - for her there is no other way out. Life according to the laws of the “dark kingdom” is worse for her than death, the death of the soul is worse than the death of the body. She does not need such a life, and she prefers to part with it. The confrontation between representatives of the “dark kingdom” and its victims reaches its highest point precisely in the last scene, over the body of the dead Katerina. Kuligin, who previously preferred not to get involved with either Dikiy or Kabanikha, throws it in the latter’s face: “Her body is here, ... but her soul is now not yours: she is now before a judge who is more merciful than you!” Tikhon, completely downtrodden and crushed by his domineering mother, also raises his voice of protest: “Mama, you ruined her.” However, Kabanova quickly suppresses the “rebellion,” promising her son to “talk” to him at home.

Katerina’s protest could not be effective, since her voice was lonely and no one from the heroine’s entourage, from those who can also be classified as “victims” of the “dark kingdom,” was able not only to support her, but even to fully understand her. The protest turned out to be self-destructive, but it was and is evidence of the free choice of an individual who does not want to put up with the laws imposed on her by society, with sanctimonious morality and the dullness of everyday life.

So, in the last scene of the drama, the confrontation between representatives of the “dark kingdom” and its victims was reflected with particular force. The accusations that Kuligin and Tikhon throw in the face of those who “run the show” in the city of Kalinov show the emerging shift in society, the emerging desire of young people to live in accordance with their conscience, and not with the sanctimonious, hypocritical morality of their “fathers.”

Bibliography

To prepare this work, materials from the site were used http://www.ostrovskiy.org.ru/

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• Spur for the exam in 2002

  Essay >> Literature and Russian language

  Analysis final scenes dramas A.N. Ostrovsky « Storm", b) Analysis final scenes dramas A.N. Ostrovsky

• Sets of essay topics for conducting a written exam in literature in the 11th grade of general education institutions, 2001/02 academic year

  Abstract >> Literature and Russian language

  One." (“Eternal” themes in the lyrics of B. Pasternak.)3. A) Analysis final scenes dramas A.N. Ostrovsky « Storm", b) Analysis final scenes dramas A.N. Ostrovsky"Dowry".4. Poem by M.Yu. Lermontov “When worried...

• World and personality in the play by A.N. Ostrovsky "Thunderstorm"

  Abstract >> Literature and Russian language

  Play by A.N. Ostrovsky (1823-1886) "Storm". But in this drama Ostrovsky gives the problem... logic, not on analysis, not on... interesting in this regard final Kuligin's replica in his... intended for performance on stage. Tragedy is a dramatic work...

• The drama “The Deep” and its place in the dramaturgy of A.N. Ostrovsky

  Essay >> Literature and Russian language

  Patience. Scene III The third in the manuscript stage“The Deeps” by A.N. Ostrovsky starts... makes a change in final Kiselnikov's monologue, ... work on analysis manuscripts dramas A.N. Ostrovsky“Abyss” ... artistically “Abyss” is weaker dramas « Storm", For example. Well and...

• Realism of plays by A.N. Ostrovsky

  Abstract >> Literature and Russian language

  IN final scenes and paintings. In dramatic works Ostrovsky you can observe... pictures (for example, scenes thunderstorms in the comedy “The Joker” and in drama “Storm”) and repeated... finals continued a deep socio-psychological analysis life; in the finals...