Characteristics of the younger generation in a thunderstorm. The younger generation in the “thunderstorm” as a world opposing the “dark kingdom”

Youth is the most important part of society, a kind of creator of the future, a creator who passes through the prism of his own perception and his own common sense prejudices and progressive ideas of the "old people" and thus determining what will be embodied in public life in a few decades, and what will die with the last representatives older generation. Based on the state of youth, one can determine the state of the entire society, because social vices primarily affect its most sensitive and vulnerable part, which is the youth. And the worst thing is that the younger generation may lose the ability to analyze and evaluate reality and turn from a transformative judge into an accurate reflection of the older generation - then there can be no talk of any development of society. This is precisely the situation that Ostrovsky showed in the drama “The Thunderstorm,” depicting the deplorable situation of young people, who are left with the right only to agree with their elders in everything. One of the main qualities of children is curiosity, that is, the desire to learn something new, which subsequently turns into anti-conservatism, that is, the desire to introduce this new thing into life. There is no place for curiosity in the city of Kalinov, because information about the world around us gets here through wanderers like Feklushi, who fanatically convince everyone and everything that “in your city there is paradise and silence, but in other cities it’s just sodomy.” Dikoy calls Kuligin a “Tatar” for trying to explain what a thunderstorm is. In an atmosphere of universal conviction that “a thunderstorm is being sent to us as punishment,” young people believe everything: stories about people with dog heads, and Dikiy’s stories about his right to dispose of people. Having learned from childhood that one must fear elders and obey them unquestioningly, young people are deprived of the ability to critical assessment reality and is forced to accept as an unchangeable given both the Domostroev order and the right of the old people, the “aces” of this world, to power backed only by the authority of money. Education in the Domostroevsky traditions, when parents literally “break the ribs” of their children, either suppresses and breaks the child’s character, or forces the child to adapt and learn to use cunning to avoid punishment for crimes against imposed morality. An example of the first type of young people are Tikhon Kabanov and Boris Grigorievich. They are best characterized by Tikhon’s words: “No... their own mind. And that means live as someone else’s.” All their lives they have been under the thumb of their relatives and cannot change this situation, but can only feel sorry for themselves. They are unable to commit any significant act: Tikhon envies Katerina’s death, but he himself cannot decide to commit suicide; Boris obeys his uncle, even when he tells him to leave Katerina and go to Siberia. These people cannot truly love much: Tikhon treats Katerina as one of components of his “captivity”: “For two weeks there will be no thunderstorm over me, there are no shackles on my legs, so what do I care about my wife?” Boris, in response to Katerina’s words that her husband left for two weeks, says: “Oh, so we’ll go for a walk! There's plenty of time." Parting with Katerina, he asks God “so that she dies quickly, so that she does not suffer for a long time!” Boris and Tikhon are puppets in the hands of the “dark kingdom”, weak-willed dolls, incapable of either action or true feeling. Kudryash stands apart from them. At first glance, it seems that Kudryash is that “revolutionary” capable of challenging the world around him, but it turns out that he, too, bears the disfiguring stamp of the “dark kingdom.” Kudryash is the type of person who has adapted to difficult living conditions; he entered into an unspoken agreement with Dikiy: Kudryash is needed by Dikoy, so Dikoy cannot do anything with Kudryash. Kudryash is satisfied with this state of affairs and does not think about the problems of society or the situation of other people. His interests are selfish, they lie in the sphere of “taking a walk and arguing with the Wild (that is, once again enjoying the feeling of his own “inviolability”),” he may even be able to love (as evidenced by his relationship with Varvara), but he cannot and does not want to fight the “dark kingdom”; his activities are similar, according to Pisarev’s definition, to “a squirrel running around in a wheel.” Varvara too: she learned to ignore Kabanikha’s abuse, learned to lie. (“And I was not a liar, but I learned when it became necessary.”) So she acquires limited freedom of action and follows the basic principle: “Do whatever you want, as long as it’s done well.” In Varvara’s actions there is no protest against the orders of the “dark kingdom”; she just wants to “have some fun” before the wedding. And Varvara runs away with Kudryash not out of love for him (she yawns on a date), but rather from her mother’s tyranny. These two types of people form the basis of the Kalinovsky youth. There is nothing progressive about them; whether adapted or broken, they do not even realize their powerlessness to change anything in society, their worthlessness, and do not understand the full horror of their situation. But Ostrovsky still leaves hope for the younger generation, showing the type of people who can lead society out of a deplorable situation. Katerina belongs to this type of youth. She does not break under the pressure of Domostroev’s orders, but she also cannot adapt to them. (“I don’t know how to deceive; I can’t hide anything.”) Katerina openly protests against everything that is imposed on her, protests “at the call of nature”; protests because she is physically unable to live in " dark kingdom" But her protest does not find a response, so she can only dream of “ better world“, and when the oppression of the “dark kingdom” becomes unbearable, and besides, Boris leaves her, Katerina has no choice but to commit suicide. In the “dark kingdom” there are no conditions for the appearance of people like Bazarov or Lopukhov, and any protest of the mind will be suppressed, and the protester will either completely submit or direct his mind to search for “loopholes” in the morality of society. Here nature itself comes to the rescue, giving birth to people like Katerina. This is the only type of youth capable of surviving and maintaining their positive traits unchanged, maintain the ability to improve society. Their protest is unconscious, it comes from the depths of the soul, but it is still a protest. Their strength is in unity, the fate of singles is the fate of Katerina. Katerina is an exception that should develop into a rule, the first “ray of light”, a harbinger of a new type of youth who, with the sole forces of her nature, will be able to destroy the “dark kingdom” and create new world. The play “The Thunderstorm” was written by A. N. Ostrovsky in 1859, when everyone Russian society was in a state of anticipation of upcoming changes. It was brewing in the country social conflict between the moribund old conservative world of the patriarchal structure and the young progressive forces born in the depths of this world. Old world The “dark kingdom” is represented in the play by the rich merchant Kabanova and the merchant Dikiy. Their power over those around them is still great, but they are already beginning to feel the awakening of something new, alien and hateful to them. “Besides them, without asking them, another life has grown, with different beginnings, and although it is far away and not yet clearly visible, it is already giving itself a presentiment and sending bad visions to the dark tyranny of tyrants,” writes N. A. Dobrolyubov in the article "A ray of light in a dark kingdom." Representatives younger generation in "The Thunderstorm" are Katerina, Boris, Tikhon, Kudryash and Varvara. But are they all, and to what extent, capable of resisting the tyranny of tyrants? Can the clerk of Wild Curly, who himself is considered a rude man and does not want to “slave” before his owner, be able to stand up for himself? “I’m not afraid of him, but let him be afraid of me,” Kudryash boasts. But in his resistance he himself becomes like the Wild One, responding to rudeness with rudeness. As Dobrolyubov believes, “Kudryash doesn’t have to quarrel with Dikiy: they both need each other, and, according to Syt, there is no need for special heroism on Kudryash’s part to present his demands.”

Lessons 66–67
LIFE AND MORES OF THE “DARK KINGDOM”. YOUNG
GENERATION IN OSTROVSKY’S PLAY “THUNDERSTORM”

Goals: help to comprehend the images of Dikiy and Kabanova created by the author, their morality, which affirms the right of the strong, the right to tyranny and “trample” those who are weaker and more helpless, who think and live differently; show the inevitability of the collapse of the “dark kingdom”; note the characteristic features of representatives of the younger generation in Ostrovsky’s play.

Progress of lessons

Epigraph for lessons:

Nothing holy, nothing pure, nothing right in this dark world: the tyranny that dominates him, wild, insane, wrong, has driven out from him all consciousness of honor and right... And they cannot exist where it has been thrown into dust and brazenly trampled by tyrants human dignity, personal freedom, belief in love and happiness.

N. Dobrolyubov

I. introduction teachers.

Life and customs of the “dark kingdom”

The critic N.A. Dobrolyubov called the world depicted by the playwright a “dark kingdom.”

Dikoy and Kabanikha are typical representatives of the “dark kingdom”. These are human predators.

Conversation with students on the following questions:

1. What did Dobrolyubov mean by the “dark kingdom”? What are its main features?

2. What does the word “tyrant” mean?

3. How does Dikoy understand the expression “go out into public”?

4. What is the reason for the unbridled tyranny of the Wild?

5. How does he feel about Kabanikha, Boris, Kuligin?

6. Marfa Ignatievna Kabanova. What is her attitude to the “new order”?

7. How does she relate to Katerina, Tikhon, Varvara?

8. Are tyrants confident in the limitlessness of their power?

9. What are the similarities and differences between the characters of the Wild and Kabanikha?

10. Describe the speech, manner of speaking, and communication of Dikiy and Kabanova. Give examples.

Wild Savel Prokofich- “shrill man”, “scolder”, “tyrant”, which means wild, tough at heart, powerful man.

The power of money is the basis of tyranny. The purpose of Wild’s life is to get rich, and there are all sorts of ways to get rich: cheating workers, robbing neighbors, not paying inherited money.

Rudeness, ignorance, abuse, swearing are familiar to the Wild, moreover, this is the content of his life, this is also a defense against everything incomprehensible and hostile. Kudryash about Dikiy: “Like he broke the chain!” The passion for swearing is even stronger if they ask him for money.

Kabanova Marfa Ignatievna- the embodiment of despotism, covered with hypocrisy. Kuligin about her: “Prudence, sir! He gives money to the poor, but completely eats up his family.”

She constantly and sophisticatedly sharpens her household members. For her there is no love, no maternal feelings for her children, for her daughter-in-law Katerina. Feelings are corroded by callousness, arbitrariness and pretense. Kabanikha is a “guardian” and protector of the customs and orders of patriarchal antiquity.

N.A. Dobrolyubov writes: “The tyrants of Russian life, however, begin to feel some kind of discontent and fear, without knowing what and why. Everything seems to be fine as before: Dikoy scolds whoever he wants... Kabanova still keeps her children in fear, forces her daughter-in-law to observe all the etiquettes of the old days, eats her like rusty iron, considers herself completely infallible... But everything is somehow restless , it’s not good for them. Besides them, without asking them, another life grew, with other beginnings.” (From the article “A Ray of Light in a Dark Kingdom”.)

The cruelty of Kabanikha and the tyranny of Dikiy also have concrete historical foundations in life: the more acutely they feel the fragility of their position, the more fiercely they defend their foundations, suppress those who think differently, who inspire at least some suspicion. The main “weapon” of subjugation and suppression is fear. As a norm of life, fear has been elevated to law. Law in the “dark kingdom” and fear are inseparable, you have to be afraid, this is what order is based on.

II. Student reports about the young characters in the play.

Tikhon, Boris, Varvara, Kuligin, Kudryash are “victims” of the “dark kingdom”.

Tikhon- kind, sincerely loves Katerina. Exhausted by Kabanikha’s reproaches and orders, he thinks about how to escape from the house. But submissive to his mother in everything, Tikhon still openly blamed her (!) for the death of his wife. Here are his words after the death of his wife: “Good for you, Katya! Why did I stay alive?..” It’s scary if the living envy the dead.

Boris- soft, a kind person. He really understands Katerina, but is unable to help her; indecisive, unable to fight for his happiness, Boris chooses the path of humility.

Kuligin – talented person from the people. His last name is reminiscent of the Nizhny Novgorod inventor Kulibin. He does not enter into a decisive struggle with tyrants, he rather persuades them, convinces them to do something for the common good. The image of the self-taught Kuligin helps to understand the main idea of ​​the play: the idea of ​​the inevitable death of the “dark kingdom.”

Varvara understands the meaninglessness of protest, she lives by the principle: “Do what you want, as long as it’s safe and covered.” For Varvara, lying is the norm of life. She ran away from home, but did not submit.

Curly- desperate, boastful, but at the same time capable of sincere feelings. He is worried about Katerina. It is not afraid of its owner. “I am considered a rude person, why is he holding me? Therefore, he needs me. Well, that means I’m not afraid of him, but let him be afraid of me.”

III. Reading and discussion of the continuation of the play “The Thunderstorm” (“What happened to the residents of Kalinov after Katerina’s suicide?”)

Homework(by groups):

1st group: Story about Katerina.

(How is she different from the other heroes of the play? The range of her hobbies as a girl. Relationships with Tikhon, Boris, Varvara. Could she find happiness in the family? Under what conditions? Is the death of the heroine a defeat or a victory?)

2nd group: Evaluation of the image of Katerina by Dobrolyubov and Pisarev.

3rd group: The meaning of the title. How do you understand it?

May 02 2014

The play “The Thunderstorm” was written by A. N. Ostrovsky in 1859, when the entire Russian society was in a state of anticipation of upcoming changes. A social conflict was brewing in the country between the moribund old conservative world of the patriarchal structure and the young progressive forces born in the depths of this world. The old world of the “dark kingdom” is represented by the wealthy merchant Kabanova and the merchant Dikiy. Their power over those around them is still great, but they are already beginning to feel the awakening of something new, alien and hateful to them. “Besides them, without asking them, another one has grown up, with different beginnings, and although it is far away and is not yet clearly visible, it is already giving itself a presentiment and sending bad visions to the dark tyranny of tyrants,” writes N. A. Dobrolyubov in the article “Ray light in the dark kingdom." Representatives of the younger generation in “Groza” are Boris, Tikhon, Kudryash and Varvara.

But are they all, and to what extent, capable of resisting the tyranny of tyrants? Can the clerk Kudryash, who himself has a reputation for being a rude man and does not want to “slave” before his owner, be able to stand up for himself? “I’m not afraid of him, but let him be afraid of me,” Kudryash boasts. But in his resistance he himself becomes like the Wild One, responding to rudeness with rudeness. As Dobrolyubov believes, “Kudryash doesn’t have to quarrel with Dikiy: they both need each other, and, according to Syt, there is no need for special heroism on Kudryash’s part to present his demands.”

Kabanova’s daughter, Varvara, also easily adapts to the morality of the “dark kingdom”. Not wanting to live in captivity, to endure the power of her mother, she easily takes the path of deception, which becomes habitual for her. She claims that there is no other way to live: their whole house rests on deception. “And I wasn’t a liar, but I learned when it became necessary,” the girl justifies herself. “Do what you want, as long as it’s sewn and covered,” she teaches Katerina.

However, Varvara was cunning while she had the opportunity, and when they began to lock her up, she ran away from home and broke free from the power of Kabanikha. Kabanova's son, Tikhon, is by nature simple-minded and gentle. He loves and pities his wife in his own way, according to Dobrolyubov, “he has a conscience, a desire for good, but he constantly acts against himself and serves as a submissive instrument of his mother.” This weakling is so exhausted by the endless reproaches, instructions and moralizing of his despotic mother that he is ready to plunge headlong into debauchery, leaving his wife in a desperate state, unable and unwilling to understand her restless soul.

But crushed under the yoke of the Kabanikhas best qualities Tikhon did not die completely. The death of their wife awakens them from their sleep. Having finally freed himself from the eternal fear and trembling of his mother, Tikhon for the first time in his life dares to blame her. “Mama, you ruined her! You, you, you...” he shouts in despair and in response to her menacing call he repeats again: “You ruined her!

You! You!" In the face of tragedy, a terrible understanding was born in him that life in the “dark kingdom” is worse than death. Throwing himself at his wife’s corpse, he screams in a frenzy: “Good for you, Katya! Why did I stay in the world and suffer!” Of the younger generation, Boris, Dikiy’s nephew, is the weakest and most pitiful. In character he is very similar to Tikhon.

“Boris is essentially the same, only “educated.” Education took away from him the power to do dirty tricks... but it did not give him the strength to resist the dirty tricks that others do,” the critic notes.

Boris is unable to protect either himself or the woman he loves. Realizing his powerlessness, he only rushes about helplessly and laments: “Oh, if only they knew this. and people, how does it feel for me to say goodbye to you!.. Oh, if only there was strength!” This powerless, weak-willed person becomes the subject of great passion, a pure, sublime, poetic nature.

How different she is from other young people of Kalinov! All of them are burdened by the bondage of the patriarchal foundations of the “dark kingdom,” but they stand on the position of everyday compromises, they have learned to bypass the oppression of their elders, each in accordance with their character. But it is precisely against the background of their unconscious and compromising position that the suffering Katerina looks morally high. The suddenly awakened feeling of love is perceived by her as a terrible unforgivable sin.

The young woman resists her “sinful” passion with all her might, but does not find support in this struggle: “I’m definitely worth it copyright

Ostrovsky performed his plays at the turning point from the 40s to the 50s. This was a critical period in the history of the Russian stage, when it became overrun with vaudevilles and melodramas, partly borrowed from the West. Actually Russian folk theater, which would broadly reflect the life of Russia, there was no. Ostrovsky performed in his plays primarily as a first-class realist artist. Having an excellent knowledge of Russian life, especially the life of the merchants, Ostrovsky brought Russian life to the stage in all its originality and naturalness. Family life merchants with their despotism and tyranny, rudeness and ignorance in public and domestic life, the powerless position of women, the ritual side of life, prejudices and superstitions, folk speech - all this was reflected in Ostrovsky’s everyday plays.

Having finally broken with the templates of classicism and romanticism, making his numerous works “plays of life,” Ostrovsky completed the work of Fonvizin, Griboedov, Pushkin, Gogol in dramaturgy and forever established the triumph of realistic drama in Russia. The drama "The Thunderstorm" was written in 1859. She spoke about the tyranny of tyranny, money and ancient authority in the merchant community. The author set himself the task of exposing economic and moral tyranny " dark kingdom».

The play features two groups from the city of Kalinov. One of them personifies the oppressive power of the “dark kingdom”. These are Dikoy and Kabanikha, oppressors and enemies of everything living and new. The other includes Katerina, Kuligin, Tikhon, Boris, Kudryash and Varvara. These are victims of the “dark kingdom”, oppressed, equally feeling the brute force pressing on them. They do it in different ways, but still express their protest against this force.

The younger generation, in turn, is divided into those in whom tyranny and despotism have suppressed glimpses of freedom and independence. And on those who managed to resist the “dark kingdom”, if not externally, then internally.

The victims of the “dark kingdom” in the play include Tikhon and Boris. Since childhood, Tikhon has become accustomed to obeying his mother in everything: “How can I, Mama, disobey you!” - he says to Kabanova and then adds: “Yes, Mama, I don’t want to live by my own will.” Tikhon's only cherished desire is to escape, at least for a short time, from under the care of his mother, to go on a spree so that whole year take a walk. By character he is not only weak-willed, but also limited and simple-minded. Eg, peace of mind Katerina is too tall and incomprehensible for him. “I can’t figure you out, Katya!” - he tells her. Tikhon does not find enough strength and confidence in himself to be able to resist his mother. A mother who brought her family to complete collapse with her soulless despotism and hypocrisy. Only in the finale of the play does Tikhon show something like disobedience. For the first time in his life, he contradicts Kabanikha. But this protest will remain isolated and will not develop into a rebellion against the “dark kingdom.” Over time, he himself will become the representative of those whom he now hates so much.

Boris Grigorievich, Dikiy’s nephew, in terms of his level of development is significantly higher than his environment. The education he received in Moscow, at a commercial academy, instilled in him progressive views. It is difficult for him to get along among the Wild and Kabanovs. But he, like Tikhon, does not have enough character to break out from under their enslaving power. Lacks the determination to fight for your love. He advises Katerina to submit to fate, and he himself resigns himself - he leaves at the insistence of Dikiy as a clerk in Kyakhta. Boris is a kind, gentle person. But Dobrolyubov is right when he notes that Katerina loved him “more in solitude,” that is, in her environment he was the best of the worst.

Thus, both of them - Tikhon and Boris - failed, and ultimately will not be able to escape from the yoke of the “dark kingdom” that enslaved them. And this happened because they did not know that they could live differently, that they could be happy.

The younger generation, which is trying to resist the old order, which is “a ray of light in a dark kingdom,” includes Katerina and Kuligin.

Katerina – central character drama "The Thunderstorm". In terms of character and interests, she stands out sharply from the environment into which she found herself. This exclusivity is the reason for the deep life drama that the heroine had to experience in the kingdom of the Wild and Boars. The girls of her society were not given education in those days. The book was replaced by stories of idle wanderers and praying mantises. Hence her dreaminess and impressionability. Dobrolyubov defined her character as “loving and ideal.” Katerina at the same time has an ardent and passionate soul. “I was born so hot! - she said. “I was only six years old, no more, so I did it!” They offended me with something at home, and it was late in the evening, it was already dark; I ran out to the Volga, got into the boat, and pushed it away from the shore.”

Katerina is a woman not only with a passionate, but also with a strong character. She is the only one of all the characters in the play who is capable of a complete break with the environment and life that has disgusted her. Her suicide seemed to momentarily illuminate the endless darkness of the “dark kingdom.” In her tragic death, according to the critic, “given scary challenge tyrant force... In Katerina we see a protest against Kabanov’s concepts of morality, a protest carried to the end, proclaimed both under domestic torture and over the abyss into which the poor woman threw herself.”

As has already been said, Kuligin can also be called a bright ray. This is a poor watchmaker, a self-taught mechanic, who dreams of finding a perpetuum mobile, a perpetual motion machine. He thinks not about his personal gain, but about serving society, about the improvement of hometown, about the situation of the poor. This is how Kuligin differs, for example, from Dikiy. He is simply forced to submit to the force, since he is a loner, and the force is not on his side: “They will eat him, they will swallow him alive!” But to submit outwardly does not mean to calm down internally. In the words of Kuligin, the author expresses his views on cruel morals and sympathy for talented people from the people, oppressed by the socio-political system. Ostrovsky showed that enlightenment was beginning to penetrate into the most diverse corners and strata of Russian society.

Thus, Ostrovsky in the drama “The Thunderstorm”, with the help of images of the younger generation, showed that the time had come for the awakening of the individual, hinting at the inevitability of the struggle against the autocratic serfdom system. And although the protest of Katerina and Kuligin is doomed to failure, the mortal wound to the “dark kingdom” has already been inflicted. And even Kabanikha begins to realize this doom. “Old times are coming to an end,” she declares gloomily. Thus, in the drama “The Thunderstorm,” Ostrovsky pronounced a harsh verdict on the outdated and hated past, on the socio-political system that fully supported the “dark kingdom.”

1. Tikhon Kabanov and Boris, nephew of Dikiy. 2. Ivan Kudryash. 3. Katerina and Varvara.

In A. N. Ostrovsky's drama "The Thunderstorm" the action takes place against the backdrop of tense relationships between representatives of the older and younger generations. The tyrannical oppression of Kabanikha and Dikiy on their loved ones does not weaken at the sight of external manifestations of humility.

How do representatives of the younger generation behave when they find themselves in similar conditions? Tikhon Ivanovich Kabanov is a rich merchant. He received a good inheritance from his late father and got married. It would seem that this person is quite capable of independently managing his home. But it was not there!

In fact, his mother is in charge of everything, and Tikhon, with a doomed look, listens to her orders: “I, it seems, is Mama, not a single step from your will.” Tikhon performs all any significant actions at the direction of his mother: she gives him orders regarding the trip ahead for her son, and at her request, Tikhon got married. Tikhon himself feels like a deeply unhappy person, unable to do anything to please his mother so that she would stop, at least for a little while, scolding and lecturing him. So he got married to fulfill his mother’s will, and the mother now reproaches her son: “Since I got married, I don’t see the same love from you.”

However, Tikhon does not even think about expressing his indignation at his mother’s tyranny: “Yes, Mama, I don’t want to live by my own will. Where can I live by my own will!” The traditions of merchant life and his own spinelessness show Tikhon another path: in order to distract himself from hateful problems, he takes to drinking every now and then. The upcoming trip is a long-awaited and desired event for Tikhon: “...

For two weeks there won’t be any thunderstorm over me, there are no shackles on my legs, so what do I care about my wife?” This phrase clearly shows Tikhon’s infantile egoism - he doesn’t care about his experiences. He doesn’t know how and doesn’t try to protect his wife from his mother’s attacks, on the contrary , reproaches her that it is because of her that he suffers even more. However, as the play progresses, it becomes clear that Tikhon, despite all his shortcomings, sincerely loves his wife. He is willingly ready to forgive her for her sin. , Tikhon tries to stop her: “Don’t, don’t, don’t say! What you!

Mother is here!" It is not so much anger as compassion that arouses Tikhon’s wife’s sin. However, Tikhon is still unable to resist his mother’s pressure. He would be happy to forgive Katerina, forget everything and start new life, but will his mother allow him to forget? “...I love her, I’m sorry to lay a finger on her. I beat her a little, and even then my mother ordered.

I feel sorry for looking at her..." But the main problem is that the most strong love Tikhon manifests himself towards his wife not in Everyday life , when Katerina needed protection and support, and in fateful moments, when nothing can be changed. And even in despair, Tikhon is not able to go against the will of his mother, who forbade him to go and pull his wife out of the river. Only after seeing the dead Katerina, Tikhon repeats in a frenzy: “Mama, you ruined her!” We see that Tikhon's spinelessness turns into a tragedy for himself, and for his wife, and, strictly speaking, for his mother. What is the use of his obedience if everything goes to dust, and Tikhon becomes more and more accustomed to drowning his grief with wine? Boris Grigorievich, Katerina's lover, is in a position that is no more enviable than that of her husband. Like Tikhon, Boris is well aware of this: “And I can see I’m going to waste my youth in this slum.” Like Tikhon, Boris lacks the determination to try to change his life, although it is still easier for the latter. It is clear that it is difficult for Tikhon to argue with his own mother, who raised him and who, despite her lust for power, sincerely believes that she cares about the welfare of her children. Boris lives with his uncle, hoping to someday receive a share of the inheritance bequeathed by his grandmother, however, even with a superficial examination, it becomes clear that the chances of this are very low. The condition under which the inheritance can pass into the hands of Boris and his sister is too fragile - if they are respectful to their uncle. But Dikoy is by no means a man of honor. He generally has a hard time giving people what they have earned or are owed for any product. "...Who will forbid him to say that you are disrespectful?" - Kuligin aptly notes, reasonably believing that Boris will never receive his inheritance. It would seem that it would be better to leave and forget than to endure his uncle’s antics, which are quite consistent with his last name! On the one hand, Boris is held back by a seemingly noble feeling - concern for his sister. But on the other hand, if the matter is hopeless, is it worth remaining practically in slavery? Having fallen in love with Katerina, Boris is also unable to decide or undertake anything on his own. Their date was entirely arranged - one might even say set up - by Varvara. Boris's attitude towards Katerina is similar to Tikhon's: when he returns earlier than expected, Boris is first of all disappointed that the nightly dates are cancelled. He doesn’t think about Katerina’s experiences. But, like Tikhon, Boris sincerely loves her: only in the moments of farewell does he understand how seriously the woman took this love, how difficult the retribution for sin has become for her. Another young man in Ostrovsky's play is Ivan Kudryash, Dikiy's clerk. At first glance, he also depends on the tyrant merchant, since he serves him. But Kudryash takes his employer’s abuse lightly: “...He is a word, and I am ten... No, I won’t slave to him.” Kudryash’s determination also manifests itself in love affairs: “I’m for mine... and I don’t even know what I’ll do! I’ll rip my throat out!” According to rumors, Kudryash and Varvara ran away together and broke with the hateful situation. Both of them turned out to be more adapted to life, more enterprising people than other representatives of their generation in Ostrovsky’s play. Varvara, despite her youth, has a healthy assessment of people and their relationships. She feels sorry for Katerina and bluntly says that there is nothing to love Tikhon for. Varvara also guesses about Katerina’s love for Boris. But with all her participation in Katerina, Varvara does not understand her experiences, like everyone around her. Sister Tikhon is a person of action, reflection is alien to her. In accordance with her concepts, Varvara is ready to help Katerina - if possible, arrange a date for her with her loved one, which the girl does. Varvara understands that existing in a hypocritical environment home without resorting to lies is extremely difficult. the girl calmly perceives it as a necessity, an integral part of life. Of course, this does not decorate Varvara too much, but it should be understood that she became this way under the influence of the situation. As for Katerina, her tragedy is that she absolutely does not know how and does not want to adapt, she cannot choose one line of behavior and follow it. Katerina was unable to meekly endure the reproaches of her mother-in-law - her love for Boris, in fact, was a protest against existence in an atmosphere of tyranny and hypocrisy. However, Katerina was unable to keep her hobby a secret (at least from her mother-in-law); she did not want to pretend at home, and when possible, still go on dates with her beloved. According to Katerina herself, her love for B
orisu is a terrible sin for which she must be punished. But, knowing this in advance, Katerina did not find the strength to resist temptation, surrendering to her love, she could not calmly take it for granted. Thus, we see that Katerina is not able to find herself in the lifestyle available to her: neither a sedate and faithful wife, a candidate for future Kabanikha, nor an ardent lover who calmly listens to her mother-in-law’s teachings during the day - none of these paths satisfies the restless Katerina's soul. Therefore, the outcome of Ostrovsky’s drama is logical - if a person is unable to come to terms with reality, he often seeks deliverance in death.

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