Conscience is the main adviser in Katerina's life.
Psychology
The famous critic Apollo Grigoriev believed that the main artistic flaw of “The Thunderstorm” was “the impersonality of Boris... What was there to fall in love with?” everyone involuntarily asked himself, but probably none of the conscientiously thinking people doubted that Katerina should was, due to the fatal necessity of her situation, to fall in love with someone."
Yes, there was something of fatal necessity in Katerina’s love, but she should have fallen in love not with anyone, but with Boris. There were quite a few young guys in Kalinov - you can even remember the same Kudryash or his comrade Shapkin. And yet we understand that Katerina, as a heroine of a tragic plan, needed another chosen one, not like any of the Kalinovites and - according to her instinctive insight - somewhat similar to her. How? Yes, the same strangeness, unusualness, that loneliness, even restlessness, which might not have caught Katerina’s eye.
In the city, Boris is a stranger to everyone, and Ostrovsky emphasizes this from the very beginning in the author's warning: “All the faces, except Boris, are dressed in Russian.” He alone walks around in a European suit, unusual for Kalinov. The morals and customs of a provincial town are completely unfamiliar to him: something scares him, but something seems poetic and beautiful. He admires the beauty of the night, the joy of love dates. “This is so new to me, so good, so fun!”
But have you noticed that during the first date with Katerina, Boris, despite the most oathful assurances (“I love you more than anything in the world, more than myself!”), thinks first of all about the pleasures that meeting with the young and beautiful woman? At first he doesn’t even want to think about what these dates could lead to, what they threaten with the one whom he, in his own words, loves so passionately.
Thus, the theme of time arises in the play once again. Boris simply does not want to look beyond two weeks. For him, this time is quite enough. But in this short period of time (in fact, Tikhon returned even earlier) the fate of both Katerina and himself was decided. But he (like Tikhon) realized this only when he lost Katerina.
Doesn’t it seem strange to you that Tikhon, who has already experienced a painful internal crisis, sees in Boris not only an enemy (which is quite understandable), but also a deeply suffering person, and even experiences, to a certain extent, sympathy and pity for him? Remember or re-read the beginning of the fifth act, Tikhon’s conversation with Kuligin. This scene gives a lot for understanding young Kabanov and his new way of thinking. But it also makes you look at Boris differently, about whom Kuligin asks with sympathy: “Well, what about him, sir?” Tikhon replies: “He’s rushing about too; he’s crying. We attacked him with his uncle just now, we scolded him, scolded him, but he’s silent. He’s like he’s become wild. With me, he says, do whatever you want, just don’t torture her! And he also has pity for her.” ". The fair Kuligin concludes: “He is a good man, sir.”
You must always be attentive to the text. Why do we often diligently avoid this conversation when characterizing Boris? Because it does not correspond to the established point of view? Meanwhile, the scenes from the fifth act indicate that Boris has also changed - and changed for the better. Now he no longer thinks about himself, but about Katerina, not about his pleasures, but about her fate. One might not believe him himself, but Tikhon speaks about this, whose objectivity is beyond doubt.
The first and last dates of Boris and Katerina are very different. Pay attention, in particular, to the tone of Boris's speeches. Now his words are imbued with sadness and pain: “Well, we cried together, God brought it.” And his remark: “If only they wouldn’t find us here,” which is often quoted as a reproach to Boris, must be considered in the general context of the conversation. He's not worried about himself, but about her. And in a moment of acute emotional excitement, such folk, almost village words burst out from him: “I’m exhausted on the road, thinking about you.”
Boris is not as impersonal as A. Grigoriev once thought. At the end of the play, glimpses of sincere feeling and the ability to experience deep feelings become noticeable in him. In this he is to some extent similar to Tikhon, although, as it seems to us, Tikhon still shows greater tact, nobility and humanity in a difficult psychological situation.
And yet Boris cannot be a “free bird,” as he calls himself. Alas, he sits in a tight cage from which he will never escape. Apparently, Tikhon won’t be able to escape either. In the play, only Katerina succeeded in this - but at the cost of her life.
Scene 1
Street. The gate of the Kabanovs' house, there is a bench in front of the gate.
First appearance
Kabanova and Feklusha are sitting on the bench.
Feklusha. The last times, Mother Marfa Ignatievna, the last, by all accounts the last. There is also paradise and silence in your city, but in other cities it’s just chaos, mother: noise, running around, incessant driving! People are scurrying about, one here, another there. Kabanova. We have nowhere to rush, honey, we live in no hurry. Feklusha. No, mother, the reason there is silence in your city is that many people, just like you, adorn themselves with virtues like flowers; That’s why everything is done coolly and orderly. After all, what does this running around, mother, mean? After all, this is vanity! At least in Moscow; people are running back and forth, no one knows why. This is vanity. Vain people, Mother Marfa Ignatievna, here they are running around. It seems to him that he is running about something; he’s in a hurry, poor thing: he doesn’t recognize people, he imagines that someone is beckoning him; but when he comes to the place, it’s empty, there’s nothing, just a dream. And he will go in sadness. And the other one imagines that he is catching up with someone he knows. From the outside, a fresh person now sees that there is no one; but because of the fuss, everything seems to him that he is catching up. Vanity, after all, is like fog. Here, on such a beautiful evening, rarely does anyone come outside the gate to sit; but in Moscow there are now festivals and games, and there is a constant roar in the streets; there's a groan. Why, Mother Marfa Ignatievna, they started harnessing the fiery serpent: everything, you see, for the sake of speed. Kabanova. I heard you, honey. Feklusha. And I, mother, saw it with my own eyes; Of course, others don’t see anything because of the fuss, so he appears to them like a machine, they call him a machine, but I saw him using his paws like that (spreads fingers) does. Well, that’s what people in a good life hear moaning too. Kabanova. You can call it anything, perhaps even call it a machine; People are stupid, they will believe everything. And even if you shower me with gold, I won’t go. Feklusha. What extremes, mother! God forbid from such a misfortune! And here’s another thing, Mother Marfa Ignatievna, I had a vision in Moscow. I’m walking early in the morning, it’s still a little light, and I see on the roof of a tall, tall building, someone standing with a black face. You already know who it is. And he does it with his hands, as if he were pouring something, but nothing is pouring out. Then I realized that it was he who was scattering the tares, and that during the day in his bustle he would invisibly pick up the people. That’s why they run around like that, that’s why their women are all so thin, they can’t stretch their bodies, it’s as if they’ve lost something, or are looking for something: there’s sadness in their faces, even pity. Kabanova. Anything is possible, my dear! In our times, why be surprised! Feklusha. Hard times, Mother Marfa Ignatievna, hard. The time has already begun to decline. Kabanova. How so, dear, in derogation? Feklusha. Of course, it’s not us, where can we notice in the bustle! But smart people notice that our time is getting shorter. It used to be that summer and winter drag on and on, you can’t wait for it to end; and now you won’t even see them fly by. The days and hours still seem to remain the same; and time, because of our sins, is becoming shorter and shorter. That's what smart people say. Kabanova. And it will be worse than this, my dear. Feklusha. We just wouldn’t live to see this. Kabanova. Maybe we'll live.Included Wild.
Second phenomenon
The same for Dikoy.
Kabanova. Why are you, godfather, wandering around so late? Wild. And who will stop me? Kabanova. Who will ban! who needs! Wild. Well, that means there’s nothing to talk about. What am I, under the command, or what, who? Why are you still here! What the hell kind of merman is there!.. Kabanova. Well, don't let your throat out too much! Find me cheaper! And I am dear to you! Go your way where you were going. Let's go home, Feklusha. (Rises.) Wild. Wait, godfather, wait! Do not be angry. You still have time to be at home: your home is not far off. Here he is! Kabanova. If you are at work, don’t yell, but speak plainly. Wild. There’s nothing to do, but I’m drunk, that’s what! Kabanova. Why do you now tell me to praise you for this? Wild. Neither praise nor scold. Which means I'm drunk; Well, that's the end of it. Until I wake up, this matter cannot be corrected. Kabanova. So go, sleep! Wild. Where am I going to go? Kabanova. Home. And then where! Wild. What if I don’t want to go home? Kabanov. Why is this, let me ask you? Wild. But because there is a war going on there. Kabanova. Who's going to fight there? After all, you are the only warrior there. Wild. So what if I'm a warrior? Well, what of this? Kabanova. What? Nothing. And the honor isn’t great, because you’ve been fighting with women all your life. That's what. Wild. Well, that means they must obey me. Otherwise, I’ll probably submit! Kabanova. I’m really amazed at you: you have so many people in your house, but they can’t please you alone. Wild. Here you go! Kabanova. Well, what do you need from me? Wild. Here's what: talk to me so that my heart will go away. You're the only one in the whole city who knows how to make me talk. Kabanova. Go, Feklusha, tell me to prepare something to eat.Feklusha leaves.
Let's go to chambers!
Wild. No, I won’t go to my chambers, I’m worse in my chambers. Kabanova. What made you angry? Wild. Ever since this morning. Kabanova. They must have asked for money. Wild. It’s as if they’ve conspired, the damned ones; first one or the other pesters all day long. Kabanova. It must be necessary, if they pester you. Wild. I understand this; What are you going to tell me to do with myself when my heart is like this! After all, I already know what I have to give, but I can’t do everything with goodness. You are my friend, and I have to give it to you, but if you come and ask me, I will scold you. I will give, give, and curse. Therefore, as soon as you mention money to me, it will start to ignite everything inside me; It kindles everything inside, and that’s all; Well, in those days I would never curse a person for anything. Kabanova. There are no elders over you, so you are showing off. Wild. No, godfather, keep quiet! Listen! These are the stories that happened to me. I was fasting about fasting, about great things, and then it’s not easy and you slip a little man in; He came for money and carried firewood. And it brought him to sin at such a time! I did sin: I scolded him, I scolded him so much that I couldn’t ask for anything better, I almost killed him. This is what my heart is like! After asking for forgiveness, he bowed at his feet, really. Truly I tell you, I bowed at the man’s feet. This is what my heart brings me to: here in the yard, in the dirt, I bowed to him; I bowed to him in front of everyone. Kabanova. Why are you deliberately bringing yourself into your heart? This, godfather, is not good. Wild. How on purpose? Kabanova. I saw it, I know. If you see that they want to ask you for something, you will take one of your own on purpose and attack someone in order to get angry; because you know that no one will come to you angry. That's it, godfather! Wild. Well, what is it? Who doesn’t feel sorry for their own good!Glasha enters.
Glasha. Marfa Ignatievna, a snack has been set, please! Kabanova. Well, godfather, come in! Eat what God sent you! Wild. Perhaps. Kabanova You are welcome! (He lets the Wild One go ahead and follows him.)Glasha stands at the gate with folded arms.
Glasha. No way, Boris Grigoryich is coming. Isn't it for your uncle? Does Al walk like that? He must be walking around like that.Included Boris.
The third phenomenon
Glasha, Boris, then Kuligin.
Boris. Isn't it your uncle? Glasha. We have. Do you need him, or what? Boris. They sent from home to find out where he was. And if you have it, let it sit: who needs it? At home, we are glad that he left. Glasha. If only our owner had been in charge of it, she would have stopped it soon. Why am I, fool, standing with you! Goodbye! (Leaves.) Boris. Oh, my God! Just take a look at her! You cannot enter the house; Uninvited people don't come here. This is life! We live in the same city, almost nearby, but we see each other once a week, and then in church or on the road, that’s all! Here, whether you got married or buried, it doesn’t matter. (Silence.) I wish I hadn’t seen her at all: it would have been easier! Otherwise you see it in fits and starts, and even in front of people; a hundred eyes are looking at you. It just breaks my heart. Yes, and you can’t cope with yourself. You go for a walk, and you always find yourself here at the gate. And why do I come here? You can never see her, and also, perhaps, any conversation that comes out will lead her into trouble. Well, I ended up in the town! (Kuligin walks towards him.) Kuligin. What, sir? Would you like to go for a walk? Boris. Yes, I’m taking a walk, the weather is very good today. Kuligin. It’s very good, sir, to go for a walk now. Silence, excellent air, the smell of flowers from the meadows from across the Volga, clear sky...An abyss full of stars has opened,
The stars have no number, the abyss has no bottom.
Let's go, sir, to the boulevard, there's not a soul there.
Boris. Let's go! Kuligin. This is the kind of town we have, sir! They made the boulevard, but they don’t walk. They only go out on holidays, and then they only pretend to be out for a walk, but they themselves go there to show off their outfits. The only thing you will see is a drunken clerk, trudged home from the tavern. The poor, sir, have no time to walk, they are busy day and night. And they sleep only three hours a day. What do the rich do? Well, why don’t they, it seems, go for walks and breathe fresh air? So no. Everyone's gates, sir, have long been locked and the dogs have been let loose. Do you think they are doing something, or are they praying to God? No, sir! And they don’t lock themselves away from thieves, but so that people don’t see them eating their own family and tyrannizing their family. And what tears flow behind these constipations, invisible and inaudible! What can I tell you, sir! You can judge for yourself. And what, sir, behind these castles is dark debauchery and drunkenness! And everything is sewn and covered - no one sees or knows anything, only God sees! You, he says, look at me in people and on the street; but you don’t care about my family; for this, he says, I have locks, and constipations, and angry dogs. The family says it’s a secret, secret matter! We know these secrets! Because of these secrets, sir, only he is having fun, and the rest are howling like a wolf. And what's the secret? Who doesn't know him! Rob orphans, relatives, nephews, beat up his family so that they don’t dare say a word about anything he does there. That's the whole secret. Well, God bless them! Do you know, sir, who is hanging out with us? Young boys and girls. So these people steal an hour or two from sleep, and then walk in pairs. Yes, here's a couple!Kudryash and Varvara are shown. They kiss.
Boris. They kiss. Kuligin. We don't need this.Kudryash leaves, and Varvara approaches her gate and beckons Boris. He comes up.
The fourth phenomenon
Boris, Kuligin and Varvara.
Kuligin. I, sir, will go to the boulevard. Why bother you? I'll wait there. Boris. Okay, I'll be right there.Kuligin leaves.
Varvara (covering himself with a scarf). Do you know the ravine behind the Boar Garden? Boris. I know. Varvara. Come back there later. Boris. For what? Varvara. How stupid you are! Come and see why. Well, go quickly, they are waiting for you.Boris leaves.
I didn’t recognize it! Let him think now. And I really know that Katerina won’t be able to resist, she’ll jump out. (He goes out the gate.)
Scene 2
Night. A ravine covered with bushes; at the top there is a fence of the Kabanovs’ garden and a gate; path above.
First appearance
Curly (enters with guitar). There is no one. Why is she there! Well, let's sit and wait. (Sits on a stone.) Let's sing a song out of boredom. (Sings.)Like a Don Cossack, the Cossack led his horse to water,
Good fellow, he’s already standing at the gate,
Standing at the gate, he himself is thinking,
Dumu thinks about how he will destroy his wife.
Like a wife, the wife prayed to her husband,
Soon she bowed to him:
You, father, are you a dear, dear friend!
Don't hit me, don't destroy me this evening!
You kill, ruin me from midnight!
Let my little children sleep
To little children, to all our close neighbors.
Included Boris.
Second phenomenon
Kudryash and Boris.
Curly (stops singing). Look! Humble, humble, but also went on a rampage. Boris. Curly, is that you? Curly. I, Boris Grigoryich! Boris. Why are you here? Curly. Me? Therefore, I need it, Boris Grigoryich, if I’m here. I wouldn't go unless necessary. Where is God taking you? Boris (looking around the area). Here's the thing, Curly: I would need to stay here, but I don't think you care, you can go to another place. Curly. No, Boris Grigoryich, I see, this is your first time here, but I already have a familiar place here, and the path has been trodden by me. I love you, sir, and am ready for any service for you; and don’t meet me on this path at night, so that, God forbid, some sin does not happen. An agreement is better than money. Boris. What's wrong with you, Vanya? Curly. Why: Vanya! I know that I am Vanya. And you go your own way, that’s all. Get one for yourself, and go for walks with her, and no one will care about you. Don't touch strangers! We don’t do that, otherwise the guys will break their legs. I’m for mine... and I don’t even know what I’ll do! I'll rip your throat out! Boris. You are in vain to be angry; It’s not even on my mind to take it away from you. I wouldn't have come here if I hadn't been told to. Curly. Who ordered it? Boris. I couldn't make it out, it was dark. Some girl stopped me on the street and told me to come here, behind the Kabanovs’ garden, where the path is. Curly. Who would this be? Boris. Listen, Curly. Can I have a heart-to-heart talk with you, won’t you babble? Curly. Speak up, don't be afraid! All I have is dead. Boris. I don’t know anything here, neither your orders, nor your customs; but the thing is... Curly. Did you fall in love with someone? Boris. Yes, Curly. Curly. Well, that's okay. We are free about this. The girls go out as they please, father and mother don’t care. Only women are locked up. Boris. That's my grief. Curly. So did you really fall in love with a married woman? Boris. Married, Kudryash. Curly. Eh, Boris Grigoryich, stop annoying me! Boris. It's easy to say - quit! It may not matter to you; you will leave one and find another. But I can’t do this! Since I fell in love... Curly. After all, this means you want to ruin her completely, Boris Grigoryich! Boris. God forbid! God save me! No, Curly, how can you! Do I want to destroy her? I just want to see her somewhere, I don’t need anything else. Curly. How, sir, can you vouch for yourself! But what a people here! You know it yourself. They will eat it and hammer it into the coffin. Boris. Oh, don't say that, Curly! please don't scare me! Curly. Does she love you? Boris. Don't know. Curly. Have you ever seen each other? Boris. I only visited them once with my uncle. And then I see in the church, we meet on the boulevard. Oh, Curly, how she prays, if only you would look! What an angelic smile she has on her face, and her face seems to glow. Curly. So this is young Kabanova, or what? Boris. She, Curly. Curly. Yes! So that's it! Well, we have the honor to congratulate you! Boris. With what? Curly. Yes, of course! It means things are going well for you, since you were told to come here. Boris. Was that really what she ordered? Curly. And then who? Boris. No, you're kidding! This can't be true. (He grabs his head.) Curly. What's wrong with you? Boris. I'll go crazy with joy. Curly. Here! There is something to go crazy about! Just watch out, don’t cause trouble for yourself, and don’t get her into trouble either! Let’s face it, even though her husband is a fool, her mother-in-law is painfully fierce.Varvara comes out of the gate.
The third phenomenon
Same with Varvara, then Katerina.
Varvara (singing at the gate).My Vanya walks beyond the fast river,
My Vanyushka is walking there...
Curly (continues).
Purchases goods.
Varvara hugs him with one hand and leaves.
Boris. It’s like I’m seeing a dream! This night, songs, dates! They walk around hugging each other. This is so new to me, so good, so fun! So I'm waiting for something! I don’t know and I can’t imagine what I’m waiting for; only the heart beats and every vein trembles. Now I can’t even think of what to say to her, it’s breathtaking, my knees are weak! This is how stupid my heart is, it suddenly boils over, nothing can calm it down. Here he comes.Katerina quietly walks down the path, covered with a large white scarf, her eyes cast down to the ground. Silence.
Are you Katerina Petrovna?
Silence.
I don’t even know how I can thank you.
Silence.
If only you knew, Katerina Petrovna, how much I love you! (Wants to take her hand.)
Katerina (with fear, but without raising his eyes). Don't touch, don't touch me! Ahah! Boris. Do not be angry! Katerina. Get away from me! Go away, you damned man! Do you know: I can’t atone for this sin, I can never atone for it! After all, it will fall like a stone on your soul, like a stone. Boris. Don't drive me away! Katerina. Why did you come? Why have you come, my destroyer? After all, I’m married, and I have to live with my husband until I die... Boris. You yourself told me to come... Katerina. Yes, understand me, you are my enemy: after all, to the grave! Boris. It would be better for me not to see you! Katerina (with excitement). After all, what am I cooking for myself? Where do I belong, you know? Boris. Calm down!(Takes her hand.) Sit down! Katerina. Why do you want my death? Boris. How can I want your death when I love you more than anything in the world, more than myself! Katerina. No no! You ruined me! Boris. Am I some kind of villain? Katerina (shaking her head). Ruined, ruined, ruined! Boris. God save me! I'd rather die myself! Katerina. Well, how come you didn’t ruin me, if I, leaving home, come to you at night. Boris. It was your will.Katerina. I have no will. If I had my own will, I would not have gone to you.
(Raises his eyes and looks at Boris.) A little silence.
Boris Your will is now over me, don't you see!(Throws herself at his neck.) (hugs Katerina). My life! Katerina. You know? Now I suddenly wanted to die! Boris. Why die when we can live so well? Katerina. No, I can't live! I already know that I can’t live. Boris. Please don't say such words, don't make me sad... Katerina. Yes, it’s good for you, you are a free Cossack, and I!.. Boris. No one will know about our love. Surely I won’t regret you! Katerina. Eh! Why feel sorry for me, no one is to blame - she did it herself. Don't be sorry, destroy me! Let everyone know, let everyone see what I do! (Hugs Boris.) If I was not afraid of sin for you, will I be afraid of human judgment? They say that it is even easier when you suffer for some sin here on earth. Boris. Well, what to think about it, fortunately we are good now! Katerina. And then! I’ll have time to think and cry in my spare time: Boris. And I was scared, I thought you would drive me away. Katerina (smiling). Boris. How long has your husband been gone? Katerina. For two weeks. Boris. Oh, so we'll take a walk! There's plenty of time. Katerina. Let's take a walk. And there... (Thinks.) Once they lock it up, that’s death! If they don’t lock you up, I’ll find a chance to see you!. I'll take you on this. Will my mother not be enough?.. Varvara. Eh! Where should she go? It won't even hit her in the face. Curly. Well, what a sin? Varvara. Her first sleep is sound: in the morning, she wakes up like that. Curly. But who knows! Suddenly the difficult one will lift her up. Varvara. Well then! We have a gate that is locked from the yard from the inside, from the garden; knocks, knocks, and just like that it goes. And in the morning we will say that we slept soundly and did not hear. Yes, and Glasha guards; At any moment, she'll give a voice. You can't do it without danger! How is it possible! Just look, you'll get into trouble.Kudryash plays a few chords on the guitar. Varvara rests on the shoulder of Curly, who, not paying attention, plays quietly.
Varvara (yawning). How would you know what time it is? Curly. First. Varvara. How do you know? Curly. The watchman hit the board. Curly Varvara (yawning).It's time. Shout it! Tomorrow we will leave early, so we can walk more.
(whistles and sings loudly).
All home, all home! But I don't want to go home. Boris (off stage). I hear you! Varvara (stands up). Well, goodbye! (Yawns, then kisses him coldly, like someone he’s known for a long time.)
Look, come early tomorrow!
(Looks in the direction where Boris and Katerina went.)
We'll say goodbye to you, we won't part forever, we'll see each other tomorrow.
(Yawns and stretches.) Katerina runs in, followed by Boris. Fifth appearance Kudryash, Varvara, Boris and Katerina. Katerina (to Varvara). Well, let's go, let's go! (They go up the path. Katerina turns around.) Curly Goodbye!Boris. Till tomorrow.
Katerina. Yes, see you tommorow! Tell me what you see in your dream!
(Approaches the gate.)
Boris. Definitely.
(sings with guitar).
Defining the essence of a tragic character, Belinsky said: “What is a collision? - an unconditional demand by the fate of the victim. If the hero of the tragedy conquers the natural attraction of the heart... - forgive, forgive the joys and charm of life!.. If the hero of the tragedy follows the natural attraction of his heart - he is a criminal in his own eyes, he is a victim of his own conscience...” In the soul, these two equal and equal impulses collide with each other . In the Kabanovsky kingdom, where all living things wither and dry up, Katerina is overcome by longing for lost harmony. Her love is akin to the desire to raise your hands and fly. The heroine needs too much from her. Love for Boris, of course, will not satisfy her longing. Is this why Ostrovsky enhances the contrast between Katerina’s high flight of love and Boris’s wingless passion? Fate brings together people who are incommensurable in depth and moral sensitivity. Boris lives one day at a time and is hardly able to seriously think about the moral consequences of his actions. He (*65) is having fun now - and that’s enough: “How long has your husband been gone?.. Oh, so we’ll go for a walk!” Time is enough... No one will know about our love...” - “Let everyone know, let everyone see what I am doing!.. If I was not afraid of sin for you, will I be afraid of human judgment?” What a contrast! What fullness of free love in contrast to the timid Boris! The heroine's spiritual flabbiness and moral generosity are most obvious in the scene of their last date. Katerina’s hopes are in vain: “If only I could live with him, maybe I would see some kind of joy.” “If only”, “maybe”, “some kind”... Little consolation! But even here she finds the strength to think not about herself. This asks the beloved for forgiveness for the troubles caused to him.
Boris couldn’t even imagine such a thing. He won’t really be able to save or even feel sorry for Katerina: “Who knew that we should suffer so much with you for our love! It would be better for me to run then!” But didn’t the folk song performed by Kudryash remind Boris of the retribution for love for a married woman? Didn’t Kudryash warn him about the same: “Eh, Boris Grigoryich, stop annoying me!.. After all, this means you want to ruin her completely...” And Didn’t Katerina herself tell Boris about this during her poetic nights on the Volga? Alas, the hero simply did not hear any of this, and his deafness is quite remarkable. The fact is that the soul of the enlightened Boris is completely devoid of a moral “dowry”. Kalinov is a slum for him, he is a stranger here. He does not have the courage and patience to even listen to Katerina’s latest confessions. “You wouldn’t find us here!” - “It’s time for me, Katya!..” No, such “love” cannot serve as an outcome for Katerina. Dobrolyubov soulfully saw an epochal meaning in the “Thunderstorm” conflict, and in the character of Katerina - “a new phase of our people’s life.” But, idealizing free love in the spirit of the then popular ideas of female emancipation, he impoverished the moral depth of Katerina’s character. Dobrolyubov considered the hesitation of the heroine, who fell in love with Boris, the burning of her conscience, “the ignorance of a poor woman who has not received a theoretical education.” Duty, loyalty, conscientiousness, with the maximalism characteristic of revolutionary democracy, were declared “prejudices”, “artificial combinations”, “conventional instructions of the old morality”, “old rags”. It turned out that Dobrolyubov looked at Katerina’s love with the same un-Russian ease as Boris. (*66) The question arises, how then does Katerina differ from such heroines of Ostrovsky, such as, for example, Lipochka from “My People...”: “I need a husband!.. Listen, find me a groom, definitely find one!.. I tell you ahead! , you will certainly find it, otherwise it will be worse for you: on purpose, to spite you, I will secretly get an admirer, run away with the hussar, and get married on the sly.” That’s for whom “conventional moral instructions” really do not have any moral authority. This girl will not be afraid of the thunderstorm; such “Protestants” don’t care about the fiery Gehenna itself! Explaining the reasons for the heroine’s nationwide repentance, we will not repeat, following Dobrolyubov’s words, about “superstition,” “ignorance,” and “religious prejudices.” We will not see cowardice and fear of external punishment in Katerina’s “fear”. After all, such a look turns the heroine into a victim of the dark kingdom of the Boars. The true source of the heroine’s repentance lies elsewhere: in her sensitive conscience. “It’s not so scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts.
I’m not afraid to die, but when I think that I’ll suddenly appear before God as I am here with you, after this conversation, that’s what’s scary.” “My heart really hurts,” says Katerina in a moment of confession. “Whoever has fear, there is God,” echoes popular wisdom. “Fear” has been understood from time immemorial by the Russian people in Tolstoy’s terms, as heightened moral self-awareness, as “the Kingdom of God is within us.” In V.I. Dal’s Explanatory Dictionary, “fear” is interpreted as “consciousness of moral responsibility.” This definition corresponds to the heroine’s state of mind. Unlike Kabanikha, Feklushi and other heroes of “The Thunderstorm,” Katerina’s “fear” is the inner voice of her conscience. Katerina perceives the thunderstorm as the chosen one: what is happening in her soul is akin to what is happening in the stormy skies. This is not slavery, this is equality. Katerina is equally heroic both in her passionate and reckless love affair and in her deeply conscientious public repentance. “What a conscience!.. What a mighty Slavic conscience!.. What moral strength... What huge, sublime aspirations, full of power and beauty,” wrote V. M. Doroshevich about Katerina Strepetova in the scene of repentance. And S.V. Maksimov told how he happened to sit next to Ostrovsky during the first performance of “The Thunderstorm” with Nikulina-Kositskaya in the role of Katerina. Ostrovsky watched the drama (*67) silently, absorbed in himself. But in that “pathetic scene when Katerina, tormented by remorse, throws herself at the feet of her husband and mother-in-law, repenting of her sin, Ostrovsky, all pale, whispered: “It’s not me, not me: it’s God!” Ostrovsky, obviously, did not believe that he could write such an amazing scene.” It's time for us to appreciate not only the love, but also the repentant impulse of Katerina. Having gone through the stormy trials, he is morally cleansed and leaves this sinful world with the consciousness of his rightness: “He who loves will pray.” “Death due to sins is terrible,” people say. And if Katerina is not afraid of death, then her sins have been atoned for. Her departure takes us back to the beginning of the tragedy. Death is sanctified by the same full-blooded and life-loving religiosity that has entered the heroine’s soul since childhood. “There is a grave under the tree... The sun warms it... birds will fly to the tree, they will sing, they will bring out the children...” Doesn’t this ending remind of the famous folk song based on the verses of Nekrasov (“Funeral”):
There will be round dance songs for it
Fly from the village at dawn,
There will be grain fields for him
To evoke sinless dreams...
All nature turns into a temple. The funeral service is held for the hunter in a field under the sun “more intense than a wax candle,” to the hubbub of birds more intense than church singing, among swaying rye and colorful flowers. Katerina dies just as surprisingly. Her death is the last flash of spiritualized love for God's world: trees, birds, flowers and herbs. Monologue about the grave - awakened metaphors, folk mythology with its belief in immortality. A person, dying, turns into a tree growing on a grave, or into a bird making a nest in its branches, or into a flower that gives a smile to passers-by - these are the constant motifs of folk songs about death. When leaving, Katerina retains all the signs that, according to popular belief, distinguished the saint: she is dead as if she were alive. “That’s right, guys, it looks like it’s alive! There’s only a small wound on the temple, and there’s only one drop of blood.”
Need a cheat sheet? Then save - "Katerina as a tragic character. Literary essays!Boris. Am I some kind of villain?
Katerina (shaking head). Ruined, ruined, ruined!
Boris. God save me! I'd rather die myself!
Katerina. Well, how come you didn’t ruin me, if I, leaving home, come to you at night.
Boris. It was your will.
Katerina. I have no will. If I had my own will, I would not have gone to you. Boris. It was your will.
Katerina. I have no will. If I had my own will, I would not have gone to you.
(Raises his eyes and looks at Boris.) A little silence.
Boris (hugs Katerina). My life!
Katerina. You know? Now I suddenly wanted to die!
Boris. Why die when we can live so well?
Katerina. No, I can't live! I already know that I can’t live.
Boris. Please don’t say such words, don’t sadden me...
Katerina. Yes, it’s good for you, you are a free Cossack, and I!..
Boris. No one will know about our love. Surely I won’t regret you!
Katerina. Eh! Why feel sorry for me, it’s no one’s fault, she went for it herself. Don't be sorry, destroy me! Let everyone know, let everyone see what I do! Boris. No one will know about our love. Surely I won’t regret you! If I was not afraid of sin for you, will I be afraid of human judgment? They say that it is even easier when you suffer for some sin here on earth.
Boris. Well, what to think about it, fortunately we are good now!
Katerina. And then! I’ll have time to think and cry in my spare time.
Boris. And I was scared; I thought you were going to send me away.
Katerina (smiling). Drive away! Where else! Is it with our hearts? If you hadn’t come, it seems that I would have come to you myself.
Boris. I didn't even know that you loved me.
Katerina. I've loved it for a long time. It’s like it’s a sin that you came to us. As soon as I saw you, I didn’t feel like myself. From the very first time, it seems, if you had beckoned me, I would have followed you; If you went to the ends of the world, I would still follow you and wouldn’t look back.
Boris. How long has your husband been gone?
Katerina. For two weeks.
Boris. Oh, so we'll take a walk! There's plenty of time.
Katerina. Let's take a walk. And there… (thinks) As soon as they lock it up, that’s death! If they don’t lock you up, I’ll find a chance to see you!
Enter Curly And Varvara .
The fourth phenomenon
The same , Curly And Varvara .
Varvara. Well, did you manage?
Katerina hides her face on Boris's chest.
Boris. They worked it out.
Varvara. Let's go for a walk, and we'll wait. When necessary, Vanya will shout.
Boris And Katerina leaving. Kudryash and Varvara sit on a stone.
Curly. And you came up with this important thing, climbing into the garden gate. It is very capable for our brother.
Varvara. All I.
Curly. I'll take you on this. Will the mother not be enough?
Varvara. Eh! Where should she go? It won't even hit her in the face.
Curly. Well, what a sin?
Varvara. Her first sleep is sound; In the morning, he wakes up like this.
Curly. But who knows! Suddenly the difficult one will lift her up.
Varvara. Well then! We have a gate that is locked from the yard from the inside, from the garden; knocks, knocks, and just like that it goes. And in the morning we will say that we slept soundly and did not hear. Yes, and Glasha guards; At any moment, she'll give a voice. You can't do it without danger! How is it possible! Just look, you'll get into trouble.
Kudryash plays a few chords on the guitar. Varvara rests on the shoulder of Curly, who, not paying attention, plays quietly.
Varvara (yawning). How can I find out what time it is?
Curly. First.
Varvara. How do you know?
Curly. The watchman hit the board.
Varvara (yawning). It's time. Give me a shout. Tomorrow we will leave early, so we can walk more.
Curly (whistles and sings loudly) .
All home, all home,
But I don't want to go home.
Boris (behind the scenes). I hear you!
Varvara (rises). Well, goodbye. Boris (off stage). Tomorrow, look, come early! Varvara (stands up). Well, goodbye! (Yawns, then kisses him coldly, like someone he’s known for a long time.)
