Kabaniha, she is Marfa Ignatievna Kabanova - the central heroine of the Pieces of Ostrovsky "Thunderstorm", rich landing, the widow, mother of Tikhon and Varvara, Katerina's mother-in-law.
Kabaniha - a man is very strong and domineering. She is religious, but forgiveness and mercy does not believe. This heroine is completely immersed in earthly affairs and practical interests. First of all, it is interested in strict compliance with patriarchal order. From the surrounding it requires a mandatory runtime and rank. Feelings of people and the emotional side of the question do not cause any interest from Kabani.
Kabaniha is dissatisfied with his family, especially son and daughter-in-law.
She constantly saws them, interfere with their affairs, expresses sharp remarks. It seems to her that the Son has recently cooled to it, and the daughter-in-law does not inspire confidence in his behavior. Kabaniha is confident that the right family structure is based on the fear of the younger generation in front of the older, wives in front of her husband. She believes that fear and order are the main elements of family life, so it does not feel like a tyrant, because parents should be strict to children to teach them good. However, Kabaniha feels that the keepers of the old lifestyle are becoming less and less, the patriarchal system gradually collapses, new changes in life are coming. For Kabani, this is a tragedy. It is not a nominator at all and even condemns the Kuma of his wild for its quick temper. Such a self-welfare behavior and endless complaints on domestic booth considers the manifestation of character weakness. She herself never complains about others on her family. Kabaniha devotedly honors the traditions of ancestors, without reflecting that they are bad or good. She is convinced that it is necessary to live as the fathers bequeathed, it will help to preserve the world and order on Earth. At the end of the play Kabaniha is experiencing a personal tragedy: the daughter-in-law publicly confesses his sin, the son is in public rebel against the mother, and the daughter runs away from the house. The world of Kabani collapses, and she dies along with him.
It is interesting that a contrast comparison of Kabani and the main character of Katerina is clearly traced in the play. They possess similar features: both belong to the patriarchal world with his ideas and life values, both have extraordinary power in character and are maximalists. Heroes do not allow compromise opportunities, they don't believe in forgiveness and mercy, although both religious. On this, their similarities are exhausted, emphasizing the contrast of the heroine and creating the possibility of comparing them. Katerina and Kabaniha are two opposing poles of the patriarchal world. Kabaniha is chained to the ground, it monitors the execution of the order and observance of the defendant in all its petty manifestations. The inner essence of human relationships is little worried. Katerina, on the contrary, embodies poetry, dreaminess, spirituality, impulse and spirit of the patriarchal lifestyle in his ideal manifestation.
In the play, Kabaniha is characterized not only with the help of his own statements and actions, but also due to the discussions of its other characters. For the first time about the boa, the reader will learn from the beggar of the Wanderer of Feklushi, who thanks Kupchikha for her generosity. The replica of Kuligina sounds right there that the Kabaniha good only to the beggar, and the homemade at all. And only after these introductory characteristics, the Kabaniha itself appears surrounded by his family. The reader is convinced that Kuligin's words have a true foundation. Kupchikha saw his relatives and quit to them on trifles. Despite the meekness and sincerity of the daughter-in-law, she tells the zealous misfortune to her, the son reproaches in indifference towards mother. At the same time, Kabaniha, confident in his rightness, feels that the patriarchal world collapses. Its apocalyptic expectations are detected during the dialogue with the feclesh, first Kabaniy still cheers and convinces the stranger that in Kalinov so far silence and order. But at the end of the conversation, having listened to the exciting stories of fecles, she is no longer sure that this order will last long.
Kabaniha - Woman powerful and cruel, completely confident in her right. She believes that the maintenance of an old order and lifestyle is a guarantee of the protection of the house from external chaos. Therefore, it rules its farm hard and firmly, refusing unnecessary emotions, without knowing mercy and bypassed without forgiveness. Any hint of non-interference from their home she seeks to eradicate completely, and for each misdemeanor punishes sternly and coolly. Huming and insulting loved ones, at the same time she is pious and respectful.
The image of the Kabani is monumental, it is a living embodiment of "brutal morals". The heroine is revealed in the work as honest and terrible in the strict sequence of the custody of the exclusive "law", Christian love of not enlightened. She does not cause pity, but it is difficult to condemn it. Introducing the pain and suffering to loved people, she is sincerely sure that her behavior is absolutely correct and in a different way cannot live.
Composition:
Kabaniha (Kabanova Marfa Ignatievna) - "Rich Kupchikha, Widow," Katerina's mother-in-law, mother of Tikhon and Varvara.
K. - very strong and domineering man. She is religious, but does not believe in forgiveness and mercy. This heroine is all solely from earthly affairs and interests. She is interested in compliance with patriarchal order and form. From people, it requires primarily the strict performance of the rite and rank. The emotional side, feelings are interested in K. Lastly.
His family, especially the Son and his wife, K. Unhappy. She is constantly sawing them. K. Puts on the imaginary cooling to her son, expresses jealous comments to his wife. According to K., the correct family structure keeps on the fear of the younger in front of the elders. "Fear" and "order" is the main thing in the homeflow for K. Therefore, the heroine does not feel like Tiran: "After all, the parents and strict lovers come to you, from love you and the troubles, everyone thinks good to teach." But K. feels that the old way of life is disturbed, she is one of his last keepers: "So here is the old man and is displayed ... What will be like older will refill, ... I don't know." This awareness gives the tragedy of her figure. K. - not a nominator, she condemns her Kum Wild for Samodorhood and belongs to him as a weak person. K. - the personification of the patriarchal lifestyle, the keeper of the traditions of ancestors. According to the thought of the heroine, it is not her case to reason, they are good or bad. You need to live as you visited fathers - this is a guarantee of the preservation of life and the world order at all. At the end of the play, K. is experiencing his "thunderstorm". Katerina publicly recognizes his sin, the son will rebel against her in people, Barbara escapes their home. Mir K. dies, and with him she herself.
Kabanova Marfa Ignatievna (Kabaniha) - the central heroine of the play, mother of Tikhon and Barbara, mother-in-law Katerina. In the list of acting persons, it is said: Rich Kupovikha, the widow. In the system of characters play - antagonist of the main character, Katerina, a contrast comparison with which is determined to understand the meaning of the play. The similarity of the heroine can be obtained both in their belonging to the world of patriarchal ideas and values \u200b\u200band on the scale and strength of characters. Both of them are maximalists, never reconcile with human weaknesses, do not allow any compromise opportunities. The religiosity of both also has one similar line: both of them do not believe in forgiveness and do not remember the mercy. However, these traits are exhausted, creating the ground for comparison and emphasizing the essentially significant antagonism of the heroine. They are like two poles of the patriarchal world. Katerina is its poetry, spirituality, glowing, dreametiness, spirit of patriarchal defendant in his ideal meaning. Kabaniha All chained to earth and earthly affairs and interests, she is a guardian of order and shapes defended in all of his petty manifestations, demanding strict performance of the rite and rank, nimalo without worrying about the inner essence of human relations (see her rough answer to the words of Katerina The fact that the mother-in-law is like her own mother; all the teachings of the son).
K. The play is characterized not only by its own speeches and actions, but also discussed by other characters. For the first time, there is a Stranger of Feklusha: "I am so pleased, so, Mother, pleased, according to Gorushko! For our nestance, they will increase their even more generous, and especially the house of Kabanov. " Before this replica is the judgment of Kuligina: "Khunzha, sir! The beggars will dwell, but at all the houses. Shortly after these preceding characteristics, emerging from the evening K., accompanied by his family, which she does not ceasing the saw, causing a son's imaginary cooling to her, showing a jealous ill-witness to his young wife and distrust of her sincere words ("For me, Mama, All one thing that my mother is that you. Yes, and Tikhon loves you "). From this conversation, we learn that, according to K., the right family order and homework hold on the fear of the younger in front of the elders, she tells Tikhon about his relationship with his wife: "You will not be afraid of you, I am suppressed. What kind of order in the house will be? " Thus, if the keywords in the views of Katerina about the lucky and prosperous life in the house "Love" and "Will" (see her story about life in Major), then in the ideas of K., it is fear and order. This is especially brightly visible in the scene of Tikhon's departure, when K. makes the Son strictly follow the rules and "order to wife," how to live without him. K. There is no doubt in the moral rightness of the hierarchical relations "Patriarchal Life, but also there is no confidence in their irregularities. On the contrary, she feels almost the last chamber of the right world order (" So that is older and removed ... what will happen How older will refine how the light will stand, I don't know "), and the wait that chaos will come with her death, gives the tragedy of her figure. She does not consider himself and a violence:" After all, parents and strict things to you There are, from love you and the fermented, everyone thinks to teach good. "If Katerina feels in a new way, not in Kalinovsky, but does not give himself in this report, then K., on the contrary, feels still quite in the old But it sees that her world is dying. Of course, this awareness is taught in full of "Kalinov-Sky", medieval forms of common philosophousism, mainly in apocalyptic expectations. All this reveals its dialogue with fecles, whose feature is that it characterizes first of all Moskness K., although " Corresponds to "these reflections of the fecles, and K. attacks, wants to assure the interlocutor that they have a truth and silence in the city, but at the end of the scene, her true thoughts are completely discovered in the last two replicas, as if authorizing the apocalyptic arguments of the fecles:" And worse than this, sweet, will ", - and in response to the words of the Wanderer:" We would only not live to this "- K. Vesko throws: "Maybe we will live." It is impossible to take a very common definition of K. as "Self-Mode". Samodorum is not the order of the patriarchal world, but raised the truly human person, also in his own way violating the right order and ritual. K. condemns his Kuma wild, real self-made (unlike the K. itself, strictly adhered to the orders and rules), and refers to the contempt for its riotiness and complaints at home as a manifestation of weakness. In the strength of the character, K. do not doubt others ("our hostess for him to be, she would soon stopped him," the maid says in response to Boris, complaining of wild rustling). K. itself, no matter how much she sharpened children for dismountain and disobedience, and no one comes to complain to the strangers in his home. And therefore, for her, the public confession of Katerina is a terrible blow to which it will soon join again, on people, the rebellion of her son, not to mention the escape from the house of the daughter of Varvara. Therefore, in the final "Thunderstorm" not only the death of Katerina, but also the collapse of K. Of course, the antagonist of the tragic heroine does not cause sympathy.
Kabaniha - Central Character Drama A.N. Ostrovsky "Thunderstorm" (1859). K. belongs to those powerful and strong agents that are aware of the keepers of "order", the original standards and rules of life: Kukushkina ("Profitable Place"), Ulabekova ("Pupil"), Murzanetskaya ("Wolves and Sheep"), Maur Tarasovna ("True - good, and happiness is better"). I myself am a hostess ("Rich Kupchah, in the 181 VA"), Marfa Ignatievna Kabanova manages the house, relying on the ancient law of life and custom. "Order" for it is a means of curbing free life, the only defense of the "home space" from the chaos "Will". K. Feels like a worker "the law" and therefore lives his life calmly, firmly and right, eradicating any hint of non-interference. Cruelty K. manifests itself in the habit of managing "thunderstorms", without knowing love, going around without grace, without suspecting the possibility of forgiveness. The Old Testament Severeness fits from the wishes of K. Sushed the daughter-in-law: "I wake alive in the ground so that it is executed." Nothing capable of shaking confidence K. In the correctness of her life philosophy: Neither the daughter's escape from the attic home, nor the suicide of the daughter-in-law, which she "crushed", nor the sudden accusations of Drotol of a haired and a wordless son: "Mama, you have taken it up." She judges Katerina mercilessly and speak without regret: "About her and crying sin." Useless reminders of Kuligin about God, the judge of the merciful, - K. Never responds to them. But according to custom, "the people low low" for the service in search of poor suicides. K. "Luta", "steep" in compliance with the "old" - and all "under the guise of piety." The monumental image of K. - the living embodiment of "cruel morals", about which Boris says: "I understand that all this is our Russian, native, but still not get used to anyone." K. reveals in the play as honest and terrible in his sequence of the defender of the exclusive "law", not enlightened by Christian love. Vassa Schearezov M. Gorky became the further development of this image in Russian drama. The first performer of the role of K. - N.V. Rykalova (1859). Among other performers - F.V.Shevchenko (1934), V.N.pashenny (1962).
Slide 1.
Slide 2.
In 1845, Ostrovsky worked in
Moscow Commercial Court
stationery official.
In front of him, the whole world was revealed
dramatic conflicts. So
the talent of the future masters was brought up
speech characteristics of characters in their
pieces.
Ostrovsky in the drama "Thunderstorm" very clearly
shows the whole global difference between
old patriarchal glances and
new. All the most important features are clearly visible.
characters of heroes, their reactions to
developing events. Consider
the speech characteristic of the Kabanihi.
Slide 3.
Kabaniha - man old
morality. She is breaking everywhere
rules "Domostroja". In everything
new seems to her threat
the well-established go of things she
condemns the youth for
she has no "due
reverence. " Kabanova Strashna
not a faithfulness of the old days, but
samodoria "under the guise of
piety. "
Kabanova.
"It's funny to look at them ...
do not know anything
order. Forgotten
don't know how ... what will happen like
old people will refine how will
light stand, I really do not know. "
Slide 4.
Kabaniha makes everyone home
dance under your dull. She forces
Tikhona in ancient to say goodbye to
his wife causing laughter and feeling
regrets around others. The whole family
lives in fear in front of her. Tikhon
completely depressed power
mother, lives alone with the desire
- break out somewhere and walk.
"I seem to mamma, from your will
neither step. "
"He will leave, so drip. He is now
listens, and he thinks how to him
break down as soon as possible. "
Slide 5.
Kuligin calls her "Hangeh" and
says she "beggars
wondering and home
at all. " This characterizes
kupchuha from a bad side.
Kabaniha in his speech
trying to assure good and
affectionate, although sometimes it is
speech detects
negative features of it
character, such as passion for
money.
Katerina.
"Full, fully, do not fear! Sin!
I have been seeing that you have a wife
maid mother. Since
married i see from you
i do not see love. "
Slide 6.
Sister Tikhon, Varvara,
also experiences
all family tags
settings. However, B.
difference from Tikhon, she
it has more solid
character and not enough
audacity, let the secret, not
obey the mother.
"Found a place of instruction
to read."
"And I am not a deception was, yes
learned when you need
it became. "
Slide 7.
Kabaniha is very pious and
religious. But before
we are open
scary and despotic
essence of the Kabani. She is
managed to subordinate to himself
everyone keeps everything under
control, she even
trying to manage
relationship
people that lead
Katerina to death.
Kabaniha Schitra and smart, in
difference from wild and this
makes her more
scary.
Slide 8.
Kabanih has no doubt in moral right
relationship of patriarchal life, but also confidence in their
non-deeds are also not. On the contrary, she feels
almost the last championship of this
"Right" world order, and waiting that with her
chaos comes death, gives the tragedy of her figure.
As you know, there are several types of heroes in classic works and fairy tales. This article will talk about a pair of antagonist - protagonist. This opposition will be considered on the example of the play of Alexander Nikolayevich Ostrovsky "Thunderstorm." The main heroine of this play, in other words, the protagonist is the young girl of Katerina Kabanova. It opposes, that is, an antagonist, Marfa Ignatievna Kabanova. On the example of comparisons and analyzing actions, we will give a more complete characteristics of the Kabani in the "Thunderstorm" play.
To begin with, we turn to the list of actors: Marfa Ignatievna Kabanova (Kabaniha) - Old Kupchikha, widow. Her husband died, so the woman had to rold two children alone, to cope with the household and do business. Agree, it is quite difficult and currently. Despite the fact that in brackets are the nickname of the checkpie, the author never calls her so. The text has replicas Kabanova, not kabani. Like the drama wanted to emphasize the fact that people call the woman so among themselves, but they personally turn respect to it. That is, in fact, the residents of Kalinova do not like this person, but they are afraid of him.
Initially, Marf Ignatievna reader will find out from Kuligin's mouth. Mechanic self-taught calls her "Hangehog, which is all home and households." Kudryash only confirms these words. Further on the scene there is a wanderer, fecusha. Her judgment about the boat is exactly the opposite: quote. As a result, such disagreements arises an additional interest in this character. Marfa Ignatievna appears on the scene in the first action, and the reader or the viewer is given the opportunity to see the truth of the words of Kuligin.
Kabaniha is not satisfied with the Son behaves. She teaches him to live, despite the fact that the son is already adult and has long been married. Marfa Ignatievna shows itself as a grumpy powerful woman. Her daughter-in-law Katerina behaves differently. In general, it is quite interesting to trace the similarity and distinction between these characters throughout the play.
In theory, both Kabaniha, and Katerina should love Tikhon. For one he is a son for another - a husband. However, neither Katya nor Martha Ignatievna do not nourish the Tikhon. Katya regrets her husband, but does not love him. And Kabaniha refers to him as a experimental rabbit, as to the merits, on which you can tear your aggression and experience the methods of manipulation, hiding behind the maternal love. Everyone knows that for every mother is the most important happiness of his child. But Marfa Kabanova in the "thunderstorm" is not at all interested in the opinion of Tikhon. For years of tyranny and dictatorship, she was able to teach the Son to the fact that the absence of his own point of view is quite normal. Even watching how carefully and, in some moments, gently Tikhon belongs to Katerina, Kabani all the time tries to destroy their relationship.
Many critics argued about the strength or weakness of the character of Katerina, but in the power of the character of the Kabani, no one doubted. This is a truly cruel man who tries to subjugate to him around. She would rule the state, and so you have to waste your "talents" on the family and the provincial town. Varvara, daughter Martha Kabanova, chose pretense and lies as a way of coexistence with a despotic mother. Katerina, on the contrary, resolutely opposes mother-in-law. They as if they occupied two positions, truth and lies, defending them. And in their conversations that Kabanchi should not be designerously accused Katya in mistakes and various sins, through the household background, the struggle of light and darkness, truth and the "dark kingdom", whose representative, is Kabaniha.
Katerina and Kabaniha Orthodox Christian. But their faith is completely different. For Katerina, faith coming from the inside is more important. For it, it is not fundamentally the place of prayer. The girl is divened, she sees the presence of God all over the world, and not only in the building of the Church. Religiosity Martha Ignatievna can be called a mining. For her, rites and accurate compliance with the rules are important. But for all this obsession with practical manipulations, the faith itself disappears. Also for boobies it turns out to be significant and maintaining old traditions, contrary to the fact that many of them have already been outdated: "You will not be afraid of, and I am suppressed. What is the order of it in the house? After all, you, tea, you live in the law. Ali, in your opinion, the law does not mean anything? Yes, if you keep such stupid thoughts in my head, you would have at least not chatted with her at least with her sister, with a girl. " The characteristic of the Kabani in the "thunderstorm" is impossible without mentioning its practically manic attention to detail. Tikhon, the son of a kabanova-elder, drinks, the daughter of Varvara is lying, walks with whom he wants and wait to run out of the house, disgraceing the family. And Marfa Ignatievna worries that they enter the threshold without bows, not as great-grandfathers taught. Her behavior resembles the behavior of the crown of a dying cult, which are trying by all their forces to maintain life in it with the help of external attributes.
Katerina Kabanova was a somewhat mining girl: in the "prophecies" of a polulous lady, her fate was crucial, and in a thunderstorm, the girl saw Karu Lord. Kabaniha is too mercantile and landed for this. It is closer to the material world, practicality and utility. Kabanov thunderstorm and thunder does not scare at all, she just does not want to mock. While the residents of Kalinov argued about the stale element, Kabanikha grumbling and expresses their dissatisfaction: "You wanted what kind of races. There is something to listen, nothing to say! Here, sometimes they came, some teachers appeared. As the old man talks like that, what can you demand from the young one! "," You do not condemn older yourself! They know your more. Old people have all the signs. An old man on the wind will not say the word. "
The image of the Kabani in the play "Thunderstorm" can be called a certain generalization, a conglomerate of negative human qualities. It is difficult to call a woman, mother, and man in principle. Of course, she is far from the dwarves of the city of Studez, but her desire to subjugate and ruins killed all human qualities in Marfa Ignatievna.
Test on the work
The image of the kabani in the "Thunderstorm" is one of the main negative, forming the plot. From here and the depth of the image of his playwright is Ostrovsky. The play itself shows how in the depths of the susceptible, but still strong patriarchal society for chambers of the "Dark Kingdom" in the germ itself, the barely manifested new sprouts. At the same time, the author of the work depicts two types that support the foundations of an old-fashioned, based on society dogmas. This is a widespread wealthy checkman Marfa Ignatievna Kabanova, as well as a rich merchant Savel Prokofich Wild. It is not surprising that they call each other kumami.
Kupach Kabanova as an ideologist of the "Dark Kingdom"
It should be recognized that the image of the kabani in the "Thunderstorm" play in the gradation of negative images takes a more significant position than the Wild merchant character. Unlike his kum, depressing those surrounding the most primitive ways (with the help of a swearing, who gives up almost to the beatings, humiliation), Marfa Ignatievna perfectly understands what "old man" is and how it should be protected. Its influence on the surrounding more subtle. After all, in the course of reading the drama, the reader sees not only the scene, where she pestering homemade, but also the moments where she prevents "old and stupid". Moreover, Kupchaika Kabanova acts in manipulation with its close apologist double morality, a chandeliness. And in this sense, the image of the Kabani in the play "Thunderstorm" is really classic in Russian literature.
The desire of a checkpone - subordinate to the neighbor
The Ostrovsky's playwright managed at the same time deeply and it is clear to the reader to show how the ostentatious, insincere religiosity with an absolutely non-Christian, immoral and mercenary desire - to subordinate people to themselves in Kabanova. Marfa Ignatievna really breaks the will and the characters of their neighbors, their life aspirations, presses the real, genuine spirituality. She is opposed to the image of Katerina in the play of Ostrovsky "Thunderstorm", her daughter-in-law.
Various Understanding of Starny Kabanchi and Katerina
To be accurate, Katerina is also a representative of the patriarchal society. This idea was expressed by an actor and literary criticism of Pisarev in response to the well-known article by Nikolai Dobrolyubov "Light of Light in the Dark Kingdom."
However, if its mother-in-law is an "old" gloomy, dogmatic, subordinating people and killing their aspirations meaningless "impossible" and the teachings "as it should be", then Katerina, in contrast to it, nourishes completely different views on the "old".
For her, there are also century-old traditions, however, they are completely expressed in another: in love for others and care about them, in childish enthusiastic attitude towards the world around, in the ability to see and perceive everything good around, in the instinctive rejection of gloomy dogmatism, in mercy . "Older" for Katerina - colorful, romantic, poetic, joyful. Thus, Katerina and Kabaniha personalize the two opposite aspects of the Russian patriarchal serf society - dark and light.
Psychological Pressing Kabanyi in Katerina
The tragic image of Katerina in the play of the Ostrovsky "Thunderstorm" invariably causes sympathy and sympathy of the reader. The girl falls into the family of Kabanov, coming out married Tikhon, the son of the junk. Before the appearance in the House of Katerina, her future mother-in-law completely imposed her will to all the home: son and daughter Varvar. Moreover, if the Tikhon is morally broken completely and is able to follow the instructions of "Mama", then Barbara only pretends to agree, but it always comes in its own way. However, under the influence of his mother, her personality was also deformed - the girl became insincere, dual-soul.
The image of the kabani in the "Thunderstorm" play is antagonistic to the image of Katerina throughout the play. Not in vain sounds reproaching the daughter-in-law, that her mother-in-law "Eat Eating". Kabaniha constantly insults her face suspicions. I pulls out the soul with meaningless coercion to "bow my husband", "on the nose bore." And the deposit appeals to the principles is quite favorabled: maintaining order in the family; harmonious (as accepted in the Russian tradition) relations between relatives; The basics of the Christian faith. In fact, the influence of Martha Ignatievna on Katerina comes down to coercion - blindly follow its velats. Kabaniha wishes to turn her into another subject of his home "Dark Kingdom."
Complete - the overall feature of Kabani and Wild
The characteristic of the image of the kabani in the play "Thunderstorm" is shown its overall line with the way the Wild merchant, despite their obvious characteristic differences. This is a merciless to people. Both of them belong to their neighbors and fellow citizens are not Christian, consumer.
True, Savel Prokofich does it in the open, and Marfa Ignatievna resorts to mimicria, imitating Christian beliefs. In a conversation with the neighbors, she prefers the tactics "Best Protection - an attack", accusing them in non-existent "sins". She does not even hear the inverse arguments from the side of children and daughter-in-law. "It would be believed ... I didn't hear my ears ... What is the reverence ..." Is it really very convenient, almost "impenetrable" position?
Characteristic and image of the Kabani from the Pieza "Thunderstorm" by A. Ostrovsky combines the hypocris and cruelty. After all, in fact, the Kabaniha, who is regularly walking in the church and does not regret alone, it turns out to be cruel and not able to forgive the Katerina to her husband and recognized in treason. Moreover, it gives an indication of his own point of view to the son of Tikhon to beat her, which he does. They motivate it, again, traditions.
Kabaniha contributed to Katerina suicide
It is the image of Katerina Kabanova in the play of the Ostrovsky "Thunderstorm", constantly sperturbed by the mother-in-law, devoid of all rights and intercession, gives the tragedy of the Ostrovsky's play. None of the readers raise doubts that her suicide is the result of the adverse effects of mother-in-law, constant humiliation of dignity, threats, ill-treatment.
The situation exacerbates the fact that Katerina has already previously declared that the abuses with their unfortunate life will bring. Marfa Ignatievna, who was perfectly aware of everything that was going on in the house, could not know it. Was there direct intent on the side of the mother-in-law So bring the daughter-in-law before suicide? Unlikely. Rather, Kabaniha thought her to "break", absolutely as she had done it with her son. As a result, the tracchi family collapses: the daughter of Varbara accuses her in direct promotion of the tragedy and leaves the house. Tikhon falls into the drink ...
However, the cruel-ferrous Marfa Ignatievn does not roll and after that. For her, the "Dark Kingdom", manipulating people more important than family, more important than morality. Such a conclusion can be made from the episode of the manual record of Kabani even in this tragic setting. Kupchikha will definitely bow and thank people who got the body of late Katerina from the Volga. However, then declares that it cannot be forgiven. What could be more anti-Christian than not to forgive the dead man? This, perhaps, can be given only a real versoant.
Instead of imprisonment
A negative characteristic character - Kubachi Kabanov - reveals gradually in the course of action. Is the image of Katerina in the play with A. N. Ostrovsky "Thunderstorm" fully? Probably no. The girl has nothing to oppose the suffocating atmosphere around it, it prays only about understanding. She makes a mistake. Imaginary liberation from the home "Dark Kingdom" of Kabanov - Roman with Boris - turns out to be a mirage. Katerina repents. It would seem that Moral Kabani won ... Kupchikha should not turn the girl in his ally. For this it is worth only to show mercy. However, as they say, the habit is the second nature. Kabaniha, "Insulting," is already tertizing the unrequited, humiliated Katerina with a double strength.
Susicide of the daughter-in-law brings destructive consequences for the family of Marfa Ignatievna. We are now seeing the crisis and in the obedient (before the appearance of Katerina) the family of the debris, which disintegrates. Kabaniha can no longer effectively protect the "old". Of the foregoing, the conclusion suggests that at the turn of the XIX century, the way of life of Russian society has changed steadily.
In fact, society already then demanded a liberation decree that cancels the serfdom, allowing the differences to raise the role of education and social freedoms.
