In the image of Kabanikha, a wealthy merchant woman in the Volga town of Kalinov, Ostrovsky painted a typical character that had developed among the Russian bourgeoisie of the pre-reform period. At the same time, Ostrovsky not only denounces the social type reflected in the image of Kabanikha, but also reveals the inconsistency of the principles defended by Kabanikha, the inevitability of their death in the concrete historical conditions of the late fifties. He shows how Kabanikha, deeply convinced that only "the house rests on her", by consistent implementation of her principles contributes to the collapse of her family.

Having shown the disgusting essence of Kabanikha, Ostrovsky simultaneously endowed her with an outstanding mind and strength of character. Comparing the mind with the limitations and distortion of its ideas and concepts made it possible for the playwright to show the pernicious influence of the dark kingdom not only on its victims, but also on the owners, and thereby increase the accusatory power of the drama.
The boar appears for the first time in the fifth phenomenon of the first act, surrounded by the whole family.

Ostrovsky reveals her character - a peculiar combination of hypocrisy, despotism, severe cruelty and rudeness, unbridled tyranny and petty picky. Using the example of Kabanikha, Ostrovsky shows with amazing skill what it means to eat, “how rust wears away iron”.
From the very first remarks, we see the manner characteristic of Kabanikha - to make domestic reproaches. The purpose of Kabanikha's reproaches is to bring the household to such a state that they would not dare to think about any disobedience. But Kabanikha's reproaches are somewhat special. Their originality lies, first, in their complete groundlessness. In what Kabanikha reproaches her family, they are completely innocent, and Kabanikha herself perfectly understands this; secondly, reproaches are often needed by Kabanikha in order to start her instructions, starting from them, therefore the most unexpected reasons for them are found.

Kabanikha has favorite themes for reproaches and instructions. First of all, these are reproaches of children's disrespect towards their parents and reproaches to Tikhon that he prefers his wife to his mother, that he wants to "live with his own mind." All Tikhon's excuses do not help at all. Yes, Tikhon does not even hope for this. He knows perfectly well that Kabanikha needs these excuses as proof of his complete obedience. Reproaching, the Kabanikha vigilantly watches its victim. The slightest misstep, the answer not in the form required, causes her cruel blow. So, to the careless remark of Tikhon: "Why should she be afraid, it's enough for me that she loves me" - her stern cry follows. The reproach turns into a threat. But Kabanikha not only reproaches and threatens, she instructs. Favorite topic of her teachings - "how to live", what should be the order in the family.

The boar is a bigot. A sanctimonious coloring to her speeches is given, firstly, by affectionate addresses: "my friend", "my dear", etc .; secondly, phrases expressing self-deprecation: “mother is old, stupid, but you, young people, smart, should not collect fools from us”; thirdly, references to parental love: “after all, from love, parents are strict about you, or "... but what can I do, I am not a stranger to you, my heart hurts about you"; fourthly, the desire to present oneself as unhappy: “Well, wait, live and be free when I’m gone. Then do what you want, there will be no elders over you. Or maybe you will remember me too ... "; fifth, the presence of elements of church jargon: "grave sin", "a conversation close to the heart will go, well, you will sin ..."

Kabanikha is characterized not only by hypocrisy, she is a rude cruel despot. “Why did you jump out in your eyes to cheer,” or “That you are pretending to be an orphan,” or “Are you crazy, or something,” or “you keep stupid thoughts in your head,” etc.
Thus, Kabanikha's speech is based on the interweaving of terrible rudeness and unctuous humility.

The boar with stupid fanaticism is absorbed in the observance of order, of which she is the guardian. The word "order" in the mouth of Kabanikha has its own definite meaning. This is the norm of family life, this is what is recognized as correct in the dark kingdom. The instructions that she gives Tikhon regarding Katerina express the views of the dark kingdom on the position of the daughter-in-law in the family.
With her monologues, Kabanikha repeatedly emphasizes the role and importance of elders in the house. “It's good who else has elders in the house, they keep the house while they are alive ...” “I don’t know what will happen, how the old people will die, how the light will stand”.

In the third act of the play, Ostrovsky shows Kabanikha in a new aspect. The boar was given outside the family circle: with the wanderer Feklusha and with the owner of the city Wild.
A conversation with Feklusha reveals Kabanikha's exceptional ignorance, obscurantism and conservatism; he also shows how high the wanderer's authority is in her eyes. This is the only phenomenon where Kabanikha is not conducting a conversation, but where she only listens and agrees, or picks up Feklusha's remarks. Feklusha is the only character in a conversation with whom Kabanikha does not speak downwardly.

Thus, not only the remarks and monologues of Kabanikha themselves reveal her character, but also how Kabanikha changes depending on who she is talking to. If in relation to domestic Kabanikha is rude, if her sanctimonious tone continuously alternates with a rude shout, if she speaks with an instructive tone to the Wild, then she speaks sedately and affectionately to Feklusha. This affectionateness is emphasized by the address "sweetheart", "you have no place to hurry, sweetheart," "I heard, sweetheart," etc.

The conversation with Feklusha is followed by a scene with Dikim. In this "competition" of tyrants, the advantage remains on the side of Kabanikha. She is stronger and smarter than the Wild. It seems incredible that Kabanikha, who has just listened with complete confidence to Feklusha's absurd tales, is reasoning so cleverly with Dikim.
Kabanikha's ideas about life are distorted. She is ignorant, narrow-minded, but smart. She perfectly understands the Wild one, she knows the value of his strength. “And the honor is not great, because you have been at war with women all your life,” says Kabanikha, which underlines her attitude towards the Wild.

The mind and knowledge of the people of their circle is also evidenced by the psychological analysis of the behavior of the Wild, which Kabanikha does. “If you see that they want to ask you for something, you will take someone on your own on purpose and pounce on to get angry; because you know that no one will approach you angry. "
For Kabanikha, money is the criterion and basis of everything.
The life of Kabanikha is put into the framework of the old way of life, where every act has its own once and for all established consequence, and a misdeed is a punishment. One must act so righteously that at any moment one should be ready for death, i.e. ready to face God, says religion. And a righteous life, according to Kabanikha's ideas, is strict adherence to the rules established by custom and ritual.

Aug 02 2010

The image of the stern and domineering Marfa Ignatievna Kabanova (Kabanikha) allows us to get acquainted with another type of representatives of the "dark kingdom", as typical as the Wild, but even more sinister and gloomy. “Prude, sir! She dresses up the beggars, but she has eaten her household completely, ”- this is how he correctly and aptly defines the character of Kabanikha.

Dikoy will scream, scold, even beat him in the heat, but I will cool down, and Kabanikha tortures and pursues his victims systematically, day after day, torturing them in cold blood, annoyingly, undermining them, "like rusting iron." She brings her family to complete collapse with soulless despotism and hypocrisy. She brought Katerina to the grave, because of her, she left the house of Varvara, and Tikhon, who is essentially kind, albeit ashless, lost all ability to think and live independently. The family, in the words of Tikhon, "got hurt apart."

If Dikoy cannot understand that there is no sin in the lightning rod, Kabanikha cannot reconcile with the fact that “for the sake of speed” people invented a “fiery serpent” steam locomotive. “And even if you screech me with gold, I won't go,” she decisively declares in response to Feklusha's message about the “car”.

The inexorable enemy of everything new, Kabanikha, however, already has a presentiment that the old days are coming to an inevitable end, that hard times are coming for her. “We just wouldn’t live to see this,” says Feklusha fearfully, pointing out that “for the sins” of people, even the days are getting shorter and shorter. "Maybe we will live," Kabanikha declares with gloomy anger. The boar is typical as a representative of the despotic structure of the "dark kingdom". And at the same time, she is not in every way like the Wild one. This is a more complex type of representatives of the "dark kingdom". The boar is, first of all, smarter than the Wild. While Dikoy acts more "inwardly", as a rough physical and financial force, Kabanikha acts as a kind of theorist of the old order, fanatically defending the house-building. Unlike the unbridled, wild in her antics and not in control of the Wild, she is restrained, outwardly impassive and stern. This is the only person in the city with whom Dika is somehow considered.

And it is richer and more complex than the language of the Wild one. Sometimes rude expressions also slip through him, but they are not characteristic of her speech. The power of Kabanikha is reflected not in swearing, but in the imperative tone of her speech (“At the feet, at the feet!”; “Well!”; “Talk again!”). A noticeable imprint on her speech was imposed by the atmosphere of "piety" and ancient rituals that she maintains in her home.

Wanderers and beggars, patronized and endowed with it, establish its constant connection with the folk dialect and, apparently, with oral folk poetry, legends, spiritual verses, etc. Therefore, Kabanikha's speech contains both proverbs and figurative turns of folk speech. All this makes the language of Kabanikha peculiarly colorful, although it does not soften the general appearance of this imperious, harsh, adamant guardian of the foundations of the "dark kingdom".

Despotism, bigotry, soulless defense of outdated orders and customs - these are the features of the Kabanikha's inner appearance, making her, along with the Wild, a harsh and even more terrible guardian of the foundations of the "dark kingdom".

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The image of Kabanikha in the play "The Thunderstorm" is one of the main negative ones that form the plot. Hence the depth of his portrayal by the playwright Ostrovsky. The play itself shows how in the depths of an obsolete, but still strong patriarchal society, the champions of the "dark kingdom" in the very embryo strangle the barely manifested sprouts of the new. At the same time, the author of the work depicts two types that support the foundations of the Old Testament society based on dogmas. These are the dowager prosperous merchant's wife Marfa Ignatievna Kabanova, as well as the wealthy merchant Savel Prokofich Dikoy. No wonder they call each other godfathers.

Merchant Kabanova as an ideologist of the "dark kingdom"

It should be admitted that the image of Kabanikha in the play "The Thunderstorm" in the gradation of negative images occupies a more significant position than the character of the merchant Wild. Unlike her godfather, who oppresses others in the most primitive ways (with the help of abuse, reaching almost to beatings, humiliation), Marfa Ignatievna understands very well what “old times” is and how it should be protected. Her influence on others is more subtle. Indeed, in the course of reading the drama, the reader sees not only scenes where she categorically teaches her family, but also moments where she pretends to be "old and stupid." Moreover, the merchant Kabanova acts in the manipulation of her neighbors as an apologist for double morality and bigotry. And in this sense, the image of Kabanikha in the play "The Thunderstorm" is truly classic in Russian literature.

The desire of the merchant is to subjugate her neighbors

The playwright Ostrovsky managed at the same time deeply and understandably for the reader to show how ostentatious, insincere religiosity coexists in the merchant Kabanova with an absolutely non-Christian, immoral and selfish desire - to subjugate people to herself. Marfa Ignatievna really breaks the will and characters of her neighbors, their life aspirations, crushes real, genuine spirituality. She is opposed by the image of Katerina in Ostrovsky's play "The Thunderstorm", her daughter-in-law.

Different understanding of antiquity by Kabanikha and Katerina

To be precise, Katerina is also a representative of a patriarchal society. This idea was expressed by the actor and literary critic Pisarev in response to the famous article by Nikolai Dobrolyubov "A ray of light in the dark kingdom."

However, if her mother-in-law is a gloomy, dogmatic “old”, subduing people and killing their aspirations with senseless “no's” and teachings “as it should be”, then Katerina, unlike her, has completely different views on “antiquity”.

For her, there are also age-old traditions, but they are expressed in a completely different way: in love for others and caring for them, in a childishly enthusiastic attitude to the world around them, in the ability to see and perceive all the good around, in an instinctive rejection of gloomy dogmatism, in mercy ... "Old" for Katerina is colorful, romantic, poetic, joyful. Thus, Katerina and Kabanikha personalize two opposite aspects of the Russian patriarchal serf society - dark and light.

Psychological pressure of Kabanikha on Katerina

The tragic image of Katerina in Ostrovsky's play The Thunderstorm invariably evokes the sympathy and sympathy of the reader. The girl falls into the Kabanov family, having married Tikhon, the merchant's son. Before Katerina's appearance in the house, her future mother-in-law completely imposed her will on all household: her son and daughter Varvara. Moreover, if Tikhon is morally broken completely and is only able to follow the instructions of "mamma", then Varvara only pretends that she agrees, but always acts in her own way. However, under the influence of her mother, her personality was also deformed - the girl became insincere, double-minded.

The image of Kabanikha in the play "The Thunderstorm" is antagonistic to the image of Katerina throughout the entire play. It is not in vain that the daughter-in-law's reproach sounds that her mother-in-law "eats her meals." The boar constantly insults her with far-fetched suspicions. Exhausts the soul with senseless compulsions "to bow to her husband", "to hack on the nose." Moreover, the merchant's wife appeals to quite specious principles: maintaining order in the family; harmonious (as is customary in the Russian tradition) relations between relatives; foundations of the Christian faith. In fact, the influence of Marfa Ignatievna on Katerina is reduced to compulsion - to blindly follow her orders. Kabanikha wants to turn her into another subject of her home "dark kingdom".

Unmercifulness is a common feature of the Kabanikha and the Wild

The characterization of the image of Kabanikha in the play "The Thunderstorm" by Ostrovsky shows her in common with the image of the merchant Wild, despite their obvious characteristic differences. This is mercy towards people. Both of them treat their neighbors and fellow citizens in a non-Christian, consumer way.

True, Savel Prokofich does this openly, while Marfa Ignatievna resorts to mimicry, imitating Christian beliefs. In conversation with her neighbors, she prefers the tactics of "the best defense is attack", accusing them of non-existent "sins." She does not even hear the opposite arguments from the children and daughter-in-law. “I would have believed… if I hadn’t heard with my own ears… what reverence is…” Isn’t it a very comfortable, practically “impenetrable” position?

The characterization and image of Kabanikha from the play "The Thunderstorm" by A. Ostrovsky combines hypocrisy and cruelty. Indeed, in fact, Kabanikha, who regularly goes to church and does not spare alms to the beggars, turns out to be cruel and unable to forgive Katerina, who repented and confessed to her husband. Moreover, she instructs her son Tikhon, deprived of his own point of view, to beat her, which he does. They motivate this, again, by tradition.

Kabanikha contributed to Katerina's suicide

It is the image of Katerina Kabanova in Ostrovsky's play "The Thunderstorm", constantly bullied by her mother-in-law, deprived of all rights and intercession, that gives the tragedy to Ostrovsky's play. None of the readers doubts that her suicide is the result of the adverse impact of her mother-in-law, constant humiliation, threats, and cruel treatment.

The situation is aggravated by the fact that Katerina had previously announced that she would settle scores with her unhappy life. Marfa Ignatievna, who was perfectly aware of everything that was going on in the house, could not but know this. Was there a direct intent on the part of the mother-in-law to bring the daughter-in-law to suicide? Hardly. Rather, Kabanikha thought to “break” her, completely, as she had already done with her son. As a result, the merchant's family collapses: her daughter Varvara accuses her of directly contributing to the tragedy and leaves home. Tikhon falls into a binge ...

However, the hard-hearted Marfa Ignatievn does not repent even after that. For her, the "dark kingdom", manipulation of people is more important than family, more important than morality. Such a conclusion can be drawn from the episode of Kabanikha's hypocrisy, even in this tragic situation. The merchant's wife bows in public and thanks the people who got the body of the late Katerina from the Volga. However, he then declares that she cannot be forgiven. What could be more anti-Christian than not forgiving the dead? This, perhaps, can only be done by a true apostate.

Instead of a conclusion

The negative characteristic character - the merchant Kabanova - is revealed gradually in the course of the action. Does the image of Katerina in A. Ostrovsky's play "The Thunderstorm" fully oppose him? Probably no. The girl has nothing to oppose to the stifling atmosphere around her, she only begs for understanding. She's making a mistake. The imaginary liberation from the home "dark kingdom" of the Kabanovs - an affair with Boris - turns out to be a mirage. Katerina repents. It would seem that Kabanikha's morality has won ... The merchant's wife does not cost anything to turn the girl into her ally. To do this, you just need to show mercy. However, as they say, habit is second nature. Kabanikha, "offended", treats the already unrequited, humiliated Katerina with a vengeance.

The suicide of the daughter-in-law has devastating consequences for the family of Marfa Ignatievna. We are now witnessing a crisis in the obedient (before Catherine's appearance) family of the merchant's wife, which is falling apart. The boar can no longer effectively defend the “old times”. From the foregoing, the conclusion suggests itself that at the turn of the 19th century, the way of life of Russian society was steadily changing.

In fact, society even then demanded a liberation decree abolishing serfdom, allowing the commoners to raise the role of education and social freedoms.

The rich merchant woman Kabanova Marfa Ignatievna is one of the main pillars of the "dark kingdom". This is a domineering, cruel, superstitious woman who treats with deep distrust and even contempt for everything new. In the progressive phenomena of her time, she sees only evil, therefore Kabanikha with such jealousy protects her world from their invasion. Because of which, her children, despite many good traits, still grew up morally crippled people who do not have enough strength to openly confront the world of cruelty, inertia and despotism. Kabanova simply not realizing that Varvara and Tikhon are already adults with their own thoughts and feelings, continues to treat them as property. She considers herself, perhaps, a little strict, but loving and just parent: "After all, it is because of love that parents are strict with you, because of love they scold you, everyone thinks to teach good."

The gradual destruction of the patriarchal way of life, which is already felt even in provincial cities such as Kalinov, instills fear in her. As an intelligent person, she understands that times are changing and already the younger generation is increasingly resisting the old order. But she is not ready to accept these changes, and together with fear, her heart is filled with even more anger. Especially Katerina gets it. "Bow down at your feet!" - Kabanikha orders Katerina, who says goodbye to her husband. And when Katerina died, she only grumbled: “She hasn't done much to us shame. Enough, it's a sin to cry about her. "

june 20 2010

The boar is very rich. This can be judged because her commercial affairs go beyond Kalinov (on her behalf, Tikhon traveled to Moscow), that Dikoy respects her. But Kabanikha's affairs are of little interest to the playwright: she has a different role. If Dick shows the brute force of tyranny, then Kabanikha is the spokesman for the ideas and principles of the "dark kingdom". She understands that some money does not give the authorities yet, another indispensable condition is the obedience of those who have no money. And she sees her main concern in preventing any possibility of disobedience. She "eats" her household in order to kill their will, any ability to resist. With Jesuitical sophistication, she drains their souls out of them, insults their human dignity with unsubstantiated suspicions. She skillfully uses various techniques to assert her will.

Kabanikha knows how to speak well-meaningly and instructively (“I know, I know that my words are not to your liking, but what can I do, I’m not a stranger to you, my heart hurts about you”), and hypocritically pity (“Mother is old , stupid; well, you, young people, smart, should not exact from us, fools "), and command powerfully (" Look, remember! Cut yourself down on your nose! "," Bow down at your feet! "). Kabanikha tries to show her religiosity. Words: “Oh, grave sin! How long is it to sin! "," Only one sin! " - constantly accompany her speech. She supports superstitions and prejudices, strictly observes ancient customs. It is not known whether Kabanikha believes in the ridiculous Feklushi and the omens of the townspeople, she herself does not say anything like that. But it resolutely suppresses all manifestations of free-thinking. She condemns statements against prejudices and superstitions, and the superstitious prophecies of the townspeople that “this will not work for nothing”, she supports and edifyingly says to her son: “Do not condemn your older self! They know more than you do. Old people have all the signs. The old will not say a word to the wind. " Both in religion and in ancient customs, she sees the main goal: to push a person, to keep him in eternal fear. She understands that only fear can keep people in subjection, prolong the shaken domination of tyrants. In response to Tikhon's words, why should his wife be afraid of him, Kabanova exclaims in horror: “How, why be afraid! How, why be afraid! Are you crazy, or what? They will not be afraid of you, and even less so. What kind of order will it be in the house? After all, you, tea, live with her in law. Ali, do you think the law means nothing? " She defends the law according to which the weak should fear the strong, according to which a person should not have his own will. As a faithful guardian of this order, she teaches her household in full view of the crowd of townspeople. After the confession, she loudly, triumphantly says to Tikhon: “What, son! Where will the will lead! I said that you didn't want to listen. So I waited! "

In the son of Kabanikha, Tikhon, we see the living embodiment of the goal to which the rulers of the "dark kingdom" are striving. They would be completely calm if they could make all people the same downtrodden and weak-willed. Thanks to the efforts of "mamma" Tikhon was so imbued with fear and submission that he did not even dare to think about living by his own mind and will. “Yes, mamma, I don’t want to live by my own will. Where can I live by my own will! " - he assures the mother.

But Tikhon by nature is not a bad person. He is kind, sympathetic, sincerely loves and pities Katerina, he is alien to any selfish aspirations. But everything human is suppressed in him by the despotism of his mother, he becomes a submissive executor of her will. However, Katerina makes even the humble Tikhon raise his voice of protest. If the first words of Tikhon in the play are: “How can I, mamma, disobey you!”, Then at the end of it he, with despair, throws a passionate, angry accusation in his mother’s face: “You ruined her! You! You!"

Unbearable under the yoke of Kabanikha, longing for freedom, striving for love and devotion - all this, which did not find a response in Tikhon, was the reason for the birth of Katerina's feelings for Boris. Boris is not like the rest of Kalinov's inhabitants. He is educated and seems to be a person from another world. Like him, he is also depressed, and this makes the young woman hope to find in him a kindred spirit capable of responding to her ardent feeling. But Katerina was bitterly deceived in Boris. Boris only outwardly seems better than Tikhon, in reality he is worse than him. Like Tikhon, Boris has no will of his own and obeys meekly.

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