"Thunderstorm". This is a young woman who does not yet have children and lives in her mother-in-law's house, where, in addition to her husband Tikhon, Tikhon's unmarried sister, Varvara, also lives. Katerina has already for some time been in love with Boris, who lives in the house of the Dikiy, his orphaned nephew.

While her husband is nearby, she secretly dreams of Boris, but after his departure, Katerina begins to meet with a young man and enters into a love affair with him, with the complicity of her daughter-in-law, to whom Katerina's relationship is even beneficial.

The main conflict in the novel is the confrontation between Katerina and her mother-in-law, Tikhon's mother, Kabanikha. Life in the city of Kalinov is a deep swamp that sucks in deeper and deeper. "Old concepts" prevail over everything. Whatever the “elders” do, they must get away with it, they will not tolerate free-thinking here, the “wild lordship” here feels like a fish in water.

The mother-in-law is jealous of the young attractive daughter-in-law, feeling that with the marriage of her son, her power over him rests only on constant reproaches and moral pressure. In her daughter-in-law, despite her dependent position, Kabanikha feels a strong adversary, an integral nature that does not yield to her tyranny oppression.

Katerina does not feel proper respect for her, does not tremble and does not look into Kabanikha's mouth, catching her every word. She does not act out sadness when her husband leaves, she does not try to be useful to her mother-in-law in order to deserve a favorable nod - she is different, her nature resists pressure.

Katerina is a believing woman, and for her sin is a crime that she cannot hide. She lived in her parents' house as she wanted and did what she liked: she planted flowers, fervently prayed in church, feeling a sense of enlightenment, listened with curiosity to the stories of the pilgrims. She was always loved, and her character developed a strong, headstrong, she could not tolerate any injustice and could not lie and maneuver.

The mother-in-law, however, will face constant unfair reproaches. She is guilty that Tikhon does not show, as before, the due respect for his mother, and he does not demand it from his wife. Kabanikha reproaches her son that he does not appreciate the suffering of his mother in his name. The power of the tyrant escapes from the hands right before our eyes.

The betrayal of her daughter-in-law, in which the impressionable Katerina admitted publicly, is Kabanikha's reason to rejoice and repeat:

“But I told you! And nobody listened to me! "

All sins and transgressions are due to the fact that, perceiving new trends, do not listen to elders. The world in which the eldest Kabanova lives suits her perfectly: power over the household and in the city, wealth, harsh moral pressure over the household. This is the life of Kabanikha, this is how her parents and their parents lived - and this did not change.

While the girl is young, she does what she wants, but after getting married, she is like dying to the world, appearing with her family only in the bazaar and in the church, and occasionally in crowded places. So Katerina, having come to her husband's house after a free and happy youth, also had to die symbolically, but could not.

The same feeling of a miracle that is about to strike, the expectation of the unknown, the desire to fly in and soar, which had been with her since her free youth, did not disappear anywhere, and the explosion would still have occurred. Let not by communication with Boris, but Katerina would still challenge the world into which she came after marriage.

It would be easier for Katerina if she loved her husband. But every day watching how Tikhon was mercilessly suppressed by her mother-in-law, she lost her feelings and even the remnants of respect for him. She pitied him, from time to time encouraging, and not even very offended when Tikhon, humiliated by his mother, takes out his resentment on her.

Boris seems to her different, although because of his sister he is in the same humiliated position as Tikhon. Since Katerina sees him briefly, she cannot appreciate his spiritual qualities. And when two weeks of love intoxication dissipate with the arrival of her husband, she is too busy with mental anguish and her guilt to understand that his position is no better than that of Tikhon. Boris, still clinging to the faint hope that he will get something from his grandmother's condition, is forced to leave. He does not call Katerina with him, for this his mental strength is not enough, and he leaves with tears:

"Eh, if only there were strength!"

Katerina has no way out. The daughter-in-law has fled, the husband is broken, the lover is leaving. She remains in the power of Kabanikha, and realizes that now she will not let the guilty daughter-in-law go down ... if she had previously scolded her for nothing. Further - this is a slow death, not a day without reproaches, a weak husband and there is no way to see Boris. And the believer Katerina prefers to all this the terrible mortal sin - suicide - as liberation from earthly torments.

She realizes that her impulse is terrible, but for her it is even preferable to punish her for sin than life in the same house with Kabanikha before her physical death - the spiritual one has already taken place.

A whole and freedom-loving nature will never be able to withstand pressure and mockery.

Katerina could have run, but there was no one with whom. Therefore - suicide, quick death instead of slow. She nevertheless made her escape from the kingdom of the "tyrants of Russian life".

A strong and deep impression was made by Alexander Ostrovsky's "Thunderstorm" on his contemporaries. Many critics were inspired by this work. However, even in our time it has not ceased to be interesting and topical. Raised into the category of classical drama, it still awakens interest.

The arbitrariness of the "older" generation lasts for many years, but some event must take place that could break the patriarchal tyranny. Such an event turns out to be the protest and death of Katerina, which awakened other representatives of the younger generation.

Let us consider in more detail the characteristics of the main acting heroes.

Characters	Characteristic	Examples from text
"The older generation.
Kabanikha (Kabanova Marfa Ignatievna)	A wealthy merchant widow imbued with Old Believer beliefs. “Everything is under the guise of piety,” according to Kudryash. It makes you honor the rituals, blindly follow the old customs in everything. Home tyrant, head of the family. At the same time, he understands that the patriarchal order is crumbling, covenants are not being observed - and therefore even more rigidly implants his authority in the family. "Khanzha", according to Kuligin. He believes that decency must be portrayed in front of people at all costs. Her despotism is the main reason for the collapse of the family.	Action 1, phenomenon 5; Action 2, phenomenon 3, 5; Action 2, phenomenon 6; Activity 2, phenomenon 7.
Dikoy Savel Prokofievich	A merchant, tyrant. Accustomed to intimidate everyone, take impudently. Abuse is what brings him true pleasure, there is no greater joy for him than humiliation of people. Trampling on human dignity, he experiences incomparable pleasure. If this "scolder" runs into someone whom he does not dare to swear at, then he breaks down on his family. Rudeness is an integral part of his nature: "he cannot breathe, so as not to scold someone." Abuse is also a kind of protection for him, as soon as it comes to money. Stingy, unfair, as evidenced by his behavior towards his nephew and niece.	Action 1, phenomenon 1 - conversation between Kuligin and Kudryash; Act 1, Phenomenon 2 - Dikiy's conversation with Boris; Act 1, Phenomenon 3 - the words of Kudryash and Boris about him; Activity 3, phenomenon 2; Activity 3, phenomenon 2.
Younger generation.
Katerina	Tikhon's wife, does not reread her husband, treats him kindly. Initially, traditional obedience and obedience to her husband and elders in the family is alive in her, but a keen sense of injustice allows her to step towards “sin”. She says about herself that "unchanged in character, and in people, and without them." In girls, Katerina lived freely, her mother spoiled her. He devoutly believes in God, therefore he is deeply worried about sinful love outside of marriage for Boris. She is dreamy, but her outlook is tragic: she foresees her death. “Hot,” fearless since childhood, she challenges the housebuilding morals with her love and her death. Passionate, loving, gives her heart without a trace. Lives by emotions rather than reason. She cannot live in sin, hiding and hiding like Barbara. That is why he confesses to her husband in connection with Boris. She shows courage, which not everyone is capable of, gaining victory over herself and rushing into the pool.	Action 1, phenomenon 6; Action 1, phenomenon 5; Action 1, phenomenon 7; Action 2, phenomenon 3, 8; Action 4, phenomenon 5; Action 2, phenomenon 2; Action 3, scene 2, phenomenon 3; Action 4, phenomenon 6; Action 5, phenomenon 4, 6.
Tikhon Ivanovich Kabanov.	Kabanikha's son, Katerina's husband. Quiet, timid, obedient in everything to the mother. Because of this, he is often unfair to his wife. I am glad to get out from under my mother's heel for a while, get rid of the constantly eating fear, for which he goes to the city to get drunk. In his own way, he loves Katerina, but in nothing he can resist his mother. As a weak nature, devoid of any will, he envies Katerina's decisiveness, remaining “to live and suffer,” but at the same time shows a kind of protest, accusing his mother of Katerina's death.	Action 1, phenomenon 6; Action 2, phenomenon 4; Action 2, phenomenon 2, 3; Action 5, phenomenon 1; Activity 5, phenomenon 7.
Boris Grigorievich.	Dikiy's nephew, Katerina's lover. Well-bred young man, an orphan. For the sake of the inheritance left by his grandmother to him and his sister, inevitably he endures the abuse of the Wild. “A good man,” according to Kuligin, is incapable of decisive action.	Action 1, phenomenon 2; Action 5, phenomenon 1, 3.
Barbara.	Sister Tikhon. The character is more lively than that of his brother. But, just like him, he does not openly protest against arbitrariness. She prefers to condemn her mother on the quiet. Practical, down-to-earth, does not hang in the clouds. He secretly meets with Kudryash and sees nothing wrong in bringing Boris and Katerina together: “do what you want, if only it is sewn and covered”. But she also does not tolerate arbitrariness over herself and runs away with her beloved from the house, despite all the outward obedience.	Action 1, phenomenon 5; Action 2, phenomenon 2; Activity 5, phenomenon 1.
Kudryash Vanya.	Clerk Wild, has a reputation for being rude, in his own words. For the sake of Varvara, he is ready for anything, but believes that husbands should sit at home.	Action 1, phenomenon 1; Act 3, scene 2, phenomenon 2.
Other heroes.
Kuligin.	A tradesman, a self-taught mechanic, is looking for a perpetuum mobile. Original, sincere. Preaches common sense, enlightenment, reason. Diversified. As an artist, he enjoys the natural beauty of nature, looking at the Volga. Composes poetry in his own words. Stands for progress for the benefit of society.	Action 1, phenomenon 4; Action 1, phenomenon 1; Action 3, phenomenon 3; Action 1, phenomenon 3; Action 4, phenomenon 2, 4.
Feklusha	A wanderer who adapts to the concepts of Kabanikha and seeks to frighten others with a description of an unrighteous way of life outside the city, suggesting that they can live happily and in virtue only in Kalinov's “Promised Land”. A companion and a gossip.	Action 1, phenomenon 3; Action 3, phenomenon 1.

• Katerina Varvara Personality Sincere, sociable, kind, honest, pious, but superstitious. Delicate, soft, at the same time, determined. Rough, cheerful, but taciturn: "... I don't like to talk a lot." Determined, can fight back. Temperament Passionate, freedom-loving, bold, impetuous and unpredictable. She says about herself, "I was born this way, hot!" Freedom-loving, intelligent, calculating, courageous and rebellious, she is not afraid of either parental or heavenly punishment. Education, [...]
• In The Thunderstorm, Ostrovsky shows the life of a Russian merchant family and the position of a woman in it. The character of Katerina was formed in a simple merchant family, where love reigned and her daughter was given complete freedom. She acquired and retained all the beautiful features of the Russian character. This is a pure, open soul who cannot lie. “I don’t know how to deceive; I can’t hide anything, ”she says to Varvara. In religion, Katerina found the highest truth and beauty. Her desire for the beautiful, the good was expressed in prayers. Coming out [...]
• In The Thunderstorm, Ostrovsky, operating with an insignificant number of characters, managed to reveal several problems at once. First, it is, of course, a social conflict, a clash of "fathers" and "children", their points of view (and if we resort to generalization, then two historical eras). The older generation, actively expressing their opinion, belong to Kabanova and Dikoy, to the younger - Katerina, Tikhon, Varvara, Kudryash and Boris. Kabanova is sure that order in the house, control over everything that happens in it is the guarantee of a correct life. Correct [...]
• "The Thunderstorm" was published in 1859 (on the eve of the revolutionary situation in Russia, in the "pre-storm" era). Its historicism lies in the conflict itself, the irreconcilable contradictions reflected in the play. She meets the spirit of the times. "Thunderstorm" is the idyll of the "dark kingdom". Petty tyranny and speechlessness are brought to the limit in her. A real heroine from the folk environment appears in the play and it is the description of her character that is given the main attention, and the world of the city of Kalinov and the conflict itself are described in a more generalized way. "Their life […]
• The play by Alexander Nikolaevich Ostrovsky "The Thunderstorm" is historical for us, as it shows the life of the bourgeoisie. The Thunderstorm was written in 1859. It is the only work of the cycle "Nights on the Volga" conceived but not realized by the writer. The main theme of the work is a description of the conflict that arose between two generations. The Kabanikha family is typical. The merchants cling to their old ways, not wanting to understand the younger generation. And since the young do not want to follow traditions, they are suppressed. I'm sure, […]
• Let's start with Katerina. In the play "The Thunderstorm" this lady is the main character. What are the problems of this work? Problems are the main question that the author asks in his creation. So the question here is who will win? The dark kingdom, which is represented by the bureaucrats of the county town, or the light beginning, which is represented by our heroine. Katerina is pure in soul, she has a gentle, sensitive, loving heart. The heroine herself is deeply hostile against this dark swamp, but does not fully realize it. Katerina was born [...]
• A conflict is a collision of two or more parties that do not coincide in views, attitudes. There are several conflicts in Ostrovsky's play "The Thunderstorm", but how to decide which one is the main one? In the era of sociologism, literary criticism believed that social conflict was the most important in the play. Of course, if you see in the image of Katerina a reflection of the spontaneous protest of the masses against the shackling conditions of the “dark kingdom” and perceive the death of Katerina as a result of her collision with her mother-in-law, you should [...]
• The dramatic events of the play by A.N. Ostrovsky's "Thunderstorm" is set in the city of Kalinov. This town is located on the picturesque bank of the Volga, from the high steep of which the immense Russian expanses and boundless distances open to the eyes. “The view is extraordinary! Beauty! The soul rejoices, ”the local self-taught mechanic Kuligin admires. Pictures of endless distances, echoed in a lyric song. Among the flat valley ”, which he sings, are of great importance for conveying the feeling of the immense possibilities of the Russian [...]
• Katerina is the main character in Ostrovsky's drama The Thunderstorm, Tikhon's wife, Kabanikha's daughter-in-law. The main idea of \u200b\u200bthe work is the conflict of this girl with the "dark kingdom", the kingdom of tyrants, despots and ignoramuses. You can find out why this conflict arose and why the end of the drama is so tragic by understanding Katerina's ideas about life. The author showed the origins of the character of the heroine. From the words of Katerina we learn about her childhood and adolescence. Here is drawn an ideal version of patriarchal relations and the patriarchal world in general: “I lived, not about [...]
• In general, the history of creation and the idea of \u200b\u200bthe play "The Thunderstorm" are very interesting. For some time, there was an assumption that this work was based on real events that occurred in the Russian city of Kostroma in 1859. “In the early morning of November 10, 1859, the Kostroma bourgeoisie Alexandra Pavlovna Klykova disappeared from her home and either threw herself into the Volga, or was strangled and thrown there. The investigation revealed a dull drama played out in an unsociable family living with narrowly commercial interests: [...]
• In the drama "The Thunderstorm" Ostrovsky created a very complex psychologically image - the image of Katerina Kabanova. This young woman disposes of the viewer with her huge, pure soul, childish sincerity and kindness. But she lives in the musty atmosphere of the "dark kingdom" of merchant customs. Ostrovsky managed to create a light and poetic image of a Russian woman from the people. The main plot line of the play is the tragic conflict between the living, feeling soul of Katerina and the dead way of life of the “dark kingdom”. Honest and [...]
• Alexander Nikolaevich Ostrovsky was endowed with a great talent as a playwright. He is deservedly considered the founder of the Russian national theater. His plays, varied in themes, glorified Russian literature. Ostrovsky's work was democratic in nature. He created plays in which hatred of the autocratic serf regime was manifested. The writer called for the protection of the oppressed and humiliated citizens of Russia, he longed for social change. Ostrovsky's great merit is that he discovered the enlightened [...]
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The main sources of Katerina's language are folk vernacular, folk oral poetry and church life literature.

The deep connection of her language with the popular vernacular is reflected in her vocabulary, imagery and syntax.

Her speech is replete with verbal expressions, idioms of popular vernacular: "So that I do not see either my father or mother"; "I doted on the soul"; “Calm my soul”; "How long to get into trouble"; "To be sin," in the sense of unhappiness. But these and similar phraseological units are generally understandable, commonly used, clear. Only as an exception in her speech there are morphologically incorrect formations: "you do not know my character"; "After that, let's talk."

The imagery of her language is manifested in the abundance of verbal and pictorial means, in particular comparisons. So, in her speech there are more than twenty comparisons, and all the other characters in the play, taken together, have a little more than this amount. At the same time, her comparisons are widespread, popular in nature: "as if it was doing me a dove", "as if a dove was cooing," "as if a mountain had fallen off my shoulders," "my hands are burning like coal."

In Katerina's speech, words and phrases, motives and echoes of folk poetry are often heard.

Addressing Varvara, Katerina says: “Why don't people fly like birds? ..” - and so on.

Longing for Boris, Katerina in her penultimate monologue says: “Why should I live now, well for what? I don't need anything, nothing is nice to me, and the light of God is not nice! "

Here we can see the phraseological turns of the folk vernacular and folk song character. So, for example, in the collection of folk songs published by Sobolevsky, we read:

No way, no way it is impossible to live without a dear friend ...

I remember, I remember about the dear, the white light is not nice to the girl,

Not nice, not nice white light ... I will go from the mountain into the dark forest ...

speech phraseological thunderstorm Ostrovsky

Going out on a date to Boris, Katerina exclaims: "Why did you come, my destroyer?" In a folk wedding ceremony, the bride meets the groom with the words: "Here comes my destroyer."

In the final monologue, Katerina says: “It's better in the grave ... Under the tree there is a grave ... how good ... The sun warms her up, wets her with rain ... in the spring the grass grows on it, so soft ... the birds will fly to the tree, they will sing, the children will be brought out, the flowers will bloom: yellow , red, blue ... ".

Here everything is from folk poetry: diminutive-suffix vocabulary, phraseological phrases, images.

For this part of the monologue in oral poetry, direct textile correspondences are abundant. For example:

... will be covered with an oak board

Yes, they will lower it into the grave

And they will cover with damp earth.

Grow over my grave

You are a grass ant

More scarlet flowers!

Along with the popular vernacular and the arrangement of folk poetry in the language of Katerina, as already noted, church hagiographic literature exerted a great influence.

“We,” she says, “had a house full of pilgrims and praying moths. And we will come from church, sit down for some work ... and the pilgrims will begin to tell where they have been, what they have seen, different lives, or they sing verses ”(d. 1, manifest. 7).

Possessing a relatively rich vocabulary, Katerina speaks fluently, drawing on diverse and psychologically very deep comparisons. Her speech flows. So, she is not alien to such words and turns of the literary language as: a dream, thoughts, of course, as if all this was in one second, something so extraordinary in me.

In the first monologue, Katerina talks about her dreams: “What dreams I dreamed, Varenka, what dreams! Or golden temples, or some extraordinary gardens, and everyone is singing invisible voices, and the smell of cypress, and the mountains and trees, as if not the same as usual, but how they are written on images "

These dreams, both in content and in the form of verbal expression, are undoubtedly inspired by spiritual verses.

Katerina's speech is unique not only in lexical and phraseological, but also syntactically. It consists mainly of simple and complex sentences, with the statement of predicates at the end of the phrase: “This is how time will pass before dinner. Here the old women will fall asleep, and I am walking in the garden ... It was so good ”(d. 1, yavl. 7).

Most often, as is typical for the syntax of folk speech, Katerina connects sentences through the unions a and yes. "And we will come from the church ... and the wanderers will begin to tell ... And it is as if I am flying ... And what dreams did I have."

Sometimes Katerina's floating speech takes on the character of a popular lament: “Oh, my trouble, trouble! (Crying) Where can I, poor, go? Who can I grab hold of? "

Katerina's speech is deeply emotional, lyrically sincere, poetic. To give her speech emotional and poetic expressiveness, diminutive suffixes are also used, so inherent in folk speech (keys, water, children, grave, rain, grass), and amplifying particles ("How did he feel sorry for me? What words did he say?" ), and interjections ("Oh, how bored I am!").

The lyrical sincerity, poetry of Katerina's speech is given by the epithets that follow the defined words (golden temples, extraordinary gardens, with crafty thoughts), and repetitions, so characteristic of the oral poetry of the people.

Ostrovsky reveals in Katerina's speech not only her passionate, gentle poetic nature, but also her strong-willed power. Strong-willed power, Katerina's decisiveness are set off by syntactic constructions of a sharply affirming or negative character.

Among all types of works with the text of the play "The Thunderstorm" (Ostrovsky), the composition causes special difficulties. This is probably because schoolchildren do not fully understand the peculiarities of Katerina's character, the originality of the time in which she lived.

Let's try together to understand the issue and, based on the text, interpret the image the way the author wanted to show it.

A.N. Ostrovsky. "Thunderstorm". Characteristics of Katerina

The very beginning of the nineteenth century. The first acquaintance with Katerina helps to understand in what a difficult environment she lives. A weak-willed, mother-afraid husband, a petty Kabanikha who loves to humiliate people, strangle and oppress Katerina. She feels her loneliness, her defenselessness, but with great love she remembers her parental home.

The characterization of Katerina ("The Thunderstorm") begins with a picture of urban customs, and continues with her memories of the house where she was loved and free, where she felt like a bird. But was it all that good? After all, she was given in marriage by decision of the family, and her parents could not help but know how powerless her husband is, how cruel her mother-in-law.

However, the girl, even in the stuffy atmosphere of the house building, managed to retain the ability to love. He falls in love with the nephew of the merchant Wild. But Katerina's character is so strong, and she herself is so pure that the girl is afraid to even think about cheating on her husband.

The characterization of Katerina ("The Thunderstorm") stands out as a bright spot against the background of other heroes. Weak, weak-willed, content with the fact that Tikhon will break out of his mother's control, lying at the behest of circumstances, Varvara - each of them in his own way struggles with intolerable and inhuman morals.

And only Katerina is fighting.

First with me. At first, she doesn't even want to hear about a date with Boris. Trying to "keep himself", begs Tikhon to take her with him. Then she revolts against the inhuman society.

The characterization of Katerina ("The Thunderstorm") is based on the fact that the girl is opposed to all the characters. She does not run secretly to parties, as the cunning Varvara does, she is not afraid of Kabanikha, as her son does.

The strength of Katerina's character is not that she fell in love, but that she dared to do it. And in the fact that, unable to maintain her purity before God, she dared to accept death contrary to human and Divine laws.

The characterization of Katerina ("The Thunderstorm") was created by Ostrovsky not by describing the features of her nature, but by the actions that the girl performed. Pure and honest, but infinitely lonely and infinitely loving Boris, she wanted to confess her love to the entire Kalinovsky society. He knew that she could wait, but was not afraid of either word of mouth or bullying that would necessarily follow her confession.

But the tragedy of the heroine is that no one else has such a strong character. Boris abandons her, preferring an ephemeral inheritance. Varvara does not understand why she confessed: she would be walking for herself on the sly. The husband can only weep over the corpse, saying "you are happy, Katya."

Ostrovsky's image of Katerina is an excellent example of an awakening personality who is trying to break out of the sticky web of a patriarchal way of life.

Using the life of a single family from the fictional city of Kalinov as an example, Ostrovsky's play "The Thunderstorm" shows the whole essence of the outdated patriarchal order of Russia in the 19th century. Katerina is the main character of the work. She is opposed to all the other characters in the tragedy, even from Kuligin, who also stands out among the residents of Kalinov, Katya is distinguished by the power of protest. The description of Katerina from The Thunderstorm, the characteristics of other characters, the description of the life of the city - all this adds up to a revealing tragic picture, rendered photographically accurately. The characterization of Katerina from the play "The Thunderstorm" by Ostrovsky is not limited only to the author's commentary in the list of characters. The playwright does not assess the actions of the heroine, relieving himself of the duties of an all-knowing author. Thanks to this position, each perceiving subject, be it a reader or a viewer, can himself assess the heroine based on his moral convictions.

Katya was married to Tikhon Kabanov, the merchant's son. It was issued, because then, according to the house building, marriage was more the will of the parents than the decision of young people. Katya's husband is a pitiful sight. The child's irresponsibility and infantilism, bordering on idiocy, led to the fact that Tikhon was not capable of anything but drunkenness. Martha Kabanova fully embodied the ideas of petty tyranny and hypocrisy inherent in the entire "dark kingdom".

Katya strives for freedom, comparing herself to a bird. It is hard for her to survive in conditions of stagnation and slavish worship of false idols. Katerina is truly religious, every trip to church seems like a holiday for her, and as a child, Katya more than once fancied that she heard angelic singing. Sometimes Katya would pray in the garden because she believed that the Lord would hear her prayers anywhere, not only in church. But in Kalinov, the Christian faith lost any inner fulfillment.

Katerina's dreams allow her to escape from the real world for a short time. There she is free, like a bird, free to fly wherever she wants, not obeying any laws. “And what dreams did I have, Varenka,” continues Katerina, “what dreams! Either the temples are golden, or the gardens are extraordinary, and everyone is singing invisible voices, and the smell of cypress, and the mountains and trees seem to be not the same as usual, but as they are written on images. And if I fly, I fly through the air. " Recently, however, some mysticism has become inherent in Katherine. Everywhere she begins to see imminent death, and in her dreams she sees the evil one, who warmly embraces her, and then destroys her. These dreams were prophetic.

Katya is dreamy and tender, but along with her fragility, in the monologues of Katerina from The Thunderstorm, one can see firmness and strength. For example, a girl decides to go out to meet Boris. She was overcome by doubts, she wanted to throw the key to the gate into the Volga, thought about the consequences, but still took an important step for herself: “Throw the key! No, not for anything in the world! He's mine now ... Come what may, and I'll see Boris! " The house of Kabanikha is disgusted with Katya, the girl does not like Tikhon. She thought about leaving her husband and, having received a divorce, honestly live with Boris. But there was nowhere to hide from the tyranny of the mother-in-law. With her tantrums, Kabanikha turned the house into hell, cutting off any opportunity for escape.

Katerina is surprisingly discerning about herself. The girl knows about her character traits, about her decisive disposition: “This is how I was born, hot! I was still six years old, no more, so I did! They offended me with something at home, but it was towards evening, it was already dark; I ran out to the Volga, got into the boat and pushed it away from the shore. The next morning they found it, about ten miles! " Such a person will not submit to petty tyranny, will not be subject to dirty manipulations by Kabanikha. Katerina is not to blame that she was born at a time when the wife had to obey her husband unquestioningly, was an almost powerless application, the function of which was childbirth. By the way, Katya herself says that children could be her joy. But Katya has no children.

The motive of freedom is repeated many times in the work. The parallel between Katerina and Varvara seems to be interesting. Sister Tikhon also strives to be free, but this freedom must be physical, freedom from despotism and mother's inhibitions. In the finale of the play, the girl runs away from home, finding what she dreamed of. Katerina understands freedom differently. For her, this is an opportunity to do as she wants, to take responsibility for her life, not to obey stupid orders. This is the freedom of the soul. Katerina, like Varvara, gains freedom. But such freedom is attainable only through suicide.

In Ostrovsky's "The Thunderstorm", Katerina and the characteristics of her image were perceived differently by critics. If Dobrolyubov saw in a girl a symbol of the Russian soul, tormented by patriarchal house-building, then Pisarev saw a weak girl who herself drove herself into such a situation.

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