What is the name of the boar from the play Thunderstorm. Dikoy and Kabanikha
Images of the Wild and Kabanikha in the play. The play “The Thunderstorm” occupies a special place in Ostrovsky’s work. In this play, the playwright most vividly depicted the “world of the dark kingdom,” the world of tyrant merchants, the world of ignorance, tyranny and despotism, and domestic tyranny.
The action in the play takes place in a small town on the Volga - Kalinov. Life here, at first glance, represents a kind of patriarchal idyll. The entire city is surrounded by greenery, an “extraordinary view” opens beyond the Volga, and on its high banks there is a public garden where residents of the town often stroll. Life in Kalinov flows quietly and slowly, there are no shocks, no exceptional events. News from big world The wanderer Feklusha brings to the town, telling the Kalinovites tales about people with dog heads.
However, in reality, not everything is so good in this small, abandoned world. This idyll is already destroyed by Kuligin in a conversation with Boris Grigorievich, Dikiy’s nephew: “ Cruel morals, sir, in our city, they are cruel! In the philistinism, sir, you will see nothing but rudeness and stark poverty... And whoever has money... tries to enslave the poor so that he can make even more money from his free labors.” However, there is no agreement between the rich either: they “are at enmity with each other,” “they scribble malicious slander,” “they are suing,” “they are undermining trade.” Everyone lives behind oak gates, behind strong bars. “And they don’t lock themselves away from thieves, but so that people don’t see how they eat their own family and tyrannize their family. And what tears flow behind these constipations, invisible and inaudible!..
And what, sir, behind these castles is dark debauchery and drunkenness! - exclaims Kuligin.
One of the richest, most influential people in the city is the merchant Savel Prokofievich Dikoy. The main features of the Wild are rudeness, ignorance, hot temper and absurdity of character. “Look for another scolder like Savel Prokofich! He will never cut off a person,” Shapkin says about him. The whole life of the Wild One is based on “swearing”. Neither financial transactions, nor trips to the market - “he doesn’t do anything without swearing.” Most of all, Dikiy gets it from his family and his nephew Boris, who came from Moscow.
Savel Prokofievich is stingy. “...Just mention money to me, it will ignite everything inside me,” he says to Kabanova. Boris came to his uncle in the hope of receiving an inheritance, but actually fell into bondage to him. Savel Prokofievich does not pay him a salary, constantly insults and scolds his nephew, reproaching him for laziness and parasitism.
Dikoy repeatedly quarrels with Kuligin, a local self-taught mechanic. Kuligin is trying to find a reasonable reason for Savel Prokofievich’s rudeness: “Why, sir Savel Prokofievich, would you like to offend an honest man?” To which Dikoy replies: “I’ll give you a report, or something!” I don’t give an account to anyone more important than you. I want to think about you like that, and I do! For others, you are an honest person, but I think that you are a robber - that’s all... I say that you are a robber, and that’s the end. So, are you going to sue me or something? So you know that you are a worm. If I want, I’ll have mercy, if I want, I’ll crush.”
“What theoretical reasoning can survive where life is based on such principles! The absence of any law, all logic - this is the law and logic of this life. This is not anarchy, but something much worse…” wrote Dobrolyubov about Dikiy’s tyranny.
Like most Kaliivites, Savel Prokofievich is hopelessly ignorant. When Kuligin asks him for money to install a lightning rod, Dikoy declares: “The thunderstorm is sent to us as punishment so that we can feel it, but you want to defend yourself with poles and rods.”
Dikoy represents the “natural type” of the tyrant in the play. His rudeness, rudeness, and bullying of people are based, first of all, on his absurd, unbridled character, stupidity and lack of opposition from other characters. And only then on wealth.
It is characteristic that practically no one offers active resistance to Dikiy. However, it turns out to be not so difficult to calm him down: during the transport he was “scolded” by an unfamiliar hussar, and Kabanikha is not shy in front of them. “There are no elders over you, so you are showing off,” Marfa Ignatievna bluntly tells him. It is characteristic that here she is trying to fit the Wild One into her vision of the world order.
Kabanikha explains the constant anger and temper of the Dikiy with his greed, but Savel Prokofievich himself does not even think of denying her conclusions: “Who doesn’t feel sorry for their own goods!” - he exclaims.
Much more complex in the play is the image of Kabanikha. This is an exponent of the “ideology of the dark kingdom”, which “created for itself a whole world of special rules and superstitious customs.”
Marfa Ignatievna Kabanova is a rich merchant's wife, a widow, cultivating the orders and traditions of antiquity. She is grumpy and constantly dissatisfied with those around her. She gets it from her, first of all, from her family: she “eats” her son Tikhon, reads endless moral lectures to her daughter-in-law, and tries to control her daughter’s behavior.
Kabanikha zealously defends all the laws and customs of Domostroy. A wife, in her opinion, should be afraid of her husband, be silent and submissive. Children must honor their parents, unquestioningly follow all their instructions, follow their advice, and respect them. None of these requirements, according to Kabanova, are met in her family. Marfa Ignatievna is dissatisfied with the behavior of her son and daughter-in-law: “They know nothing, no order,” she argues alone. She reproaches Katerina for not knowing how to see her husband off “in the old-fashioned way” - therefore, she doesn’t love him enough. “Another good wife, having seen her husband off, howls for an hour and a half and lies on the porch...” she lectures her daughter-in-law. Tikhon, according to Kabanova, is too gentle in his treatment of his wife and is not sufficiently respectful towards his mother. “They don’t really respect elders these days,” says Marfa Ignatievna, reading instructions to her son.
Kabanikha is fanatically religious: she constantly remembers God, sin and retribution; wanderers often visit her house. However, Marfa Ignatievna’s religiosity is nothing more than pharisaism: “A bigot... She lavishes on the poor, but completely eats up her family,” Kuligin notes about her. In her faith, Marfa Ignatievna is stern and unyielding; there is no place for love, mercy, or forgiveness in her. So, at the end of the play she does not even think about forgiving Katerina for her sin. On the contrary, she advises Tikhon to “bury his wife alive in the ground so that she will be executed.”
Religion, ancient rituals, pharisaical complaints about his life, playing on filial feelings - Kabanikha uses everything to assert her absolute power in the family. And she “gets her way”: in the harsh, oppressive atmosphere of domestic tyranny, Tikhon’s personality is disfigured. “Tikhon himself loved his wife and would be ready to do anything for her; but the oppression under which he grew up has so disfigured him that no strong feeling, no decisive desire can develop in him. He has a conscience, a desire for good, but he constantly acts against himself and serves as a submissive instrument of his mother, even in his relations with his wife,” writes Dobrolyubov.
The simple-minded, gentle Tikhon lost the integrity of his feelings, the opportunity to show the best features of his nature. Family happiness was initially closed to him: in the family where he grew up, this happiness was replaced by “Chinese ceremonies.” He cannot show his love for his wife, and not because “a wife should be afraid of her husband,” but because he simply “doesn’t know how” to show his feelings, which have been cruelly suppressed since childhood. All this led Tikhon to a certain emotional insensitivity: he often does not understand Katerina’s condition.
Depriving her son of any initiative, Kabanikha constantly suppressed his masculinity and at the same time reproached him for his lack of masculinity. Subconsciously, he strives to make up for this “lack of masculinity” through drinking and rare “partying” “in the wild.” Tikhon cannot realize himself in any business - probably his mother does not allow him to manage affairs, considering his son unsuitable for this. Kabanova can only send her son on an errand, but everything else is under her strict control. It turns out that Tikhon is deprived of both his own opinion and his own feelings. It is characteristic that Marfa Ignatievna herself is to some extent dissatisfied with her son’s infantilism. This comes through in her intonations. However, she probably does not realize the extent of her involvement in this.
In the Kabanov family, a life philosophy Barbarians. Her rule is simple: “do what you want, as long as it’s safe and covered.” Varvara is far from Katerina’s religiosity, from her poetry and exaltation. She quickly learned to lie and dodge. We can say that Varvara, in her own way, “learned” Chinese ceremonies", having perceived their very essence. The heroine still retains spontaneity of feelings and kindness, but her lies are nothing more than reconciliation with Kalinov’s morality.
It is characteristic that in the finale of the play both Tikhon and Varvara, each in their own way, rebel against “mama’s power.” Varvara runs away from home with Kudryash, while Tikhon openly expresses his opinion for the first time, reproaching his mother for the death of his wife.
Dobrolyubov noted that “some critics even wanted to see in Ostrovsky a singer of broad natures,” “they wanted to assign arbitrariness to the Russian person as a special, natural quality of his nature - under the name of “breadth of nature”; They also wanted to legitimize trickery and cunning among the Russian people under the name of sharpness and cunning.” In the play "The Thunderstorm" Ostrovsky debunks both phenomena. For him, arbitrariness comes out as “heavy, ugly, lawless”; he sees in it nothing more than tyranny. Trickery and cunning do not turn into ingenuity, but into vulgarity, the other side of tyranny.
The rich merchant's wife Kabanova is a guardian of the old foundations of life, a rude, domineering woman, constantly protesting against the movement of life forward. Extremely ignorant, she created for herself a whole world of beliefs and rules based on despotism, gross superstition, and tyranny. She contrasts everything new with the old; in the old she sees order and goodness, and in the new only evil and nonsense. She keeps her children in fear and forces them to observe ancient rituals. In her family, the most natural aspirations and feelings are prohibited - children cannot take a step in anything on their own. They do not have the right to have their own mind and their own feelings. “Why are you hanging around your neck, shameless thing! You are not saying goodbye to your lover! - He is your husband - the head! Don't you know the order? Bow down at your feet!” - Kabanova shouts to Katerina, saying goodbye to her husband.
The boar surrounds herself with cliques, goes to church, gives alms to the poor, but at the same time eats her family. She strives to preserve the old order in the family and does not recognize any rights for young people. She is annoyed when young people contradict her and do not observe ancient customs. Seeing off her son on the road, she reprimands him for not bowing at her feet and not telling his wife how to live without him, condemning her daughter-in-law for not lying on the porch and “howling” to show her love for husband.
She forces her son to punish his wife, to keep her in fear, as religion dictates. According to her conviction, it is impossible to live without fear, otherwise everything will turn into some kind of chaos. When the son objected: “Why be afraid? It’s enough for me that she loves me,” the mother shouted: “Why, why be afraid? Are you crazy, or what? He won’t be afraid of you, and he won’t be afraid of me either. What kind of order will there be in the house? After all, you, tea, live with her in law? Ali, do you think the law means nothing? Yes, if you hold such stupid thoughts in your head, you at least wouldn’t chatter in front of her, and in front of your sister, in front of the girl; She should also get married: this way she will listen to enough of your chatter, and then her husband will thank us for the science. You see what kind of mind you still have, and you still want to live by your own will.”
For Kabanova, the dogma of antiquity is higher than living life. She constantly has the same moral instructions on her lips - do not live by your own will, observe the old days, honor your elders. Although in her soul she is aware that time is taking its toll and it is no longer possible to force young people to live in the old way, but due to her selfishness she could not come to terms with the idea that the orders that she loves and considers real will not be preserved.
“This is how old times come to be,” says Kabanova. - “I don’t even want to go to another house. And when you get up, you’ll spit, but get out quickly. What will happen, how the old people will die, how the light will remain, I don’t even know. Well, at least it’s good that I won’t see anything.”
And in another place she says bitterly:
“I know that you don’t like my words, but what can you do, I’m not a stranger to you... I’ve seen for a long time that you want freedom.”
Kabanova did not want to understand the needs of the younger generation, did not want to change the dogmas of antiquity and thereby led to the tragic death of Katerina, pushed her son into drunkenness and forced her daughter to run away from home. But this does not teach the despotic merchant’s wife anything; even after the death of her daughter-in-law, she continues to insist on her own. She doesn’t even utter words of reconciliation over her daughter-in-law’s corpse.
When Katerina died, she, true to her character, could only say with an senile grumbling: “She has done little shame to us. Come on, it’s a sin to cry about her.”
Slide 1
Slide 2
In 1845 Ostrovsky worked in
Moscow Commercial Court
clerical official.
The whole world opened up before him
dramatic conflicts. So
the talent of the future master was nurtured
speech characteristics of the characters in their
plays.
Ostrovsky in the drama "The Thunderstorm" very clearly
shows all the global differences between
old patriarchal views and
new. All important features are clearly visible
characters' characters, their reactions to
developing events. Let's consider
speech characteristics of Kabanikha.
Slide 3
Kabanikha is an old man
morality. She watches everywhere
house building rules. In everything
she sees the new one as a threat
the established course of things, she
condemns young people for
she has no "due"
respect." Kabanova is scary
not by fidelity to antiquity, but
tyranny "under the guise
piety."
Kabanova.
“It’s funny to look at them...
they don't know anything, nothing
order. Say goodbye somehow
they don’t know how... What will happen, how
old people will die as it happens
the light will stand, I don’t even know.”
Slide 4
Kabanikha forces everyone at home
dance to your own tune. She forces
Tikhon said goodbye to him in the old-fashioned way
with his wife, causing laughter and feeling
regrets among others. The whole family
lives in fear of her. Tikhon,
completely depressed overbearing
mother, lives only by desire
- get out somewhere and take a walk.
“I, it seems, mamma, from your will
not a single step."
“As soon as he leaves, he’ll start drinking. He is now
listens and thinks how he can
get out quickly."
Slide 5
Kuligin calls her a “hypocrite” and
says she's a beggar
clothes, but eats the family
at all". This characterizes
a merchant's wife with a bad side.
Kabanikha in her speech
tries to pretend to be kind and
affectionate, although sometimes
speech detects
her negative traits
character, for example passion for
money.
Katerina.
“Come on, come on, don’t be afraid! Sin!
I've seen for a long time that you have a wife
sweeter than mother. Since
got married, I can already see from you
I don’t see love.”
Slide 6
Tikhon's sister, Varvara,
also experiences
all the hardships of family
situation. However, in
unlike Tikhon, she
has a harder
character and lacking
insolence, albeit secretly, not
obey your mother.
“I found a place of instruction
read."
“And I wasn’t a liar, yes
learned when needed
became."
Slide 7
Kabanikha is very pious and
religious. But before
opens up to us
scary and tyrannical
essence of Kabanikha. She
managed to subjugate
everyone, keeps everything under
control, she even
trying to control
relationships
people, which leads
Katerina to death.
The boar is cunning and smart,
difference from the Wild one, and this
makes her more
scary.
Slide 8
Kabanikha has no doubts about moral righteousness
relations of patriarchal life, but also confidence in them
there is no indestructibility either. On the contrary, she feels
almost the last guardian of this
"correct" world order, and the expectation that from its
Chaos will come with death, adds tragedy to her figure.
The play “The Thunderstorm” is one of the most famous in Ostrovsky’s work. A bright, social drama, the events of which take place in the 19th century in the town of Kalinov. Women's images in the play deserve special attention. They are colorful and unique. The image and characterization of Kabanikha in the play “The Thunderstorm” are undoubtedly important in the work. She is the main despot and tyrant in the play. She is also responsible for Katerina's death. Kabanikha’s goal is to subjugate as many people as possible in order to impose on them the morals, traditions and laws that she sacredly observes. True fear crept into her soul when she realized that a new time was approaching, a time of change that she was unable to resist.
Marfa Ignatievna Kabanova- she is Kabanikha. Widow. Merchant's wife. Mother of Varvara and Tikhon.
Image and characteristics
The surname Kabanova suits the main character very accurately, characterizing her from the first minutes. A wild animal is capable of attacking a person without a good reason, and so is the Kabanikha. Furious, ferocious. She is capable of “biting to death” a person if she doesn’t like him, which is what happened with Katerina, whom the widow simply killed off. It is impossible to please her. She will always find something to complain about, no matter how hard you try.
Kabanikha, after the death of her husband, was left with two small children in her arms. There was no time to be sad. I had to take care of and raise Varvara and Tikhon. Brother and sister are completely different in character and appearance, although they were raised the same.
Powerful, despotic woman, keeping not only household members, but also the entire neighborhood in fear.
“Your mommy is too cool...”
To subjugate and rule is her credo. I am absolutely convinced that the family is built on fear and subordination of the younger to the elder. “Don’t judge your older self! They know more than you. Old people have signs for everything.” He sees nothing abnormal in his attitude towards children.
“After all, out of love your parents are strict with you, out of love they scold you, everyone thinks to teach you good.”
Religious. This is not the faith of a religious fanatic who sacredly observes all fasts and God's laws. More like a tribute to tradition. She performs rituals automatically, without really delving into the process and its meaning. She has no faith in forgiveness and mercy. For her, the main thing is strict adherence to patriarchal orders. This is sacred.
“Well, I’ll go and pray to God; Don't bother me..."
She is no less demanding of those around her than of herself. What people themselves think about this and what feelings they experience is deeply indifferent to her.
Nerd. I am constantly dissatisfied with everything. Grumps with or without reason. It's hard to please her. Her own family annoys her, especially her son and daughter-in-law. This is where Kabanikha has a blast. He pokes his nose into their lives, interfering with advice. He believes that after his marriage the son lost interest in his mother, turning into a doormat and a henpecked man.
“Maybe you loved your mother while you were single. Do you care about me, you have a young wife.”
Daughter-in-law is a separate issue. The daughter-in-law's behavior is out of the ordinary. She doesn’t follow traditions and doesn’t care about her husband. Completely out of hand. Old age is not respected or honored.
Self-confident. I am convinced that she is doing everything right. He sincerely believes that if you maintain the ancient order and way of life, the house will not suffer from external chaos. The farm is managed harshly, worse than a peasant. Showing emotions is not typical for her. In her opinion, this is unnecessary. At the slightest sign of rebellion on the part of the family, Kabanikha nips everything in the bud. Any misconduct on their part entails punishment. She is immediately infuriated if young people try to cross her. Strangers are closer to her than her son and daughter-in-law.
“Prude, sir! He gives money to the poor, but completely eats up his family...”
He will say a kind word and reward him with alms.
Loves money. The boar is used to being in charge of the entire household. She is sure that the one who has more cash in his pocket is right. Having settled the resident praying mantises, she hears their laudatory speeches addressed to her every day. The flattering grandmothers completely fooled her. Kabanikha doesn’t even allow the thought that she might do something wrong. With their conversations about the end of the world, the old women support Kabanikha’s idea of life on earth.
In 1856, A. N. Ostrovsky travels along the Volga. The impressions from the trip are reflected in his work; “The Thunderstorm” was also written based on this trip. This is a story about a merchant's wife, brought up in strictness and morality, who fell in love with a young man. Having cheated on her husband, she is unable to hide it. Having publicly repented of treason, she rushes into the Volga.
The controversial image of Marfa Ignatievna Kabanova
The play is based on a comparison of two strong opposite images: Ekaterina and Marfa Ignatievna Kabanova. In fact, they have a lot in common: the primacy of the patriarchal world, the maximalism inherent in both, strong characters. Despite their religiosity, they do not compromise and are not inclined to mercy. This is where their similarities end. They are at different poles of the patriarchal world. Kabanikha is an earthly woman; she is concerned about maintaining order down to the smallest detail. She is not interested in human relationships. The patriarchal way of life for Katerina is characterized by dreaminess and spirituality.
The image of Kabanikha in the play “The Thunderstorm” is one of the central. She is a widow left with two children, Varvara and Tikhon. She can rightly be called harsh and merciless for Tikhon’s reproaches that he loves his mother less than his wife Katerina, and constantly strives to escape his mother’s will.
The predominant personality trait of Kabanikha can be called despotic, but not extravagant. Each of her demands on others, be it her son or daughter-in-law, is subject to the moral and everyday code of “Domostroy”. Therefore, she firmly believes in the principles that it speaks of, and considers their strict adherence to them correct. Turning to Domostroevsky concepts, she believes that children should honor their parents so much that the will of the children does not matter at all. Relations between spouses should be built on the wife’s fear of her husband and unquestioning submission to him.
Kabanikha in the speech of strangers
The characterization of Kabanikha becomes understandable to the reader thanks to the statements of the characters in the play. The first mention of Marfa Ignatievna comes from the lips of Feklusha. This is a poor wanderer who is grateful to her for her kindness and generosity. In contrast, Kuligin’s words sound that she is generous to the poor, and not to her relatives. After these brief characteristics, the reader gets acquainted with Kabanikha. Kuligin's words are confirmed. The mother finds fault with the words of her son and daughter-in-law. Even with her meekness and sincerity, Katerina does not inspire confidence in her. Reproaches fly towards the son for lack of love for his mother.
Opinion of her family members about Kabanova
One of the most emotional moments of the play - scene of seeing off Tikhon's son. Kabanikha reproaches him for not bowing at his mother’s feet and does not say goodbye to his wife as he should. Katerina, after Tikhon’s departure, according to Kabanikha, should show her love for him - howl and lie on the porch. The younger generation is violating all customs and traditions, and this leads Kabanikha to sad reflections.
Katerina, the daughter-in-law, gets more than everyone else. Any word she says is cut off with harsh attacks and remarks. Noticing affection, and not fear, in Tikhon’s treatment, Kabanikha angrily reproaches her. Her ruthlessness reaches its limit after Katerina's confession. In her opinion, her daughter-in-law deserves to be buried alive in the ground.
Kabanikha treats Katerina with contempt, considering her an example of how disrespectful young people are towards the older generation. Most of all, she is burdened by the thought that she may be left without power. Her behavior leads to the tragic ending of the play. The suicide committed by Katerina is also her fault. The daughter-in-law endured humiliation against her for a long time and one day she could not stand it.
Obeying the orders of an extravagant mother, Tikhon becomes a spineless creature. The daughter runs away, tired of her parent’s constant interference in her personal life. The ancient way of life with true high morality disappears from life, leaving only a dead, oppressive shell. The young heroes of the play pretend to observe patriarchal commandments. Tikhon pretends to love his mother, Varvara goes on secret dates, only Katerina is tormented by conflicting feelings.
Marfa Ignatievna is busy with earthly affairs. She considers herself fair because, in her opinion, the severity of her parents will be reflected in the most in the best possible way on children - they will learn to be kind. But the old way of life is collapsing, the patriarchal system is disappearing. This is a tragedy for Marfa Ignatievna. However, hot temper and extravagance are not in her character. She is dissatisfied with the temper of her godfather Dikiy. Dikoy’s willful behavior and complaints about her family irritate her.
Kabanikha is devoted to the traditions of her family and ancestors and honors them without judging, evaluating or complaining about them. If you live according to the will of your fathers, this will lead to peace and order on earth. There is religiosity in Kabanikha’s character. She believes that a person will go to hell for committing evil deeds, but at the same time she does not consider herself guilty of anything. Humiliation of others at the expense of her wealth and power is in the order of things for her.
Kabanikha characterized by authority, cruelty and confidence in the correctness of one’s views. In her opinion, maintaining the old ways can protect her home from the unrest happening outside her home. Therefore, rigidity and firmness manifests itself more and more clearly in her character. And having eradicated his own unnecessary emotions, he cannot tolerate their manifestation in others. For disobedience to her words, those closest to her are punished with cold-blooded humiliation and insults. At the same time, this does not apply to strangers; she is pious and respectful with them.
Marfa Ignatievna Kabanova is an ambiguous character, it is difficult to feel sorry for her or just condemn her. On the one hand, she hurts her family members, and on the other, she firmly believes in the correctness of her behavior. Thus, the negative qualities of Kabanikha’s character can be called:
- cruelty;
- authority;
- composure.
And the positive ones:
- strong unshakable character;
- religiosity;
- "kindness and generosity towards strangers."
