Introduction

The great Russian playwright Alexander Nikolayevich Ostrovsky wrote more than forty dramatic works, which are not only a true encyclopedia of the life of Russia in the eighteenth and nineteenth centuries, but also an interesting collection of characters, psychological types of Russian men and women of all ages and classes.

According to researchers of Ostrovsky's work, there are 728 heroes and heroines in his works, and this number does not include secondary and episodic characters (1). Ostrovsky describes people of various social formations - nobles, peasants, soldiers, merchants, bourgeois, employees. Vivid images, unique characters of these people and their most diverse combinations, conflicts of interests, life manifestations in the most difficult and paradoxical situations create a voluminous, psychologically reliable idea of ​​the family and social life of that time. In dramatic chronicles, family scenes, tragedies, pictures of Moscow life, in dramatic sketches, Ostrovsky's truly multidimensional talent is manifested - romance and everyday life, tragedian and comedian.

Love, jealousy, complex relationships between a man and a woman are present in almost every work of Ostrovsky. Moreover, Ostrovsky's love is always a tragedy, it is always being "on the verge" - even with a positive ending.

Especially hard in the works of Ostrovsky are experiencing the love of a woman. If for a man love can be just a brief episode, or even just entertainment, then for a woman love is the greatest event in life: the greatest grief or the greatest happiness, but always a drama, suffering, a turning point, after which she will no longer be the same even if everything ends well.

The purpose of this work is to consider the phenomenon of love in the works of Ostrovsky.

To achieve this goal, the following tasks were set in the work.

1. Consider the phenomenon of love in the work of Ostrovsky and the possible reasons for such an attitude of the author to love problems.

2. Consider the concept of love in the work of Ostrovsky based on the most famous works of the playwright, such as "Dowry", "Forest", "Thunderstorm", "Late Love", "Snow Maiden".

The phenomenon of love in the dramaturgy of A.N. Ostrovsky

The drama of love in the work of A.N. Ostrovsky

Ostrovsky wrote about dramaturgy: “The playwright does not invent plots - all our plots are borrowed. They are given by life, history, the story of a friend, sometimes a newspaper article. What happened the playwright should not invent; it is his business to write how it happened or could happen. Here is all his work. When attention is paid to this aspect, living people will appear in his presence, and they themselves will speak” (2).

Female images from Ostrovsky's most famous plays - Katerina from The Thunderstorm and Larisa from The Dowry - have long become household names. These are images of women who experience serious, deep and sincere love - and face betrayal caused by the cowardice and formality of their "hero".

Love in the view of N.A. Ostrovsky is an evil element for a woman. This is a tragic turning point, the border, crossing which, a woman will never regain her former carefree youth - even if the hero reciprocates, turns out to be worthy of the heroine and the story ends with a wedding.

The feeling of a woman, as a rule, encounters all sorts of obstacles - it can be poverty, as in "Dowry", or, on the contrary, a decent condition, as in the comedy "Handsome Man". In the first case, happy love is impossible, because Larisa's lover, the brilliant socialite Paratov, does not want to marry her without a rich dowry.

But the cause of love misfortunes can be not only poverty, but also wealth. An example is the play “Handsome Man”: despite the fact that poor Zoya Okoyomova had a decent fortune and married her “handsome” husband for love, she still suffered because he shamelessly used her love. So wealth does not save a woman from love tragedies.

Often the cause of unhappy love in Ostrovsky's dramas is the dependent, humiliated position of a woman. Katerina in "Thunderstorm", Aksyusha in "Forest" - they all live in a subordinate position. Katerina has no rights in her husband's house. However, he is also not the head of the family - everything is run by his mother-Kabanikha, a woman of temperament tough and cruel, suspecting Katerina of all mortal sins - and gloatingly triumphant when all her "predictions" were fulfilled.

Aksyusha, a poor relative of the landowner Gurmyzhskaya, also has no rights. Gurmyzhskaya, taking advantage of the girl's youth and the absence of relatives who could intercede for her, appropriates her money, and Aksyusha turns into a dowry - and her beloved Peter is afraid of his father and does not dare to marry her without money.

Both heroines so passionately, so desperately love their generally unworthy lovers - perhaps precisely because their life is so hard and hopeless and they rush into love, "like into a pool." Seeing nothing good in life, they, meeting love, consider it some new meaning of life. This love becomes the most important thing for them, obscures the whole world - and leads to tragedy.

The same tragedy almost happened in the drama "Late Love" - ​​the daughter of an impoverished lawyer Lyudmila falls in love with an idle reveler and sacrifices everything for him - steals the most important monetary document entrusted to her father. Despite the fact that the story ends happily, Lyudmila's act can only be called desperate - and even the festive finale of the play seems forced. There are things you can't do, even for love.

The brightest embodiment of the idea of ​​N.A. Ostrovsky about love as a hostile element received in his only verse play "The Snow Maiden". In "The Snow Maiden" love is sheer grief and suffering. The Snow Maiden, who is in love with Lelya, suffers; Mizgir, who is in love with the Snow Maiden, suffers. And even the mutual love of the Snow Maiden for Mizgir at the end of the play does not bring happiness to either her or him: the Snow Maiden melts, “blessing love,” and Mizgir drowns in grief in the lake.

Thus, the feeling of love in the interpretation of N.A. Ostrovsky always acts as some kind of difficult life test, a threshold, a border, which few can overcome with dignity and without loss.

A. N. Ostrovsky's drama "Thunderstorm" was written in 1859, on the eve of great changes in Russia. The writer created in the drama an image that is fundamentally new in Russian literature. According to Dobrolyubov, "Katerina's character, as it is performed in The Thunderstorm, is a step forward not only in Ostrovsky's dramatic activity, but in all of our literature." The main problem of the work, without a doubt, is the problem of the liberation of a woman in a merchant environment from family oppression. But the play also reflects other, no less important, problems: the problem

Fathers and children, the problem of feelings and duty, the problem of lies and truth, and others.
The creativity of writers of this period (the second half of the 19th century) is characterized by an interest in the problem of love. The drama “Thunderstorm” is no exception. Ostrovsky vividly depicts the love of the main character of the play, Katerina Kabanova, for Boris Grigorievich. This love becomes the first and therefore especially strong real feeling of the heroine. Despite the fact that she married Tikhon Kabanov, the feeling of love was unknown to her. During her life with her parents, young people looked at Katerina, but she never understood them. She married Tikhon only because he did not cause her rejection. Katerina herself, when asked by Varvara about whether she loved someone, answers: “No, she only laughed.”
Having met Boris, Katerina Kabanova falls in love with him without even talking to him properly. She falls in love largely because Boris outwardly represents a sharp contrast with the society under the yoke of which she lives. This new feeling, hitherto unknown to her, even changes Katerina's attitude. So she tells Varvara about her dreams: “At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone is talking to me so affectionately, it’s like he’s dove me, like a dove is cooing. I don’t dream anymore, Varya, as before, paradise trees and mountains, but it’s as if someone hugs me so hot and hot and leads me somewhere, and I follow him, I go ... ”This poetic story is all imbued with a premonition of love. The soul of the heroine seeks to know this feeling and dreams about it. And Boris Grigoryevich, Dikoy's nephew, turns out to be for Katerina the embodiment of her dreams in reality.
At first, Katerina is very afraid of her sinful love. She is very pious and considers such love a terrible sin, she is horrified by the possibility of God's punishment. But she cannot resist this feeling and, after hesitating a little, takes from Varvara the fateful key to the gate. The decision is made: she will see Boris at all costs.
The desire for love in Katerina is closely intertwined with the desire for freedom, liberation from family oppression, from a weak-willed husband and a grouchy and unfair mother-in-law. Boris, as she sees him, is the complete opposite of the "dark kingdom" of petty tyrants. This is not surprising: Boris is well-mannered, educated, courteous, dressed in the fashion of the capital. But Katerina is cruelly mistaken in this person: Boris differs from the inhabitants of the city of Kalinov only in appearance. He is not able to oppose anything to the Wild One, just as Tikhon cannot say anything against the order that prevails in the house of the Kabanikh. The love of Katerina Kabanova leads to tragic consequences. After her confession of adultery, Katerina can no longer live as before with her husband and mother-in-law, subject to constant humiliation and insults. In desperation, she seeks help from a loved one, secretly hoping to find a way out of the created psychological impasse. Katerina, going on her last date with Boris, hopes that he will take her with him, will not leave her like that, will protect her. But Boris turns out to be a weak-willed, cowardly and cowardly person, he refuses to take Katerina with him. This is where his complete inability to fight, weakness of character, manifests itself. He betrays the woman he loves by refusing to take her with him out of fear of his uncle. After this betrayal, Katerina Kabanova has no choice but to leave this disgusting life. But even then, she continues to selflessly love Boris, which is so vividly shown by the author in the last farewell scene. She tells him these words: “Go with God! Don't worry about me. At first, unless it will be boring for you, the poor, and then you will forget. And this is said by a woman whose whole meaning of life is in love. Not a single swear word, not a single reproach escapes her lips. Her love is high, she cannot stoop to humiliation and reproaches. On the verge of death, this woman forgives her lover, who never justified her hopes, who never gave her the desired happiness.
Speaking about the problem of love in the drama "Thunderstorm", we can also mention the love of Varvara and Curly. But the relationship between these characters is described by the author rather for contrast, in order to highlight the feelings of the main character more clearly. The relationship between Varvara and Kudryash can hardly even be called love; rather, it is affection, sympathy. These young people, although they are experiencing the oppression of the “dark kingdom”, its foundations and customs, have already learned the morals and laws of the “dark kingdom”. Remember, it is Varvara who teaches Katerina the wisdom of life: “Do whatever you want, as long as everything is covered and covered.” But this young couple also does not want to remain in that oppressive atmosphere. Having fallen in love with each other, they simply run away from the city of Kalinov together.
Summing up, it must be said that the desire to love and be loved in the soul of the main character is closely intertwined with the desire to free herself from the oppression of the “dark kingdom”. Therefore, the problem of love in the work is closely connected with the problem of the liberation of a woman from family oppression. Thus, the problem of love is, although not the most important, but undoubtedly one of the most important problems in the work.

Collection of works: The problem of love in the drama "Thunderstorm" by A. N. Ostrovskaya

The drama of A. N. Ostrovsky "Thunderstorm" was written in 1859, on the eve of great changes in Russia. The writer created in the drama an image that is fundamentally new in Russian literature. According to Dobrolyubov, "Katerina's character, as it is performed in The Thunderstorm, is a step forward not only in Ostrovsky's dramatic activity, but in all of our literature." The main problem of the work, without a doubt, is the problem of the liberation of a woman in a merchant environment from family oppression. But the play also reflects other, no less important, problems: the problem of fathers and children, the problem of feelings and duty, the problem of lies and truth, and others.

The creativity of writers of this period (the second half of the 19th century) is characterized by an interest in the problem of love. The drama "Thunderstorm" is no exception. Ostrovsky vividly depicts the love of the main character of the play, Katerina Kabanova, for Boris Grigorievich. This love becomes the first and therefore especially strong real feeling of the heroine. Despite the fact that she married Tikhon Kabanov, the feeling of love was unknown to her. During her life with her parents, young people looked at Katerina, but she never understood them. She married Tikhon only because he did not cause her rejection. Katerina herself, when asked by Varvara about whether she loved someone, answers: “No, she only laughed.”

Having met Boris, Katerina Kabanova falls in love with him without even talking to him properly. She falls in love largely because Boris outwardly represents a sharp contrast with the society under the yoke of which she lives. This new feeling, hitherto unknown to her, even changes Katerina's attitude. So she tells Varvara about her dreams: “At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone is talking to me so affectionately, it’s like he’s dove me, like a dove is cooing. I don’t dream anymore, Varya, as before, paradise trees and mountains, but it’s as if someone hugs me so hot and hot and leads me somewhere, and I follow him, I go ... ”This poetic story is all imbued with a premonition of love. The soul of the heroine seeks to know this feeling and dreams about it. And Boris Grigoryevich, Dikoy's nephew, turns out to be for Katerina the embodiment of her dreams in reality.

At first, Katerina is very afraid of her sinful love. She is very pious and considers such love a terrible sin, she is horrified by the possibility of God's punishment. But she cannot resist this feeling and, after hesitating a little, takes from Varvara the fateful key to the gate. The decision is made: she will see Boris at all costs.

The desire for love in Katerina is closely intertwined with the desire for freedom, liberation from family oppression, from a weak-willed husband and a grouchy and unfair mother-in-law. Boris, as she sees him, is the exact opposite of the "dark kingdom" of petty tyrants. This is not surprising: Boris is well-mannered, educated, courteous, dressed in the fashion of the capital. But Katerina is cruelly mistaken in this person: Boris differs from the inhabitants of the city of Kalinov only in appearance. He is not able to oppose anything to the Wild One, just as Tikhon cannot say anything against the order that prevails in the house of the Kabanikh. The love of Katerina Kabanova leads to tragic consequences. After her confession of adultery, Katerina can no longer live as before with her husband and mother-in-law, subject to constant humiliation and insults. In desperation, she seeks help from a loved one, secretly hoping to find a way out of the created psychological impasse. Katerina, going on her last date with Boris, hopes that he will take her with him, will not leave her like that, will protect her. But Boris turns out to be a weak-willed, cowardly and cowardly person, he refuses to take Katerina with him. This is where his complete inability to fight, weakness of character, manifests itself. He betrays the woman he loves by refusing to take her with him out of fear of his uncle. After this betrayal, Katerina Kabanova has no choice but to leave this disgusting life. But even then, she continues to selflessly love Boris, which is so vividly shown by the author in the last farewell scene. She tells him these words: “Go with God! Don't worry about me. At first, unless it will be boring for you, the poor, and then you will forget. And this is said by a woman whose whole meaning of life is in love. Not a single swear word, not a single reproach escapes her lips. Her love is high, she cannot stoop to humiliation and reproaches. On the verge of death, this woman forgives her lover, who never justified her hopes, who never gave her the desired happiness.

Speaking about the problem of love in the drama "Thunderstorm", one can also mention the love of Varvara and Curly. But the relationship between these characters is described by the author rather for contrast, in order to highlight the feelings of the main character more clearly. The relationship between Varvara and Kudryash can hardly even be called love; rather, it is affection, sympathy. These young people, although they are experiencing the oppression of the "dark kingdom", its foundations and customs, have already learned the morals and laws of the "dark kingdom". Remember, it is Varvara who teaches Katerina the wisdom of life: "Do whatever you want, as long as everything is covered and covered." But this young couple also does not want to remain in that oppressive atmosphere. Having fallen in love with each other, they simply run away from the city of Kalinov together.

Summing up, it must be said that the desire to love and be loved in the soul of the main character is closely intertwined with the desire to free herself from the oppression of the "dark kingdom". Therefore, the problem of love in the work is closely connected with the problem of the liberation of a woman from family oppression. Thus, the problem of love is, although not the most important, but undoubtedly one of the most important problems in the work.

The problematics of a work in literary criticism is a range of problems that are somehow touched upon in the text. This may be one or more aspects that the author focuses on. In this work, we will focus on the problems of Ostrovsky's Thunderstorm. A. N. Ostrovsky received a literary vocation after the first published play. “Poverty is not a vice”, “Dowry”, “Profitable place” - these and many other works are devoted to social and everyday topics, but the issue of the play “Thunderstorm” should be considered separately.

The play received mixed reviews from critics. Dobrolyubov saw in Katerina the hope for a new life, Ap. Grigoriev noticed the emerging protest against the existing order, and L. Tolstoy did not accept the play at all. The plot of "Thunderstorm", at first glance, is quite simple: everything is based on a love conflict. Katerina secretly meets with a young man, while her husband has gone to another city on business. Unable to cope with the pangs of conscience, the girl confesses to treason, after which she rushes into the Volga. However, behind all this everyday, domestic, lies much larger things that threaten to grow to the scale of space. Dobrolyubov calls the “dark kingdom” the situation that is described in the text. An atmosphere of lies and betrayal. In Kalinovo, people are so accustomed to moral dirt that their uncomplaining consent only exacerbates the situation. It becomes scary from the realization that this place did not make people like this, it was people who independently turned the city into a kind of accumulation of vices. And now the "dark kingdom" begins to influence the inhabitants. After a detailed acquaintance with the text, one can notice how widely developed the problems of the work "Thunderstorm".

The problems in Ostrovsky's "Thunderstorm" are diverse, but at the same time they do not have a hierarchy. Each individual problem is important in itself.

The problem of fathers and children

Here we are not talking about misunderstanding, but about total control, about patriarchal orders. The play shows the life of the Kabanov family. At that time, the opinion of the eldest man in the family was undeniable, and wives and daughters were practically deprived of rights. The head of the family is Marfa Ignatievna, a widow. She took over the male functions. This is a powerful and prudent woman. Kabanikha believes that she takes care of her children, ordering them to do as she wants. This behavior led to quite logical consequences. Her son, Tikhon, is a weak and spineless person. Mother, it seems, wanted to see him like that, because in this case it is easier to control a person. Tikhon is afraid to say anything, to express his opinion; in one of the scenes, he admits that he does not have his own point of view at all. Tikhon cannot protect either himself or his wife from the tantrums and cruelty of his mother. The daughter of Kabanikhi, Varvara, on the contrary, managed to adapt to this way of life. She easily lies to her mother, the girl even changed the lock on the gate in the garden in order to freely go on dates with Curly. Tikhon is not capable of any kind of rebellion, while Varvara, in the finale of the play, escapes from her parents' house with her lover.

The problem of self-realization

When talking about the problems of the "Thunderstorm" one cannot fail to mention this aspect. The problem is realized in the image of Kuligin. This self-taught inventor dreams of making something useful for all the inhabitants of the city. His plans include assembling a perpetu mobile, building a lightning rod, and getting electricity. But this whole dark, semi-pagan world needs neither light nor enlightenment. Dikoy laughs at Kuligin's plans to find an honest income, openly mocks him. Boris, after talking with Kuligin, understands that the inventor will never invent a single thing. Perhaps Kuligin himself understands this. He could be called naive, but he knows what morals reign in Kalinov, what happens behind closed doors, what are those in whose hands power is concentrated. Kuligin learned to live in this world without losing himself. But he is not able to feel the conflict between reality and dreams as keenly as Katerina did.

The Problem of Power

In the city of Kalinov, power is not in the hands of the relevant authorities, but in those who have money. Proof of this is the dialogue between the merchant Wild and the mayor. The mayor tells the merchant that complaints are being received against the latter. To this Savl Prokofievich replies rudely. Dikoy does not hide the fact that he cheats ordinary peasants, he speaks of deceit as a normal phenomenon: if merchants steal from each other, then you can steal from ordinary residents. In Kalinov, nominal power decides absolutely nothing, and this is fundamentally wrong. After all, it turns out that without money in such a city it is simply impossible to live. Dikoy fancies himself almost a father-king, deciding who to lend money to and who not. “So know that you are a worm. If I want to, I'll have mercy, if I want to, I'll crush it, ”this is how Dikoy Kuligin answers.

The problem of love

In "Thunderstorm" the problem of love is realized in pairs Katerina - Tikhon and Katerina - Boris. The girl is forced to live with her husband, although she does not feel any feelings other than pity for him. Katya rushes from one extreme to another: she thinks between the option of staying with her husband and learning to love him or leaving Tikhon. Katya's feelings for Boris flare up instantly. This passion pushes the girl to take a decisive step: Katya goes against public opinion and Christian morality. Her feelings were mutual, but for Boris this love meant much less. Katya believed that Boris, just like her, was incapable of living in a frozen city and lying for profit. Katerina often compared herself to a bird, she wanted to fly away, to escape from that metaphorical cage, and in Boris Katya saw that air, that freedom that she lacked so much. Unfortunately, the girl made a mistake in Boris. The young man turned out to be the same as the inhabitants of Kalinov. He wanted to improve relations with Wild for the sake of getting money, he spoke with Varvara that it was better to keep feelings for Katya secret for as long as possible.

Conflict of old and new

It is about resisting the patriarchal way of life with the new order, which implies equality and freedom. This topic was very relevant. Recall that the play was written in 1859, and serfdom was abolished in 1861. Social contradictions reached their apogee. The author wanted to show what the absence of reforms and decisive action can lead to. Confirmation of this are the final words of Tikhon. “Good for you, Katya! Why am I left to live in the world and suffer!” In such a world, the living envy the dead.

Most of all, this contradiction was reflected in the main character of the play. Katerina cannot understand how one can live in lies and animal humility. The girl was suffocating in the atmosphere that was created by the inhabitants of Kalinov for a long time. She is honest and pure, so her only desire was so small and so great at the same time. Katya just wanted to be herself, to live the way she was raised. Katerina sees that everything is not at all the way she imagined before marriage. She cannot even afford a sincere impulse - to hug her husband - Kabanikha controlled and prevented any attempts by Katya to be sincere. Varvara supports Katya, but cannot understand her. Katerina is left alone in this world of deceit and dirt. The girl could not endure such pressure, she finds salvation in death. Death frees Katya from the burden of earthly life, turning her soul into something light, capable of flying away from the "dark kingdom".

It can be concluded that the problems in the drama "Thunderstorm" are significant and relevant to this day. These are unresolved issues of human existence, which will worry a person at all times. It is thanks to this formulation of the question that the play "Thunderstorm" can be called a work out of time.

Artwork test

A. N. Ostrovsky's drama "Thunderstorm" was written in 1859, on the eve of great changes in Russia. The writer created in the drama an image that is fundamentally new in Russian literature. According to Dobrolyubov, "Katerina's character, as it is performed in The Thunderstorm, is a step forward not only in Ostrovsky's dramatic activity, but in all of our literature." The main problem of the work, without a doubt, is the problem of the liberation of a woman in a merchant environment from family oppression. But the play also reflects other, no less important, problems: the problem of fathers and children, the problem of feelings and duty, the problem of lies and truth, and others.
The creativity of writers of this period (the second half of the 19th century) is characterized by an interest in the problem of love. The drama “Thunderstorm” is no exception. Ostrovsky vividly depicts the love of the main character of the play, Katerina Kabanova, for Boris Grigorievich. This love becomes the first and therefore especially strong real feeling of the heroine. Despite the fact that she married Tikhon Kabanov, the feeling of love was unknown to her. During the life of their parents, young people looked

At Katerina, but she never understood them. She married Tikhon only because he did not cause her rejection. Katerina herself, when asked by Varvara about whether she loved someone, answers: “No, she only laughed.”
Having met Boris, Katerina Kabanova falls in love with him without even talking to him properly. She falls in love largely because Boris outwardly represents a sharp contrast with the society under the yoke of which she lives. This new feeling, hitherto unknown to her, even changes Katerina's attitude. So she tells Varvara about her dreams: “At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone is talking to me so affectionately, it’s like he’s dove me, like a dove is cooing. I don’t dream anymore, Varya, as before, paradise trees and mountains, but it’s as if someone hugs me so hot and hot and leads me somewhere, and I follow him, I go. This poetic story is all imbued with a premonition of love. The soul of the heroine seeks to know this feeling and dreams about it. And Boris Grigoryevich, Dikoy's nephew, turns out to be for Katerina the embodiment of her dreams in reality.
At first, Katerina is very afraid of her sinful love. She is very pious and considers such love a terrible sin, she is horrified by the possibility of God's punishment. But she cannot resist this feeling and, after hesitating a little, takes from Varvara the fateful key to the gate. The decision is made: she will see Boris at all costs.
The desire for love in Katerina is closely intertwined with the desire for freedom, liberation from family oppression, from a weak-willed husband and a grouchy and unfair mother-in-law. Boris, as she sees him, is the complete opposite of the "dark kingdom" of petty tyrants. This is not surprising: Boris is well-mannered, educated, courteous, dressed in the fashion of the capital. But Katerina is cruelly mistaken in this person: Boris differs from the inhabitants of the city of Kalinov only in appearance. He is not able to oppose anything to the Wild One, just as Tikhon cannot say anything against the order that prevails in the house of the Kabanikh. The love of Katerina Kabanova leads to tragic consequences. After her confession of adultery, Katerina can no longer live as before with her husband and mother-in-law, subject to constant humiliation and insults. In desperation, she seeks help from a loved one, secretly hoping to find a way out of the created psychological impasse. Katerina, going on her last date with Boris, hopes that he will take her with him, will not leave her like that, will protect her. But Boris turns out to be a weak-willed, cowardly and cowardly person, he refuses to take Katerina with him. This is where his complete inability to fight, weakness of character, manifests itself. He betrays the woman he loves by refusing to take her with him out of fear of his uncle. After this betrayal, Katerina Kabanova has no choice but to leave this disgusting life. But even then, she continues to selflessly love Boris, which is so vividly shown by the author in the last farewell scene. She tells him these words: “Go with God! Don't worry about me. At first, unless it will be boring for you, the poor, and then you will forget. And this is said by a woman whose whole meaning of life is in love. Not a single swear word, not a single reproach escapes her lips. Her love is high, she cannot stoop to humiliation and reproaches. On the verge of death, this woman forgives her lover, who never justified her hopes, who never gave her the desired happiness.
Speaking about the problem of love in the drama "Thunderstorm", we can also mention the love of Varvara and Curly. But the relationship between these characters is described by the author rather for contrast, in order to highlight the feelings of the main character more clearly. The relationship between Varvara and Kudryash can hardly even be called love; rather, it is affection, sympathy. These young people, although they are experiencing the oppression of the “dark kingdom”, its foundations and customs, have already learned the morals and laws of the “dark kingdom”. Remember, it is Varvara who teaches Katerina the wisdom of life: “Do whatever you want, as long as everything is covered and covered.” But this young couple also does not want to remain in that oppressive atmosphere. Having fallen in love with each other, they simply run away from the city of Kalinov together.
Summing up, it must be said that the desire to love and be loved in the soul of the main character is closely intertwined with the desire to free herself from the oppression of the “dark kingdom”. Therefore, the problem of love in the work is closely connected with the problem of the liberation of a woman from family oppression. Thus, the problem of love is, although not the most important, but undoubtedly one of the most important problems in the work.

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4. The action of the drama takes place in the fictional provincial town of Kalinov. Its inhabitants do not know other lands and countries. Even about their past, they retained vague, meaningless memories: Lithuania to them ...
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9. It is strange that Ostrovsky's magnificent, albeit somewhat naive work has recently been mentioned less and less in school curricula. That's how it always is: either we admire on the orders of superiors, and even not ...
10. The sun is high in the sky, the path runs far, a red maiden wanders along it. She was exhausted, exhausted: during her long journey she trampled three pairs of iron shoes, broke three cast-iron staffs and three ...
11. Many writers of the late nineteenth century wrote about the Russian merchant class. The authors were also interested in the position of a woman in a merchant family. The play “Thunderstorm” by A. N. Ostrovsky and the essay “Lady Macbeth of Mtsensk ...
12. Look for such and such a scolder as Savel Prokofich among us! A. N. Ostrovsky The drama of Alexander Nikolayevich Ostrovsky “Thunderstorm” for many years became a textbook work depicting the “dark kingdom”, which suppresses the best ...
13. “The Snow Maiden” was written by Ostrovsky based on motives and matter. oral folk art. The playwright gives the play a subtitle ^ "Spring Tale" and explains: "The action takes place in Stp - Berendey in prehistoric times." In the play...
14. People say: “An apple does not fall far from an apple tree”, but, apparently, there is an exception to every rule. The mother and daughter of the Ogudalovs are such an exception. And the more insistently the author emphasizes their difference, the ...
15. “Thunderstorm” is a folk social tragedy. N. A. Dobrolyubov “Thunderstorm” stands out as the main, milestone work of the playwright. "Thunderstorm" was supposed to be included in the collection "Nights on the Volga", conceived by the author during a trip to...
16. Ostrovsky's drama "Thunderstorm" stands out from the great variety of his plays thanks to Katerina. In dramaturgy, a “live” positive hero very rarely happens. As a rule, the author has enough colors for negative characters, and ...
A. N. Ostrovsky's play "Thunderstorm" was written based on the materials of the author's trip in 1856 along the Volga. The playwright planned to write a cycle of plays about the provincial merchants, which should have been called “Nights ...
17. If Katerina feels in a new way, not like Kalinov, but does not realize this, is deprived of a rationalistic understanding of the exhaustion and doom of traditional relationships and forms of life, then Kabanikha, on the contrary, still feels ...