The critical article “A Ray of Light in the Dark Kingdom” was written by Nikolai Dobrolyubov in 1860 and then published in the Sovremennik magazine.
Dobrolyubov reflects in it on dramatic standards, where “we see the struggle of passion and duty.” In his opinion, drama has a happy ending if duty wins, and an unhappy ending if passion wins. The critic notes that in Ostrovsky's drama there is no unity of time and high vocabulary, which was the rule for dramas. "The Thunderstorm" does not satisfy the main goal of the drama - to respect the "moral duty" and show the destructive, fatal "consequences of being carried away by passion." Dobrolyubov notes that the reader unwittingly justifies Katerina, and that is why the drama does not fulfill its purpose.
The writer has a role in the movement of humanity. The critic cites as an example the high mission fulfilled by Shakespeare: he was able to raise the morality of his contemporaries. Dobrolyubov somewhat pejoratively calls Ostrovsky’s works “plays of life.” The writer “does not punish either the villain or the victim,” and this, according to the critic, makes the plays hopelessly everyday and mundane. But the critic does not deny them “nationality”, polemicizing in this context with Apollo Grigoriev. It is the reflection of the aspirations of the people that seems to be one of the strengths of the work.
Dobrolyubov continues his devastating criticism when analyzing the “unnecessary” heroes of the “dark kingdom”: their inner world is limited within a small world. There are also villains in the work, described in an extremely grotesque way. Such are Kabanikha and Dikoy. However, unlike, for example, Shakespeare's characters, their tyranny is petty, although it can ruin the life of a good person. Nevertheless, “The Thunderstorm” is called by Dobrolyubov “the most decisive work” of the playwright, where tyranny is brought to “tragic consequences.”
A supporter of revolutionary changes in the country, Dobrolyubov happily notices signs of something “refreshing” and “encouraging” in the play. For him, a way out of the dark kingdom can only be as a result of the protest of the people against the tyranny of the authorities. In Ostrovsky's plays, the critic saw this protest in the act of Katerina, for whom living in the “dark kingdom” is worse than death. Dobrolyubov saw in Katerina the person the era required: decisive, with a strong character and will of spirit, although “weak and patient.” Katerina, “creative, loving, ideal,” is, according to the revolutionary democrat Dobrolyubov, the ideal prototype of a person capable of protest and even more. Katerina, a bright person with a bright soul, was called by a critic a “ray of light” in a world of dark people with their petty passions.
(Tikhon falls to his knees in front of Kabanikha)
Among them is Katerina’s husband Tikhon - “one of the many pathetic types” who are “as harmful as the tyrants themselves.” Katerina runs from him to Boris “more in solitude,” out of “the need for love,” which Tikhon is incapable of due to his moral underdevelopment. But Boris is by no means a hero. There is no way out for Katerina; her bright soul cannot get out of the sticky darkness of the “dark kingdom.”
The tragic ending of the play and the cry of the unfortunate Tikhon, who remains, in his words, to continue to “suffer,” “make the viewer - as Dobrolyubov wrote - think not about a love affair, but about the whole life, where the living envy the dead.”
Nikolai Dobrolyubov sets the real goal of his critical article to draw the reader to the idea that Russian life is shown by Ostrovsky in “The Thunderstorm” from such a perspective in order to call “to a decisive action.” And this matter is legal and important. In this case, as the critic notes, he will be satisfied “no matter what our scientists and literary judges say.”
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1 Critics' controversy surrounding the drama "The Thunderstorm". The play is assessed by N. A. Dobrolyubov, D. I. Pisarev, A. A. Grigoriev. N. Dobrolyubov “A Ray of Light in the Dark Kingdom” (1860) D. Pisarev “Motives of Russian Drama” (1864) Ap. Grigoriev “After Ostrovsky’s Thunderstorm” (1860)
2 After the publication of A. N. Ostrovsky’s play The Thunderstorm, many responses appeared in the periodical press, but the most attention was attracted by the articles by N. A. Dobrolyubov, A Ray of Light in the Dark Kingdom, and D. I. Pisarev, Motives of Russian Drama.
3 The Thunderstorm is a work written by Ostrovsky on the eve of the great event of the abolition of serfdom. The issue raised in the drama was very relevant (exposing the dark kingdom before its collapse). That is why a heated discussion developed around Groza, and the main subject of dispute was the question: how to interpret the character of Katerina Kabanova, what is this heroine?
4 Dobrolyubov’s view of the play (quotation outline): “Ostrovsky has a deep understanding of Russian life.” “He captured such common aspirations and needs that permeate all Russian society.” “Arbitrariness, on the one hand, and a lack of awareness of one’s personal rights, on the other, are the foundations on which all the ugliness of mutual relations rests.” “Besides them, without asking them, another life has grown, with different beginnings, and although it is far away, not yet clearly visible, it is already giving itself a presentiment and sending bad visions to the dark tyranny of tyrants.”
5 “The character of Katerina... constitutes a step forward in all of our literature.” “The Russian strong character in Groza amazes us with its opposition to all tyrant principles.” “The decisive, integral Russian character acting among the Wild and Kabanovs appears in Ostrovsky in the female type... the strongest protest is the one that rises... from the chest of the weakest and most patient.” “Sad, bitter is such liberation... This is the strength of her character, and that is why the Thunderstorm makes a refreshing impression on us.” “This end seems joyful to us... it presents a terrible challenge to tyrant power.”
6 But Speaking about how the strong Russian character is understood and expressed in Groza, N.A. Dobrolyubov, in his article A Ray of Light in a Dark Kingdom, rightly noticed Katerina’s concentrated determination. However, in determining the origins of her character, he left the spirit of Ostrovsky's drama. Is it possible to agree that her upbringing and young life gave her nothing? Without monologues and memories of her youth, is it possible to understand her freedom-loving character? Not feeling anything bright and life-affirming in Katerina’s reasoning, not deigning her religious culture with attention, Dobrolyubov reasoned:
7 Nature here replaces both considerations of reason and the demands of feeling and imagination. Where in Ostrovsky we can see elements of folk culture, in Dobrolyubov we see a somewhat straightforwardly understood nature. Katerina’s youth, according to Ostrovsky, is a sunrise, joy of life, bright hopes and joyful prayers. Katerina’s youth, according to Dobrolyubov, is the meaningless ravings of wanderers, a dry and monotonous life.
8 In his reasoning, Dobrolyubov did not notice the main thing - the difference between Katerina’s religiosity and the Kabanovs’ religiosity (everything emanates coldness and some kind of irresistible threat: the faces of the saints are so strict, and the church readings are so menacing, and the stories of the wanderers are so monstrous). It was in her youth that Katerina’s freedom-loving and passionate character was formed, challenging the dark kingdom.
9 Further, Dobrolyubov, speaking about Katerina, presents her as an integral, harmonious character, which amazes us with its opposition to all tyrant principles. The critic speaks of a strong personality who opposed the oppression of the Wild and Kabanovs with freedom, even at the cost of life. Dobrolyubov saw in Katerina an ideal national character, so necessary at a turning point in Russian history.
10 From a different perspective, D.I. Pisarev assessed the Thunderstorm in his article Motives of Russian Drama, published in the March issue of Russian Word for 1864. Unlike Dobrolyubov, Pisarev calls Katerina a crazy dreamer and visionary:
11 Katerina’s whole life consists of constant internal contradictions; every minute she rushes from one extreme to another; Today she repents of what she did yesterday, and yet she herself does not know what she will do tomorrow; At every step she confuses her own life and the lives of other people; Finally, having mixed up everything she had at hand, she cuts the lingering knots with the most stupid means, suicide.
12 Pisarev considers the heroine’s moral experiences to be a consequence of Katerina’s unreasonableness: Katerina begins to be tormented by remorse and in this direction reaches the point of madness. It is difficult to agree with such categorical statements.
13 However, the article is perceived more as a challenge to Dobrolyubov’s understanding of the play, especially in the part where it deals with the revolutionary capabilities of the people, rather than as a literary analysis of the play. After all, Pisarev wrote his article in an era of decline in the social movement and the disappointment of revolutionary democracy in the capabilities of the people. Since spontaneous peasant riots did not lead to revolution, Pisarev assesses Katerina’s spontaneous protest as deep nonsense.
14 D. I. Pisarev’s views on the play. How is his polemic with Dobrolyubov expressed? Evaluation of Katerina as a heroine who has not yet become a developed personality. The spontaneity and inconsistency of the image, acting under the influence of feeling. Assessment of suicide as an act of the unexpected.
15 Apollo Grigoriev felt the Thunderstorm most deeply. He saw in it the poetry of people's life, boldly, broadly and freely, captured by Ostrovsky. He noted this hitherto unprecedented night of meeting in a ravine, all breathing with the closeness of the Volga, all fragrant with the smell of the grass of its wide meadows, all sounding with free songs, funny, secret speeches, all full of the charm of a deep and tragically fatal passion. It was created as if it was not an artist, but an entire people who created it here!
16 What are Ap.’s views on the play “The Thunderstorm”? Grigoriev? Nationality is the main thing in Ostrovsky’s work. It is the nationality that determines the originality of Katerina’s character.
17 Sources: Portrait of Ap. Grigorieva: Portrait of N.A. Dobrolyubov: Portrait of D.I. Pisarev: Quotation plans based on articles by critics (slides 4,5, 9, 11):
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Sections: Literature
- Introduce students to works of critical literature of the 1860s.
- Teach some discussion techniques using the examples of the articles under consideration.
- Develop students' critical thinking.
- Strengthen the skill of selective note-taking of a literary critical article.
- Summarize the material studied.
Text content of the lesson:
- A.N. Ostrovsky. Drama "The Thunderstorm" (1859)
- N.A. Dobrolyubov “A Ray of Light in the Dark Kingdom” (1860)
- A. Grigoriev “After Ostrovsky’s “Thunderstorm”” (1860)
- D.I.Pisarev “Motives of Russian drama” (1864)
- M.A. Antonovich “Mistakes” (1865)
Homework for the lesson:
- Selective summary of the article by A.N. Dobrolyubov “A Ray of Light in the Dark Kingdom” (I version) and the article by D.I. Pisarev “Motives of Russian Drama” (II version).
- Determine your attitude to the theses of the article, select an argument.
Individual assignments for the lesson:
- prepare brief reports on the literary critical activities of Dobrolyubov, Pisarev, Grigoriev, Antonovich;
- select fragments of polemics with D. Pisarev from M. Antonovich’s article “Mistakes”;
- determine what are the features of the critical analysis of the drama “The Thunderstorm” made by Apollo Grigoriev.
Lesson design: the topic of the lesson is written on the board; top right - the names of the critics and their years of life; top left - key concepts: discussion, controversy, opponent, thesis, arguments, judgment, critical analysis.
In the center of the board is a layout of a table that will be filled out as the lesson progresses. The table has 2 columns: on the left is Dobrolyubov’s interpretation of the image of Katerina, on the right – by Pisarev.
During the classes
1. Introductory speech by the teacher.
Not a single truly talented work leaves anyone indifferent: some admire it, others express critical judgments. This happened with Ostrovsky’s drama “The Thunderstorm”. The writer’s fans called it a truly folk work and admired Katerina’s determination and courage; but there were also those who responded rather harshly, denying the heroine any intelligence. Such controversial assessments were expressed by N.A. Dobrolyubov and D.I. Pisarev, famous literary critics of the 1860s.
To better understand what arguments they were guided by, let's listen to the messages prepared by the guys.
2. Student messages.
I. Nikolai Alexandrovich Dobrolyubov(1836-1861) – critic, publicist, poet, prose writer. Revolutionary democrat. Born into a priest's family. He studied at the Faculty of History and Philology of the Main Pedagogical Institute of St. Petersburg. During his years of study, his materialistic views were formed. “I am a desperate socialist...” - Dobrolyubov said about himself. Permanent contributor to the Sovremennik magazine. According to the recollections of people who knew him closely, Dobrolyubov did not tolerate compromises, “he did not know how to live” as the majority live.
Dobrolyubov entered the history of Russian literature, first of all, as a critic, a successor of Belinsky’s ideas. Dobrolyubov's literary criticism is clearly journalistic.
Question to the class: How do you understand these words?
Dobrolyubov has detailed parallels between literature and life, appeals to the reader - both direct and hidden, “Aesopian”. The writer counted on the propaganda effect of some of his articles.
At the same time, Dobrolyubov was a sensitive connoisseur of beauty, a person capable of deeply penetrating the essence of a work of art.
Develops the principles of “real criticism”, the essence of which is that a work must be treated as a phenomenon of reality, revealing its humanistic potential. The dignity of a literary work is placed in direct connection with its nationality.
Dobrolyubov’s most famous literary critical articles: “The Dark Kingdom” (1859), “When will the real day come?” (1859), “What is Oblomovism?” (1859), “A Ray of Light in a Dark Kingdom” (1860).
II. Dmitry Ivanovich Pisarev(1840-1868) – literary critic, publicist. Born into a poor noble family. He studied at the Faculty of History and Philology of St. Petersburg University. It is at the university that the “poisonous seed of skepticism” sprouts in the young man. Since 1861 he has been working in the magazine “Russian Word”. Pisarev's articles quickly attracted the attention of readers with the sharpness of his thoughts, the fearlessness of the author's position, and brought him the fame of a daring and ardent polemicist who does not recognize anyone's authority.
After 1861, Pisarev pinned his hopes on useful scientific and practical activity, on awakening interest in exact, natural science knowledge. From an extremely pragmatic position, he approaches the analysis of some works of art. Pisarev insists that by all means we must increase the number of thinking people.
Tragically died in June 1868.
Pisarev’s most famous critical works: “Bazarov” (1862), “Motives of Russian Drama” (1864), “The Realists” (1864), “The Thinking Proletariat” (1865).
III. Now, guys, let's see how these two critics interpreted the image of Katerina Kabanova, the heroine of Ostrovsky’s drama “The Thunderstorm”.(Students of option 1 read the theses of Dobrolyubov’s article; students of option 2 read the theses of Pisarev’s article. The teacher briefly writes them down in a table on the board. Such work will make it possible to more clearly present the different approaches of critics to the image of Katerina).
ON THE. Dobrolyubov |
DI. Pisarev |
|
1. The character of Katerina is a step forward...in all our literature |
1. Dobrolyubov took Katerina’s personality for a bright phenomenon |
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2. Decisive, integral Russian character |
2. Not a single bright phenomenon can arise in the “dark kingdom”... |
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3. This character is predominantly creative, loving, ideal |
3. What is this stern virtue that gives in at the first opportunity? What kind of suicide is this caused by such minor troubles? |
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4. With Katerina, everything is done according to the desire of nature |
4.Dobrolyubov found...the attractive sides of Katerina, put them together, created an ideal image, and as a result saw a ray of light in the dark kingdom |
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5. In Katerina we see a protest against Kabanov’s concepts of morality, a protest carried to the end... |
5. Upbringing and life could not give Katerina either a strong character or a developed mind... |
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6 Such liberation is bitter; but what to do when there is no other way out. This is the strength of her character. |
6. Katerina cuts through the lingering knots with the stupidest means - suicide. |
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7 We are glad to see Katerina’s deliverance. |
7. He who does not know how to do anything to alleviate his own and others’ suffering cannot be called a bright phenomenon. |
Question for the class: What, in your opinion, is the reason for such different interpretations of the image of Katerina? Should should I take into account the time of writing articles?
Pisarev openly and clearly polemicizes with Dobrolyubov. In his article he states: “Dobrolyubov made a mistake in assessing female character.” Pisarev remains deaf to Katerina’s spiritual tragedy; he approaches this image from a frankly pragmatic position. He does not see what Dobrolyubov saw - Katerina’s piercing conscientiousness and uncompromisingness. Pisarev, based on his own understanding of the specific problems of the new era that came after the collapse of the revolutionary situation, believes that the main sign of a truly bright phenomenon is a strong and developed mind. And since Katerina has no mind, she is not a ray of light, but just an “attractive illusion.”
IV. Discussion
Question to the class: Whose position is closer to you? Give reasons for your point of view.
The class is ambivalent about the interpretation of the image of Katerina by two critics.
The guys agree with Dobrolyubov, who saw the poetry of Katerina’s image, and understand the position of the critic, who sought to explain the girl’s fatal step by the terrible conditions of her life. Others agree with Pisarev, who considers the heroine’s suicide not the best way out of the current situation. However, they do not make harsh judgments about Katerina's intelligence.
V. Maxim Antonovich, an employee of the Sovremennik magazine, expressed his rejection of Pisarev’s interpretation of the image of Katerina in his article. You will come across the name of this critic when studying I. S. Turgenev’s novel “Fathers and Sons.” Let's listen to a short biographical information about him.
Maxim Alekseevich Antonovich (1835-1918) - radical Russian literary critic, philosopher, publicist. Born into a sexton's family. He studied at the St. Petersburg Theological Academy. He was an employee of Sovremennik. He defended the views on art of Chernyshevsky and Dobrolyubov. He advocated democratic, raznochinsky literature. However, he vulgarized the provisions of materialist aesthetics. He argued with the magazine D.I. Pisarev "Russian Word".
The most famous works of M. Antonovich: “Asmodeus of our time” (1862), “Mistakes” (1864).
Question to class: A Now let's see what answer M. Antonovich gave to Pisarev in his article. Is he convincing in his judgments?
A trained student reads out the most striking statements from the fragment dedicated to the controversy with Pisarev.
“Pisarev decided to correct Dobrolyubov... and expose his mistakes, to which he counts one of his best articles, “A Ray of Light in the Dark Kingdom”... It is this article that Mr. Pisarev is trying to drown with the muddy water of his phrases and commonplaces... Pisarev calls Dobrolyubov’s views mistake and equates him with the champions of pure art..."
“It seemed to Pisarev that Dobrolyubov imagined Katerina as a woman with a developed mind, who supposedly decided to protest only as a result of the education and development of her mind, and therefore was called a “ray of light”... Pisarev imposed his own fantasy on Dobrolyubov and began to refute it like this , as if it belonged to Dobrolyubov..."
“Is this how you, Mr. Pisarev, are attentive to Dobrolyubov, and this is how you understand what you want to refute?”
The student reports that, in Antonovich’s opinion, Pisarev humiliates Katerina with his analysis. However, Antonovich himself, in the heat of controversy, speaks rather rudely, for example, he uses expressions such as “Mr. Pisarev’s fanfare,” “Mr. Pisarev’s arrogant phrases,” “to criticize in this way is simply stupid,” etc.
The guys, having become acquainted with Antonovich’s critical style, note that his arguments are not very convincing, since Antonovich does not provide evidence-based argumentation based on a good knowledge of the material. Simply put, in his polemics with Pisarev, Antonovich does a poor job of hiding his personal hostility.
Teacher's word: M. Antonovich was the initiator of the controversy between Sovremennik and Russkiy Slovo. These leading democratic journals differed in their understanding of the very paths of progressive change. Pisarev's emphasis on scientific progress led to a certain revision of the views of Chernyshevsky and Dobrolyubov. This was clearly manifested in Pisarev’s interpretation of the image of Katerina. Antonovich, in his article “Mistakes,” sharply criticized this attempt to revise Dobrolyubov, accusing Pisarev of distorting the meaning of Dobrolyubov’s article.
VI. Apollo Grigoriev demonstrates a completely different approach to analyzing the work.
Word to a prepared student:
Grigoriev Apollo Alexandrovich (1822-1864) - poet, literary and theater critic. Graduated from the Faculty of Law of Moscow University. He began publishing as a poet in 1843. He heads the young editorial board of the Moskvityanin magazine, being a leading critic. Later he edits the magazine “Russian Word”. Grigoriev himself called himself “the last romantic.”
As a critic, he is known for his works about Ostrovsky (“After Ostrovsky’s “Thunderstorm,” 1860), Nekrasov (“Poems by N. Nekrasov,” 1862), and L. Tolstoy (“Count L. Tolstoy and his Works,” 1862).
Let's see how A. Grigoriev evaluates Ostrovsky's drama "The Thunderstorm". Think about what is special about this critique.
A student prepared at home reads out the brief abstract of the article “After Ostrovsky’s “The Thunderstorm.”
The guys pay attention to the fact that this is the first time they have seen a critical article written by a poet. Hence its significant differences from previous works, in particular, Dobrolyubov and Pisarev. A. Grigoriev tried to see in “The Thunderstorm”, first of all, a work of art. In his article, he pointed out that Ostrovsky’s virtue is his ability to authentically and poetically portray national Russian life: “The name of this writer is not a satirist, but a people’s poet.” The critic was interested not in the blank fences of the city of Kalinov, but in the picturesque cliff above the Volga. Where Dobrolyubov sought reproof, the poet Grigoriev tried to find admiration. Grigoriev noticed in “The Thunderstorm” only the beauty of Russian nature and the charm of provincial life, as if forgetting about the tragedy of the events depicted in the play. The writer considered the opinion of some “theorists” to “sum up instant results for every phase of life” to be a mistake. Such “theorists,” he believed, had little respect for life and its boundless mysteries.
Teacher's word. Today, folks, you've been introduced to the work of some of the most famous critics of the 1860s. The subject of their critical analysis was the same work - Ostrovsky's drama "The Thunderstorm". But look how differently they evaluate it! What do you think is the reason for this?
The guys answer that the determining role is played by such factors as the time of writing the articles, the political beliefs of opponents, the view of art and, undoubtedly, the personality of the critics themselves, which is manifested in polemically sharpened words.
VII. Conclusions.
Ostrovsky's drama "The Thunderstorm" caused many mixed reviews with its appearance. This was especially true for the interpretation of the image of Katerina Kabanova, a girl with a warm heart. Some critics perceived her as a heroine who, with her decisive action, managed to illuminate the gloomy world of the “dark kingdom” and thereby contribute to its destruction (Dobrolyubov). Others believed that without a sufficiently developed mind, Katerina is not capable of becoming a “ray of light”; this is just an “attractive illusion” (Pisarev). Still others agreed with Dobrolyubov’s interpretation, convicting Pisarev of his inability to make an objective assessment (Antonovich). But there were also those who stood “above the fray,” not wanting to see anything other than a beautifully written work of art. This was A. Grigoriev’s view.
It seems to us that each critic is right in his own way. It all depends on the angle from which the object of criticism is viewed. Dobrolyubov saw only the rebellious side of Katerina’s character, and Pisarev noticed only the exceptional darkness of the young woman.
The name of Ostrovsky is well known and memorable to everyone who cherishes national Russian culture. Dobrolyubov called Ostrovsky’s plays “plays of life.” His contemporaries and descendants were amazed by the naturalness of his works, their simplicity, and truthfulness, unusual for that time. A thoughtful reader or viewer sees in Ostrovsky not only a describer of everyday life, but also a sharp satirist, lyricist, and dramatic poet.
Most critics valued A. Ostrovsky not so much as a writer’s talent as his gift as an outstanding playwright; many of his plays were staged during the writer’s lifetime at the Moscow Maly Theater, or “Ostrovsky House,” as residents of the capital called it. Many of them are still going on there.
Ostrovsky deeply understood people's lives and knew how to vividly depict its most characteristic features. A. Ostrovsky's play "The Thunderstorm" is in this sense another manifestation of his talent.
"The Thunderstorm" aroused a lot of different opinions from Russian critics, many of which were directly opposite to each other. The greatest controversy was caused by the image of the main character of the play - Katerina. The outstanding Russian critic Dobrolyubov considered her “a ray of light in the dark kingdom of Russian reality” with a character “primarily creative, loving, ideal.”
Dobrolyubov compares Katerina to a large, high-water river. Katerina withstands all adversities, will endure everything, despite any obstacles; “and when there is not enough strength, he will die, but will not betray himself.” According to N.A. Dobrolyubov, Katerina is condemned to fight; whether she submits or commits deception, she will still “reach her end.” Dobrolyubov highly appreciates Katerina’s ability to protest against “Kabanov’s” concepts of morality. He sees in her a woman “who does not want to put up with or take advantage of the miserable existence.”
Another point of view on this image is expressed in the article by D. I. Pisarev “Motives of Russian Drama.” Pisarev emphasizes that Katerina’s life is full of internal contradictions. In her soul, “it’s as if two different women are constantly colliding.” Katerina, according to the critic, “confuses her own life,” and having tangled the knot to the end, she cuts it “in the simplest and stupidest way - suicide.”
In my opinion, the point of view of F. M. Dostoevsky is closest to the truth. He considers Katerina’s personal drama to be completely natural and thus rejects the arguments of those who are trying to derive from “The Thunderstorm” the idea of “the harmfulness of patriarchal despotism.” He claims that “... the evil one, who tormented Katerina, loves such natures. If she were surrounded by the kindest people, she, having committed her sin, would have been executed and grieved in the same way. There might not have been suicide, but her life was all “It would have been broken.” And this is true, you just have to read the text of the play more carefully. Katerina is so sincere, honest, and pure of soul that, having fallen in love with Boris and thereby accepting a “grave” sin on her soul, she cannot help but experience pangs of conscience. And, of course, it was not the patriarchal way of life that forced her to take the most terrible step - suicide, but simply truthfulness, deep faith and purity of moral principles did not allow Katerina to continue her “sinful” existence on earth.
We remember that in her parents’ house she “lived and did not worry about anything, like a bird in the wild.” Her mother “doted on her and didn’t force her to work.” And although everything is “the same” in her mother-in-law’s house, Katerina feels some kind of oppression, everything is “as if from under captivity.” Members of the family into which Katerina ended up treat the situation in the house differently. Tikhon has completely submitted to his mother; he does not want to “live by his own will,” although he is sometimes glad to break free. Varvara adapted more successfully, slowly deceiving her mother and pursuing, first of all, her own interests.
Katerina is firmly convinced that once she gets married, she is “as if buried.” However, this does not prevent her, having fallen in love with Boris, to give vent to her feelings, thus violating age-old traditions. But Katerina is deeply pious. Having cheated on her husband, she cannot live with such a sin in her heart, which seems even worse to her than suicide. In her last monologue, after saying goodbye to Boris, Katerina says that she cannot return home, that “she doesn’t even want to think about life,... people, the house, the walls - everything is disgusting,” and whoever loves, “doesn’t care.” will pray." Thus, the discord between what is going on in Katerina’s soul, between her feelings, desires and the norms of Kalinov’s reality becomes more and more tragic. Tikhon’s last exclamation, in which his envy of his dead wife is evident, emphasizes, in my opinion, all the horror of everyday life in which the living “envy” the dead.
You can interpret the image of Katerina in different ways, you can see manifestations of human weakness in her actions, but it seems to me that you cannot condemn Katerina for them and you cannot help but sympathize with a heroine so rare in her inner beauty.
- New!
Look for another scolder like our Savel Prokofich!.. Kabanikha is also good. A. Ostrovsky. The Thunderstorm In his drama “The Thunderstorm,” A. N. Ostrovsky vividly and vividly depicted the “dark kingdom” of the Russian province, suppressing the best human...
Was the love of Katerina Kabanova from A. N. Ostrovsky’s play “The Thunderstorm” a crime? Did the poor woman deserve such a terrible punishment? Katerina's misfortunes begin after she marries Tikhon Kabanov and moves into his house. There's a young...
Enmity between loved ones can be especially irreconcilable P. Tacitus There is no more terrible retribution for follies and errors than to see how one’s own children suffer because of them W. Sumner Play by A.N. Ostrovsky's "The Thunderstorm" tells about the life of a provincial...
The title of Ostrovsky’s drama “The Thunderstorm” plays a big role in understanding this play. The image of a thunderstorm in Ostrovsky's drama is unusually complex and multi-valued. On the one hand, the thunderstorm is a direct participant in the action of the play, on the other hand, it is a symbol of the idea of this work....
What do you think about when you re-read what Dmitry Ivanovich Pisarev wrote about “The Thunderstorm” by Alexander Nikolaevich Ostrovsky? Perhaps, the fact that literature follows geniuses... The golden Russian literature of the 19th century, having begun with an international breakthrough in poetry, had already realized it in prose by the middle of the century, serving as a “ray of light” for the entire Russian society. We are, of course, talking about the non-poetic works of Pushkin, Gogol, and Ostrovsky.
Civil message of the article
The article about Pisarev’s “The Thunderstorm” is a citizen’s response to the iconic play of the century before last. The play in five acts, written in 1859 by Alexander Nikolaevich Ostrovsky, occupies a special place in golden Russian literature. This dramatic work served as a powerful stimulus for the further development of realism. Evidence of this was the assessment given to the play by critics. It demonstrates a real pluralism of opinions. And in the dispute, the truth was really born! In understanding this, it is important to know that the article “Motives of Russian Drama”, in which Pisarev placed his review of “The Thunderstorm”, was written as a response to another critical article by the famous literary critic Nikolai Dobrolyubov. The article with which Pisarev argued was brightly called “A Ray of Light in a Dark Kingdom.” We will try to present to readers our analysis of the above-mentioned work by Dmitry Pisarev. It occupies a special place in Russian literature. Ostrovsky managed to worthily continue in Russian drama the realism laid down by Griboyedov in “Woe from Wit.”
Fundamental disagreement with Dobrolyubov on the play “The Thunderstorm”
Dmitry Ivanovich, undoubtedly, was a subtle expert and, undoubtedly, when starting work, he became deeply acquainted with the article of the outstanding literary critic Dobrolyubov, whom he knew and respected. However, obviously, following the wisdom of the ancients (namely, “Socrates is my friend, but the truth is dearer”), Pisarev wrote his review of Ostrovsky’s drama “The Thunderstorm”.
He realized the need to express his point of view because he felt: Dobrolyubov tried to show Katerina as a “hero of the time.” Dmitry Ivanovich fundamentally disagreed with this position, and with good reason. Therefore, he wrote his article “Motives of Russian Drama,” where he criticized the main thesis in the work of Nikolai Aleksandrovich Dobrolyubov that Katerina Kabanova is “a ray of light in a dark kingdom.”
Kalinov as a model of Russia
Undoubtedly, in the article Pisarev expressed his thoughts about “The Thunderstorm,” clearly realizing that the Dobrolyubovs gave such a “dark” characterization formally to one county town, but in fact to all of Russia in the middle of the 19th century. Kalinov is a small model of a huge country. In it, public opinion and the entire course of city life are manipulated by two people: the merchant, indiscriminate in his methods of enrichment, Savel Prokofich Dikoy, and the hypocrite of Shakespearean proportions, the merchant Kabanova Marfa Ignatievna (in common parlance - Kabanikha).
In the 60s of the century before last, Russia itself was a huge country with a population of forty million and developed agriculture. A network of railways was already in operation. In the near future, after Ostrovsky wrote the play (more precisely, from 1861, after Emperor Alexander II signed the “Manifesto” abolishing serfdom), the number of the proletariat increased and, accordingly, industrial growth began.
However, the suffocating atmosphere of pre-reform society shown in Ostrovsky’s play was truly true. The work was in demand, suffered...
Relevance of the play's ideas
Using simple argumentation, Pisarev creates his review of “The Thunderstorm” in a language understandable to the reader. He accurately reproduces the summary of the play in his critical article. How could it be otherwise? After all, the problems of the play are vital. And Ostrovsky did a great job, with his work he wished with all his heart to build a civil society instead of the “dark kingdom.”
However, dear readers... So to speak, putting your hand on your heart... Can our society today be called “the kingdom of light, goodness and reason”? Did Ostrovsky write Kuligin’s monologue into the void: “Because we can never earn more through honest work, and whoever has the money, sir, tries to enslave the poor so that he can make even more money from his free labors...”? Bitter, fair words...
Katerina is not a “ray of light”
Pisarev’s criticism of “The Thunderstorm” begins with the formulation of the conclusion about the recklessness of Dobrolyubov’s conclusion. He motivates him by citing arguments from the author's text of the play. His polemic with Nikolai Dobrolyubov resembles the summing up of a seasoned pessimist about the conclusions drawn by an optimist. According to Dmitry Ivanovich’s reasoning, Katerina’s essence is melancholic, there is no real virtue in her, characteristic of people who are called “light”. According to Pisarev, Dobrolyubov made a systematic error in analyzing the image of the main character of the play. He collected all her positive qualities into a single positive image, ignoring her shortcomings. According to Dmitry Ivanovich, a dialectical view of the heroine is important.
The main character as a suffering part of the dark kingdom
A young woman lives with her husband Tikhon with her mother-in-law, a wealthy merchant who has (as they say now) “heavy energy,” which is subtly emphasized by Pisarev’s critical article. "The Thunderstorm", as a tragic play, is largely determined by this image. Kabanikha (that’s her street name) is pathologically fixated on the moral oppression of those around her, with constant reproaches, eating them “like rusty iron.” She does this in a sanctimonious manner: that is, constantly asking her family to “act in order” (more precisely, following her instructions).
Tikhon and his sister Varvara adapted to their mother’s speeches. Her daughter-in-law, Katerina, is especially sensitive to her nagging and humiliation. She, who has a romantic, melancholic psyche, is truly unhappy. Her colorful dreams and daydreams reveal a completely childish worldview. This is nice, but it is not a virtue!
Inability to cope with oneself
At the same time, Pisarev’s criticism of “The Thunderstorm” objectively points to Katerina’s infantility and impulsiveness. She doesn't marry for love. The majestic Boris Grigorievich, nephew of the merchant Dikiy, just smiled at her, and the thing was ready: Katya hurries off to a secret meeting. At the same time, having become close to this, in principle, a stranger, she does not think at all about the consequences. “Is the author really depicting a “ray of light?!” - Pisarev’s critical article asks the reader. “The Thunderstorm” portrays an extremely illogical heroine who cannot not only cope with circumstances, but also cannot cope with herself. After cheating on her husband, being depressed, childishly frightened by a thunderstorm and the hysteria of a crazy lady, she admits to what she did and immediately identifies herself with the victim. It's corny, isn't it?
On his mother’s advice, Tikhon beats her “a little,” “for the sake of order.” However, the bullying of the mother-in-law herself becomes much more sophisticated. After Katerina learns that Boris Grigorievich is going to Kyakhta (Transbaikalia), she, having neither the will nor the character, decides to commit suicide: she throws herself into the river and drowns.
Katerina is not a “hero of the time”
Pisarev thinks philosophically about Ostrovsky’s “The Thunderstorm.” He asks the question of whether in a slave society a person who is not endowed with a deep mind, who does not have will, who does not engage in self-education, who does not understand people - in principle, can become a ray of light. Yes, this woman is touchingly meek, kind and sincere, she does not know how to defend her point of view. (“She crushed me,” says Katerina about Kabanikha). Yes, she has a creative, impressionable nature. And this type can really charm (as happened with Dobrolyubov). But this does not change the essence... “Under the circumstances set out in the play, a person - a “ray of light” cannot arise!” - says Dmitry Ivanovich.
Maturity of the soul is a condition of adult life
Moreover, the critic continues his thought, is it really a virtue to capitulate to minor, completely surmountable life difficulties? This obvious, logical question is asked by Pisarev about Ostrovsky’s “The Thunderstorm”. Can this be an example for a generation whose destiny is to change slave Russia, oppressed by local “princelings” like Kabanikha and Wild? At best, such a suicide can only cause However, as a result, the fight against the social group of rich people and manipulators must be waged by strong-willed and educated people!
At the same time, Pisarev does not speak disparagingly about Katerina. “The Thunderstorm,” the critic believes, is not for nothing that it portrays her image so consistently, starting from childhood. The image of Katerina in this sense is similar to the unforgettable image of Ilya Ilyich Oblomov! The problem of her unformed personality is her ideally comfortable childhood and youth. Her parents didn't prepare her for adulthood! Moreover, they did not give her a proper education.
However, it should be recognized that, unlike Ilya Ilyich, if Katerina had found herself in a more favorable environment than the Kabanov family, she would most likely have flourished as an individual. Ostrovsky gives reasons for this...
What is the positive image of the main character?
This is an artistically holistic, positive image - Pisarev tells about Katerina. “The Thunderstorm”, when read, leads the reader to the realization that the main character actually has an internal emotional charge, characteristic of a creative person. It has the potential for a positive attitude towards reality. She intuitively feels the main need of Russian society - human freedom. She has hidden energy (which she feels, but has not learned to control). That’s why Katya exclaimed the words: “Why are people not birds?” It is no coincidence that the author conceived such a comparison, because the heroine subconsciously wants freedom, similar to that which a bird feels in flight. That freedom, for which she lacks the mental strength to fight...
Conclusion
What conclusions does Pisarev draw to with his article “Motives of Russian Drama”? “The Thunderstorm” does not depict a “hero of the times”, not a “ray of light”. This image is much weaker, but not artistically (everything is in order here), but in terms of the maturity of the soul. The “hero of the time” cannot “break” as a person. After all, people who are called “rays of light” can be killed rather than broken. And Katerina is weak...
Both critics also have a common line of thought: the article about Pisarev’s “The Thunderstorm”, like Dobrolyubov’s article, interprets the title of the play in the same way. This is not only an atmospheric phenomenon that scared Katerina to death. Rather, we are talking about the social conflict of a backward, uncivil society that has come into conflict with the needs of development.
Ostrovsky's play is a kind of indictment. Both critics showed, following Alexander Nikolaevich, that people have no rights, they are not free, they are essentially subordinate to the “Boars” and “Wild Ones”. Why did Dobrolyubov and Pisarev write about “The Thunderstorm” in such different ways?
The reason for this is, undoubtedly, the depth of the work, in which there is more than one semantic “bottom”. It has both psychologism and sociality. Each of the literary scholars interpreted them in their own way and set priorities differently. Moreover, both one and the other did it with talent, and Russian literature only benefited from this. Therefore, it is completely stupid to ask the question: “Did Pisarev write more accurately about the play “The Thunderstorm,” or did Dobrolyubov?” You should definitely read both articles...