The play Thunderstorm full content by action. A.N. Ostrovsky

Our lesson today is dedicated to the work of N.A. Ostrovsky. We will reflect on the genre of the play "The Thunderstorm". What is this - drama or tragedy? To do this, we will turn to the history of the tragedy genre, find its signs in the play and try to determine the genre feature of the work.

It was immediately staged at the Moscow Maly Drama Theater and caused serious controversy and controversy. Not everyone could see the large-scale meaning of this play. Some perceived it simply as a family drama about how a dark, downtrodden, intimidated woman cheated on her pathetic husband. Such thoughts were expressed not only by conservatives, but even by such a revolutionary and radically minded literary critic as D. Pisarev (Fig. 2).

Rice. 2. D.I. Pisarev ()

In his article “Motives of Russian Drama,” he reproached Katerina for not leaving her husband, and generally believed that her behavior was ridiculous and stupid, and she should not have been put at the center of the play. But already in 1860, Dobrolyubov’s article was published in the Sovremennik magazine (Fig. 3).

Rice. 3. N.A. Dobrolyubov ()

It must be said that we are now reconsidering Dobrolyubov’s work and cannot agree with him on all points. But we must take into account that Ostrovsky himself liked Dobrolyubov’s article “A Ray of Light in the Dark Kingdom” extremely. He repeatedly said that Dobrolyubov absolutely correctly understood the concept of his play.

What is the difference between drama and tragedy? First of all, the scale of the problem. The tragedy touches upon universal questions about life and death, about the world and the fate of man in it. The drama examines the issues in more detail, but perhaps in more detail: man and society, man and his social environment, man and his various social connections that a person establishes with the people around him. Dobrolyubov persistently called Ostrovsky’s play a tragedy:

"The Thunderstorm" is, without a doubt, Ostrovsky's most decisive work; the mutual relations of tyranny and voicelessness are brought to the most tragic consequences; and for all that, most of those who have read and seen this play agree that it produces a less serious and sad impression than Ostrovsky’s other plays...”

“There’s even something refreshing and encouraging about The Thunderstorm. This “something” is, in our opinion, the background of the play, indicated by us and revealing the precariousness and the near end of tyranny. Then the very character of Katerina, drawn against this background, also breathes on us with new life, which is revealed to us in her very death ... "

“The character of Katerina is a step forward not only in Ostrovsky’s dramatic activity, but also in all of our literature. It corresponds to a new phase of our national life..."

It is no coincidence that Dobrolyubov speaks of a new phase of people’s life. What happened in Russia at the end of the 50s? This is a difficult and critical time. The Crimean War has just ended (Fig. 4),

Rice. 4. Crimean War ()

which turned out to be a complete disgrace for Russia, Nicholas I died (Fig. 5),

Rice. 5. Emperor Nicholas I ()

and the conversation turned to reforms, the inevitability of which the country’s leadership understood. Already in 1857, the liberation of the peasants was announced (Fig. 6).

Rice. 6. Reading the manifesto on the liberation of the peasants ()

The archaic, inhumane, completely backward social system in Russia had to be completely broken. But here a large-scale question arose before society: are the people ready for these changes, will they be able to become a subject of history, move towards high goals, etc.? After all, several centuries of oppression and slavery could kill his will to independence and freedom. These questions were answered in different ways, there were intense debates in society, and it was at this moment that the play “The Thunderstorm” appeared, which is intended to answer this question as Ostrovsky understands it.

Thus, Ostrovsky is trying to find in his play a conscious or at least spontaneous heroic beginning in the thickness of people's life.

Tragedy- a play that depicts extremely acute, often insoluble contradictions in life. The plot is based on the irreconcilable conflict of the hero, a strong personality, with supra-personal forces (fate, state, elements, etc.) or with himself. In this struggle, the hero, as a rule, dies, but wins a moral victory. The purpose of the tragedy is to cause shock in the viewer by what they see, which, in turn, gives rise to sorrow and compassion in their hearts. This state of mind leads to catharsis.

Drama- a literary work written in the form of a dialogue between characters. Focused on spectacular expressiveness. The relationships between people and the conflicts that arise between them are revealed through the actions of the heroes and are embodied in a monologue-dialogue form. Unlike tragedy, drama does not end in catharsis.

Let us now turn to the history of the tragedy genre itself. Tragedy as a genre often appears in literature precisely at turning points in history. It helps to understand the global issues facing humanity. Tragedy was born in Ancient Greece and precisely at that moment when the man of Antiquity for the first time began to recognize himself not just as a member of a collective, tribe, state, but as a separate sovereign person. How should an individual behave, for example, in a single combat with power, if this power is omnipotent and unrighteous? Here is the problem of the famous tragedy of Aeschylus (Fig. 7)

“Prometheus chained” (Fig. 8).

Rice. 8. “Prometheus Chained” (P. Rubens, 1612) ()

How will a person behave when faced with inexorable fate? This is the problematic of the play “Oedipus the King” by Sophocles (Fig. 9, 10).

Rice. 9. Antigone leads blind Oedipus out of Thebes (C. Jalabert, 19th century) ()

Can a person resist the chaos of feelings raging in his own soul? This is the problematic of such famous tragedies of Euripides (Fig. 11),

like “Hippolytus” or “Medea” (Fig. 12).

Rice. 12. “Medea” (A. Feuerbach, 1870) ()

Shakespeare's tragedies (Fig. 13) also appeared at a turning point, when the harsh patriarchal world of the Middle Ages was becoming a thing of the past, but the world that replaced it was not pleasing, revealing the disunity of people, selfishness, greed, and evil passions.

Classicists in France of the 17th century showed great interest in the tragedy, who put the cult of reason and the state at the forefront, trying to normalize everything. At the same time, many scientific works were written about literature, about how to write, in particular tragedy. Tragedy was thought of as a high, standard genre, and therefore it was in it that a certain set of rules had to be observed. The greatest representatives of classic tragedy are Corneille and Racine. It seemed to the classicists that these requirements flowed directly from ancient Greek poetics and that this was exactly how plays were staged in ancient Greece. But it is not so. In ancient Greek plays the law of unity of time and place was not always observed. For example, in the famous “Oresteia” (Fig. 14) by Aeschylus, the duration of action is about ten years.

Rice. 14. “Clytemnestra hesitates before killing the sleeping Agamemnon” (P.-N. Guerin, 1817) ()

But, be that as it may, these laws were popular in both European and Russian literature of the 19th century. For example, in Griboyedov’s play (Fig. 15)

Rice. 15. A.S. Griboyedov ()

“Woe from Wit” actions begin early in the morning and end exactly the next morning.

What is unity of action? Here everything is more complicated. Firstly, the action should be limited to a small number of characters, 7-8. Secondly, there should be no side plot devices. And thirdly, there should be no characters who are not involved in the main course of the play. These rules were considered mandatory. In addition, one more thing was added to them: the main character of a tragedy - a high genre - can only be a high, significant historical figure. These could be gods, heroes, generals, kings, but not representatives of the third estate. As we see, Ostrovsky does not meet all these requirements. That is why, probably, he decided to subtitle his play “drama” in order to avoid misunderstandings, although, in fact, this is not entirely true. If we consider Ostrovsky's "Thunderstorm" from the point of view of the normative laws of classicism, then this is not a tragedy. The action lasts about ten days, the location also changes, and there are also heroes who are not related to the fate of the main character - Katerina (Fig. 16).

Rice. 16. Katerina ()

First of all, this is Feklusha, the wanderer (Fig. 17).

The description of the environment of the “dark kingdom” also occupies an unusual place. Katerina herself is a representative of the “dark kingdom”: a merchant’s wife, a merchant’s daughter, thus she is a person of the third estate. But the fact is that the laws developed by the classicists are quite formal, and they do not determine the essence of the genre. After all, Shakespeare did not obey these laws, but the tragedies “Hamlet”, “Macbeth” (Fig. 18), “Othello”, “King Lear” do not cease to be tragedies.

Rice. 18. “Lady Macbeth” (M. Gabriel, 1885) ()

A tragedy has three mandatory features, and if they are present in the work, then the genre can safely be called a tragedy, and if they are absent, then it is obviously a drama.

First. In a tragedy there must be a tragic hero, that is, a hero whose moral qualities are much higher than those around him.

Second. In a tragedy there must be a tragic conflict, that is, a global conflict that cannot be resolved by ordinary peaceful means. This conflict usually ends with the death of the main character.

Third. Tragedy needs catharsis, that is, cleansing. First of all, this concerns the surviving heroes. They become taller, better, cleaner, and learn some life lessons for themselves. The same applies to the audience.

We can find all these moments in Ostrovsky's play. Is there a tragic hero there? Yes, this is Katerina. No matter what unkind critics say, Katerina is clearly superior to those around her. They may object to us: she is superstitious, not educated enough, commits sinful acts, such as treason and suicide, and these, from the point of view of Christianity, are terrible sins. But in at least one point she is certainly superior to everyone around her. She hates lies and finds it impossible for herself to lie. Lies are what unites all residents of the city of Kalinov.

Dikoy lies (Fig. 19).

In addition to being stupid and cruel, his actions are also riddled with hypocrisy. For example, he knows that scolding workers on a holiday is a grave sin, nevertheless, he scolds them, does not pay them, and then humbly asks for their forgiveness. By the way, he is also cowardly: as soon as Kabanova rebuffs him, he immediately calms down.

Kabanova’s entire behavior is permeated with hypocrisy (Fig. 20): in front of the city she is virtuous, but with her family she is power-hungry and evil.

Rice. 20. Marfa Kabanova ()

In addition, she is a lover of form, and therefore despises content. It seems to her that she needs to live according to Domostroy. But she is interested in the external pattern of behavior: the main thing is to maintain the form. This is evil hypocrisy.

Her daughter Varvara (Fig. 21), who herself has learned to lie with passion, easily submits to someone else’s lies.

Varvara also has one more quality that does not decorate her: she is bored of sinning alone, because it is she who involves Katerina in sin, giving her the key to the gate so that she can see Boris.

Kudryash - at first glance, cheerful, cheerful, clearly opposed to the “dark kingdom” (Fig. 22).

But from the verbal skirmish with the Wild, we understand that there is no difference between them, and in a few years Curly will become another Wild.

Finally, the most oppressed person in this “kingdom” is Tikhon, who lies out of habit, always and everywhere (Fig. 23).

Rice. 23. Tikhon Kabanov ()

This is a man completely crushed by the situation.

Boris is not just a product of the “dark kingdom”; despite his education and ability to love, he behaves irrationally (Fig. 24).

He will be given an inheritance only on one condition: if he is respectful to his uncle Wild. It is known that uncle will not part with money under any circumstances, so there is nothing to respect him for. But Boris tries his best, he literally kowtows when communicating with Dikiy.

Finally, Kuligin is an old inventor, in whose speech we often see a reflection of the thoughts of Ostrovsky himself (Fig. 25).

He does not lie, but he has reconciled, he has neither the moral nor physical strength to resist the evil, lies and violence that reigns in the city. For example, Dikoy accuses him of being a robber because he wants to. And Kuligin silently presses his head into his shoulders and runs away. He's not a fighter.

Thus, everyone in this “dark kingdom” either lies and is a hypocrite themselves, or has come to terms with the lies and hypocrisy of others. Against this background, Katerina presents a sharp contrast with the other characters. From the very beginning we see that she does not want and cannot come to terms. Even with her unsuccessful family life, she can come to terms only as long as she feels at least some human warmth and affection for Tikhon. Once all this disappears, she will not remain in the family cage, because she is irresistibly drawn to freedom, which for her is inextricably linked with truth. The sincerity and purity of Katerina’s soul is emphasized by her very name, which translated from Greek means “pure.”

Now let's move on to the second point of our reasoning: is there a tragic conflict in Ostrovsky's play? Here it must be said that Ostrovsky made a colossal innovation compared to ancient Greek drama. Usually, among the ancient Greeks, the conflict was either external - a person and the entire world around him - or internal, when different elements in the human soul collide in an insurmountable struggle. Ostrovsky uses both conflicts in the play.

The external conflict is obvious: pure, truth-loving, sincere Katerina cannot get along in the terrible world of the city of Kalinov, riddled with cruelty, lies and hypocrisy.

Internal conflict: Katerina is a sincerely believing woman to whom angels appear in broad daylight in the middle of the temple. Saints experienced such visions. She believes in both sin and fiery hell; she is absolutely sure that her betrayal of her husband is a terrible sin that cannot be forgiven. But on the other hand, she cannot remain faithful to her husband, because he does not love her and does not respect her. He is truly worthy only of contempt. Already at the beginning of the play, he betrays her: when she asks him for help, he mockingly shrugs, refuses and leaves her alone with her difficulties and suffering. It is impossible to love and respect such a person, and therefore it is impossible to be a hypocrite by maintaining this hateful marriage. And so Katerina struggles in this morally insoluble situation for her: on the one hand, cheating on her husband is a terrible sin, perceived by her as a moral impossibility, and on the other hand, it is impossible to remain an honest married woman and continue this disgusting hypocritical life. She cannot give up her love for Boris, because in this love for her there is not only sensual passion, but a desire for truth, freedom, life. And only death can resolve this tragic collision.

Now the third moment: catharsis, cleansing. Does anyone in the play experience purification after Katerina's death? Yes, definitely. Firstly, Tikhon, who has always been quiet and submissive to his mother, finally finds his voice and shouts, uncontrollably blaming his mother for Katerina’s death: “You ruined her! You! You!" Thus, he regained his sight, perhaps not for long, but still rose above his grassy and inhuman state.

Kuligin also finds his voice, carrying out Katerina’s body and telling her tormentors: “Here is your Katerina. Do what you want with her! Her body is here, take it; but the soul is now not yours: it is now before a judge who is more merciful than you!” That is, he accuses the city of Kalinov of the fact that it can and knows primitive, harsh justice, but mercy is inaccessible to it. Thus, Kuligin’s voice merges in this case with the voice of Ostrovsky himself.

Some still reproach Katerina: how can this be, she is a suicide, a sinner, and according to Christian canons this is an unforgivable sin. But here we can say the following: it is not for nothing that we were given the Holy Testament, the Bible, in two books: the first is the Old Testament (Fig. 26),

Rice. 26. Old Testament (cover, modern edition) ()

the Bible itself, which teaches us justice, and the second is the New Testament (Fig. 27),

Rice. 27. New Testament (cover, modern edition) ()

The gospel that teaches us mercy. No wonder Christ said: “Come to me, all you who labor and are heavy laden” (Fig. 28).

Rice. 28. Icon depicting Jesus Christ ()

He did not say that only those who are pure should come to him, he said that everyone should come. And we believe, together with Kuligin, that there is a judge who is more merciful than the city of Kalinov.

Thus, both in terms of the scale of the problem and the depth of the conflict, Ostrovsky’s play “The Thunderstorm” can safely be called a tragedy. But one difficulty remains: the play depicts the environment in great detail, so the final conclusion must be made as follows: Ostrovsky’s play “The Thunderstorm” is a tragedy with elements of drama.

Bibliography

Sakharov V.I., Zinin S.A. Russian language and literature. Literature (basic and advanced levels) 10. - M.: Russian Word.
Arkhangelsky A.N. and others. Russian language and literature. Literature (advanced level) 10. - M.: Bustard.
Lanin B.A., Ustinova L.Yu., Shamchikova V.M. / ed. Lanina B.A. Russian language and literature. Literature (basic and advanced levels) 10. - M.: VENTANA-GRAF.

Russian language ().
Internet portal Otherreferats.allbest.ru ().
Internet portal Referatwork.ru ().

Homework

Write down the definitions of “drama” and “tragedy” from five sources.
Make a comparative description of the dramatic and tragic elements in the play “The Thunderstorm”.
*Write an essay-reflection on the topic: “The tragedy of the heroes of the play “The Thunderstorm.”

Still from the film “The Thunderstorm” (1977)

First half of the 19th century The fictional Volga town of Kalinov. A public garden on the high bank of the Volga. A local self-taught mechanic, Kuligin, talks with young people - Kudryash, the clerk of the rich merchant Dikiy, and the tradesman Shapkin - about the rude antics and tyranny of Dikiy. Then Boris, Dikiy’s nephew, appears, who, in response to Kuligin’s questions, says that his parents lived in Moscow, educated him at the Commercial Academy and both died during the epidemic. He came to Dikoy, leaving his sister with his mother’s relatives, in order to receive part of his grandmother’s inheritance, which Dikoy must give to him according to the will, if Boris is respectful to him. Everyone assures him: under such conditions, Dikoy will never give him the money. Boris complains to Kuligin that he can’t get used to life in Dikiy’s house, Kuligin talks about Kalinov and ends his speech with the words: “Cruel morals, sir, in our city, cruel!”

The Kalinovites disperse. Together with another woman, the wanderer Feklusha appears, praising the city for its “blah-a-lepie”, and the Kabanovs’ house for its special generosity to wanderers. "Kabanovs?" - Boris asks: “A prude, sir, he gives money to the poor, but completely eats up his family,” explains Kuligin. Kabanova comes out, accompanied by her daughter Varvara and son Tikhon and his wife Katerina. She grumbles at them, but finally leaves, allowing the children to walk along the boulevard. Varvara lets Tikhon go out to drink in secret from his mother and, left alone with Katerina, talks with her about domestic relationships and about Tikhon. Katerina talks about her happy childhood in her parents’ house, about her fervent prayers, about what she experiences in the temple, imagining angels in a ray of sunshine falling from the dome, dreams of spreading her arms and flying, and finally admits that “something wrong” is happening to her. something". Varvara guesses that Katerina has fallen in love with someone and promises to arrange a date after Tikhon leaves. This proposal horrifies Katerina. A crazy lady appears, threatening that “beauty leads into the deep end,” and prophesies hellish torment. Katerina gets terribly scared, and then “a thunderstorm comes”, she hurries Varvara home to the icons to pray.

The second act, taking place in the Kabanovs' house, begins with a conversation between Feklushi and the maid Glasha. The wanderer asks about the Kabanovs’ household affairs and relays fabulous stories about distant countries, where people with dog heads “for infidelity,” etc. Katerina and Varvara appear, preparing Tikhon for the road, and continue the conversation about Katerina’s hobby; Varvara calls Boris’s name, relays He bows to him and persuades Katerina to sleep with her in the gazebo in the garden after Tikhon’s departure. Kabanikha and Tikhon come out, the mother tells her son to strictly tell his wife how to live without him, Katerina is humiliated by these formal orders. But, left alone with her husband, she begs him to take her on a trip, after his refusal she tries to give him terrible oaths of fidelity, but Tikhon does not want to listen to them: “You never know what comes to mind...” The returned Kabanikha orders Katerina to bow. at my husband's feet. Tikhon leaves. Varvara, leaving for a walk, tells Katerina that they will spend the night in the garden and gives her the key to the gate. Katerina doesn’t want to take it, then, after hesitating, she puts it in her pocket.

The next action takes place on a bench at the gate of the Kabanovsky house. Feklusha and Kabanikha talk about the “last times”, Feklusha says that “for our sins” “the time has begun to come to debasement”, talks about the railway (“they began to harness the fiery serpent”), about the bustle of Moscow life as a devilish obsession. Both are expecting even worse times. Dikoy appears with complaints about his family, Kabanikha reproaches him for his disorderly behavior, he tries to be rude to her, but she quickly stops this and takes him into the house for a drink and a snack. While Dikoy is treating himself, Boris, sent by Dikoy’s family, comes to find out where the head of the family is. Having completed the assignment, he exclaims with longing about Katerina: “If only I could take a look at her with one eye!” Varvara, who has returned, tells him to come at night to the gate in the ravine behind the Kabanovsky garden.

The second scene represents a night of youth, Varvara comes out on a date with Kudryash and tells Boris to wait - “you’ll wait for something.” There is a date between Katerina and Boris. After hesitation and thoughts of sin, Katerina is unable to resist awakened love. “Why feel sorry for me - it’s no one’s fault,” she herself went for it. Don't be sorry, destroy me! Let everyone know, let everyone see what I am doing (hugs Boris). If I wasn’t afraid of sin for you, will I be afraid of human judgment?”

The entire fourth action, taking place on the streets of Kalinov - in the gallery of a dilapidated building with the remains of a fresco representing fiery Gehenna, and on the boulevard - takes place against the backdrop of a gathering and finally breaking thunderstorm. It begins to rain, and Dikoy and Kuligin enter the gallery, who begins to persuade Dikoy to give money to install a sundial on the boulevard. In response, Dikoy scolds him in every possible way and even threatens to declare him a robber. Having endured the abuse, Kuligin begins to ask for money for a lightning rod. At this point, Dikoy confidently declares that it is a sin to defend against a thunderstorm sent as punishment “with poles and some kind of furrows, God forgive me.” The stage empties, then Varvara and Boris meet in the gallery. She reports on Tikhon's return, Katerina's tears, Kabanikha's suspicions and expresses fear that Katerina will admit to her husband that she is cheating. Boris begs to dissuade Katerina from confessing and disappears. The rest of the Kabanovs enter. Katerina waits with horror that she, who has not repented of her sin, will be killed by lightning, a crazy lady appears, threatening hellish flames, Katerina can no longer hold on and publicly admits to her husband and mother-in-law that she was “walking” with Boris. Kabanikha gloatingly declares: “What, son! Where the will leads; That’s what I’ve been waiting for!”

The last action is again on the high bank of the Volga. Tikhon complains to Kuligin about his family grief, about what his mother says about Katerina: “She must be buried alive in the ground so that she can be executed!” “And I love her, I’m sorry to lay a finger on her.” Kuligin advises to forgive Katerina, but Tikhon explains that under Kabanikha this is impossible. Not without pity, he also speaks about Boris, whom his uncle sends to Kyakhta. The maid Glasha enters and reports that Katerina has disappeared from the house. Tikhon is afraid that “out of melancholy she might kill herself!”, and together with Glasha and Kuligin he leaves to look for his wife.

Katerina appears, she complains about her desperate situation in the house, and most importantly, about her terrible longing for Boris. Her monologue ends with a passionate spell: “My joy! My life, my soul, I love you! Respond!” Boris enters. She asks him to take her with him to Siberia, but understands that Boris’s refusal is due to the truly complete impossibility of leaving with her. She blesses him on his journey, complains about the oppressive life in the house, about her disgust for her husband. Having said goodbye to Boris forever, Katerina begins to dream alone about death, about a grave with flowers and birds that “will fly to the tree, sing, and have children.” “Live again?” - she exclaims with horror. Approaching the cliff, she says goodbye to the departed Boris: “My friend! My joy! Goodbye!" and leaves.

The stage is filled with alarmed people, including Tikhon and his mother in the crowd. A cry is heard behind the stage: “The woman threw herself into the water!” Tikhon tries to run to her, but his mother does not let him in, saying: “I’ll curse you if you go!” Tikhon falls to his knees. After some time, Kuligin brings in Katerina’s body. “Here is your Katerina. Do what you want with her! Her body is here, take it; but the soul is now not yours; she is now before a judge who is more merciful than you!”

Rushing to Katerina, Tikhon accuses his mother: “Mama, you ruined her!” and, not paying attention to Kabanikha’s menacing shouts, falls on his wife’s corpse. “Good for you, Katya! Why did I stay in the world and suffer!” - with these words from Tikhon the play ends.

Retold

Ostrovsky's play "The Thunderstorm" was written in 1859. The writer came up with the idea for the work in the middle of summer, and on October 9, 1859, the work was already completed. This is not a classicist play, but a realistic one. The conflict represents a clash of the “dark kingdom” with the need for a new life. The work caused a great resonance not only in the theatrical, but also in the literary environment. The prototype of the main character was theater actress Lyubov Kositskaya, who later played the role of Katerina.

The plot of the play represents an episode from the life of the Kabanov family, namely, the meeting and subsequent betrayal of his wife with a young man who came to the city. This event becomes fatal not only for Katerina herself, but also for the whole family. To better understand the conflict and storylines, you can read the chapter-by-chapter summary of The Storm below.

Main characters

Katerina- a young girl, the wife of Tikhon Kabanov. Modest, pure, correct. She acutely feels the injustice of the world around her.

Boris- a young man, “decently educated,” came to visit his uncle, Savl Prokofievich Dikiy. In love with Katerina.

Kabanikha(Marfa Ignatievna Kabanova) – a rich merchant’s wife, widow. A powerful and despotic woman, she subjugates people to her will.

Tikhon Kabanov- son of Kabanikha and husband of Katerina. He acts as his mother pleases, has no opinion.

Other characters

Varvara- daughter of Kabanikha. A headstrong girl who is not afraid of her mother.

Curly- Varvara's beloved.

Dikoy Savel Prokofievich- merchant, important person in the city. A rude and ill-mannered person.

Kuligin- a tradesman obsessed with the ideas of progress.

Lady- half crazy.

Feklusha- wanderer.

Glasha- maid of the Kabanovs.

Action 1

Kudryash and Kuligin talk about the beauty of nature, but their opinions are different. For Kudryash, landscapes are nothing, but Kuligin is delighted by them. From afar, the men see Boris and Dikiy, who is actively waving his arms. They begin to gossip about Savl Prokofievich. Dikoy approaches them. He is unhappy with the appearance of his nephew, Boris, in the city and does not want to talk to him. From Boris’s conversation with Savl Prokofievich, it becomes clear that besides Dikiy, Boris and his sister have no other relatives left.

In order to receive an inheritance after the death of his grandmother, Boris is forced to establish good relations with his uncle, but he does not want to give the money that Boris’s grandmother bequeathed to her grandson.

Boris, Kudryash and Kuligin discuss the difficult character of Dikiy. Boris admits that it is difficult for him to be in the city of Kalinovo, because he does not know the local customs. Kuligin believes that it is impossible to earn money here by honest work. But if Kuligin had money, the man would spend it for the benefit of humanity by collecting a perpeta mobile. Feklusha appears, praising the merchants and life in general, saying: “We live in the promised land...”.

Boris feels sorry for Kuligin; he understands that the inventor’s dreams of creating mechanisms useful to society will forever remain just dreams. Boris himself does not want to waste his youth in this outback: “driven, downtrodden, and even foolishly decided to fall in love...” with someone with whom he was unable to even talk. This girl turns out to be Katerina Kabanova.

On stage are Kabanova, Kabanov, Katerina and Varvara.

Kabanov speaks to his mother. This dialogue is shown as a typical conversation in this family. Tikhon is tired of his mother’s moralizing, but he still fawns over her. Kabanikha asks his son to admit that his wife has become more important to him than his mother, as if Tikhon will soon stop respecting his mother altogether. Katerina, present at the same time, denies the words of Marfa Ignatievna. Kabanova begins to slander herself with redoubled force so that those around her will convince her otherwise. Kabanova calls herself an obstacle to married life, but there is no sincerity in her words. Within a moment, she takes control of the situation, accusing her son of being too soft: “Look at you! Will your wife be afraid of you after this?”

This phrase shows not only her imperious character, but also her attitude towards her daughter-in-law and family life in general.

Kabanov admits that he has no will of his own. Marfa Ignatievna leaves. Tikhon complains about life, blaming his oppressive mother for everything. Varvara, his sister, replies that Tikhon himself is responsible for his life. After these words, Kabanov goes to have a drink with Dikiy.

Katerina and Varvara have a heart-to-heart talk. “Sometimes it seems to me that I am a bird,” is how Katya characterizes herself. She completely withered in this society. This can be seen especially well against the background of her life before marriage. Katerina spent a lot of time with her mother, helped her, went for walks: “I lived, didn’t worry about anything, like a bird in the wild.” Katerina feels death approaching; admits that she no longer loves her husband. Varvara is concerned about Katya’s condition, and in order to improve her mood, Varvara decides to arrange a meeting for Katerina with another person.

The Lady appears on the stage, she points to the Volga: “This is where beauty leads. Into the deep end." Her words will turn out to be prophetic, although no one in the city believes her predictions. Katerina was frightened by the words spoken by the old woman, but Varvara was skeptical about them, since the Lady sees death in everything.

Kabanov returns. At that time, married women were not allowed to walk around alone, so Katya had to wait for him to go home.

Act 2

Varvara sees the reason for Katerina’s suffering in the fact that Katya’s heart “hasn’t gone away yet,” because the girl was married off early. Katerina feels sorry for Tikhon, but she has no other feelings for him. Varvara noticed this a long time ago, but asks to hide the truth, because lies are the basis of the existence of the Kabanov family. Katerina is not used to living dishonestly, so she says that she will leave Kabanov if she can no longer be with him.

Kabanov urgently needs to leave for two weeks. The carriage is already ready, things are collected, all that remains is to say goodbye to your family. Tikhon orders Katerina to obey her mother, repeating Kabanikha’s phrases: “tell her not to be rude to her mother-in-law... so that her mother-in-law respects her as her own mother,... so she doesn’t sit idly by,... so she doesn’t look at young guys!” This scene was humiliating for both Tikhon and his wife. Words about other men confuse Katya. She asks her husband to stay or take her with him. Kabanov refuses his wife and is embarrassed by his mother’s phrase about other men and Katerina. The girl senses impending disaster.

Tikhon, saying goodbye, bows at his mother’s feet, fulfilling her will. Kabanikha doesn’t like that Katerina said goodbye to her husband with a hug, because the man is the head of the family, and she has become an equal with him. The girl has to bow at Tikhon’s feet.

Marfa Ignatievna says that the current generation does not know the rules at all. Kabanikha is unhappy that Katerina does not cry after her husband leaves. It’s good when there are elders in the house: they can teach. She hopes not to live to see the time when all the old people die: “I don’t know where the light will stand…”

Katya is left alone. She likes the silence, but at the same time it scares her. Silence for Katerina becomes not rest, but boredom. Katya regrets that she doesn’t have children, because she could be a good mother. Katerina is thinking about flying and freedom again. The girl imagines how her life could turn out: “I will start some work as promised; I’ll go to the guest house, buy some canvas, and sew linen, and then give it to the poor. They will pray to God for me.” Varvara goes for a walk, saying that she has changed the lock on the gate in the garden. With the help of this little trick, Varvara wants to arrange a meeting with Boris for Katerina. Katerina blames Kabanikha for her misfortunes, but nevertheless does not want to succumb to the “sinful temptation” and secretly meet with Boris. She does not want to be led by her feelings and violate the sacred bonds of marriage.

Boris himself also does not want to go against the rules of morality, he is not sure that Katya has similar feelings for him, but still wants to see the girl again.

Act 3

Feklusha and Glasha talk about moral principles. They are glad that Kabanikha’s house is the last “paradise” on earth, because the rest of the city’s residents have a real “sodom”. They also talk about Moscow. From the point of view of provincial women, Moscow is too fussy a city. Everything and everyone there seems to be in a fog, which is why they walk around tired, and there is sadness in their faces.

A drunk Dikoy comes in. He asks Marfa Ignatievna to talk to him to ease his soul. He is unhappy that everyone is constantly asking him for money. Dikiy is especially annoyed by his nephew. At this time, Boris passes near the Kabanovs’ house, looking for his uncle. Boris regrets that, being so close to Katerina, he cannot see her. Kuligin invites Boris for a walk. Young people are talking about rich and poor. From Kuligin’s point of view, the rich close themselves in their homes so that others do not see their violence against relatives.

They see Varvara kissing Curly. She also informs Boris about the place and time of the upcoming meeting with Katya.

At night, in a ravine under the Kabanovs’ garden, Kudryash sings a song about a Cossack. Boris tells him about his feelings for a married girl, Ekaterina Kabanova. Varvara and Kudryash go to the bank of the Volga, leaving Boris to wait for Katya.

Katerina is frightened by what is happening, the girl drives Boris away, but he calms her down. Katerina is terribly nervous and admits that she doesn’t have her own will, because “now Boris’s will is over her.” In a fit of emotion, she hugs the young man: “If I was not afraid of sin for you, will I be afraid of human judgment?” The young people confess their love to each other.

The hour of parting is near, as Kabanikha may wake up soon. The lovers agree to meet the next day. Unexpectedly, Kabanov returns.

Act 4

(events take place 10 days after the third act)

City residents walk along the gallery overlooking the Volga. It is clear that a thunderstorm is approaching. On the walls of the destroyed gallery one can discern the outlines of a painting of fiery Gehenna and an image of the battle of Lithuania. Kuligin and Dikoy are talking in raised voices. Kuligin enthusiastically talks about a good cause for everyone and asks Savl Prokofievich to help him. Dikoy refuses quite rudely: “So know that you are a worm. If I want, I’ll have mercy, if I want, I’ll crush.” He does not understand the value of Kuligin’s invention, namely a lightning rod with which it will be possible to generate electricity.
Everyone leaves, the stage is empty. The sound of thunder is heard again.

Katerina increasingly has a presentiment that she will soon die. Kabanov, noticing his wife’s strange behavior, asks her to repent of all her sins, but Varvara quickly ends this conversation. Boris comes out of the crowd and greets Tikhon. Katerina turns even more pale. Kabanikha may suspect something, so Varvara signals Boris to leave.

Kuligin calls not to be afraid of the elements, because it is not she who kills, but grace. Nevertheless, residents continue to discuss the impending storm, which “will not go away in vain.” Katya tells her husband that a thunderstorm will kill her today. Neither Varvara nor Tikhon understand Katerina’s internal torment. Varvara advises to calm down and pray, and Tikhon suggests going home.

The Lady appears and turns to Katya with the words: “Where are you hiding, stupid? You can't escape God! ...it's better to be in the pool with beauty! Hurry up!” In a frenzy, Katerina confesses her sin to both her husband and mother-in-law. All those ten days when her husband was not at home, Katya secretly met with Boris.

Action 5

Kabanov and Kuligin discuss Katerina's confession. Tikhon again shifts part of the blame onto Kabanikha, who wants to bury Katya alive. Kabanov could forgive his wife, but he is afraid of his mother’s anger. The Kabanov family completely fell apart: even Varvara ran away with Kudryash.

Glasha reports Katerina missing. Everyone goes in search of the girl.

Katerina is alone on stage. She thinks that she has ruined both herself and Boris. Katya sees no reason to live on, asks for forgiveness and calls her lover. Boris came to the girl’s call, he was gentle and affectionate with her. But Boris needs to go to Siberia, and he cannot take Katya with him. The girl asks him to give alms to those in need and pray for her soul, convincing him that she is not planning anything bad. After saying goodbye to Boris, Katerina throws herself into the river.

People are shouting that some girl has thrown herself from the shore into the water. Kabanov realizes that it was his wife, so he wants to jump after her. Kabanikha stops her son. Kuligin brings Katerina's body. She is as beautiful as she was in life, only a small drop of blood appeared on her temple. “Here is your Katerina. Do whatever you want with her! Her body is here, take it; but the soul is now not yours: it is now before a judge who is more merciful than you!”

The play ends with Tikhon’s words: “Good for you, Katya! But for some reason I remained to live in the world and suffer!”

Conclusion

The work “The Thunderstorm” by A. N. Ostrovsky can be called one of the main plays among the entire creative path of the writer. Social and everyday themes were certainly close to the viewer of that time, just as they are close today. However, against the backdrop of all these details, what unfolds is not just a drama, but a real tragedy, ending with the death of the main character. The plot, at first glance, is simple, but the novel “The Thunderstorm” is not limited to Katerina’s feelings for Boris. In parallel, you can trace several storylines, and, accordingly, several conflicts that are realized at the level of minor characters. This feature of the play is fully consistent with the realistic principles of generalization.

From the retelling of “The Thunderstorm” one can easily draw a conclusion about the nature of the conflict and its content, however, for a more detailed understanding of the text, we recommend that you read the full version of the work.

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Retelling rating

Average rating: 4.7. Total ratings received: 26598.

Boris Grigoryich, his nephew, is a young man, decently educated.

Marfa Ignatievna Kabanova (Kabanikha), wealthy merchant, widow.

Tikhon Ivanovich Kabanov, her son.

Katerina, his wife.

Varvara, Tikhon's sister.

Kuligin, a tradesman, a self-taught watchmaker, looking for a perpetuum mobile.

Vanya Kudryash, a young man, Dikov’s clerk.

Shapkin, tradesman.

Feklusha, wanderer.

Glasha, a girl in Kabanova's house.

A lady with two footmen, an old woman of 70 years old, half crazy.

City dwellers of both sexes.

The action takes place in the city of Kalinov, on the banks of the Volga, in the summer.

Ten days pass between the third and fourth acts.

Act one

A public garden on the high bank of the Volga, a rural view beyond the Volga. There are two benches and several bushes on the stage.

First appearance

Kuligin sits on a bench and looks across the river. Kudryash and Shapkin are walking.

Kuligin (singing). “In the middle of a flat valley, at a smooth height...” (Stops singing.) Miracles, truly it must be said, miracles! Curly! Here, my brother, for fifty years I have been looking across the Volga every day and I still can’t get enough of it.

Curly. And what?

Kuligin. The view is extraordinary! Beauty! The soul rejoices.

Curly. Neshtu!

Kuligin. Delight! And you: “No way!” Have you looked closely, or don’t understand what beauty is spilled in nature.

Curly. Well, there’s nothing to talk about with you! You are an antique, a chemist!

Kuligin. Mechanic, self-taught mechanic.

Curly. It's all the same.

Silence.

Kuligin (pointing to the side). Look, brother Kudryash, who is waving his arms like that?

Curly. This? This is Dikoy scolding his nephew.

Kuligin. Found a place!

Curly. He belongs everywhere. He's afraid of someone! He got Boris Grigoryich as a sacrifice, so he rides it.

Shapkin. Look for another scolder like ours, Savel Prokofich! There's no way he'll cut someone off.

Curly. Shrill man!

Shapkin. Kabanikha is also good.

Curly. Well, at least that one is all under the guise of piety, but this one is like he’s broken loose!

Shapkin. There is no one to calm him down, so he fights!

Curly. We don’t have many guys like me, otherwise we would have taught him not to be naughty.

Shapkin. What would you do?

Curly. They would have given a good beating.

Shapkin. Like this?

Curly. Four or five of us in an alley somewhere would talk to him face to face, and he would turn into silk. But I wouldn’t even say a word to anyone about our science, I’d just walk around and look around.

Shapkin. No wonder he wanted to give you up as a soldier.

Curly. I wanted it, but didn’t give it, so it’s all the same thing. He won’t give me up, he senses with his nose that I won’t sell my head cheap. He's the one who's scary to you, but I know how to talk to him.

Shapkin. Oh my!

Curly. What's here: oh! I am considered a rude person; Why is he holding me? Therefore, he needs me. Well, that means I’m not afraid of him, but let him be afraid of me.

Shapkin. It's as if he doesn't scold you?

Curly. How not to scold! He can't breathe without it. Yes, I don’t let it go either: he is the word, and I am ten; he'll spit and go. No, I won’t slave to him.

Kuligin. Should we take him as an example? It's better to endure it.

Curly. Well, if you are smart, then teach him to be polite first, and then teach us too! It’s a pity that his daughters are teenagers, and none of them are older.

Shapkin. So what?

Curly. I would respect him. I'm too crazy about girls!

Dikoy and Boris pass. Kuligin takes off his hat.

Shapkin (Curly). Let's move to the side: he'll probably get attached again.

They are leaving.

Second phenomenon

The same, Dikoy and Boris.

Wild. What the hell are you, you came here to beat me up! Parasite! Get lost!

Boris. Holiday; what to do at home!

Wild. You will find a job as you want. I told you once, I told you twice: “Don’t you dare come across me”; you're itching for everything! Not enough space for you? Wherever you go, here you are! Ugh, damn you! Why are you standing there like a pillar! Are they telling you no?

Boris. I’m listening, what else should I do!

Wild (looking at Boris). Fail! I don’t even want to talk to you, the Jesuit. (Leaving.) I imposed myself! (Spits and leaves.)

The third phenomenon

Kuligin, Boris, Kudryash and Shapkin.

Kuligin. What is your business, sir, with him? We will never understand. You want to live with him and endure abuse.

Boris. What a hunt, Kuligin! Captivity.

Kuligin. But what kind of bondage, sir, let me ask you. If you can, sir, then tell us.

Boris. Why not say so? Did you know our grandmother, Anfisa Mikhailovna?

Kuligin. Well, how could you not know!

Boris. She didn’t like Father because he married a noble woman. It was on this occasion that my father and mother lived in Moscow. My mother said that for three days she could not get along with her relatives, it seemed very strange to her.

Kuligin. Still not wild! What can I say! You need to have a big habit, sir.

Boris. Our parents raised us well in Moscow; they spared nothing for us. I was sent to the Commercial Academy, and my sister to a boarding school, and both suddenly died of cholera; My sister and I were left orphans. Then we hear that my grandmother died here and left a will so that my uncle would pay us the part that should be paid when we come of age, only with a condition.

Kuligin. With which one, sir?

Boris. If we are respectful to him.

Kuligin. This means, sir, that you will never see your inheritance.

Boris. No, that’s not enough, Kuligin! He will first break with us, scold us in every possible way, as his heart desires, but he will still end up not giving anything, or just some little thing. Moreover, he will say that he gave it out of mercy, and that this should not have been the case.

Curly. This is such an institution among our merchants. Again, even if you were respectful to him, who can stop him from saying that you are disrespectful?

Boris. Well, yes. Even now he sometimes says: “I have my own children, why would I give other people’s money? Through this I must offend my own people!”

Kuligin. So, sir, your business is bad.

Boris. If I were alone, it would be fine! I would give up everything and leave. I feel sorry for my sister. He was about to discharge her, but my mother’s relatives didn’t let her in, they wrote that she was sick. It’s scary to imagine what life would be like for her here.

Curly. Of course. Do they understand the appeal?

Kuligin. How do you live with him, sir, in what position?

Boris. Yes, not at all: “Live,” he says, “with me, do what they tell you, and pay whatever you give.” That is, in a year he will give it up as he pleases.

Curly. He has such an establishment. With us, no one dares say a word about salary, he’ll scold you for what it’s worth. “How do you know what’s on my mind,” he says? How can you know my soul? Or maybe I’ll be in such a mood that I’ll give you five thousand.” So talk to him! Only in his entire life he had never been in such a position.

Persons

Savel Prokofievich Dikoy, merchant, significant person in the city.

Boris Grigorievich, his nephew, a young man, decently educated.

Marfa Ignatievna Kabanova (Kabanikha), rich merchant's wife, widow.

Tikhon Ivanovich Kabanov, her son.

Katerina, his wife.

Varvara, sister of Tikhon.

Kuligi, a tradesman, a self-taught watchmaker, looking for a perpetuum mobile.

Vanya Kudryash, a young man, Wild's clerk.

Shapkin, tradesman.

Feklusha, wanderer.

Glasha, a girl in Kabanova's house.

Lady with two footmen, an old woman of 70 years old, half crazy.

City dwellers both sexes.

All the faces, except Boris, are dressed in Russian. (Note by A. N. Ostrovsky.)

The action takes place in the city of Kalinov, on the banks of the Volga, in the summer. 10 days pass between actions 3 and 4.

A. N. Ostrovsky. Storm. Play. Episode 1

Act one

A public garden on the high bank of the Volga, a rural view beyond the Volga. There are two benches and several bushes on the stage.

First appearance

Kuligin sits on a bench and looks across the river. Curly And Shapkin taking a walk.

Kuligin (singing)“In the middle of a flat valley, at a smooth height...” (Stops singing.) Miracles, truly it must be said, miracles! Curly! Here, my brother, for fifty years I have been looking across the Volga every day and I still can’t get enough of it.

Curly. And what?

Kuligin. The view is extraordinary! Beauty! The soul rejoices.

Curly. Nice!

Kuligin. Delight! And you are “something”! Have you looked closely, or don’t understand what beauty is spilled in nature.

Curly. Well, there’s nothing to talk about with you! You are an antique, a chemist.

Kuligin. Mechanic, self-taught mechanic.

Curly. It's all the same.

Silence.

Kuligin (points to the side). Look, brother Kudryash, who is waving his arms like that?

Curly. This? This is Dikoy scolding his nephew.

Kuligin. Found a place!

Curly. He belongs everywhere. He's afraid of someone! He got Boris Grigoryich as a sacrifice, so he rides it.

Shapkin. Look for another scolder like ours, Savel Prokofich! There's no way he'll cut someone off.

Curly. Shrill man!

Shapkin. Kabanikha is also good.

Curly. Well, that one, at least, is all under the guise of piety, but this one has broken free!

Shapkin. There is no one to calm him down, so he fights!

Curly. We don’t have many guys like me, otherwise we would have taught him not to be naughty.

Shapkin. What would you do?

Curly. They would have given a good beating.

Shapkin. Like this?

Shapkin. No wonder he wanted to give you up as a soldier.

Curly. I wanted it, but I didn’t give it, so it’s all the same, nothing. He won’t give me up: he senses with his nose that I won’t sell my head cheap. He's the one who's scary to you, but I know how to talk to him.

Shapkin. Oh?

Curly. What's here: oh! I am considered a rude person; Why is he holding me? Therefore, he needs me. Well, that means I’m not afraid of him, but let him be afraid of me.

Shapkin. It's as if he doesn't scold you?

Curly. How not to scold! He can't breathe without it. Yes, I don’t let it go either: he is the word, and I am ten; he'll spit and go. No, I won’t slave to him.

Kuligin. Should we take him as an example? It's better to endure it.

Curly. Well, if you are smart, then teach him to be polite first, and then teach us too. It’s a pity that his daughters are teenagers, and none of them are older.

Shapkin. So what?

Curly. I would respect him. I'm too crazy about girls!

Pass Wild And Boris, Kuligin takes off his hat.

Shapkin (Curly). Let's move to the side: he'll probably get attached again.

They are leaving.

Second phenomenon

The same, Wild And Boris.

Wild. Did you come here to beat up, or what? Parasite! Get lost!

Boris. Holiday; what to do at home.

Boris. I’m listening, what else should I do!

Wild (looking at Boris). Fail! I don’t even want to talk to you, the Jesuit. (Leaving.) I imposed myself! (Spits and leaves.)

The third phenomenon

Kuligin , Boris, Curly And Shapkin.

Kuligin. What is your business, sir, with him? We will never understand. You want to live with him and endure abuse.

Boris. What a hunt, Kuligin! Captivity.

Kuligin. But what kind of bondage, sir, let me ask you? If you can, sir, then tell us.

Boris. Why not say so? Did you know our grandmother, Anfisa Mikhailovna?

Kuligin. Well, how could you not know!

Curly. How could you not know!

Kuligin. Still not wild! What can I say! You need to have a big habit, sir.

Boris. Our parents raised us well in Moscow; they spared nothing for us. I was sent to the Commercial Academy, and my sister to a boarding school, but both suddenly died of cholera, and my sister and I were left orphans. Then we hear that my grandmother died here and left a will so that my uncle would pay us the part that should be paid when we come of age, only with a condition.

Kulagin. With which one, sir?

Boris. If we are respectful to him.

Kulagin. This means, sir, that you will never see your inheritance.

Boris. No, that’s not enough, Kuligin! He will first break with us, abuse us in every possible way, as his heart desires, but he will still end up not giving anything or so, some little thing. Moreover, he will say that he gave it out of mercy, and that this should not have been the case.

Curly. This is such an institution among our merchants. Again, even if you were respectful to him, who would forbid him to say that you are disrespectful?

Boris. Well, yes. Even now he sometimes says: “I have my own children, why would I give other people’s money? Through this I must offend my own people!”

Kuligin. So, sir, your business is bad.

Curly. Of course. They really understand the appeal!

Kuligin. How do you live with him, sir, in what position?

Boris. Yes, not at all. “Live,” he says, “with me, do what they tell you, and pay whatever you give.” That is, in a year he will give it up as he pleases.

Curly. He has such an establishment. With us, no one dares say a word about salary, he’ll scold you for what it’s worth. “Why do you know,” he says, “what I have in mind? How can you know my soul? Or maybe I’ll be in such a mood that I’ll give you five thousand.” So talk to him! Only in his entire life he had never been in such a position.

Kuligin. What to do, sir! We must try to please somehow.

Boris. That's the thing, Kuligin, it's absolutely impossible. Even their own people can’t please him; and where am I supposed to be?

Curly. Who will please him if his whole life is based on swearing? And most of all because of the money; Not a single calculation is complete without swearing. Another is happy to give up his own, just to calm down. And the trouble is, someone will make him angry in the morning! He picks on everyone all day long.

Boris. Every morning my aunt begs everyone with tears: “Fathers, don’t make me angry! Darlings, don’t make me angry!”

Curly. There's nothing you can do to protect yourself! I got to the market, that's the end! He will scold all the men. Even if you ask at a loss, you still won’t leave without scolding. And then he went for the whole day.

Shapkin. One word: warrior!

Curly. What a warrior!

Boris. But the trouble is when he is offended by such a person whom he does not dare to curse; stay home here!

Curly. Fathers! What a laugh it was! Once on the Volga, during a transport, a hussar cursed him. He worked miracles!

Boris. And what a homey feeling it was! After that, everyone hid in attics and closets for two weeks.

Kuligin. What is this? No way, have the people moved on from Vespers?

Several faces pass at the back of the stage.

Curly. Let's go, Shapkin, on a revelry! Why stand here?

They bow and leave.

Boris. Eh, Kuligin, it’s painfully difficult for me here, without the habit. Everyone looks at me somehow wildly, as if I’m superfluous here, as if I’m disturbing them. I don't know the customs here. I understand that all this is Russian, native, but I still can’t get used to it.

Kuligin. And you will never get used to it, sir.

Boris. From what?

Kuligin. Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and naked poverty. And we, sir, will never escape this crust! Because honest work will never earn us more than our daily bread. And whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors. Do you know what your uncle, Savel Prokofich, answered to the mayor? The peasants came to the mayor to complain that he would not disrespect any of them. The mayor began to tell him: “Listen,” he said, “Savel Prokofich, pay the men well! Every day they come to me with complaints!” Your uncle patted the mayor on the shoulder and said: “Is it worth it, your honor, for us to talk about such trifles! I have a lot of people every year; You understand this: I won’t pay them a penny extra per person, I make thousands out of this, that’s how it is; I feel good!” That's it, sir! And among themselves, sir, how they live! They undermine each other's trade, and not so much out of self-interest as out of envy. They are at enmity with each other; they get drunken clerks into their high mansions, such, sir, clerks that there is no human appearance on them, the human appearance is lost. And for small acts of kindness they scribble malicious slander against their neighbors on stamped sheets. And for them, sir, a trial and a case will begin, and there will be no end to the torment. They sue and sue here and go to the province, and there they are waiting for them and splashing their hands with joy. Soon the fairy tale is told, but not soon the deed is done; They lead them, they lead them, they drag them, they drag them, and they are also happy about this dragging, that’s all they need. “I’ll spend it,” he says, “and it won’t cost him a penny.” I wanted to depict all this in poetry...

Boris. Can you write poetry?

Kuligin. In the old-fashioned way, sir. I read a lot of Lomonosov, Derzhavin... Lomonosov was a sage, an explorer of nature... But he was also from ours, from a simple rank.

Boris. You would have written it. It would be interesting.

Kuligin. How is it possible, sir! They will eat you, swallow you alive. I already get enough, sir, for my chatter; I can’t, I like to spoil the conversation! I also wanted to tell you about family life, sir; yes some other time. And there is also something to listen to.

Enter Feklusha and another woman.

Feklusha. Blah-alepie, honey, blah-alepie! Wonderful beauty! What can I say! You live in the promised land! And the merchants are all pious people, adorned with many virtues! Generosity and many donations! I’m so pleased, so, mother, completely satisfied! For our failure to leave them even more bounties, and especially to the Kabanovs’ house.

They leave.

Boris. Kabanovs?

Kuligin. Prude, sir! He gives money to the poor, but completely eats up his family.

Silence.

If only I could find a mobile phone, sir!

Boris. What would you do?

Kuligin. Why, sir! After all, the British give a million; I would use all the money for society, for support. Jobs must be given to the philistines. Otherwise, you have hands, but nothing to work with.

Boris. Are you hoping to find a perpetuum mobile?

Kuligin. Definitely, sir! If only now I could get some money from modeling. Farewell, sir! (Leaves.)

The fourth phenomenon

Boris (one). It's a shame to disappoint him! What a good man! He dreams for himself and is happy. And I, apparently, will ruin my youth in this slum. I’m walking around completely devastated, and then there’s still this crazy thing creeping into my head! Well, what's the point! Should I really start tenderness? Driven, downtrodden, and then foolishly decided to fall in love. Who? A woman with whom you will never even be able to talk! (Silence.) And yet she can’t get out of my head, no matter what you want. Here she is! She goes with her husband, and her mother-in-law with them! Well, am I not a fool? Look around the corner and go home. (Leaves.)

Enter from the opposite side Kabanova, Kabanov, Katerina And Varvara.

Fifth appearance

Kabanova , Kabanov, Katerina And Varvara.

Kabanova. If you want to listen to your mother, then when you get there, do as I ordered you.

Kabanov. How can I, Mama, disobey you!

Kabanova. Elders are not very respected these days.

Varvara (About myself). No respect for you, of course!

Kabanov. I, it seems, mummy, don’t take a step out of your will.

Kabanova. I would believe you, my friend, if I hadn’t seen with my own eyes and heard with my own ears what kind of respect children show to their parents now! If only they remembered how many illnesses mothers suffer from their children.

Kabanov. I, mummy...

Kabanova. If a parent ever says something offensive, out of your pride, then, I think, it could be rescheduled! What do you think?

Kabanov. But when, Mama, have I ever been unable to bear being away from you?

Kabanova. The mother is old and stupid; Well, you, young people, smart ones, shouldn’t exact it from us fools.

Kabanov (sighing, aside). Oh, my God. (Mother.) Dare we, Mama, to think!

Kabanova. After all, out of love your parents are strict with you, out of love they scold you, everyone thinks to teach you good. Well, I don’t like it now. And the children will go around praising people that their mother is a grumbler, that their mother does not allow them to pass, that they are squeezing them out of the world. And God forbid, you can’t please your daughter-in-law with some word, so the conversation started that the mother-in-law was completely fed up.

Kabanov. No, mama, who is talking about you?

Kabanova. I haven’t heard, my friend, I haven’t heard, I don’t want to lie. If only I had heard, I would have spoken to you, my dear, in a different way. (Sighs.) Oh, a grave sin! What a long time to sin! A conversation close to your heart will go well, and you will sin and get angry. No, my friend, say what you want about me. You can’t tell anyone to say it: if they don’t dare to your face, they will stand behind your back.

Kabanov. Shut up your tongue...

Kabanova. Come on, come on, don't be afraid! Sin! I have seen for a long time that your wife is dearer to you than your mother. Since I got married, I don’t see the same love from you.

Kabanov. How do you see this, Mama?

Kabanova. Yes in everything, my friend! What a mother doesn’t see with her eyes, she has a prophetic heart; she can feel with her heart. Or maybe your wife is taking you away from me, I don’t know.

Kabanov. No, mama! What are you saying, have mercy!

Katerina. For me, Mama, it’s all the same, like my own mother, like you, and Tikhon loves you too.

Kabanova. It seems like you could keep quiet if they don’t ask you. Don’t intercede, mother, I won’t offend you! After all, he is also my son; don't forget this! Why did you jump out in front of your eyes to make jokes! So that they can see how much you love your husband? So we know, we know, in your eyes you prove it to everyone.

Varvara (About myself). I found a place for instructions to read.

Katerina. You are in vain saying this about me, Mama. Whether in front of people or without people, I’m still alone, I don’t prove anything of myself.

Kabanova. Yes, I didn’t even want to talk about you; and so, by the way, I had to.

Katerina. By the way, why are you offending me?

Kabanova. What an important bird! I'm really offended now.

Katerina. Who enjoys tolerating falsehoods?

Kabanova. I know, I know that you don’t like my words, but what can I do, I’m not a stranger to you, my heart aches for you. I have long seen that you want freedom. Well, wait, you can live in freedom when I’m gone. Then do what you want, there will be no elders over you. Or maybe you’ll remember me too.

Kabanov. Yes, we pray to God for you, mama, day and night, that God may give you health and all prosperity and success in business.

Kabanova. Well, that's enough, stop it, please. Maybe you loved your mother while you were single. Do you care about me: you have a young wife.

Kabanov. One does not interfere with the other, sir: the wife is in itself, and I have respect for the parent in itself.

Kabanova. So will you exchange your wife for your mother? I won't believe this for the life of me.

Kabanov. Why should I change it, sir? I love both of them.

Kabanova. Well, yes, that's it, smear it! I see that I am a hindrance to you.

Kabanov. Think as you wish, everything is your will; Only I don’t know what kind of unfortunate person I was born into this world that I can’t please you with anything.

Kabanova. Why are you pretending to be an orphan? Why are you being so naughty? Well, what kind of husband are you? Look at you! Will your wife be afraid of you after this?

Kabanov. Why should she be afraid? It's enough for me that she loves me.

Kabanova. Why be afraid? 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 should at least not 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 have, and you still want to live by your own will.

Kabanov. Yes, Mama, I don’t want to live by my own will. Where can I live by my own will!

Kabanova. So, in your opinion, everything should be affectionate with your wife? How about shouting at her and threatening her?

Kabanov. Yes I am, mummy...

Kabanova (hot). At least get a lover! A? And this, perhaps, in your opinion, is nothing? A? Well, speak up!

Kabanov. Yes, by God, mummy...

Kabanova (completely cool). Fool! (Sighs.) What can you say to a fool! Only one sin!

Silence.

I'm going home.

Kabanov. And now we will only walk along the boulevard once or twice.

Kabanova. Well, as you wish, just make sure I don’t wait for you! You know, I don't like this.

Kabanov. No, mama, God save me!

Kabanova. That's the same! (Leaves.)

Appearance Six

The same , without Kabanova.

Kabanov. You see, I always get it from my mother for you! This is what my life is like!

Katerina. What is my fault?

Kabanov. I don’t know who is to blame,

Varvara. How would you know?

Kabanov. Then she kept pestering me: “Get married, get married, I would at least look at you as if you were married.” And now he eats, he doesn’t let anyone pass – it’s all for you.

Varvara. So is it her fault? Her mother attacks her, and so do you. And you also say that you love your wife. I'm bored looking at you! (Turns away.)

Kabanov. Interpret here! What should I do?

Varvara. Know your business - keep quiet if you don’t know anything better. Why are you standing - shifting? I can see in your eyes what’s on your mind.

Kabanov. So what?

Varvara. It is known that. I would like to go see Savel Prokofich and have a drink with him. What's wrong, or what?

Kabanov. You guessed it, brother.

Katerina. You, Tisha, come quickly, otherwise mamma will scold you again.

Varvara. You are faster, in fact, otherwise you know!

Kabanov. How could you not know!

Varvara. We also have little desire to accept abuse because of you.

Kabanov. I'll be there in a jiffy. Wait! (Leaves.)

Seventh Appearance

Katerina And Varvara.

Katerina. So, Varya, do you feel sorry for me?

Varvara (looking to the side). Of course it's a pity.

Katerina. So you love me then? (Kisses him firmly.)

Varvara. Why shouldn’t I love you?

Katerina. Well, thank you! You are so sweet, I love you to death.

Silence.

Do you know what came to my mind?

Varvara. What?

Katerina. Why don't people fly?

Varvara. I do not understand what you say.

Katerina. I say, why don’t people fly like birds? You know, sometimes I feel like I'm a bird. When you stand on a mountain, you feel the urge to fly. That's how she would run up, raise her hands and fly. Something to try now? (He wants to run.)

Varvara. What are you making up?

Katerina (sighing). How playful I was! I've completely withered away from you.

Varvara. Do you think I don't see?

Katerina. Was that what I was like? I lived, didn’t worry about anything, like a bird in the wild. Mama doted on me, dressed me up like a doll, and didn’t force me to work; I used to do whatever I want. Do you know how I lived with girls? I'll tell you now. I used to get up early; If it’s summer, I’ll go to the spring, wash myself, bring some water with me and that’s it, I’ll water all the flowers in the house. I had many, many flowers. Then we’ll go to church with Mama, all of us strangers - our house was full of strangers; yes praying mantis. And we’ll come from church, sit down to do some kind of work, more like gold velvet, and the wanderers will begin to tell us: where they were, what they saw, different lives, or sing poetry. So time will pass until lunch. Here the old women go to sleep, and I walk around the garden. Then to Vespers, and in the evening again stories and singing. It was so good!

Varvara. Yes, it’s the same with us.

Katerina. Yes, everything here seems to be out of captivity. And to death I loved going to church! Exactly, it happened that I would enter heaven and not see anyone, and I don’t remember the time, and I don’t hear when the service is over. Just like it all happened in one second. Mama said that everyone used to look at me to see what was happening to me. Do you know: on a sunny day such a light column goes down from the dome, and smoke moves in this column, like a cloud, and I see that it used to be as if angels were flying and singing in this column. And sometimes, girl, I would get up at night - we also had lamps burning everywhere - and somewhere in a corner I would pray until the morning. Or I’ll go into the garden early in the morning, the sun is just rising, I’ll fall on my knees, pray and cry, and I myself don’t know what I’m praying for and what I’m crying about; that's how they'll find me. And what I prayed for then, what I asked for, I don’t know; I didn’t need anything, I had enough of everything. And what dreams I had, Varenka, what dreams! Either the temples are golden, or the gardens are some kind of extraordinary, and everyone is singing invisible voices, and there is a smell of cypress, and the mountains and trees seem not to be the same as usual, but as if depicted in images. And it’s as if I’m flying, and I’m flying through the air. And now I sometimes dream, but rarely, and not even that.

Varvara. So what?

Katerina (after a pause). I'll die soon.

Varvara. That's enough!

Katerina. No, I know that I will die. Oh, girl, something bad is happening to me, some kind of miracle! This has never happened to me. There is something so unusual about me. I’m starting to live again, or... I don’t know.

Varvara. What's the matter with you?

Katerina (takes her hand). But here’s what, Varya: it’s some kind of sin! Such fear comes over me, such and such fear comes over me! It’s as if I’m standing over an abyss, and someone is pushing me there, but I have nothing to hold on to. (He grabs his head with his hand.)

Varvara. What happened to you? Are you healthy?

Katerina. Healthy... It would be better if I were sick, otherwise it’s not good. Some kind of dream comes into my head. And I won’t leave her anywhere. If I start to think, I won’t be able to gather my thoughts; I’ll pray, but I won’t be able to pray. I babble words with my tongue, but in my mind it’s not at all the same: it’s as if the evil one is whispering in my ears, but everything about such things is bad. And then it seems to me that I will feel ashamed of myself. What happened with me? Before trouble, before any of this! At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone is talking to me so affectionately, like a dove cooing. I don’t dream, Varya, as before, of paradise trees and mountains, but as if someone is hugging me so warmly and warmly and leading me somewhere, and I follow him, I go...

Varvara. Well?

Katerina. Why am I telling you: you are a girl.

Varvara (looking around). Speak! I'm worse than you.

Katerina. Well, what should I say? I'm ashamed.

Varvara. Speak, there is no need!

Katerina. It will become so stuffy for me, so stuffy at home, that I would run. And such a thought will come to me that, if it were up to me, I would now be riding along the Volga, on a boat, singing, or in a good troika, hugging...

Varvara. Not with my husband.

Katerina. How do you know?

Varvara. I wouldn't know.

Katerina. Ah, Varya, sin is on my mind! How much I, poor thing, cried, what I didn’t do to myself! I can't escape this sin. Can't go anywhere. After all, this is not good, because this is a terrible sin, Varenka, why do I love someone else?

Varvara. Why should I judge you! I have my sins.

Katerina. What should I do! My strength is not enough. Where should I go; Out of boredom I will do something about myself!

Varvara. What you! What happened to you! Just wait, my brother will leave tomorrow, we’ll think about it; maybe it will be possible to see each other.

Katerina. No, no, don't! What you! What you! God forbid!

Varvara. What are you afraid of?

Katerina. If I see him even once, I will run away from home, I will not go home for anything in the world.

Varvara. But wait, we'll see there.

Katerina. No, no, don't tell me, I don't want to listen.

Varvara. What a desire to dry out! Even if you die of melancholy, they will feel sorry for you! Well, just wait. So what a shame it is to torture yourself!

Included Lady with a stick and two footmen in three-cornered hats behind.

The eighth phenomenon

The same And Lady.

Lady. What, beauties? What are you doing here? Are you expecting some good guys, gentlemen? Are you having fun? Funny? Does your beauty make you happy? This is where beauty leads. (Points to the Volga.) Here, here, in the deep end.

Varvara smiles.

Why are you laughing! Don't be happy! (Knocks with a stick.) You will all burn inextinguishably in fire. Everything in the resin will boil unquenchable. (Leaving.) Look, there's where beauty leads! (Leaves.)

Appearance Ninth

Katerina And Varvara.

Katerina. Oh, how she scared me! I’m trembling all over, as if she were prophesying something for me.

Varvara. On your own head, old hag!

Katerina. What did she say, huh? What she said?

Varvara. It's all nonsense. You really need to listen to what she is saying. She prophesies this to everyone. All my life I sinned from a young age. Just ask them what they'll tell you about her! That's why he's afraid to die. What she is afraid of, she scares others with. Even all the boys in the city are hiding from her, she threatens them with a stick and screams (mimicking): “You will all burn in fire!”

Katerina (closed eyes). Oh, oh, stop it! My heart sank.

Varvara. There is something to be afraid of! Old fool...

Katerina. I'm scared, I'm scared to death. She all appears in my eyes.

Silence.

Varvara (looking around). Why is this brother not coming, there’s no way, the storm is coming.

Katerina (with fear). Storm! Let's run home! Hurry up!

Varvara. Are you crazy or something? How will you show up home without your brother?

Katerina. No, home, home! God bless him!

Varvara. Why are you really afraid: the thunderstorm is still far away.

Katerina. And if it’s far away, then perhaps we’ll wait a little; but really, it’s better to go. Let's go better!

Varvara. But if something happens, you can’t hide at home.

Katerina. But it’s still better, everything is calmer: at home I go to the icons and pray to God!

Varvara. I didn't know you were so afraid of thunderstorms. I'm not afraid.

Katerina. How, girl, not to be afraid! Everyone should be afraid. It’s not so scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts. I’m not afraid to die, but when I think that suddenly I will appear before God as I am here with you, after this conversation, that’s what’s scary. What's on my mind! What a sin! It's scary to say! Oh!

Thunder. Kabanov enters.

Varvara. Here comes my brother. (To Kabanov.) Run quickly!

Thunder.

Katerina. Oh! Hurry, hurry!