The character of the wild boar. Comparative speech characteristics of wild and boar

Kabanova, or as she is called, Kabanikha, is one of the main characters in Ostrovsky’s play “The Thunderstorm”. Marfa Ignatievna is a rich merchant's wife and also a widow. She has two children: son Tikhon and daughter Varvara. Her son Tikhon lives in her house with his wife Katerina.

Kabanikha is presented as an angry, envious and hypocritical woman who seemingly hates everything around her. Her favorite hobby- this is reading morals to a son and daughter, and she generally keeps Katerina in fear. Her very appearance is menacing and fearless.

It is not for nothing that the writer gives the head of the family such a strange nickname. It fully conveys the character of the heroine. Assessing her actions, we can confidently call her heartless.

Her biggest offense is that she raised her son to be a weak-willed and spineless man. He can't take a step without asking her. Thus, he cannot and does not even try to protect his wife from her mother-in-law’s attacks. From Kabanikha’s side, the reader sees ordinary jealousy towards her own son.

Her image is contradictory: she believes in God, but does evil, gives alms, but offends her loved ones. She skillfully plays in front of others: she pretends not to understand, calls herself old and haggard, but at the same time she is determined to teach others.

Naturally, the image of Kabanova is the prototype of Catherine, her opposite. Although, there is still something in common between them. They both respect antiquity, but understand it differently. For the mother-in-law, antiquity is what should subjugate the youth. Her attitude suggests that old people should give orders, and young people should obey unquestioningly. Katerina has other ideas. For her, antiquity is love and care for one's neighbor, it is mercy and compassion not only towards older people, but also towards everyone around. Katerina is a victim of Kabanikha, who endures bullying and abuse, while Varvara only pretends to listen to her mother, in fact adhering only to her own views.

After reading the play, the reader realizes that it was Kabanikha who contributed to the death of Katerina. She threatened to take her own life, apparently running away from her mother-in-law's attacks. Maybe Kabanikha did not want such a denouement, but the desire to break her daughter-in-law prevailed in any case. As a result, Kabanova’s family is collapsing. The daughter blamed her mother for Katerina’s death and left home, while Tikhon went on a drinking binge.

Option 2

We all know dramatic play Ostrovsky's "The Thunderstorm", in which there is an interesting heroine - Kabanikha (Marfa Ignatievna Kabanova).

Kabanikha is presented in the image of a rich merchant's wife. Marfa Ignatievna is a long-widowed woman.

This woman can be described as a lover of showing off her strength. Power and fortitude are the main features of Kabanikha’s image.

Marfa Ignatievna demands mandatory obedience from everyone, including her relatives. She is almost always unhappy with them. She scolds and educates them every day, and is especially dissatisfied with her son and Katerina. Kabanikha requires people to perform rituals and rites. She believes that it is important to keep the family order at bay.

Kabanikha loves to study different things and the main interests are expressed in the implementation of established procedures.

Kabanikha and Katerina have little similarity in that both are unable to reconcile their weak character traits. The second similarity is expressed in religiosity, both revere it, while not believing in forgiveness. This is where the similarity in their character traits ends.

The differences in characters are expressed by the fact that she is spiritual and a dreamer, the second lover of maintaining order in small things. For Katerina, love and will come first; for Kabanikha, it’s carrying out orders.

Kabanikha feels like a guardian of order, believing that with her death there will be chaos in the world and at home. No one doubts that the lady has an imperious character, which she periodically shows to everyone.

Kabanikha herself, no matter how much she scolds her children for being disobedient, never complains about them. Therefore, when the daughter-in-law openly confesses in public, this is unacceptable for her and turns out to be a terrible blow to her pride, to which was added the son’s rebellion, and in addition to these troubles, another one is added - the daughter’s escape from her home.

At the end of the play, the author shows the collapse of the powerful, seemingly indestructible world of Kabanikha. It is a terrible blow for her that everything has gone out of the lady’s control. Of course, the reader does not sympathize with her, because this is her fault. What she deserved, she got.

In conclusion, I would like to note that the image of Marfa Ignatievna personifies the patriarchal way of life. She claims that it is not her business whether it is good or bad, but it must be followed.

The outcome of the play is tragic: Katerina dies, the son rebels, the daughter runs away from home. With all the events taking place in the play, Kabanikha’s world collapses, and so does she.

Essay on the theme of Kabanikh

One of the main characters in the work “The Thunderstorm” is Marfa Ignatievna Kabanova. People all called her Kabanikha. The rich merchant's wife and widow had two children, Varvara and Tikhon, who married Catherine. She was typical representative the older generation who loves to give instructions and lecture. For her, the most important priority in life was to comply with the customs and orders established in society. She did not love her children, kept the whole house in fear, and often offended people.

The author of the play describes his heroine as a formidable, strict, evil, cruel and heartless woman. She did not neglect to show hypocrisy. In public, she tried to behave decently. She helped the poor, but at the same time offended her own children and her daughter-in-law Ekaterina. She often left everyone to pray to God. But this did not help her live a holy life. Her children believed that the only way to survive in their mother's house was to learn to deceive. Marfa Ignatievna preferred to keep her Son in fear. She was often jealous of his young wife. In her instructions, she repeated more than once that young people respect old people. In fact, she only had herself. It wasn't so important to her that others listened. She just liked to keep everyone at bay and feel like she was in control. Kabanikha strictly observed traditions and forced young people to do the same.

The heroine was a very stern woman. You could often hear her scolding and criticizing everyone around her. In her character one could observe despotism, which was the result of her blind trust in established customs. Her severity was also expressed in her attitude towards her own daughter-in-law. She cut off every word of Catherine and made poisonous remarks. She condemned her daughter-in-law for treating her husband kindly. In her opinion, a woman should be so afraid of her husband that she feels like his slave.

As a result, with her behavior and attitude towards life, Kabanikha strangled all living things around her. Her children were unhappy. The fate of each of them is not attractive to readers. Perhaps everyone who read the play wondered whether it was worth being such a stern admirer of man-made traditions.

Alexander Nikolaevich Ostrovsky wrote his play “The Thunderstorm” in 1859. The plot centers on a confrontation between generations. Older generation always rested on old morals, experiences and customs. They refused to understand the young people. And those, on the contrary, never sought to follow the traditions established over centuries. Therefore, the elders tried to re-educate their will This problem, which Ostrovsky described in his play, will forever remain significant as long as fathers and sons exist. Parents want their children to be like them and follow their paths.

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Kabanikha is very rich. This can be judged because her trade affairs extend beyond Kalinov (on her instructions, Tikhon traveled to Moscow), and that Dikoy respects her. But the affairs of Kabanikha are of little interest to the playwright: she is assigned a different role in the play. If Dikiy shows the brute force of tyranny, then Kabanikha is the exponent of the ideas and principles of the “dark kingdom”. She understands that money alone does not give power, another indispensable condition is the obedience of those who do not have money. And she sees her main concern in suppressing any possibility of disobedience. She “eats” her family in order to kill their will, any ability to resist. With Jesuitical sophistication, she drains the soul out of them, insults their human dignity with unfounded suspicions. She skillfully uses various techniques.to assert your will.

Kabanikha can speak in a friendly and instructive way (“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”), and hypocritically become poor (“Mother is old , stupid; well, you, young people, smart, should not exact from us, fools), and command imperiously (“Look, remember! Cut your nose!”, “Bow at your feet!”). Kabanikha is trying to show her religiosity. Words: “Oh, a grave sin! How long will it take to sin!”, “Only one sin!” - constantly accompany her speech. She supports superstitions and prejudices and strictly observes ancient customs. It is not known whether Kabanikha believes in Feklushi’s absurd fairy tales and the signs of the townspeople; she herself says nothing of the kind. But it resolutely suppresses any manifestations of free thought. She condemns Kuligin’s statements against prejudices and superstitions, and she supports the superstitious prophecies of the townspeople that “this storm will not pass in vain” and edifyingly tells her son: “Don’t judge your older self! They know more than you. Old people have signs for everything. an old man he won’t say a word to the wind.” Both in religion and ancient customs she sees the main goal: to push a person, to keep him in eternal fear. She understands that only fear can keep people in subjection and prolong the shaky reign of tyrants. In response to Tikhon’s words, why should his wife be afraid of him, Kabanova exclaims in horror: “Why, why be afraid! How, 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?” She defends the law according to which the weak should fear the strong, according to which a person should not have his own will. As a faithful guardian of this order, she teaches her household in full view of the crowd of townspeople. After Katerina’s confession, she loudly and triumphantly says to Tikhon: “What, son! Where will the will lead? I spoke, but you didn’t want to listen. That’s what I’ve been waiting for!”

In Kabanikha’s son, Tikhon, we see the living embodiment of the goal that the rulers of the “dark kingdom” strive for. They would be completely calm if they could make all people just as downtrodden and weak-willed. Thanks to the efforts of “mama,” Tikhon is so saturated with fear and humility that he does not even dare to think about living with his own mind and his own will. “Yes, Mama, I don’t want to live by my own will. Where can I live by my own will!” - he assures his mother.

But Tikhon is by nature a good person. He is kind, sympathetic, sincerely loves and pities Katerina, and is alien to any selfish aspirations. But everything human is suppressed in him by the despotism of his mother, he becomes a submissive executor of her will. However, Katerina’s tragedy forces even the submissive Tikhon to raise his voice of protest. If Tikhon’s first words in the play are: “How can I, Mama, disobey you!”, then at the end of it he desperately throws a passionate, angry accusation into his mother’s face: “You ruined her! You! You!"

The unbearable life under the yoke of Kabanikha, the longing for freedom, the desire for love and devotion - all this, which did not find a response in Tikhon, was the reason for the emergence of Katerina’s feelings for Boris. Boris is not like the other inhabitants of Kalinov. He is educated and seems to be from another world. Like Katerina, he is also oppressed, and this gives the young woman hope of finding in him a kindred spirit who can respond to her ardent feelings. But Katerina was bitterly deceived in Boris. Boris only outwardly seems better than Tikhon, but in reality he is worse than him. Like Tikhon, Boris does not have his own will and obeys without complaint.

Dikoy Savel Prokofich is a wealthy merchant, one of the most respected people in the city of Kalinov.
D. is a typical tyrant. He feels his power over people and complete impunity, and therefore does what he wants. “There are no elders over you, so you are showing off,” Kabanikha explains D.’s behavior.
Every morning his wife begs those around her with tears: “Fathers, don’t make me angry! Darlings, don’t make me angry!” But it’s hard not to make D. angry. He himself does not know what mood he may be in in the next minute.
This “cruel scolder” and “shrill man” does not mince words. His speech is filled with words like “parasite”, “Jesuit”, “asp”.
But D. “attacks” only on people weaker than himself, on those who cannot fight back. But D. is afraid of his clerk Kudryash, who has a reputation for being rude, not to mention Kabanikha. D. respects her, moreover, she is the only one who understands him. After all, the hero himself is sometimes not happy with his tyranny, but he can’t help himself. Therefore, Kabanikha believes D. weak person. Kabanikha and D. are united by belonging to the patriarchal system, following its laws, and concern about the upcoming changes around them.

KABANIHA - central character drama by A. N. Ostrovsky “The Thunderstorm” (1859). K. belongs to those powerful and strong natures who recognize themselves as the keepers of “order”, the original norms and rules of life: Kukushkina (“Profitable Place”), Ulanbekova (“The Pupil”), Murzavetskaya (“Wolves and Sheep”), Mavra Tarasovna (“Truth is good, but happiness is better ""). A mistress of her own (“a rich merchant’s wife, a widow”), Marfa Ignatievna Kabanova runs the house, relying on the ancient law of life and custom. “Order” for her is a means of curbing free life, the only protection of the “home space” from the chaos of “will”. K. feels like a guardian of the “law” and therefore lives her life calmly, firmly and faithfully, eradicating any hint of disobedience at home. K.'s cruelty is manifested in the habit of controlling a “thunderstorm”, not knowing love, doing without mercy, not suspecting the possibility of forgiveness. Old Testament severity emanates from K.’s wish to his sinning daughter-in-law: “To bury her alive in the ground so that she will be executed.” Nothing can shake K.’s confidence in the correctness of her life philosophy: neither the flight of the daughter from the hateful home, nor the suicide of the daughter-in-law whom she “crushed”, nor the sudden accusations of the hitherto weak-willed and dumb son: “Mama, it was you who destroyed her.” She judges Katerina mercilessly and says without regret: “It’s a sin to cry about her.” Kuligin's reminders about God, a merciful judge, are useless - K. does not respond to them in any way. But, according to custom, he “bows low to the people” for his service in searching for the poor suicide. K. is “fierce”, “cool” in observing “antiquity” - and all “under the guise of piety”. The monumental image of K. is a living embodiment of “ cruel morals”, about which Boris says: “I understand that all this is our Russian, native, but still I can’t get used to it.” K. is revealed in the play as an honest and terrible defender of the graceless “law”, not enlightened by Christian love. Further development This image in Russian drama became M. Gorky’s Vassa Zheyaeznova. The first performer of the role of K. was N.V. Rykalova (1859). Other performers include F.V. Shevchenko (1934), V.N. Pashennaya (1962).

Characteristics of Kabanikha from the play The Thunderstorm

boar play heroine

Kabanova Marfa Ignatievna (Kabanikha) - central heroine plays, mother of Tikhon and Varvara, mother-in-law of Katerina. On the list characters it is said about her: a rich merchant's wife, a widow. In the play's character system, the antagonist main character, Katerina, a contrasting comparison with which is of decisive importance for understanding the meaning of the play. The similarity of the heroines can be seen both in their belonging to the world of patriarchal ideas and values, and in the scale and strength of their characters. Both of them are maximalists, they will never reconcile with human weaknesses, do not allow the possibility of any compromise. The religiosity of both also has one similar feature: they both do not believe in forgiveness and do not remember mercy. However, this is where the similarities end, creating the basis for comparison and emphasizing the essentially significant antagonism of the heroines. They are like two poles patriarchal world. Katerina - his poetry, spirituality, impulse, dreaminess, the spirit of the patriarchal way of life in its ideal meaning. The boar's wife is all chained to the earth and earthly affairs and interests, she is a guardian of order and form, defends the way of life in all its petty manifestations, demanding strict execution of ritual and order, not caring in the least about inner essence human relationships (see her rude response to Katerina’s words that her mother-in-law is nothing to her birth mother; all teachings to my son).

K. in the play is characterized not only by her own speeches and actions, but is also discussed by other characters. For the first time, the wanderer Feklusha speaks about her: “I’m so happy, so, mother, happy, up to my neck! For our failure to leave them even more bounties, and especially to the Kabanovs’ house.” Before this remark is Kuligin’s judgment: “Prudence, sir! He gives money to the poor, but completely eats up his family.” Soon after these preliminary characteristics, K. appears, emerging from vespers, accompanied by her family, whom she constantly nags, finding fault with her son’s imaginary cooling towards her, showing jealous hostility towards his young wife and distrust of her sincere words(“For me, Mama, it’s all the same, like your own mother, like you. And Tikhon loves you.”) From this conversation we learn that, in K.’s opinion, proper family order and household structure are based on the fear of the younger ones before the elders; she tells Tikhon about his relationship with his wife: “He won’t be afraid of you, and even less so of me. What kind of order will there be in the house?” Thus, if keywords in Katerina’s ideas about a happy and prosperous life in the house, “love” and “will” (see her story about life as a girl), then in K.’s ideas, it is fear and order. This is especially clearly visible in the scene of Tikhon’s departure, when K. forces his son to strictly follow the rules and “order his wife” how to live without him. K. has no doubts about the moral correctness of the hierarchical relations of “patriarchal life, but there is no longer any confidence in their inviolability. On the contrary, she feels almost the last guardian of the correct world order (“This is how the old days come to be... What will happen, how the elders will die, I don’t know how the light will stand"), and the expectation that chaos will come with her death adds tragedy to her figure. She does not consider herself a rapist either: “After all, out of love, your parents are strict with you, they scold you out of love, everyone thinks to teach you good." If Katerina already feels in a new way, not like Kalinov, but is not aware of this, then K., on the contrary, still feels quite in the old way, but clearly sees that her world is perishing. Of course, this awareness is clothed in completely “Kalinov-esque”, medieval forms of popular philosophizing, mainly in apocalyptic expectations. All this is revealed by her dialogue with Feklusha, the peculiarity of which is that it characterizes, first of all, K’s worldview ., although Feklusha “utters” these thoughts, and K. strengthens herself, wants to assure her interlocutor that they really have “paradise and silence” in their city, but at the end of the scene her true thoughts are fully revealed in the last two remarks, as if sanctioning the apocalyptic Feklusha’s reasoning: “And it will be worse than this, my dear,” and in response to the words of the wanderer: “We just wouldn’t live to see this” - K. confidently throws out: “Maybe we will live.” One cannot accept the very common definition of K. as “tyrant.” Tyranny is not the order of the patriarchal world, but the rampant self-will of a powerful person, who also in his own way violates the correct order and ritual. K. condemns his godfather Dikiy, a real tyrant (unlike K. herself, who strictly adheres to orders and rules), and treats with contempt his violence and complaints about his family as a sign of weakness. Those around him do not doubt K.’s strength of character (“If our mistress were to look after him, she would soon stop him,” notes the maid Glasha in response to Boris, who complains about Dikiy’s rampage). K. herself, no matter how much she punishes the children for disrespect and disobedience, would never even think of complaining to strangers about the disorder in her home. And therefore, for her, Katerina’s public recognition is a terrible blow, which will soon be joined by her son’s open rebellion in public, not to mention the escape of her daughter Varvara from home. Therefore, in the finale of “The Thunderstorm” there is not only the death of Katerina, but also the downfall of K. Of course, the antagonist of the tragic heroine does not evoke sympathy.

Kabanikha is very rich. This can be judged because her trade affairs extend beyond Kalinov (on her instructions, Tikhon traveled to Moscow), and that Dikoy respects her. But the affairs of Kabanikha are of little interest to the playwright: she is assigned a different role in the play. If Dikiy shows the brute force of tyranny, then Kabanikha is the exponent of the ideas and principles of the “dark kingdom”. She understands that money alone does not give the authorities, another indispensable condition is the obedience of those who do not have money. And she sees her main concern in suppressing any possibility of disobedience. She “eats” her family in order to kill their will, any ability to resist. With Jesuitical sophistication, she drains the soul out of them, insults their human dignity with unfounded suspicions. She skillfully uses various techniques. to assert your will.

Kabanikha can speak in a friendly and instructive way (“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”), and hypocritically become poor (“Mother is old , stupid; well, you, young people, smart, should not exact from us, fools), and command imperiously (“Look, remember! Cut your nose!”, “Bow at your feet!”). Kabanikha is trying to show her religiosity. Words: “Oh, a grave sin! How long will it take to sin!”, “Only one sin!” - constantly accompany her speech. She supports superstitions and prejudices and strictly observes ancient customs. It is not known whether Kabanikha believes in Feklushi’s absurd fairy tales and the signs of the townspeople; she herself says nothing of the kind. But it resolutely suppresses any manifestations of free thought. She condemns Kuligin’s statements against prejudices and superstitions, and she supports the superstitious prophecies of the townspeople that “this storm will not pass in vain” and edifyingly tells her son: “Don’t judge your older self! They know more than you. Old people have signs for everything. An old man won’t say a word to the wind.” She sees both religion and ancient customs as the main goal: to push a person away, to keep him in eternal fear. She understands that only fear can keep people in subjection and prolong the shaky reign of tyrants. In response to Tikhon’s words, why should his wife be afraid of him, Kabanova exclaims in horror: “Why, why be afraid! How, 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?” She defends the law according to which the weak should fear the strong, according to which a person should not have his own will. As a faithful guardian of this order, she teaches her household in full view of the crowd of townspeople. After Katerina’s confession, she loudly and triumphantly says to Tikhon: “What, son! Where will the will lead? I spoke, but you didn’t want to listen. That’s what I’ve been waiting for!”

The unbearable life under the yoke of Kabanikha, the longing for freedom, the desire for love and devotion - all this, which did not find a response in Tikhon, was the reason for the emergence of Katerina’s feelings for Boris. Boris is not like the other inhabitants of Kalinov. He is educated and seems to be from another world. Like Katerina, he is also oppressed. and this. evokes in a young woman the hope of finding in him a kindred spirit who can respond to her ardent feelings. But Katerina was bitterly deceived in Boris. Boris only outwardly seems better than Tikhon, but in reality he is worse than him. Like Tikhon, Boris does not have his own will and obeys without complaint.

According to I. A. Goncharov, A. N. Ostrovsky “brought a whole library of artistic works as a gift to literature, and created his own special world for the stage.” The world of Ostrovsky’s works is amazing. He created large and integral characters, knew how to emphasize comic or dramatic properties in them, and draw the reader’s attention to the virtues or vices of his heroes.

The heroes of the play “The Thunderstorm” deserve special attention - Savel Prokofievich Dikoy and Marfa Ignatievna Kabanova.

Savel Prokofievich Dikoy - merchant, significant person in the city of Kalinov. The heroes of the play give him eloquent characteristics. “He belongs everywhere. He’s afraid of someone!” - Kudryash says about him. Dikoy, in fact, does not recognize anything other than his own will. He doesn't care about the thoughts and feelings of other people. It costs Savel Prokofievich nothing to scold, humiliate, or insult. With those around him, he behaves as if he had “lost his chain,” and without this he “cannot breathe.” “...You are a worm,” he says to Kulig. “If I want, I’ll have mercy, if I want, I’ll crush.”

Power Wild themes stronger than weaker, weaker person. So Kudryash, for example, knows how to resist the Wild One. “...He is the word, and I am ten; he will spit and go. No, I won’t slave to him,” says Kudryash about his relationship with the merchant. Another man is Dikiy’s nephew, Boris. “He got Boris Grigoryich as a sacrifice, so he rides on it,” people around him notice. The wild one is not embarrassed by the fact that Boris is an orphan and that he has no one closer to his uncle. The merchant realizes that the fate of his nephew is in his hands, and takes advantage of this. “Driven, beaten...” Boris says sadly. The merchant is no less cruel to his employees: “With us, no one dares even say a word about a salary, he’ll scold you for all he’s worth.” The unscrupulous Dikoy makes his fortune from other people's slave labor and deception: "... I will underpay them by a penny... but I make thousands from this...". However, sometimes the Dikiy has an epiphany, and he realizes that he is going too far: “After all, I already know that I have to give, but I can’t do everything with good.”

Dikoy is a despot and tyrant in his family, “his own people cannot please him,” “when he is offended by a person whom he does not dare to scold; here, stay home!”

Kabanikha, the rich Kalinovsky merchant’s wife, is not inferior to Dikiy. Kabanikha is a hypocrite, she does everything “under the guise of piety.” Outwardly she is very pious. However, as Kuligin notes, Kabanikha “gives money to the poor, but completely eats up her family.” Main object her tyranny is her own son Tikhon. Being an adult, married man, he is completely in the power of his mother, has no own opinion, is afraid to contradict her. Kabanikha “builds” his relationship with his wife, she guides his every action, every word. Complete obedience is all she wants to see in her son. The power-hungry Kabanikha does not notice that under her yoke a cowardly, pathetic, weak-willed, irresponsible man has grown up. Having escaped from the supervision of his mother for a while, he chokes on freedom and drinks, because he does not know how to use freedom in any other way. “...Not one step out of your will,” he repeats to his mother, and “he himself is thinking about how he can escape as quickly as possible.”

Kabanikha is jealous of her son’s daughter-in-law, constantly reproaches him with Katerina, “she eats him.” “I already see that I’m a hindrance to you,” she nags Tikhon. Kabanikha believes that the wife of her husband should be afraid, precisely afraid, and not love or respect. In her opinion, correct relationships are built precisely on the suppression of one person by another, on humiliation, on lack of freedom. Indicative in this regard is the scene of Katerina’s farewell to her husband, when all Tikhon’s words addressed to his wife are just a repetition of Kabanikha’s instigations.

If Tikhon, who has been crushed by her since childhood, suffers from Kabanikha, then the life of such a dreamy, poetic and integral nature as Katerina in the merchant’s house becomes unbearable. “Here, whether she got married or whether she buried her, it’s all the same,” Boris argues about this.

Constant pressure forces Kabanikha’s daughter, Varvara, to adapt. “Do what you want, as long as it’s sewn and covered,” she reasons.

Assessing the images of the “masters of life,” N. Dobro-lyubov shows Diky and Kabanikha as tyrants, with their “constant suspicion, scrupulousness and pickiness.” According to the critic, “Thunderstorm” is the most decisive work Ostrovsky" in this play "the mutual relations of tyranny and voicelessness are brought... to the most tragic consequences...".