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Based on the play by A. I. Ostrovsky “The Thunderstorm”

In 1859, Alexander Nikolaevich Ostrovsky created one of his most powerful works - the drama “The Thunderstorm”, in which he shows how the typically Russian merchant house of the Kabanovs is the personification of the “cruel world”.

In the house, widely known in the Volga city of Kalinov, Marfa Ignatievna Kabanova dominates and thus establishes the morals of the house, apparently, she has been a widow for a long time, perhaps, and during her husband’s life she was the head of the house and business. The woman is strong and domineering to the point of despoticism, she demands unconditional submission from everyone, including her family: son Tikhon, daughter Varvara, daughter-in-law Katerina.

Contemporary criticism of Ostrovsky, and first of all N.A. Dobrolyubov, saw in Kabanikha the personification of ignorance, tyranny and cruelty. At the same time, Marfa Ignatievna is based on her own unique understanding of traditions, Domostroy. If you look closely and listen to the canons that she is trying to establish in the family, then this is not only her own unique understanding of traditions, but also following what has been established by centuries and ancestors. Perhaps Kabanova’s passion for endless teaching is harmful to her image. Well, why not teach the young? And who should teach them if not their mothers? It’s a pity that she doesn’t take into account the place, the time, or the feelings of her interlocutor. So, for example, in scene five of act one, Kabanikha appears on stage with words of teaching addressed to an adult married son. She does not care either that the boulevard is not the place for such instructions, nor that her son is not guilty of anything before her. As soon as daughter-in-law Katerina enters into a conversation, Kabanova immediately switches to her, offends her without noticing it, remaining completely confident that she is right. All that can be heard from Marfa Ignatievna’s lips is abuse and reproaches. She “eats” her victim, “sharpens<…>, like rusting iron."

N. A. Dobrolyubov in his article “A Ray of Light in dark kingdom” says about Kabanova: “He gnaws his victim for a long time and relentlessly.” Kabanikha forces Katerina to bow at Tikhon’s feet when he leaves home, reproaches her for “not howling” in public, seeing off her husband to Moscow. After Katerina confesses to her betrayal of her husband, Marfa Ignatievna orders Tikhon to beat Katerina, and believes that she should be “buried alive in the ground so that she can be executed.”

The “cruel world” of the Kabanovs’ house is based on submission, orders, hypocrisy and deception; it is also adopted by the younger generation. Varvara, for example, does not understand Katerina’s moral torment; she is convinced that you can do “whatever you want, as long as it is sewn and covered.” In the same conversation with Katerina, she admits: “And I was not a liar, but I learned when it became necessary.” Tikhon does the same.

The relationship between the inhabitants of the Kabanov house was very accurately expressed by Varvara: “Well, you can’t do without this: remember where you live! Our house rests on this.” At the same time, representatives of the younger generation show a kind of honesty among themselves, not hiding their hypocrisy in front of their mother. For example, before leaving for Moscow, Tikhon, having listened to all his mother’s instructions, after her departure says to Katerina: “Why listen to her! She needs to say something! Well, let her talk, and you turn a deaf ear.” Later, in the scene of Katerina’s confession (Act four, scene six.) Tikhon, having heard the beginning of his wife’s confession, “confused, in tears, pulls her sleeve,” wants to stop her, to keep everything secret from his mother, as is his custom. “Don’t, don’t, don’t say! What you! Mother is here!

In a conversation with Boris, Kuligin characterizes the “cruel world” of the city of Kalinov: “<…>Everyone's gates, sir, have been locked for a long time and the dogs have been let down... Do you think they are doing business or praying to God? No, sir. And they don’t lock themselves away from thieves, but so that people don’t see them eating their own family and tyrannizing their family. And what tears flow behind these constipations, invisible and inaudible!<…>And what, sir, behind these castles is dark debauchery and drunkenness! And everything is sewn and covered - no one sees or knows anything, only God sees! You, he says, look, I’m among people and on the street, but you don’t care about my family; for this, he says, I have locks, and constipations, and angry dogs. The family says it’s a secret, secret matter! We know these secrets! Because of these secrets, sir, only he is having fun, while the rest are howling like a wolf.<…>" This characteristic fully reflects the image of the “cruel world” and the Kabanovs’ house.

Review

The above essay, indicating that the author has the ability to competently analyze piece of art in the unity of form and content, it fully and convincingly tells about the “cruel world” of the Kabanov house, about the “cruel morals” of the “dark kingdom”. The text has been carefully selected and successfully used to reveal the theme of the essay. Quotes are introduced successfully.

Russian literature of the 2nd half of the 19th century

The image of the “cruel world” in the dramaturgy of A. N. Ostrovsky. (Based on the play “Thunderstorm” or “Dowry”)

A. N. Ostrovsky was one of central figures in the development of Russian drama of the 19th century. The play “The Thunderstorm” is of particular interest to readers, since it not only describes social and moral conflicts, but also gives enough full characteristics Russian merchants of the second half of the nineteenth century.
In order to understand the life of the society described in the work, it is necessary to analyze the characters of some characters. The owners of life in the city of Kalinov - rich merchants - defend their views regarding family foundations and rules. Describing life in this provincial town, one of the heroes of the drama Kuligin says: “ Cruel morals“Sir, there are cruel people in our city!” - referring, first of all, to the main persons of Kalinov - Marfa Ignatievna Kabanova and Savel Prokofievich Dikiy.
The conservative views that reign in the Kabanov family and are common for a family living in a small provincial town dictate that a “good” wife, after seeing her husband off, howls while lying on the porch, the husband regularly beats his wife, and they both unquestioningly obey the will of the elders in the house. The model that Marfa Kabanova chose for herself is an old Russian family, which is characterized by complete lack of rights younger generation, and especially women. Kabanikha is a representative of the older generation, more patriarchal and respectful of tradition. The heroine does not give free rein to her son Tikhon, much less her daughter-in-law Katerina. In fact, her image is much deeper than it seems at first glance. In the severity towards his son, one can see love, a desire to help him get back on his feet in this difficult life; in nagging towards Katerina, jealousy and annoyance at having taken her son away are manifested; the constant bad mood can also be understood - around Marfa Ignatievna the foundations of her world are crumbling, it seems to her that the end of the world is coming: “What will happen, how the old people will die, how the light will stand, I don’t even know.”
Kabanova is an irreconcilable enemy of everything new: she sees it as a threat to the established course of things, she condemns young people for the fact that they do not have “proper respect” for their elders.
The head of another family presented in the drama is Dikoy. Unlike Kabanikha, who tries to cover up her tyranny with hypocritical arguments about the common good, Dikoy considers this unnecessary for himself. He behaves as he pleases: he scolds everyone - neighbors, workers, members of his family, lets himself go, does not pay the peasants. Savel Prokofievich is a completely empty person, constantly looking for a quarrel, a tyrant who acts not guided by reason. The characteristics given to Dikiy by other heroes of the play (Shapkin, Kudryash, Kuligin) are indicative: “a scolder”, “a shrill man”, “a warrior”.
Savel Prokofievich’s attitude towards his nephew Boris proves that the city is ruled by a “tyrant force”: Boris can receive the inheritance bequeathed by his grandmother only if he is respectful to his uncle, which is impossible in principle. It is no coincidence that Kuligin remarks when he learns about the condition for receiving an inheritance: “This means, sir, that you will never see your inheritance.”
Dikoy himself understands that he lives guided by his heart, not his mind, and his heart is not kind. And this man is “ significant person in the city". People like Dikoy and Kabanikha represent the basis of the Russian merchant class.
The younger generation shown in the play “The Thunderstorm” is also a very important part of society. The passivity of young people, their weak character and inability to do something new and bold are surprising. Tikhon and Varvara, on the one hand, do not agree with the existing order of things and do not want to follow the rules, but, on the other hand, they do not dare to protest against the imposed laws of the “dark kingdom”, but only adapt to life in it. Varvara’s principle of life is “do what you want, as long as it’s safe and covered.” Her beloved - Vanya Kudryash - seemingly does not submit to the power of the Wild One, but contrasts the unbridled power of the merchant with another force: “Let me not let go either: he is the word, and I am ten; he’ll spit and go.” Boris can also be included in this group of characters. He has no self-respect, no self-esteem. Boris himself says that he is “driven, downtrodden.” We can conclude that the younger generation also inherited “cruel morals.”
Thus, the entire merchant world of the city of Kalinov appears before the readers. But the “dark kingdom” is not only Kabanova and Dikoy, not only young heroes, but many other, sometimes even unnamed characters. This is the old crazy lady who frightened Katerina with “fiery hell”, and the pilgrim Feklusha, and passers-by on the boulevard. We see that using the example of A. N. Ostrovsky’s work “The Thunderstorm” we can analyze merchant society of that time, see the contradictions, understand the tragedy individuals and an entire generation, thanks to which you can plunge deeper into the life of everything Russian society mid-nineteenth century.
Another of Ostrovsky’s works, “The Dowry,” describes Russia of a later time—the Russia of emerging capitalist relations. In the society of entrepreneurs, first of all, such heroes as Knurov and Vozhevatov attract attention. Knurov is a representative of the older generation, he is a businessman. For him, the main dignity of a person is money, and everything around him is a commodity. Vozhevatov already belongs to the new generation. Despite the fact that Vozhevatov is still young, money determines his attitude towards the world. For Knurov and Vozhevatov there is no moral values, only material ones. These heroes are discussing the purchase of Larisa Ogudalova in a businesslike manner. When businessmen play toss against Larisa, the heroes are not embarrassed by the fact that she is human. Ostrovsky concludes from this situation that the present time is devoid of moral values. Everything around was based on money.
The main character is the only embodiment of the soul in a soulless world. She opens up to people, but her soul turns out to be unclaimed. Even Larisa’s mother is ready to give her up for money. In the play, a conflict arises between money and a world where there is no money.
Money breeds cruelty not only towards Larisa. The author depicts how society treats the “little man” who has the right to own pride, but his right is not recognized by the world of businessmen. Karandyshev, with his narrow-minded inner world, with base values, wants to take a place in the circle of “masters of life.” To do this, he dreams of marrying Larisa in order to show others that such a woman will be with him. Karandyshev needs her to assert himself in society.
Thus, every character in the play needs the main character for some purpose. The conflict in the work gradually begins to acquire shades of morality. Larisa cannot commit suicide like Katerina. She provokes Karandyshev to murder. IN last scene when she dies, her soul forgives everyone. The society that surrounded the heroine is cruel and soulless, but Larisa turns out to be above this world.
In the play “Dowry,” in contrast to the drama “The Thunderstorm,” Ostrovsky showed the basic values of a later time. We see that almost nothing has changed in society. Merchants began to be called businessmen, but this did not change anything. The main representatives of this or that time remained the same empty people, afraid of everything new, subordinate to some of their values or ideals. Ostrovsky showed the cruelty and soullessness of the world towards a specific person with his vulnerable soul.

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A.N. Ostrovsky was one of the central figures in the development of Russian drama in the 19th century. The play “The Thunderstorm” is of particular interest to readers, since it describes not only social and moral conflicts, but also gives a fairly complete description of the Russian merchants of the second half of the 19th century.

In order to understand the life of the society described in the Work, it is necessary to analyze the characters of some of the characters. The owners of life in the city of Kalinov - rich merchants - defend their views regarding family foundations and rules. Characterizing life in this provincial town, one of the drama’s heroes, Kuligin, says: “Cruel morals, sir, in our city, cruel!” - referring primarily to the main persons of Kalinov - Marfa Ignatievna Kabanova and Savel Prokofievich Dikiy.

Conservative views that reign in the Kabanov family and are common for a family living in a small provincial town, dictate that a “good” wife, after seeing her husband off, howl while lying on the porch, the husband regularly beats his wife, and they both unquestioningly obey the will of the elders in the house. The model that Marfa Kabanova chose for herself is an old Russian family, which is characterized by complete lack of rights for the younger generation, and especially women.

Kabanikha is a representative of the older generation, more patriarchal and respectful of tradition. The heroine does not give free rein to her son Tikhon, much less her daughter-in-law Katerina. In fact, her image is much deeper than it seems at first glance. In the severity towards his son, one can see love, a desire to help him get back on his feet in this difficult life; in nagging towards Katerina, jealousy and annoyance at having taken her son away are manifested; the constant bad mood can also be understood - around Marfa Ignatievna the foundations of her world are crumbling, it seems to her that the end of the world is coming: “What will happen, how the old people will die, how the light will stand, I don’t even know.”
Kabanova is an irreconcilable enemy of everything new: she sees it as a threat to the established course of things, she condemns young people for the fact that they do not have “proper respect” for their elders. The head of another family presented in the drama is Dikoy. Unlike Kabanikha, who tries to cover up her tyranny with hypocritical arguments about the common good, Dikoy considers this unnecessary for himself. He behaves as he pleases: he scolds everyone - neighbors, workers, members of his family, gives up his hands, does not pay the peasants. Savel Prokofievich is a completely empty person, constantly looking for a quarrel, a tyrant who acts not guided by reason. The characteristics given to Dikiy by other heroes of the play (Shapkin, Kudryash, Kuligin) are indicative: “a scolder”, “a shrill man”, “a warrior”.
Savel Prokofievich’s attitude towards his nephew Boris proves that the city is ruled by a “tyrant force”: Boris can receive the inheritance bequeathed by his grandmother only if he is respectful to his uncle, which is impossible in principle. It is no coincidence that Kuligin remarks when he learns about the condition for receiving an inheritance: “This means, sir, that you will never see your inheritance.”

Dikoy himself understands that he lives guided by his heart, not his mind, and his heart is not kind. And this person is “a significant person in the city.” People like Dikoy and Kabanikha represent the basis of the Russian merchant class.

“Dowry” is the best psychological drama by A.N. Ostrovsky. Central theme The work is the theme of “a warm heart that perishes among people who serve money, not beauty.”
What happens in the play is connected with modern times - the seventies of the 19th century. A.N. Ostrovsky indicates in the stage directions: “The action takes place at the present time.” It is important for the author to emphasize the current significance of the conflict between feeling and benefit. This is the heyday of bourgeois relations. Shipowner Paratov explains the new laws this way: “The time of enlightened patrons, the time of philanthropists has passed; now the triumph of the bourgeoisie..."
The image of the “cruel world” in the play is embodied in the metaphor “gypsy camp”. In the house main character, dowryless, constantly visited different people who were looking for entertainment and fun. Beautiful, talented girl she lived as if in a state and suffered endlessly. Her mother forced her to sing, dance, be kind, and entertain guests. Larisa endured all the humiliation in order to marry a rich admirer. Mother ordered Larisa: “And pretend and lie!... It’s better to humiliate yourself from a young age, so that later you can live like a human being.” Among the Ogudalovs' potential suitors, absurd figures appeared: “some old man with gout, and a rich manager of some prince, always drunk,” and a cashier who turned out to be a swindler.
Among the admirers there were also predatory businessmen: merchants Knurov, Vozhevatov, master Paratov. For a long time Larisa was courted by a petty official, Karandyshev. This entire diverse company was united by one thing: a consumerist attitude towards life and people. The laws of the “cruel world” are based on business calculations, personal gain, and indifference to one’s neighbor. In this society, everything is for sale, even love, honor, beauty.
Merchants of the new formation talk exclusively about money, about its power over people. So, Paratov wants to marry profitably and take “gold mines” as a dowry. He sells his freedom, prepares for such a dowry on the part of the bride to give up carousing, put on a tailcoat and speak French. He himself does not know what pity and compassion are. Paratov frankly admits: “I... have nothing cherished; If I find a profit, I’ll sell everything, anything.” For entertainment, Paratov takes with him everywhere a drunken provincial actor, to whom he gave the nickname Robinson. The master disposes of it as property, offers it to the merchants for fun: “Here, take your soul, I can give it to you for two, three days.” Larisa is not indifferent to Paratov. One day he almost married her. During the second meeting, he again becomes truly captivated by the beautiful “thing.” His outburst of feelings leads to a new and terrible deception: he takes Larisa away and then mercilessly abandons her. As Knurov says: “he wouldn’t trade his million-dollar bride for Larisa Dmitrievna.”
For Paratov, in one row there is the steamship “Swallow” (it can be sold later), the actor Robinson (it was useful for fun. Larisa. In one row there is something that can be used, enjoyed, amused, and then exchanged for something more valuable and profitable. Paratov accepted the rules of the game, based on sober calculation and boundless egoism, and does not intend to lose under any circumstances, since his own benefits and pleasures are most valuable to him.
Knurov and Vozhevatov act according to the same laws. In relationships with Larisa, their moral character. Soberly and in a businesslike manner, Vozhevatov assesses Larisa’s situation, dispassionately calculating that she has nothing to hope for: “Now there are very few suitors... there are not enough dowries...” Communication with Larisa is for him entertainment against the backdrop of a rather monotonous life, a pleasure, for which you can and should pay money. Vozhevatov calls the situation in which Larisa finds herself because of Paratov an “opportunity,” as if we are talking about a profitable trade deal. He suggests casting lots. Having lost to Larisa at toss, I lost all interest in her.
The big businessman Knurov evaluates Larisa’s beauty as a source of pleasure that can be bought: “This woman is created for luxury.” Knurov’s cynicism is hidden behind a mask of ostentatious goodwill. This hero has no doubt that Larisa will accept his offer to go to his support, since she knows the extent of her power over people. He tells her: “For me, the impossible is not enough. Don’t be afraid of shame, there will be no condemnation...” Anticipating the complex development of the relationship between Larisa and Paratov, Knurov notes: “It seems that the drama is beginning.” From the very beginning, he and Vozhevatov watched Larisa’s fate, like lurking predators, ready to seize prey at any moment. Even in sympathy with Larisa, they remain cold-blooded businessmen, which Vozhevatov most accurately formulated: “What to do! It’s not our fault, it’s our fault.”
Larisa agreed to marry Karandyshev because she wanted to escape from the world of corruption. " Gypsy camp“she dreamed of replacing it with peace in the village: “But let it be wild, and deaf, and cold; for me, after the life that I experienced here, every quiet corner It will seem like paradise." Larisa is killed by the undisguised truth that suddenly revealed itself to her at the end of the play: “I was looking for love and did not find it. They looked at me and look at me as if I was funny. No one ever tried to look into my soul, I didn’t see sympathy from anyone, I didn’t hear warmth, heartfelt words" This truth was also understood by Robinson, the only one of the “spectators” of the drama who was not devoid of cordiality: “O barbarians, robbers! Well, I got into the company!”
In a cold, ruthless society, the fate of a loving, sincere nature is doomed to destruction. Larisa is a victim because she did not want to “adapt to the circumstances” of a cruel world.

The Russian playwright A.N. Ostrovsky is the author of many works, including the drama in four acts, The Dowry. Its heroes are Kharita Ogudalova - a widow, her daughter Larisa, businessman Knurov, a representative of the trading company Vozhevatov, a poor official...

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The entire action of "The Dowry" is concentrated around one character - Larisa - and is focused and intense. You could even say that in general “The Thunderstorm” is more epic, and “Dowry” is more dramatic. This manifests itself, in particular...

In Russian literature " small man"has traditionally been portrayed as a victim of social injustice. This is the image of Bashmachkin in Gogol’s story “The Overcoat” or Samson Vyrin in “ Stationmaster» A.S. Pushkin. The fate of petty officials evoked sympathy...

Many poets and writers dedicated their lines to women, the beautiful half of humanity. In Russian literature, the image of a woman was depicted with great warmth, her best features were sung: loyalty, sincerity, beauty, intelligence, nobility, tenderness and selfless love. ...

Cruelty can manifest itself in actions, in thoughts and even in inaction. Ostrovsky's drama "The Thunderstorm" is clear evidence of this. Can a world in which at least one person suffers be called cruel? Undoubtedly. Of course, if the suffering of a particular person is not a figment of his own imagination. In Ostrovsky's drama, Katerina's suffering is an objective reality. Even we, modern readers, can agree with this.

The merchant patriarchal environment is indeed cruel. After all, far from the most humane house-building rules are observed here as diligently as possible. In the small provincial town of Kalinov, life is miserable and secluded. The residents do not have any interests or aspirations. They are ignorant, rude, indifferent to everyone and everything around them except themselves. At first glance, life in the city is calm and simple. But this is an extremely superficial impression. Serene life in reality it turns out to be full of indifference, ill will, arrogance, and hatred. Everyone secretly envies their neighbor or relative. In the “cruel world,” of which the city of Kalinov is an example, human dignity is actively violated.
In Ostrovsky's drama we see two prominent representatives“cruel world”, these are Dikoy and Kabanikha. They belong to the older generation, we can easily imagine that all the other residents are very similar to them. It is significant that Ostrovsky shows exactly a man and a woman. Patriarchal principles are such that the younger generation must obey their parents. And in the drama we see what these same parents are like. Dikoy - father large family keeping his family at bay. Kabanikha is the mother of the family who hates her family members.
The tyrant merchants, represented in Ostrovsky's drama by Dikiy, think most of all about their profit. They are ready to do anything to increase their capital. All the actions of tyrant merchants cannot be condemned, because the “truth” of the patriarchal system is on their side. They make the laws themselves, and the morality of society fully approves of their actions.
The next character of the “cruel world” is elderly woman, Kabanikha. It is associated with such “advantages” of the patriarchal system as the need to observe Domostroevsky customs and rules; she teaches her family how to live; she is characterized by hypocrisy and hypocrisy; she suppresses everyone around her. A woman in any society is the keeper of the home. Kabanova fully corresponds to this. She defends the foundations of the patriarchal house-building society, which Ostrovsky shows as a “cruel world.”
Domostroevsky orders are not compatible with the manifestation of personal freedom. The interests of one person are of no interest to anyone here. The main thing is that everything complies with the rules. This is why the “cruel world” is so intolerant of non-compliance with traditions. Kabanikha intuitively feels that in her own family, where she dictates her terms to everyone, little by little timid resistance appears. Some “justification” for Kabanikha is her own confidence that existing norms should be adhered to. She sincerely believes in it. That’s why Katerina’s behavior upsets her so much, because it doesn’t fit into these norms. “They don’t know anything, there’s no order. They don’t know how to say goodbye. This is how the old days come out. What will happen, how the old people will die, how the light will remain, I don’t know. Well, it’s good that I won’t see anything,” Kabanikha complains. Her complaints are pure hypocrisy and hypocrisy.
The conflict of the drama is the growing contradiction between the “cruel world” and Katerina, who completely involuntarily protests against the way of the patriarchal city. The “Cruel World” defends its foundations to the last, as evidenced by the power position of Dikiy and Kabanikha. However, they don’t have long to enjoy their own power over others. The “cruel world” is bursting at the seams, as evidenced by Katerina’s behavior. If in such a society at least one person could appear who dared to protest, it means that soon there will be more protests. This is exactly what Dobrolyubov talks about in his article “A Ray of Light in a Dark Kingdom”: “But a wonderful thing, the tyrants of Russian life begin, however, to feel some kind of discontent and fear, without knowing what and why..., another life has grown , with different beginnings, and although it is far away and is not yet clearly visible, it is already giving itself a presentiment and sending bad visions to the dark tyranny of tyrants.”
The “cruel world” in the image of the merchant provincial hinterland is disgusting in everything. Everything hypocritical, vulgar, and vile was embodied in the city of Kalinov. Ostrovsky deliberately exaggerates the colors, making the inhabitants of this city so grotesquely ugly.
In order for the reader to understand all the negative aspects of this society, Ostrovsky contrasts the inhabitants of the city with Katerina. She was born and raised in the same merchant environment, however, she is not at all like those who surround her. Possessing a lively and ardent imagination, Katerina cannot put up with a powerless existence. According to house-building rules, a woman in her husband’s house was the most powerless creature. Katerina was not ready for this. She doesn't know how to adapt because she inner world formed under completely different conditions. In her parents' house, Katerina was happy and free.
Kabanikha intrusively interferes in Katerina’s life, considering this her direct responsibility. Little by little Katerina begins to protest. At first timidly, then her protest grew more and more. Katerina is timid and reckless at the same time. She is internally ready to take her own life: “And if I’m really tired of being here, no force can hold me back. I’ll throw myself out the window, I’ll throw myself into the Volga, I don’t want to live here, I won’t do that, even if you cut me!”
Katerina simultaneously evokes sympathy and admiration. Her love for Boris is an attempt to break out of the vicious circle of hypocrisy, intrusive interference in someone else's life, and lack of rights. Boris initially looks unlike the inhabitants of the “dark kingdom”, however, as it turned out later, this opinion did not correspond to reality. The impressionable girl simply could not figure out that the person was not what he wanted to seem. However, in Katerina’s life, love for Boris becomes something worthy of filling the spiritual emptiness.
“Cruel World” is, of course, strong. He does not forgive the girl for her protest. The scene of Katerina’s repentance is the triumph of the “dark kingdom”. But Kabanikha and others like her rejoiced early. Katerina had enough mental strength to break the shackles. It was enough to throw yourself off a cliff into the river to make it clear how wretched and cruel the kingdom of house-building is. Katerina was driven to suicide, this is obvious to us, modern readers. And the inhabitants of the city also understand this, although, of course, not everyone has the courage to admit it out loud.
In fact, the fragility of the “cruel world” becomes obvious. The most powerless creature, the woman, begins to protest. This indicates that the conflict has become obvious. The image of Katerina, on the one hand, makes it possible to understand that the Domostroevsky order is incorrect, absurd from the point of view normal person. On the other hand, the image of Katerina shows that the “cruel world” is coming to an end. The drama "The Thunderstorm" shows that in any society, sooner or later there will be protesters who no one can stop - neither morality nor people.