The theme of love in the novel “Fathers and Sons” by I. S. Turgenev
Love is a very important device for any novelist, and especially for Turgenev, since in his novels the heroes become themselves precisely under the influence of love. L. N. Tolstoy said: “He who is happy is right,” but in the case of Turgenev’s novel this statement can be paraphrased: “He who loves is right.” Even A.S. Pushkin in his novel “Eugene Onegin” sympathizes in turn first with Tatiana, then with Onegin, that is, the author is always on the side of the hero who is capable of love. Pushkin welcomes Onegin’s love in every possible way, since it is this feeling that, in the author’s opinion, should contribute to the revival of the hero.
Turgenev has a slightly different love: it is intrigue, and it always occupies a very important place in the work. The love plot in “Fathers and Sons” is built up for each of the characters and very well complements the author’s characterization of each of them. The love story of Pavel Petrovich and the story of his life are described in Chapter VII as if in the form of a separate story, given from the mouth of the author, but according to the plot told to Arkady Bazarov. Love for Princess R. determines the whole life of Pavel Petrovich. She became the woman of his life, and he really “gambled his whole life on a woman’s love,” as Bazarov later said. And so, after the princess fled from Pavel Petrovich, he returned to
Russia, but his life cannot return to its usual rut. Pavel Petrovich was then just “entering that vague, twilight time, a time of regrets similar to hopes, hopes similar to regrets, when youth had passed and old age had not yet arrived.” It turns out that not only in terms of age and position, new people like Bazarov are replacing him. We can say that Pavel Petrovich was a man without a past, but also without a future, akin to “ unnecessary people" This is evidenced by the author’s description of Pavel Petrovich’s behavior in the village: “he rarely saw his neighbors and only went to elections, where he for the most part remained silent, only occasionally teasing and frightening the old-style landowners with liberal antics and not getting closer to representatives of the new generation.”
Turgenev reveals to readers the love story of another hero - Nikolai Petrovich. He loved his wife very much, named the estate after her (“Maryino” in honor of Maria), but he also loves Fenechka. Here the author seeks to show that love can not only happen once in a lifetime, and this versatility is the most important spiritual experience.
If you look at the love story of Nikolai Petrovich and Fenechka through the eyes of an ill-wisher, you can see that Fenechka is the daughter of the housekeeper and, it seems, is not at all a match for Nikolai Petrovich, an elderly nobleman, especially considering that they live in a civil marriage. Fenechka is in an ambiguous position: she is embarrassed by Pavel Petrovich and Arkady, and feels like a lower-class person in front of them. Nikolai Petrovich loves Fenechka, but continues to remember deceased wife, misses her and obviously still loves her. This story may seem strange, and if viewed from the point of view of the public, then simply vulgar, but in fact, here Turgenev wanted to show that both of these loves can coexist in one person, because love for his dead wife and longing for her can soon bring Nikolai together Petrovich to the grave, than to give him the strength to live; but love for Fenechka and little son Mitya is what makes Nikolai Petrovich feel needed and whole, gives his life some meaning.
Turgenev, like Pushkin, sympathizes with those heroes who are capable of love. The brighter the contrast between the love lines of the other characters and Arkady’s relationship with Anna Odintsova. Here Arkady - an intelligent, subtle, kind, generous man - appears incapable of love. For a long time he could not figure out who he loved - Anna or her sister Katerina. When he realizes that Katya was created for him, he returns to himself, to the bosom of his fathers, the period of apprenticeship with Bazarov ends, and their paths finally diverge. Arkady was created to return to traditional way of life life and do things worthy of a nobleman - start a family and do housework. By marrying Katya, he says goodbye to his recent past. IN last chapter, which acts as a kind of epilogue, Turgenev shows two weddings. When Arkady “didn’t dare to loudly propose” a toast to Bazarov, it becomes clear that a lot has changed.
Turgenev's contemporaries believed that he dealt with Bazarov and showed the complete collapse of his ideology, pitting his theory against real life, with love, with all its ambiguity. According to the plot, Bazarov, having met Anna Sergeevna Odintsova, gradually falls in love with her, and his love is strong. Suddenly it turns out that Bazarov’s cynicism (or what can be mistaken for his cynicism) is not a natural property, but one of the extremes of his youth. Cynicism is a kind of mental underdevelopment, but Bazarov should not be condemned for this, since, as a rule, this goes away with age. Love turns out to be much deeper than all his theories; it is not for nothing that Bazarov, confessing his love, says that he loves “stupidly, madly,” that is, the hero cannot understand how this happened, does not see the meaning and logic in it.
Anna Odintsova is perhaps the most insensitive character in the entire novel. She “separated from her husband, does not depend on anyone,” but she does not love not only her husband - she, it seems, does not know how to love at all. She is frightened by Bazarov's love, because she has never met such strength and such love and does not find a response to it in herself. In the end, Anna comes to the conclusion that “peace is still better than anything in the world.”
The novel “Fathers and Sons” touches on issues that worried the public in the second half of the 19th century. In addition to different views on life, the author also raises the topic of love. It is she who shows us the real essence of the heroes and tests them. The ability to love for a writer is one of the important human qualities.
Home love line The novel is connected with the relationship between Evgeny Bazarov and Anna Odintsova. Being a fighter for everything new, the guy did not find true pleasure in art, romance and love. He believed that love was invented by the romantics. People are connected only by sympathy. Perhaps the reason for this was his relationships with female representatives. He believed that they were created solely for entertainment, so they should not be taken seriously. However, very soon dramatic changes took place in his life. Ivan Sergeevich provides Bazarov with the opportunity to become convinced that his thoughts are wrong. Along the way, the main character develops a tender feeling - love. Evgeniy falls passionately and truly in love. “He was out of breath; his whole body was apparently trembling,” this is how the writer writes about Bazarov’s condition. He loves Anna, but these feelings are quite contradictory. Until the end of his days, the young man keeps these reverent feelings within himself and before his death he wants to see Anna Odintsova. However, upon meeting, the girl’s behavior is very strange. She is overcome by the fear of becoming infected by Bazarov, but in order to look decent in the eyes of others, she still approaches him. Did she really not love Eugene? But it was she who began to show signs of sympathy, and then became afraid of her own feelings. The heroine is unhappy, because she exchanged unknown feelings for authority in society.
Bazarov's antipode is Pavel Petrovich, who also suffered because of love. In his case, it was an unrequited feeling that deprived him of real life.
Different, but no less interesting story love attracts the attention of readers. Relationship between Arkady and Katya. The young man dreamed of love and a happy family, but he is easily influenced by other people. Describing their relationship, Turgenev draws our attention to the wonderful moments that are worth loving and living for. Just like my son, he is happy in family life and Arkady's father. He was crazy about his first wife, and then fell in love with Fenechka with all his heart. Despite the significant age difference, they are happy and really love each other. The couple had a baby named Mitenka.
The novel “Fathers and Sons” by I.S. Turgenev was written in 1961. This is a time of conflict between the liberal noble intelligentsia and the nihilistic commoners. The sixty-first year is approaching - the abolition of serfdom, and changes are already felt in the country, passions are running high, everyone is waiting for something to happen. Ivan Sergeevich Turgenev in his novel managed to highlight not only the social antagonism of aristocrats and commoners, but also to show the usual conflict between “fathers” and “children”, and to identify age-related problems of generations. He managed to do this through a feeling that awakens in the heart of any person, regardless of his beliefs and social status. This feeling is love, and it's in different times visited both “fathers” (the Kirsanov brothers) and “children” (Arkady Kirsanov and Evgeny Bazarov), leaving in each of them their own special, unique mark.
In the novel we see four couples, four love stories: this is the love of Nikolai Kirsanov and Fenichka, Pavel Kirsanov and Princess G., Arkady and Katya, Bazarov and Odintsova. In the life of Nikolai Petrovich Kirsanov, love has always been a support and driving force. At first - an endless, touching, tender and deep feeling for his wife Masha, with whom they almost never parted: “ten years passed like a dream.” But the happiness ended, Nikolai Petrovich’s wife died. “He barely survived the blow, turned gray in a few weeks,” and began to learn to live again. Together, with his son Arkady, in the village of Maryino, named after his wife. Ten years passed before Nikolai Petrovich’s heart, drawn to family life, was able to accommodate another love, unequal in age or social status. Fenichka - the mother of Kirsanov's second son, the daughter of his former housekeeper - managed to illuminate life and fill the house with joy. The fate of Kirsanov’s second brother, Pavel Petrovich, was completely different. Young and energetic, women liked him in his youth, but his heart was given at one moment to Princess R. - a married woman, an empty and frivolous coquette. Smart and active Pavel Petrovich was unable to cope with his feelings and subsequently ruined not only his own because of unhappy love. brilliant career officer, but also for the rest of his life. This love could never be satisfied; it deprived Kirsanov of his business, took away rich opportunities, and brought torment and despair. Arkady Kirsanov grew up with a living example of tender and deep love parents. That is why he was so indignant when his friend, the nihilist Bazarov, ridiculed human feelings, the mystery of the relationship between a man and a woman, the “mystery” of a woman’s gaze. As soon as he moved away from Evgeny, the need for a close and loving person became the leading one, and Katya entered his life as a long-awaited light. In the relationship between Arkady and Katya Odintsova, I.S. Turgenev exposes Arkady’s nihilistic views. Katya declares that she will remake it and puts her words into action. Kirsanov abandons his past ideology. In essence, Arkady's love for Katya is the result of the subordination of a weak nature to a stronger one. Most bright story love happened in Yevgeny Bazarov's novel. Smart, reasonable, living with his head and not his heart, he left no room for feelings in his life, because he considered them nonsense, fiction, and an inability to follow his convictions. This is precisely why love took him by surprise, crushed him, and led him to despair. How could he, Bazarov, fall for this bait if he always laughed at this feeling, which he simply did not give the right to exist! But it came and made the image of Bazarov tragic, because, having elevated him, it not only made him doubt his attitudes and beliefs, but also made him more humane. In Madame Odintsova’s company he is harsh and mocking, but alone with himself he discovers the romance in himself. He is irritated by his own feelings. And when they finally pour out, they only bring suffering. The chosen one rejected Bazarov, frightened by his animal passion and lack of culture of feelings. She cannot sacrifice her order, she needs calm love. Turgenev teaches a cruel lesson to his hero. But love did not destroy Bazarov, due to his character he did not give up, life did not end there.
Love is an eternal feeling, it comes without asking and goes away without warning. The pages of the novel are literally permeated with the spirit of love. And it is during the test of love that the character of people is most fully revealed, as shown in the wonderful novel by I. S. Turgenev “Fathers and Sons.”
I. S. Turgenev’s novel “Fathers and Sons” perfectly reveals the writer’s ability to guess “new needs, new ideas introduced into public consciousness" The bearer of these ideas in the novel is the commoner democrat Evgeny Bazarov. The hero’s opponent in the novel is the brilliant aristocrat Pavel Petrovich Kirsanov. However, this novel is not only about the clash of two ideologies, but also about the relationship between “fathers” and “children,” about family ties, about respect, trust, and love. In “Fathers and Sons” this theme is illustrated by the description of the Kirsanov and Bazarov families. In addition, Turgenev presents us with the love stories of the heroes - Bazarov and Pavel Petrovich, father and son of the Kirsanovs.
The most significant love stories in the novel are the two antagonistic heroes - Bazarov and Pavel Petrovich Kirsanov. Storyline Pavel Petrovich is his relationship with Princess R., his failed love. Moreover, Turgenev emphasizes that that period in Kirsanov’s life was the most vibrant, stormy, and eventful. Having settled on the estate, Pavel Petrovich leads a quiet, measured, monotonous life, having forgotten how to dream and love. He lives only with memories of long past events. In Kirsanov’s present, virtually nothing happens; he seems to freeze in his memories. And the author repeatedly emphasizes this vital immobility, the internal “fossilism” of Pavel Petrovich. His “beautiful, emaciated” head looks like a “dead man’s head”; life is “hard for Pavel Petrovich... harder than he himself suspects...”. Love “killed” Kirsanov, destroying his will to live, feelings, desires.
And, on the contrary, Bazarov appears to us as a “spiritual dead man” at the beginning of the novel. Pride, pride, heartlessness, dryness and harshness towards people, nature, the entire surrounding world - Turgenev immediately reveals these traits in the hero. Meanwhile, some kind of anxiety is noticeable in Bazarov’s behavior. What is behind the hero’s actions? “This anger is not an expression of damaged egoism or wounded pride, it is an expression of suffering, languor, produced by the absence of love. Despite all his views, Bazarov craves love for people. If this thirst manifests itself as malice, then such malice is only the other side of love,” wrote N. Strakhov. Meanwhile, the hero himself does not allow natural human needs to manifest themselves in his soul, considering them nonsense and romanticism. Bazarov is deprived of the fullness of life, life in all its diversity of manifestations. The living current of this life seems to pass by the hero, passes him by. Therefore, Bazarov is a “spiritual dead man” at the beginning of the novel.
Love for Odintsova “resurrects” the hero, awakening his dormant feelings, thirst for life and love, revealing to him the beauty of the world. However love story Bazarova is also unsuccessful: Anna Sergeevna Odintsova rejects his love. At the beginning of the novel, Bazarov condemns Pavel Petrovich in a conversation with Arkady: “... a man who put his whole life on the card of female love and, when this card was killed for him, became limp and sank to the point that he was not capable of anything, a kind of man is not a man, but a male. You say he is unhappy: you know better; but not all the crap came out of him.” At the end of the novel, Bazarov himself finds himself in a similar situation.
Using the example of Bazarov and Pavel Petrovich, Turgenev shows two different attitudes towards nature-fate. Turgenev associated the image of nature with the image ancient fate, which is initially hostile to man: “the gaze of the eternal Isis will not warm motherly love to his brainchild, he freezes, squeezes the heart with indifferent cold.” In the face of fate, according to Turgenev, three paths are open to man: “the despair of pessimism, stoicism, the consolation of religion.” In the novel, Pavel Petrovich shows us the “despair of pessimism,” which manifests itself both in his lifestyle and in his skepticism itself. At the beginning of the novel, Bazarov appears as a stoic, calm and imperturbable person who does not react in any way “to external and internal stimuli.” However, at the end of the novel, the hero comes to the same “desperation of pessimism” that controls the soul of Pavel Petrovich.
Thus, both heroes (Bazarov and Pavel Petrovich) are simply unhappy. However, this is not the objective fault of the heroes. Turgenev’s happiness is capricious and whimsical; it does not depend on the person, but the person depends on him.
It is characteristic that Turgenev unites “ ideological opponents"in their interest in Fenechka. A peculiar love triangle: Bazarov-Fenechka-Pavel Petrovich. Secretly, Pavel Petrovich is attracted to Fenechka, who reminds him of Princess R. Bazarova, but she likes her as a young woman, beautiful woman. In addition, in this “courtship” one can also vaguely discern a strong resentment towards Odintsova, who rejected his feelings.
However, neither Pavel Petrovich’s feelings nor Bazarov’s interest are reciprocated by Fenechka. Bazarov’s unexpected persecution offends her, but Pavel Petrovich’s attention is just as hard for her: “They all scare me. “They don’t talk, but they look at you like that,” she complains about Kirsanov’s gaze. Fenechka herself loves Nikolai Petrovich, who is a little embarrassed by this love, and by his age, and by his feelings for Fenechka.
The culmination of all these relationships is a duel, which, paradoxically, reveals the best that is hidden in both “rivals”: the chivalry of Pavel Petrovich, his repentance for his own arrogance, the ability to soberly assess the situation and the human vulnerability of Bazarov, his courage, nobility .
There is another parallel in the novel: Bazarov’s strong, all-consuming passion is shaded by Arkady’s innocent, poetically inspired feeling for Katya Odintsova. In contrast to Bazarov's failure, the story of young Kirsanov ends happily: he marries Katya Odintsova. However, this does not mean that it is fatal, tragic love Bazarova is contrasted with the “quiet, peaceful” feeling of Arkady. For Turgenev, the feelings of both heroes are equally valuable. Let us remember the scene of Arkady and Katya’s explanation. “He grabbed her big beautiful hands and, gasping with delight, pressed them to his heart. He could barely stand on his feet and just kept repeating: “Katya, Katya...”, and she somehow innocently began to cry, quietly laughing at her own tears. Anyone who has not seen such tears in the eyes of a beloved being has not yet experienced the extent to which “, frozen all over with gratitude and shame, a person can be happy on earth.” In these words there is regret for the tragic, broken destinies of Bazarov and Pavel Petrovich.
Love, like beauty, like art, was a kind of higher power in Turgenev’s worldview. Through love, art, and beauty, the writer “comprehended immortality.” These were the forces that resisted doom human life, the frailty of human existence.
In his marriage to Fenechka, Nikolai Petrovich also finds family happiness. A wonderful picture of a family dinner in the Kirsanovs’ house, drawn by Turgenev warmly and with love: Nikolai Petrovich, Fenechka and Mitya sitting next to him, Pavel Petrovich, Katya and Arkady... “Everyone was a little awkward, a little sad and, in essence, very good. Each served the other with amusing courtesy... Katya was the calmest of all: she looked around her trustingly, and one could notice that Nikolai Petrovich had already fallen in love with her.” With this scene, the writer once again reminds us that love, family, respect and trust are the eternal values for which life is worth living.
The novel ends with a description of the rural cemetery where Evgeny Bazarov is buried. “No matter what passionate, sinful, rebellious heart hides in the grave, the flowers growing on it serenely look at us with their innocent eyes...” writes Turgenev. Man is mortal, but love, like nature, is eternal.
I. The special place of the theme of love in the novel.
II. The many faces of the great feeling of love.
1. Parental and filial love.
2. The struggle between love and cold rationality.
3. Love is torment and shock.
III. The uniqueness of the feeling of love reflected in the novel.
In one of, undoubtedly, the most significant works I. S. Turgenev - “Fathers and Sons” - along with central theme The theme of love occupies a special place in the clash of generations. It is written in Turgenev’s inimitable way: so unobtrusively and at the same time fully, in all its multifaceted manifestations.
The very first pages of the novel reveal to the reader the depth of Nikolai Petrovich Kirsanov’s parental love for his son Arkady. The scene of the meeting between father and son after a long separation is touching: joy, slight embarrassment, excitement and warmth shine through in every word and action of the elder Kirsanov. Arkady responds to his father with the same feeling, but demonstrates it more restrainedly, habitually looking up to his friend and mentor, the nihilist Bazarov. Moreover, he hides not only his filial love, but also the love and admiration of his small homeland, its nature: he begins to talk enthusiastically about wonderful smells, about the sky - and suddenly, casting an “indirect glance” in Bazarov’s direction, he stops short and turns the conversation from “romantic” to everyday life. After all, he despises all romanticism!
Parental love, which took the form of admiration and reverence, is shown by the author using the example of Bazarov’s parents. Arina Vlasevna and Vasily Ivanovich madly love their Enyushenka, but in fear of “boring him” they restrain their tenderness.
In my opinion, the images of Arkady and Bazarov successfully reveal the theme of love in the novel. The development of the novel’s action illustrates the struggle between love and cold rationality in their souls. Subtly sensitive, responsive by nature, Arkady, who rapes his poetic nature in favor of Bazarov’s ideas, deep down in his soul initially stands on the side of love. He is simply embarrassed to admit it, youthfully surrendering himself to a daring new trend. But, even deeply admiring Bazarov, without questioning his authority, Arkady shuns his cynicism in statements about the most intimate.
The victory of love over Bazarov becomes for him not joy, but torment and painful shock: instead of opening up to the feeling, he diligently drives it away from himself, like an infection, like something worthless, capable of confusing his pure mind, his sobriety and composure. Perceiving the surging love for Anna Sergeevna Odintsova not as a blessing, but as an enemy, he throws all his spiritual strength into resisting this love - and himself. This tragic self-flagellation poisons and exhausts Bazarov, making every moment of his existence painful instead of joyful. Valuing his mind above all else, he diligently tramples on his feelings, thinking that this is right, and not realizing that he is trampling and disfiguring himself. And even when the words fall from his lips: “I love you, stupidly, madly,” addressed to Madame Odintsova, he is seized not by the “flutter of youthful timidity,” but by a trembling from a restrained dark passion, angry, heavy, frightening! And only on his deathbed, Bazarov, although he says that his love for Odintsova did not make sense, nevertheless, he calls Anna Sergeevna to see him again, he himself asks for a farewell kiss, seeing in her a reflection of his life that never happened.
Love in the novel “Fathers and Sons” appears in many of its manifestations: endless parental and filial love; enthusiastic love for the homeland and nature; Fenechka’s meek and infallible love for Nikolai Petrovich; Pavel Petrovich's unrequited and all-consuming love for the princess; gentle and bright, growing out of friendship and sympathy, Arkady’s love for Katya. And all the uniqueness of each of these loves was depicted by I. S. Turgenev in his immortal novel.
Images of tyrant merchants in A. N. Ostrovsky’s play “The Thunderstorm”
Nothing holy, nothing pure, nothing right in this dark world: the tyranny dominating him, wild, insane, wrong, drove out from him all consciousness of honor and right...
N. A. Dobrolyubov
I. Cognitive significance of A. N. Ostrovsky’s plays.
II. Denouncing the tyranny of the “dark kingdom.”
1. “Cruel morals” of the city of Kalinov.
2. The image of the tyrant Wild.
3. Kabanikha’s hypocrisy.
4. The younger generation in the play “The Thunderstorm”.
III. Katerina's protest against the foundations of the “dark kingdom”.
Ostrovsky's role in the history of Russian literature is extremely important. His plays have the most important educational significance for us. Ostrovsky was not a calm, dispassionate writer of everyday life in Russian life. This was a public tribune, a democrat. Through his plays, we get acquainted with the difficult, gloomy life of the “dark kingdom”, we follow with sympathy the struggle of a free, freedom-loving personality with the deadening foundations of the past, we learn to recognize the wealth of human spiritual forces and hate the oppression that prevented the free development of personality in the past. Among the topics put forward by life, there was one that required urgent coverage. This is the tyranny of tyranny, money and ancient authority in merchant life, a tyranny under the yoke of which not only members of merchant families, especially women, but also the working poor suffocated. Ostrovsky set himself the task of exposing the economic and spiritual tyranny of the “dark kingdom” in the drama “The Thunderstorm”.
The action of the drama “The Thunderstorm” takes place in the provincial town of Kalinov, located on the banks of the Volga. Ignorance and complete mental stagnation are characteristic of life in the city of Kalinov. Behind the external calm of life here lie harsh, gloomy morals. “Cruel morals, sir, in our city, cruel!” - says poor Kuligin, a self-taught mechanic, who has experienced the futility of trying to soften the morals of his city and bring people to reason. The play features two groups of inhabitants of the city of Kalinov. Some personify the oppressive power of the “dark kingdom” (Dikoy, Kabanikha), while others represent the victims of the “dark kingdom” (Katerina, Kuligin, Tikhon, Boris, Kudryash, Varvara). They equally feel the brute force of the “dark kingdom”, but express their protest against this force in different ways.
Despotism, unbridled arbitrariness, ignorance, rudeness - these are the features that characterize the image of the tyrant Wild, a typical representative of the “dark kingdom”. The meaning of life for the Wild is to acquire, increase wealth, and for this all means are good. He is the richest and most famous man in the city. Capital frees his hands, gives him the opportunity to freely swagger over the poor and financially dependent on him. This is how the characters in the play talk about the Wild. Shapkin: “We should look for another scolder like our Savel Prokofich! There’s no way he’ll cut off a person.”; Kudryash: “...his whole life is based on swearing... And most of all because of money; not a single calculation is complete without swearing... And the trouble is, someone will make him angry in the morning. He's been picking on everyone all day." Rude and unceremonious Dikoy shows off in front of his nephew Boris and his family. Boris notes: “Every morning my aunt begs everyone with tears: “Fathers, don’t make me angry! Darlings, don’t make me angry!”; “But the trouble is when he is offended by such a person whom he does not dare to scold; here, stay home!” Stinginess and unbridledness are not purely individual qualities of the Wild. This typical features patriarchal merchants.
The image of the stern and domineering Marfa Ignatievna Kabanova allows us to get acquainted with another type of representative of the “dark kingdom”, as typical as Wild, but even more sinister and gloomy. Kabanikha loves unquestioning obedience; in her speeches there are constant reproaches and complaints about disrespect. An atmosphere of cruelty and humiliation reigns in Kabanikha’s house. She tyrannizes her loved ones, “eats with food”, “sharpenes iron like rust”; “Prude, sir! He gives money to the poor, but completely eats up his family.” Kabanikha takes into account what is accepted, what order requires, and honors the traditions and rituals that have developed in her class. In her deepest conviction, a wife must submit to her husband and live in fear of him, as “order requires.” She admonishes Tikhon, who does not understand why Katerina should be afraid of him: “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?” Kabanova holds tightly to order and adherence to form. This was especially evident in the scene of farewell to Tikhon. The mother demands that the son give his wife instructions for order: not to be rude to the mother-in-law, not to sit idle, not to look at other people’s men. The wife must howl long and loudly to see her husband off. Kabanikha not only observes Domostroevsky standards, she fights for them. She appears to be pious and pious. But religion for her is only a means to keep others in obedience (“The whole house... rests on deception”).
Evil, hypocrisy, lies - these are the features moral character"dark kingdom"
How do other characters in the play relate to the morality of the Wild and Kabanikha? Kuligin condemns the merchants for cruelty, dreams of “common benefit, general prosperity,” but these are just dreams. In relations with tyrants, he considers it best to endure and please. Varvara’s philosophy of life is “do what you want, as long as everything is sewn and covered.” Kudryash gets along with the Wild, adapts to the situation and finds opportunities to live cheerfully among the Wild. Tikhon, a kind but weak-willed man, under pressure from his mother, lost all ability to think and live independently.
And only Katerina was able to protest the world of cruelty and despotism. Katerina’s protest, of course, is spontaneous. But in his own way he reflected dissatisfaction with social and family inequality, and the tyranny of the propertied. Dobrolyubov called Katerina “a ray of light in dark kingdom" Her suicide seemed to momentarily illuminate the endless darkness of the “dark kingdom.”
