In childhood, the dream of flying like birds is very pragmatic in nature - it seems to us that it would be amazing if people had wings and could fly anywhere. Over time, the desire to have wings transforms and takes on a more symbolic character - in difficult psychological situations, it seems that the only possible option for a successful development of events is to fly like a bird.

Main character Ostrovsky's play "The Thunderstorm" has been in a difficult situation almost all his life. As a child she experienced financial difficulties, becoming married woman, learned about psychological and moral pressure. The intensity of emotions experienced by the girl is expressed as dreams with elements of fantasy - she wants, by the will of magic, to find herself in a world without problems and indignation.

Katerina's monologue:

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

And to death I loved going to church! ... Do you know: on a sunny day such a light column goes down from the dome, and smoke moves in this column, like a cloud, and I see, it used to be as if angels were flying and singing in this column...

Or early in the morning I’ll go to the garden, the sun is still just rising, I’ll fall on my knees, pray and cry, and I myself don’t know what I’m praying for and what I’m crying about... And what dreams I had... what dreams! Either the temples are golden, or the gardens are some kind of extraordinary, and everyone is singing invisible voices, and there is a smell of cypress, and the mountains and trees seem not to be the same as usual, but as if depicted in images. And it’s as if I’m flying, and I’m flying through the air. And now sometimes I dream, but rarely, and not even that...

Some kind of dream comes into my head. And I won’t leave her anywhere. If I start to think, I won’t be able to gather my thoughts; I’ll pray, but I won’t be able to pray.

I babble words with my tongue, but in my mind it’s not at all like that: it’s as if the evil one is whispering in my ears, but everything about such things is bad. And then it seems to me that I will feel ashamed of myself.

What's wrong with me? Before trouble, before some kind of it! At night... I can’t sleep, I keep imagining some kind of whisper: someone is talking to me so affectionately, like a dove cooing. I don’t dream... as before, of paradise trees and mountains, but as if someone is hugging me so warmly and warmly and leading me somewhere, and I follow him, I go..."

Result: Katerina is inherently a very delicate and sensitive nature, it is difficult for her to defend her independence, to get rid of psychological pressure from her mother-in-law, because of this the girl suffers. She is a pure and kind soul, therefore all her dreams are marked by a feeling of tenderness and positivity. She sees no opportunity to experience happiness in real life, but in her dreams and dreams she can do anything: fly through the air like a bird, and listen to the gentle cooing.

Make a connection between the author and the work
A.N. Ostrovsky< «Бесприданница»
N.V.Gogol< «Невский проспект»
A.S. Pushkin< «Bronze Horseman»

A.N. Ostrovsky< «Гроза»
N.V.Gogol< «Портрет»
A.S. Pushkin< «Пиковая дама»
Make a connection between the author and the work
A.N. Ostrovsky< «Таланты и поклонники»
N.V.Gogol< «Женитьба»
M.Yu.Lermontov< «Маскарад»
Make a connection between the author and the work
A.N. Ostrovsky< «Без вины виноватые»
N.V.Gogol< «Шинель»
M.Yu.Lermontov< «Демон»

N.V. Gogol< Пискарев
A.N. Ostrovsky< Дикой
A.S. Pushkin< Ленский
Establish a connection between the hero and the author
N.V. Gogol< Чартков
A.N. Ostrovsky< Паратов
A.S. Pushkin< Германн
Establish a connection between the hero and the author
N.V. Gogol< Пирогов
A.N. Ostrovsky< Карандышев
A.S. Pushkin< Онегин
Establish a connection between the hero and the author
N.V. Gogol< Башмачкин
A.N. Ostrovsky< Тихон Кабанов
M.Yu.Lermontov< Григорий Печорин
Establish a connection between the hero and the author
N.V. Gogol< Собакевич
A.N. Ostrovsky< Кулигин
M.Yu.Lermontov< Арбенин

Wild< Баклуши ты, что ль, бить сюда приехал? Дармоед! Пропади ты пропадом!
Boris< Воспитывали нас родители в Москве хорошо, ничего для нас не жалели. Меня отдали в Коммерческую академию, а сестру в пансион, да оба вдруг и умерли в холеру, мы с сестрой сиротами и остались. Потом мы слышим, что и бабушка здесь умерла и оставила завещание, чтобы дядя нам выплатил часть, какую следует, когда мы придем в совершеннолетие, только с условием
Kuligin< По-старинному, сударь. Поначитался-таки Ломоносова, Державина... Мудрец был Ломоносов, испытатель природы... А ведь тоже из нашего, из простого звания
Establish a connection between the hero and his replica
Wild< Провались ты! Я с тобой и говорить-то не хочу, с езуитом. (Уходя.) Вот навязался!
Boris< Да нет, этого мало, Кулигин! Он прежде наломается над нами, надругается всячески, как его душе угодно, а кончит все-таки тем, что не даст ничего или так, какую-нибудь малость. Да еще станет рассказывать, что из милости дал, что и этого бы не следовало
Kuligin< Только б мне, сударь, перпету-мобиль найти!
Establish a connection between the hero and his replica
Kabanova< Ведь от любви родители и строги-то к вам бывают, от любви вас и бранят-то, все думают добру научить. Ну, а это нынче не нравится. И пойдут детки-то по людям славить, что мать ворчунья, что мать проходу не дает, со свету сживает. А сохрани господи, каким-нибудь словом снохе не угодить, ну и пошел разговор, что свекровь заела совсем.
Kabanov< Я, кажется, маменька, из вашей воли ни на шаг.
Katerina< Я говорю, отчего люди не летают так, как птицы? Знаешь, мне иногда кажется, что я птица. Когда стоишь на горе, так тебя и тянет лететь. Вот так бы разбежалась, подняла руки и полетела. Попробовать нешто теперь? (Хочет бежать.)
Establish a connection between the hero and his replica
Kabanova< Полно, полно, не божись! Грех! Я уж давно вижу, что тебе жена милее матери. С тех пор как женился, я уж от тебя прежней любви не вижу.
Kabanov< Да мы об вас, маменька, денно и нощно бога молим, чтобы вам, маменька, бог дал здоровья и всякого благополучия и в делах успеху.
Katerina< Такая ли я была! Я жила, ни об чем не тужила, точно птичка на воле. Маменька во мне души не чаяла, наряжала меня, как куклу, работать не принуждала; что хочу, бывало, то и делаю.
Establish a connection between the hero and his replica
Katerina< Да здесь все как будто из-под неволи. И до смерти я любила в церковь ходить! Точно, бывало, я в рай войду и не вижу никого, и время не помню, и не слышу, когда служба кончится. Точно как все это в одну секунду было. Маменька говорила, что все, бывало, смотрят на меня, что со мной делается.
Varvara< Вздор все. Очень нужно слушать, что она городит. Она всем так пророчит. Всю жизнь смолоду-то грешила. Спроси-ка, что об ней порасскажут! Вот умирать-то и боится. Чего сама-то боится, тем и других пугает.
Kabanova< Разговаривай еще! Ну, ну, приказывай. Чтоб и я слышала, что ты ей приказываешь! А потом приедешь спросишь, так ли все исполнила.

Dear tenth graders,

Girls

Boys learn Kuligin's monologue:

Good luck!

10th grade, monologues from "The Thunderstorm" by heart

Dear tenth graders, To avoid any misunderstandings, I am posting here monologues from A.N. Ostrovsky’s play “The Thunderstorm,” which you should learn by heart.

Girls learn the following monologue from Katerina:

I say, why don’t people fly like birds? You know, sometimes I feel like I'm a bird. When you stand on a mountain, you feel the urge to fly. That's how I would run up, raise my hands and fly...
How playful I was! I'm completely withered...
Was that what I was like? I lived, didn’t worry about anything, like a bird in the wild. Mama doted on me, dressed me up like a doll, and didn’t force me to work; I used to do whatever I want. Do you know how I lived with girls? I'll tell you now. I used to get up early; If it’s summer, I’ll go to the spring, wash myself, bring some water with me and that’s it, I’ll water all the flowers in the house. I had many, many flowers. Then we’ll go to church with Mama, all the pilgrims; our house was full of pilgrims; yes praying mantis. And we’ll come home from church, sit down to do some kind of work, more like gold velvet, and the wandering women will begin to tell us: where they were, what they saw, different lives, or sing poetry. So time will pass until lunch. Here the old women go to sleep, and I walk around the garden. Then to Vespers, and in the evening again stories and singing. It was so good!

Boys learn Kuligin's monologue:

Cruel morals, sir, in our city, they are cruel! In philistinism, sir, you will see nothing but rudeness and stark poverty. And we, sir, will never escape this crust! Because honest work will never earn us more than our daily bread. And whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors. Do you know what your uncle, Savel Prokofich, answered to the mayor? The peasants came to the mayor to complain that he would not disrespect any of them. The mayor began to tell him: “Listen,” he says, Savel Prokofich, pay the men well! Every day they come to me with complaints!” Your uncle patted the mayor on the shoulder and said: “Is it worth it, your honor, for us to talk about such trifles! I have a lot of people every year; You understand: I won’t pay them a penny per person, but I make thousands out of this, so that’s good for me!” That's it, sir!

Good luck!

Composition

The heroines of Russian literature are striking in their moral purity and rare spiritual strength, which allows them to boldly challenge the strict laws and conventions of society. Such is Pushkin’s Tatyana, Turgenev’s Liza Kalitina. Such is Katerina Kabanova from Ostrovsky’s drama “The Thunderstorm”. What makes it stand out among others? characters plays, this young merchant's wife, who did not receive any education, did not participate in social important matter? Her sphere is family, easy home activities: needlework, caring for flowers, visiting church.

Katerina’s first words, when she calls Kabanikha her own mother, are clearly insincere and hypocritical. This means that at first the heroine is perceived as a forced, submissive woman, accustomed to a dependent position. But Katerina’s very next remark leads us out of this misconception, since here she is already openly protesting against her mother-in-law’s unfair accusations. In Katerina's subsequent conversation with Varvara, she says unusual words: "Why don't people fly like birds?" They seem strange and incomprehensible to Varvara, but they mean a lot for understanding the character of Katerina and her position in the Kabanovsky house. The comparison with a bird that can flap its wings and fly eloquently speaks of how difficult it is for Katerina to endure the oppressive captivity and despotism of her domineering and cruel mother-in-law. The heroine’s involuntarily escaped words speak of her secret dream of freeing herself from this prison, where every living feeling is suppressed and killed.

Katerina’s character cannot be fully understood without her stories about the happy times of childhood and girlhood in parental home. Carrying away with a dream into this wonderful world full of harmony, Katerina recalls the constant feeling of happiness, joy, merging with everything around her, which she is deprived of in her mother-in-law’s house. “Yes, everything here seems to be from under captivity,” says the heroine, pointing to the sharp contrast of her present life with her sweet and dear past. It is this inability of Katerina to fully come to terms with Kabanov’s oppression that exacerbates her conflict with the “dark kingdom.” The story that happened to the heroine in childhood reveals in her such defining character traits as love of freedom, courage, and determination. And, having become an adult, Katerina is still the same. Her words addressed to Varvara sound prophetic: “And if I get really tired of here, they won’t hold me back with any force. I’ll throw myself out the window, throw myself into the Volga. I don’t want to live here, so I won’t, even if you cut me!”

Love for Boris became for Katerina the reason for the awakening and revival of her soul. She has been prepared by her entire forced life in Kabanov’s house, her longing for lost harmony, her dream of happiness. But throughout the entire play, the author strengthens the contrast between Katerina’s sublime, spiritual, boundless love and Boris’s down-to-earth, cautious passion. This ability of Katerina to love deeply and strongly, sacrificing everything for the sake of her beloved, speaks of her living soul, which was able to survive in the dead Kabanovsky world, where all sincere feelings wither and dry up. The motif of bondage is constantly intertwined with Katerina’s thoughts about love. This sounds especially clear in her famous monologue with the key. In a state of severe mental struggle between the duty of a faithful wife and love for Boris, Katerina constantly returns to thoughts about her hated mother-in-law and the hateful walls of the Kabanovsky house. To suppress love, which promises so much happiness, for the sake of sad vegetation in captivity - this is an impossible task for a young woman. After all, giving up love means forever giving up all the best that life can give. This means that Katerina deliberately commits a sin in order to preserve her living soul, thereby challenging Kabanov’s concepts of morality. What are these concepts? They are quite clearly and specifically formulated by the peculiar ideologist of the “dark kingdom”, Marfa Ignatievna Kabanova. She is absolutely convinced that a strong family should be based on the wife’s fear of her husband, that freedom leads a person to moral decline. That's why she so persistently nags Tikhon, who is unable to shout at his wife, threaten her or beat her. Katerina’s public repentance further confirms Kabanikha in the correctness and unshakability of her views on the family.

What is the reason for Katerina’s public repentance? Maybe this is fear of God's terrible punishment? I think that the point here is not cowardice or fear of punishment, but Katerina’s exceptional conscientiousness, her inability to lie to her husband and mother-in-law, to pretend in front of people. After all, this is exactly how the first words of her repentance are understood: “My whole heart was torn! I can’t stand it anymore!” Neither the mother-in-law, who now locks her daughter-in-law, nor the husband, who beat her a little because mamma ordered, can condemn and punish Katerina more strongly than she herself. After all, she feels guilty not only before Tikhon and Kabanikha, but also before the whole world, before higher powers goodness and truth. Having committed a sin, Katerina loses the harmony with the world that lived in her. Having gone through difficult spiritual trials, through debilitating pangs of conscience, she is morally cleansed. Katerina atones for her sin through suffering. Farewell to Boris kills the heroine's last hope for a life in which joy is still possible. She is ready to follow her beloved man to distant Siberia as an unmarried wife, but he cannot and does not want to resist his formidable uncle, hoping for a mythical inheritance.

Katerina has only one option left: suicide. And not because she was disgusted with life. On the contrary, in the heroine’s last monologue, when she says goodbye to the sun, grass, flowers, birds, her great desire to live, to love the beauty of the earth is felt. But Katerina still chooses death, because only in this way can she preserve the best, bright, pure and sublime that lives in her soul. And the years of living in the gloomy house of the mother-in-law are tantamount to a slow death stretched out over time. Katerina rejects this pitiful semblance of life and, rushing into the Volga, affirms true life, full of joyful selfless love for flowers, trees, birds, for the beauty and harmony of the world. Maybe Tikhon feels this subconsciously when he envies his dead wife. He has boring, monotonous months and years ahead of him, which will completely kill his soul, because to keep it alive in Kabanov's " dark kingdom"is possible only at the cost of life. This means that in the image of Katerina A.N. Ostrovsky embodied the living soul of the people, their protest against the Domostroev religion, the oppressive conditions of reality, dependence and lack of freedom.

Do you know what came to my mind?
Why don't people fly!
I say: why don’t people fly like birds? You know, sometimes I feel like I'm a bird. When you stand on a mountain, you feel the urge to fly. That's how I would run up, raise my hands and fly. Something to try now?
How playful I was! I've completely withered away from you.
Was that what I was like? I lived, didn’t worry about anything, like a bird in the wild. Mama doted on me, dressed me up like a doll, and didn’t force me to work; I used to do whatever I want. Do you know how I lived with girls? I'll tell you now. I used to get up early; If it’s summer, I’ll go to the spring, wash myself, bring some water with me, and that’s it, I’ll water all the flowers in the house. I had many, many flowers. Then we’ll go to church with Mama, everyone and pilgrims - our house was full of pilgrims and praying mantises. And we’ll come home from church, sit down to do some kind of work, more like gold velvet, and the wandering women will begin to tell us: where they were, what they saw, different lives, or sing poetry. So time will pass until lunch. Here the old women go to sleep, and I walk around the garden. Then to Vespers, and in the evening again stories and singing. It was so good!
Yes, everything here seems to be out of captivity. And to death I loved going to church! Exactly, it happened that I would enter heaven, and I didn’t see anyone, and I didn’t remember the time, and I didn’t hear when the service was over. Just like it all happened in one second. Mama said that everyone used to look at me, what was happening to me! Do you know: on a sunny day, such a light column goes down from the dome, and smoke moves in this column, like clouds, and I see, it used to be as if angels were flying and singing in this column. And sometimes, girl, I would get up at night - we also had lamps burning everywhere - and somewhere in a corner I would pray until the morning. Or I’ll go into the garden early in the morning, the sun is just rising, I’ll fall on my knees, pray and cry, and I myself don’t know what I’m praying for and what I’m crying about; that's how they'll find me. And what I prayed for then, what I asked for - I don’t know; I didn’t need anything, I had enough of everything. And what dreams I had, Varenka, what dreams! Either there are golden temples, or some extraordinary gardens, and invisible voices are singing, and there is a smell of cypress, and the mountains and trees seem not to be the same as usual, but as if depicted in images. And it’s like I’m flying, and I’m flying through the air. And now I sometimes dream, but rarely, and not even that. I will die soon. No, I know that I will die. Oh, girl, something bad is happening to me, some kind of miracle. This has never happened to me. There is something so unusual about me. I’m starting to live again, or... I don’t know. But what, Varya, it would be some kind of sin! Such fear comes over me, such and such fear comes over me! It’s as if I’m standing over an abyss and someone is pushing me there, but I have nothing to hold on to. What's wrong with you? Are you healthy? Are you healthy... It would be better if I were sick, otherwise I’m not feeling well. Some kind of dream comes into my head. And I won’t leave her anywhere. If I start to think, I won’t be able to gather my thoughts; I’ll pray, but I won’t be able to pray. I babble words with my tongue, but in my mind it’s not at all like that: it’s as if the evil one is whispering in my ears, but everything about such things is bad. And then it seems to me that I will feel ashamed of myself. What's wrong with me? Before trouble, before some kind of it! At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone speaks to me so affectionately, as if he were loving me, as if a dove was cooing. I no longer dream, Varya, of paradise trees and mountains as before; and it’s as if someone is hugging me so warmly, and leading me somewhere, and I follow him, I go...