The severity of Katerina's conflict with the dark kingdom is briefly. The tragic acuteness of Katerina's conflict with the "dark kingdom" (Based on the drama by A
Lesson summary on the subject
«
Literature
» Teacher of Russian language and literature Makashova N.V. .
Lesson topic
:
"The tragic acuteness of Katerina's conflict with" dark kingdom».
Lesson Objectives:
Methodical:
- introduction information technologies on the Literature lesson; - the use of critical thinking technology in a literature lesson; - dissemination of experience.
Educational:
- analysis of the image of Katerina; - determination of the structural elements of the composition of a dramatic work.
Developing:
- improving the ability and skill of analyzing a dramatic work; - development of attention and memory.
Educational:
- education of moral qualities in students on the example of the image of Katerina; - raising interest in the subject.
Lesson type:
combined.
Technical equipment of the lesson
: interactive board;
Methodological equipment of the lesson
: presentation, reference summary on the topic: “The tragic severity of Katerina’s conflict with the “dark kingdom”.
During the classes.
Organizing time
I. Repetition of the material of the previous lesson.
-Give brief description Wild and Boar.
-
What is the composition of a play?
II. Explanation of new material.
-Topic. The purpose of the lesson.
- Realizing the purpose of the lesson, we must answer the problematic question:
“Is Katerina’s suicide a protest against the “dark kingdom”?
Let's look at the composition of the play. What is the plot of the play? (d. I, yavl. 5). What will we learn
from this action?
(Start
- Katerina replies with dignity and peace-lovingly to her mother-in-law's nit-picking:
“You are talking about me, mother, it is in vain to say. With people, that without people, I'm all
alone, I don’t prove anything from myself ”The first collision. (d. I, yavl. 5).
The conflict of the play is based on the clash of petty fools of their victims. "The Thunderstorm" from the first appearances introduces the reader and the viewer into an atmosphere of intense struggle.
- Do you think this is the first clash of heroes?
(No. We find the heroes at the moment when the contradictions between them have reached
already significant severity. We understand that this is not the first time Kabanikha has attacked
to Katherine.)
-What traits of Katerina's character appear in the very first remarks?
(Inability to be hypocritical, lie, directness, self-esteem).
The conflict is already outlined in the first act: Kabanikha does not tolerate self-esteem, disobedience in people, Katerina does not know how to adapt and submit.)
Text conversation.
-Where did these traits come from in the heroine? Why is the author only about Katerina
talks in such detail, talks about her family, childhood?
Exercise.
Compare the atmosphere that surrounded Katerina in her childhood and in her husband's family. Make up
table.
-Let's turn to D.I yavl.7. Read how Katerina lived before marriage.
Make a conclusion.
(Katerina lived happily, her parents loved her)
-How does Katerina feel about religion, is she religious? Read D.I yavl.7
(Katerina is religious, she loved to go to church "to death"
And she went out to pray in the garden)
In Katerina's attitude, Slavic pagan antiquity, rooted in prehistoric times, harmoniously fuses with the democratic trends of Christian culture. Katerina's religiosity incorporates sunrises and sunsets, dewy grasses in flowering meadows, flights of birds, butterflies fluttering from flower to flower. Together with her, the beauty of the rural temple, and the expanse of the Volga, and the trans-Volga meadow expanse. And when the heroine prays, she has an angelic smile on her face and she seems to glow all over. The joy of life is experienced by Katerina in the temple. She bows to the sun in her garden, among trees, herbs, flowers, the morning freshness of awakening nature. “Or I’ll go into the garden early in the morning, as soon as the sun rises, I’ll fall on my knees, pray and cry ...”
-And how does Katerina live in the Kabanovs' house?
(“Everything seems to be from under bondage”, “What a frisky I was! I completely withered with you”)
Comparative characteristics of the two stages of Katerina's life.
As a child In the Kabanov family, “She lived, didn’t grieve about anything, like a bird in the wild”, “mother didn’t have a soul”, “didn’t force me to work.” Katerina's occupations: she looked after flowers, went to church, listened to wanderers and praying women, embroidered on velvet with gold, walked in the garden. “I have withered completely”, “yes, everything here seems to be from bondage.” The atmosphere at home is fear. “You will not be afraid, and even more so me. What kind of order will this be in the house? Katerina's features: love of freedom (the image of a bird); independence; self-esteem; dreaminess and poetry (a story about visiting a church, about dreams); religiosity; decisiveness (a story about an act with a boat). Features of the "dark kingdom": complete submission; renunciation of one's will; humiliation by reproaches and suspicions; lack of spiritual principles; religious hypocrisy. For Katerina, the main thing is to live in harmony with her moral convictions. For Kabanikh, the main thing is to subdue, not to let them live in their own way. The relationships of the characters are in a state of sharp contrast and give rise to an irreconcilable conflict.
-
What aspects of Katerina's character are revealed in a conversation with Varvara?
D I, yavl. 2 (This conversation reveals the strength of Katerina's feelings, the depth of her emotional drama,
inner strength, determination of her character. ("Deceive - that I do not know how to hide-
then I can’t do anything ”,“ I was born like that, hot ”), readiness to defend
their independence, even at the cost of death (“... if I get tired of it here, I won’t
they will hold me back by no force ... I will throw myself out the window, I will rush into the Volga ...”).
With these words
all further behavior of Katerina and her tragic death are predetermined.
-What do we learn about Katerina's feelings?
D I, yavl. 7.9 (In this conversation, Katerina confesses her love for Boris for the first time. All thoughts of Katerina
focused on love for Boris, this feeling captured her completely, about nothing else
She can neither think nor speak.)
Is Katerina happy about this feeling?
She does not say anywhere that she will meet with Boris.
-
D.II, yavl.3
,4,5 "Seeing Tikhon".
- Read D.II, yavl.3,4. How do the characters behave in this scene?
(First, Kabanikha reads instructions to Tikhon. With a sense of relief, he says
Tikhon his remark: "Yes, sir, it's time." But it turns out that's not all. Mother
demands that he instruct Katerina how to live without him. Tikhon understands that,
fulfilling the will of his mother, he humiliates his wife.
When Kabanakh's instructions become completely offensive, Tikhon tries
object to the bullying of Katerina, but the mother is adamant, and he is quiet,
embarrassed, as if apologizing to his wife, he says: “Do not look at
guys." The purpose of the Kabanakhi is to lead to the complete obedience of the household, and above all
wayward Katherine.)
-
What is the significance of this scene in the development of events?
(In the scene of seeing off Tikhon, it is revealed to what extremes despotism reaches
Kabanikhi, it turns out Tikhon's complete inability not only to protect, but also to understand
Katerina. This scene explains Katerina's decision to go on a date with Boris.)
-Let's try to understand why Katerina fell in love with Boris?
(children's answers)
We will find the answer in Dobrolyubov's article: “In this passion lies her whole life; all the strength of her nature, all her living aspirations merge here. She is attracted to Boris not only by the fact that she likes him, that he is not like the rest of those around her in appearance and speech, she is attracted to him by the need for love, which has not found a response in her husband, and the offended feeling of a wife and a woman, and the mortal anguish of her monotonous life, and the desire for freedom, space, hot, unrestricted freedom. In Katerina's soul, two impulses of equal magnitude and equal law collide with each other. In the boar's kingdom, where all living things wither and dry up, Katerina is overcome by longing for the lost harmony. Her love is akin to wanting to raise her hands and fly. The heroine needs too much from her.
- We read D. II, yavl.10. Key Monologue.
Exercise
How is the torment of the heroine, the struggle with herself and her strength shown in the scene with the key?
What kind
Katerina experiences feelings, how are these feelings reflected in her speech? What is
scene meaning?
(Here the victory of Katerina's natural feelings over the dogmas of housebuilding is revealed.
The heroin's speech is full of short, abrupt interrogatives and exclamations.
sentences, repetitions, comparisons conveying the tension of Katerina's feelings.
After an excited introduction, Katerina's bitter thoughts about life in captivity follow.
Speech becomes more restrained, balanced. Katerina disputes
the initial decision is to throw the key: “What is the sin in this, if I look at
him once, at least from afar! Yes, at least I’ll talk about it! .. But he himself didn’t want to. ” This
part of the monologue is accompanied by remarks: after thinking, silence, thinks,
looks thoughtfully at the key characterizing Katerina's condition.
The monologue ends with a strong outburst of feelings: “Yes, what am I saying, that I myself
cheating? I have to die to see him.")
-
D. IV, yavl.3. What do we learn from the conversation between Barbara and Boris?
(Katerina, after her husband’s arrival, “simply became not herself ... She is trembling all over, as if she were
fever beats; so pale, rushing about the house, just what she was looking for. Eyes like
crazy!")
-The action is moving towards a climax. Where does Katerina's repentance take place?
The dilapidated church is a symbol of the city of Kalinov.
- What is a climax?
Exercise.
Katerina's state, as tension grows in the development of the action.
(A storm is approaching, which, according to the Kalinovites, "is sent to us as a punishment."
The gloomy color is enhanced by the action scene - instead of the Volga panorama - a narrow
gallery with oppressive vaults. Katerina runs onto the stage, grabs Varvara by the arm and
holds tight. Her abrupt remarks convey extreme shock. She is hurt and
hints of Kabanikh and Tikhon's affectionate joke. Previously, she was protected by her consciousness
rightness. Now she is unarmed. And the caress of her husband, before whom she feels herself
guilty, for her - torture. When Boris appears in the crowd, Katerina, as if
asking for protection, "bows down to Barbara.") Again, prophecies are heard: "Already remember my word that this thunderstorm will not pass in vain ...". As in D. 1, a crazy lady appears; but in D. 1 her prophecies had a generalized character (“What, beauties? What are you doing here? .. You will boil unquenchable in resin! ..). Then in D. IV the lady turns directly to Katerina: “What are you hiding! There is nothing to hide! ..” Her words are accompanied by thunder.
Exercise.
- How can you explain and motivate the remorse of the heroine?
(Katerina's repentance is explained not only by the fear of God's punishment, but also by the fact that her
high morality, the conscience of the heroine rebels against the deceit that entered her
a life. She said about herself: “I don’t know how to deceive, I can’t hide anything.”
To Varvara’s objection: “But in my opinion: do what you want, as long as it’s sewn and covered
was,” Katerina replies: “I don’t want that. Yes, and what good! For Katerina
moral assessment of one's actions and thoughts is an important aspect of the spiritual
life. And in Katerina's popular recognition, one can see an attempt to redeem her
guilt, an attempt at moral cleansing.)
Conclusion.
The true source of the heroine's repentance is in her conscientiousness. “What a conscience! .. What a mighty Slavic conscience! .. What moral strength ... What huge, lofty aspirations, full of power and beauty,” wrote V. M. Dorosh about Katerina-Strepetova.
Analysis of action V.
Brief retelling actions v.
(We learn that Kabanikha locked Katerina in the house, eats her, Tikhon is unable to protect his wife. Having run away from home, Katerina finds Boris and asks to take her with him, but he refuses her.)
Conversation.
-
Could Katerina find a way to salvation in her soul and not end her life
suicide?
(No Yes)
- Let's imagine that Katerina had the opportunity to turn to
contemporary psychologist.
Modern psychologists use special psychological mechanisms to help overcome a mental crisis. One of these arrangements is good for you
is known, as it can be used not only in crisis situations, but also helps to make any decisions - this is the compilation of two lists. The positive consequences of the decision are recorded in one list, the negative consequences are recorded in the other. Let's try to make two lists "for the future life" of Katerina, based on the text of the play. We make a table using quotes: Positive aspects “I will live, breathe, see the sky, follow the flight of birds, feel the sunlight on me ...” “I will be clean before God, I will pray again, I will atone for my sins .. .” “They don't let me perceive the whole world freely, freely - I will create my own world in the house, and if it doesn't work out in the house, I will create my own world in my soul. This world cannot be taken away from me ... "" They will lock it up - there will be silence, no one will interfere ... "" Nobody will take my love away from me ... "Tikhon is weak, but I can make him happier if I will protect him from his mother ... "" Kabanova is old, she will need my help soon ... "" How much joy the children will bring me ... " Negative aspects "They will find, they will be dragged home by force ..." ..” “I will never be free ...” “Tikhon will not forgive, I will have to see his displeased face again ...” “I will never see Boris, again these nightly fears, these long nights, these long days ...” So, there are more positive things in Katerina's life. If you close the negative column with your palm, it turns out that the life of the heroine will be filled with such expectations and hopes with which you can not only improve your existence, but also build it anew.
- Why couldn't Katerina see these hopes and save her soul? Why
Katerina could not live on?
(She is not allowed by her conscience, the consciousness of her sinfulness, and also by the fact that no one
wants to help her. Tikhon is afraid of his mother. Katerina makes one last attempt to find
help and support from a loved one. "Take me with you, from here!" - asks
she is Boris and gets rejected. There were only two options left for her: to return home and
surrender or die. She chose the latter.)
D.5 yavl.4
-Read Katerina's last monologue. We found out that Katerina believes in
God, she is pious, and according to Christian laws, suicide is a sin. Why
Katerina decides to commit suicide?
(Having passed through thunderous trials, the heroine is morally cleansed and leaves
this sinful world with the consciousness of its rightness: "He who loves will pray."
“Death by sin is terrible,” people say. And if Katerina is not afraid of death,
then the sins are atoned for. Her departure takes us back to the beginning of the tragedy. Death is sanctified
full-blooded and life-loving religiosity, which from childhood entered the soul
heroines: “There is a grave under the tree ... The sun warms it ... the birds will fly to the tree,
they will sing, they will bring out the children... Her death is the last flash of spiritualized
love for God's world: for trees, birds, flowers and herbs.)
Leaving, Katerina retains all the signs that, according to popular belief,
distinguished the saint: she is dead, as if alive. “And for sure, guys, as if alive! Only
there is such a small wound on the temple, and only one, as there is one, a drop of blood.
The death of Katerina in popular perception is the death of a righteous woman. "Here is your
Katerina, says Kuligin. - do with it what you want! Her body is here, take it
him: and the soul is now not yours: it is now before That Judge, who is more merciful
you".
The finale of the play leaves hope that God will be more merciful to her than people,
for her great suffering, for her sinful love, for her forgiveness to the world.
Problem question.
- Can we consider the death of Katerina as a protest against the "dark kingdom"?
1. Of course, all of the above does not give grounds to consider Katerina's suicide as a protest against the foundations and morality of the surrounding society. Her behavior has both strengths and weaknesses. Suicides are weak people. 2. Katerina's death is a protest, a riot, a call to action. Varvara ran away from home, Tikhon blamed his mother for the death of his wife, Kuligin reproached him with mercilessness.
III. Consolidation.
Generalization of the material in the image of Katerina.
IV. Lesson results.
V. Homework.
Essay: Is Katerina's suicide a protest against the "dark kingdom"?
And if I get very cold here,
so no force can hold me back.
A. Ostrovsky
Against the backdrop of the still formidable, but already shaky tyranny, Ostrovsky showed the original, integral, strong, selfless character of the Russian woman, who, by the determination of her protest, was a terrible challenge to the “tyrant” Force and foreshadowed the onset of the end of the “dark kingdom”. Dobrolyubov named Katerina, main character drama "Thunderstorm", the character of the people, national, "a bright ray in the dark kingdom."
Bright, but deeply suffering, Katerina appears before us. Her childhood was happy and cloudless. Her mother "didn't have a soul" in her. Surrounded by affection and care, she lived freely in parental home. “It was so good,” she recalls. But the most valuable, now lost, was the feeling of will: "I lived ... like a bird in the wild." She loved to attend church services: it is as if angels fly and sing there. “Early in the morning I’ll go to the garden ... I’ll fall on my knees, pray and cry, and I myself don’t know what I’m praying about and what I’m crying about,” says Katerina. She does not tolerate insults and answers them passionately and decisively: “I was born like that, hot! They offended me with something at home, but it was in the evening, it was already dark: I ran out to the Volga, got into the boat, and pushed it away from the shore.
And such an impressionable, poetically minded and at the same time resolute woman finds herself in the Kabanova family, in a musty atmosphere of hypocrisy and intrusive, petty guardianship. After home paradise with his magical world dreams and visions, Katerina finds herself in an environment that exudes deathly cold and soullessness. The rude and domineering mother-in-law sharpens her with her petty captiousness at every step: “She crushed me ... she made me sick of the house, the walls are even disgusting.” Katerina knows no compromises. Or endure, "as long as it is enduring", or: "I will leave, and I was like that." And Katerina would have withered completely if a feeling of protest against such a life had not been born in her: “I’ll throw myself out the window, throw myself into the Volga. I don’t want to live here, I won’t, even if you cut me!”
Katerina has a growing sense of offended dignity. The whole conversation with Tikhon is imbued with a passionate desire to find support in her husband, this is the last desperate attempt to maintain a feeling for him. She begs him to stay or take her with him. Tikhon's answer shows Katerina all his insignificance, and she exclaims with horror: “How can I love you when you say such words?” Katerina is in despair.
It is not difficult to understand with what force Katerina's feeling must have flared up when on her way she met a person who was not like everyone else. She is ready for anything for the one she loves. She cannot lie, deceive: “Let everyone know, let everyone see what I am doing! If I'm not afraid of sin for you, will I be afraid human court?»
The joy and happiness of love did not last long. Katerina does not want and cannot hide her “sin” and repents before her husband. But this confession does not speak of Katerina's weakness. It took many external jolts to wrest it from the woman's mouth. A terrible thunderstorm broke out, of which she had always been afraid; she saw Boris; then she heard someone accidentally say the words: "... the storm will not pass in vain"; then the lady's prophecy. And, finally, the most terrible thing for Katerina is when she sees the image of fiery hell. material from the site
Katerina hopefully turns to Boris, but he cannot help her and retreats from her. She cannot reconcile, endure the constant torture and bullying of Kabanikha: “Where to now? I don’t care what goes home, what goes to the grave.”
In her dying moments, Katerina breaks the last fetters of the dark kingdom - the fear of sin. It was not the separation from Boris that forced Katerina to take the last step towards the cliff, but the most terrible thought for her that she would be caught and returned home “by force, where the people are disgusting, and the house is disgusting, and the walls are disgusting.
Protesting, but not giving up, she passes away. “Such a liberation is sad, bitter, but what to do when there is no other way out,” Dobrolyubov writes in the article “A Ray of Light in a Dark Kingdom.” In Katerina, he saw a "Russian, strong character" who endures himself, in spite of any obstacles, and when there is not enough strength, he will die, but will not betray himself.
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When analyzing the image of Katerina Kabanova, of course, the monologues of the heroine will be in the center of attention, revealing her feelings, a rich and complex spiritual world.
An analysis of the first scenes reveals some of Katerina's character traits: impulsiveness, frankness, pride. The desire to support her husband made her break the "etiquette" and intervene in the conversation of older family members. It is important to understand what causes Kabanikhi's discontent. Katerina's behavior, which seems completely natural to us, actually contradicts the generally accepted norms of that era: Katerina, according to all traditions, the youngest in the family hierarchy, turns to her mother-in-law at you, objects to her, and demonstrates her resentment. All this is regarded by Marfa Ignatievna as impudence and simply bad manners. Kabanikha's reproaches to Tikhon are indeed unfounded, but irritation against Katerina is quite natural and natural from the point of view of the system of rules by which Kabanikha lives.
The heroine really reveals herself in her monologue (action 1, phenomenon 7). Reading it, we can feel the lyrical elation, the expressiveness of Katerina's speeches, their poetic imagery and emotional intensity.
Observing how the thoughts of the heroine develop (micro-themes of the monologue), we will see that main topic deployed in it are changes in mental life heroines. They are only partly related to changes in external circumstances.
"Why don't people fly!"
“... How frisky I was! I'm completely smitten with you..."
“... I lived, didn’t grieve about anything, like a bird in the wild ...”
“... Yes, everything here seems to be from under captivity ...”
“... And to death I loved to go to church! ..”
“... And what dreams I had. ... what dreams!., as if I'm flying, I'm flying through the air ... "
"... And now sometimes I dream, but rarely, and not that."
“... And something bad is happening to me ... to be some kind of sin!
Katerina peers with surprise into her own soul, in which new, unknown to herself and terrible for her very depths have opened up. She is looking for her former self and therefore strives by memory to a bright, serene youth. For a moment it becomes the same: frisky and self-willed - and again returns to the disturbing "now". Let's think about what the textbook phrase means: "Why don't people fly?" Why is the image of a bird, the motive of flight, repeated in Katerina's monologue? It is easy to understand that these words and images embody the dream of freedom, spiritual clarity, harmony with the world. Now the heroine has lost all this. Instead of flying, she dreams of a fall, an abyss. Instead of the happiness of bright prayer, there is a sly whisper of temptation.
The thirst for flight and the fear of sin - these are the two poles of the heroine's spiritual life, equally powerful. Having fallen in love with the "other", Katerina is doomed to a difficult moral struggle. She knows what she should do, but she is already almost sure that she cannot. She has nothing to hold on to, she has already decided that, having seen at least once with her beloved, she will not go home for anything in the world.
Equally important in the monologue is the theme of bondage. With only one phrase, Katerina explains how the way of life in her husband's house differs from the previous one. “Yes, everything here seems to be from under captivity.” I think it is worth stopping at these words in order to feel the full force and significance of this short remark. Yes, in the house of the Kabanovs “everything is the same” that was in the parent: prayers, needlework, conversations of wanderers, walking in the garden. Life is still the same, and anyone who perceives it only as an external routine of life will not notice any difference. Why is Katerina so hard and stuffy in this house? Precisely because for her this life is not a form, but life itself. She loved it all so sincerely and deeply, she was so happy about it all. And what? Now it is all made her duty, regulated and subject to strict control. Let's try to imagine that this happens to us; what favorite, most beloved thing will not disgust us the very next day?
The trouble is not only in the eternal cavils and reproaches of the Kabanikh, the mother-in-law took away from Katerina all the space of her spiritual life, poisoned everything that she loved before, and did not give anything in return. The mother-in-law actually does not allow Katerina to love her husband, since a wife should not love, but be afraid. And she herself does not need Katerina's daughter love, she only needs respect and obedience. God did not give children to the Kabanovs. What is left for this soul - such a strong, active, rich soul with such a thirst for flight?
Life has found a solution. "Lawless" passion turned out to be an outlet for the soul, limited in all legitimate aspirations. So, already in the first monologue of the heroine, Ostrovsky indicates the duality of the conflict into which she is drawn. The external conflict is her opposition to the cruel way of life, which kills everything free, sincere, individual in the feelings and relationships of people. In this conflict, Katerina, like Ostrovsky's other "hot hearts", is ready for an uncompromising struggle. But another contradiction tears apart her own soul: the demands of her conscience and the needs of her heart clash in an insoluble conflict, predetermining the death of the heroine.
The movement of action at first contributes to Katerina's heartfelt aspirations. Each plot twist brings her closer to a frightening and desirable abyss: Varvara's promise, her husband's departure, receiving the key to the garden gate, a date arranged by Varvara - and the voice of conscience falls silent for a while, muffled by the triumph of love.
Referring to these episodes, one can follow how Katerina tries to overcome herself, how she clings to every straw: she drives Varvara away from herself, caresses her husband, asks to take her with him, begs to take a terrible oath from her, wants to forget herself in labor and prayer and, even taking the key, he still persuades himself: “Throw it away, throw it far away, throw it into the river ...”
We suggest thinking about why none of the relatives wanted to help Katerina in her struggle. It is easy to see that in the actions of Varvara and Tikhon, egoism and indifference prevail over all other feelings. Katerina really has no one to grab hold of.
Will not become a support for her and a loved one. Reading the scene of the first date, we are convinced of how much Katerina is morally stronger than her chosen one. She courageously and directly looks into the eyes fatal fate; fully understanding what awaits her, she takes full responsibility for herself. “If I am not afraid of sin for you, will I be afraid of human judgment?” Katerina exclaims in response to Boris' cowardly promises to keep their relationship a secret.
Katerina crossed the line of fear, went against her conscience. Did she get freedom? Does her love look like the flight of the soul that she dreamed of in the first scene?
Ostrovsky gives us the answer. The mundane scene of the usual meeting between Vari and Kudryash not only serves as a contrast to the previous lyrical explanation, but also makes you look at this explanation “in a worldly way”. A simple question: "Well, did you get it right?" - douses the heroes with the spirit of vulgarity and makes Katerina hide her face. Yawning, Varvara says goodbye to her friend, and we understand that Boris and Katerina will come to such a result if they learn to live in accordance with the general law of the city of Kalinov: do what you want, as long as everything is covered. It is no coincidence that the meeting of lovers does not take place on the high bank of the Volga, but in an overgrown ravine.
But, unfortunately or fortunately, pushing Katerina on her path, Varvara did not calculate her character, did not believe the words of her daughter-in-law: “I don’t know how to deceive; I can't hide anything." Submitting to the general lie outwardly, Katerina suffers the more from mental anguish. The voice of a sick conscience again takes precedence over love and demands a way out, this struggle reaches its climax and is resolved by public repentance.
If you have correctly assessed the character of the heroine, it will not be difficult for you to answer whether Katerina’s repentance was provoked by random circumstances (a thunderstorm, the appearance of an old lady, a meeting with Boris), or was it the inevitable denouement of a love story.
Of course, this outcome is natural. For Katerina's warm heart, pretense and lies are most unbearable. It is better to endure the shame, the beatings of the husband, the reproaches of the mother-in-law, than to carry the sin unconfessed, unpunished, unrepentant. Turning to Katerina's last monologue, we see that repentance did not bring her relief. Fear and pangs of conscience are now replaced by despair. External oppression has become even more unbearable, love for Boris is even stronger and more hopeless - he leaves and does not take her with him. We note that even at the moment of the last farewell, Katerina does not blame Boris for anything, does not demand anything from him, she blames herself for ruining him. Katerina's conscience is calm: the heroine paid enough for her sin. But she has nothing and nothing to live for. The last desperate impulse to freedom was suffocated in Kalinov's hopeless life.
The flight motif changes in the last monologues in a key way graves. Home for her is a real grave, where she was buried alive and forever. Katerina is sure that her soul has died, she is tortured, morally exhausted, she sees herself already dead, being buried and does not want to lie, pretending to be alive. Under the tree, the grave is more gratifying than the disgusting walls of the crypt house. One can relate differently to her last fatal choice, but one cannot help but see in it the same truthfulness that is characteristic of all Katerina's actions. The playwright maintains the truth of her character to the end, this is his skill. And no matter how much we sympathize with the heroine, no matter how we condemn her, we understand with all clarity: another ending for Katerina is impossible.
Comparison of Katerina with Barbara allows one to shade the sincerity, purity, depth of the soul of the main character, the consciousness of her rebellion against the suffocating laws of the "dark kingdom".
It is quite acceptable and even natural to compare Katerina with Kabanikha. The strength of nature distinguishes them from all those around them. The smart and domineering merchant Kabanova can easily "stop" even the scolding Diky. She is able to tell the unflattering truth in the eye and "talk" - to console, reassure with a sincere word. Her ferocity with her family does not come from a bad character, but naturally follows from worldly wisdom, absorbed from childhood. The task of the elders is to teach, and the younger ones are to listen and gain intelligence. The reproaches of relatives, in her opinion, save the young from other people's ridicule, from ridiculous and dangerous acts. Her life philosophy has its own rightness, but all of it is based on distrust of a person, on the suppression of living feelings, free manifestations of the soul. New era crowding Marfa Ignatyevna. Even her own son does not consider it necessary to intimidate his wife, content with love, not fear. The values proclaimed by Kabanikha are in many ways close to Katerina. Both of them see God's judgment in the storm. Only Marfa Ignatievna, unlike Katerina, considers herself sinless, she does not doubt her rights and the rightness. But with all her mind, Kabanova does not understand that by driving her family into a corner, tightening pressure, she herself is preparing an explosion of protest, a revolt against her power.
Used book materials: Yu.V. Lebedev, A.N. Romanova. Literature. Grade 10. Lesson developments. - M.: 2014
And if it gets too cold for me here, they won't hold me back by any force. A. Ostrovsky Against the backdrop of the still formidable, but already shaky tyranny, Ostrovsky showed the original, integral, strong, selfless character of the Russian woman, who, by the decisiveness of her protest, was a terrible challenge to the “tyranny” Force and foreshadowed the onset of the end of the “dark kingdom”. Dobrolyubov called Katerina, the main character of the drama "Thunderstorm", a folk, national character, "a bright ray in a dark kingdom." Bright, but deeply suffering, Katerina appears before us. Her childhood was happy and cloudless. Her mother "didn't have a soul" in her. Surrounded by affection and care, she lived freely in her parents' house. “It was so good,” she recalls. But the most valuable, now lost, was the feeling of will: "I lived ... like a bird in the wild." She loved to attend church services: it is as if angels fly and sing there. “Early in the morning I’ll go to the garden... I’ll fall on my knees, pray and cry, and I myself don’t know what I’m praying about and what I’m crying about,” says Katerina. She does not tolerate insults and answers them passionately and decisively: “I was born like that, hot! They offended me with something at home, but it was in the evening, it was already dark: I ran out to the Volga, got into a boat, and pushed it away from the shore. And such an impressionable, poetically minded and at the same time resolute woman finds herself in the Kabanova family, in a musty atmosphere of hypocrisy and importunate, petty guardianship. After a home paradise with its magical world of dreams and visions, Katerina finds herself in an environment that exudes deathly cold and soullessness. The rude and domineering mother-in-law sharpens her with her petty captiousness at every step: “She crushed me ... she made me sick of the house, the walls are even disgusting.” Katerina knows no compromises. Or endure, "as long as it is enduring", or: "I will leave, and I was like that." And Katerina would have withered completely if a feeling of protest against such a life had not been born in her: “I will throw myself out the window, I will rush into the Volga. I don’t want to live here, I won’t, even if you cut me!” Katerina has a growing sense of offended dignity. The whole conversation with Tikhon is imbued with a passionate desire to find support in her husband, this is the last desperate attempt to maintain a feeling for him. She begs him to stay or take her with him. Tikhon's answer shows Katerina all his insignificance, and she exclaims with horror: “How can I love you when you say such words?” Katherine is desperate. It is not difficult to understand with what force Katerina's feeling must have flared up when on her way she met a person who was not like everyone else. She is ready for anything for the one she loves. She cannot lie, deceive: “Let everyone know, let everyone see what I am doing! If I was not afraid of sin for you, will I be afraid of human judgment? The joy and happiness of love did not last long. Katerina does not want and cannot hide her “sin” and repents before her husband. But this confession does not speak of Katerina's weakness. It took many external jolts to wrest it from the woman's mouth. A terrible thunderstorm broke out, of which she had always been afraid; she saw Boris; then she heard someone accidentally say the words: "... the storm will not pass in vain"; then the lady's prophecy. And, finally, the most terrible thing for Katerina is when she sees the image of fiery hell. Katerina hopefully turns to Boris, but he cannot help her and retreats from her. She cannot reconcile, endure the constant torture and bullying of Kabanikha: “Where to now? I don’t care what goes home, what goes to the grave.” In her dying moments, Katerina breaks the last fetters of the dark kingdom - fear of sin. It was not the separation from Boris that forced Katerina to take the last step towards the cliff, but the most terrible thought for her that she would be caught and returned home “by force, where the people are disgusting, and the house is disgusting, and the walls are disgusting. Protesting, but not giving up, she passes away. “Such a liberation is sad, bitter, but what to do when there is no other way out,” Dobrolyubov writes in the article “A Ray of Light in the Dark Kingdom.” In Katerina, he saw a "Russian, strong character" who endures himself, in spite of any obstacles, and when there is not enough strength, he will die, but will not betray himself.Sections: Literature
Know: the content of the play, genre features.
Be able to: analyze the content of dialogues and monologues, scenes; determine the topic, idea, formulate problems related to them and, based on the analysis, draw conclusions and conclusions; work with the word characterize, compare.
Features of lesson preparation: D / Z write out the meanings of the words “conflict”, “tragic sharpness” from the explanatory dictionary.
Forms of work: heuristic conversation, group work.
Lesson 1
1. Work with concepts, analysis of the content of the topic (find out the meaning of the topic name).
Teacher: Select the key words of the topic and give them a semantic interpretation ( D / Z: write out the meanings of words).
Student: Cl. The words:
- "tragic sharpness" - an outcome with a deadly end.
- “conflict” is a clash brought to the highest peak of tension in a relationship. ( Write on the board.)
Teacher: What is the meaning of the lesson?
Student: The clash of Katerina (her character, nature, worldview) with the "dark kingdom" (its laws of life) reaches its climax, Katerina's life becomes unbearable and she dies.
2. Work on the topic.
A) Teacher: Formulate the questions that are contained in the title of the topic.
Write down the answer on the blackboard (2 students work at the blackboard, who write down so that the teacher does not waste time on this).
one). Why did the conflict happen? Could it be avoided?
2). Why did Katherine choose death? Did she have a choice?
Teacher: The questions raised are problematic. We must find answers to them based on the content of the play. To find the answer to the 1st question, it is necessary to investigate the nature of the relationship between Katerina and the “dark kingdom”.
B) Analysis of the text follows, analysis of scenes, dialogues, monologues, author's remarks. The character of Katerina, her views, attitude towards her husband, her relatives, people, her role in comparison with the characters of the representatives of the “dark kingdom” are analyzed and a table is filled in notebooks.
3. Generalization of the performed analysis (entry in a notebook).
The basis of the conflict: the difference in education, different life principles, views on family relationships, attitudes towards people. All this depressed Katherine. The anguish grew with each passing day.
The last straw that put an end to Katerina's patience was the departure of her husband. Insulted, humiliated by her mother-in-law and her submissive husband, she feels that living in this house is becoming unbearable. The husband is not a protector. He is broken himself. Therefore, conflict becomes inevitable. It lies in the fact that Katerina, in search of a way out, had to transcend the laws established by the owners of the life of the city.
Lesson 2. Continued work on the topic.
Teacher: So, we answered the first question: Katerina's life in the environment of the “dark kingdom” becomes unbearable and conflict is inevitable. Why is it inevitable? What problem is the author raising?
- Reconcile and live according to the laws imposed on her by the “dark kingdom”
- Run with your loved one - Boris
- Commit suicide, which she did.
Teacher: Why did she choose the 3rd way?
Student: Katerina chose death because she came into conflict with herself, she crossed her own moral laws, according to which she lived, but circumstances led her to this. Lies, hypocrisy, Kabanikha's pressure on all family members, the lack of any opportunity to live the way they wanted, lack of freedom in everything made life itself, the house, unbearable.
Katerina asks Tikhon to take her on a trip, but he refuses her. Behaves cowardly.
He is his mother's slave. And Katerina realized that she would not wait for joy in this house. And then she decides to meet with Boris, although she is tormented, tormented, but the desire to do what she wants at least once wins: “Come what may, and I will see Boris. Ah, if only the night would come sooner!”
Teacher: Were Katerina's hopes justified?
Group work:
- The first group: analysis of the scene of the 1st date (d3, yavl.3) and conclusion.
- The second group: analysis of the thunderstorm scene (D.4 yavl1,4,6), its symbolic meaning.
- Third group: analysis d.5 - yavl.2
Student (conclusion): Katerina's hopes in love for Boris not only did not come true, but it even got worse. The conscientious Katerina, who cannot live in a lie, experiences strong moral torments, feels like a sinner who can only be cleansed in hell. Boris, too, like Tikhon, turned out to be a weak person, he could not be her couple, although spiritually he was closer to her than Tikhon. He leaves, urging Katerina to reconcile, to submit to her mother-in-law. Now she has to be left alone with shame and mental anguish. And she comes to the conclusion that it is better to die. Her monologue sounds tragic (analysis d.5, yavl.6).
In the first three lines, the word grave is repeated 4 times, and, finally, she (for the 5th time!) repeats it: “There is a grave under the tree ... how good ... ..”
“... And the people are disgusting to me, and the house is disgusting to me, and the walls are disgusting! I won't go there!"
In her monologue, the grave is opposed to the house, and therefore to life itself.
In the graves - good, at home - bad, but there is nowhere else to go. So it turns out that she has only one way out - the grave. It follows from her monologue that she does not want to live the way she is forced to live. So there is no other choice. This is the tragedy of her life. And her death can be regarded as a protest against the foundations of the life of the “dark kingdom”. (Not all the guys will agree that Katerina's death is a protest, so the problem of the next lesson was posed: Katerina's death - a protest or humility, a feat of the soul or its confusion, weakness?).