A.N. Ostrovsky. Storm

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Drama Alexander Nikolaevich Ostrovsky "Thunderstorm", written by the author in 1859, is a very popular play that is played on many city theater stages. A distinctive feature of the work is that the characters are clearly divided into oppressors and the oppressed. The exploiters, corrupted at heart, not only see nothing shameful in a rude attitude towards those who depend on them, but consider such behavior to be normal, even correct. However, in order to understand the essence of the play, you need to familiarize yourself with its brief content.

The main characters of the play:

Savel Prokofievich Wild - an evil, greedy and very scandalous person, a merchant, ready to scold anyone who covets his good.

Marfa Ignatievna Kabanova - a rich merchant's wife, an imperious and despotic woman who keeps not only her son Tikhon, but the whole family in an iron fist.

Tikhon Kabanov - a weak-willed young man who lives at the behest of his mother and does not have his own opinion. He cannot decide who is more expensive - his mother, who must be obeyed unquestioningly, or his wife.

Katerina - the main character of the play, Tikhon's wife, suffering from the arbitrariness of her mother-in-law, from the actions of her husband, who dutifully obeys her mother. She is secretly in love with Dikiy's nephew, Boris, but for the time being is afraid to confess her feelings.

Boris- Diky's nephew, who is under pressure from his tyrant uncle, who does not want to leave him his due inheritance and therefore finds fault with every little thing.

barbarian- Tikhon's sister, a kind girl, still unmarried, sympathizing with Katerina and trying to protect her. Although circumstances force her to sometimes resort to cunning, Varya does not become bad. She, unlike her brother, is not afraid of her mother's wrath.

Kuligin- a tradesman, a person who knows the Kabanov family well, a self-taught mechanic. He looks for a perpetuum mobile, tries to be useful to people by bringing new ideas to life. Unfortunately, his dreams did not come true.

Vanya Kudryash- Diky's clerk, with whom Varvara is in love. He is not afraid of the merchant, and, unlike others, can tell the truth to his face. However, it is clear that the young man, just like his master, is used to seeking profit in everything.

Step One: Meet the Characters

The first phenomenon.

The tradesman Kuligin, sitting on a bench in a public garden, looks at the Volga and sings. “Here, my brother, for fifty years I have been looking beyond the Volga every day and I can’t see enough of everything,” he addresses the young man Vanya Kudryash. Suddenly they notice how the merchant Dikoy, for whom Ivan serves as a clerk, scolds his nephew Boris. Neither Vanya nor Kuligin are dissatisfied with the evil merchant, who finds fault with every little thing. The tradesman Shapkin is included in the conversation, and now the conversation is already between him and Kudryash, who boasts that he could, if the opportunity arises, pacify Wild. Suddenly, an angry merchant and Boris walk past them. Kuligin takes off his hat, and Kudryash and Shapkin prudently step aside.
The second phenomenon.
Dikoi yells loudly at Boris, scolding him for his inaction. However, he shows complete indifference to the words of his uncle. The merchant in his hearts leaves, not wanting to see his nephew.
The third phenomenon
Kuligin is surprised that Boris still lives with Diky and tolerates his unbearable character. The merchant's nephew replies that he is being held by nothing but bondage and explains why this happens. It turns out that Anfisa Mikhailovna's grandmother disliked his father because he married a noble woman. Therefore, Boris's parents lived separately in Moscow, they did not refuse anything to their son and daughter, but, unfortunately, they died of cholera. Grandmother Anfisa also died, leaving a will for her grandchildren. But they could receive an inheritance only if they were respectful to their uncle.

Boris understands that with such a picky character of his uncle, neither he nor his sister will ever see an inheritance. After all, if their own cannot please such a domestic tyrant, the nephew is even more so.

“It's hard for me here,” Boris complains to Kuligin. The interlocutor sympathizes with the young man and confesses to him that he can write poetry. However, he is afraid to admit it because no one in the city will understand him: and so he gets it for chatting.

Suddenly, the wanderer Feklusha enters, who begins to praise the merchant's morals. Kuligin calls her a hypocrite, helping the poor, but mocking her own family.

In general, Kuligin has a cherished dream: to find a perpetuum mobile in order to subsequently financially support the society. He tells Boris about it.

The fourth phenomenon
After Kuligin leaves, Boris is left alone and, envious of his friend, laments his own fate. Falling in love with a woman that this young man will never even be able to talk to causes sadness in his soul. Suddenly he notices her walking with her mother-in-law and her husband.

Fifth phenomenon
The action begins with the instructions of the merchant Kabanova to her son. Rather, she orders him, not tolerating any objections. And the weak-willed Tikhon does not dare to disobey. Kabanova expresses that she is jealous of his daughter-in-law: the son began to love her less than before, the wife is sweeter than her own mother. Her words show hatred for Katerina. She convinces her son to be stricter with her so that the wife is afraid of her husband. Kabanov tries to insert a word that he loves Katerina, but the mother is adamant in her opinion.

The sixth phenomenon.

When Kabanikha leaves, Tikhon, his sister Varya and Katerina are left alone, and a not very pleasant conversation takes place between them. Kabanov admits that he is absolutely powerless before the autocracy of his mother. The sister reproaches her brother for his weak will, but he wants to quickly drink and forget, distracted from reality.

The seventh phenomenon

Now only Katerina and Varvara are talking. Katerina recalls her carefree past, when her mother dressed her like a doll and did not force her to do any work. Now everything has changed, and the woman feels an impending disaster, as if she is hanging over an abyss, and there is nothing to hold on to. The poor young wife is lamenting, confessing that she loves another. Varvara advises to meet with those to whom the heart is attracted. Katerina is afraid of this.

The eighth phenomenon
Another heroine of the play enters - a lady with two lackeys - and begins to talk about beauty, which leads only to a whirlpool, frightening with an unquenchable fire in which sinners will burn.

The ninth phenomenon
Katerina confesses to Varya that the lady frightened her with her prophetic words. Varvara objects that the half-mad old woman herself is afraid of dying, and therefore speaks of fire.

Tikhon's sister is worried that a thunderstorm is coming, but her brother is not there yet. Katerina admits that she is very scared because of such bad weather, because if she suddenly dies, she will appear before God with unrepentant sins. Finally, to the delight of both, Kabanov appears.

Act two: farewell to Tikhon. Tyranny Kabanova.

The first phenomenon.
Glasha, a maid in the Kabanovs' house, packs Tikhon's things, packing him for the journey. The wanderer Feklusha begins to talk about other countries where sultans rule - and everything is unrighteous. These are very strange words.

The second phenomenon.
Varya and Katerina are talking to each other again. Katya, when asked if she loves Tikhon, replies that she is very sorry for him. But Varya guesses that the object of Katerina's true love is another person and admits that she talked with him.

Conflicting feelings overwhelm Katerina. Now she laments that she will love her husband, she will not exchange Tisha for anyone, then she suddenly threatens that she will leave, and not to keep her by any force.

The third phenomenon.
Kabanova admonishes her son before the road and forces him to order his wife how to live while he is gone. The cowardly Tikhon repeats after his mother everything that Katerina needs to do. This scene is humiliating for a girl.

The fourth phenomenon.
Katerina is left alone with Kabanov and tearfully begs him either not to leave or take her with him. But Tikhon objects. He wants at least temporary freedom - both from his mother and from his wife - and he directly talks about it. Katya anticipates that without him there will be trouble.

Fifth phenomenon
Kabanova in front of the road orders Tikhon to bow at her feet. Katerina, in a fit of feelings, hugs her husband, but her mother-in-law sharply denounces her, accusing her of shamelessness. The daughter-in-law has to obey and also bow at the feet of her husband. Tikhon says goodbye to all household members.

The sixth phenomenon
Kabanova, left alone with herself, argues that young people do not adhere to any order, they cannot even say goodbye to each other normally. Without the control of the elders, everyone will laugh at them.

The seventh phenomenon
Kabanova reproaches Katerina for not crying for her husband who has left. The daughter-in-law objects: “There is nothing,” and says that she does not want to make people laugh at all. Barbara leaves the yard.

The eighth phenomenon
Katerina, left alone, thinks that now the house will be quiet and boring. She regrets that children's voices are not heard here. Suddenly, the girl comes up with how to survive two weeks until Tikhon arrives. She wants to sew and give to the poor what she has made with her own hands.
The ninth phenomenon
Varvara invites Katerina to secretly meet with Boris and gives her the keys to the backyard gate stolen from her mother. Tikhon's wife is afraid, indignant: "What are you up to, sinner?" Varya leaves.

The tenth phenomenon
Katerina, having taken the key, hesitates and does not know what to do. Left alone, she fearfully considers whether she will do the right thing if she uses the key or if it is better to throw it away. In emotional experiences, she decides to still see Boris.

Act Three: Katerina Meets Boris

scene one


Kabanova and Feklusha are sitting on the bench. Talking among themselves, they talk about the bustle of the city and the silence of village life and that hard times have come. Suddenly, the intoxicated Wild enters the yard. He rudely addresses Kabanova, asking to talk to him. In a conversation, Dikoy admits: he himself understands that he is greedy, scandalous and evil, however, he cannot help himself.

Glasha reports that she has fulfilled the command and “there is a bite to eat.” Kabanova and Dikoy enter the house.

Boris appears, looking for his uncle. Upon learning that he is visiting Kabanova, he calms down. Having met Kuligin and talked a little with him, the young man sees Varvara, who calls him to her and, with a mysterious look, offers to come later to the ravine, which is located behind the Kabanovs' garden.

scene two
Approaching the ravine, Boris sees Kudryash and asks him to leave. Vanya does not agree, thinking that he is trying to take his bride away from him, but Boris secretly admits that he loves the married Katerina.

Varvara approaches Ivan and they leave together. Boris looks around, dreaming of seeing his beloved. Lowering her gaze, Katerina approaches him, but she is very afraid of sin, which will fall like a stone on her soul if a relationship starts between them. Finally, after some hesitation, the poor girl can't stand it anymore and throws herself around Boris's neck. They talk for a long time, confessing their love to each other, and then decide to meet the next day.

Act Four: Confession of Sin

The first phenomenon.
In the city, near the Volga, couples are walking. A storm is coming. People are talking among themselves. On the walls of the destroyed gallery, it is possible to distinguish the outlines of the paintings of fiery hell, as well as the image of the battle near Lithuania.

The second phenomenon.
Dikoy and Kuligin appear. The latter persuades the merchant to help him in one good deed for people: to give money to install a lightning rod. Wild says offensive words to him, insulting an honest man who tries for others. Dikoi does not understand what "electricity" is and why people need it, and becomes even more angry, especially after Kuligin dared to read Derzhavin's poems.

The third phenomenon.
Suddenly, Tikhon returns from a trip. Varvara is at a loss: what should they do with Katerina, because she has become not herself: she is afraid to raise her eyes to her husband. The poor girl is burned by guilt before her husband. The storm is getting closer and closer.

The fourth phenomenon


People try to hide from the storm. Katerina sobs on Varvara's shoulder, feeling even more guilty before her husband, especially at the moment she sees Boris, who leaves the crowd and approaches them. Barbara makes a sign to him, and he moves away.

Kuligin addresses people, urging them not to be afraid of thunderstorms, and calling this phenomenon grace.

Fifth phenomenon
People continue to talk about the consequences of a thunderstorm. Some believe that she will kill someone. Katerina fearfully assumes: it will be her.

The sixth phenomenon
The mistress who came in frightened Katerina. She also prophesies her a quick death. The girl is afraid of hell as retribution for sins. Then she can’t stand it and admits to her family that she walked with Boris for ten days. Kabanova is furious. Tikhon is confused.

Act Five: Katerina throws herself into the river

The first phenomenon.

Kabanov talks with Kuligin, telling what is happening in their family, although everyone already knows this news. He is in a turmoil of feelings: on the one hand, he is annoyed at Katerina that she has sinned against him, on the other hand, he feels sorry for the poor wife who is being gnawed by her mother-in-law. Realizing that he is also not without sin, the weak-willed husband is ready to forgive Katya, but only mom ... Tikhon admits that he lives in someone else's mind, and simply does not know how otherwise.

Varvara cannot stand her mother's reproaches and runs away from home. The whole family was divided, becoming enemies to each other.

Suddenly Glasha comes in and sadly says that Katerina has disappeared. Kabanov wants to look for her, fearing that his wife would kill herself.

The second phenomenon
Katerina is crying, looking for Boris. She feels unceasing guilt - now in front of him. Not wanting to live with a stone in her soul, the girl wants to die. But before that, meet your loved one again. “My joy, my life, my soul, I love you! Reply!" she calls.

The third phenomenon.
Katerina and Boris meet. The girl learns that he is not angry with her. Beloved announces that he is leaving for Siberia. Katerina asks to go with him, but it is impossible: Boris is going with an order from his uncle.

Katerina is very sad, complaining to Boris that it is incredibly difficult for her to endure the reproaches of her mother-in-law, the ridicule of those around her, and even Tikhon's caress.

I really do not want to say goodbye to my beloved, but Boris, although he is tormented by a bad feeling that Katerina does not have long to live, still needs to go.

The fourth phenomenon
Left alone, Katerina realizes that now she does not want to return to her relatives at all: everything is disgusted - both people and home walls. It's better to die. In desperation, folded her hands, the girl rushes into the river.

Fifth phenomenon
Relatives are looking for Katerina, but she is nowhere to be found. Suddenly someone shouted: “The woman threw herself into the water!” Kuligin runs away with a few more people.

The sixth phenomenon.
Kabanov is trying to pull Katerina out of the river, but her mother strictly forbids doing this. When the girl is pulled out by Kuligin, it is already too late: Katerina is dead. But it looks like a living thing: one small wound is only on the temple.

The seventh phenomenon
Kabanova forbids her son to mourn Katerina, but he dares to blame his mother for the death of his wife. For the first time in his life, Tikhon is determined and shouts: “You ruined her!” Kabanova threatens to speak sternly with her son at home. Tikhon, in despair, throws himself on the dead body of his wife, saying: “Why did I stay to live and suffer.” But it's' too late. Alas.

Mikhail Dostoevsky

"Storm". Drama in five acts by A. N. Ostrovsky

We have a difficult task ahead of us. Before us is the work of a writer who, more than all our other contemporary writers, has aroused and even now arouses the most contradictory rumors about himself. Judgments about him are already strange in their extreme contradiction; but their meaning will seem even stranger if you pay attention to the fact that they come from the same camp. It would not be at all surprising if God. Ostrovsky disagreed, for example, Slavophiles with Westerners. (Since these strange nicknames still exist in reality in our lives, we call them by their proper names.) That would be nothing: what do they agree with each other? Surprising are the discordant opinions about the same writer in the same camp, in the same circle, for example, among Westerners. And what other dissonant ones. Has it been a long time since our playwright was at one time given the nickname of the Gostinodvor Kotzebue, and at another time he was proclaimed to be an accuser of Russian petty tyrants and admired for it? Until recently, one of our most widely read and fairly Western newspapers, with inexpressible generosity, did not deny talent - almost a certain amount - to the author of The Thunderstorm. Just the other day, another Western critic, highly respected by the reading public and no less so, raised a whole storm against this "Thunderstorm", while other, also very Western, publications spoke of it not without enthusiasm, although somewhat restrainedly. Some in the same play most value poetry in Ostrovsky, others blame him not only for his excessive fidelity to nature, but even for a certain cynicism. In a word, this is a wonderful concert, and instructive for the future historian of our contemporary literature. The audience has been listening to this concert for several years in a row and does not understand anything about it. Only Mr. Ostrovsky does not listen to him and follows his own even poetic path. And he does great.

The Slavophils do not have this dissonance, either because they recently had only one "Conversation", or simply because in many of our questions they stand on firmer ground than their opponents. No matter how deceptive their passion was to see Mr. Ostrovsky as a poet of their own ideas and principles, for the sake of justice alone we must say that the honor of discovering Mr. Ostrovsky as a highly talented writer belongs only to them alone.

To many this may seem like a paradox, but it is true. We do not dispute that Mr. Ostrovsky's first work, The Own People, was greeted by Westerners with extraordinary enthusiasm, with unanimous enthusiasm. But this enthusiasm was unanimous precisely because in this comedy Mr. Ostrovsky is still far from himself, far from the original writer who so captivates us in his later comedies and scenes. Here, behind him, one could still see his glorious predecessor, one could see the deliberate goal of putting this and that in a certain light, of executing the other. Here Gogol's satire still laughs bitterly, with intention something else that the poet later abandoned is striking. In a word, there is not yet the freedom with which the poet relates to reality in his later plays. In addition to talent, this satire, this deliberate goal made Westerners applaud the poet. After all, his talent did not save him from the cooling and scolding of these same Westerners, when works of higher art appeared, such as “Do not sit in your sleigh”, “Poverty is not a vice”, “Poor Bride”, “Do not live as you want ". Everyone remembers that time, everyone read reviews full of disdain and even scolding of various St. Petersburg newspapers and magazines. Isn't the same thing still being repeated now, when the truth is more and more gaining the upper hand, and harsh sentences, it seems, should be softened, even in the face of obviousness.

But meanwhile, as all this was happening in St. Petersburg, Moscow with its Slavophiles, with its "Moskvityanin"; with her "Conversation", finally, not only remained of the same opinions about Mr. Ostrovsky, but grew in love and in surprise for him with each of his new plays. In particular, one talented voice cried out a lot, sharply and for a long time in the vast desert, which was heard just as loudly, although less sharply, recently for Mr. Ostrovsky and in St. Petersburg magazines. To this voice also belongs the phrase at which our critics in the past so mocked: Ostrovsky indeed said a new word. But more about that later.

There are many reasons for all these hesitations and contradictions in Western criticism. Left after the death of Belinsky without a head, without authority, without a center where all the discordant and extremely personal opinions would be developed and received a certain system, suddenly deprived of the tone and gloss that our unforgettable critic gave it - the criticism of the Westerners suddenly disintegrated, fragmented into small circles and to individual opinions. Faithful to the memory of Belinsky regarding progress and social principles, after him it turned out to be completely untenable regarding aesthetic ones. After him, she did not explain a single aesthetic issue, did not illuminate a single dark side of art. At the beginning of the fifties, it limited itself to historical research, and in this way it certainly rendered great services. Then she greedily rushed to public issues: publicism pushed aesthetics to the background. More than one work of art has been dealt with in terms of utilitarian ideas or social issues. We have already mentioned that even Mr. Ostrovsky, a purely artistic talent, was recently analyzed in one magazine from the point of view of an accuser of Russian tyrants.

It is this desire to look for an unprecedented philosophy in the works of Mr. Ostrovsky and to assume in them a deliberate goal, an idea, and this, in our opinion, is the main reason for this discord, these contradictory opinions about the writer we are examining. Criticism of the Westerners, on the basis, perhaps, of the proverbs alone, by which Mr. Ostrovsky's comedies are mostly named, suspected in them some kind of pre-Petrine "philosophy", and the author in Slavophilism and in the desire to prove Slavophile convictions with his works. We do not have the pleasure of knowing Mr. Ostrovsky, and therefore we do not know whether he is a Slavophile or a Westerner, yes, to be honest, we don’t care about that, especially since from his plays, even from the brightest in title, or according to the proverb, this is not visible. In our opinion, Mr. Ostrovsky in his writings is not a Slavophile or a Westerner, but simply an artist, a deep connoisseur of Russian life and the Russian heart. Perhaps, and even very likely, judging by the titles, Mr. Ostrovsky really wanted to serve Slavophilism, but such a desire, as can be seen from the case itself, that is, from the essence of his works, was limited to titles or proverbs alone.

Having mentioned that after his first comedy, His People, Mr. Ostrovsky left the satirical trend and therefore became more independent, we did not at all want to cast any shadow on this trend. We only think that, having abandoned satire, which, in spite of a brilliant attempt, in our opinion, is not the main nerve in Mr. Ostrovsky's talent, he developed in himself much better sides inherent in his talent. The talent of our playwright is predominantly objective and artistic. By his talent he is an adept of pure art. Even where he apparently tries to prove something, to pull his poetic images onto some idea, for example, in Profitable Place, even there the evidence somehow does not stick together, the action does not quite fit, but the images remain sharp, the faces come out full and bright, often highly poetic, like Polinka, always true to reality and characteristic, like Yusov, Belogubov, Kukushkina. First of all, he is a poet in his creations, and exactly the same poet in the plays “Do not get into your sleigh”, “Do not live as you want”, “Poor Bride”, as in “The Pupil”, as in “Thunderstorm” , about which they now say that it was with them that Mr. Ostrovsky's poetry began. The difference is only in the degree of poetry, in the chosen way of life, in the very faces. Avdotya Maksimovna and Grusha are the same poetic images as the Pupil, like Katerina in The Thunderstorm. In the latter, it is true, the poetic coloring seems thicker and brighter, but this is because the circumstances in which this person is placed are larger and sharper, and most importantly, the character itself is deeper here than in the above-mentioned comedies. Poetry, with the possible exception of small scenes, has always been inherent, as the main element, in the works of Mr. Ostrovsky. That is why the opinion of critics has always seemed unfair to us, that with The Pupil there was some kind of turning point in the talent of our dramatic writer, and he, as if abandoning Slavophile ideas, turned to pure poetry.

A. N. Ostrovsky was a prominent literary figure. He changed a lot in the production of plays, and his works are distinguished by realism, the views of which the writer adhered to. One of his most famous works is the play "Thunderstorm", an analysis of which is presented below.

The history of the creation of the play

The analysis of "Thunderstorm" should begin with the history of its writing, because the circumstances of that time played an important role in the creation of the plot. The play was written in 1859 during Ostrovsky's travels around the Volga region. The writer observed and explored not only the beauty of nature and the sights of the Volga cities.

He was no less interested in the people he met on the journey. He studied their characters, features of life, the history of their lives. Alexander Nikolaevich made notes, and then based on them he created his work.

But the history of the creation of Ostrovsky's "Thunderstorm" has different versions. For a very long time, they were of the opinion that the writer took the plot for the play from real life. In Kostroma, there lived a girl who, unable to withstand the harassment of her mother-in-law, threw herself into the river.

The researchers found many matches. It happened in the same year in which the play was written. Both girls were young and married at a very early age. Both were oppressed by their mothers-in-law, and their husbands were of weak character. Katerina had an affair with the nephew of the most influential person in the city, and a poor Kostroma girl had an affair with a postal clerk. It is not surprising that due to so many coincidences, for a long time everyone believed that the plot was based on real events.

But more detailed studies disproved this theory. Ostrovsky sent the play to the press in October, and the girl folded a month later. Therefore, the plot could not be based on the life story of this Kostroma family. However, perhaps, thanks to his powers of observation, Alexander Nikolaevich was able to foresee this sad end. But the story of the creation of the play has a more romantic version.

Who was the prototype of the main character?

In the analysis of "Thunderstorm" one can also point out that there were many disputes about who the image of Katerina was written off from. There was also a place for the personal drama of the writer. Both Alexander Nikolaevich and Lyubov Pavlovna Kositskaya had families. And this served as an obstacle to the further development of their relationship.

Kositskaya was a theater actress, and many believe that she is the prototype of the image of Katerina in Ostrovsky's Thunderstorm. Later, Lyubov Pavlovna will play her role. The woman herself was from the Volga region, and the playwright's biographers wrote that "Katerina's Dream" was recorded from the words of Kositskaya. Lyubov Kositskaya, like Katerina, was a believer and loved the church very much.

But "The Thunderstorm" is not only a drama about personal relationships, it is a play about the growing conflict in society. In that era, there were already people who wanted to change the old order, but the stagnant "house-building" society did not want to obey them. And this confrontation is reflected in Ostrovsky's play.

The action of the play takes place in the fictional city of Kalinov on the Volga. The inhabitants of this town are people accustomed to deceit, tyranny, ignorance. Several people from Kalinov's society stood out for their desire for a better life - these are Katerina Kabanova, Boris and Kuligin.

The young girl was married to the weak-willed Tikhon, whose harsh and despotic mother constantly oppressed the girl. The boar established very strict rules in her house, so all members of the Kabanov family did not like her and were afraid. During Tikhon's departure on business, Katerina secretly meets with Boris, an educated young man who came from another city to his uncle, Diky, a man of the same tough temper as Kabanikha.

When her husband returned, the young woman stopped seeing Boris. She feared punishment for her act because she was pious. Despite all the persuasion, Katerina confessed everything to Tikhon and his mother. The boar began to tyrannize the young woman even more. Boris was sent by his uncle to Siberia. Katerina, having said goodbye to him, rushed into the Volga, realizing that she could no longer live in tyranny. Tikhon accused his mother that it was because of her attitude that his wife decided to take such a step. This is a summary of Ostrovsky's Thunderstorm.

Brief description of the characters

The next point in the analysis of the play is the characterization of the heroes of Ostrovsky's Thunderstorm. All the characters turned out to be memorable, with bright characters. The main character (Katerina) is a young woman brought up on the orders of house building. But she understood the rigidity of these views and strove for a better life, where all people would live honestly and do the right thing. Pious, she loved to go to church and pray.

Kabanova Marfa Ignatievna - widow, wealthy merchant's wife. Adhered to the foundations of house building. She had a strong temper, established tyrannical orders in the house. Tikhon - her son, a weak man, loved to drink. He understood that his mother was unfair to his wife, but was afraid to go against her will.

Boris is an educated young man, he came to Dikoy to give him part of the inheritance. Impressive, does not accept the laws of Kalinovsk society. Wild is an influential person, everyone was afraid of him, because they knew what a stern disposition he was. Kuligin is a tradesman who believes in the power of science. Tries to prove to others the importance of scientific discoveries.

This is a characteristic of the heroes of Ostrovsky's Thunderstorm, who played a significant role in the plot. They can be divided into two small societies: those who hold old views and those who believe that change is necessary to create better conditions.

A ray of light in a play

In the analysis of "Thunderstorm" it is worth highlighting the main female image - Katerina Kabanova. It is a reflection of what tyranny and a despotic attitude can do to a person. The young woman, although she grew up in the "old" society, unlike the majority, sees all the injustice of such orders. But Katerina was honest, did not want and did not know how to deceive, and this is one of the reasons why she told her husband everything. And those people who surrounded her were accustomed to deceive, fear, tyrannize. And the young woman could not accept it, all her spiritual purity opposed it. Because of the inner light and the desire to live honestly, the image of Katerina from "Thunderstorm" Ostrovsky was compared with "a ray of light in a dark kingdom."

And the only joys in her life were prayer and love for Boris. Unlike all those who talked about faith, Katerina believed in the power of prayer, she was very afraid of committing a sin, so she could not meet with Boris. The young woman understood that after her act, her mother-in-law would torment her even more. Katerina saw that in this society no one wanted to change, and she could not live in the midst of injustice, misunderstanding and without love. Therefore, throwing herself into the river seemed to her the only way out. As Kuligin later said, she found peace.

The image of a thunderstorm

In the play, one of the important episodes is associated with a thunderstorm. According to the plot, Katerina was very afraid of this natural phenomenon. Because people believed that a thunderstorm would punish a sinful person. And all these clouds, thunder - all this only intensified the oppressive atmosphere of the Kabanovs' house.

In the analysis of "Thunderstorm" it should also be noted that it is very symbolic that all the episodes with this natural phenomenon are associated with Katerina. This is a reflection of her inner world, the tension in which she was, the storm of feelings that raged inside her. Katerina was afraid of this intensity of feelings, so she was very worried when there was a thunderstorm. Also, thunder and rain are a symbol of purification, when a young woman threw herself into the river, she found peace. Just like nature seems cleaner after the rain.

The main idea of ​​the play

What is the main meaning of Ostrovsky's Thunderstorm? The playwright sought to show how unfair society is. How they can oppress the weak and defenseless, that people are left with no choice. Perhaps Alexander Nikolayevich wanted to show that society should reconsider its views. The meaning of Ostrovsky's "Thunderstorm" is that one cannot live in ignorance, lies and rigidity. We must strive to become better, to be more tolerant of people so that their life does not resemble the "dark kingdom", as Katerina Kabanova has.

personality conflict

The play shows the growth of Katerina's internal conflict. On the one hand - the understanding that it is impossible to live in tyranny, love for Boris. On the other hand, a strict upbringing, a sense of duty and a fear of committing a sin. A woman cannot come to one decision. Throughout the play, she meets with Boris, but does not even think about leaving her husband.

The conflict is growing, and the impetus for the sad death of Katerina was the separation from Boris and increased persecution from the mother-in-law. But personal conflict is not the most important place in the play.

social question

In the analysis of "Thunderstorm" it should be noted that the playwright tried to convey the mood of the society that was at that time. People understood that changes were needed, that the old system of society should give way to a new, enlightened one. But the people of the old order did not want to admit that their views had lost their force, that they were ignorant. And this struggle between the "old" and the "new" was reflected in A. Ostrovsky's play "Thunderstorm".

Boris Grigoryevich, his nephew, is a young man of decent education.

Marfa Ignatievna Kabanova (Kabanikha), a wealthy merchant's wife, widow.

Tikhon Ivanovich Kabanov, her son.

Catherine, his wife.

Barbara, Tikhon's sister.

Kuligin, a tradesman, a self-taught watchmaker looking for a perpetuum mobile.

Vanya Kudryash, a young man, Dikov's clerk.

Shapkin, tradesman.

Feklusha, stranger.

Glasha, the girl in Kabanova's house.

A lady with two lackeys, an old woman of 70, half crazy.

City dwellers of both sexes.

The action takes place in the city of Kalinov, on the banks of the Volga, in the summer.

Ten days elapse between the third and fourth acts.

Act one

A public garden on the high bank of the Volga, a rural view beyond the Volga. There are two benches and several bushes on the stage.

The first phenomenon

Kuligin sits on a bench and looks across the river. Kudryash and Shapkin are walking.

Kuligin (sings). “In the midst of a flat valley, at a smooth height…” (Stops singing.) Miracles, truly it must be said, miracles! Curly! Here, my brother, for fifty years I have been looking beyond the Volga every day and I can’t see enough.

Curly. And what?

Kuligin. The view is extraordinary! Beauty! The soul rejoices.

Curly. Wow!

Kuligin. Delight! And you: "nothing!" You took a closer look, or you don’t understand what beauty is spilled in nature.

Curly. Well, what's the deal with you! You are an antique, a chemist!

Kuligin. Mechanic, self-taught mechanic.

Curly. All the same.

Silence.

Kuligin (pointing to the side). Look, brother Curly, who is waving his arms like that?

Curly. This? This is Dikoy scolding his nephew.

Kuligin. Found a place!

Curly. He has a place everywhere. Afraid of what, he of whom! He got Boris Grigoryevich as a sacrifice, so he rides on it.

Shapkin. Look for such and such a scolder as Savel Prokofich among us! Will cut off a person for nothing.

Curly. A poignant man!

Shapkin. Good, too, and Kabaniha.

Curly. Well, yes, at least that one, at least, is all under the guise of piety, but this one, as if off the chain!

Shapkin. There is no one to take him down, so he is fighting!

Curly. We don’t have many guys like me, otherwise we would wean him to be naughty.

Shapkin. What would you do?

Curly. They would have done well.

Shapkin. Like this?

Curly. Four of them, five of them in an alley somewhere would talk to him face to face, so he would become silk. And about our science, I wouldn’t utter a word to anyone, if only I would walk and look around.

Shapkin. No wonder he wanted to give you to the soldiers.

Curly. I wanted to, but I didn’t give it away, so it’s all one thing. He will not give me away, he smells with his nose that I will not sell my head cheaply. He's scary to you, but I know how to talk to him.

Shapkin. Oy!

Curly. What's here: oh! I am considered a brute; why is he holding me? So, he needs me. Well, that means I'm not afraid of him, but let him be afraid of me.

Shapkin. Like he doesn't scold you?

Curly. How not to scold! He can't breathe without it. Yes, I don’t let it go either: he is the word, and I am ten; spit, and go. No, I will not be a slave to him.

Kuligin. With him, that eh, an example to take! It's better to be patient.

Curly. Well, now, if you are smart, then you should learn it before courtesy, and then teach us! It’s a pity that his daughters are teenagers, there aren’t any big ones.

Shapkin. What would it be?

Curly. I would respect him. It hurts dashing for girls!

Pass Dikoy and Boris. Kuligin takes off his hat.

Shapkin (curly). Let's go to the side: it will still be attached, perhaps.

Departure.

The second phenomenon

The same, Dikoy and Boris.

wild. Buckwheat, you came here to beat! Parasite! Get lost!

Boris. Holiday; what to do at home!

wild. Find the job you want. Once I told you, twice I said to you: “Do not dare to meet me”; you get it all! Is there enough space for you? Wherever you go, here you are! Pah you damned! Why are you standing like a pillar! Are you being told al no?

Boris. I'm listening, what else can I do!

wild (looking at Boris). You failed! I don't even want to talk to you, to the Jesuit. (Leaving.) Here it is imposed! (Spits and leaves.)

The third phenomenon

Kuligin, Boris, Kudryash and Shapkin.

Kuligin. What is your business with him, sir? We will never understand. You want to live with him and endure abuse.

Boris. What a hunt, Kuligin! Captivity.

Kuligin. But what a bondage, sir, let me ask you. If you can, sir, tell us so.

Boris. Why not say? Did you know our grandmother, Anfisa Mikhailovna?

Kuligin. Well, how not to know!

Boris. After all, she disliked the father because he married a noble woman. On this occasion, father and mother lived in Moscow. Mother said that for three days she could not get along with her relatives, it seemed very wild to her.

Kuligin. Still not wild! What to say! You must have a great habit, sir.

Boris. Our parents raised us well in Moscow, they spared nothing for us. I was sent to the Commercial Academy, and my sister was sent to a boarding school, but both suddenly died of cholera; my sister and I were left orphans. Then we hear that my grandmother also died here and left a will so that our uncle would pay us the part that should be paid when we come of age, only with a condition.

Kuligin. With what, sir?

Boris. If we are respectful to him.

Kuligin. This means, sir, that you will never see your inheritance.

Boris. No, that's not enough, Kuligin! He first breaks down on us, abuses us in every possible way, as his soul pleases, but all the same ends up giving us nothing or just a little. Moreover, he will begin to tell that he gave out of mercy, that this should not have been.

Curly. This is such an institution in our merchant class. Again, even if you were respectful to him, who would forbid him to say something that you are disrespectful?

Boris. Well, yes. Even now he sometimes says: “I have my own children, for which I will give money to strangers? Through this, I must offend my own!

Kuligin. So, sir, your business is bad.

Boris. If I were alone, it would be nothing! I would drop everything and leave. And I'm sorry sister. He used to write her out, but mother's relatives did not let her in, they wrote that she was sick. What would her life here be - and it's scary to imagine.

Curly. Of course. Do they understand something?

Kuligin. How do you live with him, sir, in what position?

Boris. Yes, on no one: “Live, he says, with me, do what you are ordered, and I’ll pay what I put.” That is, in a year he will count as he pleases.

Curly. He has such an establishment. With us, no one even dare to utter a peep about a salary, scolds what the world is worth. “You, he says, how do you know what I have in mind? Somehow you can know my soul! Or maybe I will come to such an arrangement that five thousand ladies will be given to you. So you talk to him! Only he had never in his entire life come to such and such an arrangement.

A.N. Ostrovsky
(1823-1886)

Storm

Drama in five acts

Persons :

Savel Prokofievich Wild, merchant, a significant person in the city.
Boris Grigorievich, his nephew, a young man, decently educated.
Marfa Ignatievna Kabanova (Kabanikha), wealthy merchant, widow.
Tikhon Ivanovich Kabanov, her son.
Katerina, his wife.
Barbara, Tikhon's sister
Kuligin, tradesman, self-taught watchmaker looking for a perpetuum mobile.
Vanya Kudryash, young man, clerk Dikov.
Shapkin, tradesman.
Feklusha, wanderer.
Glasha girl in Kabanova's house.
The lady with two lackeys, old woman 70 years old, half crazy.
City dwellers of both sexes.

* All persons, except for Boris, are dressed in Russian.

The action takes place in the city of Kalinov, on the banks of the Volga, in the summer. There are 10 days between the 3rd and 4th acts.

STEP ONE

A public garden on the high bank of the Volga, a rural view beyond the Volga. There are two benches and several bushes on the stage.

PHENOMENON FIRST

Kuligin sits on a bench and looks across the river. Kudryash and Shapkin are walking.

K u l i g and n (sings). "In the midst of a flat valley, on a smooth height ..." (Stops singing.) Miracles, it must truly be said that miracles! Curly! Here, my brother, for fifty years I have been looking beyond the Volga every day and I can’t see enough.
K u d r i sh. And what?
K u l i g and n. The view is extraordinary! Beauty! The soul rejoices.
K u d r i sh. Something!
K u l i g and n. Delight! And you are "something"! Take a closer look, or you don’t understand what beauty is spilled in nature.
K u d r i sh. Well, what's the deal with you! You are an antique, a chemist.
K u l i g and n. Mechanic, self-taught mechanic.
K u d r i sh. All the same.

Silence.

K u l i g i n (points to the side). Look, brother Curly, who is waving his arms like that?
K u d r i sh. This? This Wild nephew scolds.
K u l i g and n. Found a place!
K u d r i sh. He has a place everywhere. Afraid of what, he of whom! He got Boris Grigoryevich as a sacrifice, so he rides on it.
Sh a p k i n. Look for such and such a scolder as Savel Prokofich among us! Will cut off a person for nothing.
K u d r i sh. A poignant man!
Sh a p k i n. Good, too, and Kabanikha.
K u d r i sh. Well, yes, at least that one, at least, is all under the guise of piety, but this one has broken loose from the chain!
Sh a p k i n. There is no one to take him down, so he is fighting!
K u d r i sh. We don’t have many guys like me, otherwise we would wean him to be naughty.
Sh a p k i n. What would you do?
K u d r i sh. They would have done well.
Sh a p k i n. Like this?
K u d r i sh. Four of them, five of them in an alley somewhere would talk to him face to face, so he would become silk. And about our science, I wouldn’t utter a word to anyone, if only I would walk and look around.
Sh a p k i n. No wonder he wanted to give you to the soldiers.
K u d r i sh. I wanted to, but I didn’t give it away, so it’s all one thing, that’s nothing. He will not give me away: he smells with his nose that I will not sell my head cheaply. He's scary to you, but I know how to talk to him.
Sh a p k i n. Oh is it?
K u d r i sh. What's here: oh! I am considered a brute; why is he holding me? So, he needs me. Well, that means I'm not afraid of him, but let him be afraid of me.
Sh a p k i n. Like he doesn't scold you?
K u d r i sh. How not to scold! He can't breathe without it. Yes, I don’t let it go either: he’s a word, and I’m ten; spit, and go. No, I will not be a slave to him.
K u l i g and n. With him, that eh, an example to take! It's better to be patient.
K u d r i sh. Well, if you are smart, then you should learn it before courtesy, and then teach us. It’s a pity that his daughters are teenagers, there aren’t any big ones.
Sh a p k i n. What would it be?
K u d r i sh. I would respect him. It hurts dashing for girls!

Pass Wild and Boris, Kuligin takes off his hat.

Shapkin (Kudryash). Let's go to the side: it will still be attached, perhaps.

Departure.

PHENOMENON TWO

The same. Dikoy and Boris.

D i k o y. Buckwheat, have you come here to beat? Parasite! Get lost!
B o r and s. Holiday; what to do at home.
D i k o y. Find the job you want. Once I told you, twice I said to you: "Do not dare to meet me"; you get it all! Is there enough space for you? Wherever you go, here you are! Pah you damned! Why are you standing like a pillar? Are you being told al no?
B o r and s. I'm listening, what else can I do!
DIKOY (looking at Boris). You failed! I don't even want to talk to you, to the Jesuit. (Leaving.) Here he imposed himself! (Spits and leaves.)

PHENOMENON THREE

Kulin, Boris, Kudryash and Shapkin.

K u l i g and n. What is your business with him, sir? We will never understand. You want to live with him and endure abuse.
B o r and s. What a hunt, Kuligin! Captivity.
K u l i g and n. But what kind of bondage, sir, let me ask you? If you can, sir, tell us so.
B o r and s. Why not say? Did you know our grandmother, Anfisa Mikhailovna?
K u l i g and n. Well, how not to know!
K u d r i sh. How not to know!
B o r and s. After all, she disliked the father because he married a noble woman. On this occasion, father and mother lived in Moscow. Mother said that for three days she could not get along with her relatives, it seemed very wild to her.
K u l i g and n. Still not wild! What to say! You must have a great habit, sir.
B o r and s. Our parents raised us well in Moscow, they spared nothing for us. I was sent to the Commercial Academy, and my sister was sent to a boarding school, but both suddenly died of cholera, and my sister and I remained orphans. Then we hear that my grandmother also died here and left a will so that our uncle would pay us the part that should be paid when we come of age, only with a condition.
K u l i g and n. With what, sir?
B o r and s. If we are respectful to him.
K u l i g and n. This means, sir, that you will never see your inheritance.
B o r and s. No, that's not enough, Kuligin! He will first break upon us, abuse us in every possible way, as his heart desires, but all the same will end up giving us nothing, or just a little. Moreover, he will begin to tell that he gave out of mercy, that this should not have been.
K u d r i sh. This is such an institution in our merchant class. Again, even if you were respectful to him, someone who forbids him to say something that you are disrespectful?
B o r and s. Well, yes. Even now he sometimes says: "I have my own children, for which I will give money to strangers? Through this I must offend my own!"
K u l i g and n. So, sir, your business is bad.
B o r and s. If I were alone, it would be nothing! I would drop everything and leave. And I'm sorry sister. He used to write her out, but mother's relatives did not let her in, they wrote that she was sick. What would her life here be - and it's scary to imagine.
K u d r i sh. Of course. Somehow they understand the appeal!
K u l i g and n. How do you live with him, sir, in what position?
B o r and s. Yes, none. "Live," he says, "with me, do what you order, and pay what I put." That is, in a year he will count as he pleases.
K u d r i sh. He has such an establishment. With us, no one even dare to utter a peep about a salary, scolds what the world is worth. “You,” he says, “why do you know what I have in mind? Somehow you can know my soul? Or maybe I will come to such an arrangement that you will have five thousand ladies.” So you talk to him! Only he had never in his entire life come to such and such an arrangement.
K u l i g and n. What to do, sir! You have to try to please somehow.
B o r and s. The fact of the matter, Kuligin, is that it is absolutely impossible. They cannot please him either; and where am I?
K u d r i sh. Who will please him, if his whole life is based on cursing? And most of all because of the money; not a single calculation without scolding is complete. Another is glad to give up his own, if only he would calm down. And the trouble is, how someone will make him angry in the morning! He picks on everyone all day long.
B o r and s. Every morning my aunt begs everyone with tears: "Fathers, don't make me angry! Dear friends, don't make me angry!"
K u d r i sh. Yes, save something! Got to the market, that's the end! All the men will be scolded. Even if you ask at a loss, you still won’t leave without a scolding. And then he went for the whole day.
Sh a p k i n. One word: warrior!
K u d r i sh. What a warrior!
B o r and s. But the trouble is when he is offended by such a person whom he does not dare not scold; stay at home here!
K u d r i sh. Fathers! What a laugh! Somehow he was scolded by hussars on the Volga. Here he worked wonders!
B o r and s. And what a home it was! After that, for two weeks everyone hid in attics and closets.
K u l i g and n. What is this? No way, the people moved from Vespers?

Several faces pass at the back of the stage.

K u d r i sh. Let's go, Shapkin, in revelry! What's there to stand?

They bow and leave.

B o r and s. Eh, Kuligin, it is painfully difficult for me here, without a habit. Everyone looks at me somehow wildly, as if I were superfluous here, as if I were disturbing them. I don't know the customs. I understand that all this is our Russian, native, but still I can’t get used to it.
K u l i g and n. And you'll never get used to it, sir.
B o r and s. From what?
K u l i g and n. Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and bare poverty. And we, sir, will never get out of this bark! Because honest labor will never earn us more daily bread. And whoever has money, sir, he 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 the mayor? The peasants came to the mayor to complain that he would not read any of them by the way. The mayor began to say to him: “Listen,” he says, “Savel Prokofich, you count the peasants well! Every day they come to me with a complaint!” Your uncle patted the mayor on the shoulder and said: “Is it worth it, your honor, to talk about such trifles with me! , I have thousands of this, so it is; I feel good!" That's how, sir! And among themselves, sir, how they live! They undermine each other's trade, and not so much out of self-interest, but out of envy. They quarrel with each other; they lure drunken clerks into their tall mansions, such, sir, clerks, that there is no human appearance on him, his human appearance is lost. And those, for a small blessing, on stamp sheets, malicious slander scribble on their neighbors. And they will begin, sir, the court and the case, and there will be no end to the torment. They are suing, they are suing here and they will go to the province, and there they are already expected and from, they splash their hands with joy. Soon the fairy tale is told, but the deed is not soon done; they lead them, they lead, they drag them, they drag them, and they are also happy with this dragging, that's all they need. “I,” he says, “will spend money, and it will become a penny for him.” I wanted to describe all this in verses ...
B o r and s. Are you good at poetry?
K u l i g and n. The old fashioned way, sir. After all, I read Lomonosov, Derzhavin ... Lomonosov was a wise man, a tester of nature ... But also from ours, from a simple title.
B o r and s. You would have written. It would be interesting.
K u l i g and n. How can you, sir! Eat, swallow alive. I already get it, sir, for my chatter; Yes, I can’t, I like to scatter the conversation! Here's something else about family life I wanted to tell you, sir; yes some other time. And also something to listen to.

Feklusha and another woman enter.

F e k l u sh a. Blah-alepie, honey, blah-alepie! Beauty is wondrous! What can I say! Live in the promised land! And the merchants are all pious people, adorned with many virtues! Generosity and alms by many! I'm so happy, so, mother, happy, up to the neck! For our failure to leave them even more bounty will be multiplied, and especially the house of the Kabanovs.

They leave.

B o r and s. Kabanov?
K u l i g and n. Hypnotize, sir! She clothes the poor, but eats the household completely.

Silence.

If only I, sir, could find a perpetual mobile!
B o r and s. What would you do?
K u l i g and n. How, sir! After all, the British give a million; I would use all the money for society, for support. Work must be given to the bourgeoisie. And then there are hands, but there is nothing to work.
B o r and s. Are you hoping to find a perpetuum mobile?
K u l i g and n. Certainly, sir! If only now I could get some money on the model. Farewell, sir! (Exits.)

PHENOMENON FOUR

B o r and s (one). Sorry to disappoint him! What a good man! Dreaming himself - and happy. And I, apparently, will ruin my youth in this slum. After all, I walk completely dead, and then another nonsense climbs into my head! Well, what's up! Should I start tenderness? Driven, beaten, and then foolishly decided to fall in love. Yes, to whom? In a woman with whom you will never even be able to talk! (Silence.) Still, I can't get it out of my head, no matter what you want. Here she is! She goes with her husband, well, and the mother-in-law with them! Well, am I not a fool? Look around the corner and go home. (Exits.)

From the opposite side enter Kabanova, Kabanov, Katerina and Varvara.

FIFTH PHENOMENON

Kabanova, Kabanov, Katerina and Varvara.

K a b a n o v a. If you want to listen to your mother, then when you get there, do as I ordered you.
K a b a n o v. But how can I, mother, disobey you!
K a b a n o v a. There is not much respect for elders these days.
V a r v a ra (to himself). Do not respect you, how!
K a b a n o v. I, it seems, mother, not a step out of your will.
K a b a n o v a. I would believe you, my friend, if I didn’t see with my own eyes and breathe with my own ears, what a reverence for parents from children has now become! If only they remembered how many diseases mothers endure from children.
K a b a n o v. I mama...
K a b a n o v a. If a parent that when and insulting, in your pride, says so, I think it could be transferred! What do you think?
K a b a n o v. But when did I, mother, not endure from you?
K a b a n o v a. Mother is old, stupid; well, and you, smart young people, should not exact from us, fools.
KABANOV (sighing, to the side). Oh you, sir. (To the mother.) Yes, mother, do we dare to think!
K a b a n o v a. After all, out of love, parents are strict with you, out of love they scold you, everyone thinks to teach good. Well, now I don't like it. And the children will go to people to praise that the mother is grumbling, that the mother does not give a pass, she shrinks from the light. And God forbid, you can’t please the daughter-in-law with some word, well, the conversation started that the mother-in-law completely ate.
K a b a n o v. Something, mother, who is talking about you?
K a b a n o v a. I didn’t hear, my friend, I didn’t hear, I don’t want to lie. If only I had heard, I would not have spoken to you, my dear, then. (Sighs.) Oh, a grave sin! That's a long time to sin something! A conversation close to the heart will go on, well, you will sin, get angry. No, my friend, say what you want about me. You won’t order anyone to speak: they won’t dare to face it, they will stand behind your back.
K a b a n o v. Let your tongue dry...
K a b a n o v a. Complete, complete, don't worry! Sin! I have long seen that your wife is dearer to you than your mother. Since I got married, I don’t see the same love from you.
K a b a n o v. What do you see, mother?
K a b a n o v a. Yes, everything, my friend! What a mother cannot see with her eyes, she has a prophetic heart, she can feel with her heart. Al wife takes you away from me, I don’t know.
K a b a n o v. No, mother! What are you, have mercy!
K a t e r i n a. For me, mother, it’s all the same that your own mother, that you, and Tikhon loves you too.
K a b a n o v a. You would, it seems, could be silent, if you are not asked. Do not intercede, mother, I will not offend, I suppose! After all, he is also my son; you don't forget it! What did you jump out in the eyes of something to poke! To see, or what, how you love your husband? So we know, we know, in the eyes of something you prove it to everyone.
V a r v a r a (to himself). Found a place to read.
K a t e r i n a. You are talking about me, mother, in vain. With people, that without people, I'm all alone, I don't prove anything from myself.
K a b a n o v a. Yes, I didn’t want to talk about you; and so, by the way, I had to.
K a t e r i n a. Yes, even by the way, why do you offend me?
K a b a n o v a. Eka important bird! Already offended now.
K a t e r i n a. It’s nice to endure slander!
K a b a n o v a. I know, I know that my words are not to your liking, but what can you do, I am not a stranger to you, my heart aches for you. I have long seen that you want the will. Well, wait, live and be free when I'm gone. Then do what you want, there will be no elders over you. Or maybe you remember me.
K a b a n o v. Yes, we pray to God for you, mother, day and night, that God will give you, mother, health and all prosperity and success in business.
K a b a n o v a. Okay, stop it, please. Maybe you loved your mother while you were single. Do you care about me: you have a young wife.
K a b a n o v. One does not interfere with the other, sir: the wife is in itself, and I have respect for the parent in itself.
K a b a n o v a. So will you trade your wife for your mother? I don't believe this for the rest of my life.
K a b a n o v. Why should I change, sir? I love both.
K a b a n o v a. Well, yes, it is, smear it! I can already see that I'm a hindrance to you.
K a b a n o v. Think as you wish, everything is your will; only I don’t know what kind of unfortunate person I was born into the world that I can’t please you with anything.
K a b a n o v a. What are you pretending to be an orphan? What did you nurse something dismissed? Well, what kind of husband are you? Look at you! Will your wife be afraid of you after that?
K a b a n o v. Why should she be afraid? It's enough for me that she loves me.
K a b a n o v a. Why be afraid! Why be afraid! Yes, you're crazy, right? You will not be afraid, and even more so me. What is the order in the house will be? After all, you, tea, live with her in law. Ali, do you think the law means nothing? Yes, if you keep such stupid thoughts in your head, you would at least not chatter in front of her sister, in front of the girl; she, too, to get married: that way she will hear enough of your chatter, so after that the husband will thank us for science. You see what other mind you have, and you still want to live by your will.
K a b a n o v. Yes, mother, I don’t want to live by my own will. Where can I live with my will!
K a b a n o v a. So, in your opinion, you need all the caress with your wife? And not to shout at her and not to threaten?
K a b a n o v. Yes, mama...
K a b a n o v a (hotly). At least get a lover! A? And this, maybe, in your opinion, is nothing? A? Well, speak!
K a b a n o v. Yes, by God, mama...
KABANOV (quite coolly). Fool! (Sighs.) What a fool to talk about! Only one sin!

Silence.

I'm going home.
K a b a n o v. And we now, only once or twice will pass along the boulevard.
K a b a n o v a. Well, as you wish, only you look so that I don't have to wait for you! You know I don't like it.
K a b a n o v. No, mother, God save me!
K a b a n o v a. That's it! (Exits.)

PHENOMENON SIX

The same, without Kabanova.

K a b a n o v. You see, I always get it for you from my mother! Here is my life!
K a t e r i n a. What am I to blame?
K a b a n o v. Who's to blame, I don't know
V a r v a r a. Where do you know!
K a b a n o v. Then she kept pestering: "Get married, get married, I would at least look at you as a married man." And now he eats food, does not allow passage - everything is for you.
V a r v a r a. So is it her fault? Her mother attacks her, and so do you. And you say you love your wife. I'm bored looking at you! (Turns away.)
K a b a n o v. Interpret here! What am I to do?
V a r v a r a. Know your business - keep quiet if you can't do anything better. What are you standing - shifting? I can see in your eyes what's on your mind.
K a b a n o v. So what?
In a r in a ra. It is known that. I want to go to Savel Prokofich, have a drink with him. What's wrong, right?
K a b a n o v. You guessed it brother.
K a t e r i n a. You, Tisha, come quickly, otherwise mamma will begin to scold again.
V a r v a r a. You are quicker, in fact, otherwise you know!
K a b a n o v. How not to know!
V a r v a r a. We, too, have little desire to accept scolding because of you.
K a b a n o v. I instantly. Wait! (Exits.)

PHENOMENON SEVENTH

Katerina and Barbara.

K a t e r i n a. So you, Varya, pity me?
V a r v a r a (looking to the side). Of course, it's a pity.
K a t e r i n a. So you love me, then? (Kissing her hard.)
V a r v a r a. Why shouldn't I love you.
K a t e r i n a. Well, thank you! You are so sweet, I love you to death myself.

Silence.

Do you know what came to my mind?
V a r v a r a. What?
K a t e r i n a. Why don't people fly?
V a r v a r a. I do not understand what you say.
K a t e r i n a. 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 are drawn to fly. That's how it would have run up, raised its hands and flew. Try something now? (Wants to run.)
V a r v a r a. What are you inventing?
KATERINA (sighing). How frisky I was! I completely screwed up with you.
V a r v a r a. Do you think I can't see?
K a t e r i n a. Was I like that! I lived, did not grieve about anything, like a bird in the wild. Mother did not have a soul in me, dressed me up like a doll, did not force me to work; Whatever I want, I do it. Do you know how I lived in girls? Now I'll tell you. I used to get up early; if it’s summer, I’ll go to the spring, wash myself, bring water with me and that’s it, water all the flowers in the house. I had many, many flowers. Then we’ll go to church with mama, all of them are wanderers - our house was full of wanderers; yes pilgrimage. And we will come from the church, we will sit down for some work, more like gold velvet, and the wanderers will begin to tell: where they were, what they saw, different lives, or they sing poetry. So it's time for lunch. Here the old women lie down to sleep, and I walk in the garden. Then to vespers, and in the evening again stories and singing. That was good!
V a r v a r a. Yes, we have the same thing.
K a t e r i n a. Yes, everything here seems to be out of captivity. And I loved going to church to death! For sure, it used to happen that I would enter paradise and not see anyone, and I don’t remember the time, and I don’t hear when the service was over. Exactly how it all happened in one second. Mom said that everyone used to look at me, what was happening to me. And you know: on a sunny day, such a bright pillar goes down from the dome, and smoke moves in this pillar, like a cloud, and I see, it used to be that angels in this pillar fly and sing. And then, it happened, a girl, I would get up at night - we also had lamps burning everywhere - but somewhere in a corner and pray until the morning. Or, early in the morning, I’ll go into the garden, as soon as the sun rises, 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; so they will find me. And what I prayed for then, what I asked for, I don’t know; I don't need anything, I've had enough of everything. And what dreams I had, Varenka, what dreams! Or golden temples, or some extraordinary gardens, and invisible voices sing, and the smell of cypress, and the mountains and trees seem not to be the same as usual, but as they are written on the images. And the fact that I'm flying, I'm flying through the air. And now sometimes I dream, but rarely, and not that.
V a r v a r a. But what?
KATERINA (after a pause). I will die soon.
V a r v a r a. Completely you!
K a t e r i n a. 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 extraordinary about me. It's like I'm starting to live again, or ... I really don't know.
V a r v a r a. What is the matter with you?
KATERINA (taking her by the hand). And here's what, Varya: to be some kind of sin! Such a fear on me, such a fear on me! It’s as if I’m standing over an abyss and someone is pushing me there, but there’s nothing for me to hold on to. (He grabs his head with his hand.)
V a r v a r a. What happened to you? Are you well?
K a t e r i n a. I'm healthy ... It would be better if I were sick, otherwise it's not good. A dream comes into my head. And I won't leave her anywhere. If I start thinking, I can’t collect my thoughts, I can’t pray, I won’t pray in any way. I babble words with my tongue, but my mind is completely different: it’s as if the evil one is whispering in my ears, but everything about such things is not good. And then it seems to me that I will be ashamed of myself. What happened with me? Before trouble before any it! At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone is talking to me so affectionately, like a dove cooing. I no longer dream, Varya, as before, of paradise trees and mountains, but it’s as if someone is hugging me so hot and hot and leading me somewhere, and I follow him, I go ...
V a r v a r a. Well?
K a t e r i n a. What am I saying to you: you are a girl.
V a r v a r a (looking around). Speak! I'm worse than you.
K a t e r i n a. Well, what can I say? I'm ashamed.
V a r v a r a. Speak, there is no need!
K a t e r i n a. It will make me so stuffy, so stuffy at home, that I would run. And such a thought would come to me that, if it were my will, I would now ride along the Volga, in a boat, with songs, or in a troika on a good one, embracing ...
V a r v a r a. Just not with my husband.
K a t e r i n a. How much do you know?
V a r v a r a. Still not to know.
K a t e r i n a. Ah, Varya, sin is on my mind! How much I, poor thing, cried, what I did not do to myself! I can't get away from this sin. Nowhere to go. After all, this is not good, this is a terrible sin, Varenka, that I love another?
V a r v a r a. Why should I judge you! I have my sins.
K a t e r i n a. What should I do! My strength is not enough. Where should I go; I will do something for myself out of longing!
V a r v a r a. What you! What happened to you! Just wait, my brother will leave tomorrow, we'll think about it; maybe you can see each other.
K a t e r i n a. No, no, don't! What you! What you! Save the Lord!
V a r v a r a. What are you afraid of?
K a t e r i n a. If I see him even once, I will run away from home, I will not go home for anything in the world.
V a r v a r a. But wait, we'll see there.
K a t e r i n a. No, no, and don't tell me, I don't want to listen.
V a r v a r a. And what a hunt to dry something! Even if you die of longing, they will pity you! How about, wait. So what a shame to torture yourself!

The lady enters with a stick and two lackeys in three-cornered hats behind.

PHENOMENON EIGHT

The same and the Lady.

B a r y n i. What beauties? What are you doing here? Are you waiting for the good fellows, gentlemen? Are you having fun? Funny? Does your beauty make you happy? This is where beauty leads. (Points to the Volga.) Here, here, into the very pool.

Barbara smiles.

What are you laughing at! Don't rejoice! (Knocks with a stick.) Everything will burn inextinguishably in the fire. Everything in resin will boil unquenchable. (Leaving.) There, there, where beauty leads! (Exits.)

PHENOMENON NINE

Katerina and Barbara.

K a t e r i n a. Oh, how she frightened me! I tremble all over, as if she were prophesying something to me.
V a r v a r a. On your own head, old hag!
K a t e r i n a. What did she say, huh? What she said?
V a r v a r a. All nonsense. You really need to listen to what she is talking about. She prophesies to everyone. I have sinned all my life since I was young. Ask what they say about her! That's why he's afraid to die. What she fears, scares others. Even all the boys in the city are hiding from her, threatening them with a stick and shouting (mockingly): "You will all burn in fire!"
KATERINA (squeezing her eyes shut). Ah, ah, stop it! My heart sank.
V a r v a r a. There is something to fear! Fool old...
K a t e r i n a. I'm afraid, I'm scared to death. She is all in my eyes.

Silence.

V a r v a r a (looking around). That this brother is not coming, out, no way, the storm is coming.
KATERINA (with horror). Storm! Let's run home! Hurry!
V a r v a r a. What, are you out of your mind? How can you show yourself home without a brother?
K a t e r i n a. No, home, home! God bless him!
V a r v a r a. What are you really afraid of: the storm is still far away.
K a t e r i n a. And if it's far away, then perhaps we'll wait a little; but it would be better to go. Let's go better!
V a r v a r a. Why, if anything happens, you can’t hide at home.
K a t e r i n a. But all the same, it’s better, everything is calmer: at home I go to the images and pray to God!
V a r v a r a. I didn't know you were so afraid of thunderstorms. I'm not afraid here.
K a t e r i n a. How, girl, do not be afraid! Everyone should be afraid. It’s not so terrible that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts. I'm not afraid to die, but when I think that suddenly I will appear before God the way I am here with you, after this conversation, that's what's scary. What's on my mind! What a sin! Terrible to say!

Thunder.

Kabanov enters.

V a r v a r a. Here comes the brother. (To Kabanov.) Run quickly!

Thunder.

K a t e r i n a. Oh! Hurry, hurry!

ACT TWO

A room in the Kabanovs' house.

PHENOMENON FIRST

Glasha (gathers the dress into knots) and Feklusha (enters).

F e k l u sh a. Dear girl, you are still at work! What are you doing sweetie?
glasha. I collect the owner on the road.
F e k l u sh a. Al is going where is our light?
glasha. Rides.
F e k l u sh a. How long, honey, is it going?
glasha. No, not for long.
F e k l u sh a. Well, the tablecloth is dear to him! And what, the hostess will howl or not?
glasha. I don't know how to tell you.
F e k l u sh a. Yes, she howls when?
glasha. Don't hear something.
F e k l u sh a. Painfully I love, dear girl, to listen, if someone howls well.

Silence.

And you, girl, look after the wretched, you wouldn’t pull off anything.
glasha. Whoever understands you, all of you are riveting each other. What's not good for you? It seems that you, strange, don’t have a life with us, but you all quarrel and change your mind. You are not afraid of sin.
F e k l u sh a. It is impossible, mother, without sin: we live in the world. Here's what I'll tell you, dear girl: you, ordinary people, each one embarrasses one enemy, but to us, to strange people, to whom there are six, to whom twelve are assigned; That's what you need to overcome them all. Difficult, dear girl!
glasha. Why do you have so many?
F e k l u sh a. This, mother, is an enemy out of hatred against us that we lead such a righteous life. And I, dear girl, am not absurd, I have no such sin. There is one sin for me for sure, I myself know what it is. I love sweet food. Well, so what! According to my weakness, the Lord sends.
glasha. And you, Feklusha, did you go far?
F e k l u sh a. No, honey. I, due to my weakness, did not go far; and hear - heard a lot. They say that there are such countries, dear girl, where there are no Orthodox tsars, and the Saltans rule the earth. In one land, the Turkish Saltan Mahnut sits on the throne, and in the other, the Persian Saltan Mahnut; and they do judgment, dear girl, on all people, and whatever they judge, everything is wrong. And they, my dear, cannot judge a single case righteously, such is the limit set for them. We have a righteous law, and they, my dear, are unrighteous; that according to our law it turns out that way, but according to theirs everything is the other way around. And all their judges, in their countries, are also all unrighteous; so to them, dear girl, and in requests they write: "Judge me, unjust judge!" And then there is the land where all the people with dog heads.
glasha. Why is it so - with dogs?
F e k l u sh a. For infidelity. I'll go, dear girl, wander around the merchants: will there be something for poverty. Farewell for now!
glasha. Goodbye!

Feklusha leaves.

Here are some other lands! There are no miracles in the world! And we're sitting here, we don't know anything. It's also good that there are good people: no, no, yes, and you will hear what is happening in the world; otherwise they would die like fools.

Enter Katerina and Varvara.

Katerina and Barbara.

V a r v a r a (Glashe). Drag the bundle into the wagon, the horses have arrived. (To Katerina.) You were married when you were young, you didn’t have to walk in the girls: now your heart hasn’t left yet.

Glasha leaves.

K a t e r i n a. And never leaves.
V a r v a r a. Why?
K a t e r i n a. This is how I was born, hot! I was still six years old, no more, so I did it! They offended me with something at home, but it was towards evening, it was already dark; I ran out to the Volga, got into the boat, and pushed it away from the shore. The next morning they already found it, ten miles away!
V a r v a r a. Well, did the guys look at you?
K a t e r i n a. How not to look!
V a r v a r a. What are you? Didn't love anyone?
K a t e r i n a. No, I just laughed.
V a r v a r a. But you, Katya, don't like Tikhon.
K a t e r i n a. No, how not to love! I feel sorry for him very much!
V a r v a r a. No, you do not love. When it's a pity, you don't love it. And no, you have to tell the truth. And you're hiding from me in vain! I noticed a long time ago that you love another person.
KATERINA (with fright). What did you notice?
V a r v a r a. How funny you say! I'm small, right? Here is the first sign for you: as soon as you see him, your whole face will change.

Katherine lowers her eyes.

Is it a little...
KATERINA (looking down). Well, who?
V a r v a r a. But you yourself know what to call something?
K a t e r i n a. No, call me. Call by name!
V a r v a r a. Boris Grigorych.
K a t e r i n a. Well, yes, him, Varenka, him! Only you, Varenka, for God's sake...
V a r v a r a. Well, here's more! You yourself, look, do not let it slip somehow.
K a t e r i n a. I can't lie, I can't hide anything.
V a r v a r a. Well, but without this it is impossible; remember where you live! Our house is based on that. And I was not a liar, but I learned when it became necessary. I walked yesterday, so I saw him, talked to him.
KATERINA (after a short silence, looking down). Well, so what?
V a r v a r a. I ordered you to bow. It's a pity, he says that there is nowhere to see each other.
KATERINA (loosing still more). Where to see you! And why...
V a r v a r a. Boring like that.
K a t e r i n a. Don't tell me about him, do me a favor, don't tell me! I don't want to know him! I will love my husband. Tisha, my dear, I won’t exchange you for anyone! I didn't even want to think about it, and you're embarrassing me.
V a r v a r a. Don't think, who's forcing you?
K a t e r i n a. You don't feel sorry for me! You say: don't think, but remind yourself. Do I want to think about it? But what to do, if it doesn’t get out of your head. Whatever I think about, it's right there in front of my eyes. And I want to break myself, but I can not in any way. Do you know that the enemy troubled me again tonight. After all, I had left home.
V a r v a r a. You're kind of tricky, God bless you! But in my opinion: do what you want, if only it was sewn and covered.
K a t e r i n a. I don't want that. Yes, and what a good thing! I'd rather endure as long as I endure.
V a r v a r a. And if you don't, what are you going to do?
K a t e r i n a. What will I do?
V a r v a r a. Yes, what will you do?
K a t e r i n a. Whatever I want, I'll do it.
V a r v a r a. Do it, try it, they'll get you here.
K a t e r i n a. What to me! I'm leaving, and I was.
V a r v a r a. Where will you go? You are a husband's wife.
K a t e r i n a. Eh, Varya, you don't know my character! Of course, God forbid! And if it gets too cold for me here, they won't hold me back by any force. I'll throw myself out the window, I'll throw myself into the Volga. I don’t want to live here, so I won’t, even if you cut me!

Silence.

V a r v a r a. You know what, Katya! As soon as Tikhon leaves, let's sleep in the garden, in the arbor.
K a t e r i n a. Why, Varya?
V a r v a r a. Is there something that doesn't matter?
K a t e r i n a. I'm afraid to spend the night in an unfamiliar place,
V a r v a r a. What to be afraid of! Glasha will be with us.
K a t e r i n a. Everything is kind of shy! Yes, I probably.
V a r v a r a. I wouldn’t call you, but my mother won’t let me in alone, but I need to.
KATERINA (looking at her). Why do you need?
V a r v a r a (laughs). We will tell fortunes with you there.
K a t e r i n a. You're kidding, must be?
V a r v a r a. You know, I'm joking; and is it really?

Silence.

K a t e r i n a. Where is this Tikhon?
V a r v a r a. What is he to you?
K a t e r i n a. No, I am. After all, it's coming soon.
V a r v a r a. They sit locked up with their mother. She sharpens it now, like rusting iron.
K a t e r i n. For what?
V a r v a r a. For nothing, so, teaches mind-reason. Two weeks on the road will be a secret matter. Judge for yourself! Her heart is aching that he walks of his own free will. Now she is giving him orders, one more menacing than the other, and then she will lead him to the image, make him swear that he will do everything exactly as ordered.
K a t e r i n a. And at will, he seems to be bound.
V a r v a r a. Yes, how connected! As soon as he leaves, he will drink. He is now listening, and he himself is thinking how he could break out as soon as possible.

Enter Kabanova and Kabanov.

The same, Kabanova and Kabanov.

K a b a n o v a. Well, you remember everything I told you. Look, remember! Kill yourself on the nose!
K a b a n o v. I remember, mother.
K a b a n o v a. Well, now everything is ready. The horses have arrived. Forgive you only, and with God.
K a b a n o v. Yes, mama, it's time.
K a b a n o v a. Well!
K a b a n o v. What do you want, sir?
K a b a n o v a. Why are you standing, haven't you forgotten the order? Tell your wife how to live without you.

Catherine rolled her eyes.

K a b a n o v. Yes, she, tea, knows herself.
K a b a n o v a. Talk more! Well, well, give orders. So that I can hear what you order her! And then you come and ask if everything is done right.
KABANOV (standing up against Katerina). Listen to your mother, Katya!
K a b a n o v a. Tell her not to be rude to her mother-in-law.
K a b a n o v. Do not be rude!
K a b a n o v a. To honor the mother-in-law as her own mother!
K a b a n o v. Honor, Katya, mother, as your own mother.
K a b a n o v a. So that she does not sit idly by, like a lady.
K a b a n o v. Do something without me!
K a b a n o v a. So that you don’t stare out the windows!
K a b a n o v. Yes, mother, when will she...
K a b a n o v a. Oh well!
K a b a n o v. Don't look out the windows!
K a b a n o v a. So that I don’t look at young guys without you.
K a b a n o v. What is it, mother, by God!
K a b a n o v a (strictly). There is nothing to break! You must do what your mother says. (With a smile.) It's getting better, as ordered.
Kabanov (embarrassed). Don't look at guys!

Katerina looks at him sternly.

K a b a n o v a. Well, now talk among yourselves, if necessary. Let's go, Barbara!

They leave.

Kabanov and Katerina (standing, as if in a daze).

K a b a n o v. Kate!

Silence.

Katya, are you angry with me?
KATERINA (after a short silence, shakes her head). No!
K a b a n o v. What are you? Well, forgive me!
KATERINA (still in the same state, shaking her head). God be with you! (Hiding her face with her hand.) She offended me!
K a b a n o v. Take everything to heart, so you will soon fall into consumption. Why listen to her! She needs to say something! Well, let her say, and you miss the deaf ears, Well, goodbye, Katya!
KATERINA (throwing herself around her husband's neck). Hush, don't leave! For God's sake, don't leave! Dove, I beg you!
K a b a n o v. You can't, Katya. If mother sends, how can I not go!
K a t e r i n a. Well, take me with you, take me!
KABANOV (freeing himself from her embrace). Yes, you can't.
K a t e r i n a. Why, Tisha, not?
K a b a n o v. Where is it fun to go with you! You've got me here completely! I don't know how to break out; and you're still messing with me.
K a t e r i n a. Have you fallen out of love with me?
K a b a n o v. Yes, I didn’t stop loving, but with a sort of bondage, you will run away from whatever beautiful wife you want! Think about it: no matter what, I'm still a man; live like this all your life, as you see, you will also run away from your wife. Yes, as I know now that there will be no thunderstorm over me for two weeks, there are no shackles on my legs, so am I up to my wife?
K a t e r i n a. How can I love you when you say such words?
K a b a n o v. Words like words! What other words can I say! Who knows what you're afraid of? After all, you are not alone, you stay with your mother.
K a t e r i n a. Don't talk to me about her, don't tyrannize my heart! Oh, my misfortune, my misfortune! (Cries.) Where can I, poor thing, go? Who can I grab onto? My fathers, I am dying!
K a b a n o v. Yes, you are full!
KATERINA (goes up to her husband and clings to him). Tisha, my dear, if you would stay or take me with you, how I would love you, how I would love you, my dear! (caresses him.)
K a b a n o v. I will not understand you, Katya! You won’t get a word from you, let alone affection, otherwise you climb yourself.
K a t e r i n a. Silence, who are you leaving me to! Be in trouble without you! The fat is in the fire!
K a b a n o v. Well, you can't, there's nothing to do.
K a t e r i n a. Well, so that's it! Take some terrible oath from me...
K a b a n o v. What oath?
K a t e r i n a. Here’s the one: so that I wouldn’t dare to talk to anyone else without you, or see anyone else, so that I wouldn’t even dare to think about anyone but you.
K a b a n o v. Yes, what is it for?
K a t e r i n a. Calm my soul, do such a favor for me!
K a b a n o v. How can you vouch for yourself, you never know what can come to mind.
KATERINA (Falling to her knees). So as not to see me neither father nor mother! Die me without repentance if I...
KABANOV (lifting her up). What you! What you! What a sin! I don't want to listen!

The same ones, Kabanova, Varvara and Glasha.

K a b a n o v a. Well, Tikhon, it's time. Ride with God! (Sits down.) Sit down everyone!

Everyone sits down. Silence.

Well, goodbye! (Rises and everyone rises.)
KABANOV (going up to his mother). Farewell, mother! Kabanova (gesturing to the ground). To the feet, to the feet!

Kabanov bows at his feet, then kisses his mother.

Say goodbye to your wife!
K a b a n o v. Farewell, Katya!

Katerina throws herself on his neck.

K a b a n o v a. What are you hanging around your neck, shameless! Don't say goodbye to your lover! He is your husband - the head! Al order do not know? Bow down at your feet!

Katerina bows at her feet.

K a b a n o v. Farewell, sister! (Kissing Varvara.) Farewell, Glasha! (Kissing Glasha.) Farewell, mother! (Bows.)
K a b a n o v a. Goodbye! Far wires - extra tears.

Kabanov leaves, followed by Katerina, Varvara and Glasha.

K a b a n o v a (one). What does youth mean? It's funny to even look at them! If it weren't for her, she would have laughed to her heart's content: they don't know anything, there's no order. They don't know how to say goodbye. It’s good, whoever has elders in the house, they keep the house while they are alive. And after all, too, stupid, they want to do their own thing; but when they go free, they get confused in obedience and laughter to good people. Of course, who will regret it, but most of all they laugh. Yes, it’s impossible not to laugh: they will invite guests, they don’t know how to seat, and besides, look, they will forget one of their relatives. Laughter, and more! So that's the old something and displayed. I don't want to go to another house. And if you go up, you will spit, but get out more quickly. What will happen, how the old people will die, how the light will stand, I don’t know. Well, at least it's good that I don't see anything.

Enter Katerina and Varvara.

Kabanova, Katerina and Varvara.

K a b a n o v a. You boasted that you love your husband very much; I see your love now. Another good wife, after seeing her husband off, howls for an hour and a half, lies on the porch; and you see nothing.
K a t e r i n a. Nothing! Yes, I can't. What to make people laugh!
K a b a n o v a. The trick is small. If I loved, so I would have learned. If you don’t know how to do it, you could at least make this example; still more decent; and then, apparently, in words only. Well, I'll go pray to God, don't bother me.
V a r v a r a. I'll go from the yard.
K a b a n o v a (affectionately). What about me! Go! Walk until your time comes. Still enjoy!

Exeunt Kabanova and Varvara.

KATERINA (alone, thoughtfully). Well, now silence will reign in your house. Ah, what a bore! At least someone's children! Eco grief! I don’t have children: I would still sit with them and amuse them. I love talking to children very much - they are angels, after all. (Silence.) If I had died a little, it would have been better. I would look from heaven to earth and rejoice in everything. And then she would fly invisibly wherever she wanted. I would fly into the field and fly from cornflower to cornflower in the wind, like a butterfly. (Thinks.) But here's what I'll do: I'll start some work according to the promise; I will go to the Gostiny Dvor, buy canvas, and I will sew linen, and then I will distribute it to the poor. They pray to God for me. So we’ll sit down to sew with Varvara and we won’t see how time passes; And then Tisha will arrive.

Barbara enters.

Katerina and Barbara.

V a r v a ra (covers his head with a handkerchief in front of a mirror). I'll go for a walk now; and Glasha will make beds for us in the garden, mother allowed. In the garden, behind the raspberries, there is a gate, her mother locks it, and hides the key. I took it away, and put another one on her so that she wouldn't notice. Here, you may need it. (Gives the key.) If I see it, I'll tell you to come to the gate.
KATERINA (pushing away the key with fright). For what! For what! Don't, don't!
V a r v a r a. You don't need, I need; take it, it won't bite you.
K a t e r i n a. What are you up to, you sinner! Is it possible! Did you think! What you! What you!
V a r v a r a. Well, I don't like to talk a lot, and I don't have time either. It's time for me to walk. (Exits.)

PHENOMENON TENTH

KATERINA (alone, holding the key in her hands). What is she doing? What is she thinking? Ah, crazy, really crazy! Here is death! Here she is! Throw him away, throw him far away, throw him into the river, so that they will never be found. He burns his hands like coal. (Thinking.) This is how our sister dies. In captivity, someone has fun! Few things come to mind. The case came out, the other is glad: so headlong and rush. And how is it possible without thinking, without judging something! How long to get into trouble! And there you cry all your life, suffer; bondage will seem even more bitter. (Silence.) But bondage is bitter, oh, how bitter! Who does not cry from her! And most of all, we women. Here I am now! I live, toil, I don’t see a light for myself. Yes, and I will not see, know! What's next is worse. And now this sin is on me. (Thinks.) If it wasn't for my mother-in-law!.. She crushed me... she made me sick of the house; the walls are even disgusting, (Looks thoughtfully at the key.) Throw it away? Of course you have to quit. And how did he get into my hands? To temptation, to my ruin. (Listens.) Ah, someone is coming. So my heart sank. (Hides the key in his pocket.) No! .. Nobody! That I was so scared! And she hid the key ... Well, you know, there he should be! Apparently, fate itself wants it! But what a sin in this, if I look at him once, at least from a distance! Yes, even though I’ll talk, it’s not a problem! But what about my husband! .. Why, he himself did not want to. Yes, maybe such a case will never happen again in a lifetime. Then cry to yourself: there was a case, but I didn’t know how to use it. Why am I saying that I am deceiving myself? I have to die to see him. To whom am I pretending! .. Throw the key! No, not for anything! He's mine now... Come what may, I'll see Boris! Oh, if only the night would come sooner!..

ACT THREE

SCENE ONE

Street. The gate of the Kabanovs' house, there is a bench in front of the gate.

PHENOMENON FIRST

Kabanova and Feklusha (sitting on a bench).

F e k l u sh a. The last times, mother Marfa Ignatievna, the last, according to all signs, the last. You also have paradise and silence in your city, but in other cities it’s so simple sodom, mother: noise, running around, incessant driving! The people are just scurrying about, one there, the other here.
K a b a n o v a. We have nowhere to hurry, dear, we live slowly.
F e k l u sh a. No, mother, that’s why you have silence in the city, because many people, if only to take you, are decorated with virtues, like flowers: that’s why everything is done coolly and decently. After all, this running around, mother, what does it mean? After all, this is vanity! For example, in Moscow: people are running back and forth, it is not known why. Here it is the vanity. Vain people, mother Marfa Ignatievna, so they run around. It seems to him that he is running after business; in a hurry, poor man, he does not recognize people; it seems to him that someone is beckoning him, but he will come to the place, but it is empty, there is nothing, there is only one dream. And he will go in sorrow. And another imagines that he is catching up with someone he knows. From the outside, a fresh person now sees that there is no one; but to him everything seems to be from the vanity that he catches up with. It's vanity, because it seems to be foggy. Here, on such a fine evening, it is rare for anyone to come out of the gate to sit; and in Moscow now there are amusement and games, and through the streets there is an Indo roar, there is a groan. Why, mother Marfa Ignatievna, they began to harness the fiery serpent: everything, you see, for the sake of speed.
K a b a n o v a. I heard, honey.
F e k l u sh a. And I, mother, saw it with my own eyes; of course, others don’t see anything from the fuss, so he shows them a machine, they call him a machine, and I saw how he does something like this (spreads his fingers) with his paws. Well, and the groan that people of a good life hear like that.
K a b a n o v a. You can call it in every possible way, perhaps, at least call it a machine; people are stupid, they will believe everything. And even if you shower me with gold, I won’t go.
F e k l u sh a. What an extreme, mother! Save the Lord from such misfortune! And here's another thing, mother Marfa Ignatievna, I had a vision in Moscow. I walk early in the morning, it’s still a little dawning, and I see, on a tall, tall house, on the roof, someone is standing, his face is black. You know who. And he does it with his hands, as if pouring something, but nothing is pouring. Then I guessed that it was he who was shedding tares, and in the daytime, in his vanity, he would invisibly pick up the people. That’s why they run like that, that’s why their women are all so thin, they can’t work up their bodies in any way, but it’s as if they have lost something or are looking for something: there is sadness in their face, even a pity.
K a b a n o v a. Anything is possible, my dear! In our times, what to marvel at!
F e k l u sh a. Hard times, mother Marfa Ignatievna, hard times. Already, time began to come to belittlement.
K a b a n o v a. How so, my dear, in derogation?
F e k l u sh a. Of course, not we, where should we notice something in the hustle and bustle! But smart people notice that our time is getting shorter. It used to be that summer and winter dragged on and on, you couldn’t wait until they were over; and now you will not see how they fly by. Days and hours seem to have remained the same, but time, for our sins, is getting shorter and shorter. That's what smart people say.
K a b a n o v a. And worse than that, my dear, it will be.
F e k l u sh a. We just don't want to live to see this.
K a b a n o v a. Maybe we'll live.

Dikoy enters.

K a b a n o v a. What are you, godfather, wandering around so late?
D i k o y. And who will forbid me!
K a b a n o v a. Who will forbid! Who needs!
D i k o y. Well, then, there is nothing to talk about. What am I, under the command, or what, from whom? Are you still here! What the hell is a merman here!..
K a b a n o v a. Well, don't open your throat very much! Find me cheaper! And I love you! Go on your way, where you went. Let's go home, Feklusha. (Rises.)
D i k o y. Stop, motherfucker, stop! Do not be angry. You will still have time to be at home: your house is not far off. Here he is!
K a b a n o v a. If you are at work, do not yell, but speak plainly.
D i k o y. Nothing to do, and I'm drunk, that's what.
K a b a n o v a. Well, now you will order me to praise you for this?
D i k o y. Neither praise nor scold. And that means I'm crazy. Well, it's over. Until I wake up, I can't fix this.
K a b a n o v a. So go to sleep!
D i k o y. Where will I go?
K a b a n o v a. Home. And then where!
D i k o y. What if I don't want to go home?
K a b a n o v a. Why is this, may I ask you?
D i k o y. But because I have a war going on there.
K a b a n o v a. Who is there to fight? After all, you are the only warrior there.
D i k o y. Well, then, what am I a warrior? Well, what of this?
K a b a n o v a. What? Nothing. And the honor is not great, because you have been fighting with the women all your life. That's what.
D i k o y. Well, then, they must submit to me. And then I, or something, I will submit!
K a b a n o v a. I marvel at you a lot: there are so many people in your house, but they can’t please you for one.
D i k o y. Here you go!
K a b a n o v a. Well, what do you want from me?
D i k o y. Here's what: talk to me so that my heart passes. You're the only one in the whole city who knows how to talk to me.
K a b a n o v a. Go, Feklushka, tell me to cook something to eat.

Feklusha leaves.

Let's go to rest!
D i k o y. No, I won't go to the chambers, I'm worse in the chambers.
K a b a n o v a. What made you angry?
D i k o y. Since the very morning.
K a b a n o v a. They must have asked for money.
D i k o y. Precisely agreed, damned; either one or the other sticks all day long.
K a b a n o v a. It must be, if they come.
D i k o y. I understand this; what are you going to tell me to do with myself when my heart is like that! After all, I already know what I need to give, but I can’t do everything with good. You are my friend, and I must give it back to you, but if you come and ask me, I will scold you. I will give, I will give, but I will scold. Therefore, just give me a hint about money, my whole interior will be kindled; it kindles the whole interior, and that’s all; well, and in those days I would not scold a person for anything.
K a b a n o v a. There are no elders above you, so you are swaggering.
D i k o y. No, you, godfather, shut up! You listen! Here are the stories that happened to me. I was talking about something great about fasting, and then it’s not easy and slip a little peasant in: he came for money, he carried firewood. And brought him to sin at such a time! He sinned after all: he scolded, so scolded that it was impossible to demand better, almost nailed him. Here it is, what a heart I have! After asking for forgiveness, he bowed at his feet, right. Truly I tell you, I bowed at the peasant's feet. This is what my heart brings me to: here in the yard, in the mud, I bowed to him; bowed to him in front of everyone.
K a b a n o v a. Why are you bringing yourself into your heart on purpose? This, mate, is not good.
D i k o y. How so on purpose?
K a b a n o v a. I saw it, I know. You, if you see that they want to ask you for something, you will take it from your own on purpose and attack someone to get angry; because you know that no one will go to you angry. That's it, godfather!
D i k o y. Well, what is it? Who does not feel sorry for their own good!

Glasha enters.

glasha. Marfa Ignatyevna, it's time to have a bite to eat, please!
K a b a n o v a. Well, mate, come on in. Eat what God sent.
D i k o y. Perhaps.
K a b a n o v a. Welcome! (He lets Diky go ahead and goes after him.)

Glasha, with folded arms, stands at the gate.

glasha. No way. Boris Grigorievich is coming. Isn't it for your uncle? Does Al walk like that? It must be walking.

Boris enters.

Glasha, Boris, then K u l and g and n.

B o r and s. Don't you have an uncle?
glasha. We have. Do you need, or what, him?
B o r and s. They sent from home to find out where he was. And if you have it, then let it sit: who needs it. At home, they are glad-radehonki that he left.
glasha. Our mistress would have been behind him, she would have stopped him soon. What am I, a fool, standing with you! Goodbye. (Exits.)
B o r and s. Oh you, Lord! Just take a look at her! You cannot enter the house: the uninvited do not go here. That's life! We live in the same city, almost nearby, but we see each other once a week, and then in church or on the road, that's all! Here that she got married, that they buried - it doesn't matter.

Silence.

I wish I hadn't seen her at all: it would have been easier! And then you see in fits and starts, and even in front of people; a hundred eyes are looking at you. Only the heart breaks. Yes, and you can’t cope with yourself in any way. You go for a walk, but you always find yourself here at the gate. And why do I come here? You can never see her, and, perhaps, what kind of conversation will come out, you will introduce her into trouble. Well, I got to the town! (Goes, Kuligin meets him.)
K u l i g and n. What, sir? Would you like to play?
B o r and s. Yes, I'm walking myself, the weather is very good today.
K u l i g and n. Very well, sir, take a walk now. Silence, the air is excellent, because of the Volga, the meadows smell of flowers, the sky is clear ...

The abyss has opened, full of stars,
There is no number of stars, the abyss has no bottom.

Let's go, sir, to the boulevard, not a soul is there.
B o r and s. Let's go!
K u l i g and n. That's what, sir, we have a small town! They made a boulevard, but they don't walk. They walk only on holidays, and then they do one kind of walking, and they themselves go there to show their outfits. You will only meet a drunken clerk, trudging home from the tavern. There is no time for the poor to walk, sir, they have work day and night. And they only sleep three hours a day. And what do the rich do? Well, what would it seem, they do not walk, do not breathe fresh air? So no. Everyone's gates, sir, have been locked for a long time, and the dogs have been lowered ... Do you think they are doing business or praying to God? No, sir. And they don’t lock themselves up from thieves, but so that people don’t see how they eat their own home and tyrannize their families. And what tears flow behind these locks, invisible and inaudible! What can I say, sir! You can judge by yourself. And what, sir, behind these locks is the debauchery of the dark and drunkenness! Everything is sewn and covered - no one sees or knows anything, only God sees! You, he says, look, in people I am yes on the street, but you don’t care about my family; to this, he says, I have locks, yes constipation, and angry dogs. The family, they say, is a secret, a secret! We know these secrets! From these secrets, sir, he alone is cheerful, and the rest howl like a wolf. And what's the secret? Who does not know him! To rob orphans, relatives, nephews, beat up the household so that they would not dare to squeak about anything that he does there. That's the whole secret. Well, God bless them! Do you know, sir, who walks with us? Young boys and girls. So these people steal an hour or two from sleep, well, they walk in pairs. Yes, here's a couple!

Kudryash and Varvara appear. They kiss.

B o r and s. They kiss.
K u l i g and n. We don't need it.

Curly leaves, and Varvara approaches her gate and beckons Boris. He fits.

Boris, Kuligin and Varvara.

K u l i g and n. I, sir, will go to the boulevard. What's stopping you? I'll wait there.
B o r and s. Okay, I'll be right there.

K u l and g and n leaves.

V a r v a ra (covering himself with a handkerchief). Do you know the ravine behind the Boar Garden?
B o r and s. I know.
V a r v a r a. Come there early.
B o r and s. For what?
V a r v a r a. What a fool you are! Come, you'll see why. Well, hurry up, they are waiting for you.

Boris leaves.

Didn't know after all! Let him think now. And I already know that Katerina will not bear it, she will jump out. (Goes out the gate.)

SCENE TWO

Night. A ravine covered with bushes; upstairs - the fence of the Kabanovs' garden and the gate; above is a path.

PHENOMENON FIRST

K u d r i sh (enters with a guitar). There is no one. Why is she there! Well, let's sit and wait. (Sits down on a stone.) Let's sing a song out of boredom. (Sings.)

Like a Don Cossack, a Cossack led a horse to water,
Good fellow, he is already standing at the gate.
Standing at the gate, he thinks himself
Duma thinks how he will destroy his wife.
Like a wife, a wife prayed to her husband,
In a hurry, she bowed to him:
"You, father, are you a dear friend of the heart!
You do not beat, do not ruin me from the evening!
You kill, ruin me from midnight!
Let my little kids sleep
Little kids, all the neighbors."

Boris enters.

Kudryash and Boris.

K u dr i sh (stops singing). Look you! Humble, humble, but also went on a rampage.
B o r and s. Curly, is that you?
K u d r i sh. I am Boris Grigoryevich!
B o r and s. Why are you here?
K u d r i sh. Am I? Therefore, I need it, Boris Grigorievich, if I'm here. I wouldn't go if I didn't have to. Where is God taking you?
BORS (looks around the area). Here's the thing, Curly: I ought to stay here, but I don't think you care, you can go somewhere else.
K u d r i sh. No, Boris Grigoryevich, I see you are here for the first time, but I already have a familiar place here and the path I have trodden. I love you, sir, and I am ready for any service to you; and on this path you do not meet with me at night, so that, God forbid, no sin has happened. Deal is better than money.
B o r and s. What's wrong with you, Vanya?
K u d r i sh. Yes, Vanya! I know that I am Vanya. And you go your own way, that's all. Get yourself one, and go for a walk with her, and no one cares about you. Don't touch strangers! We don’t do that, otherwise the guys will break their legs. I'm for mine ... Yes, I don't know what I'll do! I'll cut my throat.
B o r and s. In vain you are angry; I don't even have a mind to beat you. I wouldn't have come here if I hadn't been told to.
K u d r i sh. Who ordered?
B o r and s. I didn't understand, it was dark. Some girl stopped me on the street and told me to come here, behind the Kabanovs' garden, where the path is.
K u d r i sh. Who would it be?
B o r and s. Listen, Curly. Can I talk to you to your heart's content, won't you chat?
K u d r i sh. Speak up, don't be afraid! All I have is dead.
B o r and s. I know nothing here, neither your orders, nor your customs; and the thing is...
K u d r i sh. Did you love who?
B o r and s. Yes, Curly.
K u d r i sh. Well, that's nothing. We are loose about this. Girls walk around as they want, father and mother do not care. Only the women are locked up.
B o r and s. That's my grief.
K u d r i sh. So did you really love a married woman?
B o r and s. Married, Curly.
K u d r i sh. Eh, Boris Grigorievich, stop the nasty!
B o r and s. It's easy to say quit! It may not matter to you; you leave one and find another. And I can't! If I love...
K u d r i sh. After all, that means you want to ruin her completely, Boris Grigoryevich!
B o r and s. Save, Lord! Save me, Lord! No, Curly, how can you. Do I want to kill her! I just want to see her somewhere, I don't need anything else.
K u d r i sh. How, sir, to vouch for yourself! And after all here what people! You know. They will eat them, they will hammer them into the coffin.
B o r and s. Oh, don't say that, Curly, please don't scare me!
K u d r i sh. Does she love you?
B o r and s. Don't know.
K u d r i sh. Did you see each other when or not?
B o r and s. I once only visited them with my uncle. And then I see in the church, we meet on the boulevard. Oh, Curly, how she prays if only you looked! What an angelic smile on her face, but from her face it seems to glow.
K u d r i sh. So this is young Kabanova, or what?
B o r and s. She is Curly.
K u d r i sh. Yes! So that's it! Well, we have the honor to congratulate!
B o r and s. With what?
K u d r i sh. Yes, how! It means that things are going well for you, if you were ordered to come here.
B o r and s. Is that what she said?
K u d r i sh. And then who?
B o r and s. No, you're kidding! This cannot be. (Grabs his head.)
K u d r i sh. What's wrong with you?
B o r and s. I'm going crazy with joy.
K u d r i sh. Botha! There is something to go crazy! Only you look - don’t make trouble for yourself, and don’t get her into trouble either! Suppose, even though her husband is a fool, but her mother-in-law is painfully fierce.

Barbara comes out of the gate.

The same Varvara, then Katerina.

V a r v a ra (at the gate he sings).

Across the river, behind the fast one, my Vanya walks,
My Vanyushka is walking there ...

K u dr i sh (continues).

The goods are purchased.

(Whistling.)
VARVARA (goes down the path and, covering his face with a handkerchief, goes up to Boris). You boy, wait. Expect something. (Curly.) Let's go to the Volga.
K u d r i sh. Why are you taking so long? Wait for you more! You know what I don't like!

Varvara hugs him with one arm and leaves.

B o r and s. It's like I'm dreaming! This night, songs, goodbye! They walk hugging. This is so new to me, so good, so fun! So I'm waiting for something! And what I'm waiting for - I don't know, and I can't imagine; only the heart beats and every vein trembles. I can’t even think of what to say to her now, it takes her breath away, her knees bend! That's when my stupid heart boils suddenly, nothing can calm it down. Here goes.

Katerina quietly descends the path, covered with a large white shawl, her eyes downcast on the ground.

Is that you, Katerina Petrovna?

Silence.

I don't know how to thank you.

Silence.

If only you knew, Katerina Petrovna, how much I love you! (Tries to take her hand.)
KATERINA (with fright, but without raising her eyes). Don't touch, don't touch me! Ahah!
B o r and s. Do not be angry!
K a t e r i n. Get away from me! Go away, damned man! Do you know: after all, I will not beg for this sin, I will never beg! After all, he will lie like a stone on the soul, like a stone.
B o r and s. Don't chase me!
K a t e r i n a. Why did you come? Why did you come, my destroyer? After all, I'm married, because my husband and I live to the grave!
B o r and s. You told me to come...
K a t e r i n a. Yes, you understand me, you are my enemy: after all, to the grave!
B o r and s. I'd rather not see you!
KATERINA (with emotion). What am I cooking for myself? Where do I belong, you know?
B o r and s. Calm down! (Takes them by the hand.) Sit down!
K a t e r i n a. Why do you want my death?
B o r and s. How can I want your death when I love you more than anything in the world, more than myself!
K a t e r i n a. No no! You ruined me!
B o r and s. Am I a villain?
KATERINA (shaking her head). Lost, ruined, ruined!
B o r and s. God save me! Let me die myself!
K a t e r i n a. Well, how did you not ruin me, if I, leaving the house, go to you at night.
B o r and s. It was your will.
K a t e r i n a. I have no will. If I had my own will, I would not go to you. (Raises her eyes and looks at Boris.)

A little silence.

Your will is over me now, can't you see! (Throws herself around his neck.)
BORS (embracing Katerina). My life!
K a t e r i n a. You know? Now I suddenly want to die!
B o r and s. Why die if we live so well?
K a t e r i n a. No, I can't live! I already know not to live.
B o r and s. Please don't say such words, don't make me sad...
K a t e r i n a. Yes, you feel good, you are a free Cossack, and I! ..
B o r and s. No one will know about our love. Can't I pity you?
K a t e r i n a. E! Why feel sorry for me, no one is to blame - she herself went for it. Don't be sorry, kill me! Let everyone know, let everyone see what I'm doing! (Hugs Boris.) If I'm not afraid of sin for you, will I be afraid of human judgment? They say it's even easier when you endure for some sin here on earth.
B o r and s. Well, what to think about it, since we are good now!
K a t e r i n a. And then! Think about it and cry, I still have time at my leisure.
B o r and s. And I was frightened; I thought you would drive me away.
KATERINA (smiling). Drive away! Where is it! With our heart! If you hadn't come, I think I would have come to you myself.
B o r and s. I didn't know that you love me.
K a t e r i n a. I love for a long time. As if to sin you came to us. When I saw you, I didn't feel like myself. From the very first time, it seems that if you had beckoned me, I would have followed you; even if you go to the ends of the world, I would follow you and not look back.
B o r and s. How long has your husband been away?
Katerina. For two weeks.
B o r and s. Oh, so we walk! Time is enough.
K a t e r i n. Let's take a walk. And there ... (thinks) how they will lock it up, here is death! If they don't lock me up, I'll find a chance to see you!

Enter Kudryash and Varvara.

The same, Kudryash and Varvara.

V a r v a r a. Well, did you get it right?

Katerina hides her face in Boris's chest.

B o r and s. We did it.
V a r v a r a. Let's go for a walk, and we'll wait. When necessary, Vanya will shout.

Boris and Katerina leave. Curly and Varvara sit down on a rock.

K u d r i sh. And you came up with this important thing, to climb into the garden gate. It is very capable for our brother.
V a r v a r a. All I.
K u d r i sh. To take you to it. And the mother is not enough?
V a r v a r a. E! Where is she! It won't hit her in the forehead either.
K u d r i sh. Well, for sin?
V a r v a r a. Her first dream is strong; here in the morning, so he wakes up.
K u d r i sh. But how do you know! Suddenly, a difficult one will lift her.
V a r v a r a. Well, so what! We have a gate that is from the yard, locked from the inside, from the garden; knock, knock, and so it goes. And in the morning we will say that we slept soundly, did not hear. Yes, and Glasha guards; just a little, she will now give a voice. You can't be without fear! How is it possible! Look, you're in trouble.

Curly takes a few chords on the guitar. Varvara lies close to Kudryash's shoulder, who, not paying attention, plays softly.

V a r v a r a (yawning). How would you know what time it is?
K u d r i sh. First.
V a r v a r a. How much do you know?
K u d r i sh. The watchman beat the board.
V a r v a r a (yawning). It's time. Shout out. Tomorrow we will leave early, so we will walk more.
K u drya sh (whistles and sings loudly).

All home, all home
And I don't want to go home.

B o r and s (behind the scenes). I hear!
V a r v a r a (gets up). Well, goodbye. (Yawns, then kisses coldly, as if he had known him for a long time.) Tomorrow, look, come early! (Looks in the direction where Boris and Katerina went.) If you say goodbye, you won’t part forever, see you tomorrow. (Yawns and stretches.)

Katerina runs in, followed by Boris.

Kudryash, Varvara, Boris and Katerina.

K a terina (Varvara). Well, let's go, let's go! (They go up the path. Katerina turns around.) Farewell.
B o r and s. Till tomorrow!
K a t e r i n a. Yes, see you tommorow! What do you see in a dream, tell me! (Approaches the gate.)
B o r and s. Certainly.
K u d r i sh (sings to the guitar).

Walk, young, for the time being,
Until evening until dawn!
Ay leli, for the time being,
Until evening until dawn.

V a r v a r a (at the gate).

And I, young, for the time being,
Until morning until dawn,
Ay leli, for the time being,
Until morning until dawn!

They leave.

K u d r i sh.

How the dawn started
And I got up home ... and so on.