Analysis of Katerina's monologue action 5 phenomenon 2. The deep meaning of Katerina's monologues, the main character of the play A

In the work of A.N. Ostrovsky "Thunderstorm" the scene with the key is one of the main scenes of the drama. This scene lifts the curtain of mystery for us over the actions and psychology of a person. The drama "Thunderstorm" is still relevant today, despite other concepts in the twenty-first century, much has remained with us since that time and soul feelings remained the same.

The situation in the work seems recognizable, but at the same time intriguing.

In life, we often encounter circumstances where someone's relationship has collapsed because someone has fallen in love with another person. From the point of view of psychology, a monologue with a key is one of the best, since the whole female essence is revealed in it.

In the monologue, Katerina talks to herself about what she should do. First she says to throw away the key. After arguing a little more, she says the opposite: “Yes, maybe such a case will never happen in my whole life ... Throw the key! No, not for anything in the world!”. There is a self-contradiction here. At the beginning of the monologue, Katerina approached this situation reasonably, but then feelings began to control her.

Katerina did not marry of her own free will, she did not choose her husband, they chose her, and Tikhon did not marry for love. But in those days it was impossible to break the rules, since their marriage was made in heaven. This is also true today. A large number of people marry and divorce every day, only in the twenty-first century the family has lost its meaning. People began to take it easier. Katerina torments herself, worries, because in those days family and marriage had great importance if parents married, then you should be with this person to the grave. Katerina is worried and does not know what to do, because she understands that she is responsible for Tikhon, but feelings are stronger than reason, so the heroine still goes to the meeting.

A person lives and acts according to internal laws, internal impulses, even if he clearly realizes that this act is wrong and that it can turn out tragically.

There are many remarks in the monologue, they are like the boundaries of Katerina's different states. One of her states in this monologue is fear, doubt, self-justification, and at the end, confidence in her own rightness.

This monologue can be considered the climax in the development of the line internal conflict Katerina, the conflict between reasonable ideas about life and the dictates of the heart, the requirements of feelings. Every girl wants to love and be loved. Katerina in this monologue is presented as a thinking person and as a deeply feeling person.

The scene of Katerina's confession of sin takes place at the end of the 4th act. Her compositional role- the culmination of Katerina's conflict with Kabanikha and one of the culminations of the development of an internal conflict in Katerina's soul, when the desire for a lively and free feeling struggles with religious fears of punishment for sins and the moral duty of the heroine.

The aggravation of conflicts is caused and prepared by a number of previous circumstances:

· in the 3rd apparition, sensitive and quick-witted Varvara warns Boris that Katerina is suffering very much and can confess, but Boris was afraid only for himself;

It is no coincidence that it is at the end of their conversation that the first thunderclaps are heard, a thunderstorm begins;

passing by minor characters with their remarks about the inevitability of punishment and that “this thunderstorm will not pass in vain”, they increase the fear of a thunderstorm and prepare, predict trouble; Katerina also foresees this misfortune;

· Kuligin's “blasphemous” speeches about electricity and that “thunderstorm is grace” contrast with these remarks, and this also exacerbates what is happening;

Finally, the words of a half-mad lady addressed directly to Katerina are heard, and the thunderstorm is also intensifying.

Katerina exclaims in a fit of fear and shame: “I am a sinner before God and before you!” The reason for its recognition is not only in religious fear, but also in moral torments, torments of conscience, and a sense of guilt. Indeed, in the fifth act, at the moment of parting with life, she will overcome religious fears, the moral feeling will triumph (“Whoever loves, he will pray”), and the decisive factor for her will no longer be the fear of punishment, but the fear of losing freedom again (“and they will catch and return home …”).

The motive of the bird, flight, outlined in the monologues of the first act, reaches its climax, developing the conflict of Pushkin's "Prisoner": captivity is impossible for a free being.

The death of Katerina is the only way for her to regain her freedom.

The reaction of other heroes to Katerina's confession is interesting and important:

· Barbara, as a true friend, tries to prevent trouble, to calm Katerina, to protect her (“She is lying…”);

Tikhon suffers not so much from betrayal as from the fact that this happened under his mother: he does not want upheavals, he does not need this truth, and even more so in its public version, which destroys the usual principle of “shit-covered”; besides, he himself is not without sin;

For Kabanova, the moment of the triumph of her rules comes (“I said ...”);

Where is Boris? At the decisive moment, he cowardly withdrew.

The recognition itself occurs when everything comes together for the heroine: pangs of conscience, fear of a thunderstorm as a punishment for sins, predictions of passers-by and their own forebodings, Kabanikh’s speeches about beauty and whirlpool, Boris’s betrayal and, finally, the thunderstorm itself.

Katerina confesses her sin in public, in the church, as is customary in Orthodox world, which confirms her closeness with the people, shows the truly Russian soul of the heroine.

[email protected] in category , the question is open on 09/16/2017 at 02:40

TEXT
KATERINA (alone, holding the key). 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.) That's 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 - I toil, I don’t see a gap for myself! Yes, and I will not see, know! What's next is worse. And now this sin is on me. (Thinks.) If it were not for my mother-in-law! .. She crushed me ... she made me sick of the house; the walls are 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, perhaps such a case will not come out 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!..

The main sources of Katerina's language are folk vernacular, folk oral poetry and ecclesiastical literature.

The deep connection of her language with folk vernacular is reflected in vocabulary, figurativeness, and syntax.

Her speech is full of verbal expressions, idioms of folk vernacular: “So that I don’t see either my father or my mother”; "did not have a soul"; "Calm my soul"; “how long to get into trouble”; "to be sin," in the sense of unhappiness. But these and similar phraseological units are generally understood, commonly used, clear. Only as an exception in her speech are morphologically incorrect formations: “you do not know my character”; "After this conversation, then."

The figurativeness of her language is manifested in the abundance of verbal and visual means, in particular comparisons. So, in her speech there are more than twenty comparisons, and in all the rest actors the plays put together are slightly over that amount. At the same time, her comparisons are widespread, folk character: “it’s like dove me”, “it’s like a dove is cooing”, “it’s like a mountain has fallen off my shoulders”, “it burns my hands, like coal”.

Katerina's speech often contains words and phrases, motifs and echoes of folk poetry.

Turning to Varvara, Katerina says: “ Why do people do not fly like birds? ..” - etc.

Yearning for Boris, Katerina in the penultimate monologue says: “Why should I live now, well, why? I don’t need anything, nothing is nice to me, and the light of God is not nice!

Here there are phraseological turns of folk-colloquial and folk-song character. So, for example, in the assembly folk songs, published by Sobolevsky, we read:

No way, no way it is impossible to live without a dear friend ...

I'll remember, I'll remember about the kind, not nice girl White light,

Not nice, not nice white light ... I'll go from the mountain to the dark forest ...

speech phraseological thunderstorm Ostrovsky

Going out on a date with Boris, Katerina exclaims: “Why did you come, my destroyer?” In a folk wedding ceremony, the bride greets the groom with the words: "Here comes my destroyer."

In the final monologue, Katerina says: “It’s better in the grave ... There is a grave under the tree ... how good ... The sun warms her, wets her with rain ... in the spring, grass grows on it, so soft ... birds will fly to the tree, they will sing, they will bring out children, flowers will bloom: yellow , red ones, blue ones ... ".

Here everything is from folk poetry: diminutive-suffixal vocabulary, phraseological turns, images.

For this part of the monologue in oral poetry, direct textile correspondences are also abundant. For example:

... They will cover with an oak board

Yes, they will be lowered into the grave

And covered with damp earth.

Overgrow my grave

You are ant grass,

More scarlet flowers!

Along with folk vernacular and the arrangement of folk poetry in the language of Katerina, as already noted, ecclesiastical literature had a great influence.

“Our house,” she says, “was full of wanderers and pilgrims. And we’ll come from the church, sit down for some work ... and the wanderers will begin to tell where they were, what they saw, different lives, or they sing poems ”(d. 1, yavl. 7).

Possessing a relatively rich vocabulary, Katerina speaks freely, drawing on various and psychologically very deep comparisons. Her speech is flowing. So, such words and phrases are not alien to her literary language like: a dream, thoughts, of course, as if all this happened in one second, something so unusual in me.

In the first monologue, Katerina talks about her dreams: “What dreams I had, Varenka, what dreams! Or golden temples, or some extraordinary gardens, and everyone sings invisible voices, and it smells of cypress, and mountains and trees, as if not the same as usual, but as they are written on the images.

These dreams, both in content and in the form of verbal expression, are undoubtedly inspired by spiritual verses.

Katerina's speech is original not only lexico-phraseologically, but also syntactically. It consists mainly of simple and compound sentences, with predicates at the end of the phrase: “So the time will pass before lunch. Here the old women would fall asleep and lie down, and I would walk in the garden… It was so good” (d. 1, yavl. 7).

Most often, as is typical for the syntax of folk speech, Katerina connects sentences through conjunctions a and yes. “And we’ll come from the church ... and the wanderers will begin to tell ... Otherwise it’s like I’m flying ... And what dreams I had.”

Katerina's floating speech sometimes takes on the character of a folk lament: “Oh, my misfortune, misfortune! (Crying) Where can I, poor thing, go? Who can I grab onto?"

Katerina's speech is deeply emotional, lyrically sincere, poetic. To give her speech emotional and poetic expressiveness, diminutive suffixes are also used, so inherent in folk speech (key, water, children, grave, rain, grass), and amplifying particles (“How did he feel sorry for me? What words did he say?” ), and interjections (“Oh, how I miss him!”).

Lyrical sincerity, poetry of Katerina's speech is given by epithets that come after defined words (golden temples, unusual gardens, with evil thoughts), and repetitions, so characteristic of the oral poetry of the people.

Ostrovsky reveals in Katerina's speech not only her passionate, tenderly poetic nature, but also strong-willed power. Strong-willed strength, determination of Katerina are set off syntactic constructions strongly assertive or negative.