Characteristics of the relationship between Katerina and Tikhon. Comparative psychological analysis of the heroes of the work by A.N.

Catherine in the drama "The Thunderstorm"
Essay on drama by A.N. Ostrovsky "Thunderstorm"
Katerina - main character Ostrovsky's drama "The Thunderstorm". Main
the idea of ​​the work is the conflict of this girl with the “dark kingdom”,
the kingdom of tyrants, despots and ignoramuses. Find out why this happened
conflict and why the end of the drama is so tragic, you can look into
Katerina’s soul, understanding her ideas about life. And it's possible
to do, thanks to the skill of the playwright Ostrovsky.
From Katerina's words we learn about her childhood and adolescence. The girl is not
received good education. She lived with her mother in the village.
Katerina's childhood was joyful and cloudless. The mother in her has no soul
“I wanted”, did not force me to do housework. Katya lived freely:
got up early, washed with spring water, crawled flowers, walked with
mother to church, then sat down to do some work and listened
wanderers and praying mantises, of whom there were many in their house. Katerina
I had magical dreams in which she flew under the clouds. And How
contrasts strongly with such a quiet one, happy life act
six-year-old girl, when Katya, offended by something, ran away
in the evening from home to the Volga, got into the boat and pushed off from the shore!...
We see that Katerina grew up happy, romantic, but
limited girl. She was very pious and passionate
loving. She loved everything and everyone around her: nature, sun,
the church, her home with the pilgrims, the beggars whom she helped. But
the most important thing about Katya is that she lived in her dreams, apart from
the rest of the world. Of everything that existed, she chose only what
did not contradict her nature, she did not want to notice the rest and did not
noticed. That's why the girl saw angels in the sky, and for her there were
the church is not an oppressive and oppressive force, but a place where everything is light, where
you can dream. We can say that Katerina was naive and
kind, brought up in a completely religious spirit.
But if she encountered something on her way... contradicted her
ideals, she turned into a rebellious and stubborn nature and defended
herself from that stranger, stranger, who boldly disturbed her soul. So
This was also the case with the boat.
After marriage, Katya's life changed a lot. From free
joyful, sublime world in which she felt her
merging with nature, the girl found herself in a life full of deception,
cruelty and desolation.
The point is not even that Katerina married Tikhon not of her own free will:
She didn’t love anyone at all and she didn’t care who she married.
The fact is that the girl was robbed of her former life, which she
created for myself. Katerina no longer feels such delight from
going to church, she cannot do her usual activities.
Sad, anxious thoughts do not allow her to calmly admire
nature. Katya can only endure as long as she can and dream, but she’s already
can't live with his thoughts because the cruel reality
returns her to earth, to where there is humiliation and suffering.
Katerina is trying to find her happiness in love for Tikhon: “I will be a husband
be in love. Silence, my darling, I won’t exchange you for anyone." But
sincere manifestations of this love are suppressed by Kabanikha: “What on
Are you hanging your neck, shameless one? It's not your lover you're saying goodbye to." In
Katerina has a strong sense of external humility and duty, which is why she
forces herself to love her unloved husband. Tikhon himself because
the tyranny of his mother cannot truly love his wife,
although he probably wants to. And when he, leaving for a while, leaves Katya,
in order to walk around to her heart's content, the girl (already a woman) becomes completely
lonely.
Why did Katerina fall in love with Boris? After all, he did not exhibit his
masculine qualities, like Paratov, didn’t even talk to her.
Probably the reason was that she lacked something pure in the stuffy
atmosphere of Kabanikha’s house. And love for Boris was pure, not
let Katerina completely wither away, somehow supported her.
She went on a date with Boris because she felt
a person with pride and basic rights. It was a riot
against submission to fate, against lawlessness. Katerina knew that
commits a sin, but she also knew that she would continue to live as before
it is forbidden. She sacrificed the purity of her conscience to freedom and Boris.
In my opinion, when Katya took this step, she already felt the approaching
end and probably thought: “It’s now or never.” She wanted
to be satiated with love, knowing that there will be no other opportunity. On the first
On a date, Katerina told Boris: “You ruined me.” Boris -
the reason for the disgrace of her soul, and for Katya this is tantamount to death.
Sin hangs like a heavy stone on her heart.
Katerina is terribly afraid of the approaching thunderstorm, considering it a punishment for
perfect. Katerina has been afraid of thunderstorms ever since she started thinking about
Boris. For her pure soul, even the thought of loving a stranger
man is a sin.
Katya cannot continue to live with her sin, and the only way
She considers it a form of repentance to get rid of him at least partially. She confesses.
in everything to my husband and Kabanikha. Such an act in our time seems very
strange, naive. "I don't know how to deceive; there's nothing to hide
I can" - this is Katerina. Tikhon forgave his wife, but did she forgive herself?
myself? Being very religious. Katya fears God, but her God lives in
her, God is her conscience. The girl is tormented by two questions: how will she return?
home and will look into the eyes of the husband she cheated on, and how she
will live with a stain on his conscience. The only way out of this
situation Katerina sees death: “No, I’m either going home or going to the grave -
anyway...It's better in the grave...Living again? No, no, don't... not good."
Haunted by her sin, Katerina leaves this life to save
your soul.
Dobrolyubov defined Katerina’s character as “decisive, integral,
Russian". Decisive, because she decided to take the last step,
to death to save himself from shame and remorse.
Whole, because in Katya’s character everything is harmonious, one, nothing
do not contradict each other, because Katya is one with
nature, with God.
Russian, because who, if not a Russian person, is capable of loving like that,
Capable of sacrificing so much, seemingly humbly enduring all hardships,
While remaining yourself, free, not a slave.

Composition: Ostrovsky A. N. - The Thunderstorm - "THE ORIGINALITY OF CONFLICT IN A. N. OSTROVSKY'S PLAY “THE THUNDER""

"THE ORIGINALITY OF CONFLICT IN A. N. OSTROVSKY'S PLAY “THE THUNDER""

ORIGINALITY

CONFLICT

IN THE PLAY A.N.

OSTROVSKY “THUNDERSTERM”

dramatic work the connection between

composition, conflict and genre are very

is tight, these three terms are the product

they simply cannot help but echo each other

friend, and often, after reading genre

definition in small print on

title page, we are already guessing not only

form, but sometimes also the plot, and with it the

idea, theme of the entire work,

accordingly, the conflict that gives rise to these

ideas. Sometimes the genre definition itself (in

may simply not correspond to the basics

traditions of genre division in literature.

suddenly does not fit the form or

there is much deeper here than the framework dictates

one chosen genre. If the writer

deliberately emphasizes this discrepancy

between form and content, then

researchers, critics face more

one mystery, the solution of which is important

to understand the conflict, and therefore

ideas of the work. A striking example can

serve Gogol's Dead Souls", Not

accidentally called a poem. to his

with the work of N.V. Gogol, as it were, lets down

summary of all previous literature,

forcing already honed to perfection

existing genres

work in a new way, and the purpose of such work

is to identify

new deep conflict.

The situation in

the play “The Thunderstorm”, the history of its creation and

similar and different

from the above observations. A.N.

Ostrovsky did not sum up, did not

synthesized new genres, nevertheless

genre definition of “Thunderstorm” as a household

social drama, given by himself, is

not entirely correct, and accordingly

one conflict lying on the surface, according to

essentially replaced by another, deeper and

complex. Genre definition A.

Ostrovsky was only a tribute

literary tradition. The conflict is here

destined to play a completely different role. If

consider “Thunderstorm” as a social

drama, then the resulting conflict

looks quite simple: it seems to be external,

social; the audience's attention is equal

distributed among the heroes, all of them,

like checkers

on the board, play almost identical roles,

necessary to create a plot outline,

they confuse and then, flashing and

by changing lanes, as in tag, they help

resolve the confusing plot. If the system

characters are laid out in this way,

that the conflict arises and is resolved as

with everyone's help characters. Here we are

we are dealing with a drama of an everyday nature, its

the conflict is simple and easy to guess. What

happens in “The Thunderstorm”? Married woman,

quite God-fearing, fell in love with another

person, secretly meets with him, cheats

to my husband. The only thing she cares about is her

relationship with mother-in-law, who is

representative of the “past century” and sacred

protects the letter of the law,

Katerina in this situation of the conflict and

such an understanding of it in the light of the genre

definition of “Thunderstorm” as a social

drama is the personification of the new

time, the “present century,” and along with

Tikhon, Varvara, Kudryash fights against

remnants of the past, against house-building,

against the very atmosphere of the stagnation of the dead

rules and orders, the personification of which

is the pre-reform Kalinov. Easily

the main antagonists are also revealed -

Katerina and Kabanikha. In this spirit they understood

“The Thunderstorm” was praised by many critics and, in particular, N.A.

Dobrolyubov. Here the strong collide

personalities, two antagonists, one of them

should leave, and suddenly... This, it would seem,

the doomed person turns out to be not old

Kabanikha with her archaic

outlook on life, but young, full of strength

Katerina, surrounded by her

like-minded people. What's the matter? What

happened? The conflict between the old and the new, the “century”

present and past centuries,” it would seem

allowed, but in a somewhat strange way.

All this leads us to the idea that

the conflict in the play is much deeper, more complex and

thinner than it seems at first glance.

Of course, a skillfully constructed plot

line, confrontation between two strong

personalities - Katerina and Kabanikha have

place and give us the opportunity to observe

social conflict,

reminiscent of any current television series. But

a deeply hidden conflict is revealed here

with a slightly different reading of the play and another

genre definition, with a different interpretation

plot of “Thunderstorm”. Definition of the genre “Thunderstorms”

and understanding of conflict as social and everyday,

given by A. N. Ostrovsky is not here

only a tribute to tradition, but also, perhaps,

only possible option while.

A.I. Zhuravleva explains this phenomenon as follows:

“...the whole history of the previous

Ostrovsky was not given Russian drama

examples of such a tragedy in which the heroes

there would be private individuals, not historical ones

figures, even legendary ones.” So,

genre definition of “Thunderstorm” with another

interpretation is a tragedy, and a tragedy,

accordingly, implies a higher

stage of conflict than in drama.

The contradiction is not carried out at the level

character systems, and on more complex

level. Conflict arises primarily in

consciousness of a hero who is struggling with himself

tragedy goes back centuries, but

usually by actors ranging from

ancient tragedy were historical

personality. Suffice it to remember Antigone

Sophocles, who does not know what to do,

without violating your moral, internal

moral principles (and not at all “external”,

synthesized state laws).

classicists approximate situation in “Side”

Corne la, it is resolved only by

eliminating those fighting in Rodri-go

moral doubts. This is the conflict with A.

N. Ostrovsky, he is internal, moral,

only it’s not the Tsar’s daughter who survives him, or

a noble lady, but a simple merchant's wife.

Brought up on Christian morals and

Domostroevsky principles, she was horrified

sees their collapse not only around, but also

inside yourself, in your soul. Everything is around her

collapses, “the time has begun to come for supplication,”

says the wanderer Feklusha. Consciousness of one's own

sinfulness and at the same time understanding that

that nothing is her fault and nothing is in her power

resist passion, brings it to

insoluble contradiction within

Katerina cannot help but love Tikhon - after all

thus she betrays God in her soul, but nevertheless

less terrible things happen, and Katerina is not in

the power to change anything. The conflict consists

not in the antagonism of Kabanikha and Katerina,

which at first glance seeks the right

freedom to choose feelings, conflict is inherent

in Katerina herself, who saw in such a struggle

crime against God and failed

deal with it. And it’s not Kaba-nikha who destroys

Katerina, as Tikhon exclaims in the finale,

perceiving everything that happens from the point of view

from the perspective of a person of modern times, - Katerina

ruined by one's own oppressive

the inconsistency of her feelings. But understanding

Katerina's inner experiences

inaccessible to Tikhon, like everyone else

characters of the play. They seem to move away

to the background, serve only as a background,

decoration to show character

Katerina, such as Dikoy or Lady. A

in fact, one of the main characters, Boris,

generally characterized as “belonging

more to the situation.” All the heroes seem to be

form a single whole - their unbelief, coupled with

Kuligin's progressive worldview

acts as a kind of counterweight

Katerina's fanatical faith. In the same time

Katerina's almost sectarian faith leads to

insoluble contradiction in her soul, then

the rest have long since come to terms with their

conscience. This contradiction cannot peacefully

resolve, and Katerina is unable to go

compromise with yourself.

Katerina

sharply different from all the other heroes,

nevertheless, she is very similar to Kabanikha.

Both believe fanatically, both realize the horror

Katerina's misconduct, but if Kabanikha

protects the old, outdated, then Katerina to

believes the same with all her soul, and for her all these

the tests are many times more difficult than for

Kabanikha. Unable to stand the condition

uncertainty, Katerina sees a way out

repentance, but this does not bring her any relief.

Repentance no longer plays a special role,

retribution is inevitable, Katerina, like everyone else

true believers, fatalistic and does not believe in

that something can be changed. End with

tragic conflict in the soul can only

one way - to lose it, to deprive it

immortality, and Katerina makes the most

a grave sin is suicide.

Alexander Nikolaevich highlighted the most important and especially relevant problem at that time human dignity. The arguments to consider it as such are very convincing. The author proves that his play is really important, if only because the issues raised in it continue to concern the current generation many years later. Drama is addressed, studied and analyzed, and interest in it has not waned to this day.

In the 50-60s of the 19th century, the following three topics attracted the special attention of writers and poets: the emergence of various intelligentsia, serfdom and the position of women in society and family. In addition, there was another theme - the tyranny of money, tyranny and ancient authority among the merchants, under the yoke of which all family members, and especially women, were. A. N. Ostrovsky in his drama "The Thunderstorm" set the task of exposing spiritual and economic tyranny in the so-called " dark kingdom".

Who can be considered a bearer of human dignity?

The problem of human dignity in the drama "The Thunderstorm" is the most important in this work. It should be noted that there are very few characters in the play about whom one could say: “These are the majority of the characters - either absolutely negative heroes, or inexpressive, neutral. Dikoya and Kabanikha are idols devoid of elementary human feelings; Boris and Tikhon are spineless creatures capable of only obeying; Kudryash and Varvara are reckless people, drawn to momentary pleasures, incapable of serious experiences and reflections. Only Kuligin, an eccentric inventor, and main character Katerina stands out from this series. The problem of human dignity in the drama "The Thunderstorm" can be briefly described as the confrontation of these two heroes with society.

Inventor Kuligin

Kuligin is a rather attractive person with considerable talents, a sharp mind, poetic soul, the desire to selflessly serve people. He is honest and kind. It is no coincidence that Ostrovsky entrusts his assessment of the backward, limited, complacent Kalinovsky society, which does not recognize the rest of the world. However, although Kuligin evokes sympathy, he is still unable to stand up for himself, so he calmly endures rudeness, endless ridicule and insults. This is an educated, enlightened person, but these best qualities in Kalinov they are considered just a whim. The inventor is disparagingly called an alchemist. He longs for the common good, wants to install a lightning rod and a clock in the city, but the inert society does not want to accept any innovations. Kabanikha, who is the embodiment patriarchal world, will not take the train, even if the whole world has been using the railway for a long time. Dikoy will never understand that lightning is actually electricity. He doesn't even know that word. The problem of human dignity in the drama "The Thunderstorm", the epigraph of which can be Kuligin's remark " Cruel morals, sir, there are cruel ones in our city!”, thanks to the introduction of this character, receives deeper coverage.

Kuligin, seeing all the vices of society, remains silent. Only Katerina protests. Despite its weakness, it is still a strong nature. Plot basis plays is composed tragic conflict between the way of life and the real feeling of the main character. The problem of human dignity in the drama "The Thunderstorm" is revealed in the contrast of the "dark kingdom" and the "ray" - Katerina.

"Dark Kingdom" and its victims

The inhabitants of Kalinov are divided into two groups. One of them consists of representatives of the “dark kingdom”, personifying power. This is Kabanikha and Dikoy. The other belongs to Kuligin, Katerina, Kudryash, Tikhon, Boris and Varvara. They are victims of the “dark kingdom”, feeling its brutal power, but protesting against it in different ways. Through their actions or inaction, the problem of human dignity is revealed in the drama "The Thunderstorm". Ostrovsky's plan was to show different sides the influence of the “dark kingdom” with its suffocating atmosphere.

Katerina's character

Interests and stands out strongly against the background of the environment in which she unwittingly found herself. The reason for the drama of life lies precisely in its special, exceptional character.

This girl is a dreamy and poetic person. She was raised by a mother who spoiled her and loved her. The heroine's daily activities as a child included caring for flowers, visiting church, embroidering, walking, and telling stories of praying mantises and wanderers. The girls developed under the influence of this lifestyle. Sometimes she plunged into waking dreams, fabulous dreams. Katerina’s speech is emotional and figurative. And this poetically minded and impressionable girl, after marriage, finds herself in Kabanova’s house, in an atmosphere of intrusive guardianship and hypocrisy. The atmosphere of this world is cold and soulless. Naturally, the conflict between Katerina’s bright world and the environment of this “dark kingdom” ends tragically.

Relationship between Katerina and Tikhon

The situation is further complicated by the fact that she married a man whom she could not love and did not know, although she tried with all her might to become faithful to Tikhon and loving wife. The heroine's attempts to get closer to her husband are frustrated by his narrow-mindedness, slavish humiliation and rudeness. Since childhood, he has been accustomed to obeying his mother in everything; he is afraid to say a word against her. Tikhon meekly endures Kabanikha’s tyranny, not daring to object or protest to her. His only desire is to get away from this woman’s care, at least for a little while, to go on a spree and drink. This weak-willed man, being one of the many victims of the “dark kingdom,” not only could not help Katerina in any way, but also simply understand her in a human way, since the heroine’s inner world is too high, complex and inaccessible to him. He could not predict the drama brewing in his wife's heart.

Katerina and Boris

Dikiy's nephew, Boris, is also a victim of a sanctimonious, dark environment. According to their own internal qualities he is significantly higher than the “benefactors” surrounding him. The education he received in the capital at a commercial academy developed his cultural needs and views, so it is difficult for this character to survive among the Wild and Kabanovs. The problem of human dignity in the play "The Thunderstorm" also confronts this hero. However, he lacks the character to break free from their tyranny. He is the only one who managed to understand Katerina, but was unable to help her: he does not have enough determination to fight for the girl’s love, so he advises her to come to terms with her fate and leaves her, anticipating Katerina’s death. The inability to fight for happiness doomed Boris and Tikhon to suffer rather than live. Only Katerina managed to challenge this tyranny. The problem of human dignity in the play is thus also a problem of character. Only strong people can challenge the "dark kingdom". Only the main character was one of them.

Dobrolyubov's opinion

The problem of human dignity in the drama "The Thunderstorm" was revealed in an article by Dobrolyubov, who called Katerina "a ray of light in a dark kingdom." The death of a gifted young woman, a strong, passionate nature, illuminated the sleeping “kingdom” for a moment, like a ray of sunshine against the background of gloomy dark clouds. Dobrolyubov views the suicide of Katerina as a challenge not only to the Wild and Kabanovs, but also to the entire way of life in a gloomy, despotic feudal serf country.

The inevitable ending

It was an inevitable ending, despite the fact that the main character revered God so much. It was easier for Katerina Kabanova to leave this life than to endure her mother-in-law’s reproaches, gossip and remorse. She pleaded guilty publicly because she did not know how to lie. Suicide and public repentance should be regarded as actions that elevated her human dignity.

Katerina could be despised, humiliated, even beaten, but she never humiliated herself, did not commit unworthy, low actions, they only went against the morality of this society. Although what morality can such limited people have? stupid people? The problem of human dignity in the drama "The Thunderstorm" is the problem of the tragic choice between accepting or challenging society. Protest in this case threatens with serious consequences, including the need to lose one’s life.

, Competition "Presentation for the lesson"

Presentation for the lesson

Back forward

Attention! Slide previews are for informational purposes only and may not represent all the features of the presentation. If you are interested this work, please download the full version.

Target:

• Educational– using a classic work to demonstrate the influence of family and society on the formation of personality.
• Educational- cultivate moral life position students,
• Developmental– building your own life goals as the basis for self-development

Tasks:

• Based on the material read, analyze the life history of Katerina and Tikhon, their formation as individuals.
• Updating the historical situation in Russia.
• Developing students' critical thinking.
• Compare the real social capabilities of people of the 19th century and our contemporaries.
• Discuss possible solutions to crisis situations.

During the classes

1. Theoretical excursion into the history of the era: Russia before the storm.

2. A story about critics who wrote about the drama of A.N. Ostrovsky “Thunderstorm”

• ON THE. Dobrolyubov (1836-1861)
• DI. Pisarev (1840-1868)

3. Principles of raising Katerina and Tikhon.

4. The main character traits formed during different style education from Katerina and Tikhon.

5. Image of Tikhon

6. Image of Katerina

7. Katerina’s education

8. Katerina's dreams

9. Features of the Characters of Katerina and Tikhon

10. Understanding of love by heroes

11. Actions of Katerina and Tikhon

12. The possibility of a positive exit for Katerina and our attitude towards suicide?

Topics for discussion:

• Whose image, Katerina or Tikhon, is clearer and closer to us?
• Was there another way out for Katerina from the author’s point of view?
• What positive conclusions can modern youth draw for themselves?

Bibliography.

1. “Thunderstorm” A.N. Ostrovsky. – M., 1975.
2. Ostrovsky's drama “The Thunderstorm” in Russian criticism. – L., 1990.
3. Dobrolyubov N.A. Article "A Ray of Light in a Dark Kingdom."
4. Pisarev D.I. Article "Motives of Russian drama"
5. Silinskaya L.N. "Lesson planning in literature" To the textbook "In the world of literature. Grade 10" ed. A.G. Kutuzova. - Exam, 2006
6. Fadeeva T.M. Thematic lesson planning on literature for the textbook by Yu.V. Lebedev. - Exam, 2005

To the question of Katerina and Tikhon Ostrovsky there is a thunderstorm. given by the author Yorik the best answer is Katerina married Kabanikha’s son not out of love, but because her parents wanted it that way, because the concepts of “marriage” and “love” had completely different meanings.
Marriage is a worthy life, but love is something sinful and forbidden.
Tikhon Kabanov is the heroine’s husband, a merchant’s son. He married Katerina because his mother demanded it, and he believes that he himself loves Katerina, but is this true? He himself is weak-willed and completely subordinate to his mother; he does not even dare to protect his wife from the attacks of her mother-in-law. All he can advise her is to ignore her mother’s reproaches. He himself does this all his life, agreeing with his mother and dreaming at the same time of running away to his neighbor Savel Prokofyevich and having a drink with him. Happiness for Tikhon is going to Moscow for two weeks on business. In this case, Katerina is no longer interested in him, and when she asks him to take her with him, he frankly admits: “Yes, as I now know that there will be no thunderstorm over me for two weeks, there are no shackles on my legs, so until my wife should I? “Katerina feels sorry for her husband, but can she love him? Seeing neither understanding nor support from him, she involuntarily begins to dream of a different love, and her dreams turn to another hero, and Boris. Is he a hero? He is different from the residents of the city of Kalinov - he is educated, he studied at the Commercial Academy, he is the only one among the townspeople who wears a European suit. But these are all external differences, but in essence Boris is also weak-willed and dependent.
After marriage, Katya's life changed a lot. From free
joyful, sublime world in which she felt her
merging with nature, the girl found herself in a life full of deception,
cruelty and desolation.
The point is not even that Katerina married Tikhon not of her own free will:
She didn’t love anyone at all and she didn’t care who she married.
The fact is that the girl was robbed of her former life, which she
created for myself. Katerina no longer feels such delight from
going to church, she cannot do her usual activities.
Sad, anxious thoughts do not allow her to calmly admire
nature. Katya can only endure as long as she can and dream, but she’s already
can't live with his thoughts because the cruel reality
returns her to earth, to where there is humiliation and suffering.
Katerina is trying to find her happiness in love for Tikhon: “I will be a husband
be in love. Silence, my darling, I won’t exchange you for anyone." But
sincere manifestations of this love are suppressed by Kabanikha: “What on
Are you hanging your neck, shameless one? It's not your lover you're saying goodbye to." In
Katerina has a strong sense of external humility and duty, which is why she
forces herself to love her unloved husband. Tikhon himself because
the tyranny of his mother cannot truly love his wife,
although he probably wants to. And when he, leaving for a while, leaves Katya,
to walk around to her heart's content, the girl becomes completely
lonely.
Why did Katerina fall in love with Boris?
Probably the reason was that she lacked something pure in the stuffy
atmosphere of Kabanikha’s house. And love for Boris was pure, not
let Katerina completely wither away, somehow supported her.
Katya cannot continue to live with her sin, and the only way
She considers it a form of repentance to get rid of him at least partially. She confesses.
in everything to my husband and Kabanikha. Such an act in our time seems very
strange, naive. "I don't know how to deceive; there's nothing to hide
I can" - this is Katerina. Tikhon forgave his wife, but did she forgive herself?
myself? Being very religious. Katya fears God, but her God lives in
her, God is her conscience. The girl is tormented by two questions: how will she return?
home and will look into the eyes of the husband she cheated on, and how she
will live with a stain on his conscience. The only way out of this
situation Katerina sees death: “No, I’m either going home or going to the grave -
anyway... It's better in the grave... To live again? No, no, don't... not good"
Haunted by her sin, Katerina leaves this life to save
your soul.