To the question Help write an essay on the topic of feelings against reason based on the work "Thunderstorm" 300 words given by the author black-hundred the best answer is
The creativity of writers of this period (the second half of the 19th century) is characterized by an interest in the problem of love. The drama “Thunderstorm” is no exception. Ostrovsky vividly depicts the love of the main character of the play, Katerina Kabanova, for Boris Grigorievich. This love becomes the first and therefore especially strong real feeling of the heroine. Despite the fact that she married Tikhon Kabanov, the feeling of love was unknown to her. During her life with her parents, young people looked at Katerina, but she never understood them. She married Tikhon only because he did not cause her rejection. Katerina herself, when asked by Varvara about whether she loved someone, answers: “No, she only laughed.”
Having met Boris, Katerina Kabanova falls in love with him without even talking to him properly. She falls in love largely because Boris outwardly represents a sharp contrast with the society under the yoke of which she lives. This new feeling, hitherto unknown to her, even changes Katerina's attitude. So she tells Varvara about her dreams: “At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone is talking to me so affectionately, it’s like he’s dove me, like a dove is cooing. I no longer dream, Varya, as before, of paradise trees and mountains, but it’s as if someone hugs me so hot and hot and leads me somewhere, and I follow him, I go ... ”This poetic story is all saturated with foreboding love. The soul of the heroine seeks to know this feeling and dreams about it. And Boris Grigoryevich, Dikoy's nephew, turns out to be for Katerina the embodiment of her dreams in reality.
At first, Katerina is very afraid of her sinful love. She is very pious and considers such love a terrible sin, she is horrified by the possibility of God's punishment. But she cannot resist this feeling and, after hesitating a little, takes from Varvara the fateful key to the gate. The decision is made: she will see Boris at all costs.
The desire for love in Katerina is closely intertwined with the desire for freedom, liberation from family oppression, from a weak-willed husband and a grouchy and unfair mother-in-law. Boris, as she sees him, is the complete opposite of the "dark kingdom" of petty tyrants. This is not surprising: Boris is well-mannered, educated, courteous, dressed in the fashion of the capital. But Katerina is cruelly mistaken in this person: Boris differs from the inhabitants of the city of Kalinov only in appearance. He is not able to oppose anything to the Wild One, just as Tikhon cannot say anything against the order that prevails in the house of the Kabanikh. The love of Katerina Kabanova leads to tragic consequences. After her confession of adultery, Katerina can no longer live as before with her husband and mother-in-law, subject to constant humiliation and insults. In desperation, she seeks help from a loved one, secretly hoping to find a way out of the created psychological impasse. Katerina, going on her last date with Boris, hopes that he will take her with him, will not leave her like that, will protect her. But Boris turns out to be a weak-willed, cowardly and cowardly person, he refuses to take Katerina with him. This is where his complete inability to fight, weakness of character, manifests itself. He betrays the woman he loves by refusing to take her with him out of fear of his uncle.

Answer from 22 answers[guru]

Hello! Here is a selection of topics with answers to your question: Help me write an essay on the topic of feeling against reason based on the work "Thunderstorm" 300 words

Answer from Ilya[newbie]
I advise you, young man, to read a book, and you are lazy.

Answer from get bored[newbie]
Yes

Answer from Mistress of the Silent Pool![guru]
After reading the work of Ostrovsky "Thunderstorm"!

Answer from chevron[active]
A. N. Ostrovsky's drama "Thunderstorm" was written in 1859, on the eve of great changes in Russia. The writer created in the drama an image that is fundamentally new in Russian literature. According to Dobrolyubov, "Katerina's character, as it is performed in The Thunderstorm, is a step forward not only in Ostrovsky's dramatic activity, but in all of our literature." The main problem of the work, without a doubt, is the problem of the liberation of a woman in a merchant environment from family oppression. But the play also reflects other, no less important, problems: the problem of fathers and children, the problem of feelings and duty, the problem of lies and truth, and others.

Answer from DOJE[newbie]
directly Kakha

Answer from Anatoly Tanaev[newbie]
Step 1: Read the work, Step 2: Find a similar one on the Internet, Step 3: Write an essay based on the topic, work and samples from the Internet.

Answer from David lobster[newbie]
The play by Alexander Nikolayevich Ostrovsky "Thunderstorm" is historical for us, as it shows the life of the bourgeoisie. "Thunderstorm" was written in 1859. It is the only work of the cycle "Nights on the Volga" conceived but not realized by the writer. The main theme of the work is a description of the conflict that arose between two generations. The Kabanihi family is typical. The merchants cling to their old ways, not wanting to understand the younger generation. And since young people do not want to follow traditions, they are suppressed. I am sure that the problem raised by Ostrovsky is still relevant today. Many parents do not want to see their children as individuals. It is very important for them that their children think as they do and repeat their actions. The father and mother believe that they have the right to decide where their child will study, with whom he should be friends, etc. Reading The Thunderstorm, I experienced ambivalent feelings. On the one hand, I was shocked by the accuracy of the transfer of images of the era. Stunningly bright and vicious Boar. Ostrovsky very clearly conveyed the contrast of the image, the main vice of which is hypocrisy. On the one hand, she is pious and ready to help everyone, a kind of Samaritan, on the other hand, at home she behaves like a tyrant. In my opinion, this is a very scary person. Kabanova completely crushed her son Tikhon. He is presented in the play as a miserable, helpless creature who does not command any respect. On the other hand, I was shocked by the hopelessness of the situation in which Catherine, a pure and bright woman, found herself. In her soul, she is very strong, as she was not brought up in the traditions of the society of the city of Kalinov. She is opposed to society, to the foundations that, like a monolith, stand in the way of her freedom. She lives with a poor husband who is simply impossible to love. He is not a person, he is just an empty space. While reading, I felt pity for Catherine and joy for myself that I live in a completely different world. Although there are still features of the past in our world. Ostrovsky's play "Thunderstorm" showed the crisis of society, when the sprouts of a new, more enlightened consciousness sprout. The old consciousness seeks to trample on everything that does not correspond to its ideas. A thunderstorm is a symbol of the elements, which will soon sweep away everything that seems unshakable. The world will change. Unfortunately, Katherine doesn't know about it anymore. Her soul could not bear the contradictions tearing her apart, forcing the woman to commit a terrible sin.

Answer from Kolya Mayorov[active]
A. N. Ostrovsky's drama "Thunderstorm" was written in 1859, on the eve of great changes in Russia. The writer created in the drama an image that is fundamentally new in Russian literature. According to Dobrolyubov, "Katerina's character, as it is performed in The Thunderstorm, is a step forward not only in Ostrovsky's dramatic activity, but in all of our literature." The main problem of the work, without a doubt, is the problem of the liberation of a woman in a merchant environment from family oppression. But the play also reflects other, no less important, problems: the problem of fathers and children, the problem of feelings and duty, the problem of lies and truth, and others. The creativity of writers of this period (the second half of the 19th century) is characterized by an interest in the problem of love. The drama “Thunderstorm” is no exception. Ostrovsky vividly depicts the love of the main character of the play, Katerina Kabanova, for Boris Grigorievich. This love becomes the first and therefore especially strong real feeling of the heroine. Despite the fact that she married Tikhon Kabanov, the feeling of love was unknown to her. During her life with her parents, young people looked at Katerina, but she never understood them. She married Tikhon only because he did not cause her rejection. Katerina herself, when asked by Varvara about whether she loved someone, answers: “No, she only laughed.” Having met Boris, Katerina Kabanova falls in love with him without even talking to him properly. She falls in love largely because Boris outwardly represents a sharp contrast with the society under the yoke of which she lives. This new feeling, hitherto unknown to her, even changes Katerina's attitude. So she tells Varvara about her dreams: “At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone is talking to me so affectionately, it’s like he’s dove me, like a dove is cooing. I no longer dream, Varya, as before, of paradise trees and mountains, but it’s as if someone hugs me so hot and hot and leads me somewhere, and I follow him, I go ... ”This poetic story is all saturated with foreboding love. The soul of the heroine seeks to know this feeling and dreams about it. And Boris Grigoryevich, Dikoy's nephew, turns out to be for Katerina the embodiment of her dreams in reality. At first, Katerina is very afraid of her sinful love. She is very pious and considers such love a terrible sin, she is horrified by the possibility of God's punishment. But she cannot resist this feeling and, after hesitating a little, takes from Varvara the fateful key to the gate. The decision is made: she will see Boris at all costs. The desire for love in Katerina is closely intertwined with the desire for freedom, liberation from family oppression, from a weak-willed husband and a grouchy and unfair mother-in-law. Boris, as she sees him, is the complete opposite of the "dark kingdom" of petty tyrants. This is not surprising: Boris is well-mannered, educated, courteous, dressed in the fashion of the capital. But Katerina is cruelly mistaken in this person: Boris differs from the inhabitants of the city of Kalinov only in appearance. He is not able to oppose anything to the Wild One, just as Tikhon cannot say anything against the order that prevails in the house of the Kabanikh. The love of Katerina Kabanova leads to tragic consequences. After her confession of adultery, Katerina can no longer live as before with her husband and mother-in-law, subject to constant humiliation and insults. In desperation, she seeks help from a loved one, secretly hoping to find a way out of the created psychological impasse. Katerina, going on her last date with Boris, hopes that he will take her with him, will not leave her like that, will protect her. But Boris turns out to be a weak-willed, cowardly and cowardly person, he refuses to take Katerina with him. This is where his complete inability to fight, weakness of character, manifests itself. He betrays the woman he loves by refusing to take her with him out of fear of his uncle.

The problematics of a work in literary criticism is a range of problems that are somehow touched upon in the text. This may be one or more aspects that the author focuses on. In this work, we will focus on the problems of Ostrovsky's Thunderstorm. A. N. Ostrovsky received a literary vocation after the first published play. “Poverty is not a vice”, “Dowry”, “Profitable place” - these and many other works are devoted to social and everyday topics, but the issue of the play “Thunderstorm” should be considered separately.

The play received mixed reviews from critics. Dobrolyubov saw in Katerina the hope for a new life, Ap. Grigoriev noticed the emerging protest against the existing order, and L. Tolstoy did not accept the play at all. The plot of "Thunderstorm", at first glance, is quite simple: everything is based on a love conflict. Katerina secretly meets with a young man, while her husband has gone to another city on business. Unable to cope with the pangs of conscience, the girl confesses to treason, after which she rushes into the Volga. However, behind all this everyday, domestic, lies much larger things that threaten to grow to the scale of space. Dobrolyubov calls the “dark kingdom” the situation that is described in the text. An atmosphere of lies and betrayal. In Kalinovo, people are so accustomed to moral dirt that their uncomplaining consent only exacerbates the situation. It becomes scary from the realization that this place did not make people like this, it was people who independently turned the city into a kind of accumulation of vices. And now the "dark kingdom" begins to influence the inhabitants. After a detailed acquaintance with the text, one can notice how widely developed the problems of the work "Thunderstorm". The problems in Ostrovsky's "Thunderstorm" are diverse, but at the same time they do not have a hierarchy. Each individual problem is important in itself.

The problem of fathers and children

Here we are not talking about misunderstanding, but about total control, about patriarchal orders. The play shows the life of the Kabanov family. At that time, the opinion of the eldest man in the family was undeniable, and wives and daughters were practically deprived of rights. The head of the family is Marfa Ignatievna, a widow. She took over the male functions. This is a powerful and prudent woman. Kabanikha believes that she takes care of her children, ordering them to do as she wants. This behavior led to quite logical consequences. Her son, Tikhon, is a weak and spineless man. Mother, it seems, wanted to see him like that, because in this case it is easier to control a person. Tikhon is afraid to say anything, to express his opinion; in one of the scenes, he admits that he does not have his own point of view at all. Tikhon cannot protect either himself or his wife from the tantrums and cruelty of his mother. The daughter of Kabanikhi, Varvara, on the contrary, managed to adapt to this way of life. She easily lies to her mother, the girl even changed the lock on the gate in the garden in order to freely go on dates with Curly. Tikhon is not capable of any kind of rebellion, while Varvara, in the finale of the play, escapes from her parents' house with her lover.

The problem of self-realization

When talking about the problems of the "Thunderstorm" one cannot fail to mention this aspect. The problem is realized in the image of Kuligin. This self-taught inventor dreams of making something useful for all the inhabitants of the city. His plans include assembling a perpetu mobile, building a lightning rod, and getting electricity. But this whole dark, semi-pagan world needs neither light nor enlightenment. Dikoy laughs at Kuligin's plans to find an honest income, openly mocks him. Boris, after talking with Kuligin, understands that the inventor will never invent a single thing. Perhaps Kuligin himself understands this. He could be called naive, but he knows what morals reign in Kalinov, what happens behind closed doors, what are those in whose hands power is concentrated. Kuligin learned to live in this world without losing himself. But he is not able to feel the conflict between reality and dreams as keenly as Katerina did.

The Problem of Power

In the city of Kalinov, power is not in the hands of the relevant authorities, but in those who have money. Proof of this is the dialogue between the merchant Wild and the mayor. The mayor tells the merchant that complaints are being received against the latter. To this Savl Prokofievich replies rudely. Dikoy does not hide the fact that he cheats ordinary peasants, he speaks of deceit as a normal phenomenon: if merchants steal from each other, then you can steal from ordinary residents. In Kalinov, nominal power decides absolutely nothing, and this is fundamentally wrong. After all, it turns out that without money in such a city it is simply impossible to live. Dikoy fancies himself almost a father-king, deciding who to lend money to and who not. “So know that you are a worm. If I want to, I'll have mercy, if I want to, I'll crush it, ”this is how Dikoy Kuligin answers.

The problem of love

In "Thunderstorm" the problem of love is realized in pairs Katerina - Tikhon and Katerina - Boris. The girl is forced to live with her husband, although she does not feel any feelings other than pity for him. Katya rushes from one extreme to another: she thinks between the option of staying with her husband and learning to love him or leaving Tikhon. Katya's feelings for Boris flare up instantly. This passion pushes the girl to take a decisive step: Katya goes against public opinion and Christian morality. Her feelings were mutual, but for Boris this love meant much less. Katya believed that Boris, just like her, was incapable of living in a frozen city and lying for profit. Katerina often compared herself to a bird, she wanted to fly away, to escape from that metaphorical cage, and in Boris Katya saw that air, that freedom that she lacked so much. Unfortunately, the girl made a mistake in Boris. The young man turned out to be the same as the inhabitants of Kalinov. He wanted to improve relations with Wild for the sake of getting money, he spoke with Varvara that it was better to keep feelings for Katya secret for as long as possible.

Conflict of old and new

It is about resisting the patriarchal way of life with the new order, which implies equality and freedom. This topic was very relevant. Recall that the play was written in 1859, and serfdom was abolished in 1861. Social contradictions reached their apogee. The author wanted to show what the absence of reforms and decisive action can lead to. Confirmation of this are the final words of Tikhon. “Good for you, Katya! Why am I left to live in the world and suffer!” In such a world, the living envy the dead.

Most of all, this contradiction was reflected in the main character of the play. Katerina cannot understand how one can live in lies and animal humility. The girl was suffocating in the atmosphere that was created by the inhabitants of Kalinov for a long time. She is honest and pure, so her only desire was so small and so great at the same time. Katya just wanted to be herself, to live the way she was raised. Katerina sees that everything is not at all the way she imagined before marriage. She cannot even afford a sincere impulse - to hug her husband - Kabanikha controlled and prevented any attempts by Katya to be sincere. Varvara supports Katya, but cannot understand her. Katerina is left alone in this world of deceit and dirt. The girl could not endure such pressure, she finds salvation in death. Death frees Katya from the burden of earthly life, turning her soul into something light, capable of flying away from the "dark kingdom".

It can be concluded that the problems in the drama "Thunderstorm" are significant and relevant to this day. These are unresolved issues of human existence, which will worry a person at all times. It is thanks to this formulation of the question that the play "Thunderstorm" can be called a work out of time.

Artwork test

THE THEME OF LOVE IN A. N. OSTROVSKY'S "THE THUNDER"
Love covers many sins.
Ev. from Peter, IV, 8

"Thunderstorm", showing the terrible, dark world of petty tyrants and people under their heel, is illuminated, like a "beam of light", by Ostrovsky's most powerful heroine - Catherine, who has become a "legendary character". Her spiritual strength comes from her special inner world. Probably, every Kalinovite once had his own world, just as clean, but, having accepted the domination of tyrants or even becoming them, having made many compromises, they lost it, or mutilated, or buried it in the very depths of their souls. And Katerina kept him inviolable, because she did not go, or rather, she simply could not compromise with her conscience and, perhaps, therefore, was not understood by others.
Katerina lives with her feelings and moral concepts and tolerates Kabanikhi's attempts to subjugate them only as long as she can bear it. She is uneducated and simply cannot check everything with the help of reason. Maybe if she were reasonable, she would understand why Tikhon is so pitiful, and would not demand a feat from him, would understand Boris’s egoism, would not perceive the lady’s prophecy in the same way, but ... Was Zhadov from Profitable Place given him mind and education strength in the fight against life? No. Katerina's beliefs, unlike his, were not subtracted, not heard, but suffered, created and accepted by herself, and no one and nothing could force her to abandon them. Her messenger is her heart.
She has a pagan sense of the world, the power of feelings is extraordinary, she seems to rise above the earth on wings and asks Varvara: “Why don’t people fly?” An excess of feelings is expressed not only in these impulses, but also in tears in the morning, while she was still living, "like a bird in the wild." These strong feelings had little admiration for nature and God's temples, the charm of the stories of wanderers and pilgrims, they themselves create an extraordinary imagination, wonderful and deeply poetic. Icons, wanderers' words about "golden temples", "extraordinary gardens" turn into living bright pictures, dreams, the church becomes a paradise, Katerina sees singing angels, feels herself flying...
But Christianity for Katerina is not only the basis of imagination, not just nice folk holidays and going to church. For her, this is the law, but not the harsh law of Kabanikh, expressed by external observance of customs, sometimes outdated and humiliating, but an internal law, adopted completely and excluding any violation of it. That is why Katerina, having committed a sin under the influence of a strong feeling, experiences such terrible torments and reproaches of conscience and seeks relief in repentance before all the people. This was suggested to her by Christianity itself, but the Kalinovites are shocked: for them, the human court is as high (if not higher) as God's. Katerina is so superior to these people that she cannot be understood by them.
But until her death, also terribly sinful, she believes in true humane Christianity. She says, “Sin. Will they not pray? Whoever loves will pray...” Kuligin confirms the same: “... and the soul is now not yours: it is now before a judge who is more merciful than you!” For Katerina, without faith, the meaning of life is lost. The human soul cannot be created only on feelings and imagination. And Katerina's soul is so pure, bright, that it fills her whole being with a glow that everyone notices, even Curly; according to Boris, "she has an angelic smile on her face, but it seems to glow from her face."
Katerina's high inner world gives her the consciousness of her human dignity and pride. And this is what frightens and infuriates the Kabanikha most of all: after all, no one in her family possessed this dignity, she considers it touchiness or arrogance. The feeling of resentment is really strong in Katerina, it manifests itself already at the age of six, but this is not just a pagan force of feelings, it is also a subconscious concept of injustice and insult to her dignity. Katerina does not act, like Kuligin, in defense of civic dignity, she does not even know the name of this feeling in her, but it manifests itself in her words when Kabanikha “grinds” her son and daughter-in-law. And her strongest feeling is love. The whole being of Katerina is permeated by her. Love for nature: not only in her parents' house, when she was happy, but also before her death, she sings a hymn to life, a hymn to the impeccable beauty of nature. It seems to me that involuntarily, subconsciously, she compared the beautiful world of nature with the world where she ended up after marriage, where "everything seems to be from under bondage", even the worship of God, and realized that, in the words of Kuligin, "this world was scarier”, he had “cruel morals”. This strengthened her desire for the sky, for nature, for something different from this dark world. And therefore, her love for Boris takes on such extraordinary strength and depth. She loves Varvara "to death", and even her pity for Tikhon can be called some kind of special love, all this cannot be compared with this strongest feeling of hers. Her love is "all-forgiving", she forgives Boris what she did not forgive Tikhon - cowardice. Blinded, she could not feel Boris' cowardice; her love is selfless: she thinks not about her own death - about him, not about her own dishonor - about his "eternal submission", she does not pray before death because her strength and thoughts are given to a loved one, she cannot think about anything else.
In the mother-in-law's house, deep strong feelings collide, Katerina's vivid imagination and the Christian foundations of Kabanikha and similar petty tyrants. According to their ideas, God can only be worshiped, and Katerina also loves him! She "withered", unable to naturally express her feelings. And this contradiction becomes terrible when a feeling appears in Katerina, moreover, one of the most sinful, with which she is unable to cope. There is only one way out of this impasse in Kalinov's world - death. And therefore, from the very beginning, Katerina is tormented by a premonition of death: after the happiest moments she “wanted to die ...”. Not afraid of human judgment, she judges herself: the world of Christian legends in which she was brought up is pure, and her soul is hers. pure, “cannot hide anything”, cannot make it so that it is “sewn-covered”. By repentance, she lightened her soul, but the human judgment turned out to be terrible. Even Tikhon's caresses are disgusting to her, and they seem to reproach her. Life has turned into endless torment, and I don’t even want to think about it. “And man is nothing. He is the speck of dust in the world. But his pain is greater than the universe.
Katerina was able to be stronger than Larisa Ogudalova, who fell into the same position, and she herself interrupts her life, dying in flight - flying down, but flying ...

Every day being in the company of people who are unfamiliar or not very well known, we draw conclusions about their internal state by their appearance, by the shadows of emotions that play on their faces. However, this does not always give the correct idea. In fact, some individuals hide their emotions so well that only a close, close acquaintance with them can reveal their inner content and reveal them for what they really are.

What causes internal conflict: feelings versus reason

We do not have the opportunity to look inside a person, into his soul. Otherwise, we would see an amazing and terrible picture of the eternal internal conflict that occurs between the perception of the world at the sensory level and the logical train of thought. Constant assessment of what is happening around again and again starts the process, the purpose of which is to analyze and make decisions in relation to a particular situation. And all this is weighed on two bowls: from an emotional point of view and from the point of view of cold, dry calculation.

Pros and cons of extreme positions

Some individuals in the decision-making process are guided only by cold calculations and logically verified constructions, which prompt them with almost mathematical accuracy the right decisions. In terms of normal sequence. Others rely on the world of sensual emotional sensations, not paying attention to the first clue lying on the surface, they put themselves in the place of those around them and follow what is called “the dictates of the heart”.

The first case is dry and boring. The actions of such people are predictable and devoid of brightness. The latter may overly succumb to emotions and, in the literal sense, do not calculate the degree of their impact on the environment.

At the same time, both types of people live in harmony with themselves and do not suffer from the most difficult conflict put at the head of this essays.

Golden mean

I believe that both of these forces exist in everyone in order to balance each other. Then, taking any action, we will perform actions consistent with common sense, but adjusted, depending on how painful they can be for others, or, on the contrary, add a joyful mood.

Composition "Internal conflict: feelings against reason" (Var 2)

Man by nature is a very complex being. His actions are very difficult to predict. Reason, as a rule, tries to find the best option for resolving a particular situation. But still, often, our feelings also come into play in the decision-making process. As a matter of fact, in connection with this, internal conflict of feeling and reason.

What is internal struggle?

Everyone has experienced an inner struggle at least once in their life. Usually, the feelings that live in our hearts make us take unwise or risky actions. And the voice of reason, in turn, is trying with all its might to save people from danger. This struggle is a very complex process.

internal struggle

Speaking about true feelings, I would like to turn to the work of Alexander Nikolayevich Ostrovsky - "Thunderstorm". After all, the main character of the play experienced the same conflict between feeling and reason. She understands that she must be faithful to her husband, but still Katerina's heart belongs to her beloved Boris. The girl was the personification of a bright and pure personality. In fact, she is a ray of light in the dark kingdom of the Kabanovs. The main character sees the same ray in Boris. Strictly speaking, it is on this basis that the girl has a contradiction between feelings and reason.

However, Katherine she gave up trying to come to terms with the fact that she would live life with a person for whom she did not feel anything. She tried to come to terms with the fact that she would live in a house to which her soul did not lie. It was the voice of reason. He tried to convince the girl that marriage of convenience was the right choice. Katerina believed that the members of the new family would be favorable to her, but this never happened. The girl wanted warmth and love.

Choice made

The main character often dreamed of what she was so afraid of in reality and she tried to overcome her dreams. Nevertheless, human nature has triumphed over the hardened orders. At some point, the main character begins to feel like a woman. She has an irresistible desire to love and, of course, to be loved. With all this, Katerina is constantly tormented by doubts. She feels a sense of fear, understands that she can make a mistake and it gnaws at her. The impossibly difficult struggle that the girl is going through leads to a sad outcome. Obeying the voice of her heart, the girl begins to think that she has no forgiveness. These thoughts drove her to commit suicide.

Probably many, at least once, but still had to worry internal conflict. Reason thus tries to protect people from trouble. I believe that you should always listen to your heart. But before making a final decision, you need to weigh the pros and cons. But before making any decision, it is necessary that reason and feeling reach a compromise.

Other writings

Reflections on the moral edge of the problem of relationships between generations (based on the drama by A.N. Ostrovsky "Thunderstorm").

Morality is those rules that determine the behavior of people. Behavior (action) expresses the inner state of a person, manifested through his spirituality (intellect, development of thought) and the life of the soul (feeling).

Morality in the life of the older and younger generations is connected with the eternal law of continuity. The young adopt life experience and traditions from the old, and the wise elders teach the young the rules of life - “mind-reason”. However, young people are characterized by boldness of thought, an unbiased view of things without reference to an established opinion. It is because of this that conflicts often arise between them, a lack of agreement of opinions.

The actions and life assessments of the heroes of the drama A.N. Ostrovsky's "Thunderstorm" (1859) reflect their morality.

Representatives of the merchant class of Dikoy and Kabanov are those people whose wealth and significance among the inhabitants of the city of Kalinov determine their high position. Those around them feel the power of their influence, and this power is capable of breaking the will of dependent people, humiliating the unfortunate, realizing their own insignificance in comparison with the "powerful ones of this world." Therefore, Savel Prokofievich Wild, "a significant person in the city," does not meet with contradictions in anyone. He keeps the family in awe, which, in the days of his anger, hides “in attics and closets”; likes to catch fear on people who do not dare to “peep” about salaries; keeps his nephew Boris in a black body, having robbed them with his sister, brazenly appropriated their inheritance; denounce, insulting, meek Kuligin.

Marfa Ignatievna Kabanova, known in the city for her piety and wealth, also has her own ideas about morality. For her, the desire of the younger generation for “freedom” is criminal, because what good and the young wife of the son, and the daughter, the “girl”, will cease to be “afraid” of both Tikhon and herself, all-powerful and infallible. “They don’t know anything, there is no order,” the old woman is angry. “Order” and “old times” are the basis on which the Wild and Kabanovs rely. But their tyranny loses self-confidence, it is not able to stop the development of young forces. New concepts and attitudes inevitably come into life and crowd out the old forces, obsolete norms of life and established morality. So Kuligin, a naive person, wants to ennoble Kalinov by building a lightning rod and a sundial. And he dares, impudent, to read Derzhavin's poems, glorifying the "mind", in front of "his degree", the all-powerful merchant, who is on friendly footing with the mayor himself, the head of the city. And the young daughter-in-law of Marfa Ignatievna at parting "throws herself on her husband's neck." And it is supposed to bow at the feet. Yes, and does not want to "howl" on the porch - "to make people laugh." And the resigned Tikhon will blame his mother for the death of his wife.

Tyranny, as the critic Dobrolyubov claims, "is hostile to the natural demands of mankind ... because in their triumph he sees the approach of his inevitable death." “Wild and Kabanovs are shrinking and shrinking” - this is inevitable.

The younger generation is Tikhon, Katerina, Varvara Kabanova, this is the nephew of Wild Boris. Katerina and her mother-in-law have similar ideas about the morality of the younger members of the family: they must be God-fearing and honor the elders - this is in the traditions of the Russian family. But further on, the ideas of one and the other about life, in their moral assessments, differ sharply.

Brought up in the atmosphere of a patriarchal merchant's house, in conditions of parental love, care and prosperity, the young Kabanova has a character that is "loving, creative, ideal." But in her husband's family, she faces a formidable prohibition "to live by her own will", which comes from a harsh and soulless mother-in-law. That's when the demands of "nature", a living, natural feeling, acquire an irresistible power over a young woman. “This is how I was born, hot,” she says of herself. According to Dobrolyubov, Katerina's morality is not guided by logic and reason. “She is strange, extravagant, from the point of view of others,” and, fortunately, the oppression of her mother-in-law with her despotic disposition did not kill the desire for “freedom” in the heroine.

Will is both an elemental impulse (“That’s how I would run up, raise my hands and fly”), and the desire to ride along the Volga with songs, embracing, and fervent prayers, if the soul asks for communion with God, and even the need “to throw myself out the window, into Volga to rush ", if she "gets cold" captivity.

Her feelings for Boris are unrestrained. Katerina is ruled by love (he is not like everyone else, he is the best!) and passion (“If I am not afraid of sin for you, will I be afraid of human court?”). But the heroine, a woman with a solid, strong character, does not accept lies, and she considers split feelings, pretense, even a greater sin than her own fall.