In my opinion, A. N. Ostrovsky's play "The Thunderstorm" is of particular interest to readers, since it describes not only an interpersonal conflict, but also gives a fairly complete description of the Russian merchants of the middle of the 19th century.
In order to understand the life of the society described in the work, it is necessary, of course, to analyze the characters of some actors.
Marfa Ignatievna Kabanova is a representative of the older generation, more patriarchal and respecting traditions. Marfa Ignatievna is a wealthy merchant's wife, a widow, who after the death of her husband took all the power in the house into her own hands. And not only in the house, but also in the city, no one dares to enter into an argument with her.
From the outside, she seems to be a “kulak-baba”, an insensitive and domineering woman who knows the value of everything and everyone. She does not give free rein to either Tikhon, her son, or, moreover, her daughter-in-law Katerina. Nor does he coward in front of the Wild, one of the harshest merchants in the city. Kalinov's “formidable warrior” becomes literally silky next to Kabanikha, the only person who correctly evaluates him: “Well, don't let your throat go too far! Find something cheaper than me! And I am dear to you! Go your way, where you were going ... you have been fighting with women all your life ”.
However, is Kabanova as simple as it seems at first glance? In fact, her image is much deeper. The severity of Tikhon reveals love for his son, a desire to help him get back on his feet in this difficult life; in constant nagging at Katerina, jealousy for her daughter-in-law, annoyance at the fact that she took her son; there is also nothing unnatural in a constantly bad mood - the foundations of her world are crumbling around Marfa Ignatievna, it seems to her that the end of the world is not far off. "What will happen, how the old people will die, how the light will stand, I really don't know."
As for really negative qualities Marfa Ignatievna - hypocrisy (including ostentatious piety) and ignorance, they are not her personal character traits, they, in fact, are just part of the general atmosphere of the "dark kingdom". Kuligin describes the foundations of this society as follows: “They are at enmity with each other; malicious slander scribbles on neighbors ... Trade is undermined by each other, and not so much out of self-interest, but out of envy. "
Together with Kabanikha, Dika belongs to the older generation of the Kalinov merchant class, but he is not central character: not participating in the conflict, Dikoy broadens the understanding of the patriarchal world. Savel Prokofievich is a completely empty person, out of nothing to do, constantly looking for a quarrel with the first person he meets, in order to smash him to smithereens. Dikoy is a tyrant who acts without being guided by reason. A few phrases are enough to understand the essence of his character: “I want to think so of you, I think so. For others, you are an honest person, but I think that you are a robber, that's all ... So you know that you are a worm I will have mercy, I will crush you ”. And this person is "a significant person in the city." Such Wild and Kabanikhs are the backbone of the Russian merchants. What can be said about the city of Kalinov, where Marfa Ignatievna and the Wild enjoy influence and respect?
The younger generation, represented in The Thunderstorm, is also a very important part of the life of society. The passivity of young people, their weak character and inability to do anything bold and new are surprising.
Tikhon and Varvara are characters with a transitional character type. On the one hand, they do not agree with the established order of things and do not want to follow the rules established in ancient times, but, on the other hand, they do not dare to protest against them in any tangible way, and all their disagreement results in adaptation to life. in the "dark kingdom". Boris can also be referred to this. Perfectly educated, he could have supported Katerina's protest, won his independence from the Wild, but Boris was completely cut off from real life and with difficulty he was aware of his actions, destroying both himself and Katerina as a result. Boris Grigorievich is simply pathetic. He himself says to himself: “I’m walking completely killed ... I’m driven out, hammered ...”. He has no respect for himself, no self-esteem.
There are several opinions about Katerina's character. I believe that she cannot be called a strong personality. But she differs from the rest of the Kalinovites in that she does not want to adjust and adapt. The death of Katerina is a way out, which for the main character seemed the most correct. This is not a protest or a challenge at all. And what kind of protest can we talk about when a person is not able to sort out his own feelings?
The whole merchant world of Kalinov appeared before us. What is happening in it? What are the general laws of his behavior?
Wild and Kabanovs are ignorant, but by no means stupid. Their practical mind is strong, and they realize that they are on the edge of an abyss, and this edge is crumbling under them all the faster. In the depths of their souls, it is clear to them that this is the end, but they hope (and the presentiment of death will increase tenfold their strength) that, having dealt with several hostile, dangerous people for them, they will stop the earth leaving from under their feet. Forgotten the former occupation of merchants - trade (it is mentioned in the play only in passing), all forces. go to fight inside this closed world, in other words, panic has begun. And this is no longer just an alarming sign, it is a harbinger of the death of the entire “dark kingdom”.
But “panic” is a word that is appropriate to describe the condition of only the older generation. Young people do not even suspect how much their lifestyle shocks their parents. On the contrary, the elders seem to them to be the inviolable, eternal basis of their life. They do not need new ideas, they are afraid of everything unknown.
Thus, we see that on the basis of the work of A. N. Ostrovsky "The Thunderstorm" we can conduct a deep analysis of the merchant society of that time, see the contradictions that were tearing it apart, understand the tragedy of individuals and a whole generation, thanks to which we can better understand the life of the entire Russian society that time.

In my opinion, A. N. Ostrovsky's play "The Thunderstorm" is of particular interest to readers, since it describes not only an interpersonal conflict, but also gives a fairly complete description of the Russian merchants of the middle of the 19th century.
In order to understand the life of the society described in the work, one must, of course, analyze the characters of some of the characters.
Marfa Ignatievna Kabanova is a representative of the older generation, more patriarchal and respecting traditions. Marfa Ignatievna is a wealthy merchant's wife, a widow, who after the death of her husband took all the power in the house into her own hands. And not only in the house, but also in the city, no one dares to enter into an argument with her.
From the outside, she seems to be a “kulak-baba”, an insensitive and domineering woman who knows the value of everything and everyone. She does not give free rein to either Tikhon, her son, or, moreover, her daughter-in-law Katerina. Nor does he coward in front of the Wild, one of the harshest merchants in the city. Kalinov's “formidable warrior” becomes literally silky next to Kabanikha, the only person who correctly evaluates him: “Well, don't let your throat go too far! Find something cheaper than me! And I am dear to you! Go your way, where you were going ... you have been fighting with women all your life ”.
However, is Kabanova as simple as it seems at first glance? In fact, her image is much deeper. The severity of Tikhon reveals love for his son, a desire to help him get back on his feet in this difficult life; in constant nagging at Katerina, jealousy for her daughter-in-law, annoyance at the fact that she took her son; there is also nothing unnatural in a constantly bad mood - the foundations of her world are crumbling around Marfa Ignatievna, it seems to her that the end of the world is not far off. "What will happen, how the old people will die, how the light will stand, I really don't know."
As for the really negative qualities of Marfa Ignatievna - hypocrisy (including ostentatious piety) and ignorance, they are not her personal traits, they are, in fact, just part of the general atmosphere of the "dark kingdom". Kuligin describes the foundations of this society as follows: “They are at enmity with each other; malicious slander scribbles on neighbors ... Trade is undermined by each other, and not so much out of self-interest, but out of envy. "
Together with Kabanikha, Dikoy belongs to the older generation of the Kalinov merchant class, but he is not a central character: not participating in the conflict, Dikoy expands the idea of ​​the patriarchal world. Savel Prokofievich is a completely empty person, out of nothing to do, constantly looking for a quarrel with the first person he meets, in order to smash him to smithereens. Dikoy is a tyrant who acts without being guided by reason. A few phrases are enough to understand the essence of his character: “I want to think so of you, I think so. For others, you are an honest person, but I think that you are a robber, that's all ... So you know that you are a worm I will have mercy, I will crush you ”. And this person is "a significant person in the city." Such Wild and Kabanikhs are the backbone of the Russian merchants. What can be said about the city of Kalinov, where Marfa Ignatievna and the Wild enjoy influence and respect?
The younger generation, represented in The Thunderstorm, is also a very important part of the life of society. The passivity of young people, their weak character and inability to do anything bold and new are surprising.
Tikhon and Varvara are characters with a transitional character type. On the one hand, they do not agree with the established order of things and do not want to follow the rules established in ancient times, but, on the other hand, they do not dare to protest against them in any tangible way, and all their disagreement results in adaptation to life. in the "dark kingdom". Boris can also be referred to this. Perfectly educated, he could support Katerina's protest, win his independence from the Wild, but Boris was completely cut off from real life and barely realized his actions, destroying both himself and Katerina as a result. Boris Grigorievich is simply pathetic. He himself says to himself: “I’m walking completely killed ... I’m driven out, hammered ...”. He has no respect for himself, no self-esteem.
There are several opinions about Katerina's character. I believe that she cannot be called a strong personality. But she differs from the rest of the Kalinovites in that she does not want to adjust and adapt. The death of Katerina is the way out that seemed the most correct for the main character. This is not a protest or a challenge at all. And what kind of protest can we talk about when a person is not able to sort out his own feelings?
The whole merchant world of Kalinov appeared before us. What is happening in it? What are the general laws of his behavior?
Wild and Kabanovs are ignorant, but by no means stupid. Their practical mind is strong, and they realize that they are on the edge of an abyss, and this edge is crumbling under them all the faster. In the depths of their souls, it is clear to them that this is the end, but they hope (and the presentiment of death will increase tenfold their strength) that, having dealt with several hostile, dangerous people for them, they will stop the earth leaving from under their feet. Forgotten the former occupation of merchants - trade (it is mentioned in the play only in passing), all forces. go to fight inside this closed world, in other words, panic has begun. And this is no longer just an alarming sign, it is a harbinger of the death of the entire “dark kingdom”.
But “panic” is a word that is appropriate to describe the condition of only the older generation. Young people do not even suspect how much their lifestyle shocks their parents. On the contrary, the elders seem to them to be the inviolable, eternal basis of their life. They do not need new ideas, they are afraid of everything unknown.
Thus, we see that on the basis of the work of A. N. Ostrovsky "The Thunderstorm" we can conduct a deep analysis of the merchant society of that time, see the contradictions that were tearing it apart, understand the tragedy of individuals and a whole generation, thanks to which we can better understand the life of the entire Russian society that time.

In my opinion, the play by A. N. Ostrovsky "The Thunderstorm" is of particular interest to readers, since it describes not only an interpersonal conflict, but also gives a fairly complete description of the Russian merchants of the middle of the 19th century.

In order to understand the life of the society described in the work, one must, of course, analyze the characters of some of the characters.

Marfa Ignatievna Kabanova is a representative of the older generation, more patriarchal and respecting traditions. Marfa Ignatievna is a wealthy merchant's wife, a widow, who after the death of her husband took all the power in the house into her own hands. And not only in the house, but also in the city, no one dares to enter into an argument with her.

From the outside, she seems to be a "kulak-baba", an insensitive and domineering woman who knows the value of everything and everyone. She does not give free rein to either Tikhon, her son, or, moreover, her daughter-in-law Katerina. Nor does he coward in front of the Wild, one of the harshest merchants in the city. Kalinov's “formidable warrior” becomes literally silky next to Kabanikha, the only person who correctly evaluates him: “Well, don't let your throat go too far! Find something cheaper than me! And I am dear to you! Go your way, where you were going ... you have been fighting with women all your life. "

However, is Kabanova as simple as it seems at first glance? In fact, her image is much deeper. The severity of Tikhon reveals love for his son, a desire to help him get back on his feet in this difficult life; in constant nagging at Katerina, jealousy for her daughter-in-law, annoyance at the fact that she took her son; there is also nothing unnatural in a constantly bad mood - the foundations of her world are crumbling around Marfa Ignatievna, it seems to her that the end of the world is not far off. "What will happen, how the old people will die, how the light will stand, I really don't know."

As for the really negative qualities of Marfa Ignatievna - hypocrisy (including ostentatious piety) and ignorance, they are not her personal traits, they are, in fact, just part of the general atmosphere of the "dark kingdom". Kuligin describes the foundations of this society as follows: “They are at enmity with each other; malicious slander scribbles on neighbors ... Trade is undermined by each other, and not so much out of self-interest, but out of envy. "

Together with Kabanikha, Dikoy belongs to the older generation of the Kalinov merchant class, but he is not a central character: not participating in the conflict, Dikoy expands the idea of ​​the patriarchal world. Savel Prokofievich is a completely empty person, out of nothing to do, constantly looking for a quarrel with the first person he meets, in order to smash him to smithereens. Dikoy is a tyrant who acts without being guided by reason. A few phrases are enough to understand the essence of his character: “I want to think so of you, I think so. For others, you are an honest person, but I think that you are a robber, that's all ... So you know that you are a worm I will, I will have mercy, if I want, I will crush ”. And this person is "a significant person in the city." Such Wild and Kabanikhs are the backbone of the Russian merchants. What can be said about the city of Kalinov, where Marfa Ignatievna and the Wild enjoy influence and respect?

The younger generation, represented in the "Groza", is also a very important part of the life of society. The passivity of young people, their weak character and inability to do anything bold and new are surprising.

Tikhon and Varvara are characters with a transitional character type. On the one hand, they do not agree with the established order of things and do not want to follow the rules established in ancient times, but, on the other hand, they do not dare to protest against them in any tangible way, and all their disagreement results in adaptation to life. in the "dark kingdom". Boris can also be referred to this. Perfectly educated, he could support Katerina's protest, win his independence from the Wild, but Boris was completely cut off from real life and barely realized his actions, destroying both himself and Katerina as a result. Boris Grigorievich is simply pathetic. He himself says to himself: “I’m walking completely killed… I’m driven out, hammered…”. He has no respect for himself, no self-esteem.

There are several opinions about Katerina's character. I believe that she cannot be called a strong personality. But she differs from the rest of the Kalinovites in that she does not want to adjust and adapt. The death of Katerina is the way out that seemed the most correct for the main character. This is not a protest or a challenge at all. And what kind of protest can we talk about when a person is not able to sort out his own feelings?

The whole merchant world of Kalinov appeared before us. What is happening in it? What are the general laws of his behavior? Wild and Kabanovs are ignorant, but by no means stupid. Their practical mind is strong, and they realize that they are on the edge of an abyss, and this edge is crumbling under them all the faster. In the depths of their souls, it is clear to them that this is the end, but they hope (and the presentiment of death will increase tenfold their strength) that, having dealt with several hostile, dangerous people for them, they will stop the earth leaving from under their feet. Forgotten the former occupation of merchants - trade (it is mentioned in the play only in passing), all forces. go to fight inside this closed world, in other words, panic has begun. And this is no longer just an alarming sign, it is a harbinger of the death of the entire "dark kingdom".

But "panic" is a word that is appropriate to describe the condition of only the older generation. Young people do not even suspect how much their lifestyle shocks their parents. On the contrary, the elders seem to them to be the inviolable, eternal basis of their life. They do not need new ideas, they are afraid of everything unknown.

Thus, we see that on the basis of the work of A. N. Ostrovsky "The Thunderstorm" we can conduct a deep analysis of the merchant society of that time, see the contradictions that were tearing it apart, understand the tragedy of individuals and a whole generation, thanks to which we can better understand the life of the entire Russian society. that time. In each dramatic work the connection between composition, conflict and genre is very close, these three components of the work simply cannot help but overlap with each other, and often, after reading the genre definition highlighted in small print on the title page, we already guess not only the form, but sometimes the plot, but along with it is the idea, the theme of the entire work, and, accordingly, the conflict that generates these ideas. Sometimes the genre definition itself (in this case, often emphasized by the author) may simply not correspond to the main traditions of genre division in literature. The fact that the genre definition of the author suddenly does not correspond to the form or content suggests that the conflict here is much deeper than the framework of one chosen genre dictates. If the writer deliberately emphasizes this discrepancy between form and content, then researchers and critics are faced with another riddle, the solution of which is important for understanding the conflict, and therefore the idea of ​​the work. A striking example is Gogol's “ Dead Souls", Not accidentally named a poem. With his work, N.V. Gogol, as it were, sums up the entire previous literature, forcing the already honed to perfection existing genres work in a new way, and the purpose of such work is to identify a new deep conflict. The situation in the play "The Thunderstorm", the history of its creation, is both similar and different from the above observations. A. N. Ostrovsky did not summarize, did not synthesize new genres, nevertheless, the genre definition of "The Thunderstorm" as

A. N. Ostrovsky is not just a master of drama. This is a very sensitive writer who loves his land, his people, his history. His plays attract attention with amazing moral purity, genuine humanity.
The characters of this playwright are people of their era. Merchants, their wives and children, matchmakers, clerks, clerks, servants, nobles, teachers, actors, robbers, holy fools ... came out on the stage with Ostrovsky's works. And each character has his own character, speaks in his own language, carries the features of his era and his social circle.
The Thunderstorm was written in 1859, during the rise of the social movement, when everyone felt the need for political and economic changes. The playwright very accurately and vividly reproduced the atmosphere of the patriarchal merchant class, from which it breathes mossy, narrow-mindedness, savagery, who does not know the desire for knowledge, interest in discoveries in the field of science, in socio-political and economic problems.
The only enlightened person in the play, Kuligin, looks like an eccentric in the eyes of the townspeople. His disinterested desire to be useful does not meet with the support of the townspeople. But he does not oppose Kalinov's world, he humbly endures not only ridicule, but also rudeness, insult.
One gets the impression that Kalinov is fenced off from the whole world by a high fence and lives some kind of special, closed life. This is a typical picture of Russian provincialism. The playwright focused on the most important, showing the wretchedness and savagery of the customs of the Russian patriarchal life.
Why is there no place for something new and fresh here? Because this whole life is based on familiar, outdated laws that seem to us completely ridiculous. This is standing still. Stagnation. Its consequences are dire and unpredictable. People either get dumb or adapt. And, which is rare, they try to protest. Stagnation is always possible when it is supported by people in power. Those in Kalinov are Dikoy and Kabanikha.
It is no coincidence that only three are fully named in the list of characters: Savel Prokofievich Dikoy, a merchant, significant person in the town; Marfa Ignatievna Kabanova, a wealthy merchant's wife, a widow; Tikhon Ivanovich Kabanov, her son. They are honorary citizens of their city. These are three different characters, but they are all born " dark kingdom". Dikoy is depicted in only three scenes, but we are presented with a complete image, a type of tyrant.
Ostrovsky not only introduced the word "tyrant" into literature, but also investigated why such a phenomenon arises, on what basis. And this soil is unlimited power and the absence of genuine culture. Dikoy swaggers in front of his nephew, in front of his family, but retreats in front of those who are able to repulse him. Rude and unceremonious, he can no longer be different. Even speech distinguishes the Wild from other characters.
The very first appearance of this hero on the stage reveals his nature. He takes advantage of the fact that his nephew Boris is financially dependent on him: “Hey, why, I came here to beat! The parasite! Go to waste. Once I told you, I told you twice: “Don't you dare appear to meet me”; "You are itching to do everything!"; "You fail!" and so on. Dikoy behaves differently with Kabanova, although out of habit he is rude to her.
There are traits in the Dick that are inherent in the people. So, he perceives natural phenomena in purely religious traditions. Dikoy proudly replies to Kuligin's request for money for the construction of a lightning conductor: "All is vanity." Frivolity and licentiousness are, of course, not purely individual qualities of the Wild. it typical features patriarchal merchants. But it stood out from the people’s environment. But, breaking away from folk culture, this part of the merchant class has lost the best sides folk character.
Marfa Ignatievna Kabanova is perceived as a strong and domineering character. After the death of her husband, she took all the power in the house into her own hands. And not only in the house, but also in the city, no one dares to enter into an argument with her. Kabanikha is serious about the house-building order. She is sincerely saddened by the fall in morality among young people, disrespectful attitude to the laws to which she herself obeyed unconditionally.

A.N. Ostrovsky is not just a master of drama. This is a very sensitive writer who loves his land, his people, his history. His plays attract attention with amazing moral purity, genuine humanity.

The characters of this playwright are people of their era. Merchants, their wives and children, matchmakers, clerks, clerks, servants, nobles, teachers, actors, robbers, holy fools ... came out on the stage with Ostrovsky's works. And each character has his own character, speaks in his own language, carries the features of his era and his social circle.

The Thunderstorm was written in 1859, during the rise of the social movement, when everyone felt the need for political and economic changes. The playwright very accurately and vividly reproduced the atmosphere of the patriarchal merchant class, from which it breathes mossy, narrow-mindedness, savagery, who does not know the desire for knowledge, interest in discoveries in the field of science, in socio-political and economic problems.

The only enlightened person in the play, Kuligin, looks like an eccentric in the eyes of the townspeople. His disinterested desire to be useful does not meet with the support of the townspeople. But he does not oppose Kalinov's world, he humbly endures not only ridicule, but also rudeness, insult.

One gets the impression that Kalinov is fenced off from the whole world by a high fence and lives some kind of special, closed life. This is a typical picture of Russian provincialism. The playwright focused on the most important, showing the wretchedness and savagery of the customs of the Russian patriarchal life.

Why is there no place for something new and fresh here? Because this whole life is based on familiar, outdated laws that seem to us completely ridiculous. This is standing still. Stagnation. Its consequences are dire and unpredictable. People either get dumb or adapt. And, which is rare, they try to protest. Stagnation is always possible when it is supported by people in power. Those in Kalinov are Dikoy and Kabanikha.

It is no coincidence that only three are fully named in the list of characters: Savel Prokofievich Dikoy, a merchant, a significant person in the city; Marfa Ignatievna Kabanova, a wealthy merchant's wife, a widow; Tikhon Ivanovich Kabanov, her son. They are honorary citizens of their city. These are three different characters, but they are all born of the "dark kingdom." Dikoy is depicted in only three scenes, but we are presented with a complete image, a type of tyrant.

Ostrovsky not only introduced the word "tyrant" into literature, but also investigated why such a phenomenon arises, on what basis. And this soil is unlimited power and the absence of genuine culture. Dikoy swaggers in front of his nephew, in front of his family, but retreats in front of those who are able to repulse him. Rude and unceremonious, he can no longer be different. Even speech distinguishes the Wild from other characters.

The very first appearance of this hero on the stage reveals his nature. He takes advantage of the fact that his nephew Boris is financially dependent on him: “Hey, why, I came here to beat! The parasite! Go to waste. Once I told you, I told you twice: “Don't you dare appear to meet me”; "You are itching to do everything!"; "You fail!" etc. Dikoy behaves differently with Kabanova, although out of habit she is rude to her.

There are traits in the Dick that are inherent in the people. So, he perceives natural phenomena in purely religious traditions. Dikoy proudly replies to Kuligin's request for money for the construction of a lightning conductor: "All is vanity." Frivolity and licentiousness are, of course, not purely individual qualities of the Wild. These are typical features of patriarchal merchants. But it stood out from the people’s environment. But, breaking away from folk culture, this part of the merchant class lost the best aspects of the national character.

Marfa Ignatievna Kabanova is perceived as a strong and domineering character. After the death of her husband, she took all the power in the house into her own hands. And not only in the house, but also in the city, no one dares to enter into an argument with her. Kabanikha is serious about the house-building order. She is sincerely saddened by the decline in morality among young people, by the disrespectful attitude towards the laws to which she herself obeyed unconditionally. The heroine stands up for a strong, strong family, for order in the house, which, according to her ideas, is possible only if all the rules prescribed by the house building are observed. She cares about the future of the children - Tikhon and Varvara.

"The Thunderstorm" is a wonderful textbook for studying the merchant life of that time. This life is shown in the play from all sides - both from inside the merchant circle itself, and through the attitude of people who do not enter there.

Another work in which Ostrovsky showed the life of the merchants was "Forest". This comedy was written in 1871, when the old way of life in post-reform Russia was being rebuilt in a new way. In his work, Ostrovsky reflected the state of Russian society at that time. The writer managed to cover a fairly wide range of social strata, brought together people who previously would have been impossible to imagine together: representatives of the county nobility, provincial actors, merchants, a poor pupil, an undergraduate school student.

The comedy "Forest" is closely related to its time: the fates of the heroes fit into a great historical time. In a concentrated form, all changes in the life of society were reflected in the family. With the collapse of serfdom, patriarchal foundations in the life of society and the family are destroyed. A person finds himself alone with himself. All this is happening against the backdrop of completely new economic relations.

In the very first act, we learn that the fate of the forest, which Raisa Pavlovna Gurmyzhskaya is selling, decides the fate of many people. The huge estates of Gurmyzhskaya are melting, they are being bought up by yesterday's "man", the merchant Vosmibratov. The landowners realize that under Vosmibratov's ax the forests surrounding their estates are being destroyed and symbolizing the inviolability of feudal relations. They understand that Vosmibratov will not regret the forms of life habitual for "noble nests", he will not regret the beauty of the forests. In the play, Ostrovsky shows the clash of material interests of the landowners and the bourgeoisie.

It would seem that these two plays are only twelve years apart, but how different are the characters and perceptions of the characters! If in The Thunderstorm the old merchants are trying with all their might to keep the penetration of everything new into life, to preserve the patriarchal traditions and to hand them over to their children, then in the play The Forest the desire for new things and changes embraced almost everyone, even representatives of the older generation. At the same time, all the rules of decency and tact are forgotten. Well, the signs of the times, and Ostrovsky reflected them as accurately as possible in his works.