The critical article "Light of Light in the Dark Kingdom" was written by Nikolai Dobrolyubov in 1860 and at the same time published in the magazine "Contemporary".

Dobrolyubov reflects in her about dramatic standards, where "we see the struggle of passion and debt." A happy end, in his opinion, the drama has if the debt wins, and the unfortunate - if the passion. The critic notes that there is no time of time and high vocabulary in the island drama, which was the rule for the dram. "Thunderstorm" does not satisfy the main goal of the drama - respect the "moral debt", show the disadvantaged, the fatal "consequences of passion passion." Dobrolyubov notes that the reader involuntically justifies Katerina, and that is why the drama does not fulfill its goal.

The writer has a role in the movement of mankind. The critic leads an example of a high mission performed by Shakespeare: he was able to raise the morality of contemporaries. "Plays of Life" somewhat derogatory calls the works of Ostrovsky Dobrolyubs. The writer "Does not punish a villain or a victim", and this, according to criticism, makes the play hopelessly by household and landed. But the critic does not refuse them in "nation", half alamusing in this context with Apollo Grigoriev. It is the reflection of the aspirations of the people seems to be one of the strengths of the work.

Dobrolyubov continues to defeat criticism when analyzing the "unnecessary" heroes of the "Dark Kingdom": their inner world is limited within a small Mirka. There are in the work and villains described extremely grotesque. These are kabaniha and wild. However, unlike, for example, the characters of Shakespeare, their self-smuggling, although it is capable of destroying the life of a good person. Nevertheless, the "thunderstorm" is named the Drevoy "most decisive work" of the playwright, where Samodogo was brought to the "tragic consequences".

Supporter of revolutionary changes in the country, Dobrolyubov, gladly notices the signs of something "refreshing" and "encouraging". For him, the exit from the Dark Kingdom can only be as a result of the protest of the people against the self-homing of power. In the plays of Ostrovsky Critic, I saw this protest in the act of Katerina, for which to live in the "dark kingdom" worse death. Dobrolyubov saw in Katerina of the man who was required by the epoch: decisive, with a strong character and will of the spirit, albeit "weak and patient." Katerina, "creating, loving, perfect," is, according to the revolutionary Democrat of Dobrolyubov, the ideal prototypes of a person who is capable of protest and even more. Katerina is a bright person with a bright soul - called the critic "Light Light" in the world of dark people with their small passions.

(Tikhon falls on his knees in front of the boa)

Among them and the husband of Katerina Tikhon is "one of the many miserable types", which are as harmful as self-made ". Katerina runs away from him to Boris "more on deceivacy", from the "Needs of Love", to which it is not capable of taikhon because of its moral undevelopment. But Boris is by no means "not a hero." There is no exit for Katerina, can't her bright soul get out of the sticky darkness of the "Dark Kingdom".

The tragic ending of the play and the cry of unfortunate Tikhon, remaining, according to him, continue to "suffer,", "forcing the viewer - as the Dobrolyubs wrote - to think about the love intrigue, but about all the lives where the lively wonder the dead."

Nikolai Dobrolyubov puts the real task of its critical article to draw the reader to the thought that Russian life is shown by Ostrovsky in the "thunderstorm" in such angle in order to cause "a decisive thing." And this case is legally and important. In this case, as the critic notes, he will be pleased with "Whatever our scientists and literary judges say."

The writing

Abstract Article N.A. Dobrolyubov

"Light of Light in the Dark Kingdom"

1. The merit of A.N. Ostrovsky

2. Distinctive properties of the character of Katerina

3. Evaluation of the "Dark Kingdom"

4. Conclusions to which critic comes

Ostrovsky has a deep understanding of Russian life and the great reduction to depict sharply and lively the most essential parties.

Carefully thinking the totality of his works, we find that the grave of the true needs and aspirations of Russian life has never left him; It sometimes did not appear at first glance, but always in the root of his works.

Requirement of law, respect for the personality, protest against violence and arbitrariness you find in a variety of literary works; But in them, the matter did not work in vitality, in a practical way, he was distinguished, the philosophical side of the question and everything is derived from it, the right is indicated, but is not much disregardable. The island is not something: you find not only moral, but also the everyday economic side of the question, but this is the essence of the case. You clearly see how Samodoria relies on Tolstoy Moshne, which is called "God's blessing", and how the unrequency of people in front of him is determined by their addiction. Moreover, you see how this material side in all everyday relations dominates the abstractness and as people who have been deprived of material support, little appreciate the abstract rights and even lose the clear consciousness about them. In fact, the fusion person can argue coolly and cleverly, if he should have such a kushan; But hungry is torn to food, where neither envy her and what would it be. This phenomenon, repeated in all spheres of public life, is well seen and understood by Ostrovsky, and his plays clear all the reasoning shows how the system of the cure and gross, petty egoism, watered by Samoram, is being taken to them and thus suffer from him; As they, if there is little less, they keep the remnants of energy, try to use it for the purchase of the opportunity to live independently and no longer disassemble neither funds or rights.

Ostrovsky in the foreground is always common, not dependent on any of the actors, the situation of life. He does not punish a villain or a victim; Both of them are miserable to you, often both are ridiculous, but the feeling excited in you is directly affected by them. You see that their position dominates them, and you blame them only that they do not show enough energy in order to exit this position. Self-self-against themselves, against which your feeling should be indignant, for attentive considerations are more decent regret, rather than your anger: they are virtuous and even smart in their own way, within the limits prescribed by Rutinov supported by them; But the situation is such that it is impossible in it complete, healthy human development.

Thus, the struggle is made in the plays of Ostrovsky not in the monologues of the acting persons, but in facts that dominate them. Unauthorized persons have the reason for their appearance and are even necessary for the completeness of the play. Substituent participants in the life drama, apparently employed only by their work, - they often have such an existence of such an impact on the course of the case, which is impossible to reflect it. How many hot ideas, how many extensive plans, how many enthusiastic gusts are collapsed at one glance on an indifferent, prosaic crowd, with contemptuous indifference passing by us! How many pure and good feelings freeze in us from fear so as not to be ridiculous and dedicated to this crowd. And on the other hand, and how many crimes, how many impressions of the arbitrariness and violence stops before the solution of this crowd, it is always as if indifferent and militant, but, in essence, a very disassestant thing is that since it is recognized. Therefore, it is extremely important for us to know what the concepts of this crowd are good and evil that it is considered for the truth and what a lie. This is determined by our view to the situation in which the main persons are the play, and therefore, the degree of our participation to them.

Katerina is fully operated by his nature, and not asked solutions, because for solutions it would have to have logical, solid foundations, and meanwhile, all the principles that it was given for theoretical reasoning, it is strongly dissected by its natural attractions. Therefore, it not only does not accept the heroic poses and does not pronounce the sayings proving the hardness of character, and even on the contrary - is in the form of a weak woman who does not know how to oppose their entrepreneurs, and trying to justify the heroism, which manifests itself in its actions. It does not complain about anyone, does not blame anyone, and nothing like that does not come to her. There is no malice, nor contempt, nothing than the commonly disappointed heroes, comingily leaving the light. The thought of bitterness of life, what will be tolerated, before Tatering Katerina, which turns it into some half-rally state. At the last moment all homemade horrors felt especially alive in her imagination. She screams: "And they will be angry with me forcibly! .. Early, more likely ..." And the case is over: she will not be a more sacrificent of soulless mother-in-law, will not be quietly locked up with her husband's sophisticated and nasty her. She is released! ..

Sad, bitter such liberation; But what to do, when there is no other way out. Well, that was found in a poor woman determination at least on this terrible way out. Therefore, the strength of her character, because of the "thunderstorm" and makes an impression of a refreshing.

This end seems to us with pleasure; It is easy to understand why: in it there is a terrible challenge to Samoga strength, he tells her that it is impossible to go further, it is impossible to live with her violent, dead beginnings. In Katerina, we see protest against the Kabanovsky concepts about morality, protest, brought to the end, proclaimed and under home torture and over the abyss, in which a poor woman rushed. She does not want to put up, does not want to use a pathetic stagnation, which she is given in exchange for her living soul.

Dobrolyubov set the Ostrovsky very high, finding that he was very fully and multilaterally able to portray the essential parties and the demands of Russian life. Some authors took private phenomena, temporary, external requirements of society and depicted them with great or less success. Other authors took more internal side of life, but were limited to a very close circle and mixed such phenomena that did not have a nationwide value. The island case is much fruitful: he seized such common aspirations and needs that all Russian society imbued with, whom the voice is heard in all phenomena of our life, which satisfaction is a necessary condition for our further development.

" At the beginning of her Dobrolyubov writes that "Ostrovsky has a deep understanding of Russian life." Further, he exposes an article about the island of other critics, writes that they have a direct look at things. "

Then the Dobrolyubov compares the "thunderstorm" with dramatic canons: "The subject of the drama must certainly be an event where we see the struggle of passion and debt - with the accidents of the victory of passion or happy when the debt wins." Also in the drama there should be unity of action, and it should be written by a high literary language. "Thunderstorm" at the same time "does not satisfy the most significant goal of the drama - to inspire respect for moral debt and show the detrimental consequences of passion and passion. Katerina, this criminal, seems to us in the drama not only not in a fairly gloomy light, but even with the radiance of martyrdom. She speaks so well, suffers so complaints, everything is so bad that you are armed against her oppressants and, thus, in her face justify the vice. Consequently, the drama does not fulfill its high destination. All action goes sluggish and slowly, because it is cluttered with scenes and persons, completely unnecessary. Finally, the language, which the actors speak, surpasses any patience of good-apartment man. "

This comparison with the canon of Dobrolyubov is carried out in order to show that the approach to the work with a ready-made presentation that should be shown in it does not give a true understanding. "What to think about a person who at the sight of a pretty woman begins to suddenly resonate that she has not been such as Venus Milos? The truth is not in dialectical intricacies, but in the lively truth, about what we argue. You can not say that people were evil in nature, and therefore cannot be taken for literary works of principles like the fact that, for example, vice always triumphs, and virtue is punished. "

"The writer has so far been granted a small role in this movement of mankind to the natural principle," writes Dobrolyov, after what Shakespeare recalls, who "moved the general consciousness of people into several steps, which no one was raised before him." Further, the author refers to other critical articles on the "thunderstorm", in particular, Apollo Grigorieva, who claims that the main merit of Ostrovsky is in his "nationality." "But what populists consists, G. Grigoriev does not explain, and therefore his replica seemed very fun to us."

Then Dobrolyubov comes to the definition of the Pieces of Ostrovsky as a whole as "places of life": "We want to say that he is in the foreground is always a common setting of life. He does not punish a villain or a victim. You see that their position dominates them, and you blame them only that they do not show enough energy in order to exit this position. And this is why we do not decide to consider it unnecessary and unnecessary those persons are Ostrovsky's Pieces that do not participate directly in the intrigue. From our point of view, these faces are needed as much for the play, as well as the main: they show us the situation in which the action takes place, draw a position that the meaning of the activities of the main characters of the play is determined. "

The "thunderstorm" is particularly visible the need for "unnecessary" persons (secondary and episodic characters). Dobrolyubov analyzes the replicas of fecles, Head, Wild, Kudryash, Kuligina, etc. The author analyzes the inner state of the heroes of the "Dark Kingdom": "Everything is somewhat restless, it's not good. In addition to them, not asking them, another life has grown, with other principles, and although it is also not visible carefully, but already sends bad visions to the dark arbitrariness of self-timers. And Kabanova is very seriously upset by the future of the old orders, with whom it has been outprof. She foresees the end of them, tries to support their importance, but it already feels that there is no previous respect for them and that with the first opportunity they will throw them. "

Then the author writes that the "thunderstorm" is "the most decisive work of Ostrovsky; Mutual relationships of self-employment were brought to the most tragic consequences; And with all that, most of those who read and seen this play agreed that there is even something refreshing and encouraging in the "thunderstorm". It is "something" and there is, in our opinion, the background of the play, which we specified and the detecting chance and the close end of the self-smuggling. Then the very character of Katerina, painted on this background, also blows new life on us, which opens to us in her deception itself. "

Next, Dobrolyubov analyzes the image of Katerina, perceiving it as a "step forward in all of our literature": "Russian life has reached the fact that he felt the need for people more active and energetic." The image of Katerina "is steadily faithful to the little natural truth and selfless in the sense that he is better than death than life with the principles that he disappeared. In this integrity and harmony of character is its strength. Free air and light, contrary to all the precautionary of the dying self-smuggling, break into Katery Katerina, she rushes to a new life, at least he had to die in this impulse. What is her death? Anyway - she does not consider life and then stagnation, which fell to her share in the family of Kabanov. "

The author disaccues the motives of Katerina actions in detail: "Katerina does not belong to the rusty characters, dissatisfied, loving to destroy. On the contrary, this is the character of the advantage of creating, loving, perfect. That is why she tries to make everything in their imagination. The sense of love for a person, the need of gentle pleasures naturally opened in a young woman. " But it will not be Tikhon Kabanov, who is too clogged in order to understand the nature of the emotions of Katerina: "I do not figure you out, Katya," he says to her, - I will not succeed with you, not something like caress, otherwise so We climb. " So ordinary spoiled nature is judged by the nature of strong and fresh. "

Dobrolyubov comes to the conclusion that in the image of Katerina Island embodied the great folk idea: "In other creations of our literature, strong characters are similar to fountains depending on the foreign mechanism. Katerina is like a big river: Strong bottom, good - she flows calmly, the stones met the bigges - she jumps through them, the break - the cascade is poured, they will dampen it - she rages and breaks in another place. Not therefore, she will be burst, so that the water suddenly wanted to hang or get angry with obstacles, and simply because it is necessary for the fulfillment of its natural requirements for further flow. "

Analyzing the actions of Katerina, the author writes about what the escape of Katerina and Boris considers it possible as the best solution. Katerina is ready to run, but here another problem floats - the material dependence of Boris from his uncle wild. "We told above a few words about Tikhon; Boris is the same, in essence, only formed. "

At the end of the play "we are glad to see the deliverance of Katerina - at least through death, if it is impossible to otherwise. Live in the "dark kingdom" worse death. Tikhon, rushing to the corpse of his wife, pulled out of the water, shouts in selflessness: "Good to you, Katya! And I needed to live in the world. Yes, I suffer! "This exclamation ends with a play, and it seems to us that nothing could be invented more and truly such an end. Thikhon's words make the viewer think no longer about love intrigue, but about all this life, where alive envy the dead. "

In conclusion, Dobrolyubov appeals to readers of the article: "If our readers find that Russian life and Russian power are caused by the artist in the" thunderstorm "for a decisive thing, and if they feel the legality and importance of this case, then we are satisfied that we would say our scientists and literary judges. "

Of all the works of the Ostrovsky Piece "Thunderstorm" caused the greatest resonance in society and the most acute controversy in criticism. This was due to both the character of the drama itself (the severity of the conflict, its tragic outcome, the strong and original image of the main character), and the era in which the play was written, - two years before the abolition of serfdom and related reforms in socio-political life Russia. It was the era of public lifting, the flourishing of freedom-loving ideas and increased resistance to the "Dark Kingdom" in all its manifestations, including in a family-household area.

From this point of view came to Drama N.A. Dobrolyubov who gave the most complete and detailed analysis. In the main heroine, Katerina Kabanova, he saw a robust phenomenon that foreshadows the close end of the kingdom of self-masses. Attaching the strength of Katerina's character, he emphasized that if even a woman, that is, the most scored and disadvantaged element of society is driving onto a protest, "the" Dark Kingdom "come" last times ". The title of Dobrolyubov article as it is impossible to express its main pathos.

The most consistent Opponent of Dobrolyubov became D.I. Pisarev. In his article, he not only did not agree with Dobrolyubov in the assessment of the image of Katerina, but completely debunk him, making an emphasis on the weaknesses of the heroine and concluding that all her behavior, including suicide, is nothing but "nonsense and absurdity" . However, it is necessary to consider that Pisarev made his analysis after 1861 and after the emergence of such works as "fathers and children" of Turgenev and "What to do?" Chernyshevsky. In comparison with the heroes of these novels - Bazarov, Lopukhov, Kirsanov, Rakhmetov, faith of the Pavlovna, and others, in which Pisarev found his ideal of the Democratic revolutionary, - Katerina Ostrovsky, of course, was very losing.

Polemic in relation to Dobrolyubov and article A.A. Grigorieva is one of the leading Russian critics of the middle of the XIX century, standing in the positions of "pure art" and consistently opposed a sociological approach to literature. In contrast to the opinion of Dobrolyubov Grigoriev, it claims that in the works of Ostrovsky and, in particular, in the play "Thunderstorm", the main thing is not the observation of the social system, but the embodiment of the "Russian nationality".

Large Russian writer I.A. Goncharov gave a fully positive feedback about the play, accurately and briefly described her main advantages. M. M. Dostoevsky, Brother of the Great Russian Writer F.M. Dostoevsky, disassembled in detail the character of Katerina in all its contradictions and, deeply sympathizing with heroin, concluded that this is the character of True Russian, 77, I. Melnikov-Pechora populator-population, in his revocation about the nature of the "thunderstorm" approaching the position of Dobrolyubov , considering the most important protest motive against self-smuggling. This article should pay attention to a detailed analysis of the characters of the fecles and cooolin and the meaning of their opposition.

The readers of the "contemporary" remember, it may be that we put Ostrovsky very high, finding that he is very fully and versatile to portray the essentials and demands of Russian life 1. Other authors took private phenomena, temporary, external requirements of the Company and depicted them with great or less successful, as, for example, the requirement of justice, versoity, sensible administration, destroying the sputters, cancel the serfdom, etc. Other authors took more internal side of life, but They were limited to a very close circle and mixed such phenomena that did not have a nationwide value. Such, for example, an image in a countless set of the associations of people who have become above the development of their environment, but devoid of energies, will and dying in inaction. These were the meaning, because they clearly expressed their disrepair of a medium that hinders good activities, and although the vaguely conscious requirement of energetic use in fact began recognizing by us for the truth in theory. Depending on the difference of talents, and the tale of this kind had more or less value; But they all concluded the disadvantage that they only fell into a small (relatively) part of society and had almost nothing to do with the majority. Not to mention the mass of the people, even in the middle layers of our society, we see much more people who still need to acquire and clarify the right concepts than those who do not know with acquired ideas where to go. Therefore, the meaning of these stories and novels remains very special and felt more for the mug of a known variety than for the majority. It is impossible not to confess that the island case is much fruitful: he seized such common aspirations and needs that all Russian society imbued with, whom the voice is heard in all phenomena of our life, which satisfaction is a necessary condition for our further development. The modern aspirations of Russian life in the most extensive sizes find their expression in the island, as a comedian, from a negative side. Drawing to us in a bright picture of false relations with all their consequences, it is at the same time serves as an echo of aspirations that require a better device. Arbitrarily on the one hand and lack of consciousness of the rights of their personality on the other - here are the foundations on which all the disgrace of mutual relations developed in most of the Ostrovsky comedies; Requirements of law, legality, respect for man - this is what he heard to each attentive reader from the depths of this disgrace. What, will you become denying the extensive importance of these requirements in Russian life? Don't you confess that a similar background comedy corresponds to the state of the Russian society more than anything else in Europe? Take the story, remember your life, look around around yourself - you will find the justification of our words everywhere. It is not a place here to start us in historical surveys; It is rather noticed that our story before the newest times did not contribute to our development of the sense of legality did not create strong guarantees for the person and gave an extensive field of arbitrariness. This kind of historical development, of course, was a consequence of the decline of public morality: respect for his own dignity was lost, faith in law, and therefore, and the consciousness of the debt-weaken, the arbitrarily trampled the right, the trick fell under arbitrariness. Some writers who devoid of normal needs and confusing artificial combinations, recognizing these undoubted facts, wanted to legalize them, glorify as a norm of life, and not as a distortion of natural aspirations made by adverse historical development. But Ostrovsky, as a person with a strong talent and, therefore, with a little truth? With instinctive tilt to natural, sensible requirements, could not be tempted, and the arbitrariness, even the widest, always went out by him, according to reality, the arbitrariness of a heavy, ugly, chasing - and in the essence of the play always heard a protest against him. He knew how to feel that such a latitude of nature means such a latitude, and swamped, stumbled it with several types and name of Samoram.

But he did not compose these types, as exactly as he was invented and the word "Samodor". That and another he herself in his life. It is clear that life, which has given materials for such comic provisions, in which the Soviet Soviet, life, who gave them and a decent name is often put, is not absorbed by their influence, but encompasses the depository, the right thing. And indeed, after every plays of Ostrovsky, everyone feels inside himself this consciousness and, looking around himself, notes the same in others. Walking more closely for this thought, looking at it longer and deeper, you notice that this desire to a new, more natural device of relationship encompass the essence of everything that we call progress is the direct task of our development, absorbs all the work of new generations. Where are you looking back, everywhere you see the awakening of the person, presenting their legitimate rights, protest against violence and arbitrariness, the more part of a timid, uncertain, ready to hide, but still already gives to notice its existence.

The Ostrovsky, you find not only moral, but also the life, economic side of the question, but in this and the essence of the case, you can clearly see how Samodoria relies on Tolstoy Moshne, which is called "God's blessing", and how the unrequency of people before It is determined by the material dependence. Moreover, you see how this material side in all everyday relations dominates the abstractness and as people who have been deprived of material support, little appreciate the abstract rights and even lose the clear consciousness about them. In fact, the fusion person can argue coolly and cleverly, if he should have such a kushan; But hungry is torn to food, where neither envy her and what would it be. This phenomenon, repeated in all spheres of public life, is well seen and understood by Ostrovsky, and his plays is clearer with any reasoning show the attentive reader, as a system of useless and coarse, petty selfishness, placed by Samoram, is being given to them and thus suffer from him; As they, if there is little less, they keep the remnants of energy, try to use it for the purchase of the opportunity to live independently and no longer disassemble neither funds or rights. We have developed too much in detail this topic in our previous articles, in order to come back again; Moreover, we, who remembered the side of the Talent of Ostrovsky, who were repeated in the "thunderstorm", as in his previous works, must still make a short review of the play itself and show how we understand it.

Already in the former plays of Ostrovsky, we noticed that this is not comedy intrigue and not comedy characters actually, but something new, which we would give the name "plays of life" if it were not too extensively and therefore not quite definitely. We want to say that in its foreground is always a common, independent of any of the actors, the situation of life. He does not punish a villain or a victim; Both of them are miserable to you, often both are ridiculous, but the feeling excited in you is directly affected by them. You see that their position dominates them, and you blame them only that they do not show enough energy in order to exit this position. Sales themselves, against which your feeling should be indignant, for attentive considerations are more decent regret, rather than your anger: they are virtuous and even smart in their own way, within the limits prescribed by Rutin and supported by them; But the situation is such that it is impossible in it complete, healthy human development.

Thus, the struggle required by the theoria from the drama is made in the plays of Ostrovsky not in the monologues of the acting persons, but in facts that dominate them. Often the characters of the comedy do not have clear, or at all, no, consciousness about the meaning of their position and their struggle; But but the struggle is very clearly and consciously takes place in the soul of the viewer, who is involuntarily indignant against the situation generating such facts. And this is why we do not decide to consider it unnecessary and unnecessary those persons are Ostrovsky's Pieces that do not participate directly in the intrigue. From our point of view, these faces are as much as necessary for the play, as well as the main things: they show us the situation in which the action takes place, draw a position that the meaning of the activity of the main characters of the play is determined. To find out well to learn the properties of the plant's life, you need to study it on the soil on which it grows; Withdrawing from the soil, you will have a form of a plant, but you will not recognize quite his life. In exactly, you will not know the life of society, if you consider it only in the immediate relations of several people who have come for some reason in the collision with each other: there will be only a business, the official side of life, meanwhile, how we need a week's appearance. Outsiders, noteworthy participants in the life drama, apparently occupied only by their own business, - have often one of its existence such an impact on the course of the case, which cannot be reflectless. How much hot ideas, how many extensive plans, how many enthusiastic gusts are collapsed at one glance on an indifferent, prosaic crowd, with contemptuous indifferentism 2 passing by us! How many pure and kind feelings freeze in us from fear so as not to be ridiculous and dedicated to this crowd! And on the other hand, and how many crimes, how many impressions of the arbitrariness and violence stops before the solution of this crowd, it is always as if indifferent and militant, but, in essence, a very disassestant thing is that since it is recognized. Therefore, it is extremely important for us to know what the concepts of this crowd are good and evil that it is considered for the truth and what a lie. This is determined by our view to the situation in which the main persons are the play, and therefore, the degree of our participation to them.

In the "thunderstorm", the need for so-called "unnecessary" persons is particularly visible: without them we cannot understand the face of the heroine and can easily distort the meaning of the whole play.

"Thunderstorm, as you know, presents to us idyll 3" Dark Kingdom ", which little illuminates the island to us with their talent. The people you see here live in blessed places: the city stands on the banks of the Volga, all in greenery; From the steep shores are visible distant spaces covered with seams and the funds; The summer thankful day and manit on the shore, on the air, under the open sky, under this breeze, fresher from the Volga ... and the inhabitants, exactly, are sometimes walking along the boulevard over the river, even though they looked at the beauties of Volzhsky species; In the evening they are sitting on the dumps at the gate and are engaged in pious conversations; But more spending time at home, they are engaged in the economy, eat, sleep - sleep very early, so that the unusual person is difficult and withstanding such a sleepy night, which they ask themselves. But what to do, how not to sleep when they are fed? Their life flows so smoothly and peacefully, no interests of the world are disturbed, because they do not reach them; Kingdoms can collapse, new countries to open, the face of the earth can change, as he pleases, the world can start a new life on the new principles, - the inhabitants of Kalinov's town will continue to exist in the fullest ignorance of the rest of the world. Occasionally, an indefinite rumor rangs to them, that Napoleon with a twenty language again rises or that the antichrist norradized; But this is what they take more than a curious thing, it seems to be that there are countries where all people with wax heads are: shook your heads, they will express surprise to the wonders of nature and go to themselves ... "Smolodes still show some curiosity, but food to take it nowhere : Information comes to them, exactly in ancient Russia only from the strangers, and there are no many real now; It is necessary to be content with such that "themselves, by the glimpse of them, did not go far, but heard a lot of heard," like a fecusha in the "thunderstorm". From them only recognize the inhabitants of Kalinov that in the world is being done; Otherwise, they would think that the whole light was the same as their kalins, and that otherwise live than they are absolutely impossible. But the information reported by the fecles is such that they are not able to inspire a lot of desire to exchange their lives on others. Feclusha belongs to the party of patriotic and highly conservative; It is good among pious and naive Kalinovans: it is honored, and treat, and supply everything necessary; It can be preserved that the most sins occur because she is above one of the mortals: "ordinary people, says every one enemy confuses, and to us, strange people, to whom six, to whom the twelve must, so much overcome. " And she believes. It is clear that the simple instinct of self-preservation should force her not to say a good word that in other lands is done. And in fact, listen to the conversations of merchants, mesh, minor officials in the county wilderness, - how many amazing information about the wrong and dirty kingdoms, how many stories about those times when people were burned and tormented when the robbers of the city robbed, and so on. - And as little information about European life, about the best device of life! All this leads to the fact that Feklusha expresses so positively: "Bla-Alepie, a sweet, blah Alepie, the beauty is wondering! Yes, what can I say - in the promised land you live! " It undoubtedly comes out how to figure out that in other land is done. Listen - to FEKLOSHU:

"They say, such countries are, a cute girl, where and the kings are not Orthodox, and the Saltany of the Earth rule. In the same land, Saltan sits on the throne, Turkish, and in the other - Saltan masted Persian; And the court is creating, a cute girl, over all people, and that they are not being judged, everything is wrong, and they cannot judge the righteously, a cute girl, no matter how much the limit is the limit, we have a law righteous, and they have , honey, unjust; That according to our law it comes out, but in their own opposite. And all the judges they have, in their countries, are also all unrighteous: so they, a sweet girl, and ask: "Sudi me, the judge is unrighteous!" And that is, there is still an earth, where all people with leaps are heads. "

"For what exactly, with pests?" - Asks Head. "For infidelity," the fecles is briefly replied, considering all further explanations to excessive. But he is glad and be glad; In the volatile monotony of her life and thoughts, she is nice to hear any new and original. In her soul, it's vaguely awakens the thought, "that, however, people live and not as we; It certainly, we are better, and however, who knows them! After all, we are not good; And about those lands we still do not know well; Something only you hear from good people ... "And the desire to know more is creepy with the soul. It is clear from the words of the head of the Wanderer's Care: "That's what lands are! Some, some miracles in the world are not! And we sit here, we do not know anything. It is also good that good people are: no, no yes and hear that on the white light is done; And that would be so fools and died. " As you can see, the wrongness and infidelity of foreign land does not initiate horror and indignation; It takes only a new reduction, which seems to her something mysterious - "wonders", as it is expressed. You see that it is not content with the explanations of the fecles who excite in it only regret about their ignorance. It is obviously halfway to skepticism 4. But where is it to keep her distrust when it is inconspicuously undermined by the stories like Flocin? How to get to the right concepts, even just to reasonable questions when her curiosity is locked in such a circle, which is outlined near her in the city of Kalinov? Yes, more than more, how would she dare not to believe yes try when the elders and the best people are so positively calmed down in conviction that the concepts adopted by them and lifestyle are the best in the world and that all new comes from unclean power? Scary and hard for each newcomer attempt to go against the requirements and beliefs of this dark mass, terrible in its naivety and sincerity. After all, it will curse us, will run, as expected, - not by malice, not by calculations, but on the deep conviction that we are akin to Antichrist; Well still, unless you consider polulous and will be pitched .- .. She is looking for knowledge, loves to reason, but only in certain limits prescribed by it the basic concepts in which the mind is frightened. You can inform Kalinovsky residents of some geographic knowledge; But do not touch the fact that the Earth on three whales is worth it and that in Jerusalem there is an Earth PUP, "they will not be treated for you, although they have the same clear concept as Lithuania in the" thunderstorm ". "This is my brother, what is mine what?" - asks one peaceful citizen in the other, showing the picture. "And this is a Lithuanian ruin," the one answers. - Battle! See! As ours beat our Lithuania. " - "What is Lithuania?" "So she is Lithuania," he answers explaining. "And they say, you are my brother, she fell on us from the sky," the first continues; But his interlocutor is not enough to the need: "Well, from the sky, so from the sky," he answers ... Here the woman interferes in the conversation: "Involve more! Everyone knows that from the sky; And where was the fight with her, there for the memory of the mound of the mound. " - "And what, brother you are! After all, it is so accurate! " - the questioner exclaims, quite satisfied. And then ask him what he thinks about Lithuania! Such an outcome has all the questions asked by people with natural curiosity. And this is not at all so that these people are more stupid, there are many other other other, whom we meet at academies and scientists. No, the thing is that they are their position, their life under the oppression of the arbitrariness, everyone is accustomed to see ignorance and meaninglessness and therefore finding uncomfortable and even bold to be insistently improving reasonable grounds in whatever. Ask a question - they will still be on it; But if the answer is such that "the gun in itself, and the Mortira is in itself," they no longer dare torture further and are satisfied with this explanation. The secret of such indifference to logic is primarily in the absence of any logicness in life relations. The key of this mystery gives us, for example, the next replica of the wild in the "thunderstorm". Kuligin in response to his rudeness says: "For what, Sudar Savel Prokofich, an honest person to offend or learn?" Wildlinks this:

"Report, or I will give you! I don't give you anything more than you. I want to think so about you, and I think. For others you are an honest person, and I think you are a robber, that's all. I wanted to hear it from me? So listen! I say that the robber and the end! What are you, to sue, if you, will you be with me? You are you know that you are a worm. I want to give me, I will want to give up. "

What a theoretical reasoning can resist where life is based on such principles! The absence of any law, all logic is the law and the logic of this life. This is not anarchy 5, but something else is much worse (although the imagination of the educated Europeans does not know how to imagine anything worse than anarchy). There is so much beginning in anarchy: everyone is well done on his own sample, no one has decree to anyone, everyone can answer for the orders of another that I, I say, I don't want to know, and thus everyone is born and nothing to agree may. The position of the Company susceptible to such anarchy (if only it is possible) is really terrible. But imagine that this the most anarchic society was divided into two parts: one left the right to fool and not know any law, and the other forced to recognize all the claims of the first and badly to demolish all her whims, all the disgrace ... It's not true that it was would be more terrible? Anarchy would remain the same, because in society still there would be no reason, no mischief would continue to continue; But half of people would have forced to suffer from them and constantly nourish them, their humility and waters. It is clear that under such conditions, mischief and lawlessness would take such sizes that they could never have to have with universal anarchy. In fact, they are saying, and one, granted to himself, does not grow much in society and very soon will feel the need to agree and consult with others in the types of general benefits. But never feeling this need if he finds an extensive field in a variety of like herself, and if in their dependent, humiliated position, the constant reinforcement of his self-court sees. Thus, having a common with anarchic absence of any law and the right, mandatory for all, self-esteem, in essence, incomparably terrible anarchy, because gives disadvantage more means and expanses and makes it suffer more people - and more dangerous in that respect, What can stay much longer. Anarchy (repeat, if only it is possible at all) can only serve as a transitional moment, which itself should be treated with each step and lead to any more common way; Self-friendly, on the contrary, seeks to legalize yourself and establish as an unshakable system. That's why it, together with such a wide concept, tries about his own freedom, however, to take all possible measures to leave this freedom for forever only to protect yourself from all sorting attempts. To achieve this goal, it recognizes as if not to silent higher demands and although itself against them is still awesome, but before others are firmly behind them. About a few minutes later, after a replica, in which di, oh so resolutely rejected, in favor of his own whim, all moral and logical grounds for judgment about a person, "the same wild walked to Kuligina, when the word electricity spoke to explain the thunderstorm.

"Well, how are you not a robber," he shouts, "the thunderstorm is sent to us in punishment, so that we feel, and you want to be soles and some kind of soles, forgive me, defend. What are you, Tatar, or what? Tatar you? A, Speak: Tatarin? "

And here the Kuligin does not dare to answer him: "I want to think so and think, and no one is decree" -. Where you - he cannot imagine his explanations: they take with curses, and they do not speak. Inevitable here to resonate 6 will cease when the fist is responsible for any reason, and always in the end the fist remains right ...

But - a wonderful thing! - In his indisputable, irresponsible dark dominion, giving complete freedom to her whims, setting any laws and logic, the self-director of Russian life begin, but they also feel some kind of discontent and fear, not knowing before and why. Everything seems to be, everything is fine: Wild scores who wants; When he is told: "How none of you in the whole house can not please!" - He is self-confined: "Here you are!" Kabanova holds still in the fear of his children, makes the daughter-in-law to abide by all the ethricted ethics, eats it as a rye glage, considers himself quite infallible and becomes plentiful to different fecles. And everything is somehow restless, it's not good. In addition to them, not asking them, another life has grown up, with other principles, and although it is also not visible good, but already gives himself to predicate and sends bad visions to the dark arbitrariness of self-timers. They are fiercely looking for their enemy, ready to swell on the most innocent, on some Kuligin; But there is neither an enemy, nor the guilty that they could destroy: the law of time, the law of nature and history takes its own, and the old kabanovs breathe hard, feeling that there is power above them, which they cannot overcome, to which not even tend Know how. They do not want to give up (yes nobody shoves and does not require concessions from them), but they are shifted, reduced: before they wanted to approve their system's system forever, and now they also try to preach; But already hope changes to them, and they, in essence, cotton only about how it would be for their age, Kabanov argues that "the last time come," and when Femcusha tells her about different horrors of the present time - about railways And so on, - she prophets notices: "And worse, honey, will be." "We would not even live before that," the fecleshusha is responsible with a sigh, "maybe we will live," says again Kabanov again, finding his doubts and uncertainty. But why does she worry? People on the railways goes "yes she is something from this? But you see: She, "Although you are her whole scree gold," will not go through the Devil's invention; And the people go more and more, not paying attention to her curses; Isn't it sad, doesn't it be evidence of her impotence? People were performed about electricity - it seems that there is an offensive for wild and kabanic? But you see, wildly says that "the thunderstorm in punishment is sent to us so that we feel", and Kuligin does not feel or feels at all and interprets about electricity. Is it not a timely person, not the disregard of power and the meaning of wild? Do not want to believe what he believes - it means that he does not believe, consider himself smarter than him; Judge, what will it lead to? No wonder Kabanova notes about Kuligin:

"The times came, what teachers appeared! If the old man talks like that, what is from young ~ then demand! "

And Kabanova is very seriously upset by the future of the old orders, with whom it has been outprof. She foresees the end of them, tries to support their meaning, but it already feels that there is no previous respect for them that they are preserved is already reluctant, only unwanted, and that at the first opportunity they will be thrown. She is already somehow lost some of his knightly heat; Already not with the same energy it takes care of the observance of old customs, in many cases she waved her hand, looked down the inability to stop the flow and only look with despair, as he floods a little, the motley flower beds of her whimsical superstitions. Exactly the last pagans are the pretension of Christianity, so dug and erase the breeding of self-worn, caught in the course of a new life. Even determined to perform on the direct, open struggle in them there; They only try to somehow deceive time and bloom in fruitless complaints of a new movement. These complaints have always been heard from the old people, because always new generations contributed to anything new, opposite for the same orders; But now Samora's complaints take some particularly gloomy, funeral tone. Cabanova is only comfortable, which is still somehow, with her help, the old order before her death will preserve; And there - let it be anything - she will not see. Conducting the Son on the road, she notices that everything is done not as needed by her: the son does not bow to her legs - it is necessary to demand this, but he himself did not guessed; And his wife he does not "orders", how to live without him, and he does not know how to order, and for a piece of fare does not require earthly bonquer; And the daughter-in-law, having done her husband, does not work and does not lie on the porch to show their love. If possible, Kabanov tries to put the order, but it already feels that it is impossible to deal with a lot of old days; For example, relative to the withdrawal on the porch, it only notices the daughter-in-law in the form of a council, but not solving strongly demand ...

While the old people will refine, until the young people have time to make up, - on this bill, the old woman could not worry. But she, you see, it is important not that, in fact, to always be someone to look at order and learn inexperienced; She needs always intensely preserved exactly those orders, remained inviolable exactly the concepts that she recognizes good. In the narrowness and rudeness of their egoism, it cannot even be elevated before to reconcile at the celebration of the principle, at least with a donation of existing forms; Yes, and it is impossible to expect this from her, since she, in fact, there is no principle, there is no general conviction that would rule her life. Kabanovy and wild ceg down now that faith continued in their power. They do not count on their affairs; But they know that their time remarks will still have enough space until everyone is robging in front of them; And that's why they are so stubborn, so arrogant, so Grozny, even in the last minutes, who are already a little left, as they themselves feel. The less that they feel the actual force, the more striking their influence of free, common sense, proving them that they are deprived of any reasonable support, whether they deny all sorts of minds, making themselves and their arbitrariness in their place. Naivety, with whom Wildlocks Kuligina:

"I want to consider you a fraudster, and I think; And I do not care that you are an honest person, and I do not give anyone to anyone, why I think so, "this naivety could not speak out in all his self-made absurdness if Kuligin did not cause it a modest request:" Yes, for what Are you offended by an honest person? .. "Wildlie wants, see, from the first time to cut off all attempts to demand a report from him, wants to show that it is above not only reporting, but also the ordinary logic of human. It seems to him that if he recognizes the laws of common sense, in common to all people, then his importance will suffer greatly from this. And in most part cases, it really comes out - because his claims are afraid of common sense. Hence the eternal discontent and irritability in it. He himself explains his position when he says about how he is hard to give money.

"What do you tell me to do when I have a heart! After all, I know that we must give, but I can not all good. Friend you are me, and I have to give you, and you come to ask me - wrap. I give - I will give, and wrap. Therefore, it is only scorn with me about money, I will become all the nutric toggar; All the noutine burns, and only ... well. And in those pores for anything wobbing a person. "

The return of money, like the fact that the material and visual, even in the consciousness of the wildestly awakens some reflection: he is aware of how he is ridiculous, and dumps the guilt on the fact that "his heart is!" In other cases, he is not even conscious of her absurdity; But by the essence of his character, it should certainly feel the same irritation at all, as when it comes to issue money. It is difficult for him to pay this why: he wishes on natural egoism to be good; All the surrounding it convinces that it is good to get money; Hence direct attachment to money. But here his development stops, selfishness remains within a particular person and know does not want her relationship to society, to his neighbor. He needs more money - he knows and therefore would only wish to receive them, and not to give. When, according to the natural course of affairs, it comes to return, he is angry and swears: he takes it as misfortune, punishment, like a fire, flooding, fine, and not as due, lawful rules for what others do for him. So in all: at the request of Himself good, he wants a space, independence; But it does not want to know the law determining the acquisition and use of all sorts of rights in society. He only wants more as much as possible for himself; When you need to recognize them and after others, he considers it an encroachment on his personal dignity, and angry, and tries to pull the case in every way and prevent him. Even when he knows that it is certainly necessary to give up, and then give way, and yet before will try to attack. "I give - I will give, and wrap!" And it must be assumed that the more significant the issuance of money and the more urgent need for it, the stronger the wilderness ... From this it follows that - first, curses and all the rabies, although it is unpleasant, but not particularly scary, and who, having wished them, He would have retreated from the money and thought that they could not get them very stupid; Secondly, it would be in vain to hope for the correction of wild through any means: the habit of fooling is so strong that he obeys her even contrary to the voice of his own common sense. It is clear that his no reasonable beliefs will stop until the external force is connected to them: Kuligina he scolds, without leaving no resonance; And when he once again on transport, on the Volga, Gusar Orugga, so he did not dare to contact Husar, and again he was offended at home: two weeks after that everyone was hiding from him in the attic yes in Chulanam ...

We have stayed very long on the dominant persons "Thunderstorms", because, in our opinion, the story, which was watched with Katerinal, decisively depends on the situation that inevitably falls on its share between these persons, in the life, which was established under their influence. "Thunderstorm" is, no doubt, the most decisive work of Ostrovsky; Mutual relationships of self-smuggling and fraud are brought to the most tragic consequences; And with all that, most of those reading and seen this play agreed that it produces an impression of a less heavy and sad, rather than other plays of Ostrovsky (not to mention, of course, about his etudes of a purely comic nature). In the "thunderstorm" there is even something refreshing and encouraging. It is "something" and there is, in our opinion, the background of the play, which we specified and the detecting chance and the close end of the impunity. Then the very character of Katerina, painted on this background, also blows on us with a new life, which opens to us in her deception itself.

The fact is that the character of Katerina, as he is executed in the "thunderstorm", makes a step forward not only in the dramatic activity of Ostrovsky, but in the whole of our literature. It corresponds to the new phase of our folk life, he has long demanded his implementation in the literature, our best writers are spinning about him; But they only knew how to understand his need and could not have been safely and feel his essence; It was able to make an island.

Russian life has finally reached the fact that virtuous and respectable, but weak and impersonal creatures do not satisfy the public consciousness and recognize anywhere else. It was felt in the unknown need for people, at least less beautiful, but more active and energetic. Otherwise, it is impossible: how soon the consciousness of truth and law, common sense woke up in humans, they certainly require not only an absentary consent (who have always shone the virtuous heroes of former time), but also make them in life, in operation. But in order to make them in life, it is necessary to overcome many obstacles substituted with wild, kabanic, etc.; To overcome obstacles, the characters are needed enterprising, decisive, persistent. It is necessary that the general requirement of the truth and the right merged with them, which finally breaks through into people through all the obstacles delivered by wild self-director. Now a big task was to see how the character required by us with a new turn of social life should be formed.

The Russian strong character in the "thunderstorm" is not understood and expressed. He primarily affects us the opposite of all kinds of commendments. Not with instinct of riotiness and destruction, but not with the practical agility to settle for high goals of their own divisions, not with meaningless, crackling pathos, but not with diplomatic, pedantic calculation is it before us. No, it is concentrated - decisive, steadily faithful to the little natural truth, filled with faith in new ideals and selfless in the sense that he is better than life than life with the principles that he disappeared. It is found not distracted by principles, not practical considerations, not instant pathos, but simply Naturo, with all the merits of his own. The $ of this integrity and harmony of character is his strength and the essential necessity of it at the time when old, wild relationships, having lost all inner power, continue to keep the exterior, mechanical relationship. A person, only a logically understanding the absurdity of the sammones of wild and kabanov, will not make anything against them because every logic disappears before them; No syllogism 7 you do not convince the circuit to break up on the prisoner, Coula to, so that it was not painful to it; So do not convince you and wild do wonderfully, but do not convince him of his home - not to listen to him by pleasure: he jits them all, and only - what will you do with it? It is obvious that the characters stronger with one logical side should develop very slaughter and have a very weak impact on the overall activity where everything is managed by life, but the purest arbitrariness.

Determining, solid Russian character, acting in Wild and Kabanov, is the island in the women's type, and this is not devoid of its serious meaning. It is known that the extremes are reflected by the extremes and that the strongest protest is the one that rises finally from the breast of the weakest and patient. The field, on which Ostrovsky observes and shows us Russian life, does not concern the relations of purely public and state, but is limited to the family; In the family, who is most of all withstands the whole oppression of Samoram, as not a woman? What a clerk, worker, a wilder servant can be so much dried, scored, renounced from his personality, like his wife? Who can boil so much burning and indignation against the ridiculous fantasies of the self-made? And at the same time, who less her has the opportunity to express their ropot, refuse to fulfill what she disgusts? Servants and clarifiers are connected only materially, humanly; They can leave a self-director immediately, as they find another place. The wife, according to the dominant concepts, is associated with it inextricably, spiritually, through the sacrament; Whatever the husband did, she should obey him and share meaningless life with him. Yes, if I finally, she could leave, then where it goes, for what happens? Kudryash says: "I need a wilderness, so I'm not afraid of him and shake him out of hell." Easy to man who came to the consciousness that he is really needed for others; But a woman, wife? What do she need it? Is she herself, on the contrary, everything takes from her husband? Her husband gives her dwelling, Sit, feeds, clothes, protects her, gives her a position in society ... Is it not considered to be considered a man? Do not say prudent people, holding young people from marriage: "My wife is not lapping, you will not throw off my legs"? And in general opinion the most important difference of the wife from Laptage and consists that it brings with a whole burden of worries from which the husband cannot get rid of, while the lap gives only convenience, and if it is inconvenient, it can be easily cut ... being In a similar position, a woman, of course, should forget that she is the same person, with the same rights as a man. It can only demoralize, and if the person in it is strong, then get an inclination to the same samorament, from which she suffered so much. This we see, for example, in the boa. Her Samodorism is only already smaller and because it may be even meaningless of male: its size is less, but in their limits, on those who caught him, it acts even more infrequently. Wild swears, Kabanova grieves; He comes up, and it is over, and this gnawing sacrifice for a long time and relentlessly; He is noise due to his fantasies and is quite indifferent to your behavior, it will not touch it until it; Kabaniha has created a whole world of special rules and superstitious customs, for which it stands with all the stupidity of Samorams, in general - in a woman, even who has reached the situation of independent and CON AMORE, its comparative impotence is visible, a consequence of the age-old oppression: it is heavy, suspicious , soulless in their requirements; He is no longer a sensible reasoning, it is no longer because it despises him, but rather because it is afraid to handle it: "You will start, they say, to reason, and something from it will come out - we will turn out of it, - and as a result of it Starns and various instructions are held, who communicated to her somehow reception ...

It is clear from this that if a woman wants to free up from a similar position, then her case will be serious and decisively. Some curly nothing should be crouching with wild: both of them are needed to each other and, it became, from Kudryash, it does not need special heroism to present its claims. But his tricks and will not lead to anything serious: he is crumbling, wildly inquisite to give him to the soldiers, but will not give away, Kudryash will be pleased with the fact that they gnawed, and things will go again. Not that with a woman: she should have a lot of character forces already in order to declare their discontent, their demands. At the first attempt, she will be given to feel that she can crush it. She knows that this is true, and must come to terms; Otherwise, it will perform a threat to the threat - they will be bored, they will leave on the repentance, on bread and on the water, deprive the light of daylight, will experience all the home correctional means of good old time and bring it to humility. A woman who wants to go to the end in his uprising against the oppression and arbitrariness of the elders in the Russian family should be performed by heroic selflessness, should be done to everything and to all be ready. How can she endure himself? Where to take it so much character? It can only be answered by the fact that it is impossible to completely destroy the natural aspirations of human nature. It came to the fact that it is really impossible to continue to withstand his humiliation, so she rushes out of it, no longer for the consideration of what is better and worse, but only on an instinctive desire to be endowed and possibly. The nature replaces the considerations of the mind and the requirements of feeling and imagination here: all this merges in the overall feeling of the body, requiring air, food, freedom. It is the secret of the integrity of the characters that appear in the circumstances similar to what we saw in the "thunderstorm" in the situation surrounding Katerina.

Thus, the emergence of a female energetic nature is quite consistent with that position, to what the Samoramon in the island drama is brought. It reached the extreme, before the denial of every common sense; It is more than ever hostile to the natural requirements of mankind and fiercely the same is strengthened to stop their development, because in the celebration they sees the approach of their inevitable death. Through it, it even more causes Ropot and protest even in creatures of the weakest. And at the same time, the self-seeming, as we saw, lost their self-confidence, lost and hardness in actions, lost and a significant proportion of the strength that was concluded for him in the guidance of fear at all. Therefore, the protest against him does not stop at the very beginning, but can turn into a stubborn struggle. Those who have yet to live, do not want to risk to such a struggle now, in the hope that it is so long to live to Samoram. Katerina's husband, young kabanov, although he suffers a lot from the old kabani, but still he is free: he can drove to Sawel to drove to drown, he will go to Moscow from the mother and there will unfold on the will, and if he really will have to Old women, so there is on whom to pour your heart - he will boil to his wife ... So lives himself and brings up his character, nothing is suitable, everything is in the secret hope that it will break somehow on the equity. He's no hope of his hope, no appearance, it is impossible to breathe; If it can, then let him live without Dyhanya, will forget that there is free air in the world, let it be taken away from its nature and merges with the capricious despotism of the old kabani. But the aspole air and the light, despite all the precautionary of the dying self-smuggling, break into the Katery Katerina, it feels the opportunity to satisfy the natural thirst for his soul and can not share a lot of things: she rushes to a new life, at least I had to die in this impulse. What is her death? Anyway - she does not consider life and then stagnation that fell to her in a family of bounic.

Katerina does not belong to the rusty characters at all, never satisfied, loving to destroy by anything. Opposite; This is the character of the advantage of creating, loving, perfect. She is strange, crazy from the point of view of others; But this is because it can not accept their views and inclinations. She takes from them the materials, because otherwise they take them now; But does not take conclusions, but seeks them itself, and often comes at all to what they calm down. In the dry, monotonous life of his youth, in coarse and superstitious concepts of the environment, she constantly knew how to take what he agreed with her natural aspirations to beauty, harmony, satisfaction, happiness. In conversations of the strangers, in earth bows and inhibitants, she saw not a dead shape, but something else, which was constantly sought her heart. Based on them, she built a different world, without passion, without need, without grief, peace, all dedicated to good and enjoyment. But what is the real good and true pleasure for a person, she could not determine; For now, these sudden gusts of some varying, obscure aspirations, which she remembers:

"Sometimes it happened, early in the morning in the garden I will leave, only the sun rises," I fall on my knees, I pray and cry, and I don't know myself, what I pray and what I was crying; So will find me. And what I prayed when I asked - I do not know; I'm not needed to me, I have enough of everything. "

In the gloomy setting of a new family began to feel Katerina, the insufficiency of appearance, which I thought was content being content before. Under the heavy hand of a soulless Kabani, there is no prostitutes to her bright visions, as there is no freedom to her feelings. In the rustling of tenderness to her husband, she wants him to hug him, "the old woman shouts:" What is hanging on the neck, shamelessness? On the legs bow! " She wants to stay alone and sink quietly, as it happened, and the mother-in-law says: "Why not you do?" She is looking for light, air, wants to dream and be frozen, pour their flowers, look at the sun, on the Volga, send his greetings to the whole living, - and they are kept in captivity, they are constantly suspected of unclean, depraved plans. She is looking for a refuge is still in religious practice, in the visit of the Church, in diligent conversations; But here it does not find the same impressions. Curled by daytime work and eternal unilies, she can no longer dream about the angels singing in a dusty pillar, lit by the sun, cannot imagine the heavenly gardens with their unperturbed views and joy. Everything is gloomy, scary around it, it all blows cold and some irresistible threat: and the faces of the saints are so strict, and church readings are so terrible, and strangers are so monstrous ... they are all the same in essence, they have not changed the same, but she has changed Itself: There is no hunt to build air visions in it, yes, it does not satisfy her the indefinite imagination of bliss, which she enjoyed before. She indulted, other desires woke up in it, more real; Not knowing a different field, except for the family, of another world, in addition, what it was for her in the society of her town, it, of course, begins to conscious of all human aspirations, which is inevitable and only closer to her, is the desire of love and devotion. At the same time, her heart was too complete dreams, she did not pay attention to young people who looked at her, but only laughed. Going married Tikhon Kabanova, she did not love him; She also did not understand this feeling; They told her that he had to marry any girl, showed Tikhon as a future husband, she went for him, remaining completely indifferent to this step. And here also manifests a feature of nature: according to ordinary our concepts, it would be respected, if it has a decisive character; But she does not think about resistance, because it does not have enough reason for this. She has no special hunt to marry, but there is no disgust from marriage; There is no love in her Tikhon, but there is no love and to anyone else. She still shifts, that's why she allows you to do with anything. It is impossible to see powerlessness, nor apathy, but you can find only the lack of experience, and even too much willingness to do everything for others, little caring about yourself. It has little knowledge and a lot of gullibility, which is why she does not roll out opposition to others and decides it is better to endure than to do it. But when she understands what she needed, and wants to achieve something, he will achieve as much as it becomes: there is something that it will be quite the power of its character, which is not estimated in petty trimming. At first, according to congenital kindness and nobility of his soul, it will do all possible efforts to not disturb the world and the rights of others to get the desired with the most compliance with all the requirements that are imposed on it by people who are connected with it; And if they are able to take advantage of this initial mood and decide to give it complete satisfaction - well then to her. But if not - it will not stop before, - the law, kinship, custom, human court, the rules of prudence - everything disappears for her before the power of internal attraction; She does not spare herself and does not think about others. Such a way out was presented by Katerina, and the other could not be expected among the situation in which she is.

A sense of love for a person, the desire to find a kinded review in another heart, the need of gentle pleasures naturally opened in a young woman and changed her former, indefinite and fruitless dreams. "At night, cooking, I won't sleep," she says, "he says some kind of whisper: Someone is so gentle by me with me, accurately dove worshi. I'm not shot, cooking, as before, the paradise trees and the mountains; And for sure, someone hugs me so hot, it's hot or leads me somewhere, and I go after him, I go ... "She was aware and caught these dreams quite late; But, of course, they pursued and languid it long before she herself could give themselves a report in them. With the first of their manifestation, she immediately turned his feeling that everything closer was in her, - on her husband. She intensified for a long time to fry her soul with him, asshient himself that she did not need anything to her, that in him there is bliss that she was so disturbing. She looked at the opportunity to look for mutual love in someone with fear and inappropriate. In the play that Count Katerina already with the beginning of love for Boris Grigoryech, still visible, the last, desperate efforts of Katerina - make themselves a cute her husband. The scene of her farewell gives it to us to feel that and there is not yet lost for Tikhon, that he can still save his rights to the love of this woman; But the same scene in short, but sharp essays transmits us a whole story of thestringers that made it endure to Katerina to push her first feeling from her husband. Tikhon is an innocent and duty, not at all evil, but to the extreme of the inactive creature, not daring to do anything against the mother. And the mother is a soulless creature, Kulak-Baba, which encloses in Chinese ceremonies and love, and religion, and morality. Between her and between his wife, Tikhon represents one of the many of those miserable types, which are usually called harmless, although they are generally so harmful as self-made because they themselves, because they serve their faithful assistants. Tikhon himself loves his wife and would be ready to do everything for her; But the oppression, under which he grew, so I was worried that there could be no strong feeling in him, there could not develop any decisive desire, there is a conscience in it, there is a desire for good, but he constantly acts against himself and serves as a submissive mother's instrument, even in his relationship To his wife.

But it does not seem to be a new movement of the people's life, which we talked above and the reflection of which was found in the character of Katerina. In this person, we already see the mature, from the depths of the whole body the emergence of the right and exposure of life. It is no longer an imagination, not a hearing, not artificially excited gusts are us, but the vital necessity of nature. Katerina does not capricious, does not kill his discontent and anger, it's not in her nature; She does not want to impress 8 on others, put up and boast. On the contrary, she lives very peacefully and is ready to comply with everything that only not disgusting her nature; The principle of her, if it could be aware and determine it, would be that as much as possible to strother from others and disturbing the total current. But but, recognizing and respecting the aspirations of others, it requires the same respect for themselves, and any violence, every constraint perters her blood, deeply. If she could, she would have driven away from themselves everything that lives wrong and harms others; But, not being able to do this, she goes back - herself runs away from destroyers and offenders. If not to obey their principles, contrary to their nature, just not to make themselves with their unnatural requirements, and there it will come out - whether the best share for her or death is, - she doesn't look at it: in the other case, it is for her to get rid.

Katerina, assigned to the need to endure offenses, finds the power for a long time to endure them, without in vain complaints, semis resistance and any noisy tricks. It suffers until it spokes in it, especially his heart and legitimate in her eyes, until it is offended in it, there will be such a requirement of her nature, without satisfying which she cannot stay calm. Then she will never look at anything. It will not resort to diplomatic tricks, to deceptions and plows, is not such a power of natural aspirations inconspicuously for Katerina itself wins in her victory over all external requirements, prejudices and artificial combinations in which her life is entangled. Note that the theoretical way, Katerina could not reject any of these combinations, could not be freed from any backward opinions; She went against all of them, armed only by the power of his feeling, instinctive consciousness of his direct, inalienable right to life, happiness and love ...

Here is the true power of character, which in any case can be reeded! Here is the height that our folk life comes in its development, but to which in the literature we knew how to climb very few, and no one knew how to keep it so well as Island. He felt that did not abstract beliefs, but the life facts manage the person that not the image of thoughts, not the principles, and the nature is needed for education and manifestation of a good nature, and he knew how to create such a person who serves as a representative of the Great People's Idea, not wearing great ideas Neither in the language, nor in the head, selflessly goes to the end in uneven struggle and dypsy, not at all condemn yourself for high self-demission. Her acts are in harmony with her kind, they are natural for her, it is necessary, she cannot be from them, at least it had the most disastrous consequences.

In the position of Katerina, we see that, on the contrary, all the "ideas", inspired by it from childhood, all the principles of the environment - rebel against her natural aspirations and actions. The terrible struggle on which a young woman is condemned is performed in each word, in every movement of the drama, and where is the whole importance of the introductory persons, for which Ostrovsky reproaches. Peer good: you see that Katerina is raised in the concepts of the same with the concepts of the environment in which he lives, and cannot be deducted from them without having any theoretical education. Stranger's stories and domestic suggestions, although they were recycled in their own way, but could not not leave the ugly trail in her soul: And indeed, we see in the play that Katerina, having lost his rainbow dreams and ideal, stocking of the desires, kept from her upbringing one A strong feeling - the fear of some dark forces, something unknown, which she could neither explain to themselves well or reject. For every thought she is afraid of her, for the simplest feeling, she is waiting for a punishment; It seems to her that the thunderstorm will kill her, because she is a sinner; The picture of the fire of fire on the wall of the church seems to her already forerunning her eternal flour ... And all the surrounding supports and develops this fear in it: the fecles go to the boa to interpret the recent times; Wildly hesitates that the thunderstorm is sent to us, so that we feel; The next lady, leaving the fear of everyone in the city, is shown several times so that the sinister voice is shocking over the Katerinum: "There will be all on fire in the negsis." All those surrounding full of superstitious fear, and all others, according to the concepts and Katerina itself, should look at her feeling for Boris as the greatest crime. Even the delete Kudryash, Espritfort this environment, and it finds that girls can walk with guys how much you want is nothing, but women need to sit down. This belief is so in him strongly that, having learned about the love of Boris to Katerina, he, despite his removal and some kind of desire, says that "it is necessary to quit it." All against Katerina, even her own concepts about good and evil; Everything should force her - to drown out their impulses and getting in the cold and gloomy formalism of family shamelessness and humility, without any living aspirations, without will, without love, - or learn how to deceive people and conscience. But do not be afraid for her, do not be afraid even when she herself speaks against himself: she can for a while or submitting, apparently, or even go to deception, like a river can hide under the ground or retire from his bed; But the fluid will not stop and will not go back, but still comes to your end, before the place where it can merge with other waters and run to the waters of the ocean. The situation in which Katerina lives, demands that she lgala and deceive: "Without it, it is impossible," says Barbara, "you remember where you live; We have all the house on this. And I was not a literature, but I learned when I needed. " Katerina gives care of his position, goes to Boris at night, hides his feelings for ten days ... You might think: here and another woman got off the way, learned to deceive homemade and will unwind the secretly, feigned caressing her husband and wearing a disgusting mask of the Smisiennics! It would be impossible to blame her for this: the position of her so hard! But then it would be one of the dozen faces of the type that was already worn in the ones showing how the "Wednesday is hired good people." Katerina is not like this; The disconnection of her love with all the home setting is visible in advance, even then, as it only comes to business. She is not engaged in psychological analysis and therefore cannot express subtle observations over him; What she tells about himself, so it means heavily gives her to know himself. And at the first sentence of Barbara about a date with Boris, she screams: "No, no, no need! What are you, Save the Lord: If I first come with him, I will run out of the house, I will not come home for anything in the world! " This in it is not a reasonable precaution says, this is a passion; And it is clear that as she was neither restrained, and the passion above her, above all its prejudices and fears, above all the suggestions heard from childhood. This passion is all life for her; All the power of her nature, all her living aspirations merge here. To Boris, she implies her not one thing that she likes that he and seemingly and on speeches does not look like the rest surrounding it; It entails her and the need of love, who did not find a review in the husband, and an offended feeling of his wife and women, and the deadly longing of her monotonous life, and the desire of will, expanses, hot, loan freedom. She all dreams of, as if to fly in invisible, wherever she wanted "; And then such a thought comes: "Kaby my will, I would ride now on the Volga, on a boat, with songs, or on the top three, hugging ..." - "Just not with her husband," Varya tells her, and Catherine can not Hide your feeling and immediately opens with a question: "Do you know how much?" It can be seen that the remark of the barbarians for her herself explained a lot: telling her dreams so naively, she still did not understand their very meaning. But one word is enough to inform her thoughts of the certainty that she herself was afraid to give them. Until now, she could still doubt, right in this new feeling then the bliss, which she so is looking for. But since they say the word of mystery, she is already in the thoughts of her from her will not retreat. Fear, doubts, the thought of sin and about the human court - all this come to her mind, but no longer has over her strength; This is so formality, for cleaning conscience. In the monologue with the key (the last in the second act) we see a woman, in the soul of which a dangerous step is already made, but which only wants to somehow "speak" himself.

The struggle, actually, is already over, only a small meditation remains, the old rag covers another Katerina, and she little chopping her with themselves ... The end of the monologue gives her heart: "Be what it happens, and I will see Boris," she concludes Forgetting premonition exclaims: "Ah, kaby night quickly!"

Such love, such a feeling is not seated in the walls of the Kabanovsky house with pretense and deception.

And for sure, she is not afraid of anything, besides deprivation of the opportunity to see her chosen, talking to him, enjoy these summer nights with him, these newest feelings for her. Husband arrived, and her life was not in life. It was necessary to brag, sick; She did not want it and did not know how; It was necessary to promote him again to his worn, dreary life, - it seemed to her honesty. Yes, I had to be afraid every minute for myself, for every word, especially before mother-in-law; I had to be afraid of the terrible chairs for the soul ... this situation was unbearably for Katerina: it was all thinking about the days and nights, suffered, having surmedy 9 of your imagination, and without that hot, and the end was the one that she could not suffer - with all the people , crowded in the gallery of the old church, repented in his husband. The will and the peace of the poor woman are killed: before, even though it could not push it, even though she could feel her complete rightness in front of these people. And now, in someten another, she is to blame for them, she broke her duties to them, brought grief and shame into the family; Now the most ill-cruel treatment has already reasons and justification. What remains her? I regret the unsuccessful attempt to escape to the will and leave your dreams about love and happiness, as she has already left the rainbow dreams about the wonderful gardens with a paradise singing. It remains to conquer her, renounce independent life and to deal with the unquestion of mother-in-law, the gentle of his husband and never to hold on any attempts to discover their demands again ... But no, there is no character of Katerina; It was not then reflected in it a new type created by Russian life to affect only a fruitless attempt and perish after the first failure. No, she will not return to her old life; If she can not enjoy his feeling, his will is completely legitimate and holy, in the light of the white day, in front of all the people, if she is torn out what she found and that she is so expensive, she does not want anything in life, she's not wants.

And the thought of bitterness of life, which it will be necessary to tolerate, before being tormented by Katerina, which turns it into some half-rally state. At the last moment all homemade horrors felt especially alive in her imagination. She screams: "" And they will be caught on to jump home forcibly! .. Early, you will rather ... "And the case is over: she will not be a more victim of soulless mother-in-law, will no longer be brought away with her nasty husband. She is released! ..

Sad, bitter such liberation; But what to do, when there is no other way out. Well, that was found in a poor woman determination at least on this terrible way out. There is also the strength of her character, because the "thunderstorm" and makes an impression on us a refreshing, we were told to AK above. Without a doubt, it would be better if B maybe it was Katerina to get rid of his tormentors in a different way or if these tormentors could change and reconcile her with his life. But neither one or the other is not in the order of things.

We have already said that the end of this seems to us are pleasant; It is easy to understand why: in it there is a terrible challenge to Samoga strength, he tells her that it is impossible to go further, it is impossible to live with her violent, dead beginnings. In Katerina, we see protest against the Kabanovsky concepts about morality, protest, brought to the end, proclaimed and under home torture and over the abyss, in which a poor woman rushed. She does not want to put up, does not want to use a pathetic stagnation, which she is given in exchange for her living soul.

But without any sublime considerations, just in humanity, we are glad to see the deliverance of Katerina - at least through death, if it is impossible to otherwise. On this account, we have a terrible testimony in the drama itself, saying to us to live in the "Dark Kingdom" worse death. Tikhon, rushing to the corpse of his wife, pulled out of the water, shouts in selflessness: "Good to you, Katya! And I needed to live in the world and suffer! " This exclamation ends with a play, and it seems to us that nothing could have come up with a stronger and truthful of such an end. Tikhon's words give the key to the messenger of the play for those who would not even understand her essence earlier; They force the viewer to think no longer about love intrigue, but about all this life, where the living envy the deceased, and even what - suicides! Actually, Tikhon's exclamation is stupid: the Volga is close, who prevents him and rush to him if you live sick? But in that very grief of him, then he and hard, that he cannot do anything decisively, even what he recognizes his benefit and salvation. This is a moral plant, this destruction of a person acts on us a heavy weight, the most tragic, incident: you see death simultaneous, the end of suffering, often getting rid of the need to serve as a pathetic tool of some vultures; And here is a constant, oppressive pain, relaxation, halfup, which has bent alive for many years ... and think that this living corpse is not one, no exception, but a whole mass of people susceptible to the effects of wild and kabanic! And do not care for them to get rid - this is, you see, terrible! But, I'm gratifying, fresh life freshers a healthy personality, who is determined to end this gnille of life by anything!

Notes

1 This refers to the article n, a. Dobrolyubova "Dark Kingdom", also published in the "contemporary".

2 Indifference is indifference, indifference.

3 idyll - happy, blissful life; In this case, Dobrolyubov uses this word Ironically,

4 Skepticism - doubt.

5 Anarchy - nonsense; Here: the absence of all organizing began in life, chaos.

6 Resonate - here: to reason, prove his thought.

7 Sillogism - logical argument, proof.

8 Imponit - like, make the impression

9 Exand - Here: Exit.

With hobby, from love (Ial.)

Volnodutez (FR.)

("Thunderstorm", drama in five actions of A. N. Ostrovsky. St. Petersburg., 1860)

Shortly before the appearance on the "Thunderstorm" scene, we disassembled all the works of Ostrovsky. Wanting to present the characteristic of the author's talent, we then paid attention to the phenomena of Russian life reproduced in his plays, tried to catch their overall character and pre-take, whether the meaning of these phenomena actually, as he seems to us in the works of our playwright. If the readers have not forgotten, - we came then to the result that the Ostrovsky has a deep understanding of Russian life and the great decrease to portray sharply and alive the most essential parties. "Thunderstorm" soon served as new proof of justice of our conclusion. We wanted to talk about her at the same time, but we needed that we would need to repeat many of the former our considerations at the same time, and therefore decided to be silent about the "thunderstorm" by providing readers who asked our opinion, to test those general notes that We expressed about Ostrovsky for another a few months before this play appeared. Our decision was established in us even more when we saw that about the "thunderstorms" appears in all magazines and newspapers a number of large and small reviews that interpreted the case with a wide variety of points of view. We thought that in this mass of Strateks finally affect the island and about the meaning of his play anything more than that we saw in critics, which were mentioned at the beginning of our articles about the "dark kingdom". In this hope, and in the consciousness that our own opinion about the meaning and nature of the works of Ostrovsky has already been expressed quite definitely, we considered for the best to leave the analysis of the "thunderstorms".

But now, again meeting the plays of Ostrovsky in a separate edition and recired everything that was written about her, we find that it will be not too unnecessary to say about it. She gives us a reason to add something in our notes about the "Dark Kingdom", then some of the thoughts made by us then, and by the way - to explain in short words with some of the critics who have reached us or indirectly.

We must give justice to some of the critics: they knew how to understand the difference that shares us with them. They reproach us in the fact that we accepted the bad method - to consider the work of the author and then, as the result of this consideration, it is to say that it contains and what is the content. They have a completely different method: they first tell themselves - that must contained in the work (according to their concepts, of course) and to what extent due Indeed, it is in it (again according to their concepts). It is clear that with such a difference of views, they look at our dissemination, like one of them "the squeezing of morality to the Basna". But we are very pleased that finally the difference is open, and ready to withstand some kind of comparisons. Yes, if you like, our criticism method is also like to find a moral output in the bass: the difference, for example, in the appendix to the criticism of the Ostrovsky comedies, and will be just so great as the comedy differs from Basni and how much the human life depicted in comedies is more important and Closer for us, rather than life of donkeys, foxes, cohesions and other characters depicted in bass. In any case, much better, in our opinion, disassemble the fastener and say: "That's what morality is contained in it, and this morality seems to us good or bad, and that is why", - rather than solve from the very beginning: in this bascle should be Such a morality (for example, respect to parents), and here, as it should be expressed (for example, in the form of a chick, a disappointing mother and fell out of the nest); But these conditions are not observed, morality is not that (for example, the negligence of parents about children) or expressed not so (for example, in the example of a cuckoo, leaving their eggs in foreign nests), it means that the bass is not suitable. We saw this way of criticism more than once in the annex to Ostrovsky, although no one, of course, will not want to confess, and on us, with a sick head to healthy, welcome the accusation that we proceed to the analysis of literary works with pre-adopted ideas and requirements. And meanwhile, what is clearer, - didn't Slavophili saying: the Russian person should be depicted virtuous and prove that the root of any good - life in Starina; In the first plays of his Ostrovsky, this was not observed, and therefore the "family picture" and "their own people" are unworthy and are explained only by the fact that he was still generated by Gogol. And Westerners did not shout: should be taught in the comedy that superstition is harmful, and the island bell tower saves from the died of one of his heroes; All of all that the true benefit is the formation, and the Ostrovsky in his comedy disgraces the educated Vikhorev before unrecognizable Borodkina; It is clear that "do not sit down in your sleeves" and "do not like that, as you want," bad plays. And the adherents of the artisticity were not proclaimed: art should serve the eternal and universal requirements of aesthetics, and the Ostrovsky in the "income place" admired art before serving a miserable interests; Therefore, the "profitable place" is unworthy of art and must be attributed to the accusatory literature! .. And the city of Nekrasov from Moscow did not claim: they should not be more sympathy in us, and meanwhile the 4th act of "his people" was written in order to arouse in us sympathy to Big; Therefore, the fourth act extra! .. And G. Pavlov (N. F.) did not appeal, giving any such provisions: Russian folk life can give material only for boalan ideas; There are no elements in it in order to make it concentrate something according to "eternal" art requirements; Obviously, there is no more than a booming writer, the Ostrovsky, which takes the plot from a common life ... And another Moscow critic didn't build such conclusions: the drama should be a hero imbued with high ideas; The heroine "Thunderstorms", on the contrary, all imbued with mysticism, therefore, is not suitable for the drama, because it cannot excite our sympathy; Consequently, the "thunderstorm" has only the importance of satire, and that is not important, etc., etc.

Who watched what was written with us about the "thunderstorms", he will be easily remembered and some more similar critic. It is impossible to say that they all have been written by people absolutely poor in mental terms; What explain to the absence of a direct view of things that in all of them amazed the impartial reader? Without a doubt, he must be attributed to the old critical routine, which remained in many heads from the study of artistic scholasticism in Koshansky courses, Ivan Davydov, Chistyakova and Zelenetsky. It is known that, according to this day, theoretics, criticism is an application to a well-known work of general laws set in courses of theoretics: Suitable for laws - excellent; Not suitable - bad. As you can see, it has been invented thumbnail for tombs of elderly: it seems to be shoved in criticism, they can be sure that they will not be considered quite backward, whatever happens in the literary world. After all, the laws of excellent are established by them in their textbooks, on the basis of those works, in the beauty of which they believe; So far, the new new ones will be judged on the basis of the law approved by them, until the elegant and will be recognized only that with them according to them, nothing new will dare to present their rights; Olders will be right, believing in Karamzin and not recognizing Gogol, as they thought to be rightful people who admired Rasin's imitators and scolding Shakespeare with a drunken savage, following the Voltaire, or before "Messiadi" and on this basis, rejected by Faust. Rutiners, even the most meditar, there is nothing to fear critics serving passive by the actual rules of stupid Skolyarov - and at the same time - there is nothing to hope for her the most gifted writers, if they bring something new and original in art. They should go to all the complaints of the "right" criticism, called it to make a name, called it to establish a school and ensure that any new theoretical was to create with them the new Code of Art. Then the criticism humbly recognizes their dignity; And until then, it should be in the position of unfortunate neapolitans at the beginning of this September, - which, although they know that now, Garibaldi will come to them, but still have to admit Francis to their king until his royal majesty will leave His capital.

We are wondering how the venerable people are decided to recognize the criticism such an insignificant, such a humiliating role. After all, limiting it with the application of the "eternal and general" laws of art to private and temporary phenomena, the most condemned art on immobility, and criticism gives a completely ordinary and police value. And many of them from the pure heart! One of the authors about which we expressed our opinion, somewhat inconspicuously reminded us, whose disrespectful appeal of the judge with the defendant there is a crime. About naive author! How he is filled with theories of Koshan and Davydov! He completely seriously takes a duty metaphor that criticism is the tribunal, which the authors are as defendants! Probably, he also takes for a clean coin and the opinion that bad poems constitute a sin before Apollo and that bad writers in the punishment heat in the River Suma! .. Otherwise - how to not see the difference between critic and judge? The court pulls people on suspicion of misconduct or crime, and the judge's case is to decide, the accused is right or to blame; Does the writer really accused of something when criticized? It seems that times when the book business is considered heresy and a crime for a long time. The critic speaks his opinion, like it or does not like the thing; And since it is assumed that he is not a bundle, but a person is judicious, he tries to present the chase, why he considers one good, but another bad. He does not consider his opinion with a decisive sentence, mandatory for everyone; If you take a comparison of the legal sphere, then he is rather a lawyer than the judge. After the famous point of view, which seems to him rightly, he sets out the readers the details of the case, as he understands him, and he tries to inspire his conviction in favor or against the author. Itself, of course, it can use all means that it will find suitable, if only they did not distort the essences of the case: he can bring you to horror or in lunizing, in laughter or in tears, to force the author to make recognition unprofitable for him or bring Its to the inability to respond. From the criticism, which made this way, may have this result: theorists, deal with your textbooks, can still see whether the disassembled work is consistent with their fixed laws, and, by fulfilling the role of judges, the author will shave, right or the author. But it is known that in the vowel production, there are no cases when those present in the court do not sympathize with the decision that the judge is pronounced according to the articles of the Code: the public conscience detects in these cases a complete breakdown with the articles of the law. The same even more often it may happen when discussing literary works: And when the critic and lawyer will properly deliver the question, groules the facts and will challenge them the famous conviction, public opinion, not paying attention to the Codes of Piriki, will already know what he hold on.

If you carefully look at the definition of criticism of the "court" over the authors, we will find that it is very similar to the concept that connects with the word "criticism" Our provincial barynis and young ladies and on which so witty frightened, were our novelists. Now and now it is not uncommon to meet such families who look at the writer with some fear, because he will write criticism on them. " Unhappy provincials that such thought once wandered in mind, they really represent the pitiful spectacle of the defendants, whom fate depends on the handwriting of the pen writer. They look into his eyes, confused, apologize, stipulate, as if really guilty, awaiting executions or grace. But I must say that such naive people begin to be removed now in the most distant outflows. At the same time, as the right to "mix his judgment to have" ceases to be the property of only a well-known rank or position, but is available to everyone and everyone, at the same time, and in privacy appears more solidity and independence, less trembling before all sneakers. Now they express your opinion simply then that it is better to declare him than to hide, express because they consider it useful to exchange thoughts, recognize every right to declare their eyes and their requirements, finally, consider even the duty of everyone to participate in the overall movement, reporting their observations and considerations that can be able to. From here far to the role of the judge. If I tell you that you have lost your handkerchief on the way or that you are not doing to the other side where you need, etc., it does not mean that you are my defendant. In the same way I will not be your defendant and in the case when you begin to describe me, wanting to give me the concept of your acquaintance. Entering the first time in a new society, I know very well that I need to observe me and make up opinions about me; But does it really be imagined to imagine yourself before some kind of aropag - and tremble in advance, waiting for the sentence? Without a doubt, the comments will be made: one will be made: one will find that my nose is great, the other is that the beard is redhead, the third thing is that the tie is firmly tied, the fourth - that I will sorry, etc. Well, let them notice, I mean what is the matter before? After all, my redhead beard is not a crime, and no one can ask me a report, as I dare to have such a big nose means, there is nothing to think about: I like or not my figure, this is a matter of taste, and express an opinion about her I I can not prohibit anyone; And on the other hand, I will not lose from the fact that I will notice my countlessness, if I really silent. Thus, the first critical work (in our sense) - the comment and indication of the facts - is performed completely freely and harmless. Then another work is a judgment on the basis of facts - continues to be exactly the same to keep one who judges, completely equal to the chances of which he judges. This is because, expressing your conclusion from well-known data, a person always exposes himself to a court and verification of others relative to the justice and the foundation of his opinion. If, for example, someone on the basis of the fact that my tie is not completely elegant, it will decide that I foolishly brought up, then such a judge risks to give others not quite a high concept about its logic. Exactly, if any critic reproaches the Ostrovsky for the fact that Katerina's face in the "thunderstorm" is disgusting and immoral, he does not inspire special confidence in the purity of his own moral feeling. Thus, as long as the critic indicates the facts, disassembles them and makes their own conclusions, the author is safe and the very matter is safe. Here you can apply only when the critic distorts the facts, lying. And if it represents the case, then no matter how tone he says to any conclusion, he will always be more benefit from his criticism, however, there will always be more benefits than harm - for the author himself, if he It is good, and in any case for literature - even if the author is and bad. Criticism is not a judicial, but ordinary, as we understand it, is good and the fact that people who are not accustomed to focus their thoughts on the literature gives, so to speak, the extract of the writer and the opportunity to understand the nature and significance of its works. And how soon the writer is understood properly, the opinion of him will not slow down to draw up and justice will be given to him, without any permits from the partial compilers of the Codes.

Dobrolyubov means N. P. Nekrasov (1828-1913), the literary critic, the article of which "Ostrovsky's works" was published in the journal "Ateney", 1859, No. 8.

Article N. F. Pavlova on the "thunderstorm" was published in the reptile newspaper "Our Time", which was used by the subsidy of the Ministry of the Interior. Speaking about Katerina, the critic argued that "the writer on his part did everything that could, and not his wines, if this unsuitable woman appeared in front of us in such a form that her pallor of her face seemed to us cheaply trit" ("Our time", 1860, No. 1, p. 16).

We are talking about A. Palhovsky, the article of which about the "thunderstorm" appeared in the Moscow Bulletin newspaper, 1859, No. 49. Some writers, including the AP. Grigoriev, was prone to see Dobrolyubov in Phashovsky "student and seid". Meanwhile, this imaginary follower of Dobrolyubov stood on the exact opposite positions. So, for example, he wrote: "Despite the tragic end, Katerina still does not excite the sympathy of the viewer, because there is nothing to sympathize: there was nothing intelligent in her actions, she loved Boris with nothing with this , neither with this, neither from this, rushed to the river, too, with no one with this. That is why Katerina can not be the heroine of drama, but it serves as an excellent plot for satire ... So, the drama "thunderstorm" is the drama only by name, in essence it is a satire directed against two scary evils, deeply inquisite in the "Dark Kingdom "- against family despotism and mysticism." Dramatically marking his imaginary student and vulgarizer, Dobrolyubov polemicly calls his article - "Light of Light in the Dark Kingdom", since the following lines beat the following lines in the reviews - "To rescue thunder against Katerlin - nothing: they are not guilty of what Of these, the environment in which no ray of light is still penetrated "(Moscow Bulletin, 1859, No. 49).

Dobrolyubov means N. A. Miller-Krasovsky, author of the book "Basic Laws of Education", which in his letter to the editorial office "Northern Bee" (1859, No. 142) protested against the moonful interpretation of his work with the Review of the "Contemporary" (1859, no Vi). The author of this review was Dobrolyubs.