Composition
Alexander Nikolaevich Ostrovsky... This is an unusual phenomenon. His role in the history of the development of Russian drama, performing arts and the entire national culture can hardly be overestimated. He did as much for the development of Russian drama as Shakespeare in England, Lone de Vega in Spain, Moliere in France, Goldoni in Italy and Schiller in Germany. Despite the oppression inflicted by the censorship, the theatrical and literary committee and the management of the imperial theaters, despite the criticism of reactionary circles, Ostrovsky's dramaturgy gained more and more sympathy every year among both democratic spectators and among artists.
Developing the best traditions of Russian dramatic art, using the experience of progressive foreign drama, tirelessly learning about the life of his native country, constantly communicating with the people, closely communicating with the most progressive contemporary public, Ostrovsky became an outstanding portrayer of the life of his time, embodying the dreams of Gogol, Belinsky and other progressive figures literature about the appearance and triumph of Russian characters on the Russian stage.
Ostrovsky's creative activity had a great influence on the entire further development of progressive Russian drama. It was from him that our best playwrights came and learned from him. It was to him that aspiring dramatic writers in their time gravitated.
The power of Ostrovsky’s influence on the young writers of his day can be evidenced by a letter to the playwright of the poetess A.D. Mysovskaya. “Do you know how great your influence was on me? It was not love for art that made me understand and appreciate you: but on the contrary, you taught me to both love and respect art. I owe it to you alone that I resisted the temptation to fall into the arena of pathetic literary mediocrity, and did not chase after cheap laurels thrown by the hands of sweet and sour half-educated people. You and Nekrasov made me fall in love with thought and work, but Nekrasov gave me only the first impetus, while you gave me the direction. Reading your works, I realized that rhyming is not poetry, and a set of phrases is not literature, and that only by cultivating the mind and technique will an artist be a real artist.”
Ostrovsky had a powerful impact not only on the development of domestic drama, but also on the development of Russian theater. The colossal importance of Ostrovsky in the development of Russian theater is well emphasized in a poem dedicated to Ostrovsky and read in 1903 by M. N. Ermolova from the stage of the Maly Theater:
On the stage life itself, from the stage the truth blows,
And the bright sun caresses us and warms us...
The living speech of ordinary, living people sounds,
On stage there is not a “hero”, not an angel, not a villain,
But just a man... A happy actor
Hastens to quickly break the heavy shackles
Conventions and lies. Words and feelings are new
But in the recesses of the soul there is an answer to them, -
And all lips whisper: blessed is the poet,
Tore off the shabby, tinsel covers
And shed a bright light into the dark kingdom
The famous artist wrote about the same thing in 1924 in her memoirs: “Together with Ostrovsky, truth itself and life itself appeared on the stage... The growth of original drama began, full of responses to modernity... They started talking about the poor, the humiliated and the insulted.”
The realistic direction, muted by the theatrical policy of the autocracy, continued and deepened by Ostrovsky, turned the theater onto the path of close connection with reality. Only it gave the theater life as a national, Russian, folk theater.
“You have donated a whole library of works of art to literature and created your own special world for the stage. You alone completed the building, at the foundation of which Fonvizin, Griboyedov, Gogol laid the cornerstones.” This wonderful letter was received, among other congratulations, on the year of the thirty-fifth anniversary of literary and theatrical activity by Alexander Nikolaevich Ostrovsky from another great Russian writer - Goncharov.
But much earlier, about the very first work of the still young Ostrovsky, published in “Moskvityanin”, a subtle connoisseur of the elegant and sensitive observer V. F. Odoevsky wrote: “If this is not a momentary flash, not a mushroom squeezed out of the ground by itself, cut by all kinds of rot, then this man has enormous talent. I think there are three tragedies in Rus': “The Minor”, “Woe from Wit”, “The Inspector General”. On “Bankrupt” I put number four.”
From such a promising first assessment to Goncharov’s anniversary letter, a full life, rich in work; labor, and which led to such a logical relationship of assessments, because talent requires, first of all, great work on itself, and the playwright did not sin before God - he did not bury his talent in the ground. Having published his first work in 1847, Ostrovsky has since written 47 plays and translated more than twenty plays from European languages. And in total there are about a thousand characters in the folk theater he created.
Shortly before his death, in 1886, Alexander Nikolaevich received a letter from L.N. Tolstoy, in which the brilliant prose writer admitted: “I know from experience how people read, listen to and remember your works, and therefore I would like to help ensure that You have now quickly become in reality what you undoubtedly are - a writer of the entire people in the broadest sense.”
The literary life of Russia was stirred up when Ostrovsky's first plays entered it: first in reading, then in magazine publications and, finally, on the stage. Perhaps the largest and most profound critical legacy dedicated to his dramaturgy was left by Ap.A. Grigoriev, a friend and admirer of the writer’s work, and N.A. Dobrolyubov. Dobrolyubov’s article “A Ray of Light in a Dark Kingdom” about the drama “The Thunderstorm” has become well-known and textbook.
Let us turn to the estimates of Ap.A. Grigorieva. An extended article entitled “After Ostrovsky’s “The Thunderstorm”. Letters to Ivan Sergeevich Turgenev” (1860), largely contradicts Dobrolyubov’s opinion and polemicizes with him. The disagreement was fundamental: the two critics had different understandings of nationality in literature. Grigoriev considered nationality not so much a reflection in the artistic creativity of the life of the working masses, like Dobrolyubov, as an expression of the general spirit of the people, regardless of position and class. From Grigoriev’s point of view, Dobrolyubov reduces the complex issues of Ostrovsky’s plays to denouncing tyranny and the “dark kingdom” in general, and assigns the playwright only the role of a satirist-accuser. But not the “evil humor of a satirist”, but the “naive truth of a folk poet” - this is the strength of Ostrovsky’s talent, as Grigoriev sees it. Grigoriev calls Ostrovsky “a poet who plays in all the modes of folk life.” “The name for this writer, for such a great writer, despite his shortcomings, is not a satirist, but a people’s poet” - this is the main thesis of Ap.A. Grigoriev in polemics with N.A. Dobrolyubov.
The third position, which does not coincide with the two mentioned, was held by D.I. Pisarev. In the article “Motives of Russian Drama” (1864), he completely denies everything positive and bright that A.A. Grigoriev and N.A. Dobrolyubov was seen in the image of Katerina in “The Thunderstorm”. The “realist” Pisarev has a different view: Russian life “does not contain any inclinations of independent renewal,” and only people like V.G. can bring light into it. Belinsky, the type that appeared in the image of Bazarov in “Fathers and Sons” by I.S. Turgenev. The darkness of Ostrovsky’s artistic world is hopeless.
Finally, let us dwell on the position of the playwright and public figure A.N. Ostrovsky in the context of the struggle in Russian literature between the ideological currents of Russian social thought - Slavophilism and Westernism. The time of Ostrovsky's collaboration with the magazine "Moskvityanin" M.P. Pogodin is often associated with his Slavophile views. But the writer was much broader than these positions. Someone caught a statement from this period, when from his Zamoskvorechye he looked at the Kremlin on the opposite bank and said: “Why were these pagodas built here?” (it would seem clearly “Western”) also did not in any way reflect his true aspirations. Ostrovsky was neither a Westerner nor a Slavophile. The playwright’s powerful, original, folk talent blossomed during the period of formation and rise of Russian realistic art. The genius of P.I. awakened Tchaikovsky; arose at the turn of the 1850-1860s XIX century creative community of Russian composers “The Mighty Handful”; Russian realistic painting flourished: they created I.E. Repin, V.G. Perov, I. N. Kramskoy and other major artists - this is how intense life was in the rich in talents of fine and musical art of the second half XIX centuries. The portrait of A. N. Ostrovsky belongs to the brush of V. G. Perov, N. A. Rimsky-Korsakov creates an opera based on the fairy tale “The Snow Maiden”. A.N. Ostrovsky entered the world of Russian art naturally and fully.
As for the theater itself, the playwright himself, assessing the artistic life of the 1840s - the time of his first literary quests, speaks of a great variety of ideological trends and artistic interests, a variety of circles, but notes that everyone was united by a common, craze for theater . Writers of the 1840s who belonged to the natural school, everyday life writers and essayists (the first collection of the natural school was called “Physiology of St. Petersburg”, 1844-1845) included an article by V.G. in the second part. Belinsky "Alexandrinsky Theater". The theater was perceived as a place where classes of society collided “to get a good look at each other.” And this theater was waiting for a playwright of such caliber, which manifested itself in A.N. Ostrovsky. The significance of Ostrovsky’s work for Russian literature is extremely great: he truly was the successor of the Gogol tradition and the founder of a new, national Russian theater, without which the emergence of A.P.’s dramaturgy would have been impossible. Chekhov. The second half of the 19th century in European literature did not produce a single playwright comparable in scale to A. N. Ostrovsky. The development of European literature proceeded differently. The French romanticism of W. Hugo, George Sand, the critical realism of Stendhal, P. Mérimée, O. de Balzac, then the work of G. Flaubert, the English critical realism of C. Dickens, W. Thackeray, C. Bronte paved the way not for drama, but for epic , first of all - the novel, and (not so noticeably) the lyrics. The issues, characters, plots, depiction of Russian character and Russian life in Ostrovsky's plays are so nationally unique, so understandable and consonant with the Russian reader and viewer that the playwright did not have such an influence on the world literary process as Chekhov later did. And in many ways the reason for this was the language of Ostrovsky’s plays: it turned out to be impossible to translate them, preserving the essence of the original, to convey that special and special thing with which he fascinates the viewer.
Source (abbreviated): Michalskaya, A.K. Literature: Basic level: 10th grade. At 2 p.m. Part 1: study. allowance / A.K. Mikhalskaya, O.N. Zaitseva. - M.: Bustard, 2018
Composition
The playwright almost did not raise political and philosophical problems in his work, facial expressions and gestures, through playing out the details of their costumes and everyday furnishings. To enhance the comic effects, the playwright usually introduced minor persons into the plot - relatives, servants, hangers-on, random passers-by - and incidental circumstances of everyday life. Such, for example, are Khlynov’s retinue and the gentleman with a mustache in “Warm Heart,” or Apollo Murzavetsky with his Tamerlane in the comedy “Wolves and Sheep,” or the actor Schastlivtsev with Neschastlivtsev and Paratov in “The Forest” and “Dowry,” etc. The playwright continued to strive to reveal the characters’ characters not only in the course of events, but no less through the peculiarities of their everyday dialogues - “characterological” dialogues, which he aesthetically mastered in “His People...”.
Thus, in the new period of creativity, Ostrovsky appears as an established master, possessing a complete system of dramatic art. His fame and his social and theatrical connections continue to grow and become more complex. The sheer abundance of plays created in the new period was the result of an ever-increasing demand for Ostrovsky's plays from magazines and theaters. During these years, the playwright not only worked tirelessly, but found the strength to help less gifted and beginning writers, and sometimes actively participate with them in their work. Thus, in the creative collaboration with Ostrovsky, a number of plays were written by N. Solovyov (the best of them are “The Marriage of Belugin” and “Savage”), as well as by P. Nevezhin.
Constantly promoting the production of his plays on the stages of the Moscow Maly and St. Petersburg Alexandria theaters, Ostrovsky was well aware of the state of theatrical affairs, which were mainly under the jurisdiction of the bureaucratic state apparatus, and was bitterly aware of their glaring shortcomings. He saw that he did not portray the noble and bourgeois intelligentsia in their ideological quests, as Herzen, Turgenev, and partly Goncharov did. In his plays, he showed the everyday social life of ordinary representatives of the merchants, bureaucrats, and nobility, life where personal, particularly love, conflicts revealed clashes of family, monetary, and property interests.
But Ostrovsky’s ideological and artistic awareness of these aspects of Russian life had a deep national-historical meaning. Through the everyday relationships of those people who were the masters and masters of life, their general social condition was revealed. Just as, according to Chernyshevsky’s apt remark, the cowardly behavior of the young liberal, the hero of Turgenev’s story “Asya,” on a date with a girl was a “symptom of the disease” of all noble liberalism, its political weakness, so the everyday tyranny and predation of merchants, officials, and nobles appeared a symptom of a more terrible disease is their complete inability to at least in any way give their activities national progressive significance.
This was quite natural and natural in the pre-reform period. Then the tyranny, arrogance, and predation of the Voltovs, Vyshnevskys, and Ulanbekovs were a manifestation of the “dark kingdom” of serfdom, already doomed to be scrapped. And Dobrolyubov correctly pointed out that although Ostrovsky’s comedy “cannot provide the key to explaining many of the bitter phenomena depicted in it,” nevertheless, “it can easily suggest many analogous considerations related to everyday life that does not directly concern.” And the critic explained this by the fact that the “types” of tyrants derived by Ostrovsky “often contain not only exclusively merchant or bureaucratic, but also national (i.e., national) features.” In other words, Ostrovsky's plays of 1840-1860. indirectly exposed all the “dark kingdoms” of the autocratic-serf system.
In the post-reform decades, the situation changed. Then “everything turned upside down” and a new, bourgeois system of Russian life gradually began to “fit in.” And the question of how exactly this new system “fit in,” and to what extent the new ruling class, the Russian bourgeoisie, could take part in the struggle for the destruction of the remnants of the “dark kingdom” of serfdom and the entire autocratic landowner system.
Almost twenty new plays by Ostrovsky on modern themes gave a clear negative answer to this fatal question. The playwright, as before, depicted the world of private social, household, family and property relations. Not everything was clear to him about the general trends of their development, and his “lyre” sometimes made not quite the “right sounds” in this regard. But in general, Ostrovsky’s plays contained a certain objective orientation. They exposed both the remnants of the old “dark kingdom” of despotism and the newly emerging “dark kingdom” of bourgeois predation, money rush, and the death of all moral values in an atmosphere of general buying and selling. They showed that Russian businessmen and industrialists are not capable of rising to the level of awareness of the interests of national development, that some of them, such as Khlynov and Akhov, are only capable of indulging in crude pleasures, others, like Knurov and Berkutov, can only subjugate everything around them with their predatory, “wolf” interests, and for still others, such as Vasilkov or Frol Pribytkov, the interests of profit are only covered up by external decency and very narrow cultural demands. Ostrovsky's plays, in addition to the plans and intentions of their author, objectively outlined a certain perspective of national development - the prospect of the inevitable destruction of all remnants of the old "dark kingdom" of autocratic-serf despotism, not only without the participation of the bourgeoisie, not only over its head, but along with the destruction of its own predatory "dark kingdom"
The reality depicted in Ostrovsky's everyday plays was a form of life devoid of nationally progressive content, and therefore easily revealed internal comic inconsistency. Ostrovsky dedicated his outstanding dramatic talent to its disclosure. Based on the tradition of Gogol's realistic comedies and stories, rebuilding it in accordance with the new aesthetic demands put forward by the “natural school” of the 1840s and formulated by Belinsky and Herzen, Ostrovsky traced the comic inconsistency of the social and everyday life of the ruling strata of Russian society, delving into the “world details,” looking thread by thread at the “web of daily relationships.” This was the main achievement of the new dramatic style created by Ostrovsky.
Ostrovsky wrote for the theater. This is the peculiarity of his talent. The images and pictures of life he created are intended for the stage. That’s why the speech of Ostrovsky’s heroes is so important, that’s why his works sound so vivid. It’s not for nothing that Innokenty Annensky called him an auditory realist. Without staging his works on stage, it was as if his works were not completed, which is why Ostrovsky took the ban on his plays by theater censorship so hard. The comedy "Our People - Let's Be Numbered" was allowed to be staged in the theater only ten years after Pogodin managed to publish it in the magazine.
With a feeling of undisguised satisfaction, A. N. Ostrovsky wrote on November 3, 1878 to his friend, artist of the Alexandria Theater A. F. Burdin: “I have already read my play in Moscow five times, among the listeners there were people hostile to me, and that’s all.” unanimously recognized “The Dowry” as the best of all my works.” Ostrovsky lived with the “Dowry”, at times only on it, his fortieth thing in a row, he directed “his attention and strength”, wanting to “finish” it in the most careful way. In September 1878, he wrote to one of his acquaintances: “I am working on my play with all my might; It seems like it won’t turn out bad.” Already a day after the premiere, on November 12, Ostrovsky could, and undoubtedly did, learn from Russkiye Vedomosti how he managed to “tire the entire audience, right down to the most naive spectators.” For she - the audience - has clearly “outgrown” the spectacles that he offers her. In the seventies, Ostrovsky's relationship with critics, theaters and audiences became increasingly complex. The period when he enjoyed universal recognition, which he won in the late fifties and early sixties, was replaced by another, increasingly growing in different circles of cooling towards the playwright.
Theatrical censorship was stricter than literary censorship. This is no accident. In its essence, theatrical art is democratic; it addresses the general public more directly than literature. Ostrovsky in his “Note on the situation of dramatic art in Russia at the present time” (1881) wrote that “dramatic poetry is closer to the people than other branches of literature. All other works are written for educated people, but dramas and comedies are written for the whole people; dramatic writers must always remember this, they must be clear and strong. This closeness to the people does not in the least degrade dramatic poetry, but, on the contrary, doubles its strength and prevents it from becoming vulgar and crushed.” Ostrovsky talks in his “Note” about how the theatrical audience in Russia expanded after 1861. To a new viewer, not experienced in art, Ostrovsky writes: “Fine literature is still boring and incomprehensible for him, music too, only the theater gives him complete pleasure, there he experiences everything that happens on stage like a child, sympathizes with good and recognizes evil, clearly presented." For a “fresh” public, Ostrovsky wrote, “a strong drama, major comedy, provocative, frank, loud laughter, hot, sincere feelings are required.”
It is the theater, according to Ostrovsky, which has its roots in the folk farce, that has the ability to directly and strongly influence the souls of people. Two and a half decades later, Alexander Blok, speaking about poetry, will write that its essence is in the main, “walking” truths, in the ability of theater to convey them to the reader’s heart:
Ride along, mourning nags!
Actors, master your craft,
So that from the walking truth
Everyone felt pain and light!
(“Balagan”, 1906)
The enormous importance that Ostrovsky attached to the theater, his thoughts about theatrical art, the position of theater in Russia, the fate of actors - all this was reflected in his plays. Contemporaries perceived Ostrovsky as a successor of Gogol's dramatic art. But the novelty of his plays was immediately noted. Already in 1851, in the article “A Dream on the Occasion of a Comedy,” the young critic Boris Almazov pointed out the differences between Ostrovsky and Gogol. Ostrovsky’s originality lay not only in the fact that he depicted not only the oppressors, but also their victims, not only in the fact that, as I. Annensky wrote, Gogol was primarily a poet of “visual”, and Ostrovsky of “auditory” impressions.
Ostrovsky's originality and novelty were also manifested in the choice of life material, in the subject of the image - he mastered new layers of reality. He was a pioneer, a Columbus not only of Zamoskvorechye - who we don’t see, whose voices we don’t hear in Ostrovsky’s works! Innokenty Annensky wrote: “...This is a virtuoso of sound images: merchants, wanderers, factory workers and Latin teachers, Tatars, gypsies, actors and sex workers, bars, clerks and petty bureaucrats - Ostrovsky gave a huge gallery of typical speeches...” Actors, the theatrical environment - too new vital material that Ostrovsky mastered - everything connected with the theater seemed very important to him.
In the life of Ostrovsky himself, the theater played a huge role. He took part in the production of his plays, worked with the actors, was friends with many of them, and corresponded with them. He put a lot of effort into defending the rights of actors, seeking the creation of a theater school and his own repertoire in Russia. Artist of the Maly Theater N.V. Rykalova recalled: Ostrovsky, “having become better acquainted with the troupe, became our man. The troupe loved him very much. Alexander Nikolaevich was unusually affectionate and courteous with everyone. Under the serfdom regime that reigned at that time, when the artist’s superiors said “you,” when most of the troupe were serfs, Ostrovsky’s treatment seemed to everyone like some kind of revelation. Usually Alexander Nikolaevich himself staged his plays... Ostrovsky assembled a troupe and read the play to them. He could read amazingly skillfully. All his characters appeared to be alive... Ostrovsky knew well the inner, behind-the-scenes life of the theater, hidden from the eyes of the audience. Starting with the Forest" (1871), Ostrovsky develops the theme of the theater, creates images of actors, depicts their fates - this play is followed by "Comedian of the 17th Century" (1873), "Talents and Admirers" (1881), "Guilty Without Guilt" (1883 ).
The position of the actors in the theater and their success depended on whether or not the rich audience who set the tone in the city liked them. After all, provincial troupes lived mainly on donations from local patrons, who felt like masters of the theater and could dictate their terms. Many actresses lived off expensive gifts from wealthy fans. The actress, who took care of her honor, had a hard time. In “Talents and Admirers,” Ostrovsky depicts such a life situation. Domna Panteleevna, Sasha Negina’s mother, laments: “There is no happiness for my Sasha! He maintains himself very carefully, and there is no goodwill between the public: no special gifts, nothing like the others, which... if...".
Nina Smelskaya, who willingly accepts the patronage of wealthy fans, essentially turning into a kept woman, lives much better, feels much more confident in the theater than the talented Negina. But despite the difficult life, adversity and grievances, as depicted by Ostrovsky, many people who dedicated their lives to the stage and theater retain kindness and nobility in their souls. First of all, these are tragedians who on stage have to live in a world of high passions. Of course, nobility and generosity of spirit are not limited to tragedians. Ostrovsky shows that genuine talent, selfless love for art and theater lift and elevate people. These are Narokov, Negina, Kruchinina.
In his early romantic stories, Maxim Gorky expressed his attitude to life and people, his view of the era. The heroes of many of these stories are so-called tramps. The writer portrays them as brave, strong-hearted people. The main thing for them is freedom, which tramps, like all of us, understand in their own way. They passionately dream of some kind of special life, far from everyday life. But they can’t find her, so they go wandering, drink themselves to death, and commit suicide. One of these people is depicted in the story “Chelkash”. Chelkash - “an old poisoned wolf, well known to the Havana people, an avid drunkard and l
In Fet's poetry, the feeling of love is woven from contradictions: it is not only joy, but also torment and suffering. In Fetov’s “songs of love,” the poet surrenders so completely to the feeling of love, the intoxication of the beauty of the woman he loves, which in itself brings happiness, in which even sorrowful experiences constitute great bliss. From the depths of world existence, love grows, which became the subject of Fet’s inspiration. The innermost sphere of the poet’s soul is love. In his poems he put various shades of love feelings: not only bright love, admiration of beauty, admiration, delight, happiness of reciprocity, but also
At the end of the 90s of the 19th century, the reader was amazed by the appearance of three volumes of “Essays and Stories” by a new writer - M. Gorky. “Great and original talent,” was the general judgment about the new writer and his books. Growing discontent in society and the expectation of decisive changes caused an increase in romantic tendencies in literature. These trends were reflected especially clearly in the work of young Gorky, in such stories as “Chelkash”, “Old Woman Izergil”, “Makar Chudra”, and in revolutionary songs. The heroes of these stories are people “with the sun in their blood”, strong, proud, beautiful. These heroes are Gorkog's dream
More than a hundred years ago, in a small provincial town in Denmark - Odense, on the island of Funen, extraordinary events took place. The quiet, slightly sleepy streets of Odense were suddenly filled with the sounds of music. A procession of artisans with torches and banners marched past the brightly lit ancient town hall, greeting the tall blue-eyed man standing at the window. In honor of whom did the inhabitants of Odense light their fires in September 1869? It was Hans Christian Andersen, who had recently been elected an honorary citizen of his hometown. Honoring Andersen, his fellow countrymen sang the heroic feat of a man and writer,
It is unlikely that it will be possible to briefly describe the work of Alexander Ostrovsky, since this man left a great contribution to the development of literature.
He wrote about many things, but most of all in the history of literature he is remembered as a good playwright.
Popularity and features of creativity
Popularity of A.N. Ostrovsky brought the work “Our people - we will be numbered.” After it was published, his work was appreciated by many writers of that time.
This gave confidence and inspiration to Alexander Nikolaevich himself.
After such a successful debut, he wrote many works that played a significant role in his work. These include the following:
- "Forest"
- "Talents and Fans"
- "Dowry."
All of his plays can be called psychological dramas, since in order to understand what the writer wrote about, you need to delve deeply into his work. The characters in his plays were versatile personalities that not everyone could understand. In his works, Ostrovsky examined how the country’s values were collapsing.
Each of his plays has a realistic ending; the author did not try to end everything with a positive ending, like many writers; for him, the most important thing was to show real, rather than fictional, life in his works. In his works, Ostrovsky tried to depict the life of the Russian people, and, moreover, he did not embellish it at all - but wrote what he saw around him.
Childhood memories also served as subjects for his works. A distinctive feature of his work can be called the fact that his works were not entirely censored, but despite this, they remained popular. Perhaps the reason for his popularity was that the playwright tried to present Russia to readers as it is. Nationality and realism are the main criteria that Ostrovsky adhered to when writing his works.
Work in recent years
A.N. Ostrovsky became particularly involved in creativity in the last years of his life; it was then that he wrote the most significant dramas and comedies for his work. All of them were written for a reason; mainly his works describe the tragic fates of women who have to fight their problems alone. Ostrovsky was a playwright from God; it would seem that he managed to write very easily, thoughts themselves came to his head. But he also wrote works where he had to work hard.
In his latest works, the playwright developed new techniques for presenting text and expressiveness - which became distinctive in his work. His style of writing works was highly appreciated by Chekhov, which for Alexander Nikolaevich is beyond praise. He tried in his work to show the internal struggle of the heroes.
