Ostróvskiy’s later Dramas

As Ostróvskiy advanced in years and widened the scope of his observations of Russian life, he drew his characters from other circles besides that of the merchants, and in his later dramas he gave such highly attractive, progressive types as The Poor Bride, Parásha (in a beautiful comedy, An Impetuous Heart), Agniya in Carnival has its End, the actor Neschastlívtseff (Mr. Unfortunate) in a charming idyll, The Forest, and so on. And as regards his “negative” (undesirable) types, taken from the life of the St. Petersburg bureaucracy or from the millionaire and “company-promoters” circles, Ostróvskiy deeply understood them and attained the artistic realisation of wonderfully true, coldly-harsh, though apparently “respectable” types, such as no other dramatic writer has ever succeeded in producing.

Altogether Ostróvskiy wrote about fifty dramas and comedies, and every one of them is excellent for the stage. There are no insignificant parts in them. A great actor or actress may take one of the smallest parts, consisting of perhaps but a few words pronounced during a few minutes’ appearance on the stage — and yet feel that there is material enough in it to create a character. As for the main personages Ostróvskiy fully understood that a considerable part in the creation of a character must be left to the actor. There are consequently parts which without such a collaboration would be pale and unfinished, while in the hands of a true actor they yield material for a deeply psychological and profoundly dramatic personification. This is why a lover of dramatic art finds such a deep aesthetic pleasure both in playing in Ostróvskiy’s dramas and in reading them aloud.

Realism, in the sense which already has been indicated several times in these pages — that is, a realistic description of characters and events, subservient to ideal aims — is the distinctive feature of all Ostróvskiy’s dramas. As in the novels of Turguéneff, the simplicity of his plots is striking. But you see life — true life with all its pettinesses — developing before you, and out of these petty details grows insensibly the plot.

“One scene follows another, and all of them are so commonplace, such an everyday matter! — and yet, out of them, a terrible drama has quite imperceptibly grown into being. You could affirm that it is not a comedy being played before you, but life itself unrolled before your eyes — as if the author had simply opened a wall and shown you what is going on inside this or that house.” In these just words one of our critics, Skabitchévskiy, has described Ostróvskiy’s work.

In his dramas Ostróvskiy introduced an immense variety of characters taken from all classes of Russian life; but he once for all abandoned the old romantic division of human types into “good” and “bad” ones. In real life these two divisions are blended together and merge into another; and while even now an English dramatic author cannot conceive a drama without “the villain,” Ostróvskiy never felt the need of introducing that conventional personage. Nor did he feel the need of resorting to the conventional rules of “dramatic conflict.” To quote once more from the same critic:

“There is no possibility of bringing his comedies under some general principle, such as a struggle of duty against inclination, or a collision of passions which calls forth a fatal result, or an antagonism between good and evil, or between progress and ignorance. His comedies represent the most varied human relations. just as we find it in life, men stand in these comedies in different obligatory relations towards each other, which relations have, of course, their origin in the past; and when these men have been brought together, conflicts necessarily arise between them, out of these very relations. As to the outcome of the conflict, it is, as a rule quite unforeseen, and often depends, as usually happens in real life, upon mere accidents.”

Like Ibsen, Ostróvskiy sometimes will not even undertake to say how the drama will end.

And finally, Ostróvskiy, notwithstanding the pessimism of all his contemporaries — the writers of the forties — was not a pessimist. Even amidst the most terrible conflicts depicted in his dramas he retained the sense of the joy of life and of the unavoidable fatality of many of the miseries of life. He never recoiled before painting the darker aspects of the human turmoil, and he has given a most repulsive collection of family-despots from the old merchant class, followed by a collection of still more repulsive types from the class of industrial “promoters.” But in one way or another he managed either to show that there are better influences at work, or, at least, to suggest the possible triumph of some better element. He thus avoided falling into the pessimism which characterised his contemporaries, and he had nothing of the hysterical turn of mind which we find in some of his modern followers. Even at moments when, in some one of his dramas, life all round wears the gloomiest aspect (as, for instance, in Sin and Misfortune may visit everyone, which is a page from peasant life, as realistically dark, but better suited for the stage, than Tolstóy’s Power of Darkness), even then a gleam of hope appears, at least, in the contemplation of nature, if nothing else remains to redeem the gloominess of human folly.

And yet, there is one thing — and a very important one — which stands in the way of Ostróvskiy’s occupying in international dramatic literature the high position to which his powerful dramatic talent entitled him, and being recognised as one of the great dramatists of our century. The dramatic conflicts which we find in his dramas are all of the simpler sort. There are none of the more tragical problems and entanglements which the complicated nature of the educated man of our own times and the different aspects of the great social questions are giving birth to in the conflicts arising now in every stratum and class of society. But it must also be said that the dramatist who can treat these modern problems of life in the same masterly way in which the Moscow writer has treated the simpler problems which he saw in his own surroundings, is yet to come.