The foundations of the dark reign were shaken. “The Dark Kingdom” in A. N. Ostrovsky’s drama “The Thunderstorm”: Wild and Kabanikha. Kudryash, Varvara and others

“Thunderstorm” - the most amazing

the work of the Russian, mighty,

fully mastered talent.

I, S. Turgenev

Autumn 1859. Premiere at the Moscow Maly Theater. Great actors play a play by a great playwright. Treatises will be written about this work, and N. Dobrolyubov and A. Grigoriev will come together in polemics about it. This play will take place on many stages around the world, but all this will happen later, but for now the Maly Theater is staging A. N. Ostrovsky’s new play “The Thunderstorm” for the first time.

Behind the rising curtain is a panorama of the Volga, in the foreground are trees and benches. The action takes place in the city of Kalinov, surrounded by green gardens. “The view is extraordinary! Beauty! The soul rejoices!” - these words of Kuligin are a kind of prologue to the play.

It seems that against the backdrop of such beauty, people should live beautifully and happily. However, it is not. In Kalinov there is an atmosphere of “dull aching pain..., prison-like, deathly silence.”

“Dark Kingdom” - this is the description given to many residents of the city of Kuligin. He criticizes Kalinov’s “cruel morals”, the rudeness and deceit of its inhabitants.

Indeed, one gets the impression that in Kalinov everything has been turned upside down, everything has lost its meaning. Kindness here has become a cover for anger and cruelty. Let us remember how the same Kuligin characterizes Kabanikha: “Prudence! He gives money to the poor, but completely eats up his family.”

Love in this city is a crime. Any manifestation of sincere feeling is regarded as a sin. When Katerina, saying goodbye to Tikhon, throws herself on his neck, Kabanikha pulls her back: “Why are you hanging on your neck, shameless one! You are not saying goodbye to your lover! He’s your husband, your boss!” Love and marriage cannot live together here. In the Kabanov family, rudeness and deception reign, but not love. Marfa Ignatievna remembers love only when she needs to justify her cruelty: “After all, parents are strict with you out of love... Well, I don’t like that now.” Even Katerina’s death will not make Kabanikha’s cold heart shrink: “It’s a sin to cry about her!”

I think Kabanikha is smart. Ignorant, considering the locomotive a “fiery serpent”, captivated by the stories of wandering praying mantises about countries where “Saltans” rule, and people are all “dog-headed”, she is still able to appreciate what is happening. Kabanikha understands that money does not yet give complete power, she needs to enslave people, desecrating in them all the best that is in every decent person: love, loyalty, a sense of beauty, faith, finally. The main means for achieving complete dominion over people is cruelty, disguised as hypocrisy. But Kabanikha’s cruelty bears bitter fruit: Katerina dies, Varvara runs away from home, Tikhon reproaches his mother for the first time, accusing her of his wife’s death. Such a conclusion is easily drawn by the viewer or reader, but it is inaccessible to the merchant herself, because it goes beyond the rules that reign in the “dark kingdom.”

Kabanikha, in my opinion, is the most consistent defender of this kingdom, because she has a presentiment of its death: “The old man is deduced... What will happen, how the old people will die, how the light will last, I don’t know... it’s good that I won’t see anything.”

I think that with this feeling of the end of the way of life that was characteristic of the Russian merchants of the mid-19th century, Marfa Ignatievna differs from Dikiy, the richest man in Kalinov (it is noteworthy that he is named first in the list of characters).

This “shrill man” firmly believes that money has given him a free hand in communicating with people. If Kabanikha acts “under the guise of piety,” then this tyrant of the day cannot live without swearing. For him, a person is a worm: “If I want, I’ll have mercy, if I want, I’ll crush.” Is it any wonder that Dikoy deliberately commits a crime, ruining hired workers. “I won’t pay them a penny extra per person, but I have thousands from this,” he says to the mayor, who treats Dikiy’s revelations quite calmly, because he himself depends on him. This is who is at the head of Kalinov!

Dikiy's inertia and rudeness are manifested in his conversation with Kuligin. Savel Prokofievich does not want to know either about scientific discoveries or about Derzhavin. Thus, in the “dark kingdom” not only high feelings perish, but also any manifestations of creative thought.

However, Dikoy fights only with those who depend on him. When a hussar scolded him at the crossing, this militant tyrant did not dare to confront the officer, but took out all his anger on his family. “You’ve been fighting with women all your life,” Kabanikha reproaches him. And Kuligin characterizes the meaning of life in the “dark kingdom” this way: “To rob orphans, relatives, nephews, to kill the household.” How terrible are people who have chosen cruelty as the main business of their lives!

Dikoy and Kabanikha are similar in many ways: to strangle, destroy nobility, feelings that are not similar to silent obedience, to mock people who are submissive to their power - this is for them, if not the meaning of life, then no small pleasure. But Kabanikha came to this through her “hard labor”. She was just as broken and abused in her husband’s house. All this stopped for her only after she became the absolute mistress of the house. And this could only happen after the death of the previous owners. This means that this is the order in life: endure while the master is standing over you, enjoy impunity, since you yourself have become the mistress. It doesn’t even occur to her that this order can be changed, that she can treat her son, daughter-in-law, and daughter differently, with love and tenderness. There are no such concepts in her soul. She endured - let others endure too. But Kabanikha, not only strong in character, but also unprincipled and indifferent, does not understand something else: a person can not only be broken, like Tikhon, embittered, like Varvara, but can simply be destroyed physically, if the directness of character and the tenderness of the soul cannot be overcome. This is what happened to Katerina.

It's much easier for the wild one. He does what his father, grandfather, and neighbor have done all his life. The difference is that there is more money, but less and less intelligence. After all, Dikoy doesn’t even live by the principle: money will buy everything. He doesn't want to buy anything. And why, when you can use the power of money as a battering ram, as a trap, simply as force.

The “pious wanderer” Feklusha sets off the characters of Kabanikha and Dikiy in her own way. She doesn’t just bring information about the big world to Kalinov. She justifies the life principles of the “dark kingdom”, and the characteristics of the city and its inhabitants in her mouth are no less ridiculous than the stories about overseas “Saltans”. Kalinov becomes a “promised land” for her, and the cruel Kabanikha becomes a model of piety. This is yet another confirmation of the meaninglessness and futility of the “dark kingdom.”

“The Thunderstorm” is the best, but not the only play by A. N. Ostrovsky, which exposes the cruel morals of the powerful. Let’s remember “Dowry Girl,” “Profitable Place,” “Mad Money” and other plays.

In 1886, Ostrovsky, having made his last trip to the Volga, according to his contemporaries, “fell ill at heart”: nothing had changed in Russia. The great playwright decided to start writing a new play for his beloved Maly Theater. However, death crossed out this plan.

Each person is a one and only world, with his own actions, character, habits, honor, morality, self-esteem.

It is precisely the problem of honor and self-esteem that Ostrovsky raises in his play “The Thunderstorm”.

In order to show the contradictions between rudeness and honor, between ignorance and dignity, the play shows two generations: people of the older generation, the so-called “dark kingdom”, and people of the new trend, more progressive, not

those who want to live according to old laws and customs.

Dikoy and Kabanova are typical representatives of the “dark kingdom”. It was in these images that Ostrovsky wanted to show the ruling class in Russia at that time.

So who are Dikoy and Kabanova? First of all, these are the richest people in the city; in their hands is the “supreme” power, with the help of which they oppress not only their serfs, but also their relatives. Kuligin said well about the life of the philistines: “...And whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors...”, and again: “In the philistinism, sir, you are nothing but rudeness , you won’t see...” So they live, knowing nothing but money, ruthless exploitation, immeasurable profit

at someone else's expense. It was not without intention that Ostrovsky created these two types. Dikoy is a typical merchant, and his social circle is Kabanikha.

The images of Dikiy and Kabanova are very similar: they are rude, ignorant people. They are only engaged in tyranny. The wild one is annoyed by his relatives, who accidentally caught his eye: “...I told you once, I told you twice: “Don’t you dare come across me”; you're itching for everything! Not enough space for you? Wherever you go, here you are!..” And if someone comes to ask Dikiy for money, then there will be no way around it without swearing: “I understand that; What are you going to tell me to do with myself when my heart is like this! After all, I already know what I have to give, but I can’t do everything with goodness. You are my friend, and I must give it to you, but if you come and ask me, I will scold you. I will give, give, and curse. Therefore, as soon as you mention money to me, everything inside me will be ignited; It kindles everything inside, and that’s all...”

Kabanova doesn’t like it when Katerina defends her human dignity and tries to protect her husband from unnecessary abuse. Kabanikha is disgusted that someone dares to contradict her, to do something not at her command. But there is a slight difference between Dikiy and Kabanova in relation to their relatives and the people around them. Dikoy swears openly, “as if he’s broken free from a chain,” Kabanikha, “under the guise of piety”: “I know, I know that you don’t like my words, but what can I do, I’m not a stranger to you, my heart is about you it hurts... After all, it’s out of love that your parents are strict with you, it’s out of love that they scold you, that’s all

they think to teach good things. Well, I don’t like it now. And the children will go around praising people that their mother is a grumbler, that their mother does not allow them to pass, that they are squeezing them out of the world. But God forbid, you won’t please your daughter-in-law with some word, so the conversation started that the mother-in-law was completely fed up.”

Greed, rudeness, ignorance, tyranny will always be present in these people. These qualities were not eradicated because they were raised that way, they grew up in the same environment. People like Kabanova and Dikoy will always be together, it is impossible to separate them. Where one ignorant and tyrant appeared, another will appear. Whatever the society, there will always be people who, under the guise of progressive ideas and education, hide, or rather, try to hide their stupidity, rudeness and ignorance. They tyrannize those around them, without being at all embarrassed or afraid to bear any responsibility for it. Dikoy and Kabanova are that very “dark kingdom”, relics, supporters of the foundations of this “dark kingdom”. That's who they are, these Wild and Kabanovs, stupid, ignorant, hypocritical, rude. They preach the same peace and order. This is a world of money, anger, envy and hostility. They hate everything new and progressive. A. Ostrovsky’s idea was to expose the “dark kingdom” using the images of Dikiy and Kabanova. He denounced all rich people for lack of spirituality and meanness. Basically, in the secular societies of Russia in the 19th century there were such Wilds and Kabanovs, as the author showed us in his drama “The Thunderstorm”.

The curtain opens. And the viewer sees the high bank of the Volga, the city garden, the residents of the charming town of Kalinova walking and talking. The beauty of the landscape evokes Kuligin’s poetic delight and is in amazing harmony with the free-spirited Russian folk song. The conversation of city inhabitants flows slowly, in which Kalinov’s life, hidden from prying eyes, is already slightly revealed.

The talented, self-taught mechanic Kuligin calls his morals “cruel.” How does he see this manifested? First of all, in the poverty and rudeness that reigns in the middle class. The reason is very clear: the dependence of the working population on the power of money concentrated in the hands of the rich merchants of the city. But, continuing the story about Kalinov’s morals, Kuligin by no means idealizes the relationship between the merchant class, which, according to him, undermines each other’s trade, writes “malicious slander.” The only educated person, Kalinova, draws attention to one important detail, which clearly appears in the funny story about how Dikoy explained to the mayor about the men’s complaint against him.

Let us remember Gogol's "The Inspector General", in which the merchants did not dare to make a word in front of the mayor, but meekly put up with his tyranny and endless exactions. And in “The Thunderstorm”, in response to the remark of the main person of the city about his dishonest act, Dika

only condescendingly pats the government representative on the shoulder, not even considering it necessary to justify himself. This means that money and power have become synonymous here. Therefore, there is no justice for the Wild One, who insults the entire city. No one can please him, no one is immune from his frantic abuse. Dikoy is self-willed and tyrannical because he does not meet resistance and is confident in his own impunity. This hero, with his rudeness, greed and ignorance, personifies the main features of Kalinov’s “dark kingdom”. Moreover, his anger and irritation especially increase in cases when it comes either to money that needs to be returned, or to something inaccessible to his understanding. That's why he scolds his nephew Boris so much, because his very appearance

reminds of the inheritance, which, according to the will, must be divided with him. That’s why he attacks Kuligin, who is trying to explain to him the principle of the lightning rod’s operation. Wild is outraged by the idea of ​​a thunderstorm as an electrical discharge. He, like all Kalinovites, is convinced that a thunderstorm is coming! people as a reminder of responsibility for their actions. This is not just ignorance and superstition, it is folk mythology passed down from generation to generation, before which the language of logical reason falls silent. This means that even in the violent, uncontrollable tyrant Dikiy this moral truth lives, forcing him to publicly bow at the feet of the peasant whom he scolded during Lent. Even if Dikiy has bouts of repentance, then at first the rich merchant widow Marfa Ignatievna Kabanova seems even more religious and pious. Unlike the Wild One, she will never raise her voice or rush at people like a chained dog. But the despotism of her nature is not at all a secret for the Kalinovites. Even before this heroine appears on stage, we hear biting and apt remarks from the townspeople addressed to her. “Prude, sir. She gives money to the poor, but completely eats up her family,” Kuligin tells Boris about her. And the very first meeting with Kabanikha convinces us of the correctness of this

characteristics. Her tyranny is limited to the sphere of the family, which she mercilessly tyrannizes. Kabanikha crippled her own son, turning him into a pathetic, weak-willed man who does nothing but justify himself to her for non-existent sins. The cruel, despotic Kabanikha turned the life of her children and daughter-in-law into hell, constantly torturing them, tormenting them with reproaches, complaints and suspicions. Therefore, her daughter Varvara! , a brave, strong-willed girl, is forced to live by the principle: “...do what you want, as long as it’s sewn and covered.” Therefore, Tikhon and Katerina cannot be happy. For Katerina, such a feeling as love is incompatible with hateful walls

Kabanovsky house, with its oppressive stuffy atmosphere. Kabanikha defends ancient customs and rituals with enviable tenacity. As an experienced director, she organizes the scene of Tikhon’s farewell, assigning Katerina the role of a silent extra. Tikhon presents a funny and pitiful spectacle here when, stuttering and embarrassed, he pronounces teachings to his wife under the dictation of his mother. After her son’s departure, Marfa Ignatievna expresses dissatisfaction with the fact that her daughter-in-law, after seeing her husband off, did not howl on the porch for an hour and a half, thereby expressing her love. Despite her absolute power over the children, Kabanikha is constantly dissatisfied with something. She feels that young people internally do not agree with her, that they want freedom and independence. She cannot even instill in her weak-willed son the simple idea that the basis of family relationships should be fear, and not love and trust. In the scene of Katerina’s public repentance, the playwright showed her inner triumph with one laconic phrase from Kabanikha: “What, son! Where will the will lead?

Kalinovsky’s world is cruel and heartless towards those who dare to reject his morality, his moral principles. This was confirmed by the tragic fate of Katerina, who chose death over life in the Kabanovsky house. The story told in the drama highlights the same cruelty of Kalinovsky morals, where behind the tightly locked gates they pour

“invisible and inaudible” tears, where families are tyrannized, where orphans are robbed, drunkenness and debauchery. But the pillars on which the old order rests have already been shaken. After all, people appeared who expressed their protest against the outdated, ossified way of life. Even in the soul of the meek, uncomplaining Tikhon, indignation rises against the despotism of his mother, whom he openly blames for the death of his wife. Varvara also flees from the Kabanovsky house, not wanting to endure domestic tyranny. Kuligin tries in every possible way to soften Kalinov’s cruel morals, naively hoping to enlighten the tyrant Dikiy and direct him to the path of truth.

Thus, “The Thunderstorm” fully and deeply reflected a turbulent time, full of contradictions and disasters, when the old patriarchal world began to collapse, awakening in people hope for a better future for the country and people.

Ostrovsky is rightfully considered one of the most prominent exponents of national identity, and his dramas are called plays of life. We can say that Ostrovsky is the founder of Russian theater, a master of realistic prose. He wrote more

seventy plays. Among his plays there are practically no weak, unmemorable pieces. But “The Thunderstorm” stands apart even among the artist’s best creations. Written in one thousand eight hundred and fifty-nine, the drama reflected the processes beginning in Russia by that time.

“The Thunderstorm” is a reflection of the life of the Russian province, where patriarchal conditions are still strong. It is important to note that Ostrovsky wrote his work after traveling along the Volga. The fictional city of Kalinov has absorbed the features of the Russian hinterland. The exposition of the play takes place on the wide Volga expanse. But city dwellers do not notice nature, their souls are not sensitive to beauty. It is important to note that the play is based on

antithesis. The author contrasts the beauty of nature with the inhabitants of the city. They only care about their own good. For these people, the concept of public benefit means nothing. For example, Kuligin persuades Dikiy to give money for a lightning rod, but is met with a contemptuous refusal. Dikoy is a typical representative of this society. He is an empty person, looking for a quarrel with the first person he meets. The main goal of his life is to humiliate and trample those of lower rank. Savel Prokofievich is rich, but he made his fortune by fraud. He robs his workers without paying each one a penny extra. Wild's relatives live in constant fear, trying to please him.

Power in the city belongs not only to him, but also to Marfa Ignatievna Kabanova. She is an ardent representative of the “dark kingdom”, quite a rich woman, a widow. After the death of her husband, Kabanikha took power in the house into her own hands. And since then, no one dares to contradict her, not only in the family, but throughout the city. She does not give free rein to either Tikhon, her son, or her daughter-in-law. Marfa Ignatievna is not afraid of the Wild One, objects to him and even has some power over him. “Well, don’t let your throat loose! Find me cheaper! And I am dear to you! Go your own way, where you were going... you’ve been fighting with women all your life.” In the play, she is characterized not only by her speeches, but is also discussed by other characters. Kuligin says this: “Prudence, sir! He gives money to the poor, but completely eats up his family.” Kabanova is a hypocritical, ignorant, patriarchal Russian merchant's wife. Only her son is dear to her; she truly loves him and wants to help him in life. Kabanikha is jealous of Tikhon towards Katerina, constantly finds fault with her, does not give her peace

live. Neither Savel Prokofievich nor Marfa Ignatievna want to recognize anything new, but want to live in accordance with Domostroevsky orders. Such Wild and Kabanikhs represent the basis of the Russian merchants. It seems that the Middle Ages still reign in the city: the townspeople do not know about the news of science and technology, they subjugate life

the ridiculous superstitions that the wanderer Feklusha spreads. For Kalinov residents, a thunderstorm is God’s punishment. They are religious, but their faith has nothing to do with Katerina’s bright feeling. It’s not for nothing that Dobrolyubov called her “a ray of light in a dark kingdom.”

For residents of the city of Kalinov, God is a cruel judge, whom they are afraid to meet. The morals here were described by the skillful and observant Kuligin: “We have cruel morals, sir.” The strong and rich profit from the weak and dependent. And Dikoy

He doesn’t even hide his contempt for “little” people. It is more difficult for women who are deprived of their freedom upon marriage. Attitudes in the family are dictated by "Domostroy", which in the nineteenth century turned into ridiculous, forgotten and no one

unnecessary rituals. For example, Katerina is not allowed to go out because she is a married woman. In the meantime, my husband is away, you can’t even go near the window. Strict morality though!

less does not prevent the Kalinovites from sinning. the essence of this relationship is expressed in Varvara’s remarks: “For me, do whatever you want, as long as everything is sewn and covered.” Despite her mother's prohibition, Varvara walks with Kudryash. Katerina excites the public

indignation not because she cheated on her husband, but because she publicly repented. A wife who has sinned may even be killed by her husband; by this Ostrovsky exposes social inequality and speaks of a woman’s dependence. It is also mentioned that

male infidelity is not even punished.

Ostrovsky shows that the “dark kingdom” is still very strong. And Katerina’s duel with him ends in her death. But social processes can no longer be stopped; young people are demanding the right to build their lives according to their own wishes. Protest

Katerina is the most striking proof, but Varvara also runs away from home with Kudryash. And even the weak, submissive Tikhon accuses his mother over his wife’s body: “It’s you, Mama, who killed her.” A terrible understanding was born in him that life in the “dark kingdom” was worse

death, throwing himself on his wife’s corpse, he shouts: “Good for you, Katya! But why did I stay in the world and suffer.” By this, Ostrovsky shows how Kalinov’s laws are crumbling.

The play outlines an acute social conflict. After all, the times of the “dark kingdom” are long gone, and for some reason the drama is not outdated. Consequently, the problems of the play are not only social, but also philosophical. The human right to make his own choice,

rebellion against generally accepted morality - these problems are classified as eternal.

The highest artistic achievement of A. N. Ostrovsky in the pre-reform years was the drama “The Thunderstorm.” The action of A. N. Ostrovsky’s drama “The Thunderstorm” takes place in the provincial town of Kalinov, located on the banks of the Volga. “The view is extraordinary! Beauty! The soul rejoices!” exclaims Kuligin , one of the local residents. But against the backdrop of this beautiful landscape, a bleak picture of life is painted.

Dobrolyubov called the life of Kalinov and similar cities in Russia at that time a “dark kingdom.” A sleepy, calm, measured existence. Kalinov residents spend most of their time at home, where they live behind high walls and strong castles.

they eat leisurely, do some household chores, sleep. “They go to bed very early, so it’s difficult for an unaccustomed person to endure such a sleepy night.” On holidays, people leisurely, sedately stroll along the boulevard, but “even then they only pretend to be walking , and they themselves go there to show off their outfits.” The inhabitants of Kalinov have no desire to understand culture, science, they are not interested in new ideas and thoughts. People are superstitious, submissive in their opinion, “and Lithuania fell from the sky.” The sources of news and rumors are wanderers, pilgrims, “walking kaliki.” “Because of their weakness,” they are far away

We didn’t go, but “we heard a lot.” Behind the external calm of life lie dark thoughts, the dark life of tyrants who do not recognize human dignity.

Representatives of the “dark kingdom” are Dikoy and Kabanikha. Dikoy - a complete type of merchant-tyrant, the meaning of life

which is to accumulate capital by any means. The imperious and stern Kabanikha is an even more sinister and gloomy representative of Domostroy. She strictly observes all the customs and orders of patriarchal antiquity, eats her family, shows hypocrisy when giving gifts to the poor, and does not tolerate manifestations of personal will in anyone.

The basis of relationships between people in Kalinov is material dependence. Here money is everything. The author emphasizes that because of profit, merchants spoil each other’s trade, constantly quarrel among themselves, and harm their former friends:

“I’ll spend it, and it’ll cost him a pretty penny.” Boris does not dare to defend himself from Dokiy’s insults, since according to the will he can receive an inheritance only if he is respectful to his uncle. For example, Dikiy shows the character of a person at the mercy of money. One of the richest people in Kalinoy, Dikoy stoops to outright fraud: “I won’t pay them a penny extra per person, but I make thousands out of this, so that’s good for me!” Scolding, swearing for any reason is not only the usual way of dealing with people, it is his nature, his character, even more than that - the content of life. The tyranny of the Wild knows no bounds. He does not allow his family to live in peace. When the host of the ball is not in the mood! "Everyone was hiding in attics and closets." However, in his typical tyrant logic there is one interesting point: an ardent scolder himself is not happy with his character: “You are my friend, but if you come to ask me, I will scold you.” Isn’t it true that we

Do we feel that the Wild’s tyranny is cracking?

She firmly stands guard over the patriarchal house-building orders of antiquity, jealously protects the life of her home from the fresh wind of Kabanov’s changes. Unlike Dikiy, she never swears, she has her own methods of intimidation: she, “like rusty iron,” sharpens her loved ones, hiding behind the divine dogmas and suffering about trampled antiquity.

Filial love and maternal feelings do not exist in this house, they are corroded, trampled into the dirt by arbitrariness, bigotry, and malice. The boar is haunted by the fact that the young people do not like her way of life, that they want to live differently. The main thing is that what are Dikoy and Kabanova to blame for is that they have a destructive effect on those around them, poisoning their lives, destroying bright feelings in them, making them their slaves.

There is a lot in common between Kabanikha and Dikiy. They are united by despotism, superstition, ignorance, and heartlessness, but Dikoy and Kabanikha do not repeat each other, but complement each other. Kabanikha is more cunning than Dikoy. Dikoy does not hide his tyranny. Kabanikha

hiding behind the god she supposedly serves. As disgusting as Dikoy is, Kabanikha is scarier and more harmful than him. Her authority is recognized by everyone, even Dikoy tells her: “You’re the only one in the whole city who can make me talk.” After all, Dikoy is self-willed with a secret consciousness of the lawlessness of his actions and therefore he gives in to the authority of a person who relies on the moral law, or to a strongman who boldly crushes his authority. It is impossible to “enlighten” it, but it can be “stopped”. Marfa Ignatievna Kabanova succeeds in this easily. But life does not stand still, tyrants feel that their power is being limited. N. Dobrolyubov notes: “Everything, it seems,

as before, everything is fine: Dikoy scolds Koko wants...Kabanova keeps her children...daughter-in-law in fear...But everything is somehow restless, not good for them. Besides them, without washing them away, another life has grown, with others beginnings...and is already sending bad visions to the dark tyranny of tyranny."