Alexander Nikolaevich Ostrovsky, for the first time in Russian literature, deeply and realistically depicted the world of the “dark kingdom”, painted colorful images of tyrants, their life and customs. He dared to look behind the iron merchant gates and was not afraid to openly show the conservative power of “inertia”, “numbness”. Analyzing Ostrovsky’s “plays of life,” Dobrolyubov wrote: “Nothing sacred, nothing pure, nothing right in this dark world: the tyranny dominating him, wild, insane, wrong, drove out from him all consciousness of honor and right... And they cannot exist where human dignity, personal freedom, faith in love and happiness and shrine of honest labor.” And yet, many of Ostrovsky’s plays depict “the precariousness and the near end of tyranny.”
Dramatic conflict in “The Thunderstorm” lies in the clash of the obsolete morality of tyrants with the new morality of people in whose souls a sense of human dignity awakens. In the play, the background of life itself, the setting itself, is important. The world of the “dark kingdom” is based on fear and monetary calculation. Self-taught watchmaker Kuligin tells Boris: “Cruel morals, sir, in our city, cruel! Whoever has money tries to enslave the poor so that his labors will be free more money make money." Direct financial dependence forces Boris to be respectful with the “scold” Dikiy. Tikhon is obediently obedient to his mother, although at the end of the play even he rises to a kind of rebellion. Wild Curly's clerk and Tikhon's sister Varvara are cunning and dodging. Katerina’s discerning heart senses the falseness and inhumanity of the life around her. “Yes, everything here seems to be out of captivity,” she thinks.
The images of tyrants in “The Thunderstorm” are artistically authentic, complex, and lack psychological certainty. Dikoy is a rich merchant, a significant person in the city of Kalinov. At first glance, nothing threatens his power. Savel Prokofievich, by apt definition Kudryasha, “as if he had broken free from a chain”: he feels like the master of life, the arbiter of the destinies of the people under his control. Isn’t this what Dikiy’s attitude towards Boris speaks about? Those around him are afraid to anger Savel Prokofievich with something, his wife is in awe of him.
Dikoy feels the power of money and support on his side state power. The requests to restore justice made by the “peasants” deceived by the merchant to the mayor turn out to be futile. Savel Prokofievich patted the mayor on the shoulder and said: “Is it worth it, your honor, for us to talk about such trifles!”
At the same time, as already mentioned, the image of the Wild is quite complex. The harsh disposition of a “significant person in the city” encounters not some kind of external protest, not the manifestation of discontent of others, but internal self-condemnation. Savel Prokofievich himself is not happy with his “heart”: “I was fasting about fasting, about great things, but now it’s not easy and slip a little man in; He came for money, carried firewood... He did sin: he scolded him, he scolded him so much that he couldn’t ask for anything better, he almost beat him to death. This is the kind of heart I have! After asking for forgiveness, he bowed at his feet. This is what my heart brings me to: here in the yard, in the dirt, I bowed; I bowed to him in front of everyone.” This recognition of the Wild contains a terrible meaning for the foundations of the “dark kingdom”: tyranny is so unnatural and inhuman that it becomes obsolete and loses any moral justification for its existence.
The rich merchant Kabanova can also be called a “tyrant in a skirt.” Kuligin put into his mouth an exact description of Marfa Ignatievna: “Prude, sir! He gives money to the poor, but completely eats up his family.” In a conversation with her son and daughter-in-law, Kabanikha hypocritically sighs: “Oh, a grave sin! How long will it take to sin!”
Behind this feigned exclamation lies a domineering, despotic character. Marfa Ignatievna actively defends the foundations of the “dark kingdom” and tries to conquer Tikhon and Katerina. Relations between people in the family should, according to Kabanova, be regulated by the law of fear, the Domostroevsky principle “let the wife fear her husband.” Marfa Ignatievna’s desire to follow previous traditions in everything is manifested in the scene of Tikhon’s farewell to Katerina.
The position of the mistress of the house cannot completely calm down Kabanikha. Marfa Ignatievna is frightened by the fact that young people want freedom, that the traditions of hoary antiquity are not respected. “What will happen, how the old people will die, how the light will remain, I don’t know. Well, at least it’s good that I won’t see anything,” Kabanikha sighs. IN in this case her fear is completely sincere, not intended for any external effect (Marfa Ignatievna pronounces her words alone).
“The Thunderstorm” was written by Alexander Nikolaevich Ostrovsky in 1859 after traveling along the Volga. It was believed that a certain Alexandra Klykova served as the prototype. It is in many ways similar to the story of the heroine, but Ostrovsky finished work on the play a month before Klykova’s suicide. However, the very fact of such a coincidence suggests that he perspicaciously grasped and reliably described the growing conflict in merchant life between the older and younger generations.
The appearance of “Groza” made it possible for Dobrolyubov to call All Soch. RU 2005 the main character of the play Katerina is “a ray of light in a dark kingdom.” Dobrolyubov calls the “Dark Kingdom” not only the life of a merchant, but also the entire Russian reality shown by Ostrovsky in his plays. The power of darkness in the drama “The Thunderstorm” is concentrated in the hands of two people: Savl Prokofievich and Marfa Ignatievna Kabanova.
A wild rich merchant and an influential person in the city, so he believes that everything is allowed to him: Kuligin: “Why, sir, Savel Prokofievich, honest man Do you want to offend? Dikoy: “What kind of report am I going to give you? I don’t give an account to anyone more important than you.” (Act four, phenomenon two.) According to Ostrovsky, the reason for Dikiy’s tyranny is his “warm, self-willed heart.” He cannot, and, in my opinion, does not even try, to control his violent temper, so he commits lawlessness.
Boris's aunt, leaving her will, set the main condition for receiving the inheritance to be respectful to her uncle. But Dikoy does not recognize any moral norms and acts according to the proverb: “The law is like a pole: where you turn, that’s where it goes.” believes that it is necessary to somehow please the Wild One, but Kudryash reasonably remarks: Kudryash: “Who can please him, if he is built entirely on swearing?
And most of all because of the money; not a single calculation is complete without swearing” (Act one, scene three.) Or when Boris talks about the conditions of the will to Kudryash and, Kudryash says: Kudryash: “Again, even if you were respectful to him, no one would forbid him to say- that you are disrespectful?” (Act one, phenomenon three.) But money does not give the Wild spiritual strength and complete conviction that he is right. He sometimes gives in to those who are stronger than him in law, because a small spark of morality still glimmers in him: Dikoy: “I was fasting about fasting, about great things, but now it’s not easy and slip a little man in; I came for money and carried firewood.
E He did sin: he scolded him, he scolded him so much that he couldn’t ask for anything better, he almost killed him. This is what my heart is like! “Truly I tell you, I bowed at the peasant’s feet. I bowed down in front of everyone.”
(Act three, scene one, phenomenon two.) But still, this “self-criticism” of Dikiy is akin to his self-willed whims. This is not Katerina’s repentance caused by remorse. It’s hard for a wild person to pay because he wants to feel good, but everything around him convinces him that this good thing comes from money. He only wants to receive money, but not give it away. According to Dobrolyubov, he accepts giving back money as “a misfortune, a punishment, like a fire, a flood, a fine, and not as a proper, legal payment for what others do for him.”
Even when he knows that he definitely needs to retreat, and will give in later, but still he will try to do some mischief first: Dikoy: “I’ll give you back, but I’ll scold you!” (Act three, scene one, appearance two.) And yet Dikoy commits his lawlessness with a secret consciousness of the wrongness of his actions. But this tyranny can only be stopped temporarily.
For example, Kabanova easily succeeds in this, since she knows perfectly well what the weakness of Dikiy’s willfulness is: Kabanova: “And there’s not much honor, because you’ve been fighting with women all your life. That's what". (Act three, scene one, appearance two.) Kabanova is a defender of the old morality, or rather its worst sides. , as some of the characters in the play call her, follows only those rules of “Domostroy” that are beneficial to her. It does not even formally fully comply with this ancient law: “Do not judge those who sin, remember your sins, take care of them first of all,” says “Domostroy.”
And Marfa Ignatievna condemns Katerina even for the fact that she incorrectly said goodbye to her husband, who is leaving for Moscow for 2 weeks: Kabanova: “Why are you hanging on your neck, shameless one! You are not saying goodbye to your lover! He is your husband, your boss! Don't you know the order?
Bow down at your feet!” (Act two, scene five.) Kabanova does not recognize everything that is old: only the most rigid formulas are taken from Domostroi, which can justify despotism. But still, Marfa Ignatievna is far from insensitive, like her mother.
Before Tikhon’s departure, Varvara says: Varvara: “They’re sitting locked up with mama. Now she sharpens him like rusting iron.” Katerina: “For what?” Varvara: “No way, it teaches wisdom. E Her heart is aching that he walks of his own accord E” (Act two, scene two.) Interesting is the testimony of a contemporary about how Kabanova played famous actress: at the beginning of the play, she came on stage strong, imperious, menacingly pronounced her instructions to her son and daughter-in-law, then, left alone on stage, suddenly changed and became good-natured.
It was clear that the menacing appearance was needed only in order to “maintain order in the house.” Marfa Ignatievna herself knows that the future is not hers: Kabanova: “Well, at least it’s good that I won’t see anything.” (Act two, scene five.) B tragic ending Ostrovsky challenges tyrant power, he says that one cannot continue to live with its violent, deadening principles. Katerina’s death is a protest against Kabanov’s concepts of morality and becomes her deliverance from the “power of darkness.”
The play ends with Tikhon’s exclamation on his wife’s corpse: Tikhon: “Okay, for you, Katya! Why did I stay in the world and suffer!” (Act five, scene seven.
) Tikhon’s words tell us that living in the “dark kingdom” worse than death, they make us think not about a love affair, but about the whole life where the living envy the dead, and even some suicides! Death main character testifies that the “power of darkness” is not eternal and the “dark kingdom” is doomed, because normal people they cannot live in it.
Need a cheat sheet? Then save - "The Dark Kingdom in the drama “The Thunderstorm”. Literary essays!A.N. Ostrovsky finished his play in 1859, on the eve of the abolition of serfdom. Russia was awaiting reform, and the play became the first stage in the awareness of impending changes in society.
In his work, Ostrovsky presents us with merchant environment, personifying the “dark kingdom”. The author shows the whole gallery negative images using the example of residents of the city of Kalinov. Using the example of the townspeople, we are shown their ignorance, lack of education, and adherence to the old order. We can say that all Kalinovites are in the shackles of the ancient “house-building”.
Prominent representatives of the “dark kingdom” in the play are the “fathers” of the city in the person of Kabanikha and Dikoy. Marfa Kabanova tortures those around her and those close to her with reproaches and suspicion. She relies on the authority of antiquity in everything and expects the same from those around her. There is no need to talk about her love for her son and daughter; Kabanikha’s children are completely subordinate to her power. Everything in Kabanova's house is based on fear. To frighten and humiliate is her philosophy.
Wild is much more primitive than Kabanova. This is the image of a real tyrant. With his screams and swearing, this hero humiliates other people, thereby, as it were, rising above them. It seems to me that this is a way of self-expression for Dikiy: “What are you going to tell me to do with myself when my heart is like this!”; “I scolded him, I scolded him so much that I couldn’t ask for anything better, I almost killed him. This is the kind of heart I have!”
The unreasonable abuse of the Wild One, the hypocritical pickiness of Kabanikha - all this is due to the powerlessness of the heroes. The more real the changes in society and people, the stronger their voices of protest begin to sound. But the rage of these heroes makes no sense: their words remain only an empty sound. “...But everything is somehow restless, it’s not good for them. Besides them, without asking them, another life has grown with other beginnings, and although it is far away and not yet clearly visible, it is already giving itself a presentiment and sending bad visions to dark tyranny,” writes Dobrolyubov about the play.
The images of Kuligin and Katerina are contrasted with the wild one, Kabanikha, and the whole city. In his monologues, Kuligin tries to reason with the residents of Kalinov, to open their eyes to what is happening around them. For example, all the townspeople are in wild, natural horror from the thunderstorm and perceive it as heavenly punishment. Only Kuligin is not afraid, but sees in a thunderstorm a natural phenomenon of nature, beautiful and majestic. He proposes to build a lightning rod, but does not find approval or understanding from others. Despite all this, the “dark kingdom” was unable to absorb this self-taught eccentric. In the midst of savagery and tyranny, he retained the humanity within himself.
But not all the heroes of the play can resist cruel morals"dark kingdom" Tikhon Kabanov is downtrodden and persecuted by this society. Therefore, his image is tragic. The hero could not resist; from childhood he agreed with his mother in everything and never contradicted her. And only at the end of the play, in front of the body of the dead Katerina, Tikhon decides to confront his mother and even blames her for the death of his wife.
Tikhon's sister, Varvara, finds her own way to survive in Kalinov. A strong, courageous and cunning character allows the girl to adapt to life in the “dark kingdom”. For her peace of mind and to avoid troubles, she lives by the principle of “closet and security”, she deceives and deceives. But by doing all this, Varvara is only trying to live as she wants.
Katerina Kabanova is a bright soul. Against the background of the entire dead kingdom, it stands out for its purity and spontaneity. This heroine is not mired in material interests and outdated everyday truths, like other residents of Kalinov. Her soul strives to free itself from the oppression and suffocation of these people who are strangers to it. Having fallen in love with Boris and cheating on her husband, Katerina is in terrible pangs of conscience. And she perceives the thunderstorm as heavenly punishment for her sins: “Everyone should be afraid! It’s not so scary that it will kill you, but that death will suddenly find you as you are, with all your sins...” Pious Katerina, unable to withstand the pressure of her own conscience, decides to commit the most terrible sin - suicide.
Dikiy’s nephew, Boris, is also a victim of the “dark kingdom.” He resigned himself to spiritual slavery and broke under the yoke of pressure from the old ways. Boris seduced Katerina, but he did not have the strength to save her, to take her away from the hated city. " Dark Kingdom" turned out to be stronger than this hero.
Another representative of the “Dark Kingdom” is the wanderer Feklusha. She is highly respected in Kabanikha's house. Her ignorant tales about distant countries listen carefully and even believe them. Only in such a dark and ignorant society can no one doubt Feklusha’s stories. The Wanderer supports Kabanikha, feeling her strength and power in the city.
In my opinion, the play “The Thunderstorm” is a work of genius. It reveals so many images, so many characters that it would be enough for an entire encyclopedia negative characters. All ignorance, superstition, and lack of education were absorbed into Kalinov’s “dark kingdom.” “The Thunderstorm” shows us that the old way of life has long outlived its usefulness and does not respond modern conditions life. Change is already on the threshold of the “dark kingdom” and, together with the thunderstorm, is trying to break into it. It doesn't matter that they encounter enormous resistance from wild and boar animals. After reading the play, it becomes clear that they are all powerless in the face of the future.
He is the first writer and playwright, on the pages of whose works the characters of the tyrants of Rus' were captured with all the depth, strength and realism. And the essence of the main conflict in “The Thunderstorm,” one of his most famous plays, lies in the confrontation between heroes representing the patriarchal way of life and people of the new generation who want to be guided in their actions by their own feelings and their own mind. But overcoming the “dark kingdom” is not at all easy, since its power is based on despotism, fear, cunning and money.
Already at the very beginning of the play, we are talking about the merchant Diky - a cruel, capricious and capricious man. They say about him: “Look for another scolder like ours, Savel Prokofich! There’s no way he’ll cut someone off.” Dikoy scolds everyone, especially his family. For example, his wife constantly asks her loved ones: “Fathers, don’t make me angry! Darling, don’t make me angry!” And his biggest sore spot is money. He himself admits that he even regrets paying off his debts: “After all, I already know that I have to pay back, 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.”
Despite his violent temper, with people who can fight back, Dikoy behaves like an ordinary coward. An example is the situation with a hussar on a transport.
The ignorance that characterizes the Wild One is also typical feature representative of the "dark kingdom". The episode when the local inventor Kuligin asks for money to install lightning rods, and Dikoy refuses him, citing the fact that the thunderstorm is being sent to us as punishment, speaks of him as a narrow-minded, superstitious and uneducated person.
The female half of the “dark kingdom” is represented in “The Thunderstorm” by the merchant Kabanikha. Dikoy, of course, is a big scolder, but he is easy-going. But Kabanikha is cunning and vindictive. In addition, she is a real bigot who does evil “under the guise of piety.” The merchant's wife Kabanova vigilantly stands guard over the patriarchal laws of morality and demands from her loved ones that they strictly follow these rules. Kabanikha knows how to pretend to be a loving mother who wants only good, and when necessary she becomes poor or, on the contrary, shows her power.
Instead of a man, Kabanikha raised from her son only her pale shadow, full of fear and humility. Representatives of the “dark kingdom” would be happy to make all the residents of Kalinov so downtrodden and weak-willed. But now the old world is coming to an end, and she becomes afraid. She is opposed by an equally strong personality - Katerina. The merchant's wife fights, and even, as it seems to her, wins. But at the end of the play she realizes that she is left alone. Even her son rebels against her. To lose former influence and power - what could be worse for Kabanikha?
Another representative of the “dark kingdom” is the wanderer Feklusha, who acts as the defender of the “dark kingdom”. She praises the city of Kalinov, its merchant way of life, while criticizing foreign countries: “Our law is righteous, but theirs... is unrighteous.” But, as a person who has been a lot, she sees signs of impending changes: “ Last times, Mother Marfa Ignatievna, by all accounts, the last.” She turned out to be right - only a year and a half remained before the famous Peasant Reform, which was supposed to put an end to the “dark kingdom”, from the release of the play.
The Dark Kingdom in the play “The Thunderstorm” by Ostrovsky - this allegorical statement is familiar to everyone light hand his contemporary, literary critic Dobrolyubova. This is exactly how Nikolai Ivanovich considered it necessary to characterize the difficult social and moral atmosphere in the cities of Russia in early XIX century.
Ostrovsky - a subtle connoisseur of Russian life
Alexander Nikolaevich Ostrovsky made a brilliant breakthrough in Russian drama, for which he received a worthy review article. He continued the traditions of Russian national theater, laid down by Fonvizin, Gogol, Griboyedov. In particular, Nikolai Dobrolyubov highly appreciated the playwright’s deep knowledge and truthful portrayal of the specifics of Russian life. The Volga city of Kalinov, shown in the play, became a kind of model for all of Russia.
The deep meaning of the allegory “dark kingdom”
The Dark Kingdom in Ostrovsky's play "The Thunderstorm" is a clear and succinct allegory created by the critic Dobrolyubov, which is based on both a broad socio-economic explanation and a narrower literary one. The latter is formulated in relation to the provincial town of Kalinov, in which Ostrovsky depicted an average (as they now say - statistically average) Russian town of the late 18th century.
The broad meaning of the concept of “dark kingdom”
First, let's characterize broad meaning this concept: the dark kingdom in Ostrovsky’s play “The Thunderstorm” is a figurative description of the socio-political state of Russia at a certain stage of its development.
After all, a thoughtful reader interested in history has a clear idea of what kind of Russia (late 18th century) we are talking about. The huge country, a fragment of which was shown by the playwright in the play, lived in the old fashioned way, at a time when industrialization was dynamically taking place in European countries. The people were socially paralyzed (which was abolished in 1861). Strategic ones have not yet been built railways. The people for the most part were illiterate, uneducated, and superstitious. In fact, the state was little involved in social policy.
Everything in provincial Kalinov seems to be “cooked in own juice" That is, people are not involved in large projects - production, construction. Their judgments betray complete incompetence in the simplest concepts: for example, in the electrical origin of lightning.
The Dark Kingdom in Ostrovsky's play "The Thunderstorm" is a society devoid of a vector of development. The class of industrial bourgeoisie and proletariat had not yet taken shape... The financial flows of society were not formed insufficient for global socio-economic transformations.
The dark kingdom of the city of Kalinov
In a narrow sense, the dark kingdom in the play “The Thunderstorm” is a way of life inherent in the philistinism and merchant class. According to the description given by Ostrovsky, this community is absolutely dominated by wealthy and arrogant merchants. They constantly exert psychological pressure on others, not paying attention to their interests. There is no control over these ghouls who “eat like crazy.” For these tyrants, money is equivalent to social status, and human and Christian morality is not a decree in their actions. They practically do whatever they want. In particular, realistic, artistically complete images - the merchant Savel Prokopievich Dikoy and the merchant's wife Marfa Ignatievna Kabanova - initiate the “dark kingdom” in the play “The Thunderstorm”. What are these characters? Let's take a closer look at them.
The image of the merchant Saveliy Prokofich Dikiy
Merchant Dikoy is the richest man in Kalinov. However, his wealth does not border on breadth of soul and hospitality, but on “tough character.” And he understands his wolf nature, and wants to change somehow. “Once I fasted about fasting, about great things...” Yes, tyranny is his second nature. When a “little man” comes to him asking to borrow money, Dikoy rudely humiliates him, moreover, it almost comes to beating the unfortunate man.
Moreover, this psychotype of behavior is always characteristic of him. (“What can I do, my heart is like that!”) That is, he builds his relationships with others on the basis of fear and his dominance. This is his usual pattern of behavior towards people with inferior
This man was not always rich. However, he came to wealth through a primitive aggressive established social model of behavior. He builds relationships with others and relatives (in particular, with his nephew) on one principle only: to humiliate them, formally - to deprive them of social rights, and then to take advantage of them himself. However, having felt psychological rebuff from a person of equal status (for example, from the widow of the merchant Kabanikha), he begins to treat him more respectfully, without humiliating him. This is a primitive, two-variant behavior pattern.
Behind the rudeness and suspicion (“So you know that you are a worm!”) hidden greed and self-interest. For example, in the case of a nephew, he effectively disinherits him. Savel Prokofich harbors in his soul hatred for everything around him. His credo is to reflexively crush everyone, crush everyone, clearing a living space for himself. If we were living at this time, such an idiot (sorry for being blunt) could easily, just in the middle of the street, beat us up for no reason, just so that we would cross to the other side of the street, clearing the way for him! But such an image was familiar to serf Russia! It’s not for nothing that Dobrolyubov called the dark kingdom in the play “The Thunderstorm” a sensitive and truthful reflection of Russian reality!
The image of the merchant's wife Marfa Ignatievna Kabanova
The second type of Kalinov’s wild morals is the rich merchant widow Kabanikha. Her social model of behavior is not as primitive as that of the merchant Dikiy. (For some reason, regarding this model, an analogy comes to mind: “The poor eyesight of a rhinoceros is the problem of those around him, not the rhinoceros itself!) Marfa Ignatievna Kabanova, unlike the merchant Dikiy, builds her social status gradually. The tool is also humiliation, but of a completely different kind. She influences mainly her family members: son Tikhon, daughter Varvara, daughter-in-law Katerina. She bases her dominance over others on both her material and moral superiority.
Hypocrisy is her key to The merchant's wife has a double morality. Formally and outwardly following the Christian cult, it is far from a truly merciful Christian consciousness. On the contrary, she interprets her ecclesiastical status as a kind of deal with God, believing that she is given the right not only to teach everyone around her everything, but also to indicate how they should act.
She does this constantly, completely destroying her son Tikhon as a person, and pushing her daughter-in-law Katerina to suicide.
If you can bypass the Dikiy merchant, having met him on the street, then with regard to Kabanikha the situation is completely different. If I can put it this way, then she continuously, constantly, and not episodically, like Dikoy, “generates” the dark kingdom in the play “The Thunderstorm”. Quotes from the work characterizing Kabanikha testify: she zombifies her loved ones, demanding that Katerina bow to her husband when he enters the house, instilling that “you can’t contradict mother,” so that the husband gives strict orders to his wife, and on occasion beats her...
Weak attempts to resist tyrants
What contrasts the community of the city of Kalinov with the expansion of the two aforementioned tyrants? Yes, practically nothing. They live in a society that is comfortable for them. As Pushkin wrote in “Boris Godunov”: “The people are silent...”. Someone, educated, tries to timidly express his opinion, like engineer Kuligin. Someone, like Varvara, crippled himself morally while living double life: giving in to tyrants and doing as you please. And someone will face an internal and tragic protest (like Katerina).
Conclusion
Is the word “tyranny” encountered in our everyday life? We hope that for the majority of our readers - much less often than for the residents of the fortress town of Kalinov. Accept your sympathy if your boss or someone from your family circle is a tyrant. Nowadays, this phenomenon does not immediately spread to the entire city. However, it does exist in places. And we should look for a way out of it...
Let's return to Ostrovsky's play. Representatives create the “dark kingdom” in the play “The Thunderstorm”. Their common features- the presence of capital and the desire to dominate in society. However, it does not rely on spirituality, creativity, or enlightenment. Hence the conclusion: the tyrant should be isolated, depriving him of the opportunity to lead, as well as depriving him of communication (boycott). A tyrant is strong as long as he feels the indispensability of himself and the demand for his capital.
You should simply deprive him of such “happiness”. It was not possible to do this in Kalinov. Nowadays this is real.