acted" (Skabichévsky). From 1874 to his death he was the president of the
Society of Russian Dramatic Authors. In 1885 he received the important
post of artistic director of the Moscow government theatres; the harassing
duties of the position proved too severe for his weak constitution, and he
passed away in the next year.

As a dramatist, Ostróvsky is above all else a realist; no more thoroughly
natural dramas than his were ever composed. Yet as a master of realistic
technique he must not be compared with Ibsen, or even with many less
noted men among modern dramatists. His plays have not the neat, concise
construction that we prize to-day. Pages of dialogue sometimes serve no
purpose except to make a trifle clearer the character of the actors, or
perhaps slightly to heighten the impression of commonplace reality. Even
in "Sin and Sorrow" and "A Protégée" whole passages merely illustrate the
background against which the plot is set rather than help forward the
action itself. Many plays, such as "A Family Affair," end with relatively
unimportant pieces of dialogue. Of others we are left to guess even the
conclusion of the main action: will Nádya in "A Protégée" submit to her
degrading fate, or will she seek refuge in the pond?

Ostróvsky rarely uses the drama to treat of great moral or social problems.
He is not a revolutionary thinker or an opponent of existing society; his
ideal, like that of his predecessor Gógol, is of honesty, kindliness,
generosity, and loyalty in a broad, general way to the traditions of the
past. He attacks serfdom not as an isolated leader of a forlorn hope, but
as an adherent of a great party of moderate reformers.

Thus Ostróvsky's strength lies in a sedate, rather commonplace realism. One
of the most national of authors, he loses much in translation.[1] His style
is racy, smacking of the street or the counting-house; he is one of the