Drama "Tsar Maximilian" (sometimes Maksimyan, Maksimyan) has become widespread throughout Russia (Petersburg, Moscow, Tver, Yaroslavl, Kostroma provinces, Russian North, Don, Terek, Ural, Siberia), Belarus (Minsk, Mogilev, Vitebsk provinces), Ukraine (Kiev, Chernigov, Podolsk , Kharkiv, Kherson provinces.), Moldavia. It was played in the soldier, sailor, urban, working, peasant milieu 3 .
Several opinions have been expressed about the origin of this drama. Probably, the researchers are right, who believed that the reason for its creation was political situation early XVIII century: the conflict between Peter I and his son Alexei and the execution of the latter. In the memory of people was the murder of his son by Ivan the Terrible. Sonicide could not but affect the attitude of the people towards the sovereigns. This contributed to the spread of the drama. It should also be taken into account that the spiritual verse "Kirik and Ulita" was known among the people, in which, as in the drama, the cruel Tsar Maximilian demands that the infant Kirik renounce his faith in the Christian God. Kirik, like the hero of the drama Adolf, remains faithful to God.
A persistent search was made for the direct source of the drama, but it was not found. There probably wasn't a single source. At the same time, the connection of the play with the repertoire of the Russian city theater of the 17th-18th centuries is indisputable, as well as the influence of translated stories (knightly novels) and their dramatizations of the same era on its text, which has been proven by a number of researchers. However, no matter how diverse the literary sources of "Tsar Maximilian" may be, what is essentially different is the connection between the play and Russian reality.
The drama is based on the conflict between the tyrant Tsar Maximilian and his son Adolf. The pagan father demands that his son abandon the Christian faith, but he resolutely refuses:
- I am your idol gods
I put myself under my feet
I trample in the dirt, I don’t want to believe.
I believe in our Lord Jesus Christ,
And I kiss him on the lips
And I keep His law.
Tsar Maximyan commands prison guard.
- Go and take my son Adolf to the dungeon
starve him to death.
Give him a pound of bread and a pound of water 1 .
Adolf in the dungeon. Tsar Maximilian three times turns to Adolf with his demand, but he always refuses. Then the king calls executioner Brambeus and orders the execution of Adolf.
The drama depicts the cruelty of Tsar Maximilian not only with his son. In one version, he, like King Herod, orders the warrior (here: Anika-warrior) kill babies:
- Warrior, my warrior.
Descend all the countries of Bethlehem,
Withbeat, cut down fourteen thousand babies.
If you don't kill anyone.
Bring me alive.
Baba (Rachel) appears and asks the king:
- Why my child
Disappear innocently?
The king is relentless
- How shameful
When I sent a warrior
An armed warrior?
Warrior, my warrior
Kill this baby
Andget rid of that grandma!
A warrior kills a child. Rachel is crying 1 . .
Tsar Maximilian is opposed by his son Adolf. He boldly tells his father that down the mother along the Volga rode And withfree gang, with robbers, knew 2 , that he was their ataman 3 ; orders the release of a prisoner (restanta), who was planted by order of his father 4 . In the drama, Adolf firmly defended his convictions, endured torment, went to his death, but did not betray his ideals, which aroused sympathy and sympathy. The executioner, having fulfilled the order of the king and killed Adolf, stabbed himself to death with the words:
Behind that loved
He cut off his head for it.
I correct the king's debt
And I'm dying myself 5 .
The order of the king to kill his son, the image of the execution of Adolf, the suicide of the executioner - tragic pictures. But the performance was supposed to amuse the audience, a detente was needed. A tradition has been established to put into action farcical, satirical and humorous episodes. Such are the conversations of the Gravediggers, the Tailor, the Doctor, even the funeral of Adolf's body by the Patriarch. A sharp satire on the clergy arose when depicting the wedding of Tsar Maximilian with the Goddess (the priest and deacon in the tavern drank wedding book, and on zaupokoynuyu hung over) 1.
The researcher of folk dramas N. N. Vinogradov wrote about "Tsar Maximilian": "Appearing in the middle of the 18th century and passing from mouth to mouth, from generation to generation, this play inevitably underwent the most diverse changes, shortened and lengthened at will. Having liked the people, it has gradually drawn into itself a whole series of separate scenes and small works of the same kind.As a result, in many versions there is a long series of separate scenes, a whole collection of diverse faces, a motley kaleidoscope of the most diverse positions; common sense play, there is no unity of plot, only the unity of the title remains. Here, for example, what series of plots is practiced in most of the not very common (in terms of volume) options: 1) Maksemyan and Adolf (main); 2) Goddess and Mars;
3) Mamai; 4) Anika and Death; 5) Boat. Often they are not connected at all, sometimes the connection is purely mechanical. To these plots we still need to add a whole series of inserts in the form of individual comic scenes, either stable, permanent (doctor, tailor, gypsy, grave digger ...), or random, sporadic (n-th number); sometimes the play begins with verte pom 2.
Gradually, the theme of the struggle for religious beliefs became less relevant - this made possible the satirical depiction of clergy, as well as church funeral and marriage rites. AT 1959 v. in the Arkhangelsk region a version of the drama was recorded in which the religious beliefs of the father and son were not even mentioned 3 . At the same time, the problem of tyranny, the fight against violence continued to excite the audience. In the drama "Tsar Maximilian" a replacement was made: the king demanded from his son not betrayal of religious beliefs, but marriage to his bride from the distant kingdom, which he found. Adolf refused to marry as resolutely as he refused to change his faith. And he was executed.
Sometimes the drama ended with the death of Tsar Maximilian himself, which could be perceived as a punishment for cruelty and filicide.
The dialogue between Death and Tsar Maximilian coincided almost verbatim with the spiritual verse - the dialogue between Anika the warrior and Death.
Death (going up to the throne, he addresses Tsar Maximilian):
- Follow me!
Tsar Maximilian:
- Wave, my dear Death,
Give me a life span of at least three years,
For me to profit And manage your kingdom. Death:
- There is no life for you even for one year.
- There will be no time for you even for three hours,
And here's my eastern scythe.
(Strikes him on the neck with a scythe. The king falls) 1 .
The drama "Tsar Maximilian" is large in volume. Often it was copied in notebooks and rehearsed before the performance. However, stereotyped situations were also developed in it, as well as formulas that contributed to the memorization and reproduction of the drama. Such, for example, are scenes of fights, formulas-responses of Adolf to his father ( "I am your idol gods TerI'm under my feet..." etc.). The call by Tsar Maximilian Skorokhod (or another actor) and the report of the summoned on arrival acquired a stable form.
Tsar Maximilian:
- Skorokhod Field Marshal,
I AMhang before the throne
GgPink Tsar Maximilian!
Skorokhod:
- I'll return from right to left
Before the throne of the formidable Tsar Maximilian I will appear:
Oh great master.
Terrible Tsar Maximilian,
Why are you calling Skorokhod-Field Marshal?
Or deeds, do you command decrees?
Or is my sword dull?
Or I, Skorokhod-Field Marshal, what is before you
guilty? 1
In the cited version of the drama, this report formula is repeated 26 times (Skorokhod pronounces it 18 times, Markushka 3 times, Adolf and Anika-warrior 2 times each, Executioner 1 time).
It should be added to what has been said that in "Tsar Maximilian" there are the same situations and common places, as in the drama "Boat". For example: Adolf - with a hat of robbers was known; about the burial of the murdered they say: "Remove this body so that it does notsmoldering... "- etc.
Thus, the drama "Tsar Maximilian" arose and developed under the influence of others. folk plays, chivalric novels, popular prints, folk song folklore, spiritual poems 2 .
"Boat". The play "The Boat" was very popular among the peasantry, among the soldiers, and among the factory people. This was due to the fact that it touched upon important for the broad masses of the people. questions. Her most common name is "The Boat". But it is also called differently: “Boat”, “Ataman”, “Robbers”, “Gang”, “Gang of Robbers”, “Ermak”, “Stenka Razin”.
The plot of the play is simple. A gang of robbers, led by an ataman and a captain, sails along: the Volga. Yesaul looks around the area through a telescope and reports to the ataman what he sees. When
a large village comes across on the shore, the robbers land and attack the landowner's estate. One version of the play ends with the exclamation: “Hey, well done! burn down the rich landowner!” . In some versions, the motif of the love of the ataman for the daughter of the landowner or for the Persian is introduced. But at the same time, the complex basis - the threat - of robbers to the authorities and landlords - ... remains. This suggests that the ideological essence of the play is the expression of the protest of the people against the oppressive nori.k.o.i. and connect it with peasant uprisings(V. Yu. Krupyanskaya), ^ to others - to consider that it arose earlier in connection with the Razin uprising: Stepan Razin often acts as the main character in it!] But / the first information about the play comes from 1814-1815. It is characteristic that a number of Russian writers noted in their memoirs the performance of "Boat".
A. E. Izmailov mentions the staging of the play by students of the theological academy around 1814-1819; A. S. Griboyedov saw her performance by young guys in the vicinity of St. Petersburg in 1818, I. A. Goncharov in the 20s watched how the “Boat” was played by the servants of his grandmother, and the ataman / was called Stenka Razin.
The play is Noahit anti-serfdom character. It has a gang of robbers, a captain, and sometimes a robber Kalikatura. [e, in the center is the image of a noble robber chieftain, who sometimes has no name, in other cases he is called Yermak or Stepan Razin. According to the meaning of the play, the figure of Razin is more suitable for its plot. It is difficult to decide what the chieftain was in the original text. There is an opinion that it is composed as a play about Razin.
Stepan Razin is the main character of the play, even if the chieftain does not bear his name. In the details of the outline of the ataman, the features of Razin are visible. The most important thing is that it is the image of Razin that most fully expresses the main ideological the meaning of the play: social discontent of the masses, their protest^
The sources of Lodka are complex. These are songs about robbers, including Razin, and lubok pictures, and lubok novels about robbers, and literary songs. This was reflected in the complex composition of the play: it contains monologues # and dialogues, the conversation of the ataman with the captain and with the “gang” (when we are talking on the admission of a newcomer to its membership), folk songs(“Down the mother along the Volga”) and literary songs (A. F. Veltman’s song “What is clouded, clear dawn” and F. B. Miller’s song “The Burial of a Robber” with the words: “Among the dense forests, the silent ones go ...” ), quotes from literary works, for example, from the poem by A. S. Pushkin and “The Robber Brothers”. The main plot is connected with the song "Down the j mother along the Volga". The performers usually remembered only the main plot outline, acted and spoke in the order of improvisation, using familiar material.
The boat survived complex history: it included new songs, interludes, such as the scene with the undertaker and the scene with the doctor, but the main plot was preserved. Some scenes were permanent, some were replaced. The play also changed: robbery scenes, then love scenes came to the fore; the plot was sometimes weakened by the introduction a large number songs.
The "robber" drama "The Boat", especially in the form in which it existed in the 19th-20th centuries, by all indications should be attributed to romantic works. We would add to this that she became more stable in her motives during the period of Russian romanticism, when she absorbed materials from the works of romantic writers. But in its very essence, it is romantic: the robbery plot, the Volga expanse, the love of the ataman for the captive, the rebellious nature of the plot of the song - everything speaks precisely of its romantic coloring.
V. N. Vsevolodsky-Gerngross highly appreciates the "Boat". He writes: “The Boat” is a unique phenomenon not only in Russian, but, apparently, in world folklore. It is unique in content artistic techniques, in composition, in its true nationality, clearly reflects the era and environment in which it was created and lived, full of a rebellious spirit, prowess, courage.
"Tsar Maximilian". The drama "Tsar Maximilian", as researchers suggest, was composed at the end of the 18th century. This is justified by a number of circumstances: the allusions contained in it to the political events of that time, its performance by sailors and soldiers around 1818, the introduction of poems into the play writers of the XVIII in. and features of the language. The play probably took shape in a soldier's environment: it displays military characters (warriors and a marshal runner), reflects the military order, in speech actors military phraseology is used:
Adolf. Hello guys!
Everybody. We wish you good health!
There are also military, including marching, songs. Finally, several texts of the play were recorded from former soldiers. Its earliest performance was in a military environment (1818); performance among soldiers was observed by Ya. P. Polonsky and I. S. Aksakov in 1855.
The sources of the play were various kinds of literary works: the lives of saints - martyrs for the faith, school dramas XVII-XVIII centuries, where there are images of kings - persecutors of Christians, interludes of the XVIII century, in which the doctor, undertaker, tailor act, comic characters included in some versions of the play "Tsar Maximilian". The most probable and main source of this play is the drama "The Glorious Crown to the Martyr Dmitry", written in 1704 by the students of Dmitry Rostov on his name day (indicated by P. N. Berkov). It contains many coincidences with "Tsar Maximilian": the name of the king, the persecution of Christians, their imprisonment, execution, punishment of the king. In all this, they saw the conflict between Peter I and his son Alexei. But V. N. Vsevolodsky-Gerngross believes that chivalric novels should be considered the main literary source. The name of the capital city Anton, knightly duels, court furnishings and ceremonial come from the story about Bova the King.
The play "Tsar Maximilian" was long and hard way design. Its structure is distinguished by a large introduction to the text of heterogeneous literary works, most often songs and poems, for example, excerpts from G. R. Derzhavin's ode "To the capture of Warsaw", songs of the poetess late XVIII in. M. V. Zubova “I am leaving for the desert”, “Songs of the prisoner” (“I can’t hear the noise of the city”) F.N. Glinka; using "Hussar" by A. S. Pushkin and "Separation" ("Hussar, leaning on a saber") by K. N. Batyushkov. These were not random or mechanical inserts. They served to characterize the characters, create a certain emotional tone and evaluate the behavior of the characters. Poems and songs were altered, expounded in a different language, verse and rhythms were rebuilt. The composition and role of the works introduced into folk plays were considered in detail by V. E. Gusev.
"Tsar Maximilian" was often contaminated with the plays "Herod" and "The Boat". The first of them strengthened the motives of the struggle for the right faith and the struggle against despotism, the second - the motives of the social struggle (Adolf's departure as a robber). The structure of the play became more complicated, and at the same time the tragic line was weakened and comic episodes developed. But the main plot scheme and the characteristics of the characters were preserved. Despite all this, the play remained original and bright work. V. N. Vsevolodsky-Gerngross says about it: "... This is an original original Russian play, composed for specific Russian political events, only using the scheme of the drama about Herod."
The action of the play "Tsar Maximilian" in its most complete version develops quite consistently.
As is typical for folk plays, first a person appears, in this case a runner, and addresses the audience:
Hello Senators,
I did not come here to you,
And sent from the royal office.
Get everything out of this place
And here the royal throne will be established.
Goodbye gentlemen
Now the king himself will be here. (leaves)
The emerging tsar also addresses the public and announces that he is not the Russian emperor and not the French king (“I am your formidable Tsar Maximilian”), that he will judge his recalcitrant son Adolf. Then the king orders the pages to bring him, and orders the runner to bring "all the decencies and royal accessories." The courtiers carry the regalia in which he puts on. Bring in Adolf. The king demands from his son that he bow to the "idol gods", but Adolf rejects this:
I am your idol gods I put under my feet.
Three times there is an explanation of the king with his son, as a result, Adolf is shackled and taken to prison. The “giant knight” appears to the king and demands the release of Adolf. This is the Roman ambassador. The king refuses to do so, and the knight leaves with threats. The king orders to call on the "ancient and brave warrior Anika" and orders him to protect the city from the "ignoramus" who wants to burn the capital, kill the knights, and take the king full. Once again, the king calls his son and asks if he has changed his mind, but Adolf does not recognize the "idol gods." King in anger
Oh, you rebellious fiend,
You inflamed my heart with anger
I won't spare you anymore.
And now I will order an evil death to betray.
The king sends a marshal to fetch the executioner, the knight Brambeus. The executioner at first refuses to execute the order to execute Adolf, but the king insists, and the executioner cuts off Adolf's head, but then he pierces his own chest and falls dead. The scene with the undertaker follows. The king praises Anika the warrior 267 for defeating the gigantic knight. But at this time, Death appears. The king asks the soldiers to protect him from her, but they scatter in fear. He asks Death to give him three years of life, but she refuses; asks for three months, but is again refused; asks for three days, but she does not give even three hours and cuts him down with a scythe. From this scene it is clear that the plot of the play about Anika the Warrior and Death is adapted to the plot of the play Tsar Maximilian.
The introduction of the play "Anika the Warrior and Death" into the play "Tsar Maximilian" helps to understand ideological meaning last: it consists in the punishment of evil, the punishment of the cruel tyrant Tsar Maximilian. It is difficult to determine what political situation the play is directed against, perhaps it alludes to the relationship between Peter I and his son Alexei. AT different time viewers have different associations. There were many reasons, including in connection with the events of the late 18th century. With the development of the revolutionary liberation struggle, the play served as an expression of the revolutionary moods of the masses. That's why she was so popular. The clear political meaning of the play could be strengthened in connection with new socio-historical situations.
The contamination of "King Maximilian" with the play "Herod" emphasized the struggle for the throne. But the meaning of "Tsar Maximilian" is wider.
He is not only in denunciation of tyranny and despotism, but also in the exaltation of Adolf's bold protest, the correctness of which becomes especially obvious: Brambeus, who killed Adolf on the orders of the king, cannot bear this injustice and ends up committing suicide. And the fact that Death destroys not Anika, as it would have been according to the traditional course of the plot, but the king, speaks of the inevitability of the death of despotism.
action drama usually occurs in any room, even in a peasant's hut. In the middle of the room, a throne for the king is being built from chairs, to him - "a crown, a scepter and an orb on a golden platter."
Phenomenon 1
The Speeder comes out. He walked very fast and out of breath. Skorokhod reports that he was sent from the office of the king to prepare a place for the royal throne. Saying goodbye, Skorokhod announces that the king will now come out. Senators, royal guards and warriors appear on the stage.
Phenomenon 2
Enter Tsar Maximilian. He is tall, wears a beard, formidable, speaks loudly and sharply. The king addresses the audience with the words that come from the royal office. But he is not a French tsar and not a Russian emperor, but a formidable and strong “your tsar Maximilian”. Then he looks at the throne prepared for him, points to it with his hand and asks for whom such a “previous structure” has been prepared. He himself answers his own question: the throne was erected for him, because he is the king. The king says that he will sit on the throne to put his son, Adolf, on trial. Sitting on a raised platform, he calls his faithful pages in a loud voice.
Phenomena 3 - 5
Tsar Maximilian orders the pages to bring Adolf to his chambers for a secret conversation. Waiting for the arrival of his son, Maximilian puts on his royal vestments.
Phenomenon 6
One of the pages reports that they carried out the royal order and brought "the all-loving son of Adolf." Tsar Maximilian
- Now get out of my sight. (The pages leave), Adolf (all the time on his knees) O most merciful sovereign And glorious Tsar Maximilian, My most gracious parent, father, I strike you with my brow on mother-cheese earth. Why do you call on your dear son Adolf Or what do you command him to do? Tsar Maximilian Dear Adolf, my son, Now your coming is not joyful to me: Now I have learned from a servant, That you have abandoned our idol gods And you are cheating on them, And you secretly honor some new ones. Fear my parental wrath And worship our idol gods. ADOLF (without getting up from his knees) I put your idol gods under my feet, I believe in the Lord Jesus Christ, I portray the sign of the cross against your gods And I keep its holy law.
Tsar Maximilian from such words, he was seriously angry: now Adolfne can become the heir to the throne, but must go into the service of his law. The king again loudly calls the pages.
Apparitions 7 - 8
Maximilian tells the pages to take his disobedient son to prison. The door opens, the Bogatyr of gigantic growth is shown in it, he draws his saber, slowly walks to the throne of Tsar Maximilian. Approaching the throne, the bogatyr stops, strikes the floor with his spear and says that Tsar Maximilian is doing an unfair trial against Adolf. The hero is the Roman ambassador and wants to speak with Tsar Maximilian. The king allows him to continue his impudent speech. The hero calls the king "a barbarian and a murderer", who can destroy the soul of Adolf. Everyone pities the young man, mourn for him, consider him a real hero. The hero calls on Tsar Maximilian to change his mind. The king, beside himself with anger, shouts, stamps his feet, and drives the ambassador out of his sight. The hero says goodbye to the king and threatens him to return again to avenge Adolf.
Apparitions 9-13
Tsar Maximilian again calls his faithful pages, sends them to prison for his rebellious son. The pages bring Adolf. Adolf approaches the throne and kneels. Adolf humbly asks his father why he called his son and what he orders him to do. Tsar Maximilian wonders if Adolf has changed his mind, if the prison is hungry, if he will again believe in the right gods. But Adolf firmly replies that he "puts the old gods under his feet." Tsar Maximilian is in great anger, he shouts at his son, promising him a severe punishment for disobedience. Then he summons Speedwalker and tells him to bring the blacksmith. The king orders the blacksmith to shackle his disobedient son. The blacksmith does not believe his ears, pretends not to understand the order, then refuses to accept the coin for work, and finally reluctantly fulfills the order. The shackled Adolf is taken away by the pages. Saying goodbye to a formidable parent, Adolf sings a mournful song. The king remains sitting in sad thoughtfulness.
Apparitions 14-15
A gigantic knight appears before the king. Loudly banging his weapons and without any respect for the king, he shouts at the top of his lungs about his determination to fight against the unfair royal court: The angry Tsar Maximilian drives away the daring knight, again calls the faithful Skorokhod to him and tells him to call Anika the warrior.
Apparitions 16-19
Anika is a warrior (huge growth, in armor, in a helmet and in other weapons, approaches the throne, shakes his weapon ...) Tsar Maximilian again calls his faithful pages and orders them to bring his son Adolf. The pages bring a disobedient son. Adolf is exhausted, in chains, barely moving, speaks in a low voice, pitifully. He falls on his knees and asks the tsar-father why he calls him again. Tsar Maximilian interrogates: did Adolf change his mind, did the impending painful death frighten him. Adolf stands his ground: I believe in Jesus Christ, "who created heaven and earth." Tsar Maximilian in anger shouts at his son, orders him to be put to an evil death. Calls Skorokhod again and gives him the order to bring Brambeus the Knight.
Apparitions 20 - 21
Brambeus salutes king, wishes him years and health and asks why Tsar Maximilian called him to him and what is the order. The king points to Adolf, who is standing, obediently bowing his little head on his shoulders, and orders Brambeus to kill the young man right there, in front of his father. Brambeus cannot believe; he is frightened, now and then glances at the king and Adolf, asks the king not to give him such an order. In one hundred and fifty years of his life, Brambeus did not destroy a single one person and now, when he has become old, he does not want to take such a sin on his soul:
- “When youthful hot blood splashes on my gray head, Then I myself must die!”
Apparitions 23 - 26
Anika the warrior comes to the king and reports that he defeated all the infidels, saved the king from the evil death. The king gives praise to Anika, calls on Skorokhod, who called the knights to praise Anika. Suddenly the king sees a woman on the threshold. And the woman, heading towards the royal throne, says:
- "I'm not a woman, I'm not drunk, I am your stubborn death."
Tsar Maximilian was afraid, got up from the royal eminence and begs the soldiers to protect him from death. The warriors are trying to protect their king, blocking the road of Death, but she waved her scythe, and all the weapons of the warriors fell down. Death approaches the throne and tells Tsar Maximilian to follow her. And he begs the old one to give him three more years to live a little and reign. Death does not give the king a year. Then the king asks to give him three more months to live and reign. Neither Death gives him even a month. Tsar Maximilian prays to give him at least three days, but Death does not give him even three hours. She hit the king with a sharp scythe on the neck, and he fell.
Event 27
The speed walker comes to the middle and addresses the audience:
- “Here, most respectable audience, The curtain closes, And the attachment all ends, And the actors rely on you for tea.”
Source: National Theatre: Collection. M., 1896. Note: the spelling and punctuation of the source are preserved.
Source: National Theatre: Collection. M., 1896.Note: The spelling and punctuation of the source is preserved.
Published from a manuscript delivered to the department of the Literacy Committee at the All-Russian Agricultural Exhibition, which was in Moscow in 1895, by D. A. Travin.
King Maximilian.
(Christmas comedy.)
(A variant recorded in the Petersburg province.)
Characters:
2. Skorokhod.
3. Adolf, son of the king.
4. Two pages of boys.
5. Branbuil, knight.
6. Blacksmith.
7. Old man, grave digger.
9. Cossack. 10. Hussar.
11. Tailor and two boys.
12. Goddess.
13. Brother of the goddess, Star.
15. Anika the warrior.
16. Death of Anika.
17. Messenger.
(They all stand in a circle, the runner comes out into the middle.)
SKOROGOD. Calm down, gentlemen! Now his office will come here. (Anika exits.)
ANIKA. Calm down, gentlemen! Now his office will come here. (King exits.)
TSAR. Fu, my God, what I see in front of me. What a company is here and everyone is in different attire. Hello guys!
EVERYBODY. We wish you good health, your in-stvo!
(p. 49)
TSAR. Did you recognize me?
EVERYBODY. Learned!
TSAR. Did they find out, but for whom did they recognize? For the Russian Tsar, for the French Napoleon, for the King of Sweden, or for the Sultan of Turkey?
EVERYBODY. For the Russian Tsar.
TSAR. I am not the Russian Tsar, not the French Napoleon, not the King of Sweden, not the Sultan of Turkey. I'm from distant countries, formidable Tsar Maximilian. (A song is sung here, one sings):
All our power triumphs,
Maximilian's throne gleams.
Our Maximilian sat on the throne,
He held a sharp sword in his hand.
Something lyuli, bravo yes lyuli,
He held a sharp sword in his hand.
On his head, a crown shone in the distance.
Something lyuli, bravo yes lyuli,
Shone in the distance.
TSAR. Faithful field marshal, appear before me, the formidable Tsar Maximilian!
SKOROGOD. Oh, great ruler, conqueror of the whole world, formidable Tsar Maximilian, why do you soon call and what do you command to do?
TSAR. Go and bring two faithful pages!
Pages. Have appeared, your office, pages, we will do everything, no matter what you order.
TSAR. Oh, faithful pages, go to my white-stone chambers, bring the scepter and orb and all Roman honor and glory. (The pages leave, come back and carry the scepter and orb.)
Pages (singing):
We are going to the king
We bear the crown of gold. (And everyone picks up:)
We will put it on the head,
And we will raise him to the throne.
(The pages stand on both sides of the king.)
TSAR. Here is the scepter and orb and all Roman honor and
glory, the crown shines, orders the king to command. And now I will sit on this throne, everyone should tremble at my gaze. And so I will spare the right, and judge the guilty. First, I will judge my disobedient son Adolf. Faithful field marshal, appear before the throne of the formidable Tsar Maximilian!
SKOROCH[OD]. Oh, great lord, why do you call quickly or what do you command to do?
TSAR. I have heard that my son Adolf has arrived in my domain.
SKOROCH[OD]. That's right, arrived.
TSAR. Go, go find him and bring him here. (The speed walker will walk and return to the king.)
SKOROCH[OD]. Find found, but you can not take.
TSAR. Take a regiment, take two, but bring him here.
SKOROCH[OD]. Your two shelves won't reach the ceiling. (Points with a saber to the ceiling.)
KING (shouting). Take five, take six, so that my son is here!
SKOROCH[OD]. I'm listening, sir. (Exits and returns with Adolf.)
ADOLPH (gets down on his knees). Hello, dearest parent, conqueror of the whole world, why are you calling your son so soon or what are you commanding to do?
KING (strictly). Speak, impudent, where have you been wandering around until now?
ADOLF. I rode on the Volga River and confessed to a robber.
TSAR. Oh! Daring, I'll take the punishment from my own hands. Is it possible for a tsar's son to ride along the Volga river and get to know the robbers? And what, son, was your gang big?
ADOLF. Not small and not great: five hundred and fifty people.
TSAR. How big was your boat?
ADOLF. Not small and not great: one end in Kazan, and the other in Astrakhan.
KING (angrily). Speak, impudent, do not be afraid to ruin many souls?
ADOLF. Not a lot and not a little, and you would have been caught, so our hands did not break.
KING (loudly). Oh cheeky! I'll take your head off with my own hands! (He takes hold of his sword in excitement and shouts.) Faithful field marshal, fast walker, appear before the throne of the formidable king!
TSAR. Take my bold son and take him to the dark dungeon; give him a mug of water and a piece of bread! (The runner takes his son and leaves.)
KING (shouting). Faithful field marshal, appear before the throne of the formidable Tsar Maximilian!
SKOROCH[OD]. What do you order, your office?
TSAR. Come and bring me a Ural Cossack.
COSSACK. Oh, great ruler, conqueror of the whole world, why do you call the Cossack so soon or what do you command to do? I appeared as a Cossack in body and soul, trembling that you command me to serve everything.
TSAR. I want to know where have you been so far?
COSSACK. Beyond the Urals.
TSAR. What were you doing there?
COSSACK. Protected your kingdom.
TSAR. Didn't you bring something new, Cossack?
COSSACK. New song and new news.
TSAR. Come on, Cossack, drink up.
(Cossack sings:)
Beyond the Urals, beyond the river, the gang gathered,
(Everyone picks up:)
She, -she, -she, - walked, the gang was going.
This gang, a gang, is not simple - free Cossacks.
She, she, she, - walked, free Cossacks.
Cossacks are not cuffs - free guys.
They are free, free, restless and live richly.
She, -she, -she, - walked, and live richly.
(p. 52)
They sleep little nights and nights, they drive around in the field.
And they guard the prey, they whistle and do not yawn.
She, -she, -she, - walked, whistled, did not yawn.
TSAR. Faithful field marshal, appear before the throne of the formidable Tsar Maximilian.
SKOROCH[OD]. What do you order, your office?
TSAR. Go and bring here from the dungeon the disobedient son Adolf. (The speedy brings Adolf.) Here, son, after your departure, your mother, the queen, died of anguish, and I married a Catholic and adopted the Catholic faith. Believe, son, my gods.
ADOLF. No, I do not believe; I torment your gods under your feet, as I want, and trample.
TSAR. Oh, impudent one, I'll take my head off my hands! (Screams.) Oh, faithful field marshal, appear before the throne of the formidable Tsar Maximilian.
TSAR. Call the blacksmith here.
BLACKSMITH. Hello, your office, why do you call the blacksmith or what do you command?
TSAR. That's your business, chain my rebellious son's hands and feet and take him to prison. (The blacksmith takes out a chain from the bag and knocks with a hammer, ties his hands with a chain, and takes Adolf the Skorokhod. Adolf sings a song :)
Chained, chained, I'm a boy
From head to toe.
With grief, my legs do not go,
Eyes do not look at the light.
SKOROCH[OD]. What would you like, your in-stvo?
TSAR. Go, call the hussar here.
HUSSAR. Oh, great ruler, conqueror of the whole world, formidable Tsar Maximilian, why are you calling for a hussar so soon and what do you command to do?
TSAR. I want to know where the hussar was.
HUSSAR. In battle.
TSAR. Show, hussar, your courage.
HUSSAR. The king speaks well, he orders me to boast. And so I will draw my saber (pulls the saber out of its scabbard) and I will tell the whole hussar truth. I am a jury hussar, more than once I had a brave battle with the French. Bullets and cannonballs flew past me and buzzed like bees. For this, the tsar favored me with medals and crosses and frequent small stars; two stripes on the shoulder and a sharp sword in the right hand, a sharp sword in the right hand and a golden ring on the hand. (At this time he points to his chest, shoulders and ring.) But listen, gentlemen, my second story. How not to love a hussar, a hussar has two mustaches, not a log of firewood, for that it is knee-deep in blood. But listen, gentlemen, the third story is mine. As on the sea, on the ocean, on the island on Buyan, we stood in winter quarters; I got a hostess good and kind and with a face, a rogue, beautiful, but isn’t she a witch? One day I am lying on the stove, squinting my eyes, there is such a strong storm in the yard. Suddenly my hostess got down from the stove, lit three tallow candles, went from corner to corner and found the jar, took a sip, and waved it into the chimney. And I was not a timid fellow; got down from the stove, lit three tallow candles, went from corner to corner and I found a vial, sprinkled cups and spoons and stumps and marched everything through the window, and I took a sip and waved it into the chimney. I fly, I shout: the moon to the right, the stars to the left, I will pass everyone. I'm going there, who knows where. I arrive - a mountain, a hole in a mountain, there the devil is crowned with a witch, my mistress is amused. The hostess saw me, shouted: “You, the shooter, why did you come here in time?” - "To a feast." - “What a feast, get out for the time being whole!” - "I would be glad to leave, but the raven of the horse cannot be found." And now my mistress is leading a black horse: a mane and a golden tail curled into rings. And now I have finished a long journey, let the hussar rest.
TSAR. Faithful field marshal, appear before the throne of the formidable Tsar Maximilian!
TSAR. Go to the dungeon and bring the rebellious son Adolf.
SKOROCH[OD]. I'm listening, sir. (He leaves and brings the chained Adolf.)
TSAR. Well, my son, have you changed your mind?
ADOLF. Changed my mind.
TSAR. Did you remember?
ADOLF. I came to my senses.
TSAR. But as?
ADOLF. The old way.
TSAR. Oh, my son, my years are advanced, I will give you the scepter and orb and all Roman honor and glory, believe my gods.
ADOLF. Then I will believe when you call for a violin and a guitar and a pair of dancers.
TSAR. Skorokhod! Call the dancers and songwriters. (Here two boys come and dance, and everyone sings a song :)
I will sow a quinoa on the shore, my large seed bed;
The quinoa burned out without water, my large nursery.
I'll send a Cossack on the water, don't mess with my Cossack girl,
If I had a young crow horse, I would be a free Cossack,
Jumped, danced, b through the meadows, through the green oak forests,
With the Don, with the young Cossack,
With a daring, kind young man.
(Here they sing the name and patronymic of the owner, for example: Ivan, yes Ivanovich.)
ADOLPH (turning to everyone). I made a mockery of my father, pulled out all the baldness for him. (Turns to his father.) I don't believe it.
TSAR. Oh, impudent one, I'll take my head off my hands! (Screams.) Faithful field marshal, appear before the throne of the formidable Tsar Maximilian!
SKOROCH[OD]. Anything, your in-stvo?
TSAR. Call here the executioner, the knight Branbuil.
KNIGHT. Oh, great ruler, conqueror of the whole world, formidable Tsar Maximilian, why do you call a knight or what do you command to do?
KING (points to his son). Lead the daring one into the open field and cut off his head with right hand obliquely.
KNIGHT (addressing Adolf). But Adolf! When you were dear to the king, and then I loved you, when you became disgusted with the king, and I did not love you anymore. Now I do not love you and I will cut off your head from your right hand obliquely.
ADOLPH (kneels before him and speaks). Let me say goodbye to the people.
KNIGHT. Say goodbye.
ADOLF. Goodbye east, goodbye west, goodbye north, goodbye south. Farewell to my mother, queen, farewell to the fair maiden! Farewell to all the people - the monastery, forgive you, too, the robber father! Before my father, I do not reproach, I part with the world forever! Farewell! (The knight swings and draws a saber across his neck, takes his hat from his head and puts it on the end of the saber. Adolf falls.)
KNIGHT. Here I, the knight Branbuil, cut off the head of the king's son; I hold my head on a saber, I will show all the people and you, king, I no longer serve!
TSAR. Dog honor and death! Faithful field marshal, appear before the throne of the formidable Tsar Maximilian!
SKOROCH[OD]. Anything, your in-stvo?
TSAR. Call the grave digger!
OLD MAN. Great, father tsar, why are you calling the old man or what are you commanding to do?
TSAR. Here's the thing for you old man, put it away dead body so that the worms do not sharpen and that the devils do not drag away.
OLD MAN. And what, father tsar, will be for me to work?
TSAR. I will, old man. (The old man rummages through Adolf's pockets and takes a saber. The Cossack comes up and beats him with a whip).
COSSACK. Old man, you are ordered to clean up, and you start to rob. Bury in the ground! (The old man takes Adolf. Adolf gets up.)
OLD MAN. Buried, father king, now for the labors.
TSAR. Do you have any money, old man?
OLD MAN. No, father tsar, you don’t need money, they’ll still kill you, but now it’s cold, so you can’t wear a fur coat.
TSAR. Call a tailor.
TAILOR. What is your in-stvo?
TSAR. I order you to sew a fur coat for the old man.
TAILOR. What kind of coat do you want, old man?
OLD MAN. Warmer, warmer, father tailor, but you sew someone else's cut during the day, and send horses at night. What to sew, what to tailor, and you do not regret hiding the remnants.
TAILOR. What kind of fur coat, fox or something?
OLD MAN. No need.
TAILOR. Wolf or what?
OLD MAN. No, he will eat.
TAILOR. A mouse or something?
OLD MAN. In, in, in, in! Such!
TAILOR. I'll hide it, but my boys grind. Hey! Boys, start sewing, but don't let the old man scream. (The boys come up and beat the old man with sticks.)
OLD MAN. Ouch! Ouch! Killed! (Turns to the tsar.) Father tsar, they have killed!
TSAR. What the hell bought you, you don't need a gift. Give you the devil, and he will not thank you.
OLD MAN (shouting). Father, they killed me!
TSAR. Ah, killed? Skorokhod-Field Marshal, call the doctor here!
DOCTOR. Hello, your in-stvo! Why are you calling me, the chief medical doctor, or what are you commanding me to do?
TSAR. Heal this old man.
DOCTOR. I am an artificial doctor, a pharmacist from under the Slavic bridge. This is how I fly, I swing the sword from corner to corner, I heal the sores, I cut out the boils, I insert new ones. Carob measles sword and you, old bastard, I want to cure. Tell me, old man, what hurts?
OLD MAN. Corns!
DOCTOR. Come on, show your tongue.
OLD MAN. Please. (Pulls out tongue.)
DOCTOR. Yes, you, old man, pip.
OLD MAN. Yes Yes! That's right, calluses.
DOCTOR. Here, here is a powder for you, from the stomach and intestines, the first powder. Take it, raise your legs, two and three. Take it to the ceiling, old bastard, bully it, everything will pass. What else hurts?
OLD MAN. I do not remember.
DOCTOR. Cossack, remember.
OLD MAN. Head!!!
DOCTOR. Speak after me. (The old man says.) My head is my head, shave my head, scald it with boiling water, steam it with a broom, hit it twenty-five times with a log, and your head will be healthy forever. Tell me what else hurts?
OLD MAN. Forgot.
DOCTOR. Cossack, remind!
COSSACK (beats the old man with a whip and says). Remember old man!
OLD MAN. All weakened!
DOCTOR. Here you go. Go at twelve o'clock at night along the boundary and lick this stick. (Shows the old man a cane and says goodbye.)
2nd ACTION.
GODDESS. Oh, dissolve, city gates, and let me, the goddess, come here. I am a formidable goddess, I walked across the open field; I conquered all the lands. Only one recalcitrant field of Mars. I will ascend, I will ascend, from the earth to the sky, and I will descend on the Field of Mars. If Mars does not submit to me, does not bow to my knees, then I will go and burn all the cities and villages, and take Mars himself prisoner.
MARS. Fu, fu! Oh my God! What I see before me. Although I can't see, one female voice hear. (Turns to the goddess.) And why did you come here, flew in, or did you want an evil death? Speak quickly, death or belly?
GODDESS. Wait, Mars, fight - cut, not sharp
swords converge. I have a younger brother, maybe he will intercede.
BROTHER OF THE GODDESS, THE STAR. Fu, fu! Oh my God! (Quietly.) What do I see before me? Once, I was walking in the garden with a girl, with my own sister. Suddenly a formidable cloud rose, a terrible thunderstorm came, and suddenly ... my sister was gone. My sister is no more, what a pity for her. And what's that? Who is the girl in front of? (Turns to the goddess.)
GODDESS (answers). Before Mars.
STAR. Ah, cheeky Mars! Why did you attack your sister like a wolf attacking a fox and torment you like a rag?
MARS. What are you, brother, or matchmaker or new relatives?
STAR. I'm not a brother and not a matchmaker and not a new relative. I am the protector of this girl. Go out into the open field to fight, cut, converge on sharp swords.
MARS. Say what you, death, or belly?
STAR AND GODDESS. Belly!!! (Goddess and Star kneel.)
MARS. Well, be you my brother and you be my little sister. (The Goddess and the Star leave.) I went from east to north, I conquered Warsaw under my power and I did not find an opponent for myself. I only have one opponent - Anika the warrior. Although he firmly won a victory over everyone, he did not open the battle with me, Mars. (Anika enters the middle of the circle.)
ANIKA THE WARRIOR. Oh, dissolve, city gates, and let me, a knight, through here. I am a glorious and brave knight, Anika the warrior; I breathe fire, I burn with heat, I challenge the hero to battle.
MARS. And you, impudent opponent, go out into the open field to fight, cut, converge on sharp swords. (At this time they converge, strike with swords and again disperse.)
ANIKA. And you, Mars, cringe; Don't fight with Anika! (1st blow with a saber on a saber.)
MARS. I won’t whistle and won’t let go, but I don’t want to reproach Anika the strong man for a century!
ANIKA. Surrender, insolent, or I'll kill you!! (They hit with sabers and Mars falls.)
TSAR. O faithful field marshal, appear before the throne of the formidable Tsar Maximilian!
SKOROCH[OD]. Anything, your in-stvo?
TSAR. Call the grave digger.
OLD MAN. What do you want, father king?
TSAR. Here, old man, business; remove this dead body so that it does not smolder above the ground, so that the worms do not sharpen and the devils do not drag it away.
OLD MAN. Okay, Father King. (Starts rummaging.)
COSSACK. You are ordered to clean up, you old bastard, and you start to rob; bury in the ground! (The old man pulls Mars away, he gets up. Anika enters the circle.)
TSAR. Oh, brave warrior Anika, I give you a sword from my son. (Gives him a saber.)
ANIKA. Oh king! How many years have I served you faithfully, and you gave me one sim (shows a saber) with a sword. I don’t want to serve you anymore, I can go against you with my strength and courage. I will strike all your guards at once with this sword, and I will not rise in price for you, king. I myself want to honor myself with honor and glory, and I myself want to command your power. I will take the scepter, put a crown on my head and overthrow you, King Maximilian, from the throne!
TSAR. Anika, change your mind.
ANIKA. I, the tsar, never thought about it, and I don’t want to think again.
TSAR. Oh, brave knight, I will reward you with honor and glory, think again.
ANIKA. Cory, tsar, put to death! (Brings sword.)
TSAR. Oh Gods! At least his death was my protection!
ANIKA. I won't spare my death!
DEATH. Oh brave! You wanted me, you began to threaten me, you wanted to hit me with a sword, but I have knives and forks. I will cut your heroic veins. (Goes up to Anika.)
ANIKA. Oh, my death, champion, let me at least say goodbye to the people!
DEATH. I won't give you an hour.
ANIKA. Give me at least an hour!
DEATH. I won't give you a minute.
ANIKA. Give me just a minute!
DEATH. I won't give you a second!
ANIKA. Farewell, all the people, my death is at the gates!!! (Death swings at him and Anika falls. The king calls the old man, the old man and the king say the same thing as before. The Cossack comes out and also beats the old man. The old man drags Anika away.)
THE MESSENGER (goes to the middle, addresses the king). I was sent from King Aron to overthrow you, King Maximilian, from the throne! (The king gets up.)
TSAR. I myself do not want to sit on this throne and own this kingdom, I want to go to the Volga and ride in a light boat!
_____________________
Actors' costumes.
TSAR: in a black frock coat with epaulettes. Sheathed in gold, with visilbant and gilded paper crosses and stars.
ANIKA: in a red shirt, in black lacquered armor.
MARS: in golden armor, a red shirt and a golden helmet with paper feathers. (Same with Anika.)
GODDESS: in a muslin veil, in a white dress.
STAR: in a black shirt, in a silver helmet with feathers.
KNIGHT: like Mars.
MESSENGER: with crosses and medals, with a blue ribbon over the shoulder. (The same for the king.)
ADOLF: in a red shirt, girt with a green sash, with pistols and a dagger tucked into the sash.
HUSSAR: in a red striped blouse, with white
buttonholes, like those of the hussars, and a white lamb hat with a red top, in crosses, 2 medals, 2 stars, a hat with a standing feather and epaulettes on the shoulders, with stripes and a ring on the hand.
COSSACK: in a high Cossack hat and blue shirt, with a pistol and a whip.
OLD MAN: in a gray coat, with a hump and a big beard.
DOCTOR: in a frock coat, in a shirtfront, with glasses and a cane.
SMITH: in a long coat, with a leather bag and the same coat, with a hammer, with a chain and tongs.
DEATH: in a white sheet, with a small scythe (iron).
PAGES: in high caps, one has a power, the other has a scepter.
SKOROGOD: in a high hat, red shirt.
TAILORS: in ordinary jackets.
Note:
At all times, the actions stand in two rows in front of each other; the king comes out, goes to the other side, points to a chair and says: “For whom is this throne built?” Everyone answers: "For you!" The king calls the runner and the pages, the pages stand on both sides of the chair, the king sits all the time. All actors are girded with belts and with sabers, cleavers and checkers.
History of creation
The play was based on the description of the folk drama "Tsar Maximilian" in Bakrylov's collection, in which the author collected extensive folklore material. The author compiled several vivid examples of folk drama in Russian culture and created his own version of the play "Tsar Maximilian". Having become acquainted with this work by Bakrylov, Alexei Remizov expressed the opinion that the play was written in a crude and vulgar manner, and its parts were connected to each other mechanically. After a meeting of the editorial commission, at which Bakrylov's code was discussed, Remizov decided to create his own version of the play.
Remizov worked on the drama not only as a writer, but also as a scientist, largely relying on historical and philological works:
“... I, laying my, perhaps, the only stone to create the future great work which will give the whole kingdom folk myth, I consider it my duty, not holding on to the tradition of our literature, to enter notes and tell in them the progress of my work.
In his work, Remizov tried to embody his ideas about the ideal folk theater- "the theater of squares and oak forests" and a mystical action as opposed to the "theatre of walls". In practice, this desire was expressed in the fact that Remizov simplified the staging of the play as much as possible and, in comparison with Bakrylov's play, significantly reduced the number of characters. By reducing descriptive remarks, he took "a step away from the naturalistic theater".
Plot
In many ways, the plot of the folk drama is based on the story of Peter I and Tsarevich Alexei. Tsar Maximilian is a tsar who decides to marry a foreign tsarina and renounce the Orthodox faith. The king's son, Adolf, opposes his father's marriage. Trying to reverse the decision of his son, Tsar Maximilian takes Adolf into custody, and in the end he executes him.
Heroes
- Tsar Maximilian (Maximian, Maximian) - "a formidable and strong king", who planned to marry an overseas princess and refuse Orthodox faith, but to worship "idol gods". Walks in a crown and with orders, brandishes a scepter or a sword.
- Adolf is the son of Tsar Maximilian, who refuses to pray to the "idol gods", for which Tsar Maximilian executes him. Walks in military uniform, but simpler than that of the king. After imprisonment- weak and without insignia.
- Knight Brambeus - urges the king to change his mind, and not to execute the innocent Adolf, but Tsar Maximilian does not listen to him. Huge and grey.
- Skorokhod - informs everyone about the will of Tsar Maximilian.
- An old grave digger prepares a grave for Adolf (A.M. Remizov himself compared him with gravediggers in Shakespeare's tragedy Hamlet).
- The old woman-death - comes for the king Makismilian.
Notes
Links
- The play "Tsar Maximilian" in the processing of A.F. Nekrylova and N.I. Savushkina
Wikimedia Foundation. 2010 .
- Tsar Konstantin (ship of the line, 1779)
- King Solomon: The Wisest of the Wise
See what "Tsar Maximilian" is in other dictionaries:
"King Maximilian"- KING MAXIMILIAN the most popular folklore play. The action takes place in a conditional land (I am not a Russian emperor, not a French king ...). The basis of the play is the conflict of the king with his son Adolf, who is from our idol (i.e. pagan) ... ... Russian humanitarian encyclopedic dictionary
Maximilian- For this article, the template card ((Name)) is not filled out. You can help the project by adding it. Maximilian lat. ... Wikipedia
Maximilian III of Austria- (October 12, 1558, Wiener Neustadt November 2, 1618, Vienna) Archduke of Austria from the Habsburg dynasty ... Wikipedia
Tsar Ivan the Terrible
Tsar Peter I- Peter I Alekseevich Portrait of Peter I. Paul Delaroche (1838) ... Wikipedia
Tsar and Grand Duke of Moscow- Kingdom of the Russian Kingdom Russian Kingdom ← ... Wikipedia
Ivan the Terrible (tsar)- "John IV" redirects here, see John IV (disambiguation). In the annals, the nickname Terrible is also used in relation to Ivan III. Ivan IV the Terrible Ivan IV Vasilyevich ... Wikipedia
Voloshin Maximilian Alexandrovich - (real name Kiriyenko Voloshin). (1877 1932), poet, art critic, artist. In poetry, the filial feeling of nature as a cosmic whole, the tragic experience of the historical destinies of Russia: the collections Iverny (1918), Deaf and Dumb Demons ... encyclopedic Dictionary
Nicholas I (tsar)- Nicholas I Pavlovich ... Wikipedia
Ferdinand I (king of Bulgaria)- This term has other meanings, see Ferdinand I. Ferdinand I Ferdinand I ... Wikipedia
Books
- A. M. Remizov. Collected works. Volume 12. Rusaliya, A. M. Remizov. The book "Rusalia" (The twelfth volume of the Collected Works of A. M. Remizov) includes dramatic works: "Demonic action", "The tragedy of Judas Prince Iscariot", "Action about George ... Buy for 2421 rubles
- Unpublished materials of the expedition of B. M. and Yu. M. Sokolov. 1926-1928. In the footsteps of Rybnikov and Hilferding. In 2 volumes. Volume 2. Folk drama. Wedding poetry. Random lyric. Chastushki. Fairy tales and non-fairy prose. Creativity of the peasants, . The volume consists of unique folklore texts collected in the 1920s. XX century in the reserved cultural zone of the Russian North. It includes texts of folk drama ("Tsar Maximilian" and "The Boat"),…
