The play by A. N. Ostrovsky "The Snow Maiden" and created on its basis opera of the same name N. A. Rimsky-Korsakov - a kind of hymn to Russian folklore, a tribute to and admiration for the richest heritage pagan Rus', her beliefs, traditions, rituals and wise attitude to life in harmony with nature.
Talking about the folklorism of these works is both easy and difficult. It's easy because folklore, ethnography constitute the essence, content, language of both plays and operas. Many facts lie here on the surface, so it is not difficult to find the primary sources of images, storylines, episodes in fairy tale, song, ritual material. We are amazed and delighted by the author's penetration into the world of Russian archaic and modern folk art playwright and composer, surprisingly careful and at the same time brightly individual, bold processing of this layer national culture and the creation on the basis of his greatest beauty, depth of thought works, consonant with the past and the present.
The difficulty, and no small one, lies in the fact that the folklorism of the "Snow Maiden" is fraught with many mysteries and hidden meaning. This always puzzles and fascinates, this is the enduring value and power of art, its eternal relevance and novelty. Let's take the accepted genre definition"Snow Maiden" is a spring fairy tale. It seems that everything is clear, but, strictly speaking, it is not true: what is happening before us is by no means a fairy-tale action, if only because it ends with the death of the main characters, which classic fairy tale not typical at all. This clean water mythology seen through the thickness of centuries, understood and processed by artists 19th century. Even more precisely, the plot of The Snow Maiden could be described as an ancient calendar myth, saturated with later texts of ritual, song, epic content, retaining, if not entirely, then partially, the features of an archaic view of the world, the place and role of man in the cosmo-natural universe.
By the way, what we habitually call a folk tale about a girl molded from snow melting under the rays of the summer sun is also not a fairy tale. Let us note in parentheses: the story about the Snow Maiden stands alone in the traditional fairy tale repertoire, it has practically no options and is very short, rather reminiscent of a parable about the natural punishment for neglecting the rules of behavior due to the laws of nature, and the unviability of artificial, unnaturally created contrary to the laws of life.
The main thing in the plot of the play and opera is the idea of harmony between man and nature, admiration for the beauty of the surrounding world and the expediency of laws. natural life. All this, in the opinion of many representatives of the Russian intelligentsia of the 19th century, was once characteristic of human society and lost with the advent of civilization of the Western European, urban type. Today one can see how strong the nostalgia for the “ideal past” was in Russian society and how much this was based on the desire, characteristic of Russia, to find out its roots, where everything “has gone”, to understand and comprehend today’s self through its historical and mythological past, to improve and to correct modern society through an appeal to the precepts of the gray-haired antiquity.
Without touching the author's intention and purely professional techniques composer creativity, I will limit myself to a few comments on the folklore and ethnographic realities reflected in the libretto of the opera by N. A. Rimsky-Korsakov. Separate details, plot twists, motivations, now perceived as secondary, or even simply strange, in fact turn out to be extremely important and help to penetrate into the depths of the people's worldview, to understand the symbolism and logic of actions actors operas.
The Red Hill is mentioned several times in the play and in the libretto. First, Spring appears here, then young Berendeys - girls and boys - go here to dance. On Krasnaya Gorka she meets Kupava Mizgir and falls in love with him. This, of course, is not accidental. Firstly, it has long been on the heights, the hills, that the girls called spring, going there to sing stoneflies and meet the arrival of birds. It was called Krasnaya Gorka, and in some places it is still called the first spring festivities of young people on the street after winter hut gatherings. The first Sunday after Easter is also called Red Hill; it is considered a happy day for marriage. Yarilina Gora "Snow Maiden", one might say, takes over the baton of the Red Hill, realizing its marriage, erotic orientation and enhancing the motives for the flourishing of the productive forces of nature, the productivity of the land.
The Snow Maiden brilliantly reflects the mythological idea of the eternal cycle of life and the strict laws of nature: everything has its own time, everything is inevitably born, matures, grows old and dies; winter should be followed by spring, which will surely be replaced by summer, then, in strict order, autumn and winter. Such an order is a condition for the eternal existence of the Universe, man and culture. Violation of the order and the correct course of things, interference in the once and for all established stream of life is fraught with tragic events- and in the field natural phenomena and in the fate of man. However, centuries-old experience has shown that there is practically no smooth, calm transition from one state to another, breakdowns and violations are inevitable, because great mission of a person is not only in strict adherence to routine, but also in restoring the lost balance. In pagan times, as, indeed, in those closer to us, a powerful mechanism for regulating life processes there were rituals and ceremonial complexes, which necessarily included sacrifices.
If you look at The Snow Maiden from this position, then it becomes obvious that it is literally permeated with the theme of sacrifice for the highest good, the motives of purification and transformation through death, destruction. This is the burning of Maslenitsa with crying and laughter, and the joy of the Berendey on the occasion of the death of the Snow Maiden and Mizgir. Finally, this is the final apotheosis - the appearance of Yarila-Sun with symbols of life and death, end and beginning - a human head and a sheaf of rye ears. Here it is necessary to emphasize again Ostrovsky's and Rimsky-Korsakov's excellent knowledge of folk traditions, rituals and images that underlie the pre-Christian agricultural picture of the world.
In the Prologue, Berendeys, exactly in accordance with the age-old tradition, see off Maslenitsa in the form of an effigy of straw, dressed in women's clothing. In real ritual practice, Maslenitsa was burned, in the "Snegurochka" she is taken (driven away) into the forest. The latter is justified by the circular construction of the play and the opera: in the final scene of the 4th act, the straw of Maslenitsa turns into ears of rye filled with grain, which Yarilo holds; the dark cold forest is replaced by the sun-drenched, open space of the Yarilina Valley; people come out of the forest, out of darkness into the light, and their eyes are turned upwards - to a mountain with a sharp peak, where the hot god of the Sun appears. IN folk tradition the connection between Shrove Tuesday and Kupala lights was strengthened by a wheel symbolizing the sun. The effigy of Maslenitsa was put on a wheel and burned along with it, on the Kupala night from the heights, where bonfires were kindled, burning wheels were rolled up.
Even more striking is the almost quotation in The Snow Maiden of real rituals. Most a prime example: the final appearance of Yarila with a human head and a sheaf of bread and the rite of invoking summer, recorded more than once. By April 27, the following action was timed in Belarus: a young woman was chosen who was supposed to portray a young handsome man(apparently, Yaril). Barefoot, she was dressed in a white shirt, a wreath of wild flowers flaunted on her head. The woman was holding right hand symbolic image human head, and in the left - rye ears. In other places, a dressed-up girl, with the same attributes, was put on white horse tied to a tree. The girls danced around her. Voronezh residents performed a similar ritual on the eve of Petrovsky Lent and dressed up not a girl, but a young man.
Recall that Yarila is a Slavic mythological and ritual character, embodying the idea of fertility, primarily spring, as well as sexual power. The name of this deity is derived from the root yar. A wide range of meanings is revealed in single-root words, for example, spring bread, fury, bright, bright (sheep), in the Russian North there is the term “yarovuha”, which means a joint walk of boys and girls and their spending the night in a hut during Christmas time.
Completely in the spirit of folk ideas, the images of Bobyl and Bobylikh are given. In fairy tales, legends, folk songs, bobyls are outcasts, flawed people who could not or did not want to fulfill natural social functions- Start a family and have children. They were pitied but shunned. It is not for nothing that in folklore texts, beans live on the outskirts of the village, in last home, and customary peasant law deprived them of a number of privileges and rights, in particular, they were forbidden to participate in rituals associated with the producing beginning, elderly male beans were not included in the council of elders. Bobyls, as socially inferior peasants, often became shepherds, about the generally accepted disparaging attitude which are well known from the mass of ethnographic observations, descriptions, studies. It is clear why the Snegurochka, herself half a man, gets to such “non-humans”, it is with them that she must go through, in today's language, a period of adaptation to new conditions. According to the laws fairy tale and rituals of an initiatory type, a house on the outskirts and its owner (owners) must perform the function of a mediator, help the heroine transform, move from one world to another through a system of trials. Berendey's bobs are clearly a comical, reduced image of the classic "testers" fairy tale heroines: Babyyagi, Snowstorms, witches, etc. adopted daughter magic ball or cherished word that would help a girl from another world turn into a full-fledged member of the human community. But it's not a fairy tale before us...
Bobyl and Bobylikha are deprived Shepherd's trumpets and horn life force, with the heat of love, therefore they are greedy for imaginary, deceptive values (the wealth of Mizgir) and are cold in relation to the Snow Maiden. There is one essential detail in the depiction of the image of Bobylikha, which today eludes attention, but which was well understood by our compatriots in the 19th century and was used as a bright additional touch that made Bobylikha funny and pitiful in their claims. It's about about the horns of that kichka, which, finally, after wooing her adopted daughter and receiving a ransom, Bobyli-ha found. The fact is that kitsch is not just a traditional female headdress. Horned kichka (with elevations on the front in the form of a horse's hoof, a shovel or horns pointing up and back) could be worn by women who had children, and the height of the "horns" usually directly depended on the number of children. So, having got a kichka, Bobylikha, as it were, equated herself with other Berendeyks-"boyars" and could claim a different attitude towards herself. By the way, A. S. Pushkin used the same technique in the same laughter function in The Tale of the Fisherman and the Fish, where the Old Woman, having found new status, sits in a decorated horned kichka.
The image of Mizgir is mysterious in its own way. His role in the plot, the attitude of the Berendeys towards him, the motivation for behavior and the tragic, from our point of view, death become more understandable when referring to beliefs and ideas, some of which survived almost until the beginning of the 20th century.
Mizgir is one of the names of the spider. In traditional culture, a spider is a creature close to a host of evil spirits, insidious, evil, aggressive. There are strong beliefs that the killer of a spider is forgiven of seven sins. On the other hand, the mizgir is also perceived as one of the incarnations of the brownie, it is believed that the spider in the house cannot be killed, since it brings wealth and prosperity. in an amazing way both relationships converge in the image of Mizgir the merchant. Merchants have long been respected in Rus', endowed with special qualities and knowledge, almost magical, and even magical, thanks to their stay in distant lands, on the edge of the earth, which means proximity to the unknown, otherworldly and dangerous. (Remember the Novgorod epic Sadko, a merchant from " scarlet flower”, etc.) Money, gold, wealth were usually perceived as a sign of either miraculous gift or accident, or as a result of robbery, unclean and dishonest transaction.
Among the people, marital and love themes are associated with the spider. In the wedding rituals of Belarusians, residents of Western Russian provinces, complex figures woven from straw are used - symbols of happiness and strong union. Such an object was called a spider, it was attached to the ceiling of the hut, often above the table where the marriage feast was held. Mizgir is an overseas merchant, though from a Berendey family, but a stranger, cut off from his roots. In this sense, he is a real fairy-tale groom - unknown and rich, giving happiness to the heroine, but also a wedding "foreigner" - a groom who arrived from across the sea, "from beyond the forest, from beyond the mountains" and associated primarily with the - ideas about separation and captivity. The ardor, selfishness, aggressiveness of Mizgir is akin to the opposite pole - the coldness and passivity of the Snow Maiden. Both in their extreme manifestations are alien to simple Berendeys and dangerous for the community of people.
We add that there is a well-known ritual dedicated to the end of summer - the expulsion of insects from the house by means of ears of a new crop. Cockroaches, spiders, bedbugs are collected in boxes and buried (buried) in the ground with the words: “Rye sheaf - into the house, cockroaches - out!”.
Thus, the very theme of getting rid of insects, taking on the guise of a nursery rhyme, and once, perhaps, a serious ritual, was relevant for traditional society. And in certain situations, the expulsion, the killing of a spider (mizgir) was considered a good and necessary deed. Another addition is that magic rituals for making rain with the help of spiders are known, which emphasizes the original, mythological involvement of the spider in the water element, in the non-human world. In the context of the "Snow Maiden", everyone seems to agree folk performances about the spider, which justifies the expulsion of Mizgir from the borders of the Berendey kingdom and makes us consider his death as a return to his native (out-of-human) element, to the other world, which, of course, was understood as the restoration of the lost order and justice and contributed to called for the return of normal life, the arrival of Yari-la-Sun and summer. Water turns out to be the native element of the Snow Maiden, her essence and normal natural existence in the spring-summer period, so the death of lovers is a return to nature. Merging in one element unites them - different, but identical in alienation in relation to people and in the doom of death for the sake of eliminating disharmony in the world.
There are a lot of similar examples of a subtle, precise, deeply meaningful approach to traditional Russian culture in Snegurochka.
The opera created by Rimsky-Korsakov, at the level of the libretto, retained both the plot and the poetic basis of Ostrovsky's work.
Of course, the folklorism of the opera is more obvious and vivid due to the inclusion of authentic folk songs and tunes, folklore techniques of onomatopoeia, folk cries and laments, thanks to musical imagery, an amazing system of leitmotifs, rich and juicy instrumentation.
N. A. Rimsky-Korsakov repaid a hundredfold the people, who generously revealed to them a thousand-year spiritual wealth, giving in the new, modern form his ingenious creative fantasy on the themes of Ancient Rus'.
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Municipal educational institution lyceum №24
literature on the topic:
"Snegurochka" and oral folk art.
Pupil 8 "and" class
Mikhailov Andrey.
Teacher Zagoryanskaya V.N.
Volgodonsk
- The history of the creation of the play "The Snow Maiden".
- "The Snow Maiden" was written by Ostrovsky based on oral folk art.
- The name is Berendey.
- Love for Rus'.
- Lely's image.
- Snow Maiden.
A.N. Ostrovsky is a wonderful Russian playwright, the creator of 47 plays that still do not leave the stage of many theaters. Among them, one of the most popular is “The Snow Maiden.” This work is amazing fairy tale, which shows the beauty of the surrounding world, love, nature, youth. It is based on folk tales, traditions, songs and legends. Ostrovsky only connected everything together and gave folk art a peculiar flavor. The playwright worked on the creation of the play in the spring of 1873, and immediately after the completion of the work, it was staged. At first, the new thing was called "Girl-Snow Maiden" and the action in it had to develop somewhat differently than in the final version. The Snow Maiden was not accepted immediately, because they did not understand the playwright's innovations. In 1900, four productions of the play took place. But the play had real success only on the stage of the Moscow Art Theater.
"The Snow Maiden" was written by Ostrovsky based on oral folk art. The playwright gives the play the subtitle "Spring Tale" and explains: "The action takes place in the Land of the Berendeys in prehistoric times." In the play, as in a fairy tale, Spring-Krasna, Santa Claus, Leshy act next to people, the heroine herself is Snegurochka, the daughter of Frost and Spring. And at the same time, the Country of the Berendeys is not quite a fabulous place. Everything that happens in Ostrovsky's "spring tale" is the early time in the life of the Russian people, the memory of which he preserves in legends and songs that have survived from hoary antiquity.
The very name "Berendey" Ostrovsky did not invent: under the ancient city of Pereyaslavl-Zalessky, the Berendeyevo swamp stretches to this day, in the place of which, according to legend, there was the Berendeyevo kingdom. Until now, 100 km from Sergiev Posad, there is the village of Berendeevo. Dahl in his " explanatory dictionary of the living Great Russian language” we read: “... 50 versts from the village of Berendeevo, famous toys, people, animals are cut from wood; in trade they are called Berendeyks. The name of the fabulous king Berendey is well known to the Russian people, although there has never been such a person in history. The fantasy of the playwright created the "wise father" of his people. Berendey is a real fairy tale tsar, but in the features of his people - the Berendeys - Ostrovsky showed the beauty and strength of the Russian national character. Admiring the folk games of the Kupala night, Tsar Berendey rightly judges: The magnanimous people are great in everything - they will not interfere with idleness: they will work hard, dance and sing so much - until you drop. In dances and songs one can feel life force, the creative vivacity of the people, their ability to devote themselves just as selflessly to work, as now they give themselves up to fun. But Ostrovsky makes Tsar Berendey listen to other songs of the people. Prophetic elders-guslars sing sternly and menacingly. What rings for me at dawn from afar? I hear trumpets and the neighing of horses. Deaf paths under the hooves groan. Steel helmets are drowning in gray fogs, ringed armor rattles loudly, awakening bird flocks across the steppes. Terrible and harsh song about military protection native land, about distant campaigns in order to defend its borders from the invasions of nomads. Listening to the song of the guslars, it is impossible not to remember the "word about Igor's regiment", from where Ostrovsky borrowed a lot when creating this song. His Berendeys are the Russian people, peaceful in work, cheerful in festivities, but severe and formidable in the hour of defending the homeland from enemies.
The theme of love for Rus' warms the entire "Snegurochka", this is a poetic story about early period the life of our people, when he still honored the sun - Yarila. In Ostrovsky's fairy tale, true Rus' sounds, its legends, tales, heroes and the very spirit of the people.
An interesting image of Lelya. This is one of the best images Russian drama: quivering and gentle, clear and cheerful, living in harmony with himself and nature.
The Snow Maiden in Ostrovsky's play is kindness and tenderness itself, but her feelings are still dormant, her soul does not perceive the world around her. And only by opening her heart to people, she feels happiness, burns in this fire enthusiastic.
But what about me: bliss or death?
What a delight! What feelings of languor!
Oh mother spring... thank you for the joy,
For the sweet gift of love! What a bliss
Languishing flows in me! Oh Lel,
Your enchanting songs are in my ears,
Fire in the eyes... and in the heart... and in the blood,
All over the fire. I love and melt, melt
From sweet feelings of love.
Ostrovsky managed to convey the very music of folk tales, the aesthetics of the people's understanding of love. The Snow Maiden knows that love will destroy her, but she does not want to live insensible and does not want to be the cause of Mizgir's death. In The Snow Maiden, Ostrovsky, a great poet, a master of Russian verse, conveyed the very essence of the folk tune, he also used authentic folk songs, for example, "And we sowed millet ...". This beautiful fairy tale became a vivid embodiment of the talent of the Russian people and its singer - A. N. Ostrovsky.
ALLSoch.ru: Ostrovsky N.A. Thunderstorm Folklore basis of the play by A. N. Ostrovsky "The Snow Maiden"
Short description
A.N. Ostrovsky is a wonderful Russian playwright, the creator of 47 plays that still do not leave the stage of many theaters. Among them, one of the most popular is "The Snow Maiden". This work is an amazing fairy tale, which shows the beauty of the world, love, nature, youth. It is based on folk tales, traditions, songs and legends. Ostrovsky only connected everything together and gave folk art a peculiar flavor.
"The Snow Maiden" was written by Ostrovsky based on motives and matter. oral folk art. The playwright gives the play a subtitle ^ “Spring Tale” and explains: “The action takes place in Stp * Berendey in prehistoric times". In the play, as in a fairy tale, Spring-Krasna, Santa Claus, Leshy, Eda sloth, the heroine herself - Snegurochka, the daughter of Frost and Spring, act alongside people. And in the country of the Berendeys - not quite fabulous place. Everything that happens in spring fairy tale"Ostrovsky, is the early time in the life of the Russian people, the memory of which he preserves in legends and songs that have survived from hoary antiquity. The very name "Berendey" Ostrovsky did not invent: under the ancient city of Pereyaslavl-Zalessky, the Berendeyevo swamp stretches to this day, in the place of which, according to legend, there was the Berendeyevo kingdom. Until now, 100 km from Sergiev Posad, there is the village of Berendeevo. In Dahl's "Explanatory Dictionary of the Living Great Russian Language" we read: "... 50 versts from the village of Berendeev, famous toys, people, animals are cut from wood; in trade they are called Berendeyks. The name of the fabulous king Berendey is well known to the Russian people, although there has never been such a person in history. The fantasy of the playwright created the "wise father" of his people. Berendey is a real fairy tale tsar, but in the features of his people - the Berendeys - Ostrovsky showed the beauty and strength of the Russian national character. admiring folk games Kupala night, Tsar Berendey rightly judges: The people are magnanimous In everything great - to interfere with idleness, he will not: work so hard, Dance and sing so much - until you drop. In dances and songs, one can feel the vitality, the creative vivacity of the people, their ability to devote themselves to work as selflessly as they now give themselves up to fun. But Ostrovsky makes Tsar Berendey listen to other songs of the people. Prophetic elders-guslars sing sternly and menacingly. What rings for me at dawn from afar? I hear trumpets and the neighing of horses. Deaf paths under the hooves groan.
a formidable and stern song about the military defense of the native earthly campaigns in order to defend its borders from our "and" ochevniks. - the Russian people, peaceful in work, cheerful in java, but stern and formidable in the hour of defending the homeland from enemies.The theme of love for Russia warms the whole "Snegurochka", this is a poetic story about the early period of the life of our people, when he still honored the sun "Yarilu. In Ostrovsky's fairy tale, true Russia sounds, its legends, tales, heroes and the very spirit of the people. The image of Lel is interesting. This is one of the I3 best images of Russian dramaturgy: quivering and gentle, clear and cheerful, living in harmony with itself and nature. The Snow Maiden in Ostrovsky's program is kindness and tenderness itself, but her feelings are still dormant, the soul does not perceive the world. And only by opening her heart to people, she feels happiness, burns in this fire enthusiastic. But what about me: bliss or death? What a delight! What feelings of languor! Oh, Mother Spring... thank you for the joy, For the sweet gift of love! What languishing bliss flows in me! Oh Lel, Your enchanting songs are in your ears, There is fire in your eyes... and in your heart... and in your blood In all fire. I love and melt, melt From the sweet feelings of love. Ostrovsky managed to convey the very music of folk tales, the aesthetics of the people's understanding of love. The Snow Maiden knows that love will destroy her, but she does not want to live insensible and does not want to be the cause of Mizgir's death. In "The Snow Maiden" Ostrovsky, a great poet, a master of Russian verse, conveyed the very essence of the folk tune, he also used genuine folk songs, for example, "And we sowed millet ...". This beautiful fairy tale has become a vivid embodiment of the talent of the Russian people and its singer - A. N. Ostrovsky
The Snow Maiden is saturated with the folklore that Ostrovsky could draw from his native Volga region. So, the songs and rituals of the Berendeys are based on northern Russian folk songs and rituals. Let us point out only a few of them.
"The Snow Maiden" is a song play, according to the material it is an old folk one.
The entire song fund, which the playwright uses in his plays, is divided into the following genres: folk songs, romances and stylizations of both. The stylization of old songs includes amazing artistic skill songs of the guslars in "The Snow Maiden".
Already the first pages of the story greet us with a chorus of birds, which the playwright borrowed from a folk song:
The birds were gathering
Singers gathered
Herds, herds.
The birds sat down
The singers sat down
Rows, rows...
Eagle warlord,
quail podyadny,
Undertaker, Undertaker...
In the repertoire of Lelya - a song singer, songs that are, if not quotes, then a paraphrase of the original folklore. "Strawberry-berry". (Songbook 1780):
Strawberry-berry
Ripe without warming
orphan girl
Grew up without care
My Lado, Lado!
"Like the forest rustles through the forest." (Songbook Avdeeva, 1848):
As the forest rustles through the forest,
Beyond the forest the shepherd sings
My expanse!
Elnik, my fir tree,
My frequent, birch,
My pleasure!
"A cloud with thunder conspired":
In the grove, the girlfriends scattered apart,
Who is in the bushes, who is in the fir tree,
Berries were taken, haunted
There is no dear friend;
All the girls burst into tears:
Didn't the wolf bite our girlfriend,
Lel, my Lel! Leli-leli, Leli!
For a detailed study of the rites, Ostrovsky had ample opportunities. In addition to book sources, he drew folklore directly from life. A lot of material was given to Ostrovsky by his trips, especially to Shchelykovo. From a huge number of rituals, Ostrovsky chose very large and important rituals for depiction in his plays: calendar and wedding ones. The playwright did not set out to give detailed description their; its goals are not ethnographic, but artistic and literary. The playwright depicts in detail the winter-spring holiday - Maslenitsa. The rite of farewell to Shrovetide, inserted into the prologue of The Snow Maiden, with a mythological basis - the burning (death) of winter at the onset (birth) of spring - is one of the most ancient and extremely widespread. At Ostrovsky, the scarecrow is not destroyed: it personifies certain time year, which, if it passes (“dies”), it will come again (“comes to life”). The scarecrow itself speaks of this in The Snow Maiden, listing memorable dates mythological calendar: "The bathing lights will burn", "Send Karachun", "The time will come frosty, frosty-carols: Ovsen-carols click." The scarecrow promises: "Then wait for me again."
Each act of the Snow Maiden is inserted into a wreath of a stylized or genuine folk poetry. The compositional frame of the third act is the rituals associated with the celebration of Semik (Thursday in the seventh week after Easter), one of the main summer holidays. On this day, wreaths were curled and floated on the water with fortune-telling about a possible marriage, a cut down tree (usually a birch) was dressed up, dances were made, and songs were sung. Here is the song of the guys and girls in "The Snow Maiden":
Ah, there is a liponka in the field.
Under the lime tree is a white tent.
There is a table in that tent.
There is a girl at that table.
Picked flowers from the grass.
Weaving a wreath from a yacht.
Who wears the wreath?
Wear a wreath dear.
Ostrovsky gives this song as an illustration of the course of action: the Snow Maiden wove a wreath and gave it to Lelya.
To further strengthen characteristics Semitsky rite Ostrovsky included in it game song Brusily: "The beaver was swimming"
Let's play with the people
Their game, which they taught for two years,
Silently from everyone, buried in barns
The song is accompanied by the mimic play of Kurilka. Similar songs-games, being, as it were,
"grain" of a dramatic spectacle, accompanied by an imitation of the movements of the beast.
Since ancient times, festivities were organized in honor of Yarila, accompanied by various dramatic performances. The whole radiant spring fairy tale closes with the image of the appearance of the sun-Yarila, to which the Berendeys sing a laudatory hymn.
Light and power
God Yarilo.
The red sun is ours!
There is no more beautiful you in the world.
Grant, god of light,
Warm summer.
The red sun is ours!
You are not in the world more beautiful
Krasnopogodnoe,
Summer is grain-growing.
Our red sun!
There is no more beautiful you in the world.
Except calendar rites, Ostrovsky used in the "Snow Maiden" elements wedding ceremony. There is an episode in the play in which there is an echo of the ancient form of the marriage process, like buying and selling. This is the redemption of Kupava by Mizgirem:
dove girls,
The beauty of the girl's destroyer has come.
With girlfriends, with relatives, a separator.
Don't give out your girlfriend, bury it!
And give, so for a great ransom.
"The Snow Maiden" was written by Ostrovsky based on motives and matter. oral folk art. The playwright gives the play a subtitle ^ "Spring Tale" and explains: "The action takes place in Stn * Berendey in prehistoric times." In the play, as in a fairy tale, Spring-Krasna, Santa Claus, Leshy, Eda sloth, the heroine herself - Snegurochka, the daughter of Frost and Spring, act alongside people. And in the same Country Berendey - not quite a fabulous place. Everything that happens in Ostrovsky's "spring tale" is the early time in the life of the Russian people, the memory of which he preserves in legends and songs that have survived from hoary antiquity. The very name "Berendey" Ostrovsky did not invent: under the ancient city of Pereyaslavl-Zalessky, the Berendeyevo swamp stretches to this day, in the place of which, according to legend, there was the Berendeyevo kingdom.
Until now, 100 km from Sergiev Posad, there is the village of Berendeevo. In Dahl's "Explanatory Dictionary of the Living Great Russian Language" we read: ". 50 versts from the village of Berendeev, famous toys, people, animals are cut from wood; in trade they are called Berendeyks. The name of the fabulous king Berendey is well known to the Russian people, although there has never been such a person in history. The fantasy of the playwright created the "wise father" of his people.
Berendey is a real fairy tale tsar, but in the features of his people - the Berendeys - Ostrovsky showed the beauty and strength of the Russian national character. Admiring the folk games of the Kupala night, Tsar Berendey rightly judges: The magnanimous people are great in everything - they will interfere with idleness. In dances and songs, one can feel the vitality, the creative vivacity of the people, their ability to devote themselves to work as selflessly as they now give themselves up to fun. But Ostrovsky makes Tsar Berendey listen to other songs of the people. Prophetic elders-guslars sing sternly and menacingly. What rings for me at dawn from afar? I hear trumpets and the neighing of horses. Deaf paths under the hooves groan. Steel helmets are drowning in gray fogs, Ringed armor rattles loudly, Awakening bird flocks across the steppes. a formidable and harsh song about the military defense of the native land - distant campaigns in order to defend its borders from ours - ly "and" ochevniki. Listening to the song of the guslars, one cannot help but remember about Igor's regiment, "where Ostrovsky borrowed a lot - creating this song. His berendei - the Russian people, peaceful in work, cheerful in java, but severe and formidable in the hour of defending the homeland from enemies.The theme of love for Russia warms the whole "Snegurochka", this is a poetic story about the early period of the life of our people, when he still honored the sun - Yarilu In Ostrovsky's fairy tale, true Russia sounds, its legends, tales, heroes and the very spirit of the people.
An interesting image of Lelya. This is one of the I3 best images of Russian dramaturgy: quivering and tender, clear and cheerful, living in harmony with itself and nature. The Snow Maiden in Ostrovsky's program is kindness and tenderness itself, but her feelings are still dormant, her soul does not perceive the world around her. And only by opening her heart to people, she feels happiness, burns in this fire enthusiastic. But what about me: bliss or death? What a delight! What feelings of languor! Oh Mother Spring. thank you for the joy, for the sweet gift of love! What languishing bliss flows in me! Oh Lel, Your enchanting songs are in my ears, There is fire in my eyes. and in the heart. and in the blood throughout the fire. I love and melt, melt From the sweet feelings of love. Ostrovsky managed to convey the very music of folk tales, the aesthetics of the people's understanding of love.
The Snow Maiden knows that love will destroy her, but she does not want to live insensible and does not want to be the cause of Mizgir's death. In "The Snow Maiden" Ostrovsky, a great poet, a master of Russian verse, conveyed the very essence of the folk tune, he also used genuine folk songs, for example, "And we sowed millet." This beautiful fairy tale has become a vivid embodiment of the talent of the Russian people and its singer - A. N. Ostrovsky
