Who wrote The Nutcracker. The Nutcracker and the Mouse King (fairy tale)

18.04.2019
  • President Silbergauz
  • His wife
  • Clara (Marie), their daughter
  • Fritz, their son
  • Marianne, the president's niece
  • Advisor Drosselmeyer, godfather of the Silbergauz children
  • Nutcracker
  • Fairy Dragee, the mistress of sweets
  • Prince Whooping Cough (Orshad)
  • majordomo
  • Mother Zhigon
  • mouse king
  • Dolls: Candidate, Soldier, Columbine, Harlequin
  • Relatives, guests in carnival costumes, children, servants, mice, gingerbread and tin soldiers, dolls, toys, gnomes, bunnies; fairies, sweets, sisters of the Nutcracker Prince, clowns, flowers, silver soldiers, pages, Moors, etc.

The action takes place in one of the German principalities in the era of Hoffmann (the turn of the 18th - 19th centuries) and in the fabulous city of Konfiturenburg.

History of creation

In 1890, Tchaikovsky received an order from the directorate of the Imperial Theaters for a one-act opera and a two-act ballet to be staged in one evening. For the opera, the composer chose the plot of the drama of the Danish writer X. Hertz, King René's Daughter (Iolanthe), which he loved, and for the ballet, the well-known fairy tale by E. T. A. Hoffmann (1776-1822) "The Nutcracker and the Mouse King" from the collection "Serapion brothers" (1819-1821). The tale was used not in the original, but in a French retelling made by A. Dumas père under the title "The Story of the Nutcracker". Tchaikovsky, according to his brother Modest, himself first "set out in writing the plot of The Nutcracker from the words of Vsevolozhsky" and only then began to work together with the choreographer Marius Petipa (1818-1910), who made a detailed plan-order and choreographer's exposition. The illustrious master, who by that time had been serving in Russia for more than forty years and had staged many performances, gave Tchaikovsky the most detailed advice on the nature of the music.

The composer's work was forced to be interrupted in the spring of 1891, when Tchaikovsky went to the USA for the grand opening of Carnegie Hall. Even on the ship, he composed, but, realizing that he would not be in time for the deadline set by the directorate, he sent a letter from Paris to Vsevolozhsky with a request to postpone the premieres of Iolanta and The Nutcracker to the next season. Only upon returning from a trip did the work become more active. During January and February 1892, Tchaikovsky completed and orchestrated the ballet. In March, in one of the symphony concerts of the Russian Musical Society, a suite from the music for the ballet was performed under the baton of the composer himself. The success was deafening: out of six numbers, five were repeated at the request of the public.

According to the scenario and detailed instructions of the seriously ill Petipa, the production of The Nutcracker was carried out by the second choreographer of the Mariinsky Theater L. Ivanov (1834-1901). Lev Ivanovich Ivanov, who graduated from the St. Petersburg Theater School in 1852, was ending his career as a dancer at that time and had been working as a choreographer for seven years. In addition to several ballets, he owned productions of Polovtsian dances in Borodin's Prince Igor and dances in Rimsky-Korsakov's opera-ballet Mlada. V. Krasovskaya wrote: “Ivanov's dance thinking was not based on Tchaikovsky's music, but lived according to its laws.<...>Ivanov, in the individual elements of his production, as if completely dissolving in the music, drew from its innermost depths all the calm, pure, even modest plasticity of the dance. “There is not a single rhythm in the music of The Nutcracker, not a single measure that would not overflow into a dance,” noted A. Volynsky. It was in music that the choreographer found the source of choreographic solutions. This was especially evident in the innovative symphonic dance of the snow flakes.

Ballet rehearsals began at the end of September 1892. The premiere took place on December 6 (18). Criticism was mixed - both positive and sharply negative. However, the ballet remained in the repertoire of the Mariinsky Theater for more than thirty years. In 1923, the performance was restored by choreographer F. Lopukhov (1886-1973). In 1929 he created a new choreographic version of the play. In the original script, the heroine of the ballet was called Clara, but in the Soviet years they began to call her Masha (in Dumas - Marie). Later productions of the ballet on various Soviet stages were carried out by different choreographers.

Plot

Christmas Eve at the Silbergauz House. The guests are going to the party. Clara, Fritz and their little guests are brought into the hall. Everyone is delighted with the elegant Christmas tree. Children are given gifts. The clock strikes midnight, and with the last stroke, the godfather of Clara Drosselmeyer appears. A skilled craftsman, he brings as a gift huge mechanical dolls - the Candidate, the Soldier, the Harlequin and Columbine. The children joyfully thank the good godfather, but Zilbergauz, fearing that they will spoil the gifts, orders them to be taken to his office. Comforting the distressed Clara and Fritz, Drosselmeyer takes a funny little Nutcracker out of his pocket and shows how he gnaws nuts. Children are happy with a new toy, but then they quarrel over it. Fritz forces the Nutcracker to crack the hardest nuts, and the Nutcracker's jaw breaks. Fritz angrily throws the Nutcracker on the floor, but Clapa picks him up, cradles him like a small child, puts him on the bed of his beloved doll and wraps him with a blanket. Zilbergauz orders the furniture to be taken out of the living room in order to arrange a general dance in it. At the end of the dance, the children are sent to bed. Guests and hosts disperse.

Moonlight falls through the window of the empty hall. Clara enters: she cannot sleep because she is worried about the Nutcracker. There is a rustle, running and scratching. The girl gets scared. She wants to run away, but the big wall clock starts ticking the time. Clara sees that instead of an owl, Drosselmeister is sitting on the clock, waving the skirts of his caftan like wings. Lights flicker from all sides - the eyes of mice filling the room. Clara runs to the Nutcracker's bed. The tree begins to grow and becomes huge. The dolls come to life and run in fright. Gingerbread soldiers line up. The battle with the mice begins. The Nutcracker, getting up from his bed, orders to sound the alarm. Boxes with tin soldiers are opened, the Nutcracker's army is built in a battle square. The army of mice attacks, the soldiers boldly resist the onslaught, and the mice retreat. Then the Mouse King enters the duel. He is ready to kill the Nutcracker, but Clara takes off her slipper and throws it at the King. The Nutcracker wounds him, and he, along with the rest of the army, flees from the battlefield. The Nutcracker approaches Clara with a drawn sword in his hand. He turns into a beautiful young man and asks the girl to follow him. Both are hiding in the branches of the Christmas tree.

The hall turns into a winter forest. Snow falls in large flakes, a blizzard rises. The wind drives the dancing snowflakes. Gradually the blizzard subsides, the snow sparkles smartly in the moonlight.

The fabulous city of Konfiturenburg. In the Palace of Sweets, the Dragee Fairy and the Whooping Cough Prince are waiting for the arrival of Clara and the Nutcracker Prince. Everything is prepared for the solemn reception of dear guests. Clara and the Nutcracker sail down the river in a boat made of gilded shells. Everyone bows respectfully to the arrivals. Clara is amazed at the wealth of the city spread out before her. The Nutcracker reveals that Clara owes his salvation. The holiday begins, in which the mistress of sweets Fairy Dragee, Mother Zhigon and other fairy-tale characters take part.

Music

In his latest ballet, Tchaikovsky addresses the same theme that was embodied in Swan Lake and The Sleeping Beauty - overcoming evil spells with the power of love. The composer goes even further along the path of symphonizing music, enriching it with all possible expressive means. Surprisingly naturally, there is a fusion of expressive and pictorial, theatricality and the deepest psychologism.

The scene of the growth of the Christmas tree in Act I is accompanied by music of a truly symphonic scope - at first disturbing, ghostly, depicting the fuss of mice and strange night visions, it gradually expands, blooms with a beautiful endlessly unfolding melody. The music subtly embodies everything that happens in the subsequent scene: the shouts of the sentry, and the drumming, and military, albeit toy, fanfares, and the squeak of a mouse, and the tension of the fight, and the miraculous transformation of the Nutcracker. Waltz of snowflakes perfectly conveys the feeling of cold, the play of moonlight and at the same time - the contradictory feelings of the heroine, who found herself in a mysterious magical world. The act II divertissement includes various dances: a dance of chocolate (brilliant Spanish), coffee (refined and languid oriental), tea (brightly characteristic, saturated with comic effects Chinese), as well as a lively Russian trepak in the folk spirit; an elegantly stylized shepherd dance; comical dance of Mother Zhigon with children crawling out from under her skirt. The top of the divertissement is the famous Waltz of the Flowers with its variety of melodies, symphonic development, pomp and solemnity. Surprisingly graceful and subtle is the dance of the Dragee Fairy. The lyrical culmination of the entire ballet is the adagio (in the original production - the Dragee Fairy and the Prince, now - Clara and the Nutcracker).

L. Mikheeva

In the photo: The Nutcracker staged by Grigorovich at the Bolshoi Theater

As expected at the time, critics fiercely scolded the novelty. And the music is not dansant, and the plot is not for a big ballet, and the main roles are played by green youth from the Theater School: Clara - Stanislav Belinskaya, Nutcracker - Sergei Legat. The Italian ballerina Antonietta Del-Era (the Pellet Fairy) also failed to impress, dancing her part in just two performances. Subsequently, Ivanov's performance was resumed in his native theater twice (1909, 1923), but from the mid-1920s he disappeared from the stage forever. Its plot basis was flawed, first of all, in relation to the main character, she was deprived of the opportunity to express herself in dance. And the finale of the whole story remained open: was Clara supposed to wake up, or remain forever in the fairy-tale kingdom of sweets?

Only retrograde balletomanes could doubt the quality of Tchaikovsky's music. Critic Boris Asafiev wrote about her: “The Nutcracker is the most perfect artistic phenomenon: a symphony about childhood. No, or rather, about when childhood is at a turning point. When the hopes of still unknown youth are already agitated ... When dreams lead thoughts and feelings forward, and the unconscious - into life only foreseeable. As if the walls of the children's room are moving apart and the thought-dream of the heroine and hero breaks out into fresh space - into the forest, nature, towards the winds, blizzard, further to the stars and into the pink sea of ​​​​hopes.

This characterization of the composer's intention is very insightful, but such music has a very indirect relation to the plot of The Nutcracker proposed by Petipa. The score of the second act contains many tragic intonations, typical of Tchaikovsky's symphonic works, but definitely not in line with the thoughtlessly gingerbread plot. Most subsequent productions of The Nutcracker, while modifying Petipa's script, tried to reconcile it with their understanding of Tchaikovsky's music. However, complete success on this path, if possible, has not yet been achieved.

The next choreographer in time who ventured to independently interpret The Nutcracker was Alexander Gorsky. The choreographer broke his ballet into three acts, transferring the final duet to the winter stage. It was danced by Clara and the Nutcracker. The last act was a frank divertissement. In this performance, as in all subsequent domestic productions, there was no place for the Dragee fairy and her faithful cavalier with the ridiculous name Whooping cough. The Moscow novelty, shown in 1919, which was not too suitable for a ballet, did not last long.

Even more determined was Fyodor Lopukhov, head of the St. Petersburg ballet in the 1920s. In 1929, he staged The Nutcracker in 3 acts and 22 episodes - as "the fruit of a child's imagination." Five episodes showed the Christmas holidays, four told (according to Hoffmann) the story of the transformation of a young man into the Nutcracker, and the rest triumphed in the irrepressible fantasy of Machine dreams. Note that from now on in Russia the heroine of the ballet will be called not Clara, but Masha (in Hoffmann - Marie). Where there was not enough music, the action did without it, sometimes the artists turned to the audience with speeches. The scenery consisted of eight large shields on wheels, painted in different colors. The avant-garde "Nutcracker" was scolded, according to the choreographer, "not only by enemies - God himself ordered them - but also by like-minded people." The performance, certainly inspired by the directorial decisions of Vsevolod Meyerhold of the plays of Russian classics, was performed only 9 times.

Naturally, the theater where The Nutcracker was born wanted to have this ballet in its permanent repertoire. A new production in 1934 was assigned to choreographer Vasily Vainonen. In his performance, he relied on the traditions of the ballet of the times of Petipa and Ivanov, skillfully alternating large classical ensembles (snowflake waltz, rose waltz, Masha's adagio with four gentlemen) with characteristic dances and pantomime. In general, the new performance adhered to the old plot, although there were plenty of adjustments. Drosselmeyer in the Stahlbaums' house (Masha's parents were given back the "Hoffmann" name), in addition to clockwork puppets (Clown, Dolly, Negro), shows the children from behind a screen a puppet show: “The Nutcracker is in love with the princess, but she is pursued by the rat king. The princess is horrified, the Nutcracker comes to the rescue and beats the rat king."

Thus, viewers who have not read the literary original should have a clearer understanding of the background of the upcoming night battle. The scene of the war between rats and toys stood out as a separate act and took place in the Machine's dream. The picture with a waltz of snowflakes continued the second act and took place on a "deserted night street". The waltz itself sounded both like a lyrical digression dedicated to the magical patterns of the Russian winter, and like a glorification of a brave girl by a chorus of children's voices. The third act began in the toy store. Here, a mysterious dwarf (Drosselmeyer in disguise) plays a trick on Masha, as if testing her once again, until the Nutcracker Prince drives him away. The toy shop is transformed, the holiday begins. Characteristic dances are replaced by a pink waltz, then Masha, already in a classic tutu, carelessly dances a spectacular adagio with four gentlemen. The common code suddenly breaks off, the Nutcracker freezes - the dream is over. In the short finale, the viewer sees a sleeping girl outside the window. The lamp-man puts out the street lamps...

The new performance turned out to be successful; for more than 70 years it has been performed on the native stage, exceeding the score of 300 performances. However, not without changes. In 1947, the rats were replaced with less scary mice, and the dwarf disappeared at the beginning of the last act. In 1954, the magnificent set design of Simon Virsaladze appeared. The image of the first picture became more magical, the Christmas tree, now silver-pink, now black, corresponded to the state of mind of the heroine, and the celebration of the final act appeared more harmonious, without excessive prettiness. In general, The Nutcracker by Vainonen - Virsaladze has become a classic ballet of the 20th century. In 1958, the theater donated this performance to the Choreographic School, and since then, each new generation of the Academy of Russian Ballet has been dancing it on the stage of the theater to the delight of their fathers and mothers, and with them to numerous spectators.

When in 1966 Yuri Grigorovich showed his The Nutcracker at the Bolshoi Theater in Moscow, it seemed to many that an ideal solution to Tchaikovsky's score had been found. Adhering mainly to Petipa's script, the choreographer managed to create a performance with a through action. His heroes, surrounded by doll friends, after a serious battle, embark on a fabulous journey up the giant Christmas tree. Snowflakes hide them from the mouse chase, friends entertain them with "puppet" parodies of characteristic dances in old ballets. Close to the top, in the Christmas tree temple, the magical wedding of Masha and the Nutcracker takes place.

Unusually Grigorovich solved the image of the Nutcracker. Actually, the doll appeared already in the prologue in the hands of Drosselmeyer, “flying” on the holiday, then the godfather gave Masha a living doll, the “breakage” of which could not leave indifferent either the girl or the viewer. And finally, after the victory over the hordes of mice in a scarlet robe, a truly fairy-tale hero-prince arose. Enlarged and the image of Drosselmeyer. He tests the souls of heroes with everything beautiful and terrible, which happens in a good fairy tale. He is both merciful and cunning, invisible and omnipresent. With this character, Hoffmann, more precisely a Hoffmannian, enlightened by Tchaikovsky's music, comes into the play. Grigorovich's performance has not left the stage of the Bolshoi Theater for almost 40 years, it has been repeatedly shown on television with different casts of performers, there is also a television film shot in 1977. However, the search for other solutions to The Nutcracker continued.

Abroad, the performance of Lev Ivanov was first reconstructed by Nikolai Sergeev in London in 1934. Another former pupil of the Mariinsky Theater, George Balanchine, has repeatedly participated in the original St. Petersburg performance - from children's roles to the buffoon dance. In his The Nutcracker (New York City Belley, 1954), he, having retained the Petipa script with the Dragee fairy and Confiturenburg, composed new dances and mise-en-scenes. However, productions by Rudolf Nureyev (Royal London Ballet, 1968) and Mikhail Baryshnikov (American Ballet Theatre, 1976) were already influenced by the performances of Vainonen and Grigorovich.

Since then, numerous Christmas performances of The Nutcracker have been fundamentally different, either by the full-fledged dance part of Clara and an attempt at at least some Hoffmannianism, or by a conscious emphasis on the holiday in the city of sweets, led by the Dragee fairy.

There are also more unconventional solutions to the old ballet, however, perhaps the most unexpected was realized in 2001 at the Mariinsky Theater. The initiator and director was not the choreographer, but the artist Mikhail Shemyakin. In the new Nutcracker, he owns not only the scenery and costumes, but also an active alteration of the libretto, and even mise-en-scène. The choreographer Kirill Simonov left only the composition of individual dances.

Already in the first scenes, we are presented with a grotesque world of philistine abundance: huge hams, meat carcasses, giant wine bottles. Here, the Christmas holiday is just an occasion for plentiful food and drink, and dancing is a convenient way to upset the stomach. In this little world, Masha is an unloved daughter, whose loneliness and painful fantasies are of no interest to either parents or guests. Only Drosselmeyer, out of pity, gives her the Nutcracker, who becomes her long-awaited friend.

In the scene of a night battle, the eyes of the audience literally run up. It is not a miserable flock of mice that fights with toys, but a whole rat kingdom: the seven-headed emperor with his family, the bishop with his retinue, officers in camisoles and with swords, soldiers and even artillerymen. The traditional throw of the shoe stops the bloody battle, and Masha and the Nutcracker in a huge shoe-plane fly to another, beautiful world. An evil blizzard gets in their way: a female corps de ballet in black leotards, skirts and caps, on which snowflakes sway menacingly. The beautiful music of Tchaikovsky, performed at a deliberately accelerated pace, suddenly becomes aggressive. The bright choreographic image of an unkind blizzard is also a match for her - the choreographer's undoubted success. Having overcome these trials, the heroes arrive in the second act.

In the city, caramel columns are planted with flies and caterpillars, huge figures of candy are parading, a fly-man is fighting the Nutcracker with swords. Masha finally kisses the Nutcracker and he turns into a Prince. The pas de deux of heroes and the general waltz inspire some hope, but the finale is frightening. In the middle of Confiturenburg a multi-storey cake grows, it is crowned with marzipan figures of Masha and the Nutcracker, and insatiable rat pups are already frolicking in its middle part...

To be fair, this apparently experimental Nutcracker is a steady hit with viewers.

A. Degen, I. Stupnikov

In the photo: The Nutcracker staged by Shemyakin at the Mariinsky Theater

The next step in the work of Tchaikovsky along the path of symphonizing the ballet and saturating the dance with a specific figurative-characteristic content was The Nutcracker based on the fairy tale by E.T.A. Hoffmann in the free retelling of A. Dumas. The initiative to create this ballet, as well as The Sleeping Beauty, belonged to Vsevolozhsky, on the basis of which Petipa's detailed scenario plan was developed. Although Hoffmann's plot in itself attracted the composer, much in the way it turned out to be interpreted by the authors of the ballet script caused him a strong protest.

Vsevolozhsky and Petipa saw in the fairy tale of the German romantic writer, first of all, material for a spectacular and enticing spectacle. The action of the two-act ballet is exhausted by its first half; the second part is a colorful divertissement in the "Confitiirenburg'e" invented by Vsevolozhsky - "City of sweets", where the authors of the libretto lead their heroes - the girl Clara and the Nutcracker freed from witchcraft. It was precisely this "confectionery divertissement" that confused Tchaikovsky the most. “... I feel a complete inability to reproduce the Confitiirenburg musically,” he admitted shortly after starting work on the ballet. But gradually he managed to find his own solution, largely independent of the Vsevolozhsky-Petipa scenario, and in some ways even contradicting it. “No stage production,” wrote Asafiev, “has so far been able to surpass the fascination and entertainment of the fabulously symphonic orchestral and colorful impact scores". Unusual in its richness of colors and timbre inventiveness, the combination of sharp characteristicality with juicy fullness of sound and genuine symphony, the score of The Nutcracker undoubtedly far exceeds the idea of ​​the librettists and ballet directors.

Despite the fact that the main characters of The Nutcracker are children, this ballet cannot be attributed to the field of children's musical literature. As Asafiev rightly noted, this musical and choreographic narration is not so much about childhood, but about that turning point in life, “when the hopes of still unknown youth already excite, and children’s skills, children’s fears have not yet left ... When dreams attract feelings and thoughts forward, into the unconscious - into life, only foreboding. The world of careless childhood with its games, fun, quarrels over toys is shown in the scenes of lighting the Christmas tree, distributing gifts, dancing and round dances from the first picture of the first act. In the second act, Clara and the Nutcracker, who has turned into a handsome prince, discover a new magical world full of mysterious charms, and childhood is left behind. The connecting role is played by the symphonic picture of Clara's eerie fantastic dreams, the war of mice and toys, where the spiritual change that Asafiev writes about takes place. The transformation of the Nutcracker that takes place immediately reflects a common fairy tale motif: goodness and love triumph over evil magic. (A well-known parallel to the story of the Nutcracker is, for example, the tale of the Frog Princess. A similar motif is also reflected in The Sleeping Beauty.).

The composer finds bright expressive means to depict the two worlds juxtaposed in The Nutcracker: the world of cozy burgher life and the mysteriously enticing, bewitching or frightening and darkly bewitching fantasy world. The initial scenes of a merry Christmas holiday in the house of President Silbergauz contrast sharply with everything that follows. Here, simple and transparent orchestral colors prevail, familiar everyday dance forms (children's gallop, polka, waltz), sometimes with a touch of ironically colored stylization (the appearance of parents in smart dresses from the times of the Directory to the sounds of a heavy minuet, a naive and simple-hearted grossvater). An element of the mysterious, the miraculous, invades this peaceful setting in the form of Drosselmeyer's advisor with his amazing puppets. Musically, it is characterized by sharp bizarre outlines of the melodic pattern, unusual combinations of orchestral timbres (for example, a viola and two trombones), in which something funny, absurd and at the same time magical is heard. It is no coincidence that the theme that accompanies the release of Drosselmeyer then appears in Clara's nightmares.

With the onset of night, the mysterious world of miracles comes to life and everything around appears in an unusual light that disturbs the imagination. The quiet, gentle lullaby of Clara lulling the Nutcracker, previously performed twice, now sounds in a new way thanks to the full orchestral texture with harp arpeggios, enveloping a simple unsophisticated melody with soft light. The color of the music becomes more and more light, shimmering, causing a feeling of transparent darkness, illuminated by the rays of moonlight (soaring flute passages, harp arpeggios). But muffled, secretly resounding first in a thick low register (bass clarinet, tuba), then in high wooden ones (flute, oboe, clarinet), the “knock of fate” portends evil. Night evil spirits come to life, mice and rats crawl out of their cracks (“rustling” passages of the bassoon and stringed basses), and at this time the tree suddenly begins to grow, reaching a huge height. In music, this moment is conveyed by three powerful waves of growth, built on the sequence development of a motif, closely reminiscent of the theme of love from The Queen of Spades, as well as the related theme of the violin solo from the intermission between two scenes of the second act of The Sleeping Beauty.

The significance of this episode is not limited to the illustrative accompaniment of the stage image, the music filled with passionate excitement conveys the spiritual growth of the young heroine, who for the first time experiences the emergence of new feelings and attractions that she herself does not yet fully understand. The growing Christmas tree is only a symbol, an outward allegorical expression of a deeper mental process.

This ends the first half of the symphonic picture, its second section depicts the war of mice and toys. Mouse rustles and squeaks are intertwined here with the battle cries of the puppet army (an oboe fanfare theme), the fraction of small drums, and “offensive” ostinato rhythms. The rampage of the evil spirits of the night suddenly stops when Clara throws her shoe at the mouse king and thereby saves the Nutcracker, who then turns into a handsome prince. This scene goes directly into the next picture - a magical forest, where Clara is transported with the prince, they are greeted by gnomes with lit torches. The tests are left behind, the solemn, smoothly unfolding theme sounds with ever-increasing strength as a hymn to steadfastness and purity of feeling. The first act ends with the rhythmically peculiar "Waltz of the Snowflakes", with a grouping of phrases in two quarters, going "across" the time signature. This is how the wanderings of Clara and the Nutcracker she saved begin: the crystal ringing of the celesta in a bright major coda sounds like a harbinger of miracles and joys waiting for the heroes.

The introduction to this act paints a picture of a full-flowing river with billowing waves, along which a boat glides, bringing Clara and the prince to the fabulous Confiturenburg: a light melody in the spirit of a barcarolle, based on the sounds of a semi-tone series, is entwined with the figuration of harps, creating the illusion of a smooth swaying of a floating boat.

After the account of the events of the night, which is hailed by all, the Nutcracker is followed by a great divertissement, consisting of a suite of characteristic national dances: brilliant, temperamental Spanish; languid Arabic with a lazy swaying fifth in the bass and muffled sound of muffled strings; wittily instrumented humorous Chinese (wide passages of the flute with measured accompaniment of two bassoons, reminiscent of the automatic shaking of the head of porcelain dolls); dashing Russian trepak, followed by a graceful dance of shepherdesses with two solo flutes, a comically rollicking dance of French openels, and, finally, the magnificent and poetically captivating "Waltz of the Flowers" that completes the whole cycle.

This atmosphere of bright festive celebration is suddenly invaded by notes of passionate excitement and almost drama in the dance duet immediately following the waltz. This is the climax in the development of the line of two young heroes (According to Petipa's plan, the duet was intended for the fairy Dragee - a character artificially introduced in connection with the idea of ​​Confiturenburg - and Prince Orshad. In the modern ballet theater, it is performed by Clara and the Nutcracker, which is much more logical dramaturgically and more in line with the nature of the music.), before which a new big world of human life opens up, both enticing and disturbing at the same time. “...Here the idea develops about the struggle for life that accompanies the dreams and hopes of youth” - this is how Asafiev defines the meaning of this ballet Adagio. The duet is complemented by two solo variations - an energetic impetuous male in the rhythm of a tarantella and a graceful female. Particular attention is drawn to the second variation, where the external coldness of color (the solo celesta, supported by a light accompaniment of strings and wood) is combined with soft and gentle elegiacity. The ballet ends with another waltz and an apotheosis, in which the serenely light, gentle theme of the introduction to the second act sounds again.

The Nutcracker first saw the light on the stage of the Mariinsky Theater on December 6, 1892, together with Iolanta. The contradiction between what the audience saw on stage and the high symphonic content of Tchaikovsky's music had an unfavorable effect on the fate of the work. “Success was not unconditional,” the composer wrote shortly after the premiere. - Apparently, I liked the opera very much, - rather, I didn’t like the ballet. And in fact, he turned out to be, despite the luxury, boring. Behind the motley alternation of diverse figures and episodes, it was difficult to catch the line of through action, moreover, much, especially in the second act, was not perfect from the point of view of good taste.

“After a number of successful productions, such as The Queen of Spades and The Sleeping Beauty,” recalled the future director of the imperial theaters V. A. Telyakovsky, “an unimaginable tasteless production of Tchaikovsky’s ballet The Nutcracker appeared, in the last picture of which some ballet dancers were dressed rich brioches from the Filippov bakery. Critical reviews were almost unanimously negative both about the performance and about Tchaikovsky's music. Only in the light of the further development of choreographic art at the beginning of the 20th century could the innovative significance of The Nutcracker be truly appreciated, and since the 1920s this ballet has taken a firm place in the repertoire of Russian musical theaters.

Nußknacker und Mausekönig) is a fairy tale story by Ernst Theodor Amadeus Hoffmann, published in the collection Children's Tales (Berlin, 1816) and included in the book Serapion Brothers (Serapionsbrüder, 1819). The work was written under the influence of the author's communication with the children of his friend Julian Gitzig; their names - Fritz and Marie - were given to the main characters of The Nutcracker. Based on the fairy tale, a ballet by Pyotr Tchaikovsky was created in two acts to a libretto by Marius Petipa. The work was repeatedly filmed and became the basis for animated films.

Plot

Peter Karl Geissler. Illustration for the fairy tale "The Nutcracker". 1840

On Christmas Eve, Fritz and Marie, the children of Stahlbaum's medical adviser, receive many gifts from their parents: dolls, a wooden horse, toy hussars, tiny crockery, picture books. The godfather Drosselmeyer presents them with a miniature castle with golden towers, through the halls of which ladies and gentlemen move. A little later, the children get acquainted with another toy - a small ugly man named The Nutcracker, who knows how to crack hard nuts.

Before going to bed, Marie lingers near the closet, in which gifts were put away for the night, and becomes a witness to the battle. It is led by the seven-headed Mouse King, who has climbed out from under the floor with his army, and the army of animated dolls, led by the Nutcracker. The girl seeks to protect the little man, but she feels pain in her arm and falls to the floor. Waking up in her bed, she tries to tell her mother and doctor about the night battle, but they consider her story to be echoes of past fever. The godfather who visited Marie brings the repaired Nutcracker and tells that he was once the Nuremberg nephew of Drosselmeyer, a kind and noble young man. He turned into a tiny freak at the behest of Queen Myshilda. The Nutcracker can return to its former appearance, but for this it is necessary that he defeats the Mouse King, and the Beautiful Lady himself loves him.

She becomes Marie, who, having received the trophies of the defeated Mouse King from the Nutcracker and having made a trip to a magical land with a little man, falls in love with an unsightly hero. Parents do not believe her memories of adventure and ask her to forget this incredible story, but the girl constantly thinks about the Nutcracker. At the end of the tale, a young man appears in the Stahlbaums' house - Drosselmeyer's nephew, who admits that he "has ceased to be a miserable Nutcracker." Marie becomes his bride, and twenty-two thousand dressed-up dolls dance at their wedding.

History of creation, publications

Fritz Gitzig. Drawing by E. T. A. Hoffmann

According to researchers, the concept of The Nutcracker was born by Hoffmann at the time when he invented and told fairy tales to the children of his friend (and later biographer) Julius Gitzig - Fritz and Marie. Later, when writing down the work, the writer transferred the names and character traits of the young listeners of the fairy tale to it. Direct work on the story of the Nutcracker was carried out from October 29 to November 16, 1816. The manuscript was then given to the publisher Georg Reimer. The story was published in the 1st volume of The Children's Tales of Carl-Wilhelm Salich-Contessa, Friedrich de la Motte-Fouquet and E. T. A. Hoffmann, which was published in Berlin on Christmas Eve. It is known that on December 16 of the same year, Hoffmann already held in his hands four copies of the book that had just arrived from the printing house, which is considered the first collection of children's romantic fairy tales in Germany. Three years later, the story of the Nutcracker and the Mouse King was published in the collection The Serapion Brothers.

As noted by the author of works on German romantics Rüdiger Safransky, the tale of the Nutcracker and the Mouse King was met with interest not only by Hoffmann's colleagues, but also by the Prussian military leader August Gneisenau, who was impressed by the battle scenes with the participation of the mouse army and the army of dolls. Gneisenau, in particular, admitted in one of his letters that the author of the story “depicted the grandiose battle very well, convincingly conditioned the defeat of the Nutcracker by conquering the battery, which was unsuccessfully located at mother’s footstool.”

Artistic Features

V. E. Makovsky. Illustration for the fairy tale "The Nutcracker". 1882

The work consists of a framing action (it takes place exclusively in the Stahlbaum house) and an internal fairy tale - it includes the story told by the godfather about the transformation of Drosselmeyer's nephew into the Nutcracker, as well as the story of his further adventures, in which young Marie becomes a participant. The events that take place in the framing action and the inner fairy tale intertwine from time to time: people turn into dolls, toys take on human form, two worlds - fantasy and reality - come together and combine.

The main character, immersed in amazing events, has the ability to easily communicate with the wonderful; at the same time, she is by no means naive: like her brother Fritz, the girl is a completely enlightened child, knowing, for example, that Christmas gifts were brought into the house not by her “beloved holy Christ”, but by her parents and godfather. Sometimes Marie herself notices how great the discrepancy between reality and her dreams is: “Oh, what a stupid girl I am, why was I scared and even thought that a wooden doll could make faces!”. However, left alone with herself, the heroine again plunges into that world where fairy songs sound and the rustle of lemonade jets is heard in the Marzipan Grove.

The godfather of the children, senior adviser Drosselmeyer, received special attention from researchers. This man with a wrinkled face and a black patch instead of a right eye can hardly be called handsome, but Fritz and Marie treat him with great warmth. It is possible that the godfather - an eccentric and skilled - Hoffmann "transferred" some of his own features. The gift that he brings to Fritz and Marie for Christmas has a special meaning: Drosselmeyer is making a fairy-tale castle with moving figures for them. At first, the children are sincerely happy about the new toy, but soon the monotonous movement of ladies and gentlemen along a given route begins to tire them. Fritz and Marie ask their godfather to give the inhabitants of the castle more freedom, but the creator of the toy replies that "the mechanism is made once and for all, you can't remake it." In this episode, the motive for the mechanization of life, which is relevant to Hoffmann, sounds.

To the living perception of a child - and it is akin to the perception of a poet, an artist - the world is open in all its diverse possibilities, while for "serious", adult people it is "done once and for all" and they, in the words of little Fritz, are "locked in the house »... Romantic Hoffmann sees real life as a prison, a prison, from where there is only a way out into poetry, into music, into a fairy tale.

Transfers in Russia

In Russia, an increased interest in Hoffmann's work arose after the writer's death, in the 1830s - during this period, his books began to be read aloud in secular salons and literary circles in Moscow and St. Petersburg, various publications sought to receive works by the German romanticist, and they were often published in French. As the memoirist Tatyana Passek wrote, "the author of fantastic tales Hoffman acted electrically on the serious young people of that time." The first translation of the tale was made in 1835 by the writer Vladimir Burnashev under the title "Doll Mr. Nut" who placed the work in his own "Children's book". A year later, Ivan Bezsomykin made his own translation - his translation was sharply criticized by critics of the time: the essayist Vasily Botkin called his work “the murder of a book”, and Vissarion Belinsky even declared: “Poor Hoffman! Bezsomykin distorted his Serapions, so that now they cannot be translated again ... ".

In the 1840s, the excitement around the works of Hoffmann in the Russian literary community noticeably decreased - this was mainly due to the loss of interest in romanticism as such and the increased attention of readers to the growing realism. However, three decades later, when the issue of children's reading was on the agenda, Hoffmann's tale again attracted the attention of translators. The Nutcracker and the Mouse King (A. Sokolovsky, 1873), The Tale of the Nutcracker and the Mouse King (Sergei Flerov, 1881) and others were published. For several decades, translators could not agree on the name of the tale. Among the varieties that periodically appeared in Russia were the Nut Rodent, the Nutcracker, and the Click Man. The final version took hold only in the 1890s, when Pyotr Ilyich Tchaikovsky presented the ballet The Nutcracker to the audience, and the writer Zinaida Zhuravskaya used this word in her version of the translation.

Motifs of The Nutcracker in the Fairy Tales of Russian Writers

In 19th-century Russia, one of Hoffmann's admirers was the writer Antony Pogorelsky. Knowing the German language well, he had the opportunity to get acquainted with the works of the romantic writer in the original. Some features of the creative style of Hoffmann Pogorelsky transferred to his works - we are talking primarily about " Black Hen, or Underground inhabitants"(1829). Like The Nutcracker, Pogorelsky's fairy tale is a "fairy tale about reality", which combines dreams and reality, fiction and the true world. Literary critics note that a kind of roll call between the two works begins already at the stage of conception: if Hoffmann came up with his story while communicating with Fritz and Marie Gitzigs, then Pogorelsky composed it for his nephew, the future writer and playwright Alexei Konstantinovich Tolstoy.

The Mouse King in Kozelska Park

The heroes of both tales - Marie and Alyosha - are internally close: a sympathetic German girl becomes attached to a small unsightly Nutcracker, and an impressionable Russian boy takes care of a crested hen Nigella. In both stories, the boundaries between fiction and reality are erased: Marie, together with her new friend, goes on a journey through the puppet kingdom with Candy Meadow and Orange Creek; Alyosha finds himself in an underground kingdom where little people live.

The difference between the plots lies in the fact that the Hoffmann's heroine's magic continues even after the completion of the story of the Nutcracker (she becomes the wife of Drosselmeyer's nephew and departs for a fairy-tale land with him), while Alyosha perceives everything that happened to him as a heavy dream - after recovery, the boy returns to the real world.

In addition, literary critics noticed certain intersections between The Nutcracker and the fairy tale The Town in the Snuffbox (1834), the author of which, Vladimir Odoevsky, was also a great supporter of Hoffmann's work. In the work of Odoevsky, the boy Misha, having seen amazing pictures in a musical snuffbox brought by his father, asks if he can enter the fabulous town of Tinker Bell. In The Nutcracker, Fritz Stahlbaum, while observing toy figures in a beautiful castle, makes a similar request to Drosselmeyer. In both cases, young heroes are refused, but the attitude of the authors of fairy tales to the situations they create is still different: according to Hoffmann, inanimate mechanisms deprive a person of freedom, while Odoevsky believed that children are able to “understand the life of a machine as some kind of living, individual faces".

Adaptations

Premiere of The Nutcracker at the Mariinsky Theatre. 1892

In 1892, Pyotr Ilyich Tchaikovsky's ballet The Nutcracker was presented to the audience, the libretto for which was created by Marius Petipa based on the work of Hoffmann and a later adaptation of the fairy tale made by Alexandre Dumas père. It is noteworthy that initially the ballet was supposed to contain revolutionary motives. But due to the fact that the production was planned for the Imperial Theaters, it was decided to leave the idea. Tchaikovsky worked on The Nutcracker as a poem about love, youth and the victory of good forces, in which the main theme was embodied in an abstract, allegorical form. The premiere took place on 6 December 1892 at the Mariinsky Theatre, with Sergei Legat as the Nutcracker. Since 1919, the ballet has entered the repertoire of the Bolshoi Theater, and since 1966, a peculiar tradition has begun: every year on December 31, The Nutcracker is staged on its stage.

The tale of Goodness and Justice found its expression in the genre of lyrical-characteristic ballet, where classical dance alternates with characteristic dance and pantomime, where symphonization plays an even greater role, the saturation of dance music with truly symphonic and operatic techniques for the development of musical images, and the content - with internal psychologism.

Based on Hoffmann's fairy tale, a number of animated films were also created. One of them, filmed by director Boris Stepantsev, won the first prize at the International Film Festival for Children and Youth Films in Spain (1974). In 2004, a cartoon by Tatyana Ilyina was released, the characters of which were voiced by Evgeny Mironov (The Nutcracker), Georgy Taratorkin (Master Drosselmeyer), Efim Shifrin (Mouse King). In addition, Hoffmann's work formed the basis of the American ballet film The Nutcracker and the feature film The Nutcracker and the Rat King by Andrei Konchalovsky. The movie was released in 2018

On December 18, 2017, a solemn celebration dedicated to the 125th anniversary of Pyotr Ilyich Tchaikovsky's ballet The Nutcracker will take place at the Mariinsky Theater in St. Petersburg.

Over the years of its existence, this ballet, with its magnificent scenery, the highest acting skills of the performers and unique musical accompaniment, has become not only the hallmark of Russian ballet all over the world, but also an invariable symbol of the holiday for Russians on the eve of the New Year.

1. The libretto of the ballet was based on an abridged children's fairy tale

Tchaikovsky's ballets occupy a special place on the world stage, and The Nutcracker is perhaps the most famous of them. The production owes its appearance to the famous choreographer Marius Petipa, a Frenchman who moved to Russia in his youth and laid the foundations of its ballet classics. Petipa created the libretto based on the fairy tale "The Nutcracker and the Mouse King" by the German writer Ernst Theodor Amadeus Hoffmann, published in the collection "Children's Tales" (1816).

The libretto was based on the French adaptation of the German fairy tale, abridged by Alexandre Dumas père, made in 1844. It is quite possible that the fairy tale itself would not have become so popular if Pyotr Ilyich Tchaikovsky had not written music for it.

By the way, Petipa and Tchaikovsky had already worked together before. Their previous joint project, the ballet The Sleeping Beauty, based on the fairy tale of the same name by Charles Perrault and presented to the public in 1890, was a resounding success.

Therefore, when the director of the Imperial Theaters, Ivan Vsevolozhsky, ordered the composer to compose a ballet and an opera that would run in one evening (the composer eventually wrote Iolanthe and The Nutcracker), Tchaikovsky again turned to Petipa to create the ballet.

However, as ballet historians say, the story of the Nutcracker did not really touch Petipa's soul. Having written the libretto, he said he was seriously ill and "shoved" the production onto his "deputy" - the second-ranking choreographer of the Imperial Theaters, Lev Ivanov. He essentially created the ballet, which premiered at the Mariinsky Theater on December 18, 1892.

2. Children were already dancing in the very first Nutcracker


Scene from The Nutcracker: Ekaterina Berezina as Marie and Valery Trofimchuk as Drosselmeyer at the State Classical Ballet Theatre. Photo: Anatoly Morkovkin, Gennady Khamelyanin/TASS

Incredible popularity of the ballet was brought not only by the incomparable music of Tchaikovsky, but also by the "star" cast of soloists. The main role of the Nutcracker was brilliantly performed by the outstanding dancer and representative of the famous theatrical dynasty Sergei Legat, and the dragee fairy was played by the Italian ballerina Antonietta Del-Era, who became famous thanks to her bright debut in Petita's ballet The Sleeping Beauty (the role of Princess Aurora).

The role of Prince Whooping cough was played by the famous artist Pavel Gerdt, whose dance style was distinguished by nobility, plasticity and mimic expressiveness. And adviser Drosselmeyer was played by comedy and vaudeville actor Timofey Stukolkin.

The main children's roles - Clara and Fritz - were played by students of the ballet department of the Imperial School Stanislav Belinskaya and Vasily Stukolkin.

3. There was confusion with the name of the main character

By the way, the name of the girl in the printed version and ballet performances sounds different: in Hoffmann, the main character is called Marie (Marichen), in Petipa's ballet - Clara. And in some Soviet productions of Tchaikovsky's ballet, she generally became ... Russian Masha. And that's why.

In the original, Clara is the name of the girl's favorite doll. However, in many performances of various theaters, the puppet was either excluded from the action, or remained nameless. This happened in the very first "The Nutcracker": although the doll was present in the production, Petipa gave her name to the main character, who, with his light hand, became not Marie, but Clara.

And in Soviet productions, starting from the late 1920s, the ballet was “Russified”. German names for ideological reasons ( after World War I 1914-1918 the Germans were considered enemies, and many things related to them were banned - Note. ed.) were eventually replaced by Russian ones. The girl Marie received the original Russian name Maria, and her brother from Fritz (in some versions of The Nutcracker) turned into Misha.

4. The main Russian Nutcracker for 18 years was Nikolai Tsiskaridze


Nikolai Tsiskaridze Photo: Sergey Fadeichev / TASS

Over the 125-year history, many versions of the outstanding ballet have been released. Alexander Gorsky, Fyodor Lopukhov, Vasily Vainonen, Yuri Grigorovich and Mikhail Shemyakin staged The Nutcracker on the stages of the Mariinsky and Bolshoi Theaters. And the main parts were performed by the legends of the Russian theater scene: Pyotr Gusev and Olga Mungalova (staged in 1929), Konstantin Sergeev and Galina Ulanova(1934), Alexey Ermolaev and Marina Semenova (1939), Vladimir Vasiliev and Ekaterina Maksimova (1966).

And in Russia, the Nutcracker became the most beloved Russian audience Nikolai Tsiskaridze . He made his debut in this role in 1995 in a production by Yuri Grigorovich at the Bolshoi. By the way, the then rising ballet star did not immediately “grow up” to the Prince. The artist's career in this performance began with a small role as a French doll. And only three years later, Nikolai became the main character.

Tsiskaridze was the main Russian Nutcracker for 18 years. He danced his part 101 times, even on December 31 - his birthday. Celebrating this holiday on stage as the Nutcracker, creating an unforgettable New Year's mood for the audience, has become a good tradition for him. “I make a gift to my beloved. Dancing in The Nutcracker is a joy for me, ”said Tsiskaridze, who last played his favorite role in 2013.

5. The Nutcracker also appeared on the silver screen


Elle Fanning in Andrey Konchalovsky's film "The Nutcracker and the Rat King" 2010 Photo: Kinopoisk

Hoffmann's work was not only repeatedly staged on the theater stage, but also filmed. The most famous domestic film version of the New Year's fairy tale is the 1973 cartoon The Nutcracker, directed by Boris Stepantsev and quite different from the original. In Hollywood in 1993 they filmed a fairy tale ballet with Macaulay Culkin, and in 2010 - a fantasy film by Andrei Konchalovsky "The Nutcracker and the Rat King". It starred Hollywood stars Elle Fanning and John Turturro.

It is curious that the English-language adaptation of Konchalovsky only remotely resembles a classic fairy tale and is designed for a foreign audience ( for example, children's names are Mary and Max - Approx. ed.). In the Russian box office, the roles in it were duplicated Alla Pugacheva (Rat Queen / Frau Eva), Philip Kirkorov (Rat King) and Julia Vysotskaya (Louise / Snow Fairy). However, the $90 million film flopped at the worldwide box office, grossing just over $16 million.

Now film versions of the ballet are often successfully shown in cinemas, on a wide screen. Particularly popular with the audience was the recording of The Nutcracker in 2014, in which the main roles were played by the stars of the Bolshoi Theater Denis Rodkin and Anna Nikulina.

On the twenty-fourth of December, the children of Medical Counselor Stahlbaum were not allowed to enter the hallway all day long, and they were not allowed to enter the drawing room adjacent to it at all. In the bedroom, huddled together, Fritz and Marie were sitting in a corner. It was already completely dark, and they were very frightened, because the lamps were not brought into the room, as it was supposed to be on Christmas Eve. Fritz, in a mysterious whisper, told his sister (she had just passed seven years old) that from the very morning in the locked rooms something rustled, rustled and tapped softly. And recently a little dark man with a large box under his arm darted through the hallway; but Fritz probably knows that this is their godfather, Drosselmeyer. Then Marie clapped her hands for joy and exclaimed:

Ah, did the godfather make something for us this time?

The senior councilor of the court, Drosselmeyer, was not distinguished by his beauty: he was a small, lean man with a wrinkled face, with a large black plaster instead of his right eye, and completely bald, which is why he wore a beautiful white wig; and this wig was made of glass, and, moreover, extremely skillfully. The godfather himself was a great artisan, he even knew a lot about watches and even knew how to make them. Therefore, when the Stahlbaums began to act up and some clock stopped singing, the godfather Drosselmeyer always came, took off his glass wig, pulled off his yellow frock coat, tied a blue apron and poked the watch with prickly instruments, so that little Marie was very sorry for them; but he did no harm to the clock, on the contrary, it came to life again and immediately began to merrily tick-tick, ring and sing, and everyone was very happy about this. And every time the godfather had something entertaining for the children in his pocket: either a little man, rolling his eyes and shuffling his foot, so that one cannot look at him without laughing, then a box from which a bird jumps out, then some other little thing. And for Christmas, he always made a beautiful, intricate toy, on which he worked hard. Therefore, the parents immediately carefully removed his gift.

Ah, the godfather has made something for us this time! Marie exclaimed.

Fritz decided that this year it would certainly be a fortress, and in it very pretty, well-dressed soldiers would march and throw out articles, and then other soldiers would appear and go on the attack, but those soldiers in the fortress would bravely shoot at them from cannons, and there will be noise and uproar.

No, no, - Fritz Marie interrupted, - my godfather told me about a beautiful garden. There is a large lake there, wonderfully beautiful swans with golden ribbons around their necks swim on it and sing beautiful songs. Then a girl will come out of the garden, go to the lake, lure the swans and feed them with sweet marzipan...

Swans do not eat marzipan, - Fritz interrupted her not very politely, - and a godfather cannot make a whole garden. And what use are his toys to us? We take them right away. No, I like my father's and mother's gifts much more: they remain with us, we dispose of them ourselves.

And so the children began to wonder what their parents would give them. Marie said that Mamsell Trudchen (her big doll) had completely deteriorated: she had become so clumsy, she fell to the floor every now and then, so that her whole face was now covered in nasty marks, and there was no point in driving her in a clean dress. No matter how much you tell her, nothing helps. And then, mother smiled when Marie so admired Greta's umbrella. Fritz, on the other hand, assured that he did not have enough bay horse in the court stable, and there was not enough cavalry in the troops. Papa knows this well.

So, the children knew perfectly well that their parents had bought them all sorts of wonderful gifts and were now placing them on the table; but at the same time they had no doubt that the kind infant Christ shone with his gentle and meek eyes, and that Christmas gifts, as if touched by his gracious hand, bring more joy than all others. The older sister Louise reminded the children about this, who endlessly whispered about the expected gifts, adding that the infant Christ always directs the hand of parents, and children are given something that gives them true joy and pleasure; and he knows about this much better than the children themselves, who, therefore, should not think about anything or guess, but calmly and obediently wait for what they will be presented with. Sister Marie became thoughtful, and Fritz muttered under his breath: “Still, I would like a bay horse and hussars.”

It got completely dark. Fritz and Marie sat tightly pressed against each other, and did not dare to utter a word; it seemed to them that quiet wings were flying over them and beautiful music was heard from afar. A light beam slid along the wall, then the children realized that the infant Christ had flown away on shining clouds to other happy children. And at the same moment a thin silver bell sounded: “Ding-ding-ding-ding! The doors opened, and the Christmas tree shone with such brilliance that the children shouted loudly: “Ax, ax! "- froze on the threshold. But dad and mom came to the door, took the children by the hands and said:

Come, come, dear children, look what the Christ child has given you!

Present

I am addressing you directly, benevolent reader or listener - Fritz, Theodor, Ernst, whatever your name is - and I ask you to imagine as vividly as possible a Christmas table, all crammed with wonderful colorful gifts that you received this Christmas , then it will not be difficult for you to understand that the children, stupefied with delight, froze in place and looked at everything with shining eyes. Only a minute later, Marie took a deep breath and exclaimed:

Oh, how wonderful, oh, how wonderful!

And Fritz jumped high several times, which he was a great master of. Surely, the children have been kind and obedient all year, because they have never received such wonderful, beautiful gifts as today.

A large Christmas tree in the middle of the room was hung with golden and silver apples, and on all the branches, like flowers or buds, grew sugared nuts, colorful candies, and all sorts of sweets in general. But most of all, hundreds of small candles adorned the wonderful tree, which, like stars, sparkled in dense greenery, and the Christmas tree, flooded with lights and illuminating everything around, beckoned to pick the flowers and fruits growing on it. Everything around the tree was full of color and shone. And what was not there! I don't know who can describe it! .. Marie saw elegant dolls, pretty toy dishes, but most of all she was pleased with her silk dress, skillfully trimmed with colored ribbons and hanging so that Marie could admire it from all sides; she admired him to her heart's content, repeating over and over:

Oh, what a beautiful, what a sweet, sweet dress! And they will let me, probably they will let me, in fact they will let me wear it!

Fritz, meanwhile, had already galloped and trotted around the table three or four times on a new bay horse, which, as he expected, was tethered by the table with gifts. Getting down, he said that the horse is a fierce beast, but that's okay: he'll train him. Then he reviewed the new squadron of hussars; they were dressed in magnificent red uniforms embroidered with gold, brandished silver sabers and sat on horses so snow-white that one might think that the horses were also made of pure silver.

Just now the children, having calmed down a little, wanted to take up the picture books lying open on the table so that they could admire various wonderful flowers, colorfully painted people and pretty children playing, depicted so naturally, as if they were really alive and were about to speak, - so, just now the children wanted to take up wonderful books, when the bell rang again. The children knew that now it was the turn of the gifts of the godfather Drosselmsier, and they ran to the table that stood against the wall. The screens behind which the table had until then been hidden were quickly removed. Oh what the children saw! On a green lawn dotted with flowers stood a wonderful castle with many mirrored windows and golden towers. Music began to play, doors and windows were flung open, and everyone saw that tiny, but very elegantly made gentlemen and ladies in hats with feathers and dresses with long trains were walking around in the halls. In the central hall, which was so radiant (so many candles were burning in silver chandeliers!), children in short camisoles and skirts danced to the music. A gentleman in an emerald green cloak looked out of the window, bowed and hid again, and below, in the doors of the castle, the godfather Drosselmeyer appeared and left again, only he was as tall as his father's little finger, no more.

Fritz put his elbows on the table and for a long time looked at the wonderful castle with dancing and walking little men. Then he asked:

Godfather, but godfather! Let me go to your castle!

The senior adviser of the court said that this could not be done. And he was right: it was foolish of Fritz to ask for a castle that, with all its golden towers, was smaller than him. Fritz agreed. Another minute passed, gentlemen and ladies were still walking around in the castle, children were dancing, an emerald little man was still looking out of the same window, and the godfather Drosselmeyer was still approaching the same door.

Fritz exclaimed impatiently:

Godfather, now get out of that other door!

You can't do that, dear Fritschen, - objected the senior councilor of the court.

Well, then, - continued Fritz, - they led the little green man that looks out of the window to take a walk with the others through the halls.

This is also impossible, - the senior adviser of the court again objected.

Well, then let the children come down! Fritz exclaimed. - I want to get a better look at them.

None of this is possible, - said the senior adviser of the court in an annoyed tone. - The mechanism is made once for all, you can't remake it.

Ah, so-so! said Fritz. - None of this is possible ... Listen, godfather, since smart little men in the castle only know what to repeat the same thing, so what's the use of them? I do not need them. No, my hussars are much better! They march forward and backward as I please, and are not locked in the house.

And with these words, he ran away to the Christmas table, and at his command, the squadron on silver mines began to gallop back and forth - in all directions, cut with sabers and shoot to their heart's content. Marie, too, quietly moved away: and she, too, was bored with dancing and festivities of dolls in the castle. Only she tried to make it not noticeable, not like brother Fritz, because she was a kind and obedient girl. The senior adviser of the court said in a displeased tone to the parents:

Such an intricate toy is not for foolish children. I'll take my castle.

But then the mother asked me to show her the internal structure and the amazing, very skillful mechanism that set the little men in motion. Drosselmeyer disassembled and reassembled the entire toy. Now he cheered up again and presented the children with some beautiful brown men who had golden faces, arms and legs; they were all from Thorn and smelled delicious of gingerbread. Fritz and Marie were very happy with them. The elder sister Louise, at the request of her mother, put on an elegant dress given by her parents, which suited her very well; and Marie asked to be allowed, before putting on a new dress, to admire him a little more, which she was willingly allowed to do.

favorite

But in fact, Marie didn’t leave the table with gifts because she only now noticed something that she hadn’t seen before: when Fritz’s hussars, who had previously stood in line at the Christmas tree, came out, a wonderful little man appeared in plain sight. He behaved quietly and modestly, as if calmly waiting for his turn to come. True, he was not very foldable: an overly long and dense body on short and thin legs, and his head also seemed to be too big. On the other hand, it was immediately clear from the smart clothes that he was a well-mannered and tasteful person. He was wearing a very beautiful shiny purple hussar dolman, all in buttons and braids, the same breeches and such smart boots that it was hardly possible to wear similar ones even to officers, and even more so to students; they sat on slender legs as deftly as if they were drawn on them. Of course, it was absurd that, with such a suit, he had attached a narrow, clumsy cloak to his back, as if cut out of wood, and a miner’s hat was pulled over his head, but Marie thought: prevents him from being a sweet, dear godfather." In addition, Marie came to the conclusion that the godfather, even if he was as dandy as a little man, still never equaled him in cuteness. Carefully peering into the nice little man, who fell in love with her at first sight, Marie noticed how kindly his face shone. Greenish bulging eyes looked friendly and benevolent. The carefully curled beard of white paper darning, edging his chin, suited the little man very much - after all, the gentle smile on his scarlet lips stood out so much more noticeable.

Oh! Marie exclaimed at last. - Ah, dear daddy, for whom is this pretty little man that stands under the tree itself?

He, dear child, answered the father, will work hard for all of you: his business is to carefully crack hard nuts, and he was bought for Louise and for you and Fritz.

With these words, the father carefully took him from the table, lifted the wooden cloak, and then the little man opened his mouth wide, wide and bared two rows of very white sharp teeth. Marie put a nut in his mouth, and - click! - the little man gnawed it, the shell fell, and Marie had a tasty nucleolus in her palm. Now everyone - and Marie too - understood that the smart little man was descended from the Nutcrackers and continued the profession of his ancestors. Marie cried out loudly for joy, and her father said:

Since you, dear Marie, liked the Nutcracker, then you yourself should take care of him and take care of him, although, as I said, both Louise and Fritz can also use his services.

Marie immediately took the Nutcracker and gave him nuts to chew on, but she chose the smallest ones so that the little man did not have to open his mouth too wide, since this, to tell the truth, did not make him look good. Louise joined her, and the Nutcracker's kind friend worked for her too; he seemed to carry out his duties with great pleasure, because he always smiled affably.

Fritz, meanwhile, got tired of riding and marching. When he heard the merrily cracking of nuts, he also wanted to taste them. He ran up to his sisters and burst out laughing from the bottom of his heart at the sight of the amusing little man who was now passing from hand to hand and untiringly opening and closing his mouth. Fritz shoved the biggest and hardest nuts for him, but suddenly there was a crack - crack, crack! - three teeth fell out of the Nutcracker's mouth and the lower jaw sagged and staggered.

Oh, poor, dear Nutcracker! Marie screamed and took it from Fritz.

What a fool! Fritz said. - He takes nuts to crack, but his own teeth are no good. It's true, he doesn't know his business. Give it here, Marie! Let him crack nuts for me. It doesn't matter if he breaks off the rest of his teeth, and the whole jaw to boot. There is nothing to stand on ceremony with him, a loafer!

No no! Marie screamed with tears. - I will not give you my dear Nutcracker. Look how pitifully he looks at me and shows his sick mouth! You are evil: you beat your horses and even let the soldiers kill each other.

That's how it's supposed to be, you don't understand it! shouted Fritz. - And the Nutcracker is not only yours, he is mine too. Give it here!

Marie burst into tears and hastily wrapped the sick Nutcracker in a handkerchief. Then the parents came up with the godfather Drosselmeyer. To Marie's chagrin, he took Fritz's side. But the father said:

I purposely gave the Nutcracker to Marie's care. And he, as I see it, right now especially needs her cares, so let her alone manage him and no one interferes in this matter. In general, I am very surprised that Fritz requires further services from the victim in the service. Like a real soldier, he must know that the wounded are never left in the ranks.

Fritz was very embarrassed and, leaving alone the nuts and the Nutcracker, quietly moved to the other side of the table, where his hussars, having posted sentries, as expected, settled down for the night. Marie picked up the Nutcracker's teeth that had fallen out; she tied up her injured jaw with a beautiful white ribbon, which she broke off from her dress, and then even more carefully wrapped the poor little man, who had turned pale and, apparently, frightened, with a scarf. Cradling him like a small child, she began to look at the beautiful pictures in the new book, which lay among other gifts. She became very angry, although it was not at all like her, when the godfather began to laugh at the fact that she was babysitting such a freak. Here she again thought of the strange resemblance to Drosselmeyer, which she noticed already at the first glance at the little man, and very seriously said:

Who knows, dear godfather, who knows if you would be as handsome as my dear Nutcracker, even if you dressed up no worse than him and put on the same smart, shiny boots.

Marie could not understand why her parents laughed so loudly, and why the senior councilor of the court had such a reddened nose, and why he now does not laugh with everyone. True, there were reasons for that.

Miracles

As soon as you enter the Stahlbaums' living room, right there, right next to the door to the left, against the wide wall, there is a tall glass cabinet, where the children put away the wonderful gifts that they receive every year. Louise was still very young when her father ordered a closet from a very skilled carpenter, and he inserted such transparent glasses into it and generally did everything with such skill that the toys in the closet looked, perhaps, even brighter and more beautiful than when they were picked up. . On the top shelf, which Marie and Fritz could not reach, stood the intricate products of Herr Drosselmeyer; the next one was reserved for picture books; the bottom two shelves Marie and Fritz could occupy whatever they pleased. And it always turned out that Marie arranged a doll room on the bottom shelf, and Fritz billeted his troops above it. That is what happened today. While Fritz was placing the hussars upstairs, Marie put Mamselle Trudchen downstairs to the side, put the new elegant doll in a well-furnished room and asked her for a treat. I said that the room was excellently furnished, which is true; I don’t know if you, my attentive listener, Marie, just like little Stahlbaum - you already know that her name is also Marie - so I say that I don’t know if you have, just like her , a colorful sofa, several pretty chairs, a charming table, and most importantly, an elegant, shiny bed on which the most beautiful dolls in the world sleep - all this stood in a corner in a closet, the walls of which in this place were even pasted over with colored pictures, and you you can easily understand that the new doll, which, as Marie found out that evening, was called Clerchen, felt great here.

It was already late in the evening, midnight was approaching, and the godfather Drosselmeyer had long gone, and the children still could not tear themselves away from the glass cabinet, no matter how much their mother persuaded them to go to bed.

True, Fritz finally exclaimed, it’s time for the poor fellows (he meant his hussars) to rest, and in my presence none of them will dare to nod, I’m sure of that!

And with these words he left. But Marie kindly asked:

Dear mother, let me stay here just a minute, just a minute! I have so many things to do, I’ll manage it and go to bed right now ...

Marie was a very obedient, intelligent girl, and therefore her mother could safely leave her for another half hour alone with toys. But so that Marie, having played with a new doll and other entertaining toys, would not forget to put out the candles burning around the closet, mother blew them all out, so that only a lamp remained in the room, hanging in the middle of the ceiling and spreading a soft, cozy light.

Don't stay too long, dear Marie. Otherwise, you won’t wake up tomorrow, my mother said, leaving for the bedroom.

As soon as Marie was left alone, she immediately set about what had long been in her heart, although she herself, not knowing why, did not dare to confess her plans even to her mother. She was still cradling the handkerchief-wrapped Nutcracker. Now she laid it carefully on the table, quietly unwrapped the handkerchief and examined the wounds. The Nutcracker was very pale, but he smiled so pitifully and kindly that he touched Marie to the depths of her soul.

Oh, dear Nutcracker, she whispered, please don't be angry that Fritz hurt you: he didn't do it on purpose. He's just hardened by the harsh life of a soldier, otherwise he's a very good boy, believe me! And I will take care of you and take care of you until you get better and have fun. To insert strong teeth into you, to straighten your shoulders - this is the business of the godfather Drosselmeyer: he is a master at such things ...

However, Marie did not have time to finish. When she mentioned Drosselmeyer's name, the Nutcracker suddenly grimaced, and prickly green lights flashed in his eyes. But at the moment when Marie was about to get truly frightened, the piteously smiling face of the kind Nutcracker looked at her again, and now she realized that his features had been distorted by the light of the lamp that had flickered from the draft.

Oh, what a stupid girl I am, why was I scared and even thought that a wooden doll could make faces! But still, I really love the Nutcracker: after all, he is so funny and so kind ... So you need to take care of him properly.

With these words, Marie took her Nutcracker in her arms, went to the glass cabinet, squatted down and said to the new doll:

I beg you, Mamselle Clerchen, give up your bed to the poor sick Nutcracker, and spend the night yourself on the sofa sometime. Think about it, you're so strong, and besides, you're completely healthy - look at how chubby and ruddy you are. And not every, even a very beautiful doll has such a soft sofa!

Mamzel Clerchen, dressed up in a festive and important way, pouted without uttering a word.

And why am I standing on ceremony! - said Marie, removed the bed from the shelf, carefully and carefully laid the Nutcracker there, tied a very beautiful ribbon around his injured shoulders, which she wore instead of a sash, and covered him with a blanket up to his very nose.

“Only there is no need for him to stay here with the ill-mannered Clara,” she thought, and moved the crib along with the Nutcracker to the top shelf, where he found himself near the beautiful village in which Fritz's hussars were stationed. She locked the closet and was about to go into the bedroom, when suddenly ... listen carefully, children! .. when all of a sudden in all corners - behind the stove, behind the chairs, behind the cabinets - a quiet, quiet whispering, whispering and rustling began. And the clock on the wall hissed, grunted louder and louder, but could not strike twelve. Marie glanced there: a large gilded owl, sitting on the clock, hung its wings, completely covered the clock with them and stretched forward a nasty cat's head with a crooked beak. And the clock wheezed louder and louder, and Marie distinctly heard:

Tick-and-tock, tick-tock! Don't whine so loud! The mouse king hears everything. Trick-and-Track, Boom Boom! Well, the clock, an old chant! Trick-and-Track, Boom Boom! Well, strike, strike, call: the time is coming for the king!

And ... "beam-bom, beam-bom! ”- the clock dullly and hoarsely struck twelve strokes. Marie was very scared and almost ran away with fear, but then she saw that the godfather Drosselmeyer was sitting on the clock instead of an owl, hanging the flaps of his yellow frock coat on both sides like wings. She mustered her courage and shouted loudly in a whining voice:

Godfather, listen, godfather, why did you climb there? Get down and don't scare me, you ugly godfather!

But then a strange giggling and squeaking was heard from everywhere, and running and stomping began behind the wall, as if from a thousand tiny paws, and thousands of tiny lights looked through the cracks in the floor. But they weren't lights - no, they were little sparkling eyes, and Marie saw that mice were peeking out from everywhere and getting out from under the floor. Soon the whole room went: top-top, hop-hop! The eyes of mice shone brighter and brighter, their hordes became more and more numerous; finally they lined up in the same order in which Fritz usually lined up his soldiers before the battle. Marie was very amused; she did not have an innate aversion to mice, like other children, and her fear had completely subsided, but suddenly such a terrible and piercing squeak was heard that goosebumps ran down her back. Oh, what did she see! No, really, dear reader Fritz, I know very well that you, like the wise, courageous commander Fritz Stahlbaum, have a fearless heart, but if you saw what Marie saw, really, you would run away. I even think you would slip into bed and unnecessarily pull the covers up to your ears. Oh, poor Marie couldn't do it, because - just listen, children! - sand, lime and brick fragments rained down at her very feet, as if from an underground shock, and seven mouse heads in seven brightly sparkling crowns crawled out from under the floor with a nasty hiss and squeak. Soon the whole body, on which seven heads were sitting, got out, and the whole army greeted three times with a loud squeak a huge mouse crowned with seven diadems. Now the army immediately set in motion and - hop-hop, top-top! - headed straight for the closet, straight for Marie, who was still standing pressed against the glass door.

Marie's heart had already been pounding with horror before, so that she was afraid that it would immediately jump out of her chest, because then she would die. Now she felt as if her blood had frozen in her veins. She staggered, losing consciousness, but then suddenly there was a click-clack-hrr! .. - and shards of glass fell down, which Marie broke with her elbow. At that very moment she felt a burning pain in her left arm, but her heart was immediately relieved: she no longer heard the screeching and squeaking. Everything was silent for a moment. And although she did not dare to open her eyes, she still thought that the sound of the glass had frightened the mice and they hid in their holes.

But what is it again? Behind Marie, in the closet, a strange noise arose and thin voices rang out:

Form up, platoon! Form up, platoon! Fight forward! Midnight strikes! Form up, platoon! Fight forward!

And a harmonious and pleasant chime of melodious bells began.

Ah, but this is my music box! - Marie was delighted and quickly jumped back from the closet.

Then she saw that the closet was glowing strangely and some fuss and fuss was going on in it.

The dolls ran randomly back and forth and waved their arms. Suddenly the Nutcracker got up, threw off the blanket, and jumping off the bed in one jump, shouted loudly:

Snap-click-click, stupid mouse regiment! That will be good, mouse regiment! Click-click, mouse regiment - rushing out of lye - it will be a good idea!

And at the same time he drew his tiny saber, waved it in the air and shouted:

Hey you, my faithful vassals, friends and brothers! Will you stand up for me in a hard fight?

And immediately three scaramouches, Pantalone, four chimney sweeps, two itinerant musicians and a drummer answered:

Yes, our sovereign, we are faithful to you to the grave! Lead us into battle - to death or to victory!

And they rushed after the Nutcracker, who, burning with enthusiasm, ventured a desperate jump from the top shelf. It was good for them to jump: they were not only dressed in silk and velvet, but their bodies were also stuffed with cotton wool and sawdust; so they plopped down like little bundles of wool. But the poor Nutcracker would certainly have broken his arms and legs; just think - from the shelf where he stood, to the bottom was almost two feet, and he himself was fragile, as if carved from linden. Yes, the Nutcracker would certainly have broken his arms and legs if, at the very moment he jumped, Mamselle Clerchen had not jumped off the sofa and taken the hero amazing with a sword into her tender arms.

O dear, kind Clerchen! - Marie exclaimed in tears, - how I was mistaken in you! Of course, you wholeheartedly gave up the bed to your friend Nutcracker.

And then Mamselle Clerchen spoke, tenderly pressing the young hero to her silken breast:

Is it possible for you, sovereign, to go into battle, towards danger, sick and with wounds that have not yet healed! Look, your brave vassals are gathering, they are eager for battle and are sure of victory. Scaramouche, Pantalone, chimney sweeps, musicians and a drummer are already downstairs, and among the dolls with surprises on my shelf, I notice a strong animation and movement. Deign, my lord, to rest on my chest, or agree to contemplate your victory from the height of my hat, decorated with feathers. - That's what Clerchen said; but the Nutcracker behaved in a completely unseemly manner and kicked so much that Clerchen had to hastily put him on a shelf. At the same moment he very politely dropped to one knee and murmured:

O beautiful lady, and on the battlefield I will not forget the mercy and favor you have shown me!

Then Clerchen bent down so low that she seized him by the handle, carefully lifted him up, quickly untied her sequined sash and was about to put it on the little man, but he stepped back two steps, pressed his hand to his heart and said very solemnly:

O beautiful lady, do not waste your favors on me, for ... - he stammered, took a deep breath, quickly tore off the ribbon that Marie tied for him, pressed it to his lips, tied it around his arm in the form of a scarf and, enthusiastically waving a sparkling naked sword, jumped quickly and deftly, like a bird, from the edge of the shelf to the floor.

You, of course, immediately understood, my favorable and very attentive listeners, that the Nutcracker, even before he truly came to life, already perfectly felt the love and care with which Marie surrounded him, and that only out of sympathy for her he did not want to accept from Mamselle Clerchen her belt, despite the fact that it was very beautiful and sparkled all over. The faithful, noble Nutcracker preferred to adorn himself with Marie's modest ribbon. But what's next?

As soon as the Nutcracker jumped on the sing, the screech and squeak rose again. Ah, after all, countless hordes of evil mice have gathered under a large table, and a disgusting mouse with seven heads is ahead of them all!

Will there be something?

Battle

Drummer, my faithful vassal, beat the general offensive! the Nutcracker commanded loudly.

And immediately the drummer began to beat out the drum in the most skillful manner, so that the glass doors of the cabinet trembled and rattled. And something rattled and crackled in the closet, and Marie saw all the boxes in which Fritz's troops were quartered open at once, and the soldiers jumped out of them right onto the bottom shelf and lined up there in shining rows. The Nutcracker ran along the ranks, inspiring the troops with his speeches.

Where are those rascal trumpeters? Why don't they trumpet? cried the Nutcracker in his hearts. Then he quickly turned to the slightly pale Pantaloon, whose long chin was shaking violently, and solemnly said: General, I know your valor and experience. It's all about quickly assessing the position and using the moment. I entrust you with the command of all cavalry and artillery. You don't need a horse - you have very long legs, so you can ride your own for two just fine. Do your duty!

Pantalone immediately put his long, dry fingers into his mouth and whistled so piercingly as if a hundred horns had been sung loudly at once. Neighing and stomping were heard in the closet, and - look! - Fritz's cuirassiers and dragoons, and in front of all the new, brilliant hussars, set out on a campaign and soon found themselves below, on the floor. And so the regiments, one by one, marched in front of the Nutcracker with banners fluttering and drumming, and lined up in wide rows across the whole room. All of Fritz's guns, accompanied by the gunners, roared forward and went to drink: boom-boom! .. And Marie saw Dragee fly into the dense hordes of mice, powdering them with white sugar, which made them very embarrassed. But most of all the damage was done to the mice by a heavy battery that drove onto my mother's footstool and - boom-boom! - continuously shelling the enemy with round gingerbread, from which many mice died.

However, the mice kept advancing and even captured a few cannons; but then there was a noise and a roar - trr-trr! - and because of the smoke and dust, Marie could hardly make out what was happening. One thing was clear: both armies fought with great ferocity, and victory passed from one side to the other. The mice brought fresh and fresh forces into battle, and the silver pills, which they threw very skillfully, reached the closet. Clerchen and Trudchen rushed about the shelf and broke their handles in despair.

Shall I die in my prime, shall I die, such a beautiful doll! yelled Clerchen.

Not for the same reason that I was so well preserved in order to die here, within four walls! Trudchen wailed.

Then they fell into each other's arms and howled so loudly that even the furious roar of battle could not drown them out.

You have no idea, my dear listeners, what was going on here. Again and again the guns thumped: prr-prr! .. Dr-dr! .. Bang-bang-bang-bang! .. Boom-burum-boom-burum-boom! .. And then the mouse king and mice squealed and squealed, and then the formidable and mighty voice of the Nutcracker, who commanded the battle, was heard again. And it was seen how he himself bypasses his battalions under fire.

Pantalone made some extremely valiant cavalry charges and covered himself with glory. But the mouse artillery bombarded Fritz's hussars with disgusting, fetid cannonballs, which left terrible stains on their red uniforms, which is why the hussars did not rush forward. Pantalone commanded them to “turn to the left” and, inspired by the role of the commander, turned left himself, followed by the cuirassiers and dragoons, and the whole cavalry went home. Now the position of the battery, which had taken up position on the footstool, was threatened; it did not take long for the hordes of nasty mice to surge in and rush into the attack so furiously that they overturned the stool along with the cannons and gunners. The Nutcracker, apparently, was very puzzled and ordered a retreat on the right flank. You know, my listener Fritz, who is highly experienced in military affairs, that such a maneuver means almost the same thing as fleeing from the battlefield, and you, together with me, are already lamenting the failure that was to befall the army of Marie's little favorite - the Nutcracker. But turn your eyes away from this misfortune and look at the left flank of the Nutcracker army, where everything is quite well and the commander and the army are still full of hope. In the heat of battle, detachments of mouse cavalry quietly stepped out from under the chest of drawers and with a disgusting squeak furiously attacked the left flank of the Nutcracker army; but what resistance did they meet! Slowly, as far as the uneven terrain allowed, for it was necessary to get over the edge of the cabinet, a body of pupae with surprises led by two Chinese emperors stepped out and formed up in a square. These brave, very colorful and elegant regiments, made up of gardeners, Tyroleans, Tungus, hairdressers, harlequins, cupids, lions, tigers, monkeys and monkeys, fought with composure, courage and endurance. With courage worthy of the Spartans, this select battalion would have wrested victory from the hands of the enemy, if some brave enemy captain had not broken through with insane courage to one of the Chinese emperors and had not bitten off his head, and he did not crush two Tunguses and a monkey when falling. As a result, a gap was formed, where the enemy rushed; and soon the whole battalion was gnawed. But little benefit was derived by the enemy from this atrocity. As soon as the bloodthirsty soldier of the mouse cavalry gnawed one of his brave opponents in half, a printed piece of paper fell right into his throat, from which he died on the spot. But did this help the Nutcracker army, which, once starting a retreat, retreated further and further and suffered more and more losses, so that soon only a bunch of daredevils with the ill-fated Nutcracker at the head still held out at the closet itself? "Reserves, here! Pantalone, Scaramouche, drummer, where are you? called out the Nutcracker, counting on the arrival of fresh forces that were to come out of the glass case. True, some brown men from Thorn came from there, with golden faces and golden helmets and hats; but they fought so clumsily that they never hit the enemy and probably would have knocked off the hat of their commander the Nutcracker. Enemy huntsmen soon gnawed off their legs, so that they fell and in doing so passed many of the Nutcracker's associates. Now the Nutcracker, pressed on all sides by the enemy, was in great danger. He wanted to jump over the edge of the closet, but his legs were too short. Clerchen and Trudchen lay in a swoon - they could not help him. Hussars and dragoons briskly galloped past him straight into the closet. Then, in the utmost despair, he exclaimed loudly:

Horse, horse! Half the kingdom for a horse!

At that moment, two enemy arrows clung to his wooden cloak, and the mouse king jumped to the Nutcracker, emitting a victorious squeak from all his seven throats.

Marie was no longer in control of herself.

Oh my poor Nutcracker! - she exclaimed, sobbing, and, not realizing what she was doing, she took off a shoe from her left foot and threw it with all her might into the very thick of the mice, right at their king.

At the same moment, everything seemed to crumble to dust, and Marie felt pain in her left elbow, even more burning than before, and fell unconscious to the floor.

Disease

When Marie woke up after a deep slumber, she saw that she was lying in her bed, and through the frozen windows a bright, sparkling sun was shining into the room.

By her very bed sat a stranger, in whom, however, she soon recognized the surgeon Wendelstern. He said in an undertone:

She finally woke up...

Then my mother came up and looked at her with a frightened, inquisitive look.

Ah, dear mother, - Marie murmured, - tell me: the nasty mice have finally left and the glorious Nutcracker has been saved?

A lot of nonsense to talk, dear Marihen! - objected the mother. - Well, what do mice need your Nutcracker for? But you, bad girl, scared us to death. It always happens when children are self-willed and do not obey their parents. You played with dolls until late at night yesterday, then dozed off, and you must have been frightened by a mouse that slipped by by chance: after all, we don’t have mice in general. In a word, you broke the glass in the closet with your elbow and hurt your hand. It’s good that you didn’t cut a vein with glass! Dr. Wendelstern, who was just now removing the fragments stuck there from your wound, says that you would remain crippled for life and might even bleed to death. Thank God, I woke up at midnight, saw that you were still not in the bedroom, and went to the living room. You lay unconscious on the floor by the closet, covered in blood. I nearly passed out with fear. You were lying on the floor, and Fritz's tin soldiers, various toys, broken dolls with surprises and gingerbread men were scattered around. You held the Nutcracker in your left hand, from which blood oozed, and your shoe was lying nearby ...

Oh, mother, mother! Mari interrupted her. - After all, these were traces of the great battle between dolls and mice! That's why I was so frightened that the mice wanted to take prisoner the poor Nutcracker, who commanded the puppet army. Then I threw the shoe at the mice, and I don’t know what happened next.

Dr. Wendelstern winked at his mother, and she very affectionately began to persuade Marie:

That's enough, that's enough, my dear baby, calm down! The mice all ran away, and the Nutcracker stands behind the glass in the closet, safe and sound.

Then the adviser of medicine entered the bedroom and started a long conversation with the surgeon Wendelstern, then he felt Marie's pulse, and she heard what they were talking about the fever caused by the wound.

For several days she had to lie in bed and swallow medicines, although, apart from the pain in her elbow, she did not feel much discomfort. She knew that the dear Nutcracker had come out of the battle unharmed, and at times it seemed to her, as if through a dream, that he was saying to her in a very clear, albeit extremely sad voice: “Marie, beautiful lady, I owe you a lot, but you can do more for me."

Marie thought in vain what it could be, but nothing came to her mind. She could not really play because of a sore hand, and if she took up reading or leafing through picture books, her eyes rippled, so she had to give up this activity. Therefore, time dragged on for her endlessly, and Marie could hardly wait for dusk, when her mother sat down by her bed and read and told all sorts of wonderful stories.

And just now, the mother had just finished an entertaining tale about Prince Fakardin, when the door suddenly opened, and the godfather Drosselmeyer entered.

Come on, let me have a look at our poor wounded Marie,” he said.

As soon as Marie saw her godfather in the usual yellow frock coat, the night when the Nutcracker was defeated in the battle with mice flashed before her eyes with all the vivacity, and she involuntarily shouted to the senior councilor of the court:

Oh godfather, how ugly you are! I perfectly saw how you sat on the clock and hung your wings on them so that the clock would beat more quietly and not frighten away the mice. I perfectly heard you call the mouse king. Why didn't you rush to help the Nutcracker, why didn't you rush to help me, ugly godfather? It's all your fault. Because of you, I cut my hand and now I have to lie sick in bed!

The mother asked in fear:

What's wrong with you, dear Marie?

But the godfather made a strange face and spoke in a crackling, monotonous voice:

The pendulum swings with a creak. Less knocking - that's the thing. Trick-and-Track! Always and henceforth the pendulum must creak and sing songs. And when the bell rings: bim-and-bom! - the deadline is coming. Don't be scared, my friend. The clock strikes on time and by the way, to the death of the mouse army, and then the owl will fly off. One-and-two and one-and-two! The clock strikes, since the time has come for them. The pendulum swings with a creak. Less knocking - that's the thing. Tick-and-tock and trick-and-track!

Marie stared wide-eyed at her godfather, because he seemed very different and much uglier than usual, and with his right hand he waved back and forth, like a clown who is pulled by a string.

She would have been very frightened if her mother had not been here and if Fritz, who had slipped into the bedroom, had not interrupted his godfather with loud laughter.

Ah, godfather Drosselmeyer, - Fritz exclaimed, - today you are so funny again! You are grimacing just like my clown, whom I have long ago thrown behind the stove.

The mother was still very serious and said:

Dear Mr Senior Counselor, this is indeed a strange joke. What do you have in mind?

Oh my God, have you forgotten my favorite watchmaker's song? answered Drosselmeyer, laughing. - I always sing it to such sick people as Marie.

And he quickly sat down to the bed and said:

Do not be angry that I did not scratch out all fourteen of the mouse king's eyes at once - this could not be done. But now I will make you happy.

With these words, the senior counselor of the court reached into his pocket and carefully pulled out - what do you think, children, what? - The Nutcracker, to whom he very skillfully inserted the fallen teeth and set the diseased jaw.

Marie cried out with joy, and her mother said, smiling:

You see how your godfather cares about your Nutcracker...

But still confess, Marie, - the godfather interrupted Mrs. Stahlbaum, because the Nutcracker is not very foldable and unattractive. If you want to listen, I will gladly tell you how such deformity appeared in his family and became hereditary there. Or maybe you already know the tale of Princess Pirlipat, the witch Myshilda and the skilled watchmaker?

Listen, godfather! Fritz intervened. - What is true is true: you have perfectly inserted the Nutcracker's teeth, and the jaw is no longer staggering either. But why doesn't he have a sword? Why didn't you tie a sword on him?

Well, you, restless one, - the senior adviser of the court grumbled, - you will never please you! The Nutcracker's saber does not concern me. I cured him - let him get himself a saber wherever he wants.

Correctly! Fritz exclaimed. "If he's a brave fellow, he'll get himself a gun."

So, Marie, - continued the godfather, - tell me, do you know the tale of Princess Pirlipat?

Oh no! Marie replied. - Tell me, dear godfather, tell me!

I hope, dear Mr. Drosselmeyer, - said my mother, - that this time you will not tell such a terrible tale as usual.

Well, of course, dear Mrs. Stahlbaum, - answered Drosselmeyer. On the contrary, what I shall have the honor to present to you is very amusing.

Oh, tell me, tell me, dear godfather! the children shouted.

And the senior councilor of the court began thus:

The Tale of the Hard Nut

Mother Pirlipat was the wife of the king, and therefore the queen, and Pirlipat, as she was born, became a born princess at the same moment. The king could not stop looking at the beautiful daughter resting in the cradle. He rejoiced loudly, danced, jumped on one leg and kept shouting:

Hayes! Has anyone seen a girl more beautiful than my Pirlipathen?

And all the ministers, generals, advisers and staff officers jumped on one leg, like their father and master, and answered loudly in chorus:

No, no one saw!

Yes, to tell the truth, and it was undeniable that since the time of the world, no baby more beautiful than Princess Pirlipat has been born. Her face was as if woven from lily-white and pale pink silk, her eyes were a living shining azure, and her hair, curled with golden rings, especially adorned her. At the same time, Pirlipatchen was born with two rows of teeth as white as pearls, with which, two hours after birth, she dug into the finger of the Reich Chancellor when he wished to examine her features more closely, so that he yelled: “Oh-oh-oh! Some, however, claim that he shouted: “Ai-ai-ai! » Even today, opinions differ. In short, Pirlipatchen actually bit the Reich Chancellor's finger, and then the admiring people were convinced that the soul, mind, and feeling inhabit the charming, angelic body of Princess Pirlipat.

As said, everyone was delighted; one queen was worried and worried for no reason. It was especially strange that she ordered that Pirlipat's cradle be guarded vigilantly. Not only were drapants standing at the door, an order was given that in the nursery, in addition to two nannies who constantly sat at the very cradle, six more nannies were on duty every night and - which seemed completely absurd and which no one could understand - each nanny was ordered to keep on the cat's lap and stroke it all night so that it doesn't stop purring. You, dear children, will never guess why the mother of Princess Pirlipat took all these measures, but I know why and now I will tell you.

Once upon a time, many glorious kings and handsome princes came to the court of the king, the parent of Princess Pirlipat. For the sake of such an occasion, brilliant tournaments, performances and court balls were arranged. The king, wishing to show that he had a lot of gold and silver, decided to dip his hand into his treasury and arrange a feast worthy of him. Therefore, having found out from the chief cook that the court astrologer had announced a time favorable for chopping pigs, he decided to set a sausage feast, jumped into the carriage and personally invited all the surrounding kings and princes just for a bowl of soup, dreaming then to hit them with luxury. Then he very affectionately said to his queen wife:

Honey, you know what kind of sausage I like ...

The queen already knew what he was getting at: this meant that she must personally engage in a very useful business - the manufacture of sausages, which she did not disdain before. The chief treasurer was ordered to immediately send a large golden cauldron and silver pans to the kitchen; the stove was kindled with sandalwood wood; the queen tied her damask kitchen apron. And soon a delicious spirit of sausage broth wafted from the cauldron. A pleasant smell even penetrated the state council. The king, trembling with delight, could not bear it.

I beg your pardon, gentlemen! he exclaimed, ran to the kitchen, embraced the queen, stirred the cauldron a little with the golden scepter, and, reassured, returned to the council of state.

The most important moment came: it was time to cut the lard into slices and fry it in golden frying pans. The court ladies stepped aside, because the queen, out of devotion, love and respect for her royal husband, was going to personally deal with this matter. But as soon as the fat began to turn red, a thin, whispering voice was heard:

Give me a taste of salz too, sister! And I want to feast - I'm a queen too. Let me taste the salsa!

The Queen knew very well that it was Madame Myshilda speaking. Myshilda had been living in the royal palace for many years. She claimed to be related to the royal family and herself rules the kingdom of Mouseland, which is why she kept a large court under her kidney. The queen was a kind and generous woman. Although in general she did not regard Myshilda as a special royal family and as her sister, but on such a solemn day she admitted her to the feast with all her heart and shouted:

Get out, Miss Myshilda! Eat salsa for health.

And Myshilda quickly and cheerfully jumped out from under the stove, jumped up on the stove and began to grab with her graceful paws one by one the pieces of lard that the queen was holding out to her. But then all the godfathers and aunts of Myshilda and even her seven sons, desperate tomboys, flooded in. They pounced on the lard, and the queen, frightened, did not know what to do. Fortunately, the chief chamberlain arrived in time and drove the uninvited guests away. Thus, a little fat survived, which, according to the instructions of the court mathematician called for this occasion, was very skillfully distributed over all the sausages.

They beat the timpani, blew the trumpets. All the kings and princes in magnificent festive attire - some on white horses, others in crystal carriages - were drawn to the sausage feast. The king met them with cordial friendliness and honor, and then, in a crown and with a scepter, as befits a sovereign, sat at the head of the table. Already when the liver sausages were served, the guests noticed how the king turned more and more pale, how he raised his eyes to the sky. Quiet sighs escaped his chest; a great sorrow seemed to take possession of his soul. But when the black pudding was served, he leaned back in his chair with loud sobs and groans, covering his face with both hands. Everyone jumped up from the table. The life doctor tried in vain to feel the pulse of the ill-fated king, who seemed to be consumed by a deep, incomprehensible longing. Finally, after much persuasion, after using strong remedies like burnt goose feathers and the like, the king seemed to begin to come to his senses. He murmured almost inaudibly:

Too little fat!

Then the inconsolable queen thumped at his feet and groaned:

O my poor, unfortunate royal husband! Oh, what grief you had to endure! But look: the culprit is at your feet - punish, severely punish me! Ah, Myshilda, with her godfathers, aunts and seven sons, ate lard, and ...

With these words, the queen fell unconscious on her back. But the king jumped up, blazing with anger, and shouted loudly:

Ober-Hofmeisterina, how did this happen?

The Chief Hofmeisterina told what she knew, and the king decided to take revenge on Myshilda and her family because they ate the fat intended for his sausages.

A secret state council was convened. They decided to initiate proceedings against Myshilda and take away all her possessions to the treasury. But the king believed that as long as this did not prevent Myshilda, when she liked, to devour bacon, and therefore entrusted the whole matter to the court watchmaker and sorcerer. This man, whose name was the same as mine, namely Christian Elias Drosselmeyer, promised to expel Myshilda and her entire family from the palace with the help of completely special measures filled with state wisdom for all eternity.

And in fact: he invented very skillful machines in which fried lard was tied on a thread, and placed them around the dwelling of Mrs.

Myshilda herself was too wise by experience not to understand Drosselmeyer's tricks, but neither her warnings nor her exhortations helped: all seven sons and many, many Myshilda's godfathers and aunts, attracted by the delicious smell of fried bacon, climbed into Drosselmeyer's cars - and just wanted to feast on bacon, as they were suddenly slammed by a sliding door, and then they were betrayed in the kitchen of a shameful execution. Myshilda with a small handful of surviving relatives left these places of sorrow and crying. Grief, despair, the desire for revenge bubbled in her chest.

The court rejoiced, but the queen was alarmed: she knew Myshildin's temper and perfectly understood that she would not leave the death of her sons and loved ones unavenged.

And in fact, Myshilda appeared just when the queen was preparing liver pate for the royal husband, which he very willingly ate, and said this:

My sons, godfathers and aunts are killed. Beware, queen, lest the queen of mice bite the little princess! Watch out!

Then she disappeared again and did not appear again. But the queen, in fright, dropped the pate into the fire, and for the second time Myshilda spoiled the king's favorite food, which he was very angry with ...

Well, enough for tonight. I'll tell you the rest next time, - the godfather unexpectedly finished.

No matter how much Marie, on whom the story made a special impression, asked to continue, the godfather Drosselmeyer was inexorable and with the words: “Too much at once is bad for health; continued tomorrow, ”he jumped up from his chair.

Just as he was about to go out the door, Fritz asked:

Tell me, godfather, is it really true that you invented a mousetrap?

What nonsense are you talking about, Fritz! - exclaimed the mother.

But the senior councilor of the court smiled very strangely and said softly:

And why shouldn't I, a skilled watchmaker, invent a mousetrap?

Continuation of the tale of hard nuts

Well, children, now you know, - Drosselmeyer continued the next evening, - why the queen ordered the beautiful Princess Pirlipat to be so vigilantly guarded. How could she not be afraid that Myshilda would fulfill her threat - she would return and kill the little princess! Drosselmeyer's typewriter did not help at all against the smart and prudent Myshilda, and the court astrologer, who was also the main soothsayer, declared that only the kind of cat Murr could drive Myshilda away from the cradle. That is why every nanny was ordered to hold on her knees one of the sons of this kind, who, by the way, were granted the chip of the secret adviser of the embassy, ​​and to lighten the burden of state service for them with a courteous scratching behind the ear.

Somehow, already at midnight, one of the two chief nannies who were sitting at the very cradle, suddenly woke up, as if from a deep sleep. Everything around was covered in sleep. No purring - deep, dead silence, only the ticking of a grinder bug is heard. But what did the nanny feel when, right in front of her, she saw a big nasty mouse that rose on its hind legs and put its sinister head on the princess's face! The nanny jumped up with a cry of horror, everyone woke up, but at the same moment Myshilda - after all, she was a big mouse at the cradle of Pirlipat - quickly darted into the corner of the room. The embassy advisers rushed after her, but no luck: she darted through a crack in the floor. Pirlipatchen woke up from the confusion and wept very plaintively.

Thank God, - the nannies exclaimed, - she is alive!

But how frightened they were when they looked at Pirlipatchen and saw what had become of the pretty, tender baby! Instead of the curly head of a ruddy cherub, a huge shapeless head sat on a frail, crouching body; blue eyes, like azure, turned into green, stupidly staring peepers, and the mouth stretched to the ears.

The queen burst into tears and sobs, and the king's office had to be upholstered with cotton, because the king banged his head against the wall and lamented in a plaintive voice:

Oh, I am an unfortunate monarch!

Now the king, it seemed, could understand that it was better to eat sausage without bacon and leave Myshilda alone with all her baking relatives, but the father of Princess Pirlipat did not think about this - he simply shifted all the blame on the court watchmaker and miracle worker Christian Elias Drosselmeyer from Nuremberg and gave a wise order: "Drosselmeyer must return Princess Pirlipat to her former appearance within a month, or at least indicate the correct means for this - otherwise he will be sold to a shameful death at the hands of the executioner."

Drosselmeyer was seriously frightened. However, he relied on his skill and happiness and immediately proceeded to the first operation, which he considered necessary. He very deftly dismantled Princess Pirlipat into parts, unscrewed the arms and legs and examined the internal structure, but, unfortunately, he was convinced that with age the princess would be more and more ugly, and did not know how to help the trouble. He again diligently gathered the princess and fell into despondency near her cradle, from which he did not dare to leave.

It was already the fourth week, Wednesday came, and the king, sparkling in anger with his eyes and shaking his scepter, looked into the nursery to Pirlipat and exclaimed:

Christian Elias Drosselmeyer, cure the princess, otherwise you will not do well!

Drosselmeyer began to cry plaintively, while Princess Pirlipat, meanwhile, cheerfully cracked nuts. For the first time, the watchmaker and wizard was struck by her extraordinary love for nuts and the fact that she was born already with teeth. In fact, after the transformation, she screamed incessantly until she accidentally got a nut; she gnawed it, ate the nucleolus, and immediately calmed down. Since then, the nannies kept calming her down with nuts.

O holy instinct of nature, inscrutable sympathy of all things! exclaimed Christian Elias Drosselmeyer. - You show me the gates of mystery. I'll knock and they'll open!

He immediately asked for permission to speak with the court astrologer and was taken to him under strict guard. Both, bursting into tears, fell into each other's arms, as they were bosom friends, then retired to a secret study and began to rummage through books that spoke of instinct, likes and dislikes, and other mysterious phenomena.

The night has come. The court astrologer looked at the stars and with the help of Drosselmeyer, a great expert in this matter, he compiled the horoscope of Princess Pirlipat. It was very difficult to do this, because the lines became more and more tangled, but - oh, joy! - Finally, everything became clear: in order to get rid of the magic that disfigured her and regain her former beauty, Princess Pirlipat had only to eat the kernel of the Krakatuk nut.

The Krakatuk nut had such a hard shell that a forty-eight-pound cannon could run over it without crushing it. This hard nut had to be gnawed and, closing his eyes, brought to the princess by a man who had never shaved and had never worn a boot. Then the young man had to step back seven steps without stumbling, and only then open his eyes.

For three days and three nights Drosselmeyer worked tirelessly with the astrologer, and just on Saturday, when the king was sitting at dinner, a joyful and cheerful Drosselmeyer burst into him, whose head was to be cut off on Sunday morning, and announced that a means had been found to return Princess Pirlipat lost beauty. The king embraced him warmly and kindly, and promised him a diamond sword, four medals, and two new caftans.

After dinner, we will start right away, ”the king added kindly. Take care, dear wizard, that an unshaven young man in shoes is at hand and, as expected, with a Krakatuk nut. And do not give him wine, otherwise he would not stumble when, like a cancer, he will back seven steps. Then let him drink freely!

Drosselmeyer was frightened by the speech of the king, and, embarrassed and timid, he murmured that the remedy had indeed been found, but that both - both the nut and the young man who was supposed to crack it - must first be found, and it is still very doubtful whether it is possible to find walnut and nutcracker. In great anger, the king shook his scepter over his crowned head and roared like a lion:

Well, they'll take your head off!

Luckily for Drosselmeyer, who was overcome with fear and grief, just today the king really liked the dinner, and therefore he was disposed to listen to reasonable exhortations, which the magnanimous queen, touched by the fate of the unfortunate watchmaker, did not stint on. Drosselmeyer cheered up and respectfully reported to the king that, in fact, he had solved the problem - he had found a means to cure the princess, and thus deserved a pardon. The king called this a stupid excuse and empty chatter, but in the end, after drinking a glass of gastric tincture, he decided that both the watchmaker and the astrologer would set off and not return until they had a Krakatuk nut in their pocket. And on the advice of the queen, they decided to get the person needed to crack the nut through repeated advertisements in local and foreign newspapers and journals with an invitation to come to the palace ...

The godfather Drosselmeyer stopped there and promised to finish the rest the next evening.

The end of the tale of hard nuts

And in fact, the next day in the evening, as soon as the candles were lit, the godfather Drosselmeyer appeared and continued his story like this:

Drosselmeyer and the court astrologer have been wandering for fifteen years and still have not hit the trail of the Krakatuk nut. Where they have been, what outlandish adventures they have experienced, do not retell, children, and for a whole month. I am not going to do this, and I will tell you frankly that, immersed in deep despondency, Drosselmeyer greatly yearned for his homeland, for his dear Nuremberg. A particularly strong melancholy fell upon him once in Asia, in a dense forest, where he, together with his companion, sat down to smoke a pipe of Knaster.

“Oh, my marvelous, marvelous Nuremberg, who is not yet familiar with you, even if he has even been to Vienna, Paris and Peterwardein, his soul will languish, to you, O Nuremberg, to strive - a wonderful town where beautiful houses stand in a row” .

Drosselmeyer's plaintive lamentations aroused deep sympathy in the astrologer, and he also burst into tears so bitterly that he was heard throughout Asia. But he pulled himself together, wiped his tears and asked:

Honorable colleague, why are we sitting here and roaring? Why don't we go to Nuremberg? Does it matter where and how to look for the ill-fated Krakatuk nut?

And that’s true, ”Drosselmeyer answered, immediately comforted.

Both got up at once, knocked out their pipes, and from the forest in the depths of Asia went straight to Nuremberg.

As soon as they arrived, Drosselmeyer immediately ran to his cousin - a toy craftsman, wood turner, lacquer and gilder Christoph Zacharius Drosselmeyer, whom he had not seen for many, many years. The watchmaker told him the whole story about Princess Pirlipat, Mrs. Myshilda and the Krakatuk nut, and he kept clasping his hands and exclaiming several times in surprise:

Ah, brother, brother, well, miracles!

Drosselmeyer told about the adventures on his long journey, told how he spent two years with the Date King, how the Almond Prince offended and kicked him out, how he vainly asked the society of naturalists in the city of Belok - in short, how he never managed to find a trace of a nut anywhere Krakatuk. During the story, Christoph Zacharius snapped his fingers more than once, spun on one leg, smacked his lips and said:

Hm, hm! Hey! That's the thing!

Finally, he threw the cap to the ceiling along with the wig, warmly embraced his cousin and exclaimed:

Brother, brother, you are saved, saved, I say! Listen: either I am cruelly mistaken, or I have the Krakatuk nut!

He immediately brought a box, from which he pulled out a medium-sized gilded walnut.

Look, - he said, showing the nut to his cousin, - look at this nut. His history is like this. Many years ago, on Christmas Eve, an unknown person came here with a full bag of nuts, which he brought to sell. Right at the door of my toy shop, he put the sack on the ground to make it easier to operate, as he had a skirmish with the local nut seller, who could not tolerate someone else's merchant. At that moment the bag was run over by a heavily laden wagon. All the nuts were crushed, except for one, who was a stranger, smiling strangely, and offered to give me the Zwanziger of 1720. It seemed mysterious to me, but I found in my pocket just such a zwanziger as he asked for, bought a walnut and gilded it. I myself don’t quite know why I paid so dearly for a nut, and then took such good care of it.

Any doubt that the cousin's nut was really the Krakatuk nut they had been looking for so long was immediately dispelled when the court astrologer, who arrived in time for the call, carefully scraped off the gilding from the nut and found the word "Krakatuk" carved in Chinese letters on the shell.

The joy of travelers was great, and cousin Drosselmeyer considered himself the happiest man in the world when Drosselmeyer assured him that happiness was guaranteed to him, because from now on, in addition to a significant pension, he will receive gold for gilding for free.

Both the magician and the astrologer had already put on their nightcaps and were about to go to bed, when suddenly the last one, that is, the astrologer, spoke like this:

Dear colleague, happiness never comes alone. Believe me, we found not only the Krakatuk nut, but also a young man who will crack it open and present the nucleolus to the princess - a guarantee of beauty. I mean none other than your cousin's son. No, I won't go to bed, he exclaimed with inspiration. - I'll make a young man's horoscope tonight! - With these words, he tore off the cap from his head and immediately began to observe the stars.

Drosselmeyer's nephew was really a handsome, well-built young man who had never shaved or put on boots. In early youth, it is true, he portrayed two Christmases in a row as a buffoon; but this was not the least noticeable: he had been so skillfully brought up by the efforts of his father. At Christmas time he was in a beautiful red caftan embroidered with gold, with a sword, kept his hat under his arm and wore an excellent wig with a pigtail. In such a brilliant form, he stood in his father's shop and, with his characteristic gallantry, cracked nuts for the young ladies, for which they called him Handsome Nutcracker.

The next morning, the delighted stargazer fell into the arms of Drosselmeyer and exclaimed:

It's him! We got it, it's found! Only, my dear colleague, two circumstances should not be overlooked: firstly, you need to weave your excellent nephew a solid wooden braid, which would be connected to the lower jaw in such a way that it could be strongly pulled back by a braid; then, upon arrival in the capital, we must keep silent about the fact that we brought with us a young man who will crack the Krakatuk nut, it is better that he appears much later. I read in the horoscope that after many break their teeth on the nut to no avail, the king will give the princess, and after death the kingdom as a reward to the one who cracks the nut and returns Pirlipat to his lost beauty.

The toy master was very flattered that his son was to marry a princess and become a prince himself, and then a king, and therefore he willingly entrusted him to an astrologer and watchmaker. The scythe that Drosselmeyer attached to his young promising nephew was a success, so that he brilliantly passed the test, biting through the hardest peach pits.

Drosselmeyer and the astrologer immediately informed the capital that the Krakatuk nut had been found, and an appeal was immediately published there, and when our travelers arrived with a talisman that restores beauty, many beautiful young men and even princes already appeared at the court, relying on their healthy jaws , wanted to try to remove the evil spell from the princess.

Our travelers were very frightened when they saw the princess. A small torso with skinny arms and legs barely held a shapeless head. The face seemed even uglier because of the white thread beard that covered the mouth and chin.

Everything happened as the court astrologer read in the horoscope. The milk-suckers in shoes, one after another, broke their teeth and tore their jaws, but the princess did not feel any better; when, then, in a semi-conscious state, the dentists invited for this occasion carried them away, they groaned:

Come and crack that nut!

Finally, the king, in contrite heart, promised a daughter and a kingdom to the one who would disenchant the princess. It was then that our courteous and modest young Drosselmeyer volunteered and asked permission to also try his luck.

Princess Pirlipat didn’t like anyone as much as young Drosselmeyer, she pressed her hands to her heart and sighed from the depths of her soul: “Oh, if only he cracked the Krakatuk nut and became my husband! »

After politely bowing to the king and queen, and then to Princess Pirlipat, young Drosselmeyer accepted the Krakatuk nut from the hands of the master of ceremonies, put it in his mouth without much conversation, pulled his braid strongly and Click-click! - Break the shell into pieces. He deftly cleared the nucleolus from the adhering peel and, closing his eyes, brought it up to the princess with a respectful scuffling of his leg, then began to back away. The princess immediately swallowed the nucleolus, and oh, a miracle! - the freak disappeared, and in its place stood a beautiful, like an angel, girl, with a face as if woven from lily-white and pink silk, with eyes shining like azure, with curly ringlets of golden hair.

Trumpets and timpani joined in the loud rejoicing of the people. The king and the whole court danced on one leg, as at the birth of Princess Pirlipat, and the queen had to be sprayed with cologne, as she fainted from joy and delight.

The ensuing turmoil confused the young Drosselmeyer, who still had to walk back the prescribed seven steps. Nevertheless, he behaved perfectly and had already raised his right leg for the seventh step, but then Myshilda crawled out of the underground with a disgusting squeak and squeal. Young Drosselmeyer, who was about to put his foot down, stepped on it and stumbled so hard that he almost fell.

Oh bad rock! In an instant, the young man became as ugly as Princess Pirlipat before. The torso shrunk and could barely support a huge shapeless head with large bulging eyes and a wide, ugly gaping mouth. Instead of a scythe, a narrow wooden cloak hung behind, with which it was possible to control the lower jaw.

The watchmaker and the astrologer were beside themselves with horror, but they noticed that Mouseilda was writhing on the floor covered in blood. Her villainy did not go unpunished: the young Drosselmeyer hit her hard on the neck with a sharp heel, and she was finished.

But Myshilda, seized with death throes, plaintively squeaked and squealed:

O hard, hard Krakatuk, I can't get away from the torment of death! .. Hee-hee... Wee-wee... But, the sly Nutcracker, and the end will come to you: my son, the mouse king, will not forgive my death - he will avenge you for the mother of the mouse army. Oh life, you were bright - and death came for me ... Quick!

Having squeaked for the last time, Myshilda died, and the royal stoker carried her away.

No one paid any attention to the young Drosselmeyer. However, the princess reminded her father of his promise, and the king immediately ordered the young hero to be brought to Pirlipat. But when the poor fellow appeared before her in all his ugliness, the princess covered her face with both hands and shouted:

Get out, get out of here, you nasty Nutcracker!

And at once the marshal seized him by the narrow shoulders and pushed him out.

The king was inflamed with anger, deciding that they wanted to impose the Nutcracker as his son-in-law, blamed the unlucky watchmaker and astrologer for everything, and expelled both from the capital forever. This was not foreseen by the horoscope compiled by the astrologer in Nuremberg, but he did not fail to start watching the stars again and read that the young Drosselmeyer would behave excellently in his new rank and, despite all his disgrace, would become a prince and king. But his ugliness will disappear only if the seven-headed son of Myshilda, who was born after the death of his seven older brothers and became the mouse king, falls at the hand of the Nutcracker and if, despite his ugly appearance, a beautiful lady falls in love with the young Drosselmeyer. They say that, in fact, young Drosselmeyer was seen at Christmas in Nuremberg in his father's shop, although in the form of a Nutcracker, but still in the dignity of a prince.

Here's to you, children, the tale of the hard nut. Now you understand why they say: “Come and crack such a nut! and why are nutcrackers so ugly...

Thus ended the senior councilor of the court with his story.

Marie decided that Pirlipat was a very ugly and ungrateful princess, and Fritz assured that if the Nutcracker was really brave, he would not stand on ceremony with the mouse king and would regain his former beauty.

Uncle and nephew

Any of my highly respected readers or listeners who have cut themselves with glass know how painful it is and what a bad thing it is, since the wound heals very slowly. Marie had to spend almost a whole week in bed, because every time she tried to get up she felt dizzy. Nevertheless, in the end she completely recovered and could again jump around the room merrily.

Everything in the glass cabinet shone with novelty - trees, flowers, houses, and festively overdressed dolls, and most importantly, Marie found her dear Nutcracker there, who smiled at her from the second shelf, baring two rows of whole teeth. When she, rejoicing from the bottom of her heart, looked at her pet, her heart suddenly ached: what if everything that the godfather told - the story about the Nutcracker and about his feud with Myshilda and her son - if all this is true? Now she knew that her Nutcracker was a young Drosselmeyer from Nuremberg, a handsome, but, unfortunately, bewitched by Myshilda nephew of the godfather Drosselmeyer.

The fact that the skilled watchmaker at the court of Princess Pirlipat's father was none other than the senior court adviser Drosselmeyer, Marie did not doubt for a minute even during the story. "But why didn't your uncle help you, why didn't he help you?" - Marie lamented, and the conviction grew stronger in her that the battle at which she was present was for the Nutcracker kingdom and the crown. “After all, all the dolls obeyed him, because it is quite clear that the prediction of the court astrologer came true and the young Drosselmeyer became the king in the doll kingdom.”

Reasoning in this way, clever Marie, who endowed the Nutcracker and his vassals with life and the ability to move, was convinced that they really were about to come to life and move. But that was not the case: everything in the closet stood motionless in its place. However, Marie did not even think about giving up her inner conviction - she simply decided that the witchcraft of Myshilda and her seven-headed son was the reason for everything.

Although you are not able to move or utter a word, dear Mr. Drosselmeyer, she said to the Nutcracker, nevertheless I am sure that you hear me and know how well I treat you. Count on my help when you need it. In any case, I will ask my uncle to help you, if need be, with his art!

The Nutcracker stood calmly and did not move from his place, but Marie felt as if a slight sigh passed through the glass cabinet, which made the glasses tinkle a little, but surprisingly melodiously, and a thin, sonorous voice, like a bell, sang: “Maria, my friend, my keeper! No need for torment - I will be yours.

Marie had goosebumps running down her back with fear, but, oddly enough, for some reason she was very pleased.

Twilight has come. The parents entered the room with their godfather Drosselmeyer. After a while Louisa served tea, and the whole family sat down at the table chatting merrily. Marie quietly brought her armchair and sat down at the feet of her godfather. Having seized a moment, when everyone was silent, Marie looked with her big blue eyes straight into the face of the senior councilor of the court and said:

Now, dear godfather, I know that the Nutcracker is your nephew, the young Drosselmeyer of Nuremberg. He became a prince, or rather a king: it all happened just as your companion, the astrologer, foretold. But you know that he declared war on the son of Lady Mouselda, the ugly mouse king. Why don't you help him?

And Marie again told the whole course of the battle at which she was present, and often she was interrupted by the loud laughter of her mother and Louise. Only Fritz and Drosselmeyer remained serious.

Where did the girl get such nonsense from? asked the medical adviser.

Well, she just has a rich imagination, - answered the mother. - In essence, this is nonsense generated by a strong fever. "That's not true," said Fritz. - My hussars are not such cowards, otherwise I would have shown them!

But the godfather, smiling strangely, put little Marie on his knees and spoke more affectionately than usual:

Ah, dear Marie, you have been given more than me and all of us. You, like Pirlipat, are a born princess: you rule a beautiful, bright kingdom. But you will have to endure a lot if you take under your protection the poor freak Nutcracker! After all, the mouse king guards him on all paths and roads. Know: not me, but you, you alone can save the Nutcracker. Be persistent and dedicated.

No one - neither Marie nor the rest understood what Drosselmeyer meant; and the adviser of medicine found the words of the godfather so strange that he felt his pulse and said:

You, dear friend, have a strong rush of blood to the head: I will prescribe a medicine for you.

Only the wife of the medical adviser shook her head thoughtfully and remarked:

I guess what Mr. Drosselmeyer means, but I can't express it in words.

Victory

A little time passed, and one moonlit night Marie was awakened by a strange tapping, which seemed to come from a corner, as if stones were being thrown and rolled there, and at times a nasty screech and squeak was heard.

Hey, mice, mice, there are mice again! Marie screamed in fright and wanted to wake up her mother, but the words got stuck in her throat.

She could not even move, because she saw how the mouse king crawled out of a hole in the wall with difficulty and, sparkling with eyes and crowns, began to dart around the room; suddenly, with one leap, he jumped onto the table that stood right next to Marie's bed.

Hee hee hee! Give me all the dragee, all the marzipan, silly, or I'll bite your Nutcracker, I'll bite your Nutcracker! - the mouse king squeaked and at the same time disgustedly creaked and gnashed his teeth, and then quickly disappeared into a hole in the wall.

Marie was so frightened by the appearance of the terrible mouse king that the next morning she was completely haggard and from excitement could not utter a word. A hundred times she was going to tell her mother, Louise, or at least Fritz about what had happened to her, but she thought: “Will anyone believe me? I'm just going to be laughed at."

However, it was quite clear to her that in order to save the Nutcracker, she would have to give the dragee and marzipan. So in the evening she put all her sweets on the bottom ledge of the closet. In the morning the mother said:

I don't know where the mice came from in our living room. Look, Marie, they have eaten all the sweets, poor things.

So it was. The gluttonous mouse king did not like the stuffed marzipan, but he gnawed it so sharply with his sharp teeth that the rest had to be thrown away. Marie did not regret the sweets at all: in the depths of her soul she rejoiced, because she thought that she had saved the Nutcracker. But what did she feel when the next night she heard a squeak and squeal just above her ear! Ah, the mouse king was right there, and his eyes sparkled even more disgustingly than last night, and he squeaked even more disgustingly through his teeth:

Give me your sugar dolls, silly, or I'll bite your Nutcracker, I'll bite your Nutcracker!

And with these words, the terrible mouse king disappeared.

Marie was very upset. The next morning she went to the cupboard and looked sadly at the sugar and adragante dolls. And her grief was understandable, because you would not believe, my attentive listener Marie, what marvelous sugar figurines Marie Stahlbaum had: a pretty little shepherd with a shepherdess grazed a flock of snow-white lambs, and their dog frolicked nearby; right there stood two postmen with letters in their hands and four very pretty couples - dapper young men and girls dressed to smithereens were swinging on a Russian swing. Then the dancers walked, behind them stood Pachter Feldkümmel with the Virgin of Orleans, whom Marie did not really appreciate, and quite in the corner stood a red-cheeked baby - Marie's favorite ... Tears splashed from her eyes.

Oh, dear Mr. Drosselmeyer, she exclaimed, turning to the Nutcracker, what I won’t do just to save your life, but, oh, how hard it is!

However, the Nutcracker had such a plaintive look that Marie, who already imagined that the mouse king had opened all its seven jaws and wanted to swallow the unfortunate young man, decided to sacrifice everything for him.

So, in the evening, she put all the sugar dolls on the lower ledge of the cabinet, where she had previously put sweets. She kissed the shepherd, the shepherdess, the lambs; the last she took out of the corner of her favorite - a red-cheeked baby - and put him behind all the other dolls. Feldkümmel and the Virgin of Orleans were in the front row.

No, this is too much! cried Mrs. Stahlbaum the next morning. - It can be seen that a large, gluttonous mouse is hosting in a glass case: poor Marie has all the pretty sugar dolls gnawed and gnawed!

Marie, however, could not help but cry, but soon she smiled through her tears, because she thought: “What can I do, but the Nutcracker is intact! »

In the evening, when the mother was telling Mr. Drosselmeyer about what the mouse had done in the children's closet, the father exclaimed:

What nonsense! I can't manage to get rid of the nasty mouse that lives in a glass cabinet and eats all the sweets from poor Marie.

That's what, - said Fritz cheerfully, - downstairs, by the baker, there is a fine gray adviser to the embassy. I will take him upstairs to us: he will quickly finish this business and bite off the head of a mouse, whether it be Mousechild herself or her son, the mouse king.

And at the same time he will jump on tables and chairs and break glasses and cups, and in general you won’t get into trouble with him! - Laughing, finished the mother.

No! Fritz objected. “This embassy adviser is a smart fellow. I wish I could walk on the roof like him!

No, please, don't need a cat for the night, - asked Louise, who could not stand cats.

As a matter of fact, Fritz is right, - said the father. - In the meantime, you can put a mousetrap. Do we have mousetraps?

The godfather will make us an excellent mousetrap: after all, he invented them! cried Fritz.

Everyone laughed, and when Mrs. Stahlbaum said that there was not a single mousetrap in the house, Drosselmeyer declared that he had several of them, and, indeed, immediately ordered that an excellent mousetrap be brought from the house.

The godfather's tale of hard nuts came to life for Fritz and Marie. When the cook was frying the lard, Marie turned pale and trembled. Still absorbed in the fairy tale with its wonders, she once even said to the cook Dora, her old acquaintance:

Ah, your Majesty the Queen, beware of Myshilda and her relatives!

And Fritz drew his saber and said:

Just let them come, I'll ask them!

But everything was calm under the stove and on the stove. When the senior councilor of the court tied a piece of bacon to a thin thread and carefully placed the mousetrap against the glass cabinet, Fritz exclaimed:

Watch out, watchmaker godfather, lest the mouse king play a cruel joke on you!

Oh, what poor Marie had to do the next night! Ice paws ran down her arm, and something rough and nasty touched her cheek and squeaked and squealed right into her ear. On her shoulder sat a nasty mouse king; blood-red saliva flowed from his seven gaping mouths, and, gnashing his teeth, he hissed in the ear of Marie, numb with horror:

I'll slip away - I'll sniff into the crack, I'll slip under the floor, I won't touch the fat, you know that. Come on, come on pictures, dress here, it's not a problem, I warn you: I'll catch the Nutcracker and bite ... Hee-hee! .. Wee-wee! …Quick-quick!

Marie was very sad, and when the next morning her mother said: “But the ugly mouse has not yet been caught! "- Marie turned pale and alarmed, and her mother thought that the girl was sad about sweets and was afraid of the mouse.

That's enough, calm down, baby, - she said, - we will drive the nasty mouse away! Mousetraps will not help - then let Fritz bring his gray embassy adviser.

As soon as Marie was left alone in the living room, she went to the glass cabinet and, sobbing, spoke to the Nutcracker:

Ah, dear, kind Mr. Drosselmeyer! What can I do for you, poor, unfortunate girl? Well, I will give all my picture books to be eaten by the nasty mouse king, I will even give the beautiful new dress that the baby Christ gave me, but he will demand more and more from me, so that in the end I will have nothing left, and he , perhaps, will want to bite me instead of you. Oh, I'm a poor, poor girl! So what should I do, what should I do?!

While Marie was so grieving and crying, she noticed that the Nutcracker had a large bloody stain on his neck from last night. Ever since Marie found out that the Nutcracker was in fact the young Drosselmeyer, the nephew of the councilor of the court, she had stopped carrying him and cradling him, stopped caressing and kissing him, and she even felt embarrassed to touch him too often, but this time she she carefully took the Nutcracker from the shelf and carefully began to rub the bloody stain on her neck with a handkerchief. But how dumbfounded she was when she suddenly felt that her friend the Nutcracker in her hands warmed up and moved! She quickly put it back on the shelf. Then his lips parted, and the Nutcracker murmured with difficulty:

O priceless Mademoiselle Stahlbaum, my faithful friend, how much I owe you! No, do not sacrifice for me picture books, a festive dress - get me a saber ... a saber! I'll take care of the rest, even if he...

Here the Nutcracker's speech was interrupted, and his eyes, which had just glowed with deep sadness, again dimmed and dimmed. Marie was not the least bit scared, on the contrary, she jumped for joy. Now she knew how to save the Nutcracker without making further heavy sacrifices. But where to get a saber for a little man?

Marie decided to consult with Fritz, and in the evening, when her parents went to visit and the two of them were sitting in the living room near the glass cabinet, she told her brother everything that had happened to her because of the Nutcracker and the Mouse King and on what the Nutcracker's salvation now depends.

Most of all, Fritz was upset that his hussars behaved badly during the battle, as it turned out according to Marie's story. He very seriously asked her if it was really so, and when Marie gave him her word of honor, Fritz quickly went to the glass cabinet, turned to the hussars with a formidable speech, and then, as a punishment for selfishness and cowardice, cut off all of them cap badges and forbade them to play the life hussar march for a year. Having finished with the punishment of the hussars, he turned to Marie:

I'll help the Nutcracker get a saber: only yesterday I retired an old cuirassier colonel with a pension, and, therefore, he no longer needs his beautiful, sharp saber.

The colonel in question lived on a pension given to him by Fritz in the far corner, on the third shelf. Fritz got it out of there, untied a really smart silver saber and put it on the Nutcracker.

The next night, Marie could not close her eyes from anxiety and fear. At midnight she heard some strange turmoil in the living room - tinkling and rustling. Suddenly there was a voice: “Quick! »

Mouse King! Mouse King! Marie screamed and jumped out of bed in horror.

Everything was quiet, but soon someone gently knocked on the door and a thin voice was heard:

Priceless Mademoiselle Stahlbaum, open the door and fear nothing! Good, happy news.

Marie recognized the voice of young Drosselmeyer, put on her skirt and quickly opened the door. On the threshold stood the Nutcracker with a bloodied saber in his right hand, with a lit wax candle in his left. Seeing Marie, he immediately dropped to one knee and spoke thus:

O beautiful lady! You alone breathed into me knightly courage and gave strength to my hand, so that I struck down the bold one who dared to offend you. The cunning mouse king has been defeated and bathes in his own blood! Deign to graciously accept trophies from the hands of a knight devoted to you to the grave.

With these words, the pretty Nutcracker very deftly shook off the seven golden crowns of the mouse king, which he strung on his left hand, and gave them to Marie, who accepted them with joy.

The Nutcracker stood up and went on like this:

Ah, my precious Mademoiselle Stahlbaum! What curiosities could I show you now that the enemy is defeated, if you would deign to follow me even a few steps! Oh, do it, do it, dear mademoiselle!

puppet kingdom

I think, children, each of you would not hesitate for a moment to follow the honest, kind Nutcracker, who could have nothing wrong in his mind. And even more so Marie, because she knew that she had the right to count on the greatest gratitude from the Nutcracker, and was convinced that he would keep his word and show her many curiosities. That's why she said:

I will go with you, Mr. Drosselmeyer, but only not far and not for long, since I have not yet slept at all.

Then, - answered the Nutcracker, - I will choose the shortest, though not quite convenient way.

He went ahead. Marie is behind him. They stopped in the hall, at the old huge wardrobe. Marie noticed with surprise that the doors, usually locked, were open; she could clearly see her father's traveling fox coat, which hung right by the door. The Nutcracker very deftly climbed up the ledge of the closet and the carvings and grabbed a large tassel that dangled from a thick cord at the back of the fur coat. He pulled the brush with all his might, and immediately a graceful ladder of cedar wood descended from the sleeve of his fur coat.

Would you like to rise, most precious Mademoiselle Marie? asked the Nutcracker.

Marie did just that. And before she had time to climb up through the sleeve, before she had time to look out from behind the collar, a dazzling light shone towards her, and she found herself in a beautiful fragrant meadow, which sparkled all over, like shining precious stones.

We are in Candy Meadow,” said the Nutcracker. Now let's go through that gate.

Only now, raising her eyes, did Marie notice a beautiful gate rising a few paces from her in the middle of the meadow; they seemed to be made of white and brown, speckled marble. When Marie came closer, she saw that it was not marble, but sugar-coated almonds and raisins, which is why the gate under which they passed was called, according to the Nutcracker, the Almond-Raisin Gate. The common people very impolitely called them the gates of gluttonous students. On the side gallery of this gate, apparently made of barley sugar, six monkeys in red jackets made up a wonderful military band, which played so well that Marie, without noticing it herself, walked further and further along the marble slabs, beautifully made of sugar. cooked with spices.

Soon, sweet aromas wafted over her, which flowed from a wonderful grove that stretched on both sides. The dark foliage shone and sparkled so brightly that one could clearly see the golden and silver fruits hanging on multi-colored stems, and the bows and bouquets of flowers that adorned the trunks and branches, like a cheerful bride and groom and wedding guests. With every breath of the marshmallow, filled with the fragrance of oranges, a rustle rose in the branches and foliage, and the golden tinsel crunched and crackled, like jubilant music that carried away the sparkling lights, and they danced and jumped.

Oh, how wonderful it is here! Marie exclaimed in admiration.

We are in the Christmas Forest, dear Mademoiselle, said the Nutcracker.

Oh, how I wish I were here! It's so wonderful here! Marie exclaimed again.

The Nutcracker clapped his hands, and at once there appeared tiny shepherds and shepherds, hunters and hunters, so tender and white that one might have thought they were made of pure sugar. Although they were walking in the woods, for some reason Marie had not noticed them before. They brought a marvelously pretty golden armchair, put a white candy cushion on it, and very graciously invited Marie to sit down. And immediately the shepherds and shepherdesses performed a charming ballet, while the hunters, meanwhile, very skillfully blew their horns. Then they all disappeared into the bushes.

Forgive me, dear Mademoiselle Stahlbaum, - said the Nutcracker, forgive me for such miserable dancing. But these are dancers from our puppet ballet - they only know that they repeat the same thing, and the fact that the hunters blew their pipes so sleepily and lazily also has its own reasons. Bonbonnieres on Christmas trees, although they hang in front of their very noses, are too high. Now, would you like to go further?

What are you talking about, the ballet was just lovely and I really liked it! Marie said, getting up and following the Nutcracker.

They walked along a stream that ran with a gentle murmur and babble and filled the whole forest with its wonderful fragrance.

This is the Orange Creek, - answered the Nutcracker to Marie's questions, - but, except for its wonderful aroma, it cannot be compared either in size or beauty with the Lemonade River, which, like it, flows into the Almond Milk Lake.

And in fact, soon Marie heard a louder splash and murmur and saw a wide stream of lemonade, which rolled its proud light yellow waves among the bushes sparkling like emeralds. An unusually invigorating coolness, delighting the chest and heart, blew from the beautiful waters. Nearby, a dark yellow river slowly flowed, spreading an unusually sweet fragrance, and beautiful children sat on the shore, who fished for small fat fish and immediately ate them. As she got closer, Marie noticed that the fish looked like Lombard nuts. A little further on the coast lies a charming village. The houses, the church, the pastor's house, the barns were dark brown with golden roofs; and many of the walls were painted so gaily as if they had been stuck with almonds and candied lemons.

This is the village of Gingerbread, - said the Nutcracker, - located on the banks of the Honey River. The people in it live beautiful, but very angry, as everyone there suffers from a toothache. We better not go there.

At the same moment, Marie noticed a beautiful town in which all the houses were completely colorful and transparent. The Nutcracker went straight there, and now Marie heard a chaotic cheerful hubbub and saw a thousand pretty little men dismantling and unloading the loaded carts crowded in the bazaar. And what they got out looked like colorful multi-colored pieces of paper and chocolate bars.

We are in Canfetenhausen, - said the Nutcracker, - messengers from the Paper Kingdom and from the Chocolate King have just arrived. Not so long ago, the poor Confedenhausen were threatened by the mosquito admiral's army; so they cover their homes with the gifts of the Paper State and build fortifications from strong slabs sent by the chocolate king. But, invaluable Mademoiselle Stahlbaum, we cannot visit all the towns and villages of the country - to the capital, to the capital!

The Nutcracker hurried on, and Marie, burning with impatience, did not lag behind him. Soon a wondrous fragrance of roses wafted in, and everything seemed to be lit up with a gently shimmering pink glow. Marie noticed that it was a reflection of pink-red waters, with a sweet-melodious sound, splashing and murmuring at her feet. The waves kept coming and coming and finally turned into a large beautiful lake, on which wonderful silver-white swans with golden ribbons around their necks swam and sang beautiful songs, and diamond fish, as if in a merry dance, dived and somersaulted in pink waves.

Ah, - Marie exclaimed in delight, - but this is the same lake that my godfather once promised to make! And I am the same girl who was supposed to play with the pretty swans.

The Nutcracker smiled as mockingly as he had never smiled before, and then said:

Uncle would never make anything like that. Rather, you, dear Mademoiselle Stahlbaum ... But is it worth thinking about this! Better to cross the Pink Lake to the other side, to the capital.

Capital

The Nutcracker clapped his hands again. The pink lake rustled more, the waves came higher, and Marie saw in the distance two golden-scaled dolphins harnessed to a shell, shining with gems bright as the sun. Twelve adorable little blacks in hats and aprons woven from iridescent hummingbird feathers jumped ashore and, gliding lightly over the waves, carried first Marie, and then the Nutcracker, into the shell, which immediately rushed across the lake.

Oh, how wonderful it was to swim in a shell, perfumed with the fragrance of roses and washed by pink waves! The golden-scaled dolphins raised their muzzles and began to throw crystal jets high up, and when these jets fell from the heights in sparkling and sparkling arcs, it seemed as if two lovely, soft silvery voices were singing:

“Who swims in the lake? Water Fairy! Mosquitoes, doo-doo-doo! Fish, splash-splash! Swans, shine-shine! Miracle bird, tra-la-la! Waves, sing, blowing, melaya, - a fairy floats towards us on roses; frisky trickle, shoot up - to the sun, up! »

But the twelve Arabs, who jumped into the shell from behind, apparently did not like the singing of water jets at all. They shook their umbrellas so much that the leaves of the date palms, from which they were woven, crumpled and bent, and the blacks beat some unknown rhythm with their feet and sang:

“Top-and-tip and tip-and-top, clap-clap-clap! We are in a round dance on the waters! Birds, fish - for a walk, following the shell with a boom! Top-and-tip and tip-and-top, clap-clap-clap! »

The Arapchata are a very cheerful people, - said the somewhat embarrassed Nutcracker, - but no matter how they stir up the whole lake for me!

Indeed, soon there was a loud roar: amazing voices seemed to float above the lake. But Marie paid no attention to them - she looked into the fragrant waves, from where lovely girlish faces smiled at her.

Oh,” she cried joyfully, clapping her hands, “look, dear Mr. Drosselmeyer: Princess Pirlipat is there! She smiles at me so kindly... But look, dear Mr. Drosselmeyer!

But the Nutcracker sighed sadly and said:

O priceless Mademoiselle Stahlbaum, it is not Princess Pirlipat, it is you. Only you yourself, only your own pretty face smiles tenderly from every wave.

Then Marie quickly turned away, closed her eyes tightly, and was completely embarrassed. At the same moment, twelve blacks picked her up and carried her from the shell to the shore. She found herself in a small forest, which was, perhaps, even more beautiful than the Christmas forest, everything here shone and sparkled; especially remarkable were the rare fruits that hung on the trees, rare not only in color, but also in their wonderful fragrance.

We are in the Candied Grove, - said the Nutcracker, - and over there is the capital.

Oh, what did Marie see! How can I describe to you, children, the beauty and splendor of the city that appeared before Marie's eyes, which spread wide on a luxurious meadow dotted with flowers? It shone not only with the iridescent colors of the walls and towers, but also with the bizarre shape of buildings that did not at all look like ordinary houses. Instead of roofs, they were overshadowed by artfully woven wreaths, and the towers were entwined with such lovely colorful garlands that it is impossible to imagine.

When Marie and the Nutcracker passed through the gate, which seemed to be made of almond biscuits and candied fruit, silver soldiers took guard, and a little man in a brocade dressing gown hugged the Nutcracker with the words:

Welcome dear prince! Welcome to Confetenburg!

Marie was very surprised that such a noble nobleman calls Mr. Drosselmeyer a prince. But then they heard the hubbub of thin voices, noisily interrupting each other, they heard the sounds of jubilation and laughter, singing and music, and Marie, forgetting everything, immediately asked the Nutcracker what it was.

Oh, dear Mademoiselle Stahlbaum, - answered the Nutcracker, - there is nothing to marvel at here: Konfetenburg is a crowded, cheerful city, there is fun and noise every day. Kindly move on.

After a few steps they found themselves in a large, surprisingly beautiful market square. All houses were decorated with openwork sugar galleries. In the middle, like an obelisk, towered a glazed sweet cake sprinkled with sugar, and around four skillfully made fountains jets of lemonade, orchad and other delicious refreshing drinks spouted upward. The pool was full of whipped cream, which I wanted to scoop up with a spoon. But most charming of all were the charming little men who crowded here in multitudes. They had fun, laughed, joked and sang; it was their merry hubbub that Marie heard from afar.

There were elegantly dressed cavaliers and ladies, Armenians and Greeks, Jews and Tyroleans, officers and soldiers, and monks, and shepherds, and clowns - in a word, every people that one can meet in the world. In one place on the corner there was a terrible uproar: the people rushed in all directions, because just at that time the Great Mogul was carried in a palanquin, accompanied by ninety-three nobles and seven hundred slaves. But it had to happen that on the other corner a guild of fishermen, in the amount of five hundred people, staged a solemn procession, and, unfortunately, the Turkish sultan just took it into his head to ride, accompanied by three thousand Janissaries, through the bazaar; besides, she was advancing right on the sweet cake with ringing music and singing: “Glory to the mighty sun, glory! "- the procession of" interrupted solemn sacrifice ". Well, the same confusion, hustle and squeal! Soon groans were heard, because in the confusion a fisherman knocked off the head of a Brahmin, and the Great Mogul was nearly crushed by a buffoon. The noise grew wilder and wilder, the hustle and fight had already begun, but then the man in the brocade dressing gown, the same one who had welcomed the Nutcracker as a prince at the gate, climbed onto the cake and, pulling the ringing bell three times, shouted loudly three times: “Confectioner! Confectioner! Confectioner! The hustle and bustle subsided instantly; everyone escaped as best they could, and after the tangled processions were unraveled, when the dirty Great Mogul was cleaned out and the head of the Brahmin was put on again, the interrupted noisy fun began again.

What's the matter with the confectioner, dear Mr. Drosselmeyer? Marie asked.

Oh, priceless Mademoiselle Stahlbaum, here they call a confectioner an unknown, but very terrible force, which, according to local belief, can do whatever it wants with a person, - answered the Nutcracker, - this is the fate that rules over this merry people, and the inhabitants they are so afraid of him that the mere mention of his name can calm down the biggest hustle and bustle, as the burgomaster just now proved. Then no one thinks about earthly things, about cuffs and bumps on the forehead, everyone plunges into himself and says: “What is a person and what can he turn into?”

A loud cry of surprise - no, a cry of delight broke out from Marie when she suddenly found herself in front of a castle with a hundred aerial turrets, glowing with a pink-scarlet glow. Luxurious bouquets of violets, daffodils, tulips, and gillyflowers were scattered here and there on the walls, which set off the dazzling, scarlet whiteness of the background. The large dome of the central building and the gabled roofs of the towers were studded with thousands of stars glittering in gold and silver.

Here we are in the Marzipan Castle, - said the Nutcracker.

Marie did not take her eyes off the magical palace, but still she noticed that one large tower was missing a roof, which, apparently, was being restored by little men standing on a platform of cinnamon. Before she had time to ask the Nutcracker a question, he said:

More recently, the castle was threatened with a big disaster, and perhaps complete ruin. The giant Sweet Tooth passed by. He quickly bit off the roof of that tower and set to work on the large dome, but the inhabitants of Konfetenburg propitiated him, offering him a quarter of the city and a significant part of the Candied Grove as a ransom. He ate them and moved on.

Suddenly, very pleasant, gentle music sounded softly. The gates of the castle swung open, and twelve crumbs of pages came out with lit torches from stalks of carnations in their handles. Their heads were made of pearls, their bodies were made of rubies and emeralds, and they moved on golden legs of skillful work. They were followed by four ladies of almost the same height as Clerchen, in unusually luxurious and brilliant dresses; Mari instantly recognized them as born princesses. They tenderly embraced the Nutcracker and at the same time exclaimed with sincere joy:

O prince, dear prince! Dear brother!

The Nutcracker was completely moved: he wiped away the tears that often came to his eyes, then took Marie by the hand and solemnly announced:

Here is Mademoiselle Marie Stahlbaum, daughter of a very worthy medical adviser and my savior. If she hadn’t thrown a shoe at the right moment, if she hadn’t got me the saber of a retired colonel, the nasty mouse king would have killed me, and I would already be lying in the grave. O Mademoiselle Stahlbaum! Can Pirlipat compare with her in beauty, dignity and virtue, despite the fact that she is a born princess? No, I say, no!

All the ladies exclaimed: “No! - and, sobbing, began to hug Marie.

O noble savior of our beloved royal brother! O incomparable Mademoiselle Stahlbaum!

Then the ladies took Marie and the Nutcracker to the chambers of the castle, to the hall, the walls of which were entirely made of crystal shimmering with all the colors of the rainbow. But what Marie liked the most was the pretty chairs, chests of drawers, secretaires, made of cedar and Brazilian wood, inlaid with golden flowers, arranged there.

The princesses persuaded Marie and the Nutcracker to sit down and said that they would immediately prepare a treat for them with their own hands. They immediately took out various pots and bowls made of the finest Japanese porcelain, spoons, knives, forks, graters, saucepans and other gold and silver kitchen utensils. Then they brought such wonderful fruits and sweets as Marie had never seen, and very gracefully began to squeeze fruit juice with their lovely snow-white hands, crush spices, rub sweet almonds - in a word, they began to host such nice hosts that Marie realized what skillful people they were in culinary business. and what a sumptuous meal awaits her. Knowing perfectly well that she also understood something of this, Marie secretly wished to take part in the princesses' lessons herself. The most beautiful of the Nutcracker sisters, as if guessing Marie's secret desire, handed her a small golden mortar and said:

My dear girlfriend, the invaluable savior of my brother, the ceilings are a little caramel.

While Marie was merrily banging the pestle, so that the mortar rang melodiously and pleasantly, no worse than a lovely song, the Nutcracker began to tell in detail about the terrible battle with the hordes of the mouse king, about how he was defeated because of the cowardice of his troops, like then the nasty mouse king I wanted to kill him at all costs, as Marie had to sacrifice many of his subjects who were in her service ...

During the story, it seemed to Marie that the words of the Nutcracker and even her own blows with a pestle sounded more and more muffled, more and more indistinct, and soon a silver veil covered her eyes - as if light clouds of fog had risen, into which the princesses plunged ... pages ... The Nutcracker ... she herself ... Somewhere - then something rustled, murmured and sang; strange sounds vanished into the distance. The rising waves carried Mari higher and higher...higher and higher...higher and higher...

Conclusion

Ta-ra-ra-boo! - and Marie fell from an incredible height. That was the push! But Marie immediately opened her eyes. She lay in her bed. It was quite light, and my mother stood nearby and said:

Well, is it possible to sleep so long! Breakfast has been on the table for a long time.

My dear listeners, of course, you have already understood that Marie, stunned by all the miracles she saw, finally fell asleep in the hall of the Marzipan Castle and that the Arabs or pages, or maybe the princesses themselves, carried her home and put her to bed.

Oh, mother, my dear mother, where have I not been this night with young Mr. Drosselmeyer! What miracles have not seen enough!

And she told everything in almost the same detail as I had just told, and my mother listened and was surprised.

When Marie had finished, her mother said:

You, dear Marie, had a long beautiful dream. But get it all out of your head.

Marie stubbornly insisted that she saw everything not in a dream, but in reality. Then her mother led her to a glass cabinet, took out the Nutcracker, which, as always, stood on the second shelf, and said:

Oh you silly girl, where did you get the idea that a wooden Nuremberg doll can talk and move?

But, mommy, - Marie interrupted her, - I know that the little Nutcracker is a young Mr. Drosselmeyer from Nuremberg, the godfather's nephew!

Here both - both father and mother - laughed out loud.

Ah, now you, daddy, are laughing at my Nutcracker, - Marie continued almost crying, - and he spoke so well of you! When we came to the Marzipan Castle, he introduced me to the princesses - his sisters and said that you are a very worthy adviser to medicine!

The laughter only intensified, and now Louise and even Fritz joined the parents. Then Marie ran to the Other Room, quickly took out the seven crowns of the mouse king from her casket and gave them to her mother with the words:

Here, mother, look: here are the seven crowns of the mouse king, which young Mr. Drosselmeyer presented to me last night as a sign of his victory!

Mom looked with surprise at tiny crowns made of some unfamiliar, very shiny metal and such fine workmanship that it could hardly be the work of human hands. Herr Stahlbaum also couldn't get enough of the crowns. Then both father and mother strictly demanded that Marie confess where she got the crowns from, but she stood her ground.

When her father began to scold her and even called her a liar, she burst into bitter tears and began to mournfully say:

Oh, I'm poor, poor! Well, what should I do?

But then suddenly the door opened, and the godfather entered.

What happened? What happened? - he asked. - My goddaughter Marihen cries and sobs? What happened? What happened?

Dad told him what happened and showed him the tiny crowns. The senior counselor of the court, as soon as he saw them, laughed and exclaimed:

Stupid ideas, stupid ideas! Why, these are crowns that I once wore on a watch chain, and then gave Marihen on her birthday, when she was two years old! Have you forgotten?

Neither father nor mother could remember it.

When Marie was convinced that the faces of her parents had again become affectionate, she ran up to her godfather and exclaimed:

Godfather, you know everything! Tell me that my Nutcracker is your nephew, young Herr Drosselmeyer of Nuremberg, and that he gave me these tiny crowns.

The godfather frowned and muttered:

Silly ideas!

Then the father took little Marie aside and said very sternly:

Listen, Marie, stop making up stories and stupid jokes once and for all! And if you say again that the ugly Nutcracker is your godfather's nephew, I will throw out the window not only the Nutcracker, but also all the other dolls, not excluding Mamselle Clerchen.

Now poor Marie, of course, did not dare to say a word about what was overflowing in her heart; because you understand that it was not so easy for Marie to forget all the wonderful miracles that happened to her. Even, dear reader or listener, Fritz, even your comrade Fritz Stahlbaum immediately turned his back on his sister as soon as she was about to tell about the wonderful country where she felt so good. It is said that sometimes he even muttered through his teeth: “Stupid girl! ”But, having long known his good disposition, I just can’t believe it; in any case, it is known for certain that, no longer believing a word in Marie’s stories, at a public parade he formally apologized to his hussars for the offense he had caused, pinned them, instead of the lost insignia, even taller and more magnificent plumes of goose feathers, and again allowed the leib to blow - hussar march. Well, we know what the courage of the hussars was when disgusting bullets planted spots on their red uniforms.

Marie no longer dared to talk about her adventure, but the magical images of the fairyland did not leave her. She heard gentle rustling, gentle, enchanting sounds; she saw everything again as soon as she began to think about it, and instead of playing, as she used to, she could sit quietly and quietly for hours, withdrawing into herself - that's why everyone now called her a little dreamer.

It once happened that the godfather was repairing clocks at the Stahlbaums. Marie was sitting near the glass cabinet and, daydreaming, looked at the Nutcracker. And suddenly she burst out:

Ah, dear Mr. Drosselmeyer, if you really lived, I would not reject you, like Princess Pirlipat, because you lost your beauty because of me!

The counselor of the court immediately shouted:

Well, well, stupid inventions!

But at the same moment there was such a roar and crack that Marie fell unconscious from her chair. When she woke up, her mother fussed around her and said:

Well, is it possible to fall from a chair? Such a big girl! The nephew of the senior councilor of the court has just arrived from Nuremberg, be smart.

She raised her eyes: the godfather put on his glass wig again, put on a yellow frock coat and smiled contentedly, and by the hand he held, it is true, a small, but very well-built young man, white and ruddy as blood and milk, in a magnificent red, embroidered gold caftan, in shoes and white silk stockings. What a pretty bunch of charms was pinned to his jabot, his hair was carefully curled and powdered, and an excellent braid descended along his back. A tiny sword at his side gleamed like it was all studded with precious stones, and under his arm he held a silk hat.

The young man showed his pleasant disposition and good manners by giving Marie a whole bunch of wonderful toys and, above all, tasty marzipan and dolls in exchange for those that the mouse king had gnawed, and Fritz - a wonderful saber. At the table, a kind young man cracked nuts for the whole company. The hardest ones were nothing to him; with his right hand he put them in his mouth, with his left he pulled his braid, and - click! - the shell broke into small pieces.

Marie blushed all over when she saw the courteous young man, and when, after dinner, young Drosselmeyer invited her to go into the living room, to the glass cabinet, she became crimson.

Go, go, play, children, just look do not quarrel. Now that all my watches are in order, I have nothing against it! - the senior adviser of the court admonished them.

As soon as the young Drosselmeyer found himself alone with Marie, he knelt down on one knee and made this speech:

O priceless Mademoiselle Stahlbaum, look: at your feet is the happy Drosselmeyer, whose life you saved on this very spot. You deigned to say that you would not reject me like the nasty Princess Pirlipat if I became a freak because of you. Immediately I ceased to be a miserable Nutcracker and regained my former appearance, not without pleasantness. O excellent Mademoiselle Stahlbaum, make me happy with your worthy hand! Share the crown and throne with me, we will reign together in the Marzipan Castle.

Mari lifted the young man from his knees and said quietly:

Dear Mr. Drosselmeyer! You are a meek, kind-hearted person, and besides, you still reign in a beautiful country inhabited by a charming, cheerful people - well, how can I not agree that you should be my bridegroom!

And Marie immediately became the bride of Drosselmeyer. They say that a year later he took her away in a golden carriage drawn by silver horses, that twenty-two thousand elegant dolls, sparkling with diamonds and pearls, danced at their wedding, and Marie, as they say, is still queen in a country where, if only you have eyes, you will see sparkling candied groves everywhere, transparent marzipan castles - in a word, all sorts of miracles and curiosities.

Here's a fairy tale about the Nutcracker and the Mouse King.

First shown on the stage of the Mariinsky Theater in December 1892, the ballet by P.I. Tchaikovsky's "The Nutcracker" has become a traditional New Year's fairy tale, which is staged all over the world and loved by both children and adults.

And meanwhile, this is a rather complex ballet: both in terms of stage implementation, and in terms of music, which gravitates towards a choreographic symphony.

P.I. Chaikovsky

The ballet "The Nutcracker" and the opera "Iolanta", staged simultaneously, are considered a kind of spiritual testament of P.I. Tchaikovsky. They call for selflessness, fidelity, devotion and love at all costs. It is also worth noting that the fate of the ballet was rather controversial: a huge success with the public - and a terrible abuse of criticism. Perhaps that is why a rather simple plot of a fairy tale, set to rather complex music, remains to this day a work that is “discovered” again and again.

The history of the creation of the ballet

The idea of ​​the ballet belonged to I.A. Vsevolozhsky.

I.A. Vsevolozhsky

Ivan Alexandrovich Vsevolozhsky(1835-1909) - Russian theatrical figure, screenwriter, artist, privy councilor, chief chamberlain. Since 1881, he was the director of the imperial theaters, in this area he carried out a number of important organizational reforms. And although he is reproached for the fact that in his activities he was guided by the tastes of the court and aristocratic circles, pomp and external showiness, he did a lot for the national national musical culture: he ordered P.I. Tchaikovsky the music for the ballets The Sleeping Beauty and The Nutcracker, he himself created the libretto and sketches of scenery and costumes for performances, and, having become the director of the Hermitage, attracted a number of young specialists to work in the Hermitage, whom Alexander Benois united around the magazines Artistic Treasures of Russia and "Old Years". On the initiative of I.A. Vsevolozhsky on the stage of the Mariinsky Theater in St. Petersburg, an opera by P.I. Tchaikovsky " Eugene Onegin", in which, at the request of Vsevolozhsky, new fragments were added for the sixth scene of the opera. It was he who gave the idea of ​​the plot of the opera The Queen of Spades, in every possible way encouraging the composer to write it.

I.A. Tchaikovsky dedicated to Vsevolozhsky the ballet "Sleeping Beauty".

"Nutcracker"- ballet in two acts. The libretto was created by M. Petipa based on the fairy tale by E.T.A. Hoffmann's "The Nutcracker and the Mouse King" (1816), but the basis of the libretto was not Hoffmann's fairy tale itself, but its arrangement by A. Dumas père.

THIS. Hoffman

Libretto(ital. libretto booklet, reduced from libro"book") is the literary basis of a large musical composition (opera, ballet, operetta, oratorio, cantata, musical).

The plot of the ballet



Prologue (introduction).On Christmas Eve, guests begin to gather at Dr. Stahlbaum's house:adults and children, including the children of the doctor - Marie and Fritz.

ActionI. All children look forward to gifts. The masked Drosselmeyer arrives last, he can bring the toys to life, but when he removes the mask, Marie and Fritz recognize their favorite godfather.

Marie wants to play with the donated dolls, but they've already been taken away. Marie is upset. To calm the girl, the godfather gives her the Nutcracker, a doll that can crack nuts (nutcrackers in the shape of a soldier). I really liked Marie's doll, although she was somewhat strange. But the naughty and mischievous Fritz inadvertently breaks the doll. Marie is upset. She puts her beloved doll to sleep. Fritz and his friends put on mouse masks and start teasing Marie.

The holiday ends, the guests dance the traditional dance "Gross-Vater" and go home. The night is coming. Marie hugs the Nutcracker - and then Drosselmeyer appears already in the role of a good wizard. A wave of the hand - and everything changes in the room: the walls move apart, the Christmas tree begins to grow, Christmas decorations come to life and become soldiers.

Suddenly mice appear under the leadership of the Mouse King. The brave Nutcracker leads the soldiers into battle with them, but the army of mice outnumbers the army of soldiers.

Marie, in desperation, takes off her shoe and throws it at the Mouse King. He flees with his army. Soldiers won! They carry Marie on their shoulders to the Nutcracker. Suddenly, the Nutcracker's face begins to change: he ceases to be an ugly doll and turns into a handsome Prince.

And again, an unexpected transformation: Marie and the dolls find themselves under a starry sky and a beautiful Christmas tree, snowflakes are spinning around.

ActionII. But suddenly this beauty is again violated by mice, attacking them. The prince wins. Everyone is dancing and having fun, celebrating the victory over the mouse army.

Dolls from different countries and peoples thank Marie for saving their lives. Everyone is dancing around.

Drosselmeyer magically changes everything again: preparations for the royal wedding of Marie and the Prince begin.

But... Marie wakes up. The Nutcracker is still in her hands. She is sitting in her room. Alas, it was just a dream...

First production of The Nutcracker

The premiere of the ballet took place December 18, 1892. at the Mariinsky Theater in St. Petersburg on the same evening with the opera Iolanta. The roles of Clara and Fritz were performed by students of the St. Petersburg Imperial Theater School: Clara - Stanislava Belinskaya, Fritz - Vasily Stukolkin. The Nutcracker is Sergey Legat, the Dragee fairy is Antonietta Del-Era, Prince Whooping cough is Pavel Gerdt, Drosselmeyer is Timofey Stukolkin, niece Marianna is Lydia Rubtsova.

The choreographer of the performance is L. Ivanov, the conductor is R. Drigo, the artists are M. Bocharov and K. Ivanov, the costumes are I. Vsevolozhsky and E. Ponomarev.

Ballet life

Among the works of the late period of the creative path of P.I. Tchaikovsky's ballet "The Nutcracker" occupies a special place: it is innovative not only because of the musical embodiment, but also in the interpretation of the characters. And although the plot of the ballet was traditionally perceived as a children's fairy tale, there is a deep philosophical subtext in it: the illusory nature of the line between reality and sleep, living beings and inanimate objects and toys, the relationship between the world of adults and children, the eternal struggle of nobility and petty evil, wisdom hidden behind the mask of eccentricity the all-conquering power of love.

Tchaikovsky's music, like the plot of a fairy tale, is inexhaustible. This complexity was understood only in the 20th century.

After the first staging of the ballet (L. Ivanov), many major choreographers of Russia turned to him: A. Gorsky, F. Lopukhov, V. Vainonen, Yu. Grigorovich, I. Belsky, I. Chernyshev. Each of them took into account the experience of their predecessors and offered their own original version, correlating their own aesthetic priorities and contemporary demands with their own understanding of Tchaikovsky's music. Until now, the ballet "The Nutcracker" remains attractive to the modern theater and the audience.

Mariinskii Opera House



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