There are a lot of good, interesting fairy tales that have long become folk exist for children. One of these fairy tales is "The Snow Maiden", which was written by the famous Russian writer Alexander Ostrovsky back in 1873. Despite the fact that the Snow Maiden is still a winter character, this fairy tale turned out to be spring, exciting and intriguing. The whole action of this fairy tale takes place in the fictional country of the Berendeys, and the main character, of course, becomes the daughter of the Spring that is already coming into its own and the Frost that has not yet retreated, the Snow Maiden.
According to the story, the main character turns out to be a stranger to everyone. But, despite this, she is very attracted to human songs, conversations, games and fun. The Snow Maiden tries her best to understand the feelings that people experience, sometimes rejoicing, sometimes crying. She does not understand this feeling, but the more it attracts her.
By her nature, the main character is still just a child, and her childish darling sleeps sweetly, and no one can awaken these feelings in her. Despite this, not yet knowing the feeling of love, she is able to experience a feeling of real envy for someone else's happiness and someone else's joy. The main character feels overwhelmed after the ordinary rural shepherd Lel prefers the hot, village girl Kupava to her. The main character in sorrow turns to mother Spring with a request to give her the gift of love. In response, her mother gives her a wreath, which helps the main character to take off the slumber from the soul and understand what love is.
At the same time, the proud, wayward and strong Mizgir turns out to be the chosen one of the Snow Maiden. Having experienced a real, human feeling of love, her heart becomes real, human, alive, and the Snow Maiden dies. Her death, completing the tale, as it were, restores the balance of the kingdom of the Berendeys. And the Snow Maiden becomes a kind of redemptive sacrifice for the mercy of the formidable and powerful Yaril.
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Opera in four acts with a prologue by N. A. Rimsky-Korsakov based on the composer's libretto based on the play of the same name by A. N. Ostrovsky.
Characters:
In the prologue
Spring is red mezzo soprano
Santa Claus Bass
Snow Maiden girl Soprano
Goblin Tenor
Pancake week(straw scarecrow) Bass
Bobyl Bakula Tenor
Bobylikha, his wife Mezzo-soprano
Retinue of Spring, birds: cranes, geese, ducks, rooks, magpies, starlings, larks and others. Berendei of both genders of all ages.
at the opera
Tsar Berendey Tenor
Bermyata, middle boyarBas
Spring is red mezzo soprano
Snow Maiden girl Soprano
Bobyl Bakula Tenor
Bobylikha mezzo soprano
Lel, shepherdAlt
Kupava, young girl, daughter
rich SlobozhaninSoprano
Mizgir, trade guest
from Posad BerendeevaBariton
First biryuch Bass
Second biryuch Tenor
Royal youth mezzo soprano
Goblin Tenor
Boyars, boyars and the retinue of the king, blind harpists, buffoons, horns, bagpipers, shepherds, boys and girls, berendei of any rank, of both sexes, goblin, flowers - the retinue of Spring.
Time of action: prehistoric times.
Scene: the country of the Berendeys.
History of creation
The circumstances of the creation of the "Snow Maiden" are well known. N. A. Rimsky-Korsakov himself spoke about them in the Chronicle of My Musical Life. The tale of A. N. Ostrovsky "The Snow Maiden" was first read by Rimsky-Korsakov around 1874, when it had just appeared in print. The composer later recalled that at that time he did not like her much, and the kingdom of the Berendeys seemed strange. In the winter of 1879/80, he read it again, and this time "as if he had seen the light of its amazing beauty." The composer had a thick book of music paper and he began to write down in it in the form of sketches the musical thoughts that came to mind. Inspired by the new plot, Rimsky-Korsakov went to Moscow to meet with Ostrovsky and ask him for permission to use his work as a libretto with the right to make the necessary changes to the drama when working on the opera. The playwright received the composer very kindly, granted him the right to properly dispose of the text, and even gave him a copy of his fairy tale.
Rimsky-Korsakov spent the summer of 1880 in the village of Stelyovo. It was his first summer in a real Russian village. And everything - the landscape, the singing of birds, the atmosphere - unusually inspired him to this work. He worked all day, "musical thoughts and their processing haunted me relentlessly," the composer later wrote. He recorded the progress of the work literally by the day: the beginning on June 1 (the introduction to the prologue was written), the end - on August 12 (the final chorus). Not a single work was given to him with such ease and speed as The Snow Maiden. “No one knew about the composition of The Snow Maiden,” the composer wrote, “because I kept this matter a secret, and, having announced to my relatives upon arrival in St. Petersburg that the sketch had been completed, I thereby surprised them a lot.” The composer spent another six months on the instrumentation of the opera, and, finally, on February 10, the opera was given on the stage of the Mariinsky Theater in St. Petersburg. Since then, it has remained one of the composer's most beloved works by the public.
In The Snow Maiden, N. Rimsky-Korsakov very subtly conveyed the folk character of music. Of the truly folk melodies that sound in "The Snow Maiden", one can name "The eagle of the governor, the quail of the clerk" (in the dance of birds), in the choir "It's fun to meet you, welcome you" (in the farewell to Shrovetide) the chant of the song "We are waiting for Shrovetide" is used, the song “Ay, there is a linden in the field” sounds in the choirs of actions I and III, the song of Bobyl “The beaver bathed” is borrowed from the folk song “Oh, the young powder has fallen, the young powder has fallen”.
In addition to citing Russian folk songs and melodies, the composer composed many of his own motives, which are very naturally perceived "as folk". There are even reproaches by some modern critics who claimed that this or that motive is folk, while it was an invention of Rimsky-Korsakov himself. It even got to the point that the opinion was expressed that the composer himself was not able to write in this style. These reproaches irritated the composer with their injustice. In response to one of them, in which the critic claimed that Lel's third song was written to a folk motive, the composer could not resist and answered in writing (in the same Novoye Vremya newspaper in which the critic's article was published): “Melody“ Lel’s Songs “not folk, but my composition, but if the author of the review knows a folk motive identical with it, then I would ask you to point it out to me, which for me, as I was engaged in a lot of folk songs, would be extremely interesting.”
In this regard, it is appropriate to cite Rimsky-Korsakov’s statement, which has a fundamental character: “As for the creation of melodies in the folk spirit, it is undoubted that such should include chants and turns that are contained and scattered in various genuine folk melodies. Can two things resemble one another in general, if no component of the first resembles any component of the second? The question is: if not a single particle of the created melody resembles a single particle of a genuine folk song, then can the whole resemble folk art?
Story and music
The beginning of spring. The orchestral introduction paints a picture of the last winter night. Krasnaya Gorka (a fabulous place where the action takes place) is covered with snow. The place around is dense: to the right, bushes and a sparse, leafless birch forest, to the left, a solid dense forest of large pines and firs, the branches bent down under the weight of the snow lying on them. In the depths, under the mountain, a river flows. Across the river is Berendeyev Posad, the capital of Tsar Berendey: palaces, houses, huts, all wooden with intricately painted carvings; lights in the windows. The full moon silvers the whole open area. Roosters are crowing in the distance. Leshy sits on a dry stump. Surrounded by a retinue of birds, Spring-Red descends to the ground. The forest is still sleeping under the snow and Frost reigns everywhere. Fifteen years ago, the daughter of the Snow Maiden was born to Spring and Frost, and since then the angry Yarilo-Sun has given the earth little light and heat. The goblin states that “the roosters sang the end of winter, Spring-red descends to the ground, the goblin has guarded the gatehouse, dive into the hollow and sleep!” With these words, he falls into the hollow. In the orchestra, one can hear the cry of a rooster, the chirping, the chirping of birds, the cuckoo's call. Spring-Red sings its recitative and aria "At the appointed hour, I appear in the usual sequence to the land of the Berendeys." In the next second recitative, Spring tells the birds - white-sided magpies, sullen rooks and larks, the crane and his friend the heron, the beautiful swans and geese and small birdies (as she addresses them) - that sixteen years ago she began to flirt with Frost, the old grandfather, gray-haired prankster. And then they had a daughter - the Snow Maiden. “Loving the Snow Maiden, pitying her in her unfortunate fate, I am afraid to quarrel with the old one.” That is why Spring is slow to come into its own. The birds are cold, and Spring advises them to dance to keep warm, as people do. The song and dance of birds sounds “Birds gathered, songbirds gathered in flocks, flocks.”
Frost begins to fall on the dancing birds from the forest, then snow flakes, the wind rises, clouds run in, cover the moon, darkness completely covers the distance. Birds huddle close to Spring with a cry. Santa Claus comes out of the forest - having found out about the arrival of Spring, he himself granted to meet her. His harsh, gloomy melody sounds in the orchestra. Santa Claus starts his daring song (“Bang on the corners of rich townsmen's houses”), in which he boasts of his winter exploits.
“You didn’t feast badly, it’s time for you to go north,” Spring addresses Santa Claus with the first words. He promises Spring to leave the country of the Berendeys. But who will the Snow Maiden remain, Spring is worried. They discuss what to do. Santa Claus knows that the Sun is going to destroy the Snow Maiden, and is only waiting to ignite the fire of love in her heart with his ray. Reluctantly, the parents decide to send the Snow Maiden to the Berendey village.
Santa Claus calls the Snow Maiden. She emerges from the forest. Spring affectionately meets her and asks if she wants to go to hell? Of course, the Snow Maiden wants. She is attracted by human songs, the Snow Maiden answers. She sings about her desire to live with people in the touching aria “To walk with girlfriends on a berry, to respond to their cheerful call: “Au, ay!”. She mentions Lelya. This alarms Santa Claus. He asks her about him and the Snow Maiden in the amazing arietta “I Heard, I Heard” admits that “I am ready to listen to his shepherd songs day and night; and you listen and melt.” Santa Claus is alarmed by these words of hers. "Run away from Lelya! Be afraid of his speech and songs!" - Father Frost instructs the Snow Maiden. Frost and Spring say goodbye to the Snow Maiden and instruct Leshem to follow the Snow Maiden and especially protect her from Lel.
A crowd of cheerful Berendeys is approaching. They see off Shrovetide; their choir begins to sound even behind the scenes. At this time, a touching episode of the farewell of Father Frost and Spring with the Snow Maiden takes place on the stage. The blizzard subsides, the clouds run away. It becomes clear, as at the beginning of the action. The stage is filled with crowds of Berendeys. Some are pulling a sleigh with a stuffed Maslenitsa, others are watching it. The Snow Maiden is standing behind the bushes, near the hollow of Leshy. The Berendey Choir sings farewell to Maslenitsa (“Early, early, the hens sang, they announced about spring. Farewell, farewell, farewell, Maslenitsa”). Bobyl and Bobylikha notice the Snow Maiden appearing from the forest. When they ask who she is, the Snow Maiden gives her name and asks them to take her with them. Bobyl and Bobylikha are very happy and take the Snow Maiden away. forests, and trees and bushes bow to her. This terrifies the Berendeys, and with cries of “Ai, ai,” they scatter.
Zarechnaya Sloboda Berendeevka; on the right side is the poor hut of Bobyl with a crooked porch, in front of the hut there is a bench; on the left side is a large painted hut of Kupava. In the depths of the street, across the street hop and bee; between them is a path to the river. Evening. Shepherds' horns are heard (in the woodwind solo orchestra). Slobodzhane converge. Bobyl is among them. Lel appears, playing the horn. Bobyl Bakula sign invites him to his place for the night. For a warm welcome, Lel is ready to sing his songs. Bobyl is not too greedy for them and invites Lelya to sing for the Snow Maiden. Lel agrees to sing the Snow Maiden for a kiss. This fee seems insignificant to the Snow Maiden, because, as she says, “at a meeting, at parting, I kiss each one.” Then Lel asks for a flower for the song, and the Snow Maiden gives it to him.
Lel sings his first - drawling - song ("Countryman-berry has grown under a bush"). The Snow Maiden, almost crying, puts her hand on Lel's shoulder. Then Lel starts his second - dancing - song ("How the forest rustles through the forest"). He stops singing and sees how several girls appear in the back of the stage and beckon him to them (their short chorus “Lel, Lel!” Sounds). Lel throws a flower and rushes to his girlfriends. The Snow Maiden is offended and perplexed. Lel leaves, playing the horn. The Snow Maiden is sad. She sings her arietta "How it hurts here!"
Kupava appears, she sympathizes with the Snow Maiden, but she has no time to indulge in this feeling for a long time - today her fiancé Mizgir is coming to the settlement. And indeed, Mizgir and two of his servants appear in the distance. Here they enter with bags, in which, as it turns out later, money and gifts. The girls and Lel are returning. Kupava runs and hides between the girls. Mizgir asks the girls if Kupava is hiding among them. The rite of redemption of the bride begins. The girls sing the wedding song "That's not a pava." Mizgir bestows gifts on everyone. Kupava goes to Mizgir, she calls the Snow Maiden to join their fun. Suddenly Mizgir casts a glance at the Snow Maiden. Unable to take his eyes off the young beauty, Mizgir immediately decides to stay with the Snow Maiden. The short-lived happiness of Kupava ended immediately. She is in despair and demands that the Snow Maiden "give her friend back." She would be glad to do this and asks Mizgir to leave, but he is adamant. To Kupava, he declares that as there is no return for the setting sun, so there is no return for love that has gone out. He begs the Snow Maiden to love him. Mizgir appeases Bobyl and Bobylikha so that they drive away Lel, in whom he sees his rival.
Kupava convenes the people (the whole scene is filled with girls and guys). Everyone condemns Mizgir for treason. Mizgir admits that he now loves the Snow Maiden, and Kupava throws insulting words, reproaching her that she could bestow another with the same caresses that she bestowed on him. The offended girl runs to the river to drown herself. She, almost insensible, is barely held by Lel. Everyone convinces Kupava to go seek help from the wise king Berendey
Open canopy in Berendey's palace; in the depths, behind the chiseled balusters of the passages, one can see the tops of the trees of the garden, carved wooden turrets and towers. Tsar Berendey sits on a golden chair and paints one of the pillars; a little further away blind harpists with harp. At the crossings at the door are the royal youths.
The action begins with the song of the blind harpists (“The prophetic sonorous strings rumble loud glory to Tsar Berendey”). The singing of the harpist is reminiscent of old epic tunes.
Enter Bermyata, the closest associate of Tsar Berendey. His laudatory speeches to the king are immediately stopped - for fifteen years now he, Tsar Berendey, has not seen prosperity in his kingdom: “Our summer is short, it gets shorter every year, and the springs get colder. Yarilo is angry with us! With sadness and anxiety, the king says:
In the hearts of people I noticed I will cool;
I do not see in them the ardor of love,
The service to beauty disappeared in them,
And see quite different passions.
Then Bermyata tells the tsar about the appearance of some kind of Snow Maiden, because of which "all the guys fought." And then one girl asks to "make a petition." The king admits Kupava to him. The boy introduces her, and she falls on her knees before the king. She cries and tearfully complains about her fiancé Mizgir and about the Snow Maiden, who separated her from her fiancé. Berendey laments the fate of Kupava. He orders to convene the people and put Mizgir to the court of the kings.
The cry of two biryuchy from the tower sounds. People gather to the solemn and at the same time fabulously toy march: courtiers, boyars, youths come out of the inner chambers; from the outer doors and from the stairs - the people; here is Lel. The henchmen bring Mizgir. Bermyata places the courtiers, the people sing (a capella) the hymn of the Berendeys. At the end of the procession, Berendey himself appears. The trial of Mizgir begins. He does not try to justify himself, and to Berendey's demand to marry Kupava, he stubbornly answers that he has one bride - the Snow Maiden. Berendey condemns Mizgir to eternal exile - to the desert, to the forest. Mizgir asks for only one thing - to look again at the Snow Maiden. The Snow Maiden enters, and with her Bobyl and Bobylikha. The Snow Maiden greets Berendey naively and innocently - she has never seen the king before. And he, struck by her beauty, sings his famous Cavatina "Full, full of miracles, mighty nature" - a philosophical reflection on the unpredictability of the phenomena of the miraculous gifts of mighty nature. And now Tsar Berendey understands the reason for the anger of Yarila-Sun: the Snow Maiden does not know love. And Berendey announces: the young man who makes the Snow Maiden fall in love with himself before dawn will get her as his wife. The young men are silent - everyone knows the coldness of the Snow Maiden. Then the king turns to the Berendeyks, and they answer that only Lel is able to "inspire love in the girl." In turn, Mizgir asks the tsar to delay his exile: he swears that he will kindle the untouched heart of the Snow Maiden with love. Berendey calms down and calls on his subjects to gather on the last day of spring in the reserved forest for games and songs. And at dawn, welcome Yarilin the day that begins summer.
Spacious clearing in the forest; on all sides of it is a continuous forest. In front of the forest on both sides are low bushes. In the distance, between the bushes, rich tents are visible. The evening glow is burning. Young berendeys lead round dances, one circle is closer to the audience, the other is at a distance. Girls and guys in wreaths. Old men and women sit in groups under the bushes and treat themselves to mash and gingerbread. Kupava walks in the first circle. In the middle of the first circle Lel and Snegurochka. Mizgir, not taking any part in the games, now appears among the people, then goes into the forest. Bobyl dances to the bagpipes. Bobylikh and several neighbors sit around and drink beer. The king with his retinue looks at the players from a distance.
The orchestral introduction to the third act is the melody of the old "Lipenka" ("Ay, in the field, ah, in the field, ah in the field, linden, ah in the field, linden") - a song that is sung and to which the girls dance when the curtain rises . It is replaced by the daring dance song "About the Beaver", which Bobyl sings and dances. The boys and girls stop dancing and everyone crowds around the dancing Bobyl.
Tsar Berendey comes to the forest with his retinue. He wants to look at the youth, at their games. He sings his second cavatina (“A merry day passes”), at the end of which he invites everyone to one more fun: “buffoons; somersault, break, fools!”
The buffoons run out. "Dance of the Buffoons" is a virtuoso symphonic episode, replete with bright orchestral colors and captivating rhythms. It is often included in popular symphonic music concert programs. In a theatrical production, this episode is an occasion for the choreographer to demonstrate his imagination. (True, there was always a danger of dances being abused in The Snow Maiden. N. Cherepnin, who was invited to Paris in 1908 to observe and consult when staging The Snow Maiden there, wrote to N. A. Rimsky-Korsakov from there: “... at first I even began to doubt whether it was the ballet "The Snow Maiden" (...) After long discussions, they managed to cancel all this nightmarish nonsense.")
Inviting the buffoons, Tsar Berendey also said: “And there, at parting, Lel is handsome, to end the day, sing a song to us.” And now, after the dance of the buffoons, Lel, accompanying himself on the horn (in the orchestra, this melody is played by the clarinet), sings his third song (“The cloud conspired with thunder”). Berendey liked the song, and as a reward for it, the tsar offers Lel to choose a girlfriend. Lel goes to the girls, for a moment, as if in indecision, he lingers near the Snow Maiden, but then he goes to Kupava, chooses her and leads across the stage to the king; coming close, he kisses her. The Snow Maiden runs into the bushes in tears. The king wants everyone to have fun and leaves with all his retinue. Gradually, everyone else disperses.
The Snow Maiden is left alone. She wanders sadly through the forest, filled with jealousy. In her arioso (“Good-looking Lel, don’t you feel sorry for the Snow Maiden”), she addresses the shepherd with naive reproaches. But Lelya is not there, and instead of him, Mizgir appears before her. He takes her hand, but she resists. Captivated by the beauty of the Snow Maiden, he stubbornly pursues her, seeking reciprocity. In the end, he kneels before her. But the words and tears of Mizgir frighten the Snow Maiden, she tries to snatch her hand. Overwhelmed by love passion, Mizgir inspiredly sings to the Snow Maiden his arioso “On the warm, blue sea”, in which he offers priceless pearls for the love of the Snow Maiden. But the Snow Maiden refuses to accept this gift. Furious Mizgir rushes at the Snow Maiden. The Snow Maiden is trying to escape. Goblin appears, to whom Father Frost ordered to take care of the Snow Maiden. He stops Mizgir. The Snow Maiden runs away into the forest, Mizgir rushes after her, but Leshy turns into a dry stump, and wherever Mizgir rushes, everywhere a forest grows out of the ground in front of him (in the orchestra this is masterfully conveyed by the appearance of more and more motives at an ever faster pace). Goblin reappears, he teases Mizgir with the ghost of the Snow Maiden. Bushes and trees take on changing fantastical images. Eventually, the ghost disappears. Mizgir runs after him. The meadow returns to its original form.
Lel enters. Then Kupava appears and, seeing Lelya, rushes to him. Lel saved her. She is grateful to him for the fact that with a kiss he equalized her, forgotten, with everyone. Sounds like a love duet.
The Snow Maiden wanders between the bushes. She becomes an unwitting witness to the love scene of Kupava and Lel. In great excitement, she runs out of the bushes and throws her own reproach to Kupava: “Razluchnitsa! This is your word! You yourself called me a homemaker, but you yourself separated from Lel! And then Lel says the most bitter words to the Snow Maiden: “Snow Maiden! Eavesdrop more often hot Kupava speeches; time to find out how the heart speaks when it burns with love. Learn to love from her and know that Lelya does not need childish love. Goodbye!" Struck by these words, the Snow Maiden remembers her last hope - her mother Spring. She poisons her with her last prayer: “Give me a girl’s heart, mom ... Give me love - or take my life!”
The fourth act begins with an orchestral introduction. When the curtain rises, the lake in the Yarilina Valley opens up to the viewer's gaze. Early morning. The lake is overgrown with sedge and aquatic plants with luxurious flowers. Along the banks of the bushes, too, with flowers hanging over the water. On the right side of the lake there is a naked Yarilina mountain with a sharp peak. Spring rises from the lake, all surrounded by flowers. The Snow Maiden turns to her with a passionate prayer: “Oh mother, give me love, I ask for love, girlish love!” And Spring agrees to console the Snow Maiden with this great, but so fatal gift for her.
Now the Snow Maiden knows the feeling of love, and a new meeting with Mizgir kindles her with a reciprocal passion. But she is afraid of Yarila's rays and prays to Mizgir to save her, to shelter her from the sun. Mizgir does not understand the reasons for her fear; he wants to introduce the Snow Maiden to Tsar Berendey as his wife.
The dawn is already blazing. The Berendeys are heading to the sacred Yarilina valley: the old tsar, followed by grooms with brides. The Snow Maiden and Mizgir stand under the shade of a bush. The harpists play the harp and the shepherds play the horns. Having descended into the valley, the people are divided into two sides. Everyone looks to the east with expectation and at the first rays of the sun they sing a choir - a Russian folk song “And we sowed millet”: girls on one side, boys on the other. The grooms take the brides and present them with a bow to the king. Tsar Berendey blesses them. Mizgir also brings the Snow Maiden to the king. The Snow Maiden confirms - and says that she can do it a hundred times - that she loves Mizgir. At this moment, a bright ray of the sun cuts through the morning fog and falls on the Snow Maiden (the leitmotif of the Yaril-Sun sounds powerfully in the orchestra). The Snow Maiden is frightened: “What is wrong with me? Bliss or death? The Snow Maiden understands that she is dying. N. A. Rimsky-Korsakov put all his brilliant talent into the dying aria of the Snow Maiden. Everything is in it - the ecstasy of love, longing, delight and hopelessness. With horror, Mizgir and Berendei see that “like spring snow it melts before the Sun and the Snow Maiden girl is no more.” Mizgir is in despair: "This is a cruel joke of fate." And true to his word - to die with the Snow Maiden - he rushes into the lake.
And again, Tsar Berendey, who is also the high priest, explains the great significance of what happened: “For fifteen years the Sun was angry with us; now, with her miraculous death, Frost's interference ceased." And the king orders Lelya to sing a song of praise to Yarila-Sun. The final choir sounds (in a unique musical size - 11/4) - a song to Yarile-Sun. All eyes are directed to the east. At the top of the mountain, for some time (“for eight measures” - remark by N. A. Rimsky-Korsakov), the fog dissipates and Yarilo appears in the form of a young guy in white clothes; in his right hand he has a luminous human head, in his left hand a rye sheaf. Apotheosis: “Light and power, god Yarilo, our red sun, you are not more beautiful in the world!” At the sign of the king, servants carry whole bulls and rams with gilded horns, barrels of honey, various dishes and all the accessories of the feast. This is how this fairy tale opera ends.
© AlexanderMAIKAPAR
Lel or Lelya, Lelyo, Lyubich, in the mythology of the ancient Slavs, the god of love passion. About Lele - this cheerful, frivolous god of passion - the word “cherish”, that is, undead, love, still reminds. He is the son of the goddess of beauty and love, Lada, and beauty naturally gives rise to passion. This feeling flared up especially brightly in the spring and on the Kupala night. Lel was portrayed as a golden-haired, like a mother, winged baby: after all, love is free and elusive. Lel threw sparks from his hands: after all, passion is a fiery, hot love! In Slavic mythology, Lel is the same god as the Greek Eros or the Roman Cupid. Only ancient gods strike the hearts of people with arrows, and Lel kindled them with his fierce flame.
The stork was considered his sacred bird. Another name for this bird in some Slavic languages is leleka. In connection with Lel, both cranes and larks, symbols of spring, were revered.
MAGIC PIPING
In times immemorial, a silver-haired shepherd lived in the world. His father and mother loved each other so much that they named their firstborn after the god of love passion - Lel. The boy played the flute beautifully, and the celestial Lel, enchanted by this game, presented his namesake with a magic reed pipe. Even wild animals danced to the sounds of this flute, trees and flowers danced round dances, and birds sang along with the divine game of Lel.
And then the beautiful shepherdess Svetana fell in love. But no matter how she tried to kindle passion in his heart, everything was in vain: Lel seemed to be forever carried away by his magical power over nature and did not pay any attention to Svetana. And then the angry beauty lay in wait for the moment when Lel, exhausted by the midday heat, dozed off in a birch forest, and imperceptibly took away the magic flute from him. She took it away, and in the evening burned it at the stake - in the hope that the rebellious shepherd boy would now finally fall in love with her.
But Svetana was wrong. Not finding his flute, Lel fell into deep sadness, yearned, and in the fall he completely died out like a candle. They buried him on the river bank, and soon reeds grew around the grave. He sang mournfully in the wind, and the heavenly birds sang along with him.
Since that time, all the shepherds skillfully play reed pipes, but they are rarely happy in love... 
Lelya
Lelya or Lyalya, in Slavic mythology, the goddess of spring, the daughter of the goddess of beauty, love and fertility Lada. According to myths, it was inextricably linked with the spring revival of nature, the beginning of field work. The goddess was imagined as a young, beautiful, slender and tall girl. B.A. Rybakov believes that the second goddess depicted on the Zbruch idol and holding a ring in her right bow is Lada. In folklore, Lada is often mentioned next to Lelya. The scientist compares this pair: mother-daughter with Latona and Artemis and with Slavic women in childbirth. Rybakov correlates two riders on Russian embroideries, sometimes with a plow behind their backs, located on both sides of Makoshi, with Lada and Lelya.
In the spring spell song there are such words dedicated to Lele-Spring:
Eat Spring, eat.
On a golden horse
In the green saiani
Sitting on the plow
Cheese land aruchi
Seyuchi with the right hand.
The cycle of spring rituals began on the day of the arrival of the larks - March 9 (March 22 according to the new style). People met the birds, going to the tops of the hills, lit fires, guys and girls danced round dances. There was also a special girl's holiday - lyalnik - on April 22 (May 5). The most beautiful girl, crowned with a wreath, sat on a turf bench and played the role of Lely. Offerings (bread, milk, cheese, butter, sour cream) were placed on both sides of it. The girls danced around the solemnly seated Lelya. 
The existence of the goddess Lelya and the god Lelya is based solely on the refrain of wedding and other folk songs - and modern scholars have crossed out Lelya from among the Slavic pagan gods. The chorus, in various forms - lely, lely, leli, lyuli - is found in Russian songs; in the Serbian "Kralitz" songs (Trinity) majestic, related to marriage, it is found in the form of lelo, lele, in the Bulgarian noble and Lazar - in the form of lele. Thus, the chorus goes back to ancient times.
Potebnya explains the old Polish refrain lelyum (if it really existed in this form with "m") through the addition of lelya with "m" from the dative case "mi", as in the Little Russian "schom" (instead of "scho mi"). In the chorus "poleum" (if it is correctly rendered by Polish historiographers), "by" can be a preposition; cf. Belarusian refrains: luli and o lyulushki" (Shane "Materials for studying the life and language of the Russian population of the North-Western Territory"). Considerations about the etymological meaning of the refrain lelu were expressed by Vs. Miller ("Essays on Aryan mythology"). 
Among the Slavic runes there is also a rune dedicated to the goddess Lele:
This rune is associated with the element of water, and specifically - Living, flowing water in springs and streams. In magic, the Lelya rune is the rune of intuition, Knowledge beyond the Mind, as well as spring awakening and fertility, flowering and joy.
http://godsbay.ru/slavs/lel.html
http://godsbay.ru/slavs/lela.html
http://dreamworlds.ru/intersnosti/11864-slavjanskie-runy.html
FEDERAL AGENCY FOR EDUCATION
STATE EDUCATIONAL INSTITUTION
HIGHER PROFESSIONAL EDUCATION
"ALTAI STATE PEDAGOGICAL ACADEMY"
FACULTY OF PHILOLOGY
DEPARTMENT OF THEORY, HISTORY AND METHODS OF TEACHING LITERATURE
‹‹The Snow Maiden›› A. N. Ostrovsky and the folk tale
According to the course ‹‹ Oral Folklore ››
1st year students of group 203 Kholmetskaya N.P.
Barnaul 2010
The work of Ostrovsky "The Snow Maiden" is an amazing fairy tale, which shows the beauty of the world, love, nature, youth. The work is based on folk tales, songs, traditions and legends. Ostrovsky only connected fairy tales, legends and songs together and gave folk art a very peculiar flavor. In "The Snow Maiden" the main place is occupied by human relations. At first glance, the plot looks absolutely fantastic. But then it turns out that living human characters are visible in this phantasmagoria.
Where did the Snow Maiden come from? There is still no exact answer. But there are many variants of its origin.
The image of a fairy tale heroine Snow Maiden formed in the minds of the people gradually over the centuries. Initially, it appeared in Russian folk tales as an image of an ice girl - a granddaughter, who was blinded from the snow by a childless old man and an old woman to comfort themselves, and to people's joy. However, there is an assumption that the tale of the Snow Maiden arose on the basis of the ancient Slavic ritual of the funeral of Kostroma. And so it can be argued that Kostroma is not just the birthplace of the Snow Maiden - she is the very Snow Maiden.
Kostroma was depicted in different ways: it was either a young woman wrapped in white, with an oak branch in her hands, walking accompanied by a round dance, or a straw effigy of a woman. Kostroma means the playable character and the game itself, at the end of which Kostroma gets sick and dies, and then gets up and dances. The final episode of the game and the ceremony, the death and subsequent resurrection of Kostroma, gave rise to the perception of the image of Kostroma as a seasonal spirit (spirit of vegetation), which makes it related to the image of the Snow Maiden.
In the fairy tale “The Snow Maiden Girl” by V. I. Dahl, an old man and an old woman watched other people’s children, “how they roll lumps of snow, play snowballs” and decided to make a daughter for themselves. “The old man brought a lump of snow into the hut, put it in a pot, covered it with a rag and put it on the window. The sun rose, warmed the pot, and the snow began to melt. So there was a girl "white as a snowball, and round as a lump."
The fairy-tale Snow Maiden melts, jumping with her friends over a large hot fire, and turns into a small cloud flying into the sky.
Over time, the image of the heroine was transformed in the popular consciousness: the Snow Maiden becomes the granddaughter of Father Frost and is associated with the Christmas and New Year holidays.
The Snow Maiden is a purely Russian phenomenon and nowhere else in the world does such a character appear on New Year's and Christmas holidays.
The image acquires a new color under the influence of the spring fairy tale by A. N. Ostrovsky "The Snow Maiden". From a little girl - a granddaughter, the heroine turns into a beautiful girl who can ignite the hearts of young Berendeys with a burning feeling of love.
The action takes place in a fabulous place - the kingdom of Berendey. Describing the laws of this country, Ostrovsky seems to draw his own ideal of social order. In the kingdom of Berendey, people live according to the laws of conscience and honor, trying not to provoke the wrath of the gods. Beauty is very important here. The beauty of the surrounding world, the beauty of girls, flowers, songs are valued. It is no coincidence that the singer of love Lel is so popular. He, as it were, personifies youth, ardor, ardor.
King Berendey symbolizes folk wisdom. He has lived a lot in the world, so he knows a lot. The king worries about his people, it seems to him that something unkind appears in the hearts of people:
In the hearts of people I noticed I will cool
Considerable; fervor of love
I haven't seen Berendey for a long time.
The service to beauty has disappeared in them;
I do not see the eyes of youth,
Moistened with bewitching passion;
I don't see thoughtful maidens, deep
Sighing. On eyes with a veil
There is no sublime longing for love,
And see completely different passions:
Vanity, envy of other people's outfits
And so on.
What values does Tsar Berendey think about? He is not worried about money and power. He cares about the hearts and souls of his subjects. Drawing the king in this way, Ostrovsky wants to show the ideal picture of a fairy-tale society. Only in a fairy tale can people be so kind, noble and honest. And this intention of the writer in depicting the fabulous ideal reality warms the soul of the reader, makes one think about the beautiful and the sublime.
Indeed, the fairy tale "The Snow Maiden" is read with enthusiasm at any age. And after reading it, an idea arises about the value of such human qualities as spiritual beauty, fidelity and love. Ostrovsky speaks of love in many of his works.
But in "The Snow Maiden" the conversation is conducted in a very special way. In the form of a fairy tale, the reader is presented with great truths about the enduring value of love.
The ideal kingdom of the Berendeys lives so happily precisely because they know how to appreciate love. That is why the gods are so merciful to the Berendei. And it is worth breaking the law, insulting the great feeling of love, so that something terrible happens.
I've been living for a long time, and the old order
Quite well known to me. Berendey,
Beloved by the gods, lived honestly.
Without fear, we entrusted the daughter to the guy,
A wreath for us is a guarantee of their love
And faithful to death. And never
The wreath was not desecrated by treason,
And the girls did not know deceit,
They did not know resentment.
It is no coincidence that Mizgir's betrayal of Kupava caused so much pain in everyone around him. Everyone took the guy's ignoble behavior as a personal insult:
All offense
Offense to all Berendeyka girls!
In the kingdom, simple but wonderful relations have been formed between people for a long time. The deceived girl Kupava, first of all, turns to the protector king with a request to punish the culprit of her grief. And having learned all the details from Kupava and those around him, the king delivers his verdict: the guilty must be punished. What punishment does the king choose? He orders to drive Mizgir out of sight. It is in exile that the Berendeys see the most terrible punishment for a delinquent person.
Honest people, worthy of the death penalty
His fault; but in our way
There are no bloody laws; may the gods
Execute him according to the crime,
And we are the court of the people of Mizgir
We are condemned to eternal exile.
There are no bloody laws in the kingdom. This could only be in a fairy tale created by the imagination of the writer. And this humanity makes the realm of the Berendey even more beautiful and pure.
The figure of the Snow Maiden is remarkable. She is completely different from everyone around. The Snow Maiden is a fairy-tale character. She is the daughter of Frost and Spring. That is why the Snow Maiden is a very controversial creature. In her heart, the cold is the legacy of her father, the harsh and gloomy Frost. For a long time, the Snow Maiden lives in the wilderness of the forest, and her terem is diligently guarded by a stern father. But, as it turned out, the Snow Maiden looks like not only her father, but also her mother, the beautiful and kind Spring. That is why she is tired of living alone, locked up. She wants to see real human life, to know all its beauty, to take part in girlish amusements, to listen to the wonderful songs of the shepherd Lel. "Without songs, life is not joyful."
In the way the Snow Maiden describes human life, one can see her genuine admiration for human joys. The cold heart of a fabulous girl does not yet know love and human feelings, but nevertheless she is already attracted, attracted by the bewitching world of people. The girl realizes that she can no longer remain in the realm of ice and snow. She wants to find happiness, and perhaps this, in her opinion, is only in the kingdom of the Berendeys. She says to her mother:
Mom, happiness
I'll find it, or not, but I'll look.
The Snow Maiden amazes people with her beauty. The family in which the Snow Maiden ended up wants to take advantage of the girl's beauty for their own personal enrichment. They beg her to accept the courtship of rich Berendeys. They cannot appreciate the girl who became their named daughter.
The Snow Maiden seems more beautiful, more modest and gentle than all the surrounding girls. But she does not know love, therefore she cannot respond to hot human feelings. There is no warmth in her soul, and she looks aloof at the passion that Mizgir feels for her. A being that does not know love causes pity and surprise. It is no coincidence that no one can understand the Snow Maiden: neither the tsar, nor any of the Berendeys.
The Snow Maiden attracts others so much precisely because of her coldness. She seems to be a special girl for whom you can give everything in the world, and even life itself. At first, the girl is indifferent to everyone around. Gradually, she begins to have some feelings for the shepherd Lelya. This is not love yet, but it is already hard for the icy beauty to see the shepherd with Kupava:
Kupava,
Razluchnitsa! This is your word;
She called me a lover,
You yourself are separating from Lel.
The shepherd Lel rejects the Snow Maiden, and she decides to beg her mother for ardent love. One that burns the human heart, makes you forget about everything in the world:
Deceived, offended, killed by the Snow Maiden.
Oh mother, Spring-Red!
I run to you with a complaint and a request:
I ask for love, I want to love.
Give the Snow Maiden a girl's heart, mom!
Give me love or take my life!
Spring gives her daughter a feeling of love, but this gift can be disastrous for the Snow Maiden. Spring is tormented by heavy forebodings, because the Snow Maiden is her daughter. Love is tragic for the heroine. But without love, life loses all meaning. The Snow Maiden cannot cope with the desire to become the same as all the people around her. Therefore, she decides to ignore the precepts of her father, who warned her against the disastrous consequences of human passion.
The Snow Maiden in love becomes surprisingly touching. A whole world opens up for her, completely unknown to her before. Now she understands all those who experience love yearning. She answers Mizgir with her consent to become his wife. But Mizgir is not able to give up his intention to appear before all the Berendeys with his bride, considering the beauty's fears a whim.
The first bright rays of the sun kill the Snow Maiden.
But what about me? bliss or death?
What a delight! What feelings of languor!
Oh mother Spring, thank you for the joy,
For the sweet gift of love! What a bliss
Languishing flows in me! Oh Lel,
Your enchanting songs are in my ears,
Fire in the eyes... and in the heart... and in the blood
All over the fire. I love and melt, melt
From sweet feelings of love. Goodbye everyone
Girlfriends, farewell, groom! Oh honey
The last look of the Snow Maiden to you.
Mizgir cannot put up with the death of his beloved, so he throws himself from a high mountain. But the death of the Snow Maiden seems to be something natural to the Berendeys. The Snow Maiden was alien to the warmth of the soul, so it was difficult for her to find her happiness among people.
OSTROVSKII'S INNOVATION TABLE:
|
rite |
Example from text |
Innovation |
|
1. Maslenitsa(seeing off winter) Yarilino festival(Summer win) Myth: the fairy tale about the Snow Maiden, which was based on the plot by A.N. Ostrovsky, reflects the ancient ritual of sacrificing a girl to the spring gods. A kind of sacrifice to the fiery god of the Sun is the Snow Maiden. |
In the distance shouts: “Honest Maslenitsa!” “At the top of the mountain, the fog dissipates for a few moments, Yarilo appears ... ” |
Stylization of the myth. Instead of a plot about a dying god, with whose death the forces of chaos triumph, and his resurrection, restoring creating an orderly and favorable space for people (the order of things), A.N. Ostrovsky creates his own version of the myth: God (Yarilo) does not die, but is angry. Nature falls into decay, God takes revenge, restores the order pleasing to him and returns his mercy to people (similar to the ancient myth of Demeter). |
|
2. Wedding ceremony. hen-party |
Action 1 Event 6 |
There are no notes of longing, hopeless grief: "Free marriage does not tolerate coercion." In "Snegurochka" we see joy bride who chooses her own groom. The bride (Kupava), whose actions should be guided by other participants in the ceremony, itself leads the ceremony. |
A.N. Ostrovsky called his play “a spring fairy tale”. N. Rimsky-Korsakov also calls his opera The Snow Maiden a spring fairy tale. The play is built according to the laws of a fairy tale (according to the cards of V.Ya. Propp). Fairy-tale motifs are traced in the play.
|
fairy tale elements |
Example from text |
|
1. Miraculous birth. |
The Snow Maiden is the daughter of Frost and Spring. |
|
2. Magic children are hidden in a dungeon, a tower. |
“There is no foot or horse trail in her tower.” |
|
“Yarilo will burn her, incinerate, melt, I don't know how, but it will kill. How long Her soul is pure as a child, He has no power to harm the Snow Maiden.” “Snow Maiden, run away from Lelya!” |
|
|
4. Violation of the prohibition. |
The Snow Maiden goes into the world of people |
|
5. Own - someone else's world. |
Forest (own world) - Sloboda (foreign world) |
|
6. Tests. |
The test of human indifference falls to the lot of the Snow Maiden (old man Bobyl, old woman Bobylikh, residents of Sloboda). Test of the Snow Maiden love. |
|
7. Magic giver. Magic gift. |
Spring (mother) gives the Snow Maiden a wreath of “bewitching enchanting flowers”. According to the fairy-tale motif, the Snow Maiden fell in love with the first person she met - Mizgir. |
|
8. "Savior". |
Mizgir: he must snatch the Snow Maiden from the captivity of Frost and, obviously, save him from the threat of Yarila and his cruel rays. But the goal of Mizgir is not the deliverance of the Snow Maiden, but the possession of her and the salvation of himself. Marriage will save Mizgir from the royal wrath. |
|
9. Wedding. |
Wedding did not take place. The Snow Maiden dies. A warm heart beat in the Snow Maiden, but it cost her her life. |
The Snow Maiden contains all the compositional and stylistic elements of a folk tale: the beginning (the motif of a miraculous birth, the motif of the confinement of the royal children in the chamber, the ban on the Sun, absence, violation of the ban) the test of the hero - the denouement (punishment of the false hero and reward / marriage of the true one) and
All types of heroes acting in a folk tale: the hero-seeker (Snow Maiden), the giver (Spring), the hero-savior (Mizgir). However, Ostrovsky, without violating the compositional and stylistic functions, rethinks them, fills them with modern content, subordinates them to the solution of aesthetic and moral problems.
A.N. Ostrovsky, in contrast to the folk tale, translates the conflict of the work into an internal psychological plane. If in a folk tale the hero's test consists in the fight against dark forces, with the forces of evil, then in the "spring tale" Ostrovsky shows the confrontation between "hot" and "cold" feelings in the soul of the Snow Maiden
The connection between the folk tale Snegurochka and Ostrovsky's play:
1. In The Snow Maiden, a characteristic sign of a fantastic move, as in a folk tale, is the dependence of fictional situations and images on the idea that underlies the tale.
Ostrovsky, in an effort to embody the poetic idea, completely transfers the action to the fantastic fairy-tale world he created, to the Berendey kingdom. Moreover, the mixing of the real and the fantastic plan in the depiction of life does not lead to a departure from reality in The Snow Maiden. The deep truth of the tale organically combines with specific artistic forms, in which the main idea of the tale is expressed - the idea of the victory of new moral norms.
2. In Ostrovsky's tale, as in the folk tale, the characters are clearly opposed: on the one hand, the Snow Maiden and Mizgir, on the other, Kupava and Lel. Frost and Spring are contrasted fantastically. In contrast to the folk tale, Ostrovsky builds the conflict of the play on the opposition of characters, deepening the idea of the confrontation between heat and cold, transfers the conflict into the area of moral relations.
3. The remnants of ritual magic, coinciding with the nature of magical actions in a fairy tale, are reproduced in Ostrovsky's The Snow Maiden, as in many fairy tales. If in a folk tale the strict regulation of a folk holiday is violated, the magical side of actions and words ceases to be felt, then Ostrovsky perceives the rites in all their significance, and, transferring their ideas to the modern world, leaves their original function behind the rites: with the help of magical actions and words - spells to influence the forces of nature. Ostrovsky uses the rite not as a background or source of citation, but gives the rite an independent, action-forming meaning; moreover, the playwright subjects the rite to complex artistic processing and, without destroying the integrity of the rite, introduces the work into the fabric, subordinates it to the solution of topical issues, the task of affirming ideals. Such use of a rite differs from the use of rites in a folk tale and in well-known literary tales based on folklore (W. Shakespeare, A. Pushkin, N. Gogol).
Unusual denouement in the tale of A.N. Ostrovsky. The playwright modifies the function of the hero-savior, subordinating it to the task of the work: to show the triumph of the true and the defeat of the false norms of morality. Mizgir's goal is not to save the girl, as is usually the case in fairy tales, but to save himself. Realizing that he was the culprit in the death of his beloved, Mizgir rushes into the lake. A righteous judgment has been made. The love bestowed by the gods burned, incinerated the Snow Maiden and destroyed Mizgir.
Having filled the central motif of the death of the Snow Maiden borrowed from the folk tale with new content, Ostrovsky managed to transfer from the fairy tale that life-affirming beginning that determined the spring tone of the play, associated with the revival of nature and the ardent feelings of the Berendeys and was expressed in the creation of a new original genre - "spring tale".
Spring fairy tale by A.N. Ostrovsky was highly appreciated by A.I. Goncharov and I.S. Turgenev, however, many responses from contemporaries were sharply negative. The playwright was reproached for his departure from social problems and "progressive ideals". So, the caustic critic V.P. Burenin complained about A.N. Ostrovsky to false, "ghostly-meaningless" images of Snow Maidens, Lelei, Mizgiri. In the great Russian playwright, critics wanted to see, first of all, an accuser of the “dark kingdom”.
There is nothing surprising in the fact that the theatrical production of The Snow Maiden by the Moscow Maly Theater (Maly 11, 1873) actually failed. Despite the fact that all three troupes were involved in the performance: drama, opera and ballet, and the music for it was written by P.I. Tchaikovsky, despite the use of technical curiosities: moving clouds, electric lighting, beating fountains that hide the disappearance of the “melting” Snow Maiden in the hatch, the play was mostly scolded. The public, like the critics, was not ready for the poetic pirouette of the author of The Storm and The Deep. Only at the beginning of the 20th century did A.N. Ostrovsky was appreciated. A.P. Lensky, who staged The Snow Maiden in September 1900 in Moscow, remarked: “Ostrovsky would have had plenty of imagination to fill his fairy tale to the brim with native devilry. But he, apparently, deliberately saved fantastic elements, saved in order not to overshadow another, more complex element - the poetic one - with the enchantment.
Ostrovsky Abstract >> Literature and Russian language
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Answers to exam questions in literature 11th grade 2005
Cheat sheet >> Literature and Russian language33. Heroines of plays by A.N. Ostrovsky"Thunderstorm", "Dowry", " Snow Maiden"(on the example of one work ... Saltykov-Shchedrin. (On the example of one fairy tales.) (Ticket 19) 38. ... and contempt for everything national, popular. 2. The ideological meaning of comedy is ...
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Biography >> Literature and Russian languageLike a great mistress to say fairy tales. His godfather is ... the end of Stanislavsky. Folk myths and national history in dramaturgy Ostrovsky In 1881, on the stage of the Mariinsky ... XVII century "(1873) text" Snow Maiden"(1873) text "Late love" ...
One of the main characters of the work is a seven-year-old girl named Lelya, presented by the writer in the form of her older sister Minka, a five-year-old boy.
Lelya is described in the story as a tall thug with a huge appetite, adoring delicious sweets, characterized by impatience, a cunning mind, the ability to competently manipulate the feelings of people from whom she demands a fair attitude towards her.
The plot line of the story is built on the eve of the approaching Christmas holiday, which everyone is looking forward to, around a New Year tree dressed up for the celebration. Children, entering the room, see a decorated symbol of the holiday, on which they hang everywhere, in addition to funny toys and animals, sweet goodies and treats alluring with beautiful wrappers.
Lelya, seeing her favorite delicacies, does not hold back, removes snow-white marshmallow from the Christmas tree and instantly puts it in her mouth. Feeling the unique taste of sweetness, the girl's hand reaches for a bright candy, which also turns out to be eaten by Lelya. Little Minka, looking at the actions of his sister, who is the greatest authority for him, decides to also join the sweet eating, however, being the owner of a short stature, Minka manages to get only an apple, which the boy begins to gnaw with extraordinary pleasure. Lelya, taking the opportunity not to share the tidbit with her brother, continues to enjoy sweets and nuts, simultaneously removing from the Christmas tree and an overflowing large cracker.
Minka, who is tired of the apple, also decides to get something from the sweet, so taking a chair and standing on it, he reaches for the sweets hanging high, but at that moment, having lost his balance, the boy falls with a crash.
The run-in mother is shocked by the act of the children and, together with the angry father, punishes the naughty, depriving them of Christmas gifts, which are given to other children who came to visit them.
Narrating his childhood memories, the writer, using the example of naughty and impudent children, emphasizes for the younger generation the need to listen to the advice of elders, without challenging the correctness and fairness of their actions.
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