In disputes about Russia: A. N. Ostrovsky Moskvina Tatyana Vladimirovna
International and national in Ostrovsky’s play “Dmitry the Pretender and Vasily Shuisky”
Those “gleams and reflections of various truths” that Markov wrote about when reflecting on the problem of “Ostrovsky’s moralism” can be recognized as a fundamental, defining feature of his dramaturgy. Not only characters, not only their interests, but also different truths about life collide. It’s as if they collide in a “court”, a “conscientious court” of the playwright.
In his youth, Ostrovsky served in an institution established by Catherine the Second, namely in the Conscientious Court. They judged there not according to the law - but according to their souls, trying to reconcile the warring parties. The cases were small, family and property related. But if the service itself in this archaic institution provided Ostrovsky with material for creativity, then the idea of a trial “according to conscience” can be considered essential for the entire structure of his plays.
Dmitry the Pretender and Vasily Shuisky, two equal heroes of the tragedy, at the same time, two different truths. “I’m not afraid, I’m right,” Dmitry shouts to Shuisky at the end of the play. “Let them judge between you and me!”
The play begins with the accession of the Pretender and ends with the accession of Shuisky. It begins with an unsteady, relative, but still undoubted calm of the moral feeling among the people (the legitimate son of John on the throne), ends with his terrible murder and the Troubles, directly leading to the chaos of a fratricidal war, to a cruel moral crisis of the nation. Ostrovsky knows that the nation has gone through a crisis, he has already created “Minin,” but in “Minin” the sin that Ostrovsky wrote about in “The Pretender” is atoned for. This is the story of how one was going to reign “with generosity and mercy” and was ground in the meat grinder of history, and the other corrupted the people with lies and brought them to crime.
Ostrovsky did not read Kostomarov’s work “The Named Dmitry” while working on the play, but, having studied the same historical sources, came to the same conclusions - the Impostor was not Otrepyev.
"Darkie?" - Osipov asks Shuisky, who has just returned from the Tsar. " Shuisky. Well, no, he doesn’t look like a black man... Boris and I were mistaken. There is no monastic behavior visible in him. Speeches are quick and bold, and his steps are nimble, he is war-loving and brave, and his eyes are sharp.”
Dmitry first appears in Shuisky’s speeches - an unprecedented king, insulting “splendor, decorum and order.” “This is not a royal posture,” Shuisky is indignant, “he is not dignified,” “he is the nurse of straight, boastful lords!”
Dmitry is complete news for the Moscow state. It is the will of the earth to accept or reject this strange, unstrict, cheerful, free king, full of the best intentions.
Who is he? He doesn't know himself. A. Suvorin, responding to the play, noted: “Ostrovsky’s impostor is not Otrepiev, and not a Jesuit, and not a real prince, but the Lord knows who he is.” That's how it is. “...Who am I? Well, if I am not Dmitry, then the son of love or the princess’s whim... I feel that it is not ordinary blood flowing in me.”
The impostor is the embodiment of life “by free will”, which will collide with life “by custom”. Free from the knowledge of his own origin, free to act (autocrat!), and another freedom along with him came to Rus' as an alluring opportunity. The boyars dream about her while waiting for Dmitry near the Kremlin cathedrals: “ Golitsyn. It’s time for the sun to leap above us... The past was like a heavy, painful dream, past irrevocably, it seems to me... Dmitry. Given by God, he saw other kingdoms and statutes, a different life of the boyars and kings; he will leave the Tatar order; benefits for the people, freedom for us, the boyars...” And Dmitry actually proclaims: “Enough of the torment, Basmanov! Now mercy, mercy alone, reigns over you.”
The king is literate and educated, reminiscent of Romulus, Caesar and Alexander the Great. Appointing a court in the Duma with elected officials “from all ranks of the people” to sort out the case of treason against their boyar (mercy! liberty! publicity! how times rhyme!). Apart from the carelessness and frivolity of youth, there is not a single bad feature in the human face of the Pretender. Ostrovsky does not consider his Europeanism and his Polish surroundings to be grounds for artistic humiliation.
Ornate, bookish, pompous speech. Stranger, different, lonely. One against all. “There’s an abyss of nobility, but no sense,” as they will say later on another occasion in the play “The Forest.” The impostor is a variation of Ostrovsky's idealist type. Having read books (good ones), delirious about the novelty (fair), Ostrovsky’s idealist - Zhadov, Meluzov, Zybkin - enters the battle with some vital foundations. And life brutally beats the idealist - and therefore the entire sum of ideas that lie at his foundation.
Having decided that his kingdom will be the kingdom of truth, the Impostor throughout the entire play cannot believe in any treachery, deception, or lie. He does not propagate the Latin faith, but only allows foreigners to visit the Russian church during services. And he does not think of setting the Poles against the Russians, trying to fairly sort out mutual displeasures.
But this glorious king, a dashing warrior and a kind man, does not know at all and cannot understand the land that was given to him to rule. And his speech seems to be translated from a foreign language - rhetoric, logic... Latin... noble liberties... music... mazurka...
And Rus'. And so, after Grozny and Godunov, she is offered to dance the mazurka and enjoy life. The attempts of this Dmitry to make Russian life cheerful and overcome its gloomy flavor look tragicomic. The experiment of introducing a beautiful-minded foreigner into this soil turns into a mutual tragedy.
Dmitry - Europe, Dmitry - government, Dmitry - reform. Europe - reform - government. It can also be the other way around: government - reform - Europe. It doesn’t matter, because liberal dreams, whether they are decomposed or not into thoughts and evidence, still represent rather a feeling of this cherished unity, a passionate feeling, one might say, a chord. Ostrovsky reproduces this chord in its historical arrangement.
Yes, Ostrovsky confused everyone with his play and pleased no one, not one camp, not one stronghold of belief. Dmitry the Pretender is good, but “Masha is good, but not ours.” He's doomed. The playwright knows this for sure and is equally far from condemning and praising such a law of life. The entire play is permeated by the conflict between Dmitry and Russian life - both in tragic essence and in comic details. Even his mercy was inappropriate: Dmitry ordered Shuisky to be forgiven on the scaffold, under a raised ax, at which he was mortally offended. “Execute me, but don’t joke with me! Joking with the enemy is both stupid and dangerous. Destroy your enemies! Perishes, surrounded by emptiness, a man who decided of your own free will take control of the destiny of the nation. And in this fate he gets the most woeful lot.
A national drama is taking place, a drama of the collision of the radical, organic, common with the individual, special, inorganic. Not cold-blooded reasoning, not adoration of the original “blooded”, not sweet captivity among the phantoms of freedom, not pity for the romantically valiant hero - no, the painful grief of complete and exact knowledge the inevitability of this drama, this collision, it seems, possessed Ostrovsky. The organic and general destroys the foreign, the individual and the inorganic. Russian life destroys Dmitry, guilty without guilt. This is such a strong, durable, self-sufficient life that it will not accept, in essence, anything that is not developed by it, not within itself. Nothing. Even if these are universal human ideals.
When something foreign appears in the national element in the form of fashions and attire, sayings and stories, or even in the form of ideas and opinions, this is the source of the comic in Ostrovsky’s plays. But their direct meeting, in person, turns into a tragedy.
The national element is represented in the chronicle in three forms. These are the boyars, Prince Vasily Ivanovich Shuisky and the people.
The boyars are grated rolls, poisoned wolves, bearing the imprint of all the ugliness of Russian life for half a century. “Borisov’s students, we were raised by Ivan the Terrible, and you can’t fool us.” All the properties of this high, but not supreme, power are known - servility and arrogance, fear and the habit of violence. You won't find any clean ones. " Belsky. Tsar Ivan was forgotten early; There were no mistakes, he impaled them for them, it happened. Shuisky. No, Ivan only gave orders, it was you and Malyuta Skuratov who imprisoned him.” No one can forget Tsar Ivan - the possibility of freedom brought by Dmitry will go with him into oblivion. The boyars' departure from the tsar begins when Dmitry, instead of impaling him, organizes a public trial for Shuisky with elected officials from all ranks of the people. The public court, which also has not forgotten Tsar Ivan, pronounces a death sentence on the traitor, as it was supposed to do from time immemorial. Dmitry cancels it, since freedom is incompatible with mercy. And the boyars, seeing such a gentle tsar, cease to perceive him as a ruler.
A handful of people between the king and the people, being neither power nor strength, exist in a constant desire to seize power and strength, the king and the people. Under many years of pressure from fear, good and evil, truth and lies mixed and merged in a friendly union. This environment forms a genius of its kind - Vasily Ivanovich Shuisky.
Feel like a ruler for once
Feel what's between me and God
There is no power, no strength!
By intelligence, deception, even crime
I will achieve the crown.
There is in Vasily Ivanovich some kind of heavy, wild truth of a strong, blood connection with the earth. He grew from it a lot historical years- It may be ugly, but it’s strong, you won’t knock it down, you won’t break it. He is known to everyone here, accessible to everyone, people crowd to him first at the beginning of the play to ask about the new king.
Shuisky has an integral program of relationships between lies, truth and the people. She is so good that it would be a shame not to bring her:
By choice, both lies and truth serve
We have in our hands an instrument for good
People's The people need the truth -
And we give it; we hide the truth
When deception brings salvation to the people.
We lie to him: they both die and come to life
By our will people; through the bazaars
Word will spread about miraculous signs;
The poor, the blessed prophesy,
The stone will groan, the tree will cry,
Verbs will be heard from the bowels of the earth,
And our lies among the people will be true -
It will go to chronographs for the truth...
Much greater and more terrible than simple deceit is the conviction drawn from the “school” of Grozny and Godunov: they do not serve lies and truth, but lie and truth serve “by choice,” “for the good.” The words about the blessed and the wretched who prophesy, and about the lies that pass into chronographs for the truth are a clear echo of the images of Pimen and the Holy Fool in Pushkin. Yes, both holy fools and chroniclers are the voice of the people, the opinion of the people. Only people can be deceived.
Shuisky is an authority, the sole keeper of the truth. “I won’t lie for nothing, I buried the prince; I know who is alive and who is not, I alone know the truth.” The willfulness of Shuisky, who, like Dmitry, encroaches on the possession of national destiny, is reinforced enormous power: knowledge of the truth and the ability to use it. Whereas the Impostor doesn't know who he is.
“What is the value of light? He only holds on to truth and conscience,” says Tsar Berendey, dear to Ostrovsky’s heart, in “The Snow Maiden.” That's right: where there is truth, there is power. Only instead of the truth there may be a clever game, a substitution.
The task of “Vasily Prince Ivanovich” is to prepare the murder of the Tsar and pass it off as a holy and popular cause.
Murder can be neither holy nor popular, believed A. N. Ostrovsky. It would be strange to think that he thought otherwise. Ostrovsky, for the first time in literature about the Pretender, unfolds the hidden or obvious disgust of Russian historians towards the May 17 rebellion into a colossal picture of a national crime.
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I was about 14 years old when I found in the district library and for no apparent reason gradually read the 10-volume collected works of Ostrovsky. And for some reason I liked his historical chronicles in verse, which “Russian Shakespeare”, as expected, wrote along with comedies and dramas from the life of the Russian merchants more than some “Dowry”. Why these plays by Ostrovsky are almost never staged is understandable; not only are they huge in volume, they also require extras, and are generally poorly received without decent “historical” preparation. “Dmitry the Pretender” was also torn up in Maly - but wisely, from a large-scale multi-figure play it turned out to be an almost intimate historical and psychological drama.
Ostrovsky clearly wrote his “Dmitry the Pretender” in a kind of “dialogue” with Pushkin’s “Boris Godunov”, and possibly in a correspondence polemic with Alex K. Tolstoy. Moreover, “Dmitry the Pretender and Vasily Shuisky” is also part of a dramatic trilogy; Ostrovsky also has the relatively modest “Tushino” (about the period of False Dmitry II) and the incredible size “Kozma Zakharyich Minin, Sukhoruk” (about the events of 1613). That is, Ostrovsky created a dramatic picture of the events that followed those unfolding in Tolstoy’s trilogy (though Ostrovsky also wrote a play about the times of Ivan the Terrible, Vasilis Melentyev, written jointly with Gedeonov - but that’s separate). “The Pretender” was created in the 1860s, so it also reflects the ideological battles of “Westerners” and “Slavophiles.” The play is generally extremely interesting. It continues the theme of imposture, declared by Pushkin, and the problem of morality (and, accordingly, immorality) of power, in particular, Russian power. Ostrovsky has two antagonists - False Dmitry I and Prince Shuisky - worth each other. Both - smart politicians and they are not animals at all, not enemies of the people and the country, each in his own way wants what is best. At the same time, both are impostors, both are unscrupulous in their means, both are subject to passions, only for False Dmitry these are ordinary, human passions, including male ones (he longs to marry Marina Mnishek, wants to please the disgraced princess Ksenia Godunova), and Vasily Shuisky has one fiery passion - Monomakh's hat. Actually, the essence of the events taking place in the play boils down to the fact that the intrigue invented at the beginning by Shuisky and his minions to seize the throne, where the Pretender is assigned the role of, if not a pawn, then at least a figure intended for sacrifice, will be crowned with unconditional success in the finale. But Shuisky, in turn, is doomed to follow in the footsteps of Godunov and False Dmitry - Golitsyn speaks about this at the end, switching from blank verse to rhymed.
The director does not completely reject this formulation of the question, but at times Boris Nevzorov, playing Shuisky, with the director’s connivance, seems to forget that Prince Vasily Ivanovich is a charlatan worse than both False Dmitrievs and Boris Godunov to boot - he was “Godunov’s slave” (he says so himself) , then swore allegiance to False Dmitry I and became his most trusted boyar, betraying everyone for personal gain. However, when Shuisky makes an “appeal to the people” and Nevzorov broadcasts from the proscenium, shedding tears, with a trembling voice, talking about the desecration of the Orthodox faith by the damned Busurmans and about the export of the Russian treasury abroad by foreigners, it is by no means obvious that Shuisky at this moment remains the same the same demagogue that he was before and will be after, that his religious-patriotic fervor is empty and false. He is sold by the actor and director, and bought by the public, at face value. Like the final wordless thoughts of Shuisky, who “reached the highest power.” Boris Nevzorov in the play generally evokes mixed feelings. In demonstrating Shuisky’s human essence, when he is drinking with his minions in exile or gloatingly grimacing in front of the boyars, he is certainly good and convincing. But when it comes to political matters and questions of history, confusion begins, as if the artist did not fully understand his hero. Although the conflict between the monarch and his own conscience should not be new either for Nevzorov himself, once upon a time, even under Lansky, who played at the Theater. Stanislavsky in “Thomas Becket” by Anuya, nor for Maly with his textbook “Tsar Fyodor Ioannovich” and the legendary “Fiesco Conspiracy in Genoa” with Vitaly Solomin and Mikhail Tsarev. Nevertheless, the theater became entangled in this conflict. Yes, probably not only the theater - there are now many misunderstandings with such questions at different levels.
In this sense, Gleb Podgorodinsky in the role of the Pretender is much more interesting. Podgorodinsky has played so many leading roles, but it seems that this is the first time he has produced such mature work. He plays his hero brightly, modernly in the good sense of the word and as much as one can be “modern” without going beyond the traditions of the “Ostrovsky house”. Hence, another conflict unexpectedly arises in the play - the conflict of artistic generations. Moreover, Nevzorov, who recently came to Maly, finds himself together with the “veterans” of the theater, and, surprisingly, the director and set designer are on Podgorodinsky’s side. The performance, by Maly’s standards, is perhaps not “avant-garde.” Conventional design of the scene, represented by charred scraps of graphic drawings of the boyars' chambers. Conventional suits, especially those made to Western cut. Beardless boyars, one even smokes a pipe. By the way, things turned out to be interesting with the boyars. They say that during the general run-through, Boris Klyuev (Golitsyn) came out with a glued-on beard. Dragunov, we must give him his due, showed directorial firmness, stopped the run and forced the boyar to get rid of his beard. If at the same time there had been a full-fledged acting ensemble in the play, the result would probably have been worthy. Alas, the action rests on several performers of the main roles, the rest, including the “masters”, for example, Vladimir Nosik (Mstislavsky), perform a purely official function in in accordance with the plot and text of the play.
And the strongest episode turns out to be not one of the historically climactic scenes of the two title characters, not murder or betrayal, but the meeting of False Dmitry with Queen Martha. Tatyana Lebedeva, who plays Pelageya Egorovna so puppet-flatly in “Poverty is not a Vice,” seems to be replaced here. The duet of Lebedeva and Podgorodinsky is truly touching. He is an orphan who has appropriated someone else's name and someone else's destiny. She - former queen, forcibly tonsured a nun, who lost her son. He asks her to recognize him as her son. This is an extremely difficult situation for Martha. Agreeing with False Dmitry means, on the one hand, betraying the memory of her slaughtered son, who died in her arms and was buried, and on the other, an opportunity to belatedly take revenge on his killers. But the murderer Godunov himself has long been in the grave, Martha does not want revenge. And he wants to find his son again - at least in the Pretender. But False Dmitry also wants the same thing, and not just to get additional evidence of his “legitimate” rights to the throne. Podgorodinsky and Lebedeva in this scene play two absolutely lonely people, not related either by blood or a special community of interests, but gradually, due to the personal restlessness of each, they are imbued with a mutual and fundamentally selfless feeling. What confuses Marfa most of all is not the memory of the bloody Dmitry and not the hatred of the dead Godunov, but the fact that her newly-made “son” has another mother, a real one, and she is afraid that her son will be taken away from her, as Dmitry was once taken away from Marfa herself. The impostor reassures Marfa by saying that he does not have a mother. And the final argument in favor of recognizing the Pretender is the possibility of finding her son again years later, and not False Dmitry’s promise to return her royal honors. This whole complex bundle of emotions, fear, hatred, love, vengeance, forgiveness, ambition, humility - is played without false pathos, simply, subtly and poignantly.
But the lyrics are lyrics, but the play and performance are still about something else. False Dmitry strives as painlessly as possible, “without shedding Russian blood,” to turn Russia face to the West, to give more rights to both the people and the boyar Duma, while sacrificing the usual way of local life, the monopoly of the Orthodox Church on the souls of believers and, in part, the royal treasury, paying her with her Polish patrons. Shuisky plays the Orthodox-patriotic card, although he uses it only as a means of achieving power; he speaks calmly about temporary loyalty to Catholicism - they say, in old age you can repent, but for now serve; governs popular opinion as he sees fit; He does not trust his “comrades-in-arms” in the Boyar Duma and does not at all intend to share with them the power gained by such victims (after all, Shuisky’s head had already been on the chopping block before the Pretender pardoned the future traitor). The consequences of Ostrovsky's four-year reign of Shuisky are dramatically played out in the following plays of the cycle about the "time of troubles", but are clear from the very beginning, to the rhymed morality from Golitsyn. Over all the boyar squabbles looms the shadow of Grozny, constantly remembered by heroes from different camps - an unrestricted, mercilessly bloody dictatorship as the inevitable result of any easing, reforms and democratization; and at the same time - thoughts about calling the Polish prince Vladislav to the kingdom, since it is easier for Russians to submit to external force than to peacefully agree among themselves. Like Godunov, the Pretender, and then Shuisky, are doomed, and behind them - a new fall into chaos or a new tyrant with a silent people. Somehow, the performance, having passed the temptation of demagogic speeches about the desecration of Russian shrines by cursed foreigners and the plunder of Russia, taxis to this thought, seemingly obvious even to Pushkin.
According to ed. A. N. Ostrovsky. Collected works in 10 volumes. Under general ed. G. I. Vladykina, A. I. Revyakina, V. A. Filippova. - M.: State. publishing house Literary, 1960. - Volume 5. - Comments by N. S. Grodskaya. OCR: Peter. A. N. Ostrovsky DMITRY THE IMPOSTOR AND VASILY SHUISKY (1866) Dramatic chronicle in two parts I SCENE ONE PERSONS: Prince Vasily Ivanovich Shuisky. Prince Dmitry Ivanovich Shuisky. Timofey Osipov, clerk from the order. Fyodor Konev, Moscow merchant. Ivan, kalachnik. Afonya, holy fool. Moscow, Novgorod, Pskov merchants; clerks, homeless priests, wanderers, petty traders, peddlers and peasants.Canopy in the house of Vasily Shuisky.
Merchants and clerks sit on benches; ordinary people - on the floor.
1st Moscow merchant
The Lord has brought! The born prince On his grandfather's and father's thrones And on his own in all the great kingdoms He sat down again and established himself...
2nd merchant of Moscow
A great miracle has happened! God's providence deservedly punished the traitors and preserved the leopard-born branch from the tribe of pious kings.
Clerk
What a holiday! Moscow has not seen this for a long time. In careful attire, With triumph shining on their faces, the people walk in merry feet, preceded by banners and icons...
(Quiet.)
Meet the Antichrist!
1st peasant
2nd peasant
It's time for freedom, they cleaned up the fields, sowed, but haymaking didn't happen all of a sudden... Well, we got together...
3rd peasant
And that’s all, brothers, happy and cheerful! There is such joy, What about the saint, on the great day of Christ.
What a sin! What a sin!
Clerk
They chatted that the prince was killed in Uglich, And they believed then; and here he is with us! And that means God kept it for us.
1st peasant
There was a rumor, and before it was said that Dmitry, Tsarevich of Uglitsky, was alive...
Merchant of Novgorod
There is word of mouth in Moscow, and even more so in the cities...
Clerk
And there is no miracle, and there is nothing to marvel at, that the Lord kept him alive.
1st Moscow merchant
No one is surprised at this - they know that everything is possible with the Lord: He can even raise the dead from the grave.
Peasant
Of course!
Wanderer
If God wants, He will do so.
Peasant
Well, what can I say!
1st Moscow merchant
(to Novgorod)
And would you believe it, when the news came to us about the death of the prince, tearful sobbing went throughout all of Moscow; they began to say that it is easier for us to suffer from Tsar Ivan’s Torment again than to become an orphan without royal offspring; although it was terrible for us, we still knew that he was the king’s branch, not a slave... And here again Monomakh’s offspring enters the formidable parental table!
Spiritual joy and universal joy...
Well, there is no great joy in living under an oath! The saint's curse lies on us and our children. How long ago have we taken the Representative before God, the Patriarch, during the service, in full regalia, from the pulpit, dressed him in rubbish, and dragged him shamefully through the streets?! And he raised his right hand against us, And cursed all of Moscow and those living in it, And like a stone. crushed our souls with a Curse... Our deeds and thoughts, Our wombs are all covered with a curse; Our prayers do not reach God...
Clerk
You wouldn't talk loudly in front of people, otherwise you'd end up in a dungeon.
Silence.
1st peasant
Oh, sins! Oh, Lord have mercy!
2nd peasant
At least chew something, for the sake of boredom.
3rd peasant
There's a puff in his bosom... What do you have: a purse or a rug?
1st peasant
My purse has gone to people, and it’s not going home.
2nd peasant
Apparently you are also Unmercenary?
1st peasant
A nag doesn't hoard gold! There is some crust in stock, an hour with kvass, and even so. I left home in the morning, but my belly, the enemy, doesn’t remember yesterday.
2nd peasant
Pull it, break it and give it to us! Let's share!
Not about just bread...
Quiet!
Clerk
What a stupid breed! He worms his way into the boyars' mansions, sits like a guest; his Adam's apple will loosen, and you won't stop; not in passing it is said: “You plant a pig...”
1st peasant
Don't be angry! We will be silent: shy guys, chew more quietly!
Silence.
2nd peasant
Why sit like this, let's take a break.
What, did you go into the barn?!
Clerk
Call your servants and push you out of the gate.
Enter the kalachnik and the holy fool.
Kalachnik
To the judges, clerks and you, honest fathers, to the guests-merchants and other people - I bow to the mother of the damp earth.
(Sits on the floor.)
You wretched one, sit next to me!
Holy Fool
I'm afraid of the Antichrist!
Is it really soon, Afonya, to expect him?
Holy Fool
Arrived unexpectedly!
1st Moscow merchant
I wouldn't be surprised! The boyar, Prince Vasily Ivanovich, compares the best trading people with the market traders; Both the smart and the crazy, the buffoon and the thoughtful nobleman come to him.
Kalachnik
Why are you going to the boyar? Keep your mind busy?.. And I trade mine in little things. Eh, big beards, you would be happy to eat the common people, but there is no will!
Petty trader
(to the kalachnik)
Where were you going? You can’t see it either at the auction or in the shops...
Kalachnik
I was in Tula.
Petty trader
For what?
Kalachnik
I wanted to be a Cossack...
Holy Fool
A Cossack is a Pole!
Kalachnik
Life has come to the Poles and Cossacks, Afonya; Tsar Dimitri allows the boyars to reach their hand. The Cossacks almost beat the boyars...
Holy Fool
Boyar - Tatar!
Kalachnik
What a wonder that the boyars are Tatars: the Tatar was king!
1st Moscow merchant
What has happened has passed! Now Dimitri Ivanovich, the noble prince from the tribe of Saint Vladimir...
Holy Fool
Dmitry is in the grave!
Clerk
We, blessed one, will tie your hands and cover your mouth...
Kalachnik
It is simple and cannot be recovered from it.
(gives a silver penny to the holy fool)
Blessed, for a pretty penny! Pray for us sinners!
Petty trader
(to the kalachnik)
You said Cossacks...
Kalachnik
I went hunting; not much, they said...
Petty trader
What happened?
Kalachnik
Stealing is not clever! It’s better to trade than to steal. I will become gold and Ugric. The price is now good for them: Need came to the king to bring as a gift.
1st Moscow merchant
Is it full of rolls?
Kalachnik
There is little benefit. If you buy Polish kuntushes, you’ll make money, the goods won’t last!.. There is a rumor that Prince Rubets-Masalsky, Pyotr Fedorych Basmanov and others want to replace their boyar caftans with kuntushes...
Clerk
You've loosened your tongue, you should have kept it shorter.
Osipov and the butler enter.
Hasn’t that happened?
Butler
Everything is still there, in Kolomenskoye camp, with the sovereign.
Will it be soon, are you having tea?
Butler
It's about time; Just look at his boyar mercy. The people have been waiting for so long - they have accumulated.
PS what?
Butler
They came from Novgorod, Pskov Posad princes to meet, Moscow market traders, Peasants from nearby villages, Priests without jobs, sextons from the orders, The poor and all sorts of orphans, And the business and wandering people. Not everyone has seen the eyes of Sovereign Dimitri Ivanovich, it is so flattering to inquire from our boyar about the royal health; Haven’t you heard about the kind of favors for the people... Don’t blame me! There is some noise at the gate, So run... Everything is somehow out of place Little servile soul; I keep imagining that it’s going to hit me... Wait an hour.
(Leaves.)
(at the window)
"Dmitry the Pretender and Vasily Shuisky"- a play (actually, “a dramatic chronicle in two parts”) by Alexander Ostrovsky. Written in 1866.
History of writing
Ostrovsky began work on “Dmitry the Pretender...” in early February 1866. As Ostrovsky himself testifies, “Dmitry the Pretender...” is “the fruit of fifteen years of experience and long-term study of sources.”
Having completed work on the chronicle for publication, Ostrovsky began creating a stage version of the play. The differences between the text for print and for the stage are quite significant.
Characters
scene one
- Prince Vasily Ivanovich Shuisky.
- Prince Dmitry Ivanovich Shuisky.
- Timofey Osipov, clerk from the order.
- Fyodor Konev, Moscow merchant.
- Ivan, kalachnik.
- Afonya, holy fool.
- Moscow, Novgorod, Pskov merchants; clerks, homeless priests, wanderers, petty traders, peddlers and peasants.
scene two
- Dmitry Ivanovich, impostor.
- Shuisky, Prince Vasily Ivanovich.
- Shuisky, Prince Dmitry Ivanovich.
- Kurakin, Prince Ivan Semyonovich.
- Rubets-Masalsky, Prince Vasily Mikhailovich,
- Jan Buchinsky, Dmitry's secretary.
- Jacob Margeret, captain of a German company.
- Korela, Don Ataman.
- Kutska, Zaporozhye ataman.
- Savitsky, Jesuit.
- Konev.
- Kalachnik.
- Tens, Hungarians, Poles, Cossacks, Cossacks, Tatars, Germans, Polish men-at-arms, boyars, nobles, merchants, archers and every people of both sexes.
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Excerpt characterizing Dmitry the Pretender and Vasily Shuisky
– Does he love you?- Does he love you? – Natasha repeated with a smile of regret about her friend’s lack of understanding. – You read the letter, did you see it?
- But if he doesn't noble man?
– Is he!... an ignoble person? If only you knew! - Natasha said.
“If he is a noble man, then he must either declare his intention or stop seeing you; and if you don’t want to do this, then I will do it, I will write to him, I will tell dad,” Sonya said decisively.
- Yes, I can’t live without him! – Natasha screamed.
- Natasha, I don’t understand you. And what are you saying! Remember your father, Nicolas.
“I don’t need anyone, I don’t love anyone but him.” How dare you say that he is ignoble? Don't you know that I love him? – Natasha shouted. “Sonya, go away, I don’t want to quarrel with you, go away, for God’s sake go away: you see how I’m suffering,” Natasha shouted angrily in a restrained, irritated and desperate voice. Sonya burst into tears and ran out of the room.
Natasha went to the table and, without thinking for a minute, wrote that answer to Princess Marya, which she could not write the whole morning. In this letter, she briefly wrote to Princess Marya that all their misunderstandings were over, that, taking advantage of the generosity of Prince Andrey, who, when leaving, gave her freedom, she asks her to forget everything and forgive her if she is guilty before her, but that she cannot be his wife . It all seemed so easy, simple and clear to her at that moment.
On Friday the Rostovs were supposed to go to the village, and on Wednesday the count went with the buyer to his village near Moscow.
On the day of the count's departure, Sonya and Natasha were invited to a big dinner with the Karagins, and Marya Dmitrievna took them. At this dinner, Natasha again met with Anatole, and Sonya noticed that Natasha was saying something to him, wanting not to be heard, and throughout the dinner she was even more excited than before. When they returned home, Natasha was the first to begin with Sonya the explanation that her friend was waiting for.
“You, Sonya, said all sorts of stupid things about him,” Natasha began in a meek voice, the voice that children use when they want to be praised. - We explained it to him today.
- Well, what, what? Well, what did he say? Natasha, how glad I am that you are not angry with me. Tell me everything, the whole truth. What did he say?
Keywords
HISTORICAL CHRONICLE/ REMARK / AUTHOR'S POSITION / SPEECH CHARACTERISTICS / LANGUAGE FEATURES / VOCABULARY AND SYNTAX/ HISTORICAL CHRONICLE / STAGE DIRECTION / AUTHOR'S POSITION / SPEECH CHARACTERISTICS / LANGUAGE MEANS / LEXIS AND SYNTAXAnnotation scientific article on linguistics and literary criticism, author of the scientific work - Maslennikov Semyon Vladimirovich
The article discusses the structure, semantics and functions of remarks in historical chronicle A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky." Remarks in modern linguistics have not been sufficiently studied. Directions (stage directions) are a special type of compositional and stylistic units included in the text of a dramatic work and, along with monologues and remarks from characters, contributing to the creation of its integrity. The remarque has important functional and communicative features that make it possible to determine fairly strict standards in the construction of the work. IN historical chronicle A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky" is used large number remarks. The author of the chronicle often creates stage directions for the remarks of those characters who play the main role in storyline works. The number of remarks increases towards the end of a dramatic work and increases in crowd scenes, as stage directions convey the dynamics of events and show the development of the action. The concentration of remarks to the remarks of a particular character indicates that in order to reveal the inner world of this particular character in the drama, the “voice” of the author is required. The stage directions in Ostrovsky's chronicle are divided into several types and serve to reveal the images of the characters and characterize the dramatic action of the chronicle. With the help of remarks it is revealed author's position , a text modality is created.
Related topics scientific works on linguistics and literary criticism, the author of the scientific work is Semyon Vladimirovich Maslennikov
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Functions of stage directions in the historical chronicle by Alexander Ostrovsky “False Dmitriy and Vasili Shuysky”
In the article, the structure, semantics and functions of stage directions in the historical chronicle by Alexander Ostrovsky “False Dmitriy and Vasili Shuysky” are considered. Stage directions in modern linguistics are insufficiently studied. Stage directions (scenic instructions) are a special type of the composite and stylistic units included into the text of drama work and along with monologues and cues of the characters, promoting creation of integrity of the play. The stage direction possesses the important functional and communicative signs allowing to define rather rigid norms in construction. In the historical chronicle by Alexander Ostrovsky “False Dmitriy and Vasili Shuysky”, what is used is a large number of stage directions. The author of the chronicle often creates stage directions for cues of those characters who play a major role in the subject line of work. The number of stage directions increases by the final of the drama work and especially in crowd scenes as stage directions transfer dynamics of events, show action development. Concentration of stage directions for cues of the specific character tests that disclosure of the inner world of this character of the drama requires the author’s “voice”. Stage directions in Alexander Ostrovsky’s chronicle are subdivided into some types and serve to disclose images of characters, characterize drama action of the chronicle. By means of stage directions, the author’s position reveals, the text modality is created.
Text of scientific work on the topic “Functions of remarks in the historical chronicle of A. N. Ostrovsky “Dmitry the Pretender and Vasily Shuisky””
Functions of remarks in the historical chronicle of A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky"
UDC 821.161G19’
Maslennikov Semyon Vladimirovich
Kostroma state university named after N.A. Nekrasova
FUNCTIONS OF REMARKS IN THE HISTORICAL CHRONICLE A.N. OSTROVSKY "DIMITRY THE IMPOSTER AND VASILY SHUISKY"
The article examines the structure, semantics and functions of remarks in the historical chronicle of A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky." Remarks in modern linguistics have not been sufficiently studied. Directions (stage directions) are a special type of compositional and stylistic units included in the text of a dramatic work and, along with monologues and remarks from characters, contributing to the creation of its integrity. The remarque has important functional and communicative features that make it possible to determine fairly strict standards in the construction of the work. In the historical chronicle of A.N. Ostrovsky's "Dmitry the Pretender and Vasily Shuisky" uses a large number of stage directions. The author of the chronicle often creates stage directions for the remarks of those characters who play a major role in the storyline of the work. The number of remarks increases towards the end of a dramatic work and increases in crowd scenes, as stage directions convey the dynamics of events and show the development of the action. The concentration of remarks to the remarks of a particular character indicates that in order to reveal the inner world of this particular character in the drama, the “voice” of the author is required. The stage directions in Ostrovsky's chronicle are divided into several types and serve to reveal the images of the characters and characterize the dramatic action of the chronicle. With the help of remarks, the author's position is revealed and a text modality is created.
Key words: historical chronicle, remark, author's position, speech characteristics, linguistic means, vocabulary and syntax.
Remarks in modern linguistics have not been studied enough. Let us name the names of scientists who studied the functions of stage directions in dramatic works. The dissertation research of K.K. is devoted to the analysis of the semantic possibilities of remarks in the linguistic aspect. Asanova, V.A. Bezrukova, A.V. Khizhnyak, V.P. Khodus, as well as scientific articles devoted to some aspects of the existence of stage directions in an artistic context (E.K. Abramova, K.F. Baranova, M.B. Borisova, N.S. Gantsovskaya, O.V. Gladysheva, P.S. Zhuikova, I.P. Ilyicheva, E.A. Pokrovskaya, G.A. others).
Among literary works of different nature Regarding this topic, the studies of S.D. Balukhaty, T.G. stand out. Ivlieva, S.N. Kuznetsova, N.K. Piksanova, A.P. Skaftymova, V.V. Sperantova
S.V. Shervinsky. An analysis of the formal functions of remarks is proposed in the monograph of the German researcher G.H. Dames, S.V.’s essays are based primarily on stage experience. Krzhizhanovsky “Theater Remark” and B.V. Golubovsky “Read the stage directions!”, there are a number of publications and observations on private stage directions in the plays of individual playwrights.
In our research, we focus on the definition and classification of remarks given in the book by N.A. Nikolina " Philological analysis text". The author gives a system of remarks and traces their evolution, starting from the 18th century and ending with the 19th century. Directions (stage directions), according to N.A. Nikolina, is a special type of compositional and stylistic units included in the text of a dramatic work and, along with monologues and replicas of characters, contributes to
contributing to the creation of its integrity. The main function of remarks is to express the author’s intentions. At the same time, this means of transmitting the author’s voice serves as a way of directly influencing the director, actors and reader of the drama.
The main types of stage directions developed in Russian drama in the 18th - early XIX centuries (under the influence of Western European drama). During the same period, their leading functional communicative features were also determined, making it possible to determine fairly strict norms in the construction of remarks. Let us list these norms characteristic of dramatic works XVIII-XIX centuries
1. Directions directly express the position of the “omniscient” author and the communicative intentions of the playwright. At the same time, the author's consciousness is maximally objectified. The stage directions do not use the 1st and 2nd person forms.
2. The time of the stage directions coincides with the time of the stage realization of the phenomenon (scene) of the drama (or its reading). Despite the fact that a stage direction can be correlated in duration with the action of an entire picture or act, the dominant time for it is the present, the so-called stage present.
3. The local significance of the stage directions is determined by the nature of the stage space and, as a rule, is limited by it.
4. The remark is a stating text. Accordingly, it does not use either interrogative or incentive sentences. Remarks avoid evaluative means, means of expressing uncertainty and tropes; they are stylistically neutral.
5. Remarks are characterized by standardized construction and a high degree of repetition of certain speech means in them.
© Maslennikov S.V., 2015
Bulletin of KSU named after. N.A. Nekrasova “S> No. 6, 2015
LINGUISTICS
Directions in drama are quite varied in function. They model artistic time and the space of the work indicate:
Place or time of action: June 19, 1605 (hereinafter examples are given from the play by A.N. Ostrovsky “Dmitry the Pretender and Vasily Shuisky”);
Actions of the heroes or their intentions: gives a silver penny to the holy fool;
Features of the behavior or psychological state of the characters at the moment of action (introspective remarks): stopping in thought in front of Osinov;
Nonverbal communication: shrugging;
Addressee of the remark: Dmitry (to Basmanov);
Replies to the side related to the character’s self-reflection, his decision-making, etc.: Cook (to himself).
Note that the play “Dmitry the Pretender and Vasily Shuisky” contains a large number of remarks (160 units), which are represented by verbs and verbal forms expressing the semantics of procedurality. Most of of all remarks are verb remarks (46 units) and gerund remarks (32 units). Consequently, we see that there is more dynamics in the chronicle than statics.
The author of the chronicle often uses stage directions only for the remarks of those characters who play a major role in the storyline of the work. For example, remarks are most often found next to statements by Vasily Shuisky, Dmitry the Pretender, Kalachnik, and Basmanov. And the reader feels the author’s attention to the characters depicted. It is interesting that the number of remarks increases towards the end of the work and increases in crowd scenes. This can be explained by the fact that stage directions give the work dynamics and show the development of the action. Let's look at the most interesting remarks that we analyze taking into account their interaction with the characters' remarks.
Kurakin (quietly to Golitsyn)
And Belsky remembers everything about Ivan;
Anyone who loves something dreams about it...
Masala
(quietly to Basmanov)
And Shuisky still boasts of his relatives.
Dmitry Shuisky (quietly to Vasily Shuisky)
Golitsyn has all the will
Missing.
In this episode, the remarks are similar in structure: they contain an indication of the addressee in combination
with the adverb quietly. In this passage, the boyars talk about the coming to power of Dmitry the Pretender, they are afraid of doing something to anger him, and therefore they talk in a whisper. Thanks to the stage directions, a special, conspiratorial atmosphere is created in the scene.
Margeret
Vive l'empereur!
(To the soldiers.)
Ruft: “Hoch! Vivat der Kaiser!
Vivat! hoch! hoch!
Kalachnik
The dogs groaned.
People laugh.
The remark among the people's laughter shows the reader the ironic reaction of the people to the speech of the Germans, which for a Russian person is similar to the barking of a dog. Ostrovsky managed to depict the speech of the Germans in the form of onomatopoeia. The word dog has a negative connotation. Thus, we see the negative attitude of the people towards foreign invaders.
Belsky
(takes the berdysh from the German)
Can't be tolerated! Free our hands
And we will tear it to pieces!
Basmanov
(takes a berdysh from another)
A traitor is one who can indifferently
In the eyes of the king, listen to such speeches!<...>
Basmanov
(raising the reed)
Don't spew out your nasty curses,
Otherwise I'll kill you!
Belsky
(raising the reed)
Shut up! Not another word! .
This scene is interesting to us because the remark is repeated, taking a berdysh, which explains the actions of the heroes. Berdysh is a wide, long ax with a crescent-shaped blade on a long shaft. It can be assumed that the berdysh in this scene is a symbol of punishment and judgment. The action of this scene takes place in the chambers of Dmitry the Pretender, where he is trying to condemn Osipov for organizing a popular revolt. Basmanov and Belsky, faithful servants of the Pretender, are using berdysh to intimidate the character and want to extract a confession. Consequently, the remark in this context acquires a symbolic meaning and adds additional emotionality to the scene.
They're running away! Native
They drag you to their place.
Poles with a girl at the gate of the house where Vishnevetsky stands
Kalachnik
Day robbery, guys!
Bulletin of KSU named after. N.A. Nekrasova jij- No. 6, 2015
Functions of remarks in the historical chronicle of A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky"
To the rescue! Work with anything.
They break the spreaders on which the trays are placed and fight with the Poles with the debris. They beat the girl off.
Vishnevetsky's men come out of the gate with guns.
Kalachnik
With squeaks?! Call people, guys!
Get out, people! The Poles offended me! .
In the last scene there is an uprising of the people and the overthrow of Dmitry the Pretender. Crowd scenes predominate here, almost all the key characters meet, and in order to more accurately convey the dynamics and show the actors the sequence of actions, Ostrovsky introduces a large number of remarks that represent entire sentences.
Thus, the number of remarks accompanying the monologues and remarks of the characters is associated with the images of the characters to which Ostrovsky wanted to draw the attention of the reader and viewer. For example, there are a lot of remarks in the monologues of Dmitry the Pretender and Vasily Shuisky, while the remarks of other characters are formalized with a minimum number of remarks. The remarks introducing the remarks of the Pretender and Vasily Shuisky or indicating their actions are varied in lexical content, name different addressees of the speech or note the fact of self-addressing, and emphasize the rapid change of emotions of the characters. The concentration of remarks introducing or accompanying the speech of certain characters indicates that the “voice” of the author is required to reveal the inner world of this particular character in the drama. As our research has shown, the remarks in the chronicle of A.N. Ostrovsky are divided into non-
how many types that perform different functions in the work. First of all, they serve to reveal the images of the characters and characterize the dramatic action of the chronicle. With the help of remarks, the author's position is expressed and a text modality is created.
Bibliography
2. Nikolina N.A. Philological analysis of text: textbook. allowance. - M.: Publishing Center "Academy", 2003. - 256 p.
3. Ostrovsky A.N. Complete works: in 12 volumes - M.: Art, 1973.
4. Ostrovsky A.N. Encyclopedia / ch. ed. [and comp.] I.A. Ovchinina. - Kostroma: Kostromaiz-dat; Shuya: Publishing house of the Federal State Budgetary Educational Institution of Higher Professional Education "TTTGPU", 2012. -660 p.
5. Piksanov N.K. Comedy A.S. Griboyedov “Woe from Wit” // Griboyedov A.S. Woe from the mind. - M.: Nauka, 1987. - 478 p.
6. Skaftymov A.P. On the question of the principles of constructing plays by A.P. Chekhov // Chekhov A.P. Three sisters: plays. - St. Petersburg: Azbuka-Classics, 2008. -544 p.
7. Ushakov D.N. Explanatory dictionary of modern Russian language. - M.: Alta-Print, 2008. - 512 p.
8. Fokina M.A. Philological analysis of text: textbook. allowance. - Kostroma: KSU named after. N.A. Nekrasova, 2013. - 140 p.
9. Khodus V.P. Remarque in the dramatic text by A.P. Chekhov: stereotyping and new models // Changing linguistic world: abstracts of international reports. scientific conf. - Perm, 2001. - pp. 34-36.
Bulletin of KSU named after. N.A. Nekrasova “S> No. 6, 2015
