How the Snow Maiden appears at the beginning of Ostrovsky's play. Analysis of “The Snow Maiden” by Ostrovsky. fairytale kingdom of the Berendeys

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If you want to know what Ostrovsky is, read “The Snow Maiden” carefully. A. R. Kugel

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The image of the fairy-tale heroine Snow Maiden was formed in popular consciousness gradually over the centuries. . In 1873, A. N. Ostrovsky, under the influence of Afanasyev’s ideas, wrote the play “The Snow Maiden”. Initially the play was not a success with the public. A Spring Tale by A.N. Ostrovsky was highly appreciated by A.I. Goncharov and I.S. Turgenev, however, many responses from contemporaries were sharply negative.

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Drama - (Greek dráma, literally - action), 1) one of three kinds literature (along with epic and lyric poetry; belongs simultaneously to theater and literature: being the fundamental basis of the performance. The play - dramatic work, intended for theatrical performance. A fairy tale is one of the genres of folklore. Literary fairy tale - epic genre: a fiction-oriented work, closely related to a folk tale, but, unlike it, belonging to a specific author Conflict - (lat. conflictus - faced) is the most acute way of resolving contradictions in interests, goals, views that arise in the process of social interaction, consisting in the opposition of the participants in this interaction Antithesis - Greek. "Αντιθεσις, opposition) - a figure (see) consisting of a comparison of logically opposite concepts or images. An essential condition for antithesis is the subordination of opposites to the one that unites them general concept, or a general point of view on them.

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The Snow Maiden's pedigree is unclear and dark. It is impossible to say exactly when Snegurochka established herself as the “granddaughter” of Father Frost. Undoubtedly, the image of the Snow Maiden is a mutation and transformation of many pre-Christian beliefs, myths and customs. First of all, this applies to such holidays as Maslenitsa, Krasnaya Gorka, when the villagers called for spring, Yarilino Gulbishche, and the funeral of Kostroma. Russian Orthodoxy has absorbed many pagan ideas. Thus, the Orthodox holiday of the Trinity, celebrated as the day of the descent of the Holy Spirit on the apostles, in Rus' merged with the ancient Slavic holiday of Semik, associated with the veneration of the spirits of vegetation.

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1. one keyword (noun); 2. two adjectives characterizing the word in the first line; 3. three verbs; 4. a short phrase, a conclusion that shows the attitude to the problem; 5. one noun (synonym for the first line).

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The most famous literary work about the Snow Maiden is play of the same name A.N. Ostrovsky, written in 1873. In the drama “The Snow Maiden” (the writer defined its genre as a “spring fairy tale”) A.N. Ostrovsky makes an attempt to touch the deep roots of Russian and Slavic culture, learn the secrets folk mythology. The work “Snow Maiden” is amazing fairy tale, which shows the beauty of the surrounding world, love, nature, youth.

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It's not surprising that theatrical production"The Snow Maiden" by the Moscow Maly Theater (May 11, 1873) actually failed. Only at the beginning of the twentieth century did the dramatic plan of A.N. Ostrovsky was appreciated. A.P. Lensky, who staged The Snow Maiden in September 1900 in Moscow, noted: “Ostrovsky would have had more than enough 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 the enchantment of another, more complex element - the poetic one.

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In 1873, music for the “spring tale” by A.N. Ostrovsky's "Snow Maiden" was written by P.I. Tchaikovsky (1840-1893). Responses to the musical accompaniment of the play were mixed. A certain P. Akilov in “Theater Notes” noted that the music for “The Snow Maiden” is monotonous “to the point of putting you to sleep.” Perhaps this impression was contributed by the disgusting performance of the musical numbers by the orchestra under the direction of I.O. Shramek. Sunny music to the spring fairy tale by A.N. Ostrovsky cannot but evoke positive emotions. It is no coincidence that P.I. Tchaikovsky defined his plan as follows: “A joyful, spring mood should be noticeable in this music.”

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In 1900, A.T. wrote his own version of the music for the play “The Snow Maiden”. Grechaninov (1864-1956). The premiere took place on September 24, 1900 at the Moscow Art Theater. Roles performed by: Tsar Berendey – V.I. Kachalov, Snegurochka – M.P. Lilina, Lel – M.F. Andreeva. In 1880, from the pen of N.A. Rimsky-Korsakov (1844-1908) published the opera “The Snow Maiden” - one of the pinnacles of Russian musical classics. The composer was completely captivated by the themes and images of A.N. Ostrovsky. Two-tier gazebo It is believed that A.N. Ostrovsky was here. I came up with the idea of ​​​​creating the play "The Snow Maiden".

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Music by N.A. Rimsky-Korsakov is permeated with the fragrance of spring, warmth and light, warmed by song folk motives. The first performance of the opera took place on January 29, 1882 at the St. Petersburg Mariinsky Theater. Conducted by E.F. Guide. On October 8, 1885, “The Snow Maiden” was staged in Moscow on the stage of the Private Russian Opera by S.I. Mamontova. Opera N.A. Rimsky-Korsakov was successfully among the best Russian theaters. Sketch of the scenery for the play

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The opera was composed in the summer of 1880 in a remote Russian village. The composer later said that not a single work was given to him with such ease and speed as “The Snow Maiden”. In 1881 the opera was completed. The premiere took place on January 29 (February 10) next year on stage Mariinsky Theater, was a great success. A. N. Ostrovsky also enthusiastically accepted the opera: “The music for my “Snow Maiden” is amazing, I could never imagine anything more suitable for it and so vividly expressing all the poetry of the Russian pagan cult and this first snow-cold, and then uncontrollably passionate fairy tale heroines."

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The work of A.N. Ostrovsky revolutionized the Russian theater. Already his first plays showed on stage a world that was perfectly familiar to the playwright himself, but completely unknown to readers and spectators of the mid-19th century. The dramaturgy of Alexander Nikolaevich Ostrovsky marked the most important stage in the development of Russian national theater. As a playwright and director, Ostrovsky contributed to the formation of a new school of realistic acting.

Below we characterize the fairy tale play by A.N. Ostrovsky, making the necessary, from our point of view, accents.

The extravaganza “The Snow Maiden” appeared one hundred and forty years ago, in 1873, in the magazine “Bulletin of Europe”. Everything was unusual in this play: genre (fairy tale play, extravaganza); a combination of dramatic poetic text with music and ballet elements; plot; heroes - gods, demigods, ordinary residents of the country - Berendeys; fantasy, organically fused with realistic, often everyday pictures; vernacular, which includes elements of vernacular and, on the other hand, turns in some places into lofty poetic, solemn speech.

Critical literature has expressed the opinion that the appearance of such a play was associated with random circumstances: in 1873, the Maly Theater was closed for repairs, the troupe moved to the Bolshoi Theater building to occupy the artists of the drama and opera and ballet theaters, the management decided to ask A.N. Ostrovsky to write a corresponding play. He agreed.

In fact, everything was more serious. The relocation of the Maly Theater was only a pretext, an impetus for the implementation of Ostrovsky’s plans theatrical genre. The playwright's interests have long been connected with plays of this kind, folklore was his favorite and native element, and folk extravaganza occupied his thoughts long before 1873 and much later.

“On a holiday,” he wrote in 1881, “every working person is drawn to spend the evening away from home... I want to forget boring reality, I want to see a different life, a different environment, other forms of community life. I want to see boyars, princes’ mansions, royal chambers, I want to hear passionate and solemn speeches, I want to see the triumph of truth.”

The action takes place in fairyland Berendeev, as the playwright writes, in “prehistoric times.” The name of the Berendey tribe appears in the Tale of Bygone Years. The writer also heard oral stories about the ancient city of Berendey and Tsar Berendey.”

Mythological characters pass before the viewer - gods (Yarilo), demigods (Frost, Vesna-Krasna), the daughter of Frost and Vesna-Krasna Snegurochka (the child of a marriage opposed to Yarila), goblins, talking birds, animated bushes, ghosts. But all this fantasy is closely combined with realistic, everyday scenes. The great realist and writer of everyday life could not chain his imagination within the framework of fiction.

Live real life bursts into the play and gives a special brightness to the time and place of its action.

Snegurochka, Kupava, Lel, Moroz, Vesna-Krasna, Mizgir are endowed with unique character traits. There is something in them from the people of Ostrovsky’s time and later years.

The dialogue between Frost and Vesna-Krasna about their daughter’s future is indistinguishable in tone even from the conversations of parents of our time. Bobyl is a model of a typical peasant slacker, a drinker, even Yarilo appears in the guise of a young pariah in white clothes with a human head in one hand and a sheaf of rye in the other (as he was depicted in folk tales in some places in Rus').

There are not many traces of the primitive communal system in the fairy tale play (mostly mythological images). But there is plenty of evidence for the conventions of “prehistoric time.”

First of all, let us note the social inequality in Berendey’s kingdom. Society is divided into rich and poor, with the latter openly jealous of the former. Not to mention Bobylikha, who dreams of “filling her purse thicker” and commanding the family like Kabanikha, let’s pay attention to the pure and noble Kupava, who, getting ready to marry Mizgir, pictures her future like this: “8 to his house, in the big royal settlement , / In full view, as a rich housewife / I will reign...

The rich Murash refuses to accept the shepherd Lelya for the night, despising him as a poor man and not believing in his honesty: “Deceive others with your bows, / But we, my friend, know you well enough, / What is safe is intact, they say.”

It is no coincidence that in the stage directions to the first act we read: “On the right side is Bobyl’s poor hut, with a rickety porch; there is a bench in front of the hut; on the left side there is a large Murash hut decorated with carvings; in the background there is a street; Across the street is the Murash hop and bee garden.” A small sketch takes on a symbolic character.

In Berendey's kingdom, elements of social hierarchy are strong. Talking birds, singing about their way of life, essentially recreate a picture of the social structure of the Berendeys; They have governors, clerks, boyars, nobles (this is in “prehistoric times”), peasants, serfs, centurions, people of various professions and positions: farmers, kissers, fishermen, merchants, masters, servants, privet, youths, buffoons.

The whole feast is crowned by the king and his faithful assistant, boyar Bermyata. Can the life of the Berendeys be considered a kind of idyll, serene and happy, as some researchers say?

Yes, in comparison with the outside world, where there are continuous wars (the buffoons sing about them, depicted in the colors of “The Tale of Igor’s Campaign”), the land of the Berendeys may seem like a corner of paradise.

For a peaceful life, for relative freedom, for the opportunity to turn to the king in any difficult case, the Berendeys praise beyond measure the wise father of their land. And the king takes this praise as due.

Nevertheless, life in the Berendey kingdom is far from ideal. It is not for nothing that the action of the play opens with the words of Spring-Red:

Greets you sadly and coldly
Spring its gloomy country.

This remark applies not only to the weather, it further turns out that supreme deity Yarilo (Sun) is angry with the Berendeys because Frost and Spring-Red, violating canons and traditions, got married and gave birth to an unprecedented creature - a beautiful girl. Yarilo swore a terrible oath to destroy both this girl, Snegurochka, and her father, and brought all sorts of troubles upon the inhabitants of the country (however, they experienced these troubles even without Yarila’s will).

The Tsar himself is forced to admit that he has not seen prosperity among the people for a long time. And the point is not only that, according to Bermyata, compatriots “steal little by little” (this sin is unforgivable, but we can correct it from the tsar’s point of view), the point is that the moral state of the country’s inhabitants has changed:

The service of beauty has disappeared in them...
But we see completely different passions:
Vanity, envy of other people's outfits...

People envy wealth, lovers often cheat on each other, and are ready to get into a fight with a rival. The Biryuchi, who call the Berendeys to a meeting with the Tsar, jokingly give evil but truthful descriptions to their contemporaries: “The sovereign's people: / Boyars, nobles, / Boyar children, / Cheerful heads / Wide beards! / Do you, nobles, / Have greyhound dogs, / Are barefoot serfs! / Trade guests, / beaver hats, / Thick necks, / Thick beards, / Tight purses. / Clerks, clerks, / Hot guys, / Your job is to drag and reap, / and hold your hand with a hook (that is, take bribes, bribes) / Old old women / Your business; to trouble, to weave, / to separate a son from his daughter-in-law. / Young fellows, / Daring daredevils, / people for work, / You for idleness. / Your job is to look around the towers, / To lure out the girls.”

This “prehistoric time” is not much different from later times - great playwright remains true to himself in exposing human vices and shortcomings. The researcher is hardly wrong when she writes that “Berendey’s society is cruel, it no longer lives according to natural, but human laws, covering up its imperfection with the desires of Yaripa the Sun.”

Here we should add a few words about the king. In critical literature, his figure is assessed positively. He really ensured peace for his people, in any case, he did not go into reckless wars, he thinks a lot about the happiness of young people, does not shy away from communicating with ordinary Berendeys, and to some extent is not alien to art - he paints his palace. But unlimited power, as usual, left its mark on his thoughts, feelings and behavior.

He is convinced that the will of the king has no boundaries. When he decides to gather all the lovers and arrange a collective wedding on the solemn day of Yarilin, and Bermyata doubts the possibility of such a holiday, the king exclaims in anger: What? What can't you do, motherfuckers? Is it impossible to fulfill what the king desires? Are you sane?

Having learned from Kupava that Mizgir cheated on her for the sake of the Snow Maiden, he considers Mizgir a criminal worthy of the death penalty. But since “there are no laws in our bloody code,” the king, on behalf of the people, sentences Mizgir to ostracism - eternal exile - and calls on those who want to make the Snow Maiden fall in love with them before the end of the night (no later!).

True, loves and disappointments in the Berendey kingdom flare up and go out like a match, but this is the tradition of literature, going back to the Renaissance - let's remember Romeo and Juliet, who fell in love in a matter of seconds, essentially without recognizing each other. But even taking into account this tradition, the king’s order looks like an act of arbitrariness.

Having heard that the appearance of the Snow Maiden on Berendey's land caused a complete commotion among the young people due to jealousy, the Tsar orders Bermyata to “settle everyone and reconcile before tomorrow” (!), and the Snow Maiden to look for herself “a friend after her own heart.”

The promised holiday comes, a friend - Mizgir - is found, the young people are madly in love, but the vengeful Yarilo remembers his oath. Hot passion destroys the Snow Maiden; she melts under the influence of the sun's rays. Mizgir commits suicide, and the Tsar, who shortly before admired the beauty of the Snow Maiden and promised to arrange a feast for the one who “manages to captivate the Snow Maiden with love before dawn,” now solemnly says:

Snow Maiden's sad death
And the terrible death of Mizgir
They can't disturb us. The sun knows
Whom to punish and have mercy on? Finished
Truthful trial! Frost's spawn,
The Cold Snow Maiden died.

Now, the tsar believes, Yarilo will stop his acts of revenge and “look at the devotion of the obedient Berendeys.” The king most of all adores the submission of his subjects to himself and the highest deity - Yaril the Sun. Instead of a mourning song, he suggests singing a cheerful song, and his subjects gladly carry out the will of the king. The death of two people does not matter compared to the life of the masses.

In general, Ostrovsky’s entire play, for all its apparent gaiety, is built on an antithesis, creating a contradictory, sometimes joyless picture. Warmth and cold, wealth and poverty, love and infidelity, contentment with life and envy, war and peace, in a broader sense - good and evil, life and death are opposed to each other and determine the general atmosphere of the Berendey kingdom, and contradictions and disharmony in characters actors.

The hostile principle has even penetrated into space. Yarilo-Sun, the blessed sun that gives wealth and joy to earthlings, sends bad weather, crop failures, all sorts of sorrows to the Berendeys and destroys the innocent illegitimate daughter of illegitimate parents, taking revenge not only on Frost, but also on the congenial Spring-Red, depriving her beloved daughter.

If we talk about the philosophical aspect of the play, then what we have before us is not the embodiment of the dream of an ideal “prehistoric” kingdom, but fabulous work, imbued with a thirst for harmony of life in the present and future. The Berendey kingdom is deprived of this harmony, this harmony is not present in the character main character.

She merged physical beauty with spiritual nobility, a kind of almost childish naivety and defenselessness with heartfelt coldness and inability to love. A desperate attempt to go beyond the circle designated by nature causes inhuman tension of strength and emotions and ends in tragedy.

We can say that the playwright’s idea to show “another life, a different environment” so that the audience would at least temporarily forget the “boring reality” was not entirely successful. But the depiction of the truth of life was fully successful, as A.N. Ostrovsky wrote about in the letter quoted above.

What is attractive is the persistent and irrepressible desire of the main character to change her fate, her high understanding of love, for the sake of which one can accept death:

Let me perish, one moment of love
More precious to me than years of melancholy and tears...
Everything that is precious in the world,
Lives in just one word. This is the word
Love.

At first Lel captivates her with her songs and soft nature. Her mother reminds her that Lel is the beloved son of the Sun, who is hostile to the Snow Maiden’s father.
I’m not afraid of Lelya or the Sun,
she answers...
… Happiness
Whether I find it or not, I’ll look.

Love is above all, more expensive than earthly existence - this is the leitmotif of the play. As noted in the critical literature, “in the late phase of his work (from the second half of the 1870s), the playwright’s main concern became the fate of women in love.

In the chronological interval between “The Thunderstorm” and “The Dowry,” Ostrovsky creates the extravaganza “The Snow Maiden.” And the unfortunate fate of a woman, albeit in a fairy-tale interpretation, is in the foreground. The physical cold that surrounds Father Frost’s daughter can be endured, but the spiritual cold is unbearable. Love warms, makes a person human. This is a great feeling, but it requires the lover to be ready to fight for his happiness.

Sometimes, unfortunately, a high romantic feeling ends tragically - for a number of reasons, among which is a conflict with society or supermundane forces, as was shown by the classics of distant and closer times and as directly pointed out by A.N. Ostrovsky in his fairy tale play.

But the strength of spirit of the dying hero gives rise to deep respect for him on the part of the perceiver of art and does not pass without a trace for the consciousness and emotional world of the reader and viewer. From these positions he can evaluate the tragedy of the Snow Maiden.

Fairy tale conflict

The conflict of the tale is based on the collision and poetic development of the opposing forces of heat and cold. The beginning of the conflict is in the world of the elements, between Frost and Spring, the union of which is unnatural by its very nature. I would like to leave Frost to Spring, but the trouble is, “he and the old man have a daughter, Snegurochka.”

In Frost there is no love either for the world of living nature or for the world of people:

Through the tents, through the yurts of nomads,

According to the wintering grounds of fur hunters

I’ll come in, wander around, witchcraft,

They will bow to my waist.

The arrogance of the all-powerful tyrant, the cold, chilling power make Moroz evil, demonic in contrast to Yarila - the kind and warm deity of the Berendeys.

"Light and strength,

God Yarilo

Our red sun!

There is no more beautiful person in the world,”

The Berendei sing a welcoming song to Yarila.

In the artist’s thoughts, cold is personified and takes on a menacing guise. Unkind, evil is its essence. The colder Frost is, the more he “likes” it:

My life is not bad. Berendey

They won’t forget about this winter,

She was cheerful; the sun danced

From the cold at dawn,

And in the evening I got up with my ears for a month.

I’ll think about going for a walk, I’ll take a club,

I'll clarify, I'll make the night silver,

That's why I need freedom and space.

The omnipotent master of winter, Frost haunts the Land of the Berendeys even in summer. Going north, he wants to leave, and leaves here, a part of himself. And from the north, from afar, he sends Berendeys to the country thick clouds to block the sun from the earth; he sows cold rains and fogs to close off any possibility of fruiting on the earth.

Summer is the time of Yarila. Yarilo drives Moroz out of the land of the Berendeys. But Frost doesn’t give up so easily. He retreats, but with a fight. And often snatches out a piece of victory. Yarilo is Frost's sworn enemy. Eternal enemy. And to him - all the indignation of Frost. Especially in those times when it comes, Yarila, the time of power here, on the land of the Bereyadeev.

Evil Yarilo,

The scorching god of the lazy Berendeys,

To please them, he swore a terrible oath

Destroy me wherever he meets me. Drowns, melts

My palaces, kiosks, galleries,

Fine work of jewelry,

Details of the smallest carving,

The fruits of labor and plans.

In the fight against Frost, Yarila has a cunning plan: to send Spring, with beauty and love. Conquer and relax Frost with charm and affection. The idea succeeds. But the commodity Frost and his love turned into evil for both Yarila and the Berendeys. He leaves his daughter from Spring, Snow Maiden, a beauty in Spring, cold in Frost, for the summer in the forests of the country of the Berendeys. And this makes this unfortunate earth colder. The Snow Maiden is fifteen years old. For fifteen years she has been living secretly in the forests of the Berendeys. For fifteen years in a row, the Berendeys have had misfortune. The Snow Maiden becomes the involuntary cause of “everywhere cold hearts,” disasters and cold for the Berendeys, for her birth violated the laws of nature and life.

For Moroz, Yarilo is “an evil, scorching god,” who is just waiting to plant the fire of love in the Snow Maiden’s heart with “his ray.” That is why Lel, whose songs the Snow Maiden listens to, is hated by Frost, since “he is penetrated through and through by the ardent sun.”

The sun was revered as a good, merciful deity, and his name became synonymous with happiness. This explains the mythological connection of the sun with fate, in whose hands human happiness is.

Yarilin's anger promises bad things:

Cold winds and dry winds,

Honey dews unprofitable spoilage,

Incomplete filling of grains,

Stormy harvesting - poor harvest,

And early autumn frosts

It’s a hard year and the granaries are scarce.

God is the fertilizer, the representative of the blessed spring was called Yarilo among the Slavs, he was recognized as the patron of love and marriages:

On Yarilin's day...

...the Berendeys will come together;

...And then let them merge

In a single cry, hello towards the sun

And the wedding solemn song.

There is no sacrifice more pleasing to Yarila.

Rain and clear weather depended on it.

...our summer,

Short, shorter from year to year

It's getting colder, and the spring is getting colder, -

Foggy, damp, juicy autumn,

Sad.

The meaning of Yarila is fully explained from his very name and the surviving legends about him. The root -yar combines the concepts of 1) spring light and warmth; 2) young, impetuous, wildly excited strength; 3) love passion and fertility.

And now I ask you to get on the bus: we are heading to the Snow Maiden’s residence.

On the way I will tell you riddles.

1. It flies in a white flock and sparkles in flight.

2. It melts like a cool star in the palm of your hand and in your mouth. (snow)

3. On the windows there are pictures of white cobwebs. (frost)

4. If the frost is fierce, if the snow has covered the path,

5. These will come in handy for big and small... (felt boots)

6. With a broom, in a bucket hat -

7. Director of the winter yard. (snowman)

8. What grows upside down? (icicle)

9. A bit of an artist - he draws patterns.

10. A bit of a robber - he grabs you by the nose.

11. Sometimes - serious, sometimes - cheerful,

12. Sometimes he is very angry and bites to the point of tears. (freezing)

13. Steel legs run along the ice path. (skates)

14. A poultry woman in a red fur coat came from the forest to count the chickens. (fox)

15. They fly in the sky and melt on their noses. (snowflakes)

16. Jumps through the forest back and forth,

17. It howls, buzzes and shakes the trees. (blizzard)

The heroine of the fairy tale herself and her faithful assistants will guide you around the courtyard and invite you to visit the fabulous Kostroma Tower of the Snow Maiden. They will show you all the most interesting things... A little fun awaits you in Svetlitsa puppet show about the snow beauty, in the Upper Room the Snow Maiden will talk about her life and introduce her to mysterious magical objects, and in the next room there will be an amazing meeting with Slavic myths and legends. In the Room of Miracles, extraordinary works by Kostroma children await you, which will undoubtedly amaze you with their imagination and creativity.

Ice room

Real The Ice Room is a unique hall made by the hands of Ural craftsmen. You will admire the fabulous beauty and be amazed at the skill of the craftsmen, and also treat yourself to ice-cold drinks for children and adults. Children will try a magical cocktail from Snegurochka. I wish you a pleasant holiday!

After the Snow Maiden's tower, the excursion group will go by bus to drama theater named after A.N. Ostrovsky. On the way, I will tell you why Kostroma is considered the birthplace of the Snow Maiden. Kostroma can rightfully be considered the birthplace of the Snow Maiden three times.

Firstly: in Ancient Rus' Our Slavic ancestors had a custom of burning Kostroma. Kostroma is Kupala's sister. One day, when they were still little, they went into the forest to listen to Mirina’s song, but the bird of death dragged Kostroma’s brother into the Underworld. Many years later, already a girl, Kostroma, walking along the river, wove a wreath and put it on her head. But a gust of wind tore him off and carried him into the water, where he was picked up by a beautiful young man passing by in a boat. The girl and the boy immediately fell in love with each other and got married. But after a while they learned that they were brother and sister: the young man turned out to be Kupala. Out of grief, they decided to drown themselves, but the gods took pity on them and turned the beautiful couple into a flower, now known as Ivan da Marya.

This story is reflected in ancient custom burning of Kostroma (hence the name Kostroma - from “bonfire”, “bonfire”, according to one version). A girl, wrapped in white clothes, personified Kostroma and, accompanied by a round dance, walked to the river, where a straw effigy was burned at the stake. Thus we saw off spring and welcomed summer. After death, Kostroma was resurrected, which symbolized fertility. It is believed that the fairy tale about the Snow Maiden arose precisely on the basis of this tradition of burning Kostroma.

Secondly: this, of course, famous play A.N. Ostrovsky's "Snow Maiden", written by him in Shchelykovo. Here is the Snow Maiden - beautiful girl, born from Frost and Spring, experiences love: they love her, and she falls in love. But the fairy tale turns out to be a drama - the Snow Maiden dies during the celebration of the day of Yaril - the god of the Sun.

Thirdly: the filming of the film “The Snow Maiden”, which took place in Kostroma in 1968. For the sake of this “spring fairy tale” (as director Pavel Kadochnikov himself defined the genre of the film), a special house was built in Berendeyevka, which later remained here, becoming the favorite vacation spot of modern Kostroma residents.

So Kostroma became the full-fledged homeland of this magical character. Over time, the image of the Snow Maiden, of course, changed. Today she is a young cheerful girl, the granddaughter of Santa Claus, his faithful assistant, who plays with children on the New Year's tree while Santa Claus is resting from the road.

But this image in our Kostroma today is not so true. Our Snow Maiden is full of worries all year round: she helps children from orphanages, participates in the Timurov Auto Rally, goes to the openings of exhibitions and fairs, and fights for the purity of the Russian language. The Kostroma Snow Maiden herself became the organizer of the “On the Road of Good” campaign for socially vulnerable children of the city of Kostroma and the region and plans to, with the help of sponsorship, bring this campaign to All-Russian level- so that all children feel cared for and loved, and not only during the holidays, but throughout the year. As part of this campaign, Snegurochka and her assistants organize trips with gaming programs and gifts for children. This year, on September 1, under the auspices of “The Road of Good,” children delivered letters of congratulations from the Snow Maiden to schools. It is also planned to send more and more children to health camps in the summer. This summer, 20 children from orphanages in the city of Kostroma have already rested in the Druzhba health camp, which is located in Veliky Ustyug on the estate of Father Frost.

“The Snow Maiden” by A.N. Ostrovsky

And so we are at the Ostrovsky Theater. The image of the Snow Maiden was first created by the great Russian playwright Alexander Nikolaevich Ostrovsky. Alexander Nikolaevich Ostrovsky was born on March 31, 1823 in Moscow on Malaya Ordynka. I spent my childhood and part of my youth in the center of Zamoskvorechye. Thanks to his father's large library, Ostrovsky became acquainted with Russian literature early and felt an inclination towards writing. It is with Ostrovsky that Russian theater in its modern understanding begins: the writer created drama school and a holistic concept of acting in the theater.

The essence of Ostrovsky's theater lies in the absence of extreme situations and opposition to the actor's gut. Alexander Nikolaevich's plays depict ordinary situations with ordinary people, whose dramas go into everyday life and human psychology.

The poetic fairy tale “The Snow Maiden” stands apart from a number of other works by Ostrovsky. In other plays Ostrovsky draws gloomy pictures merchant environment, criticizes harsh morals and shows all the tragedy of a lonely soul forced to exist in the conditions of the “dark kingdom”.

The work “The Snow Maiden” is an amazing fairy tale that shows the beauty of the surrounding world, love, nature, and youth. The work is based on folk tales, songs, traditions and legends. Ostrovsky only combined fairy tales, legends and songs together and gave folk art a very unique flavor. In “The Snow Maiden” the main place is occupied by human relationships. At first glance, the plot looks absolutely fantastic. But then it turns out that living human characters are visible in this phantasmagoria.

This is where our excursion ended. I hope you had a good time today and learned a lot of new things. In turn, it was a pleasure to work with you. Thank you for your attention.

"Snow Maiden" Ostrovsky

“The Snow Maiden” analysis of the work - theme, idea, genre, plot, composition, characters, issues and other issues are discussed in this article.

Alexander Nikolaevich Ostrovsky can rightfully be considered the creator of the repertoire for the national Russian theater. Despite the fact that he became famous most of all for his works about the morals of the Russian merchants (which the critic Nikolai Dobrolyubov very aptly nicknamed “ dark kingdom"), among the gloomy and slightly scary stories from the life of Zamoskvoretsky merchants there is a very bright and fabulous work - "Snow Maiden", written in 1873.

At the core plot For the play, the playwright used a Russian folk tale from Alexander Afanasyev’s collection “Poetic Views of the Slavs on Nature.” That is why the Slavic higher and lower deities act in the play: Yarilo, Frost, Spring, Leshy. The peculiarity is that the play “The Snow Maiden”, unlike all the previous ones, is written in verse, but without rhyme. However, the single rhythm of the work made it possible to set it to music. The whole play is a kind of poetic stylization of Russian folklore, which Ostrovsky was then passionate about.

This is explained by the fact that in 1873 the Maly Theater troupe was forced to move to Bolshoi Theater during repairs. This is how opera, ballet and drama troupes found themselves under one roof. Then the commission of management of the Moscow Imperial Theaters decided to stage an extravaganza with the participation of all the artists. Ostrovsky composed the play in a short time, finishing it on his fiftieth birthday. And the music for the play was written by a young and then little-known composer Pyotr Ilyich Tchaikovsky.

Thus, Ostrovsky’s lyrical play became a multi-level, multi-layered work, as it embodied both the folk tale about the Snow Maiden girl and the folk legend about ancient tribe Berendeyev, and mythological features of Slavic legends, and ancient rituals and songs. And Ostrovsky’s “spring tale” breathes such purity of poetry that it is reminiscent of Pushkin’s fairy tales. And in its meaning there is a lot of Pushkin in it: life appears as the magic of beauty and tragedy at the same time, and goodness in a person turns out to be the natural basis.

Therefore, the life of nature in the play looks like a kingdom of harsh contrasts of cold and heat, lifelessness and bloom. Ostrovsky writes about nature as about man. The landscape resembles a portrait into which the artist peers. An abundance of emotional epithets, comparisons that are made natural phenomena on a par with human feelings, emphasize the closeness of natural and human principles in the minds of the playwright.

The play takes place in the kingdom of Berendey. It is more reminiscent of a kind of utopian state in which people live according to the laws of honor and conscience, fearing the wrath of the gods: this is a kind of ideal social order, created by Ostrovsky. Even the tsar, who in Rus' was the sole ruler, autocrat, embodies in the work folk wisdom. He worries about his people in a fatherly way: it seems to him that his subjects have stopped noticing the beauty of nature, but are more likely to experience vanity and envy. This is why Yarilo got angry with the Berendeys, who every year freezes people more and more. Then Berendey reveals one of the main laws of nature: “Every living thing must love”. And he asks his assistant Bermyata to gather as many brides and grooms as possible on Yarilin’s day in order to sanctify their marriage and make a sacrifice to the Sun God.

However, the main dramatic conflict is connected precisely with the confrontation between love and "cold heart" in the soul of the Snow Maiden, who lives in the cold purity of loneliness, and with her soul strives for the fire of love, which is why she must die. Father Frost warns mother Vesna-Krasna about this: he says that Yarilo has vowed to take revenge on him using their daughter Snegurochka. They say that when she truly falls in love, Yarilo will melt her with his hot rays.

The Snow Maiden did not immediately learn what it was true love. Finding herself in the family of childless Bobyl, the girl expects the same love that she received from her mother and father. But Bobyl and Bobylikha perceive adopted daughter as a kind of bait for rich suitors. Only the suitors are not the same: many guys quarreled with their girlfriends because of the Snow Maiden, but neither she is ready to give her heart, nor are the adoptive parents satisfied with ordinary Berendeys.

The Snow Maiden herself likes the shepherd boy Lel, who generously bestows his songs on all the girls in the area. This is what hurts the heroine: she wants only her to be loved. When the rich groom arrives, "trade guest" Mizgir, ready to give up all his wealth for the sake of the Snow Maiden, she cannot find feelings for him in her heart. Everyone is unhappy: Kupava, Mizgir’s failed bride, Mizgir, who can no longer think about anyone except the Snow Maiden, who captivated him with her beauty, and the Snow Maiden herself suffers because she does not know what true love is.

By turning to her mother for help, the heroine receives what she wanted more than anything else in the world - the opportunity to love. Spring-Red says that she will love the first person she meets. Fortunately, it turns out to be Mizgir, and the reader can imagine that now everything will end happily. But no, Mizgir, intoxicated by the Snow Maiden’s love, wants to show everyone that he was able to achieve his goal - the beauty’s reciprocity. Not listening to the girl’s requests, he literally drags her up the mountain where the Berendeys met the dawn, and under the first rays of the sun the Snow Maiden dissolves. Having yielded to human law, she melts “from the sweet feelings of love.”

The melting of the Snow Maiden is a victory over the “traces of cold” in the heart. She was ready to die for the right to love with all her heart. Mizgir said about this: “Love and fear fought in her soul”. Now fear has been abandoned, and the Snow Maiden in the last minutes of her short life is given only to love.

Mizgir is also fearless. He kept his promise: “Trouble will come - we will die together”. The death of the Snow Maiden is a disaster for him, so he rushes into the lake to unite with the cool water into which the Snow Maiden has turned, recently warm in his hot embrace.

But Tsar Berendey calls the death of the Snow Maiden "sad", Then "wonderful". The difference between these epithets suggests to the reader a way out of tragedy into affirmation of life. The death of the Snow Maiden and the Berendey holiday are nearby. Its extinction brings a flood of light into the world. No wonder the king says:

Snow Maiden's sad death
And the terrible death of Mizgir
They cannot disturb us; The sun knows
Whom to punish and pardon...

Thus, the tragedy of the individual dissolves in the general chorus of nature. In the words of Pushkin, the author’s sadness is light because it is light human soul: she turns out to be free and fearless in love, she is stronger than the fear of self-preservation.

Material from the manual by Solovyova F.E. Workbook for the textbook “Literature. 8th grade." (compiled by G.S. Merkin): at 2 hours. Part 2 / F.E. Solovyova; edited by G.S. Merkina - M.: LLC " Russian word- textbook", 2013

Lessons 1 - 2. Brief information about A.N. Ostrovsky. Fairy tale play "The Snow Maiden". The originality of the plot. Connection with mythological and fairy tale traditions. Elements of folklore in a fairy tale.

1.Listen to the teacher’s message about A.N. Ostrovsky. Complete the second part of the table.

2. Make up questions for the textbook article “ Creative history plays “The Snow Maiden”

3.Write down the most characteristic features literary fairy tale.

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4. Relate the events of the fairy tale play with the events fairy tale. Fill out the third part of the table according to the sample. What are the similarities between the composition of a fairy tale and a fairy tale play by A.N. Ostrovsky?

5. Write down in the second part of the table the names of ritual songs, variations and arrangements based on the model.

6.Name the sources that served as the basis for the creation of the fairy tale play.

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Lessons 3 - 4. Features of the play-fairy tale conflict. Berendey's kingdom in the play by A.N. Ostrovsky.

1. Write out phrases from Spring’s monologue in the Prologue that recreate the picture of the kingdom of the Berendeys.

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2.Make a brief description of the inhabitants of the Berendey kingdom and Tsar Berendey by filling out the fourth part of the table according to the sample.

3.What does Berendey see as the cause of misfortune?

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4. Write down a brief description of Lel, Kupava, Snegurochka, Mizgir in the fourth part of the table.

5. Why are Snegurochka and Mizgir not accepted in the kingdom of the Berendeys?

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6. How are the images of Moroz and Mizgir similar?

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7. Why did the Snow Maiden fall in love with Mizgir?

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8. Why can’t Lel love the Snow Maiden?

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9.Why did Lel and Kupava fall in love with each other? How are these heroes similar?

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10. What is the meaning of the king’s phrase: “The Snow Maiden’s sad death and the terrible death of Mizgir cannot disturb us”?

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11. Write down the names of the composers who wrote the music for A.N.’s “Spring Tale”. Ostrovsky

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Lesson 5. Defending abstracts

Questions and tasks for self-control

1.What is the name in literary criticism for works of folklore that arose and were performed during rituals - established actions that have religious, everyday or ritual-game significance for the performers?

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2. Write down examples of inversion. Write down the definition of this literary term.

Let's go quickly! The shadows of the night are fading.

Look, the dawn is a barely visible stripe

Cut through the eastern sky,

It grows, expanding more clearly. This

The day woke up and opened his eyelids

Shining eyes. Let's go! The time has come

Meet the rising of Yaril the Sun. Proudly

Lel will show the Sun in front of the crowd

My beloved friend.

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3. Which works of oral folk art are characterized by the following features: the principle of analogy between the natural world and inner world person; transmission of the hero’s internal state through external forms; various compositional and stylistic techniques (parallelism, repetitions, lyrical appeals, tropes)?

Write down the most typical example from the text of the fairy tale play.

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4.What is a gender called in literary criticism? literary works, constructed in the form of dialogue without author's speech and intended for performance on stage?

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