Snow Maiden (Spring Tale) A. N

The content of the songs. Heroes. author's ideals. Beauty of nature. Cold creature. The power and beauty of nature. The nature of the music. Rimsky-Korsakov. Test results. V.M.Vasnetsov. Kupava and Mizgir. Huge strength. Music by Rimsky-Korsakov. Magic wreath. winter fairy tale. folklore. Songs. Musical instruments. Shepherd's horn. Love. Tests for fixing on the topic. Father Frost. Fantastic characters.

“The play “Dowry”” - The heroine of “Thunderstorm” is a more strong-willed person. The image of Paratov. Become a rich kept woman? .. "Dowry". The right decision? ... Or maybe the right decision: Knurov's frank proposal .... Larisa's world contains both a gypsy song and a Russian romance. Like Katerina, Larisa belongs to women with a “hot heart”. Larisa. It is said about Paratov: "Brilliant gentleman." But after all, the ability to get carried away and prodigality does not at all reject a sober calculation.

"Ostrovsky's play" Thunderstorm "" - Read expressively Katerina's monologue in the scene of repentance. Let's make a conclusion. Katerina. Wild Savel Prokofich is a typical representative of the "dark kingdom". Meaning of names in drama. What is your opinion and why? "Thunderstorm" in Russian criticism. Could Katerina find happiness in the family? Journey along the Volga. Describe the speech, manner of speaking, communicating Wild. Katerina's struggle for happiness. What is the cause of the unbridled arbitrariness of the Wild?

"Ostrovsky's play" Dowry "" - Does Larisa Paratova need it. Gypsy song. Analysis of the play. Problem questions. What is Karandyshev. Ostrovsky. Romance. Cruel romance. What gives the gypsy song to the play and the film. Love for Larisa. Acquisition of text analysis skills. The mystery of Ostrovsky's play. Bridegroom of Larisa. A sad song about a dowry. What kind of person is Paratov. Poetic lines. Expression skills. Karandyshev shot.

"Ostrovsky" Dowry "" - Analysis of the drama "Dowry". A.N. Ostrovsky Drama "Dowry". What do we learn about Paratov. Usually the name of Ostrovsky's plays is sayings, proverbs. Creative ideas of A.N. Ostrovsky. The symbolic meaning of names and surnames. Paratov Sergey Sergeevich. Characters. Discussion of the image of L.I. Ogudalova. At first glance, the first two phenomena are exposition. Karandyshev. The purpose of the lesson.

“Heroes of the Thunderstorm” - I. Levitan. Small Academic Art Theatre. controversy around the play. Moscow State University. Acceptance of contrast. The concept of mirror images. Dictionary. N.A. Dobrolyubov. Columbus Zamoskvorechye. The most famous plays by A.N. Ostrovsky. House-Museum of Ostrovsky in Moscow. The meaning of the title of the play "Thunderstorm". Features of Ostrovsky's style. How was Katerina raised? Drama Storm. The idea of ​​the drama "Thunderstorm".

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

The Snow Maiden extravaganza appeared one hundred and forty years ago, in 1873, in the journal Vestnik Evropy. Everything was unusual in this play: genre (fairy tale play, extravaganza); a combination of dramatic poetic text with music and elements of ballet; plot; heroes - gods, demigods, ordinary inhabitants of the country - Berendey; fantasy, organically merged with realistic, often everyday paintings; vernacular, which includes elements of vernacular and, on the other hand, turning in some places into high poetic, solemn speech.

In critical literature, the opinion has been expressed that the appearance of such a play was due to 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 theater, the management decided to ask A.N. Ostrovsky to write an appropriate play. He agreed.

In fact, everything was more serious. The move of the Maly Theater was only an excuse, an impetus for the implementation of the theatrical genre conceived by Ostrovsky. The playwright's interests had long been associated with plays of this kind, folklore was his favorite and native element, and the 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 an evening outside the home ... I want to forget the boring reality, I want to see a different life, a different environment, other forms of hostel. I want to see boyar, princely mansions, royal chambers, I want to hear heated and solemn speeches, I want to see the triumph of truth.

The action takes place in the fabulous country of the Berendeys, as the playwright writes, in " prehistoric time". The name of the Berendey tribe is found in The Tale of Bygone Years. The writer also heard oral stories about the ancient city of the Berendeys and Tsar Berendey.

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

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

Snegurochka, Kupava, Lel, Frost, Spring-Krasna, Mizgir are endowed with features of unique characters. There is something in them from the people of the time of Ostrovsky and later years.

The dialogue of Frost and Spring-Red about the future of their daughter is indistinguishable in tone even from the conversations of parents of our time. Bobyl is a chip from a typical idle peasant, a drinker, even Yarilo appears in the guise of a young pariah in white clothes with a human head in one hand and a rye sheaf in the other (as he was depicted in folk tales in some places in Russia).

There are not so 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 the Berendey kingdom. Society is divided into rich and poor, with the latter openly envying the former. Not to mention Bobylikha, who dreams of “filling her pockets thicker” and commanding the family like Kabanikha, let’s pay attention to the pure and noble Kupava, who, about to marry Mizgir, paints her future like this: “8 to his house, in a large royal settlement , / In all appearance, a rich mistress / I will reign ...

The rich Murash refuses to accept the shepherd Lel for the night, despising him as a poor man and not believing in his honesty: “Deceive others with bows, / But we know you enough, my friend, / They say that everything is safe, it’s whole.”

It is no coincidence that in the remark to the first act we read: “On the right side is Bobyl’s poor hut, with a staggering porch; a bench in front of the hut; on the left side is a large Murash hut decorated with carvings; in the depths of the street; Across the street is a hop farm and beekeeper Murash. A small sketch becomes symbolic.

In the Berendey kingdom, elements of the 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, biryuchi, youths, buffoons.

The tsar and his faithful assistant boyar Bermyata crown all this feasting. Can the life of the Berendeys be considered a kind of idyll, serene and happy, as some researchers say?

Yes, in comparison with the surrounding world, where there are continuous wars (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 without any measure the wise father of their land. And the king takes this praise for granted.

Nevertheless, life in the Berendeev kingdom is far from ideal. No wonder the action of the play is opened by the words of Spring-Krasna:

Unhappy and cold greets
Spring its gloomy country.

This remark applies not only to the weather, then it turns out that the supreme deity Yarilo (Sun) is angry with the Berendeys because Frost and Spring-Krasna, violating the 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 - the Snow Maiden, and her father, and brought all sorts of troubles to the inhabitants of the country (however, they experienced these troubles even without the will of Yarila).

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

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

People envy wealth, lovers often cheat on each other, ready to fight with a rival. Biryuchi, calling the Berendeys to a meeting with the tsar, jokingly give evil, but truthful characteristics to their contemporaries: “Tsar's people: / Boyars, nobles, / Boyar children, / Merry heads / Wide beards! / Do you, gentlemen, / Borzoi dogs, / Barefoot serfs! / Trade guests, / beaver hats, / Thick necks, / Thick beards, / Tight purses. / Deacons, clerks, / Hot guys, / Your business is to drag and reap, / yes, hold a hand with a hook (i.e., take bribes, bribes) / Old women / Your business; stir up, spit, / Dilute the son with the daughter-in-law. / Young fellows, / Daring daring, / people for the cause, / You are for idleness. / Your business is to look around the towers, / To lure the girls out.

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

A few words about the king should be added here. In critical literature, his figure is evaluated positively. He really ensured peace for his people, in any case, he did not embark on reckless wars, he thinks a lot about the happiness of young people, does not shy away from communicating with ordinary Berendeys, to some extent he 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 Yarilin's solemn day, and Bermyata doubts the possibility of such a holiday, the king exclaims in anger: What? What's wrong, motherfucker? Is it impossible to fulfill what the king desires? Are you in your mind?

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

True, loves and disappointments in the Berendeev kingdom flare up and go out at the speed of a match, but such is the tradition of literature, dating back to the Renaissance, - remember Romeo and Juliet, who fell in love in a matter of seconds, in fact, without recognizing each other. But even taking into account this tradition, the order of the king looks like an act of arbitrariness.

Hearing that the appearance of the Snow Maiden on Berendeevo land caused a complete commotion among young people because of jealousy, the tsar orders Bermyata to “settle everyone and reconcile until tomorrow” (!), And the Snow Maiden to look for a “friend after her own heart”.

The promised holiday is coming, a friend - Mizgir - is found, young people are in love without memory, but the vengeful Yarilo remembers his oath. Hot passion destroys the Snow Maiden, she melts under the influence sun rays. Mizgir commits suicide, and the tsar, who shortly before this admired the beauty of the Snow Maiden and promised to arrange a feast with a mountain to the one who “manages to captivate the Snow Maiden with love before dawn,” now solemnly says:

Snow Maiden sad death
And the terrible death of Mizgir
They cannot disturb us. The sun knows
Whom to punish and pardon. Happened
Righteous Judgment! Frost spawn,
The cold Snow Maiden died.

Now, the tsar believes, Yarilo will stop his acts of revenge and "look at the devotion of the submissive Berendeys." the king most of all adores the obedience of his subjects to himself and to the highest deity - Yarila-Sun. Instead of a mourning one, he proposes to sing a cheerful song, and the subjects gladly fulfill the will of the king. The death of two people in comparison with the life of the mass does not matter.

In general, Ostrovsky's entire play, for all its seeming gaiety, is built on an antithesis that creates a contradictory, sometimes bleak picture. Heat 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 the contradictions and disharmony in the characters actors.

The hostile principle has penetrated even into space. Yarilo-Sun, the blessed sun, which 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-Krasna, depriving her beloved daughter.

If we talk about the philosophical aspect of the play, then we do not see the embodiment of the dream of an ideal "prehistoric" kingdom, but a fairy-tale work imbued with a thirst for the harmony of life in the present and the future. This harmony is deprived of Berendey's kingdom, this harmony is not in the character of the main character.

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

We can say that the playwright's idea to show "a different life, a different environment", so that the audience would at least temporarily forget the "boring reality", was not entirely successful. On the other hand, the depiction of the truth of life was fully succeeded, as A.N. Ostrovsky wrote about in the letter cited above.

It attracts the persistent and irrepressible desire of the main character to reverse her fate, her high understanding of love, for the sake of which one can accept death:

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

With her songs, the softness of her nature, Lel first enchants her. Her mother reminds her that Lel is the beloved son of the Sun, hostile to the father of the Snow Maiden.
I'm not afraid of either Lelya or the Sun, -
she answers...
… Happiness
Whether I find it or not, I'll look for it.

Love is above all, dearer than earthly existence - this is the leitmotif of the play. As noted in critical literature, “in the late phase of creativity (since the second half of the 1870s), the playwright's main concern was the fate of loving women.

In the chronological interval between "Thunderstorm" and "Dowry", Ostrovsky creates the extravaganza "Snow Maiden". And those unfortunate fate of a woman, albeit in a fabulous interpretation, is in the foreground. The physical cold that surrounds the daughter of Father Frost can be endured - the spiritual cold is unbearable. Love warms, makes a person a person. This is a great feeling, but it requires the willingness of the lover 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 the classics of distant and closer times showed, and as A.N. Ostrovsky in his fairy tale play.

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

Ostrovsky's play is rich in its artistic merit. First of all, we note the clarity and clarity of the composition - the order of the plot unfolding from the prologue, which introduces the reader and the viewer to the essence of the conflict, to the culmination (the break of the Snow Maiden with Lel and Kupava) and to the denouement in the fourth act. The verses with which the play is written are original and expressive.

Stanislavsky spoke about the great and sonorous poems of the playwright. Kupava's dialogue with Tsar Berendey is considered the pearl of Russian lyric poetry. Turgenev admired the beauty and lightness of Ostrovsky's language. The play organically absorbed folk speech, as mentioned above, with elements of vernacular.

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Summary of the tale

The action takes place in the country of the Berendeys in mythical times. The end of winter comes - the goblin hides in a hollow. Spring arrives on Krasnaya Gorka near Berendeyev Posad, the capital of Tsar Berendey, and birds return with it: cranes, swans, the retinue of Spring. The country of the Berendeys meets Spring with cold, and all because of Spring's flirtations with Frost, the old grandfather, Spring herself admits.

They had a daughter, the Snow Maiden. Spring is afraid to quarrel with Frost for the sake of her daughter and is forced to endure everything. The “jealous” Sun itself is also angry. Therefore, Spring calls all the birds to warm themselves with a dance, as people themselves do in the cold. But as soon as the fun begins - the choirs of birds and their dances - as a blizzard rises. Spring hides the birds in the bushes until the new morning and promises to warm them. Meanwhile, Frost comes out of the forest and reminds Spring that they have a common child.

Frost, Spring, Snow Maiden. Snow Maiden ( spring fairy tale) A. N. Ostrovsky, illustration by Adrian Mikhailovich Ermolaev

Each of the parents takes care of the Snow Maiden in their own way. Frost wants to hide her in the forest so that she lives among obedient animals in a forest tower. Spring wants a different future for her daughter: for her to live among people, among cheerful friends and children who play and dance until midnight. The peace meeting turns into a spor. Frost knows that the god of the Sun of the Berendeys, hot Yarilo, vowed to destroy the Snow Maiden.

As soon as the fire of love ignites in her heart, it will melt her. Spring does not believe. After a quarrel, Frost offers to give their daughter to be raised by a childless Bobyl in the suburb, where the guys are unlikely to pay attention to their Snow Maiden. Spring agrees.
Frost calls the Snow Maiden out of the forest and asks if she wants to live with people. The Snow Maiden admits that she has long yearned for girlish songs and round dances, that she likes the songs of the young shepherd Lel.

Snow Maiden, artist A. M. Ermolaev

This especially frightens the father, and he punishes the Snow Maiden more than anything in the world to beware of Lel, in whom the "scorching rays" of the Sun live. Parting with his daughter, Frost entrusts the care of her to his "leshutki" forest. And, finally, gives way to Spring. Folk festivities begin - seeing off Shrovetide. The Berendeys greet the arrival of Spring with songs.
Bobyl went to the forest for firewood and sees the Snow Maiden dressed like a hawthorn. She wanted to stay with Bobyl with Bobyl's adopted daughter.

Bobyl and Bobylikh. V.M. Vasnetsov

It is not easy for the Snow Maiden to live with Bobyl and Bobylikh: the named parents are angry that she, with her excessive bashfulness and modesty, discouraged all suitors and they fail to get rich with the help of a profitable marriage of their adopted daughter. Lel comes to the Bobyls to wait, because they alone, for the money collected by other families, are ready to let him into the house. The rest are afraid that their wives and daughters will not resist Lel's charm.

Snow Maiden and Lel. Vasnetsov, sketch

The Snow Maiden does not understand Lel's requests for a kiss for a song, for a flower gift. She picks off the flower with surprise and gives it to Lelya, but he, having sung a song and seeing other girls calling him, throws the already wilted flower of the Snow Maiden and runs away to new amusements.

Many girls quarrel with guys who are inattentive to them because of their passion for the beauty of the Snow Maiden. Only Kupava, the daughter of the wealthy Slobozhan Murash, is affectionate towards the Snow Maiden. She informs her of her happiness: a wealthy merchant guest from the royal settlement Mizgir has engaged to her. Then Mizgir himself appears with two bags of gifts - a bride price for girls and guys.

Kupava, together with Mizgir, approaches the Snow Maiden, who is spinning in front of the house, and calls her for the last time to lead the girl's round dances. But when he saw the Snow Maiden, Mizgir fell passionately in love with her and rejected Kupava. He orders to carry his treasury to Bobyl's house. The Snow Maiden resists these changes, not wishing harm to Kupava, but the bribed Bobyl and Bobylikha force the Snow Maiden to even drive Lel away, which is demanded by Mizgir.

Mizgir and Kupava. Vasnetsov, sketch 1885-1886

The shocked Kupava asks Mizgir about the reasons for his betrayal and hears in response that the Snow Maiden won his heart with her modesty and bashfulness, and Kupava's courage now seems to him a harbinger of future betrayal. The offended Kupava asks for protection from the Berendeys and sends curses to Mizgir. She wants to drown herself, but Lel stops her, and she falls unconscious into his arms. In the chambers of Tsar Berendey, a conversation takes place between him and his close associate Bermyata about the troubles in the kingdom: for fifteen years, Yarilo has been unkind to Berendey, winters are getting colder, springs are getting colder, and in some places there is snow in summer.

Berendeyka in "The Snow Maiden". V. Vasnetsov.

Berendey is sure that Yarilo is angry with the Berendeys for cooling their hearts, for the "cold of feelings." To quench the wrath of the Sun, Berendey decides to propitiate him with a sacrifice: on Yarilin's day, the next day, to tie as many grooms and brides as possible by marriage. However, Bermyata reports that because of some Snow Maiden who showed up in the settlement, all the girls quarreled with the guys and it is impossible to find brides and grooms for marriage.

Then Kupava, abandoned by Mizgir, runs in and cries out all her grief to the king. The king orders to find Mizgir and convene the Berendeys for trial. Mizgir is brought in, and Berendey asks Bermyata how to punish him for betraying his bride. Bermyata proposes to force Mizgir to marry Kupava. But Mizgir boldly objects that his bride is the Snow Maiden.

Kupava also does not want to marry a traitor. The Berendeys do not have the death penalty, and Mizgir is sentenced to exile. Mizgir only asks the king to look at the Snow Maiden himself. Seeing the Snow Maiden who came with Bobyl and Bobylikha, the tsar is struck by her beauty and tenderness, wants to find a worthy husband for her: such a “sacrifice” will surely appease Yarila.

The Snow Maiden admits that her heart does not know love. The king turns to his wife for advice. Elena the Beautiful says that the only one who can melt the heart of the Snow Maiden is Lel. Lel calls the Snow Maiden to twist wreaths until the morning sun and promises that by morning love will wake up in her heart. But Mizgir does not want to give in to the Snow Maiden and asks for permission to join the fight for the heart of the Snow Maiden. Berendey allows and is sure that at dawn the Berendey will gladly meet the Sun, which will accept their expiatory "sacrifice". The people glorify the wisdom of their king Berendey.

At the evening dawn, the girls and boys begin to dance, in the center - the Snow Maiden with Lel, Mizgir either appears or disappears in the forest. Delighted by Lel's singing, the tsar invites him to choose a girl who will reward him with a kiss. The Snow Maiden wants Lel to choose her, but Lel chooses Kupava. Other girls put up with their sweethearts, forgiving them past betrayals. Lel is looking for Kupava, who has gone home with her father, and meets the weeping Snow Maiden, but he does not feel sorry for her for these “jealous tears”, caused not by love, but by envy for Kupava.

Sketch for a poster for the opera by N.A. Rimsky-Korsakov "The Snow Maiden". Artist K.A. Korovin

He tells her about secret lovemaking, which is more valuable than a public kiss, and only for true love ready to lead her to meet the sun in the morning. Lel recalls how he cried when the Snow Maiden had not previously answered his love, and goes to the guys, leaving the Snow Maiden to wait. And yet, in the heart of the Snow Maiden, it is not love that still lives, but only pride that Lel will lead her to meet Yarila. But then Mizgir finds the Snow Maiden, he pours out his soul to her, full of burning, real male passion.

He, who never prayed for love from girls, falls on his knees before her. But the Snow Maiden is afraid of his passion, and the threats to avenge the humiliation are also terrible. She also rejects the priceless pearl with which Mizgir tries to buy her love, and says that she will exchange her love for Lel's love. Then Mizgir wants to get the Snow Maiden by force. She calls Lelya, but the Leshuki come to her aid, whom Father Frost instructed to take care of her daughter.

Elena Katulskaya as the Snow Maiden in N. A. Rimsky-Korsakov's opera The Snow Maiden

They take Mizgir into the forest, beckoning him with the ghost of the Snow Maiden, and in the forest he wanders all night, hoping to overtake the Snow Maiden-ghost.
Meanwhile, even the heart of the tsar's wife was melted by Lel's songs. But the shepherd deftly dodges both from Elena the Beautiful, leaving her in the care of Bermyata, and from the Snow Maiden, from whom he runs away when he sees Kupava. It was this kind of reckless and ardent love that his heart was waiting for, and he advises the Snow Maiden to “eavesdrop” on Kupavina’s hot speeches in order to learn to love. The Snow Maiden, in her last hope, runs to Mother Spring and asks her to teach her real feelings.

Actress Alyabyeva as Spring in the play "The Snow Maiden";
Viktor Vasnetsov. Spring. Sketch for the play "The Snow Maiden";
Nadezhda Zabela (Vrubel) as the Snow Maiden (1890).

Considering the "image-symbol" system in the plays by A.N. Ostrovsky's "Dowry" and "Snow Maiden", first of all, I would like to analyze those images that have already been discussed, studying the works of the writer.

These images include; river.

In Snegurochka, the location of the country of the Berendeys is the riverside settlement of Berendeevka. The settlement is located across the river, the river is a symbol of the line, a symbol of the separation of two worlds. And according to the play, the world is divided into fabulous (the world of the goblin, Frost, Spring) and real (the country of the Berendeys). The image of the river is a symbol of death. Mizgir, seeing that the Snow Maiden has melted, throws herself into the lake out of despair and love. The river brings and carries away Mizgir. The image of the river is a symbol of punishment and encouragement. In the play, the image of a ray of the sun and the sun itself, personifying God, is important and most striking.

The ancient Slavs believed in the God of the Sun - Yarila. Yarilo - God of Spring and the young Sun. It is brightly shown to people in the day spring equinox thus alerting people to the end of winter and the beginning of spring. God Yarilo has an ardent character, is strong and loving. Lel, the son of Yarila, has the same character traits, he is meant as a young Sun, but is shown to us as a simple shepherd, who was cherished by the sun from infancy. Let us conclude: the image of the Sun is a symbol of God Yarila, a symbol of spring. In addition, it has other symbolic meanings:

A symbol of evil (for Frost and everything connected with it), a symbol of death, death for good:

“... And the sun is a hot conversation

I heard that like the sun

He is going to destroy the Snow Maiden; only

And waiting to plant in her heart

Beam the fire of love; then

There is no salvation for the Snow Maiden, Yarilo

Burn it, incinerate it, melt it.

I don’t know how, but it will kill ... "

Symbol of marriage, reunion of a man and a woman:

“.. Connect, as soon as the sun splashes

Ruddy rays on green

The tops of the trees. And then let them merge

In a single cry hello, to meet the sun

And the marriage song.

There is no more pleasing Yarila sacrifice! .. "

Sunrise and sunset marks the departure of the old and the birth of a new love:

It is at sunrise that the Snow Maiden finds love.

You can draw a parallel between the image of a thunderstorm in the play "Thunderstorm" and a ray of the sun in "The Snow Maiden". A ray of the sun is a symbol of death, a symbol of love, a symbol of punishment for disobedience.

"A bright ray of sun cuts through the morning mist

and falls on the Snow Maiden.

But what about me: Bliss or death?

What a delight! What feelings of languor! .. "

Here, death and life, death and love, everything is mixed in one person, a storm of emotions fills the girl’s soul and torments her in a positive way, because this feeling has not yet been experienced by her.

Mother's parting words - Spring:

Hurry home, do not hesitate: do not admire

Crimson streams of dawn, -

The tops of the mountains were covered with gold,

And soon the king of the luminaries will illuminate the earth.

Run home along the forest paths

In the shade of the bushes and avoiding the meeting;

Premonition troubles my heart.

Farewell, child, see you again,

And do not forget your mother's advice ... "

The play traces the image of a flower, in some cases a wreath of flowers.

In everyday life: a flower - a gift to Lelya from the Snow Maiden, an element of nature. But if you look deeper, then the flower has symbolic meaning.

The image of a flower is a symbol of the heart, love, innocence, a symbol of the human soul:

Snow Maiden:

“... How painful it is here, how heavy the heart has become!

Heavy resentment, like a stone,

A flower crumpled by Lelem fell on my heart

And abandoned. And I seem to be too

Abandoned and abandoned, withered ... "

“...Look, mother! Azure flower -

Zhivehonek .... "

(The soul of the girl has healed, revived, or on the eve of a new life, love).

“... Revealed for the first feelings, a flower

Fragrant innocence!

Flower symbol of beauty, femininity, young life:

“... Under the bush, pearl spring flower,

Thoughtfully bowed lily of the valley, sprinkles

On its whiteness with cold dust

Silver dew - and the flower breathes

The elusive scent of spring

Captivating sight and smell.

I don't cry that the flowers withered,

Such a flower blooms before the eyes ... "

Also, the image of a flower is a symbol of feelings:

According to the play, each flower is the personification of some feeling, gives rise to it in the human chest:

“... One flower, whichever you take,

Awakening your souls to slumber,

Ignite in you one of the new feelings,

Unknown to you - one desire,

Pleasing to a young heart

And all together, in one fragrant wreath

Weaving colorfully, merging aromas

In one stream, all feelings will be ignited at once,

And the blood will flare up, and the eyes will light up,

The face will be painted with a lively blush

Playing - and shake the chest

The girlish love you desire.

The flower is a symbol of withered (if the flower withered) and new, resurrected love. A wreath of flowers is a symbol of youth, girlhood, youth, young, pure love. The presence of a wreath on a girl symbolizes the desire to find a betrothed.

From the song of the girls:

“... Tore flowers from the grass,

Weaving a wreath from a yacht.

Who should wear the wreath?

Lel chose a friend of the Snow Maiden, and Mizgir is about to (in the morning) make her his bride:

“... The wreath withered; need a new one in the morning

Weave yourself from thin flexible branches;

I will weave flowers there - cornflowers "

The image of fire, fiery love slips in the work.

Among the ancient Slavs, fire was considered an intermediary between a person and a deity. The image of fire is a symbol of death on the one hand (fire binds world of the dead and living), on the other hand, a symbol of a cleansing flame, giving rise to a new one, active start. The image of fire is a symbol of love. Even in conspiracies, love spells, fire was a necessary attribute, burning something was mandatory:

Snow Maiden:

“... There is fire in the eyes ... and in the heart ... and in the blood

All over the fire. I love and melt, melt ... "

Symbolism in the play by A.N. Ostrovsky "Dowry"

"Dowry" is a wonderful play. What is most interesting, unlike other plays, the symbolic meaning of some images is quite difficult to find and understand. But we will try, and so, let's start.

The image of the Volga River in "Dowry" has already been touched upon by Sergei Yursky in his work "Who Holds a Pause". He spoke about the image of the Volga as a symbol of the line between life and death, wrote that the Volga brings and takes people. Based on his conclusions, it is worth developing, expanding the symbolic meaning of this image. Let's pay attention to the description of the area where it all begins:

“City boulevard on the high bank of the Volga, with a platform in front of a coffee shop; to the right of the actors is the entrance to the coffee shop, to the left are the trees; in the depths there is a low cast-iron grate, behind it is a view of the Volga ... "

“The high bank of the Volga”, that is, most people who are on this high bank look down on life, love and everything connected with the soul, with humanity (the Volga often has just such meanings) from above. In everyday life: the Volga is a certain element of decoration, landscape, but note that no one except Larisa pays attention to the Volga, for them the steamboats sailing along it and the people it brings are more important, and even then not all people are important, but those that richer.

Let us conclude: the image of the Volga, and specifically the high bank of the river, is a symbol of arrogance, a symbol of soullessness, a lack of humanity, a symbol of a high position in society. Let's notice: on the bank sit ingots of a society.

Larisa's death also takes place on the banks of the Volga. All her life she dreamed of leaving for the other side of the river, for everyday life: to the village (Karandyshev's estate), according to the play: to another world.

Before Paratov's arrival, shots are heard on the Volga:

"A cannon shot on the Volga ..."

In everyday life: a cannon shot means a meeting, a celebration of the arrival of some gentleman. According to the play: A shot is a symbol of intervention in a quiet life. A shot is a symbol of the harbinger of death. Paratov sailed from beyond the Volga, from another world, brought misfortune and death.

The image of the shot and the weapon accompanies the whole drama. In everyday life: weapons are part of any scene that tests a person for strength, confidence of character.

According to Sergei Paratov:

"I heard you shoot well." “Yes, not bad,” says the officer. Sergei Sergeyevich gives him a pistol, puts a glass on his head and goes into another room, about twelve steps away. "Shoot," he says...

“... He shot and, of course, knocked down a glass, but only turned a little pale. Sergey Sergeyevich says: “You shoot very well, but you turned pale, shooting at a man and a person not close to you. Look, I will shoot the girl who is dearest to me in the world, and I will not turn pale. He gives me some coin to hold, indifferently, with a smile, shoots ... "

Or a part of the interior, some kind of decoration, for example, in Karandyshev's house a weapon hangs on the carpet (S. Yursky has already spoken about the symbolism of this phenomenon).

At the end of the play, the weapon is the murder weapon. But the play is not so simple:

shots or the presence of a weapon in the hands speaks of an imminent action that dramatically changes the course of the play, weapons and a shot are a symbol of a foreshadowing of a revolution in the lives of heroes.

Before the arrival of Paratov - a shot, before the escape of the bride - Karandyshev takes up arms, before the death of Larisa, they again took up arms.

The image of a weapon is a symbol of change, a symbol of that time, a time where human life meant nothing, everything was perceived as a commodity, a toy, an ornament.

A shot from a weapon is a symbol of punishment (for Karandyshev), a symbol of salvation (for Larisa).

In the work, the image of a bird - a swallow is fundamental.

Symbolic is the name of Paratov's boat, which he wants to sell to Vasily Vozhevatov, the ship has the name "Swallow".

The swallow flies in from across the sea, is a symbol of another world, acts as an intermediary between life and death. In addition, the image of a swallow has the opposite symbolism: on the one hand, it is a symbol of danger, fragility and unreliability of life, on the other hand, it is a symbol of happiness and comfort.

For Larisa, the swallow is a symbol of hope. Larissa hopes. that Paratov loves her and will return to her.

It is interesting that the swallow (in everyday life) returns home every year. And it was a year later that Paratov sailed to the "nest" on the "Swallow".

In the folk legend about the crucifixion of Christ, the swallows tried to save Him from torment: they shouted “he died, he died!”, stole nails, took out thorns from His crown and carried water to Him. The "Swallow" brought Larisa's death closer, but at the same time allowed her to enjoy nature, love, all of which she so desired. Since it is on the steamer that she makes her last journey.

The image of a swallow is a symbol of deliverance.

You can compare this image and the fate of the girl with the Bulgarian legend:

Bulgarian legend says: the bride of the sun or a girl who has been passed off as a robber becomes a swallow. During the flight, they grabbed her by the veil or by the hair and pulled out a tuft, which caused the swallow to have a forked tail.

The image of a swallow is a symbol of the feminine.

According to Paratov:

But I don't get it cheap: I have to say goodbye to my freedom, to my cheerful life; Therefore, we must try to spend the last days as cheerfully as possible.

Before his wedding, he says goodbye to freedom, spends his last days unmarried. At the same time, he sells his "Swallow" and walks on it for the last time.

The image of a swallow is a symbol of freedom, will.

The images present in the drama are very important for the correct perception of the author's thoughts, they create complete picture, give an opportunity to know the life and priorities of the people of that time.