Tsar Maximilian read. Tsar Maximilian (I) (folk heroic-romantic drama)
Mentions of this wedding can be found in many modern books, dedicated to wedding traditions - supposedly for the first time in history, it was Maximilian who presented a diamond engagement ring to his Mary. In fact, everything is a little more complicated, and this is not the only reason why their wedding deserves a place in history.
This was, of course, a dynastic union. But the bride was not only fabulously rich, but very smart and beautiful, and the groom was not just a future emperor, but one of the most attractive princes in Europe. They met for the first time only at a wedding, but immediately fell in love with each other, and that day became the beginning of a truly happy family life. This fairy tale, a celebrated love story, could have lasted for many years, but it quickly ended with the early death of Mary, whom Maximilian never forgot. How did it all begin?...
Mary of Burgundy. Artist M. Pacher
The son of the Holy Roman Emperor Frederick III of Habsburg, the only heir of his father, strong, robust and handsome, Maximilian was an enviable groom from childhood. Even when he was not even five years old, the famous Charles the Bold, Duke of Burgundy, began to designate him as his son-in-law. His only daughter was growing up, who was destined to inherit all her father’s lands, and as a bride, Mary of Burgundy was even more attractive than Maximilian as a groom. The contenders for her hand succeeded one another, but who cares about the charms of the young heiress when the wealth of Burgundy is at stake! Dukes, margraves, princes... The Spanish king wooed her for his son, the French Louis XI first for his younger brother, and then, when his son was born in his declining years, for him. But if Mary had married a French prince, then subsequently all the lands of Burgundy would have gone to the French crown, and all the efforts that Mary’s father made to preserve the independence of his duchy and prevent its neighbor France from absorbing it would have come to naught. So Maximilian, who was to inherit his father’s crown, seemed to Charles the Bold the most suitable candidate.
The young bride and groom exchanged miniature portraits. The artists did not have to embellish their appearance, as was often done in such situations. Maximilian's famous family Habsburg nose and chin did not yet disfigure his face, like those of his degenerate descendants, but, on the contrary, beautified him. Eagle profile, slightly curly blonde hair... Admired by the portrait of the groom, the young duchess often looked at him. Maximilian later described Maria in one letter as follows: “She has snow-white skin, she is brown-haired, and her eyes are gray, beautiful and shining... Her mouth is located quite high, but it is clean and bright.” In a word, they were a lovely couple!
However, everything was suddenly complicated by the death of Mary's father, Charles the Bold. The twenty-year-old girl herself had to fight for the right to marry her prince - both with those who themselves wanted to make her their wife, and with their subjects. She needed a husband whose strong hand the young ruler could rely on, and she wanted it to be Maximilian... When Maria signed the “Great Privilege” (a document restoring local privileges and powers of the Netherlands, once abolished by the Burgundian dukes), she found herself so dependent on her surroundings that she had to secretly write a letter to Maximilian, in which she begged him to come as soon as possible.
Finally, Frederick III officially approved this union (which he never did during the life of Mary’s father), and the emperor’s envoys went to the Burgundian court. Happy Mary received confirmation that the union she wanted, as they say, with all her heart, was real. Ambassadors, a ring, a letter...
On April 21, 1477, a wedding by proxy took place. The groom was represented by Duke Ludwig of Bavaria - a representative man dressed in silver-plated armor. Maria and Ludwig ascended to the wedding bed, and a sword was placed between them - a symbol of the protection that Maximilian would one day provide to Maria. This ceremony was repeated again, in Ghent - the local townspeople, having learned about the holiday in Bruges, also wanted to see such a celebration.
Meanwhile, the groom was getting ready to set off. Of course, he could have left immediately, but his father believed that the emperor’s son should go to his bride in an appropriate manner - in all his splendor. Alas, this was precisely the problem - the Habsburgs did not have money, so they had to resort to another loan.
On May 21, 1477, exactly a month after the wedding by proxy, the Archduke finally set off. Not very modest, let's be honest, the young hero ordered to write down all the details of his journey, boldly exaggerating the slightest difficulties - the result was a whole book in which the “Much-Grateful” knight overcame many obstacles on the way to his beloved. In fact, there were not so many obstacles (in particular, in the form of natural disasters) - it was the end of spring and the beginning of summer - and in the cities that Maximilian and his retinue passed through, they were joyfully welcomed and celebrated.
True, Maximilian soon faced a real problem - the money he had taken for the trip came to an end, and he was simply stuck in Cologne, unable to either pay for the celebrations he had held or move on. He was rescued by Maria's stepmother, Margaret of York, with whom Maria had a very warm relationship since Margaret's arrival from England to Burgundy. She sent the groom a large sum of money, and he was able to continue on his way.
When Maximilian set foot on the lands of Burgundy, his retinue increased - the Burgundians now joined it. In Maastricht, Brussels, Brabant and other cities, the townspeople greeted the future husband of their duchess with great fervor, but no holiday could compare with the one that awaited him upon his arrival in Ghent - it was there that Maria was supposed to meet him.
In mid-August, Maximilian, a handsome eighteen-year-old prince in gilded armor, entered Ghent, decorated for his arrival. Triumphal arches, solemn processions with representatives of the church, aristocrats, city authorities and craft guilds... But all this, presumably, was overshadowed by the long-awaited meeting with the duchess herself.
When they met, at first they looked at each other in silence, and finally, the mistress of the country, Mary of Burgundy, moved towards the groom with words of greeting and kissed him. And Maximilian kissed back - the fairy tale began!
The language barrier, alas, has not yet given them the opportunity to communicate fully, but is this so important when the bride and groom have been waiting for a meeting for so long, and now they can communicate with smiles, glances, gestures, and, finally, kisses?
In the evening, everyone was treated to a luxurious banquet, which was organized for her beloved stepdaughter and her fiancé by Margaret of York. At this holiday, Maria and Maximilian exchanged gifts - from his father, the Archduke brought magnificent jewelry with diamonds, including the notorious diamond engagement ring, but Maria’s gift was even more precious than these stones. She hid a flower somewhere on her body and invited her groom to find it...
The Archbishop of Trier quietly told Maximilian where to look, and he unbuttoned the bride’s corsage - there, on the duchess’s chest, was hidden a pink carnation, a symbol of marital love... After the feast, the young people slipped away - as they said, to the priest, so that he would bless their union and they could don't put it off wedding night see you tomorrow, before the official ceremonies. Well, they've been waiting for each other for so long!
The wedding itself was relatively modest - after all, six months earlier the bride had lost her father, but the townspeople of Ghent still gathered to rejoice for their ruler and congratulate her. According to various sources, the ceremony took place either on August 16 or 18, and either in the morning or in the afternoon. The bride was in a dress of gold brocade, an ermine robe and with the crown of the Duchy of Burgundy on her head, the groom changed his armor and this time wore silver. Sun and moon!
The service in the main cathedral was conducted by the papal legate Julian of Ostia, and the Bishop of Tournai served him. The newlyweds exchanged rings and made vows of eternal fidelity to each other. Time will show that they kept them... After this, Maximilian gave Mary thirteen gold coins - a symbol that he would provide for her (although in reality, of course, it was the rich Duchess of Burgundy who would bathe her German prince in luxury).
After the wedding, the feast began, and although it was far from the celebrations that nine years earlier Mary’s father, the Grand Duke of Burgundy, had organized in honor of his marriage with the English Princess Margaret, the mutual tenderness of the bride and groom (if love can be measured) at the wedding Mary and Maximilian was superior to both that and many other weddings of European rulers. Real love occurs so rarely when it comes to dynastic marriages...
After the feast, the newlyweds were escorted to their chambers, and, as a chronicler from Saxony, one of the members of Maximilian’s retinue, delicately put it, the doors closed behind them, and what happened next was unknown to him.
And great. Fortunately, this couple was given only five years - let’s not disturb them...
"Boat". The play “The Boat” was very popular among peasants, soldiers, and factory workers. This was explained by the fact that it touched upon important issues for the wider masses. questions. Its most common name is "Boat". But it is also called differently: “Boat”, “Ataman”, “Robbers”, “Gang”, “Gang of Robbers”, “Ermak”, “Stenka Razin”.
The plot of the play is simple. A gang of robbers led by an ataman and an captain is sailing along the Volga. Esaul looks around the area through a telescope and reports to the chieftain what he sees. When
A large village comes across the shore, the robbers land and attack the landowner's estate. One version of the play ends with the exclamation: “Hey, well done! burn the rich landowner!” . In some variants, the motive of the ataman’s love for the landowner’s daughter or for a Persian woman is introduced. But at the same time, the complex basis - the threat of robbers to the authorities and landowners - remains. This suggests that the ideological essence of the play lies in the expression of the people’s protest against the oppressive nori.koi. This kind of feature of the play allowed some scientists to attribute the appearance of “The Boat” to the end of the 18th century. and connect it with peasant uprisings (V. Yu. Krupyanskaya), ^ another - to consider that it arose earlier in connection with the Razin uprising: in it Stepan Razin often acts as the main character!] But / the first information about the play comes from 1814- 1815 It is characteristic that a number of Russian writers noted the performance of “The Boat” in their memoirs.
A.E. Izmailov mentions the production of the play by students of the Theological Academy around 1814-1819; A. S. Griboyedov saw a performance of it by young children in the vicinity of St. Petersburg in 1818, I. A. Goncharov in the 20s watched as “The Boat” was played by the servants of his grandmother, and the ataman was called Stenka Razin.
The play has an anti-serfdom character. It consists of a gang of robbers, an esaul, and sometimes the robber Kalikatura. [d, in the center is the image of the noble robber-ataman, who sometimes has no name, in other cases is called Ermak or Stepan Razin. According to the meaning of the play, the figure of Razin is more suitable for its plot. It is difficult to decide what kind of ataman was in the original text. There is an opinion that it is composed like a play about Razin.
Stepan Razin is the main character of the play, even if the chieftain does not bear his name. In the details of the ataman’s depiction, Razin’s features are visible. The most important thing is that it is the image of Razin that most fully expresses the main ideological meaning plays: social discontent of the masses, their protest^
The sources of "The Boat" are complex. These are songs about robbers, including about Razin, and popular prints, and popular novels about robbers, and literary songs. This is reflected in the complex composition of the play: it contains monologues and dialogues, a conversation between the ataman and the esaul and with the “gang” (when we're talking about on the admission of a newcomer to its membership), folk songs(“Down along Mother Volga”) and literary songs (A. F. Veltman’s song “What is clouded, the clear dawn” and F. B. Miller’s song “The Burial of the Robber” with the words: “Among the dense forests the silent ones walk...” ), quotes from literary works, for example from the poem by A. S. Pushkin “The Robber Brothers”. The main plot is connected with the song “Down along Mother Volga.” The performers usually remembered only the basic outline of the plot; they acted and spoke in an improvised manner, using familiar material.
"The Boat" went through a complex story, including new songs, interludes such as the undertaker scene and the doctor scene, but the core of the plot was preserved. Some scenes were permanent, some were replaced. The play also changed: first the robber scenes, sometimes the love ones, came to the fore; the plot was sometimes weakened by the introduction large number songs.
The "robber" drama "The Boat", especially in the form in which it existed in the 19th-20th centuries, by all indications should be classified as romantic works. We would add to this that she became more stable in her motives during the period of Russian romanticism, when she absorbed materials from the works of romantic writers. But in its very essence it is romantic: the robber plot, the Volga expanse, the ataman’s love for his captive, the rebellious nature of the song’s plot - everything speaks precisely of its romantic overtones.
V. N. Vsevolodsky-Gerngross highly appreciates “The Boat”. He writes: “The boat” is a unique phenomenon not only in Russian, but, apparently, in world folklore. It is unique in content, artistic techniques, in composition, in its authentic nationality, vividly reflects the era and environment in which it was created and existed, full of rebellious spirit, daring, and courage.”
"Tsar Maximilian". The drama “Tsar Maximilian,” as researchers suggest, was composed at the end of the 18th century. This is justified by a number of circumstances: the allusions it contains to the political events of that time, its performance by sailors and soldiers around 1818, the introduction of poems by writers of the 18th century into the play. and features of the language. The play probably took shape among soldiers: it depicts military characters (soldiers and a fast marshal), reflects the military order, and uses military phraseology in the speech of the characters:
Adolf. Hello guys!
All. We wish you good health!
There are also military songs, including marching ones. Finally, several of the play's lyrics were written down from former soldiers. Its earliest performance was in a military environment (1818); performance among soldiers was observed by Ya. P. Polonsky and I. S. Aksakov in 1855.
The sources of the play were various kinds of literary works: the lives of saints - martyrs for the faith, school dramas XVII-XVIII centuries, where there are images of kings - persecutors of Christians, interludes of the 18th century in which a doctor, undertaker, tailor act, comic characters included in some versions of the play “Tsar Maximilian”. The most probable and main source of this play is considered to be the drama “The Gloriously Victorious Crown of the Martyr Dmitry,” written in 1704 by the students of Dmitry of Rostov for his name day (indicated by P. N. Berkov). It has many similarities with “Tsar Maximilian”: the name of the king, the persecution of Christians, their imprisonment, execution, punishment of the king. In all this they saw a conflict between Peter I and his son Alexei. But V.N. Vsevolodsky-Gerngross believes that chivalric novels should be considered the main literary source. From the story of Beauvais the Prince comes the name of the capital city Anton, knightly fights, court atmosphere and ceremony.
The play “Tsar Maximilian” has gone through a long and complex process of design. Its structure is distinguished by the large introduction into the text of diverse literary works, most often songs and poems, for example, excerpts from G. R. Derzhavin’s ode “To the Capture of Warsaw”, songs by the poetess of the late 18th century. M. V. Zubova “I’m moving away into the desert”, “Songs of a Prisoner” (“You can’t hear the noise of the city”) by F.N Glinka; using “Hussar” by A. S. Pushkin and “Separation” (“Hussar leaning on a saber”) by K. N. Batyushkov. These were not random or mechanical insertions. They served to characterize characters, create a certain emotional tone and evaluate the behavior of the characters. Poems and songs were reworked, presented in a different language, verse and rhythms were rearranged. The composition and role of works introduced into folk plays was examined in detail by V. E. Gusev.
"King Maximilian" was often contaminated with the plays "Herod" and "The Boat". The first of them strengthened the motives of the struggle for the right faith and the fight against despotism, the second - the motives of the social struggle (Adolph's departure to the robbers). The structure of the play became more complicated, and at the same time the tragic line weakened and comic episodes developed. But the basic plot structure and character characteristics were preserved. Despite all this, the play remained original and a brilliant work. V.N. Vsevolodsky-Gerngross says about it: “...This is an original original Russian play, composed for specific Russian ■ political events, only using the scheme of the drama about Herod.”
The action of the play “Tsar Maximilian” in its most complete version develops quite sequentially.
How is this typical for folk plays, the face appears first, in in this case the walker, and addresses the audience:
Hello gentlemen senators,
I didn’t come here to you myself,
And sent from the royal office.
Get everything out of this place
And here the royal throne will be erected.
Goodbye, gentlemen,
Now the king himself will be here. (Leaves)
The emerging king also addresses the public and announces that he is not Russian Emperor and not king of french(“I am your formidable king Maximilian”) that he will judge his rebellious son Adolf. Then the king orders the pages to bring him, and orders the walker to bring “all the decency and royal accessories.” The courtiers carry regalia, in which he dresses. They bring Adolf. The king demands that his son bow to the “idol gods,” but Adolf rejects this:
I bring your idol gods under my feet.
The king and his son have an explanation three times, as a result of which Adolf is shackled and taken to prison. The “Giant Knight” appears to the king and demands the release of Adolf. This is the Roman ambassador. The king refuses to do this, and the knight leaves with threats. The king orders to call on the “ancient and brave warrior Anika” and orders him to protect the city from the “ignoramus” who wants to burn the capital, kill the knights, and take the king into captivity. Once again the king calls on his son and asks if he has come to his senses, but Adolf does not recognize the “idol gods.” The king is angry:
Oh, you rebellious monster,
You set my heart on fire,
I won't spare you anymore.
And now I will command that the evil one be put to death.
The Tsar sends a fast-walking marshal for the executioner knight Brambeus. The executioner at first refuses to carry out the order to execute Adolf, but the king insists, and the executioner cuts off Adolf's head, but then he pierces his own chest and falls dead. A scene with the undertaker follows. The king praises Anika the warrior for defeating the Gigantic Knight. But at this time Death appears. The king asks the soldiers to protect him from her, but they run away in fear. He asks Death to give him three years to live, but she refuses; asks for three months, but is again refused; He asks for three days, but she doesn’t give even three hours and cuts him down with a scythe. From this scene it is clear that the plot of the play about Anika the Warrior and Death is adapted to the plot of the play “King Maximilian”.
The introduction of the play “Anika the Warrior and Death” into the play “Tsar Maximilian” helps to understand the ideological meaning of the latter: it consists in the punishment of evil, the punishment of the cruel tyrant Tsar Maximilian. It is difficult to determine what political situation the play is directed against; perhaps it hints at the relationship between Peter I and his son Alexei. IN different time viewers had different associations. There were many reasons, including in connection with the events of the late 18th century. With the development of the revolutionary liberation struggle, the play served as an expression of the revolutionary sentiments of the masses. That's why she was so popular. The clear political meaning of the play could be strengthened in connection with new socio-historical situations.
The contamination of "King Maximilian" with the play "Herod" emphasized the struggle for the throne. But the meaning of “Tsar Maximilian” is broader.
It not only denounces tyranny and despotism, but also glorifies Adolf’s bold protest, the correctness of which becomes especially obvious: Brambeus, who killed Adolf on the orders of the king, cannot bear this injustice and commits suicide. And the fact that Death destroys not Anika, as would be the case according to the traditional course of the plot, but the king, speaks of the inevitability of the death of despotism.
KING MAXIMILIAN (I)
(People's Theater / Compiled, introductory article, prepared texts and comments by A.F. Nekrylova, N.I. Savushkina. - M.: Sov. Russia, 1991. - (B-ka of Russian folklore; T. 10), pp. 131-150, comments pp. 503-504).
Characters:
Tsar Maximilian, tall, with a beard, a menacing face, loud, harsh speech.
Adolf, his son, young, about 18 years old, thin, quiet voice. After imprisonment he was very weak and emaciated.
Anika the Warrior, of extraordinary height, fat, with a menacing face, with a long mustache and beard, and a thick voice.
Brambeus, knight, gray-haired himself, 130 years old, large gray beard, speaks rarely and thickly.
Gigantic knight(aka the Strange Knight), young, tall, speaks harshly.
Speedy Marshal, young, with a mustache, average height. The blacksmith, an old man, has a gray beard, speaks like a peasant.
Old Grave Digger, long hair and beard, coughs; speaks like a man.
Old woman, his wife, no speeches.
Death, says thickly, not very much.
Two pages, young, speak harshly.
Courtiers, retinue, warriors.
Costumes of the characters
Tsar Maximilian: uniform of ancient kings, in a military cap, with a camisole, with orders and with a saber; simple general's trousers, high boots with spurs. In the fifth appearance, they put on a crown and give him a scepter and orb and all the royal accessories.
Adolf, his son: in military uniform, on the head there is a crown, with orders, the same clothes as the king, only worse and there is less cavalry. In the tenth appearance, Adolf appears without any merits and royal accessories, in a disgraced state.
Gigantic knight: in armor, in one hand a pike, in the other a saber, in full armor, with medals; a military cap with a feather, a black mask on the face, boots with spurs.
Anika the Warrior: in armor, a pike and a saber with him; on the arm is a copper shield, on the head is a shiny helmet; gilded lance; with orders and medals.
Brambeus, knight: in ancient armor, large hat, armor, saber and spear, without any cavalry or merit, simple boots.
Speedy Marshal: military uniform, military frock coat, with saber, court cap, with a feather, high, narrower at the top; simple boots with spurs; two medals; with shoulder straps.
Blacksmith: dressed like a peasant, in a shirt, bast shoes, without a hat, with an apron, covered in coal.
Old Grave Digger: in a caftan, long hair and beard, coughing, with a thick stick in his hands, in bast shoes and onuchas, a peasant’s hat and everything like a peasant.
Old woman: in a colorful sundress and all the old woman's attire, as if they were walking like peasants, with a kichka on their head.
Death: clothes are white, as if in a shroud, a long braid is in the hands, there is nothing on the legs.
Pages two: at checkers, without merit, beautiful suits, red jackets, blue trousers, tall hats, Napoleonic, with a feather; multi-colored belts.
Courtiers(two that offer royal accessories): military uniform, frock coats with crosses and stars, trousers with red stripes, triangular hats with a feather and a bow; with checkers over the shoulder. The rest of the courtiers, in military clothing, but without cavalry, are dressed more simply.
Retinue: military uniform, with spears and checkers, with medals.
Warriors: soldier's uniform, with checkers, without merit.
Furnishings and accessories
An ordinary room, where there is something, even a simple one peasant hut. In the middle of it is placed the throne of Tsar Maximilian, decorated in the shape of armchairs. For him, there is a crown, a scepter and an orb on a golden platter, covered with gold and silver paper. Iron shackles for Adolf. Hammer for a blacksmith. Snuff box for the grave digger.
PHENOMENON 1
Quickly steps onto the stage Skorokhod and, out of breath from fast walking, speaks.
Skorokhod.
Hello gentlemen, Senate O ry,
I didn’t come here to you myself,
And sent from the royal office.
Get everything out of this place
And here the royal throne will be erected.
Goodbye, gentlemen,
Now the king himself will be here.
(Leaves.)
They go on stage senators, royal guard And warriors.
PHENOMENON 2
It turns out Tsar Maximilian and addresses the public.
Tsar Maximilian.
Hello gentlemen senate O ry,
I came from the royal office,
Who do you think I am:
For the Russian Emperor
Or the King of France?
I am not the Russian Emperor,
Not the French king
I am your formidable king Maximilian,
Strong and glorious throughout all lands
And his great mercy is evident.
(He looks at the throne prepared for him and addresses everyone around him, pointing his hand at it.)
Look at this marvelous structure,
Look at this magnificent decoration,
For whom was this Palace of Facets erected?
And for whom is this royal throne
Was it built on a higher location?
Not otherwise than for me, your king.
I'll sit in that place
And I will judge my rebellious son Adolf.
(Sits on the throne, looks menacingly at everyone around and shouts at the top of his lungs.)
My faithful, unhypocritical pages, appear quickly before the throne of your monarch!
PHENOMENON 3
Tsar Maximilian And two pages. The pages enter, marching in step, and stop a little short of the throne, at once draw their sabers from their scabbards, stand guard and disperse on both sides of the throne. Then one kneels in front of the throne and speaks.
Page. Oh, mighty sovereign, merciful king,
Why are you calling us, pages, to you?
And what do you command us to do?
(Gets up and goes back to his place.)
Tsar Maximilian. Go to my royal white-stone palaces and bring me my dear son Adolf, I need to have a secret conversation with him.
Pages (both in one voice). Let's go and get it! (They make swords on guard, converge and march into the audience.)
Tsar Maximilian. Speedy Marshal, appear before the throne of your monarch!
PHENOMENON 4
The same Speedy Marshal.
Skorokhod
(enters very quickly, comes close to the throne, kneels on one knee and, as if out of breath from fast running, speaks).
O most powerful sovereign,
Most merciful King Maximilian,
Why are you calling on your fast and light Skorokhod-Marshal?
Tsar Maximilian. Go and tell my retinue that I want to remove all unworthiness from myself and put on all the decency and royal accessories that befit my high royal rank.
Skorokhod. I'll go and take care of everything. (He leaves, backing away and bowing low to the king.)
PHENOMENON 5
The same, courtiers And retinue. The doors of the hut open, two courtiers on golden trays carry the royal crown, scepter, orb, golden saber, etc. A retinue follows them, several warriors with drawn sabers on his shoulder.
All (singing).
We are going to the king, the king,
We bring him a golden crown,
Our monarch sits on the throne
In a gilded crown,
Exalted with glory and honor,
Highly produced.
All honor guard
Holds sabers drawn.
Hurray, hurray, hurray!
To our king!
The warriors enter and stand equally around the royal throne, holding their sabers on their shoulders the entire time. The courtiers approach the throne itself, kneel before Maximilian and hand him trays with royal regalia.
One of the courtiers. Accept, most merciful monarch, from our unworthy hands your royal belongings.
Tsar Maximilian.
My friends, my friends,
My faithful servants,
Take away my unworthiness from me
And put all my accessories on me.
The courtiers take off his military cap, medals and simple saber, put on a crown and orders, give him a scepter and orb, put his previous attire on trays and leave, bowing low. The retinue stands near the throne all the time.
Tsar Maximilian (waving the scepter, menacingly). Why are my faithful pages delaying in bringing my dear son Adolf? Or are they not obeying my royal order?
PHENOMENON 6
The same, Adolf And two pages. The doors open, Adolf enters, flanked by two pages with drawn sabers. Adolf approaches the throne and kneels; the pages stand behind him.
One of the pages. They fulfilled your royal order and brought your all-kind son Adolf.
Tsar Maximilian. Now get away from my sight.
The pages leave.
Adolf(on my knees all the time).
Oh, most gracious sir
And the glorious Maximilian the king,
I hit your forehead against your mother - the damp earth.
Why are you calling on your dear son Adolf?
Tsar Maximilian.
Dear Adolf, my son,
I am not happy now about your coming:
Now I heard from my wife,
Why have you abandoned our idol gods?
And you cheat on them
And you secretly read some new ones.
Fear my parental wrath
And bow to our idol gods.
Adolf (without getting up from your knees).
I am your idol gods
I put it under my feet,
And I believe in the Lord Jesus Christ,
I depict the sign of the cross against your gods
Tsar Maximilian (very angry, he gets up from the throne and, stretching out his hand with a scepter, menacingly addresses Adolf).
Fear your parents' wrath.
I thought that you, rebellious monster, would sit on the royal throne,
And you want to leave.
(Shouts loudly, addressing the doors.)
My faithful pages, present yourself before the throne of your monarch.
PHENOMENON 7
The same two pages. Two pages come out, just as before, and perform all the same actions as before. In general, pages always act in the same way.
One of the pages.
O mighty king,
Dear Lord, everyone,
Why do you call us, your pages, so quickly?
And what do you tell us to do?
Tsar Maximilian(rises from the throne and, pointing his finger at his son, speaks in a menacing voice).
Take this rebellious son of mine to prison,
And in order not to let any animal or bird go there,
And for his daring disobedience
Put him on abstinence.
Pages (both in one voice). We will do everything as ordered. (They lift Adolf from his knees and lead him under escort with drawn weapons.)
PHENOMENON 8
Tsar Maximilian And Gigantic knight. The door opens and it shows Bogatyr gigantic growth, draws a saber, slowly walks towards the throne of Tsar Maximilian; approaching, strikes the floor with the blunt end of the spear, stands in a menacing pose and speaks.
Gigantic knight.
Conqueror of foreign lands,
I passed through foreign kingdoms
And all the Roman states,
Everyone says that your trial is unfair.
You have to justify yourself
Allow me, the Roman Ambassador,
To speak to you.
Tsar Maximilian.
Speak up, impudent ambassador.
Gigantic knight.
Know you, barbarian and murderer,
You are destroying an innocent soul
You cut off the head of your dear son Adolf.
(Waving a spear around.)
Look how everyone pities him
Everyone sheds tears for him
AND a true hero revered.
Make up your mind while you still have time!
Tsar Maximilian (stands on the throne and, stomping his feet, shouts).
Get out of my sight, insolent ambassador!
Gigantic knight. Farewell for now, barbarian and murderer, but I will soon return to avenge innocent blood. (Leaves.)
Tsar Maximilian.
PHENOMENON 9
Tsar Maximilian And two pages.
One of the pages.
O mighty king,
Blessed Sovereign,
Why are you calling us, your pages, so quickly?
Or what do you command me to do?
Tsar Maximilian.
Go to my former capital,
Into the dark imprisoned dungeon
And bring to me my rebellious son Adolf.
Pages (in one voice). Let's go and bring your rebellious son Adolf.
PHENOMENON 10
Tsar Maximilian, Adolf And two pages. The pages bring Adolf in the same way as the first time. Adolf approaches the throne and kneels. The pages remain standing behind him with drawn sabers.
Adolf.
Oh, all-merciful sir,
Blessed Maximilian the Tsar,
My dearest parent, father,
I hit your forehead on the damp ground.
Why are you calling on your disobedient son Adolf?
Or what do you command him to do?
Tsar Maximilian.
Well, my rebellious son,
What will be your answer now?
Have you changed your mind or not?
Aren't you tired of the dark dungeon and starvation?
Will you believe in our gods,
Will you expose them to your feet?
Adolf.
No, I am your old idol gods
I put it under my feet,
I believe in one God
And I maintain his holy law.
Tsar Maximilian (in great anger he rises from the throne and, shaking his scepter, speaks menacingly).
O rebellious one, monster of the mother's womb,
Fear my parental wrath!
I thought of making you heir to my kingdom,
And you are playing tricks on me.
I will give you over to other torments
And I will make you bow to our gods.
(Sits down and shouts to the walker.)
Speedy Marshal,
PHENOMENON 11
The same Speedy Marshal. The fast walker arrives the same way as the first time. In general, his outputs are always similar to one another.
Skorokhod.
O mighty lord,
Dear King Maximilian,
Or what do you command me to do?
Tsar Maximilian.
Come to my white-stone royal chambers
And bring me the best blacksmith.
Skorokhod.
I'll go and get the best blacksmith.
Adolf remains on his knees all the time, sadly bowing his head and not raising his eyes.
PHENOMENON 12
The same Blacksmith.
Skorokhod.
I went and brought the best blacksmith.
Blacksmith.
Hello, father,
Why are you calling me
Or what do you command me to do?
Tsar Maximilian (pointing to Adolf). Put this monster in strong shackles.
Blacksmith (as if not trusting his ears, he repeats to himself). Shackle his monster. (Looks at the king.)
Tsar Maximilian (starting to get angry). I tell you in Russian: chain up this monster.
Blacksmith. I’ll do the shackling, but who’s going to pay me for the work?
Tsar Maximilian. I'll give you a coin.
Blacksmith. Yes, father, I don’t even have a pocket.
Tsar Maximilian. Never mind, the old woman will sew it.
Blacksmith. Well, apparently there’s nothing to do, I’ll get going with my blessing. (Takes his hammer, puts a chain on Adolf’s legs and chains him.) I chained it, father, now it will be strong.
Tsar Maximilian. Here's a coin for you and go home to your old woman.
Blacksmith. We ask for forgiveness. (Leaves.)
Tsar Maximilian. My faithful pages, present yourself before the throne of your monarch.
PHENOMENA 13
The same two pages.
One of the pages.
O mighty king,
Most Serene Sovereign,
Why are you calling us, your pages, so quickly?
Or what do you command me to do?
Tsar Maximilian.
Take this daring and rebellious monster
And put him in a dark dungeon,
And starve him to death,
Until he comes to his senses and believes our idol gods.
Pages.
Let's go and take Adolf to the dungeon.
They take Adolf by the hands. Adolf rises from his knees and slowly, lowering his head to his chest, moves towards the door. Sings a song in a mournful voice.
Adolf.
I'm going to prison
From these wonderful places,
How many fatal sorrows
I have to bear the separation. I leave my dear city
And you, my parent.
At these words, Adolf turns around and addresses Maximilian and, looking pitifully at him, bows. Then, turning around, he continues to walk to the door, singing.
I know that my fate is like this,
What to live in separation from you.
(Hides behind the doors.)
Tsar Maximilian remains sitting in sad thought, hitting his elbow on the handle of the throne.
PHENOMENA 14
Tsar Maximilian And Gigantic knight.
Gigantic knight(enters, loudly knocking, surrounded, and, without any respect, approaching the throne itself, screams at the top of his lungs).
I burn with a warrior's heat,
I approach your kingdom,
I will burn the city of Anton with fire,
And I’ll take you in full.
Set up an opponent against me
Amuse yourself with damask swords,
Converge on sharp copies.
I stand under the walls of your city.
Defend yourself, otherwise your reward will be death.
For your unfair trial.
Tsar Maximilian (angry, shouts in a loud voice, shaking the scepter). Away, impudent knight! Expect your enemy soon under the walls of my city Anton.
Gigantic knight. Farewell, barbarian and murderer; Expect quick revenge. (He leaves without any respect for the king.)
Tsar Maximilian (shouting).
My speedster, marshal,
Appear before the throne of your monarch!
PHENOMENA 15
Tsar Maximilian And Speedy Marshal.
Skorokhod.
O mighty lord,
You are our king Maximilian,
Why do you call upon such a menacingly light Swift Marshal?
Or what do you command me to do?
Tsar Maximilian.
Call to me the ancient and brave warrior Anika,
Skorokhod.
I'll go and call ancient hero Anika the warrior,
Which death alone can defeat.
PHENOMENA 16
Tsar Maximilian And Anika the Warrior.
Anika the Warrior (enormous growth, wearing armor, a helmet and other weapons, approaches the throne, shakes his weapon and speaks).
Hello, Tsar Maximilian,
Why are you calling me, Anika the warrior?
Or what do you command me to do?
Tsar Maximilian.
Ancient and invincible warrior Anika,
A certain ignoramus approached our city,
He wants to burn the city of Anton with fire, kill all my knights,
And I’m ready to take myself.
Anika the warrior. This has never happened before and can never happen.
Tsar Maximilian.
Brave and invincible warrior Anika,
Go behind the white stone walls,
Protect this city from the ignorant,
And honor and praise will be given to you throughout the kingdom, as a hero.
Anika the warrior. Now I’ll go and put the impudent ignoramus to death. (He leaves, shaking his weapon.)
Tsar Maximilian. My faithful pages, present yourself before the throne of your monarch.
PHENOMENA 17
Tsar Maximilian And two pages.
One of the pages.
O glorious Maximilian the King
And mighty sovereign,
Why are you calling us to you soon?
Or what do you command me to do?
Tsar Maximilian.
Go to the dark dungeon,
Investigate my rebellious son Adolf;
If he is alive, then bring him to me,
If he's dead, keep it there.
Both pages. Let's go and investigate everything. (They leave.)
PHENOMENA 18
Tsar Maximilian, Adolf And two pages.
Pages. Your rebellious son Adolf is alive and brought here.
Adolf (exhausted in chains, barely moves, speaks in a quiet voice, pitifully, before reaching the throne, falls to his knees).
Oh, most merciful and most amiable sovereign father,
Why do you call upon your tormented son Adolf?
Or what do you command me to do?
Tsar Maximilian.
Well, rebellious and daring son Adolf,
Have you changed your mind or not?
Did the upcoming painful death scare you?
Give up before it's too late, you impudent wicked man,
And I will return to you the royal purple and crown.
Give up your Christian Orthodox faith,
Bow down to our idol gods!
Adolf is silent, bowing his head on his chest.
Tsar Maximilian.
Well, why are you silent? Answer, who do you believe?
Adolf.
My dear sir, father,
I believe everything as before, in the Lord Jesus Christ,
Who created heaven and earth
And your idol gods.
Tsar Maximilian.
Oh, you rebellious monster,
You set my heart on fire,
I won't spare you anymore,
And now I will command that the evil one be put to death.
(Shouts.)
Speedy Marshal,
Appear before the throne of your monarch!
SCENE 19
The same Speedy Marshal.
Speedy Marshal.
Oh great sir,
Our mighty king Maximilian,
Why do you call upon your light Speedy Marshal?
Or what do you command him to do?
Tsar Maximilian.
My fast and faithful Skorokhod-marshal,
Come soon to my white stone chambers,
There is an ancient Brambeus knight there,
Summon him here as soon as possible.
Skorokhod.
Now I'm going to your royal white-stone chambers
And I will soon bring Brambeus the knight to you.
PHENOMENON 20
Tsar Maximilian, Adolf And Brambeus.
Brambeus (comes close to the throne, stands in front of King Maximilian, hits the floor with his spear, puts his saber on guard and speaks in a thick voice). May God grant you, Tsar Maximilian, to live as many years as I, an ancient knight, live in the world.
Why do you call on me, the strong and ancient knight Brambeus?
Or what do you command me to do?
Tsar Maximilian (pointing the scepter at Adolf, who remains on his knees all the time, with his head bowed to his chest).
Take this rebellious son Adolf
And put him to an evil death before my eyes.
Brambeus (backs away in horror and looks first at the king, then at Adolf).
Oh great sir,
Terrible Tsar Maximilian,
I lived in the world for one hundred and fifty years
And not a single person's life was decided
And in my old age I won’t decide.
When my sword
He will tear the rebellious royal head off his shoulders,
When youthful hot blood splashes on my gray head,
Then I myself must die!
Tsar Maximilian (menacingly). Rebellious old man, obey the orders of your monarch.
Brambeus. There is nothing to do, I cannot disobey my monarch. (Addresses Adolf.)
Adolf, say goodbye to the white light,
You must die on this spot.
Adolf (gets up from his knees, bows on all four sides and laments).
Farewell, dear land,
Farewell, native fields,
Goodbye sun and moon
Farewell to all the world and all the people.
(Bows to King Maximilian.)
Farewell to you too, cruel father!
Tsar Maximilian. Brambeus, continue the orders of your monarch, do not hesitate any longer, otherwise you yourself will be executed.
Brambeus.
I continue to continue
But I don’t spare myself either.
(Hits the kneeling Adolf on the neck, he falls face down.)
I rub it
But I’m also ruining myself!
(Stabs himself in the chest and falls dead.)
Tsar Maximilian. Speedy Marshal,
Appear before the throne of your monarch.
SCENE 21
The same Speedy Marshal.
Skorokhod.
O mighty lord,
Terrible Tsar Maximilian,
Why do you call upon the formidable Speed Marshal so soon?
Or what do you command him to do?
Tsar Maximilian.
Go quickly to the nearest village
And call the Old Grave Digger here.
Skorokhod.
Now I’ll go and bring the Old Grave Digger here.
SCENE 22
Tsar Maximilian And Old Grave Digger.
Old man (with a thick stick in peasant clothes he comes on stage, coughs, shakes his head and talks to himself).
And why is the king calling me to him...
Apparently they know me far
If such big things are trusted.
(Yawns, crosses his mouth, scratches the back of his head and looks up at the imaginary sun.)
Oho-ho-ho-ho-ho-honey!
The sun is still high
And the king is not far away,
I'll sit down and rest,
I'll take a sniff of tobacco,
And then I’ll wave to the king.
(Sits down, slowly pulls out the bottle, puts a sniff into both nostrils, sneezes, blows his nose, then gets up and says.)
Well, now we obviously need to go; The Tsar is no joke either, not my Malashka. (He approaches the throne, sees Adolf and Brambeus lying, stops and, looking at them, scratches his head in bewilderment.)
These are the green ones,
Aunt Matryona:
The Tsar, apparently, called me to stand up for these heroes,
And I had a bad time with Malashka, and I was late.
(Takes off his hat in front of Tsar Maximilian and tells him.)
Great, yours-can’t-jump-high!
Why are you calling on me, the famous old man?
Or who do you order to protect?
Tsar Maximilian(pointing to Adolf and Brambeus lying down).
Take away these two bodies,
So that they don’t smolder above the ground,
So that the worm does not sharpen them,
So that the rain doesn't wet them.
Old man(goes to the corpses and mutters to himself). So that the devil doesn’t sharpen them, but where can they go now if not to hell? (He takes one, then the other, then by the legs, then by the head, but cannot lift him up. Turns around the stage and shouts to his wife.) Malashka, oh Malashka! (Silence. The old man shouts again.) Malanya, come, you fool, hurry here, there’s something to do. (Silence again.)
Old man (to the audience). You see, you damned figure, nothing will come of it until you truly exalt yourself. (To his wife.) Malanya Rogovna, please come here, I have something to do.
An old, wrinkled old woman comes out of the hut.
Old man.
Look what God has sent us:
Choose anyone
Leave the bad one
Let's pull it out and steal it,
And then we’ll remove it.
(They drag Adolf and Brambeus by the legs into the hole.)
Included Anika the Warrior.
SCENE 23
Tsar Maximilian And Anika the Warrior.
Anika the Warrior (proudly approaches from the very throne of King Maximilian, knocks his spear on the floor and speaks, hitting himself in the chest).
Am I not a warrior?
Am I not a knight?
I'll stand on the ground
The earth will shake;
I'll look at the sea
The blue sea will stir,
Mountains and hills
And they will be heard.
Asia, Africa, America, Europe -
And they will tremble!
I defeated all the infidels
And saved you from evil death, King Maximilian.
Tsar Maximilian.
Praise, praise to you, hero,
That the city of Anton was saved by you. (Shouts.)
Speedy Marshal,
Appear before the throne of your monarch!
PHENOMENON 24
The same Speedy Marshal.
Skorokhod.
Oh great sir,
Terrible Tsar Maximilian,
Why are you calling for the Speedy Marshal?
Or what do you command him to do?
Tsar Maximilian. Go and call to my royal palace all my brave and mighty knights to give military honors to Anika the warrior for his liberation of our city Anton.
Skorokhod.
I'll go and call. (Leaves.)
PHENOMENON 25
Tsar Maximilian, Anika the Warrior And crowd of knights. The knights enter in pairs and stand tall on both sides of the royal throne, drawing their sabers.
Tsar Maximilian. My brave warriors, give honor to the invincible warrior Anika for the liberation of the city of Anton.
Choir of warriors.
Praise, praise to you, hero,
That the city of Anton was saved by you;
by your mighty right hand
The daring enemy is exposed to dust...
A strong knock on the door and a woman's howl are heard.
Tsar Maximilian.
My brave warriors, stop your singing.
Everyone falls silent and looks at the door in bewilderment.
Tsar Maximilian.
What kind of woman is there?
What kind of drunk is that?
PHENOMENON 26
The same Death.
The door opens, Death appears on the threshold with a scythe, stands at the very threshold and speaks.
Death.
I'm not a woman,
I'm not drunk,
I am your stubborn death.
(Begins to move from the door to the royal throne.)
Tsar Maximilian(stands on the throne in horror and asks for soldiers). Warriors, my warriors, you have defended me many times from all sorts of enemies, protect me now from cruel death.
The warriors stand in front of the king's throne and with naked sabers block the path of Death. Death approaches, makes a movement with his scythe, and the sabers of the warriors fall with a ringing sound. The warriors get scared and move apart in front of Death.
Death (approaching the throne, addresses Tsar Maximilian). Follow me!
Tsar Maximilian.
My Mother, dear Death,
Give me at least three years to live,
To make money for me
And dispose of your kingdom.
Death.
You don't even have one year to live.
Tsar Maximilian.
My Mother, dear Death,
Give me at least three months to live.
Death.
You won't even live for a month.
Tsar Maximilian.
My mother, dear death,
Give me at least three days.
Death.
You won't have time for even three hours,
And here's my sharp braid for you.
(Hits him on the neck with a scythe. The king falls.)
PHENOMENON 27
Speedy Marshal comes out to the middle and addresses the audience.
Skorokhod.
Here, dear audience,
The curtain closes
And the attachment all ends,
And the ahters are entitled to a tip from you.
Drama "Tsar Maximilian" (sometimes Maximyan, Maksemyan) has become widespread throughout Russia (St. Petersburg, Moscow, Tver, Yaroslavl, Kostroma provinces, Russian North, Don, Terek, Ural, Siberia), Belarus (Minsk, Mogilev, Vitebsk provinces), Ukraine (Kiev, Chernigov, Podolsk , Kharkov, Kherson provinces), Moldova. It was played among soldiers, sailors, urban, workers, and peasants 3.
Several opinions have been expressed about the origin of this drama. The researchers are probably right who believed that the reason for its creation was political situation early XVIII c.: conflict between Peter I and his son Alexei and the execution of the latter. People also remember the murder of their son by Ivan the Terrible. The filicide could not but affect the attitude of the people towards the rulers. This helped spread the drama. It should also be taken into account that the people knew the spiritual verse “Kirik and Ulita”, in which, as in the drama, the cruel Tsar Maximilian demands that the baby Kirik renounce his faith in the Christian God. Kirik, like the hero of the drama Adolf, remains faithful to God.
A persistent search was made for the immediate source of the drama, but it was not found. There was probably no single source. At the same time, the play’s connection with the repertoire of the Russian city theater of the 17th-18th centuries is indisputable, as well as the influence on its text of translated stories (knightly novels) and their dramatizations of the same era, which has been proven by a number of researchers. However, no matter how diverse literary sources"Tsar Maximilian", what is essentially different is the connection of the play with Russian reality.
The drama is based on the conflict between the tyrant Tsar Maximilian and his son Adolf. The pagan father demands that his son abandon the Christian faith, but he resolutely refuses:
- I am your idol gods
I put it under my feet,
I'm trampling in the dirt, I don't want to believe.
I believe in our Lord Jesus Christ,
And I kiss Him on the mouth,
And I keep His law.
Tsar Maximyan commands to the prison guard.
- Go and take my son Adolf to prison
starve him to death.
Give him a pound of bread and a pound of water 1 .
Adolf in prison. Tsar Maximilian turns to Adolf three times with his demand, but he always refuses. Then the king calls executioner Brambeus and orders Adolf's execution.
The drama depicts the cruelty of Tsar Maximilian not only with his son. In one version, he, like King Herod, orders a warrior (here: Anika the warrior) kill babies:
- Warrior, my warrior.
All the countries of Bethlehem descend,
WITHstrike, cut down fourteen thousand babies.
You won't kill anyone else.
You will bring me alive.
Baba (Rachel) appears and asks the king:
- Why should my child
To disappear innocently?
The king is inexorable:
- How shameful
When I sent a warrior
An armed warrior?
Warrior, my warrior,
Kill this baby
ANDdrive this woman away!
A warrior kills a child. Rachel is crying 1. .
Tsar Maximilian is opposed by his son Adolf. He boldly tells his father that rode down the Mother Volga and withfree gang, with robbers, knew 2 , that he was their chieftain 3; orders the prisoner to be released from prison (restanta), who was imprisoned by order of his father 4. In the drama, Adolf firmly defended his convictions, endured torture, went to his death, but did not betray his ideals, which aroused sympathy and sympathy. The executioner, having carried out the order of the king and killed Adolf, stabbed himself with the words:
Behind that I loved
For that he cut off his head.
I am correcting the king's debt
AND I'm dying myself 5 .
The king's command to kill his son, the depiction of Adolf's execution, the executioner's suicide - tragic pictures. But the performance had to amuse the audience; a release was needed. A tradition has been established of introducing farcical, satirical and humorous episodes. These are the conversations of the Grave Diggers, the Tailor, the Doctor, even the Patriarch’s funeral service for Adolf’s body. A sharp satire on the clergy arose when depicting the wedding of Tsar Maximilian with the Goddess (the priest and deacon drank in a tavern wedding book, and on zaupobed room hangover) 1.
Researcher of folk dramas N. N. Vinogradov wrote about “Tsar Maximilian”: “Having appeared in the middle of the 18th century and passing from mouth to mouth, from generation to generation, this play inevitably underwent a wide variety of changes, shortened and lengthened at will. Having pleased the people, it gradually absorbed a whole series of individual scenes and small works of the same kind. As a result, in many versions, a long series of individual scenes, a whole collection of diverse characters, a motley kaleidoscope of the most diverse positions is obtained; the general meaning of the play is lost, there is no unity of plot, remains only the unity of the name. Here, for example, is the series of plots practiced in most of the not very common (in terms of volume) variants: 1) Maximyan and Adolf (main); 2) Goddess and Mars;
3) Mamai; 4) Anika and Death; 5) Boat. Often they are not connected at all, sometimes the connection is purely mechanical. To these plots we still need to add a whole series of inserts in the form of individual comic scenes, either stable, permanent (doctor, tailor, gypsy, grave digger...), or random, sporadic (n-number); sometimes the play begins with verte pom 2.
Gradually, the topic of the struggle for religious beliefs became less relevant - this made possible a satirical depiction of clergy, as well as church funeral and wedding rites. IN 1959 t. in the Arkhangelsk region. a version of the drama was recorded in which the religious beliefs of the father and son were not even mentioned 3. At the same time, the problem of tyranny and the fight against violence continued to worry viewers. In the drama "Tsar Maximilian" a change was made: the tsar demanded from his son not to betray his religious beliefs, but to marry his bride from the distant kingdom, which I found for him. Adolf refused to marry as resolutely as he refused to change his faith. And he was executed.
Sometimes the drama ended with the death of Tsar Maximilian himself, which could be perceived as punishment for cruelty and filicide.
The dialogue between Death and King Maximilian coincided almost word for word with the spiritual verse - the dialogue between Anika the warrior and Death.
Death (approaching the throne, addresses Tsar Maximilian):
- Follow me!
Tsar Maximilian:
- Masha, my dear Death,
Give me at least three years to live,
To make money for me And dispose of your kingdom. Death:
- You don't even have one year to live.
- You won't have time for even three hours,
And here's my sharp braid for you.
(Hits him on the neck with a scythe. The king falls) 1 .
The drama "Tsar Maximilian" is large in volume. It was often copied into notebooks and rehearsed before the performance. However, it also developed stereotypical situations, as well as formulas that contributed to the memorization and reproduction of the drama. Such, for example, are scenes of fights, formulas-answers of Adolf to his father ( "I am your idol gods TerI'll put you under your feet..." etc.). Tsar Maximilian’s challenge to Skorokhod (or other actor) and the callee's report of arrival.
Tsar Maximilian:
- Skorokhod-Field Marshal,
Ihang before the throne
GGpink king Maximilian!
Skorokhod:
- I'll go back from right to left,
I will appear before the throne of the formidable Tsar Maximilian:
O great lord.
Terrible Tsar Maximilian,
Why are you calling for the Field Marshal?
Or do you command deeds or decrees?
Or has my sword become dull?
Or I, Skorokhod-Field Marshal, in what before you
guilty? 1
In the quoted version of the drama, this formula of the report is repeated 26 times (Skorokhod pronounces it 18 times, Markushka 3 times, Adolf and Anika the warrior 2 times, Executioner 1 time).
To what has been said, it should be added that in “Tsar Maximilian” the same situations and common passages are encountered as in the drama “The Boat”. For example: Adolf - knew the cap of robbers; about the burial of the murdered man they say: "Remove this body so that there is nosmoldered..." - etc.
Thus, the drama "Tsar Maximilian" arose and developed under the influence of other folk plays, chivalric novels, popular prints, folk songs, and spiritual poems 2.
History of creation
The play is based on the description of the folk drama “Tsar Maximilian” in Bakrylov’s collection, in which the author collected extensive folklore material. The author compiled several striking examples of folk drama in Russian culture and created his own version of the play “Tsar Maximilian”. Having become acquainted with this work by Bakrylov, Alexey Remizov expressed the opinion that the play was written rudely and vulgarly, and its parts were connected to each other mechanically. After a meeting of the editorial commission, at which Bakrylov's code was discussed, Remizov decided to create his own version of the play.
Remizov worked on drama not only as a writer, but also as a scientist, largely relying on historical and philological works:
“...I, laying my, perhaps, one single stone to create a future great work that will give the whole kingdom folk myth, I consider it my duty, without adhering to the tradition of our literature, to introduce notes and tell in them the progress of my work.”
In his work, Remizov tried to embody his ideas about the ideal folk theater- “theater of squares and oak forests” and mystery action as opposed to the “theater of walls”. In practice, this desire was expressed in the fact that Remizov simplified the production of the play as much as possible and, in comparison with Bakrylov’s play, significantly reduced the number of characters. By reducing the descriptive stage directions, he took “a step away from naturalistic theater.”
Plot
In many ways, the plot of the folk drama is based on the story of Peter I and Tsarevich Alexei. Tsar Maximilian is a king who decided to marry a foreign queen and abandon the Orthodox faith. The king's son, Adolf, opposes his father's marriage. Trying to change his son’s decision, Tsar Maximilian takes Adolf into custody and eventually executes him.
Heroes
- Tsar Maximilian (Maximiyan, Maksimyan) is a “formidable and strong king” who decided to marry an overseas princess and abandon the Orthodox faith and worship “idol gods.” He walks around wearing a crown and orders, waving a scepter or sword.
- Adolf is the son of Tsar Maximilian, who refuses to pray to the “idolic gods”, for which Tsar Maximilian executes him. He wears a military uniform, but simpler than the Tsar's. After imprisonment - weak and without insignia.
- Knight Brambeus calls on the king to change his decision and not execute the innocent Adolf, but King Maximilian does not listen to him. Huge and gray.
- Skorokhod - informs everyone about the will of Tsar Maximilian.
- The old grave digger is preparing a grave for Adolf (A. M. Remizov himself compared him to the gravediggers in Shakespeare’s tragedy “Hamlet”).
- The old woman-death comes for King Makismilian.
Notes
Links
- The play “Tsar Maximilian”, arranged by A.F. Nekrylova and N.I. Savushkina
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See what “Tsar Maximilian” is in other dictionaries:
"Tsar Maximilian"- KING MAXIMILIAN the most popular folklore play. The action takes place in a fictitious land (I am not the Russian Emperor, not the French King...). The basis of the play is the conflict between the king and his son Adolf, which comes from our idolatrous (i.e. pagan)… … Russian humanitarian encyclopedic dictionary
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Books
- A. M. Remizov. Collected works. Volume 12. Rusalia, A. M. Remizov. The book "Rusalia" (Twelfth volume of the Collected Works of A. M. Remizov) includes dramatic works: "The Demon's Act", "The Tragedy of Judas Prince Iscariot", "The Act of George...
- Unpublished materials from the expedition of B. M. and Yu. M. Sokolov. 1926-1928. In the footsteps of Rybnikov and Hilferding. In 2 volumes. Volume 2. Folk drama. Wedding poetry. Non-ritual lyrics. Ditties. Fairy tales and non-fairy tale prose. Creativity of peasants. The volume consists of unique folklore texts collected in the 20s. XX century in the protected cultural zone of the Russian North. It includes texts from folk drama (“Tsar Maximilian” and “The Boat”),…