Dmitry the impostor and Vasily Shuisky. Foreign and National in Ostrovsky's Play "Dmitry the Pretender and Vasily Shuisky"

According to ed. A. N. Ostrovsky. Collected works in 10 volumes. Under total ed. G. I. Vladykina, A. I. Revyakina, V. A. Filippov. -- M.: State. publishing house literature, 1960. - Volume 5. - Comments by N. S. Grodskaya. OCR: Peter. A. N. Ostrovsky DMITRY THE PRETENDER AND VASILY SHUISKY (1866) Dramatic chronicle in two parts I SCENE ONE PERSONS: Prince Vasily Ivanovich Shuisky. Prince Dmitry Ivanovich Shuisky. Timofey Osipov, clerk from the order. Fedor Konev, Moscow merchant. Ivan, kalachnik. Afonya, holy fool. Moscow, Novgorod, Pskov merchants; clerks, jobless priests, wanderers, petty traders, pedlars and peasants.

Canopy in the house of Vasily Shuisky.

Merchants and clerks sit on benches; common people - on the floor.

1st merchant of Moscow

Bring the Lord! Tsarevich born On the thrones of his grandfather and father And on his own in all the great kingdoms He sat down again and established himself ...

2nd merchant of Moscow

The Great Miracle has happened! God's providence punished the traitors with dignity And preserved the leprogenous branch From the tribe of pious kings.

clerk

Here's a holiday! Moscow has not seen this for a long time. In cherished attire, With triumph shining on their faces, The people walk in merry steps In the forefront of banners and icons ...

(Quiet.)

Meet the Antichrist!

1st peasant

2nd peasant

It’s time for freedom, they cleaned the fields, Sowed, but not suddenly haymaking ... Well, they agreed ...

3rd peasant

And yet, brothers, glad and cheerful! Joy is such, What about the saint, on the great day of Christ.

What a sin! What a sin!

clerk

They chatted that in Uglich the prince was killed, And they believed then; and here he is with us! And, therefore, God kept it for us.

1st peasant

There was a rumor, and before that it was said that Dmitry, Tsarevich of Uglitsky, was alive...

Merchant of Novgorod

There is a rumor in Moscow, and even more so in the cities ...

clerk

And there is no miracle, and there is nothing to be surprised that the Lord kept him alive.

1st merchant of Moscow

No one marvels at this - they know that everything is possible for the Lord: he can also raise the dead from the tomb.

Peasant

By itself!

Wanderer

If God wants, He will do so.

Peasant

Well, what to say!

1st merchant of Moscow

(Novgorod)

And do you believe it, when the news came to us About the death of the prince, weeping tears went through all of Moscow; they said, That it is easier for us again Tsar Ivan Torment than to become an orphan Without royal offspring; although it was terrifying It happened to us, but nevertheless we knew That he was the tsar's branch, not serfs ... And here again the offspring of Monomakh Enters the formidable table of the parents!

Spiritual joy and universal joy...

Well, the joy is not great Under an oath to live! The Holy Hierarch's curse Lies on us and our children. How long have we been the representative before God, the patriarch, During the service, in full dress, We brought down from the pulpit, dressed in rags, Shamefully dragged through the streets?! And he raised his right hand to us, And cursed all of Moscow and those living in it, And, like a stone. crushed our souls with a Curse... Our deeds and thoughts, All the wombs are covered with a curse; Our prayers to God do not reach ...

clerk

You would not talk loudly in front of the people, Otherwise you will just end up in the dungeons.

Silence.

1st peasant

Oh, sins! Oh, Lord have mercy!

2nd peasant

At least chew something, for the sake of boredom.

3rd peasant

There is a puff in his bosom ... What do you have: a purse or a rug?

1st peasant

My purse has gone to people, Yes, and it won’t go home.

2nd peasant

You, apparently, are also Unmercenary?

1st peasant

Nag does not save gold! Krayuha is in stock, an hour with kvass, And even so. In the morning I left the house, And the belly - the enemy - does not remember yesterday.

2nd peasant

Drag it, break it, give it to us! Let's share!

Not about one bread...

Be quiet!

clerk

What a stupid breed! He wormed his way into the boyar mansions, Sits like a guest; his Adam's apple will dissolve, And you won't stop; not past it says: "You plant a pig ..."

1st peasant

Don't be angry! We will shut up: robots, chew more quietly!

Silence.

2nd peasant

Why sit like that, let's have a break.

What, you went into the barn?!

clerk

Call the lackey Yes, push you in the neck out of the gate.

Enter the kalachnik and the holy fool.

Kalachnik

Judges, clerks and you, honest fathers, To merchant guests and other people - Bow to the mother of the damp earth.

(Sits down on the floor.)

Wretched, sit next to me!

holy fool

I'm afraid of the Antichrist!

But is it soon, Afonya, to wait for him?

holy fool

The unexpected has arrived!

1st merchant of Moscow

I won't be surprised! Boyarin, Prince Vasily Ivanovich, equalizes the best trading people with market traders; Goes to him and smart and crazy, And a buffoon and a thoughtful nobleman.

Kalachnik

Why are you going to the boyar? Mind borrow? .. And I'm trading in my little things. Oh, big beards, You would be glad to eat ordinary people, Yes, there is no will!

petty trader

(Kalachnik)

Where did it take you? Neither at the auction, nor in the shops can not be seen ...

Kalachnik

I was in Tula.

petty trader

For what?

Kalachnik

I wanted to be a Cossack...

holy fool

Cossack is a Pole!

Kalachnik

Life has come to the Poles and Cossacks, Afonya; Tsar Demetrius Forward the boyars to their hand admits. The Cossacks almost beat the boyars ...

holy fool

Boyar - Tatar!

Kalachnik

What a marvel that the boyars - Tatarovya: the Tatar was the king!

1st merchant of Moscow

What was, is gone! Now Dimitri Ivanovich, the noble prince From the tribe of St. Vladimir ...

holy fool

In the grave of Dmitry!

clerk

We will bind your hands, blessed one, and smear your mouth...

Kalachnik

He is simple, you can not collect from him.

(gives a silver kopeck to the holy fool)

Blessed, for a pretty penny! Pray for us sinners!

petty trader

(Kalachnik)

You said, in the Cossacks ...

Kalachnik

I went hunting; yes, not much, they said ...

petty trader

What didn't happen?

Kalachnik

Stealing is not smart! Than to steal, so it is better to trade I will become gold, Ugric. The price is now good for them: The need came to the king to carry a gift.

1st merchant of Moscow

Is it full of rolls?

Kalachnik

There is little benefit. Here you buy Polish kuntush, So you will make money, the goods will not be stale! .. There is a rumor that Prince Rubets-Masalsky, Pyotr Fedorych Basmanov and others Want to change their boyar caftans For kuntushs ...

clerk

You loosened your tongue, you would keep it shorter.

Osipov and the butler enter.

Haven't been like that?

Butler

Everything is still there for a while, In Kolomenskoye camp, at the sovereign.

And soon to be, do you have tea?

Butler

Yes, it would be time; You look, his boyar mercy The people have been waiting for so long - they have accumulated.

PS what?

Butler

They came from Novgorod, Pskov Posad princes to meet, Moscow marketplace traders, Peasants from nearby villages, Priests without jobs, deacons from orders, Wretched and all sorts of orphans, Both business and wandering people. Not everyone saw the eyes of the Sovereign Dimitri Ivanovich, so flattering To visit our boyar About the royal health; not to hear About what kind of favors for the people ... Do not blame me! There is some noise at the gate, So run ... Everything is somehow out of place A servile soul; everything is imagining, What's going to run into ... Wait an hour.

(Exits.)

(near the window)

I was about 14 years old when I found in the district library and for no apparent reason gradually read the 10-volume collected works of Ostrovsky. And for some reason, I liked his historical chronicles in verse, which the "Russian Shakespeare", as expected, wrote along with comedies and dramas from the life of the Russian merchant class, more than any "Dowry". Why these plays by Ostrovsky are almost never staged is understandable, they are not only huge in volume, they also require extras, and are generally poorly perceived without a decent “historical” preparation. "Dmitry the Pretender" in the Maly was also shredded - but with the mind, from a large-scale multi-figure play, an almost chamber historical and psychological drama turned out.

Ostrovsky clearly wrote his "Dmitry the Pretender" in a kind of "dialogue" with Pushkin's "Boris Godunov", and possibly in an absentee polemic with Alex K. Tolstoy. Moreover, “Dmitry the Pretender and Vasily Shuisky” is also part of a dramatic trilogy, Ostrovsky also has a relatively modest “Tushino” (about the period of False Dmitry II) and an incredible size “Kozma Zakharyich Minin, Sukhoruk” (about the events of 1613). That is, Ostrovsky created a dramatic picture of the events that followed those unfolding in Tolstoy's trilogy (although Ostrovsky also wrote a play about the times of Ivan the Terrible, Vasilisa Melentiev, written jointly with Gedeonov - but this is separate). The Pretender was created in the 1860s, so it also reflects the ideological battles between the “Westerners” and the “Slavophiles”. The play is extremely interesting. It continues the theme of imposture declared by Pushkin and the problem of morality (and, accordingly, immorality) of power, in particular, Russian power. Ostrovsky has two antagonists - False Dmitry I and Prince Shuisky - stand against each other. Both are smart politicians and not animals at all, not enemies of the people and the country, each in his own way wants the best. At the same time, both are impostors, both are unscrupulous in their means, both are subject to passions, only False Dmitry has ordinary, human, including male passions (he longs to marry Marina Mnishek, wants to please the disgraced princess Xenia Godunova), and Vasily Shuisky has one fiery passion - Cap of Monomakh. Actually, the essence of the events taking place in the play boils down to the fact that the intrigue invented at the beginning by Shuisky and his henchmen to seize the throne, where the Pretender is assigned the role, if not a pawn, then at least a figure destined for sacrifice, will be crowned with unconditional success in the finale. But Shuisky, in turn, is doomed to follow in the footsteps of Godunov and False Dmitry - Golitsyn talks about this, moving from blank verse to rhymed verse.

The director does not completely refuse such a formulation of the question, but at times Boris Nevzorov, playing Shuisky, with the permission of the director, seems to forget that Prince Vasily Ivanovich is a charlatan worse than both False Dmitrievs and Boris Godunov to boot - he was Godunov's serf (he says so himself) , then swore allegiance to False Dmitry I and became his most trusted boyar, betrayed everyone for personal gain. However, when Shuisky speaks with an “appeal to the people” and Nevzorov broadcasts from the forefront, shedding tears, with a tremor in his voice, he speaks of the desecration of the Orthodox faith by the accursed busurmans and the exportation of the Russian treasury by foreigners abroad, it is by no means obvious that Shuisky at this moment remains the same the same demagogue that was before and will be after, that his religious-patriotic fervor is empty and false. He is sold by the actor and director, and bought by the public, at face value. As well as the final wordless thoughts of Shuisky, who "has reached the highest power." Boris Nevzorov in the play generally evokes mixed feelings. In demonstrating the human essence of Shuisky, when he drinks with henchmen in exile or gloatingly grimace in front of the boyars, he is certainly good and convincing. But when it comes to political and historical issues, confusion begins, as if the artist did not fully understand his hero. Although the conflict of the monarch with his own conscience should not be new either for Nevzorov himself, once upon a time, even under Lansky, who played at the Theater. Stanislavsky in "Thomas Becket" Anui, nor for Maly with his textbook "Tsar Fyodor Ioannovich" and the legendary "Conspiracy of Fiesco in Genoa" with Vitaly Solomin and Mikhail Tsarev. Nevertheless, the theater is entangled in this conflict. Yes, probably not only the theater - there are a lot of misunderstandings with such questions at different levels now.

In this sense, Gleb Podgorodinsky as the Pretender is much more interesting. Podgorodinsky played so many leading roles - but, it seems, he gave out such a mature work for the first time. He plays his hero brightly, modernly in a good sense of the word, and as much as one can be "modern" without going beyond the traditions of the "Ostrovsky house". Hence, another conflict unexpectedly arises in the performance - the conflict of artistic generations. Moreover, Nevzorov, who recently came to Malyi, turns out to be together with the “veterans” of the theater, and, surprisingly, the director and stage designer are on the side of Podgorodinsky. Performance by the standards of the Maly - well, perhaps not "avant-garde". The conditional design of the scene, represented by charred fragments of graphic drawings of the boyar chambers. Conventional costumes, especially those made for Western cut. Beardless boyars, one even smokes a pipe. With the boyars, by the way, it turned out generally interesting. They say that at the dress rehearsal Boris Klyuev (Golitsyn) came out with a glued-on beard. Dragunov, we must give him his due, showed directorial firmness, stopped the run and forced the boyar to get rid of his beard. If at the same time a full-fledged ensemble of actors had formed in the performance, the result would probably have been worthy. Alas, the action rests on several performers of the main roles, the rest, including the “masters”, for example, Vladimir Nosik (Mstislavsky), perform a purely service function in according to the plot and text of the play.

And the strongest episode turns out to be not some of the historically climactic scenes of the two title characters, not murder or betrayal, but the meeting of False Dmitry with Queen Martha. Tatyana Lebedeva, who plays Pelageya Yegorovna in Poverty is No Vice so puppet-flat, seems to be being replaced here. The duet of Lebedeva and Podgorodinsky is truly touching. He is an orphan who has appropriated to himself someone else's name and someone else's destiny. She is a former queen, forcibly tonsured a nun, who lost her son. He asks her to recognize him as her son. For Martha, this is an extremely difficult situation. To agree with False Dmitry means, on the one hand, to betray the memory of the slaughtered son who died in her arms and buried, on the other hand, the opportunity to take revenge on his killers belatedly. But the killer-Godunov himself has long been in the grave, Marfa does not want revenge. And he wants to find his son again - even in the Pretender. But False Dmitry also wants the same thing, and not just to get extra evidence of his “legitimate” rights to the throne. Podgorodinsky and Lebedeva in this scene play two absolutely lonely people, not connected either by blood relationship or a special commonality of interests, but gradually, due to the personal restlessness of each, they penetrate each other with a mutual and, in a deep, disinterested feeling. What bothers Marfa most of all is not the memory of the bloodied Dmitry and not the hatred of the dead Godunov, but the fact that her new-born “son” has another mother, a real one, and she is afraid to take her son away from her, as they once took Dmitry from Martha herself. The impostor reassures Marfa by the fact that he does not have his own mother. And the last argument in favor of recognizing the Pretender is the possibility of having a son again years later, and not at all the promise of False Dmitry to return her royal honors. This whole complex bundle of emotions, fear, hatred, love, revenge, forgiveness, ambition, humility is played without false pathos, simply, subtly and piercingly.

But the lyrics are lyrics, and the play and the performance are still about something else. False Dmitry strives as painlessly as possible, "without shedding Russian blood", to turn Russia facing the West, to give more rights to both the people and the boyar duma, while sacrificing the usual way of local life, the monopoly of the Orthodox Church on the souls of believers and, in part, the royal treasury, paying her with her Polish patrons. Shuisky plays the Orthodox-patriotic card, although he uses it only as a means of achieving power, he calmly talks about temporary loyalty to Catholicism - they say, in old age you can repent, but for now you can serve; governs popular opinion as he sees fit; He does not trust his “comrades-in-arms” in the Boyar Duma and does not at all intend to share with them the power gained by such sacrifices (after all, Shuisky’s head had already been on the chopping block before the Pretender pardoned the future traitor). The consequences of the four-year reign of Shuisky under Ostrovsky are dramatically played out in the following plays of the cycle about the “Time of Troubles”, but are understandable from the very beginning, to the rhyming morality from Golitsyn. Over all the boyar fights, the shadow of Grozny looms, constantly commemorated by heroes from different camps - an unrestricted ruthlessly bloody dictatorship as the inevitable result of any indulgence, reforms and democratizations; and at the same time - thoughts about calling the Polish prince Vladislav to the kingdom, since it is easier for Russians to submit to an external force than to peacefully agree among themselves. Like Godunov, the Pretender, and then Shuisky, are doomed, and after them - a new fall into chaos or a new tyrant with a silent people. Somehow, the performance, having passed the temptation of demagogic speeches about the desecration of Russian shrines by damned foreigners and the plunder of Russia, taxis to this thought, which would seem obvious even for Pushkin.

Keywords

HISTORICAL CHRONICLE/ REMARK / AUTHOR'S POSITION / SPEECH CHARACTERISTICS / LANGUAGE TOOLS / VOICE AND SYNTAX/ HISTORICAL CHRONICLE / STAGE DIRECTION / AUTHOR'S POSITION / SPEECH CHARACTERISTICS / LANGUAGE MEANS / LEXIS AND SYNTAX

annotation scientific article on linguistics and literary criticism, author of scientific work - Maslennikov Semyon Vladimirovich

The article deals with the structure, semantics and functions of remarks in historical chronicle A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky". Remarks in modern linguistics have not been sufficiently studied. Directions (stage directions) are a special type of compositional and stylistic units included in the text of a dramatic work and, along with monologues and replicas of characters, contribute to the creation of its integrity. Remarque has important functional and communicative features that make it possible to determine fairly strict norms in the construction of a work. IN historical chronicle A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky" uses a large number of remarks. The author of the chronicle often creates remarks to the lines of those characters who play a major role in the storyline of the work. The number of stage directions increases towards the end of a dramatic work and increases in mass scenes, as stage directions convey the dynamics of events, show the development of the action. The concentration of remarks to the replicas of a particular character indicates that in order to reveal the inner world of this particular hero of the drama, the “voice” of the author is required. Remarks in Ostrovsky's chronicle are divided into several types and serve to reveal the images of characters, characterize the dramatic action of the chronicle. Reveals with the help of remarks author's position, a text modality is created.

Functions of stage directions in the historical chronicle by Alexander Ostrovsky “False Dmitriy and Vasili Shuysky”

In the article, the structure, semantics and functions of stage directions in the historical chronicle by Alexander Ostrovsky “False Dmitriy and Vasili Shuysky” are considered. Stage directions in modern linguistics are insufficiently studied. Stage directions (scenic instructions) are a special type of the composite and stylistic units included into the text of drama work and along with monologues and cues of the characters, promoting creation of integrity of the play. The stage direction possesses the important functional and communicative signs allowing to define rather rigid norms in construction. In the historical chronicle by Alexander Ostrovsky “False Dmitriy and Vasili Shuysky”, what is used is a large number of stage directions. The author of the chronicle often creates stage directions for cues of those characters who play a major role in the subject line of work. The number of stage directions increases by the final of the drama work and especially in crowd scenes as stage directions transfer dynamics of events, show action development. Concentration of stage directions for cues of the specific character tests that disclosure of the inner world of this character of the drama requires the author’s “voice”. Stage directions in Alexander Ostrovsky's chronicle are subdivided into some types and serve to disclosure of images of characters, characterize drama action of the chronicle. By means of stage directions, the author's position reveals, the text modality is created.

The text of the scientific work on the topic "Functions of remarks in the historical chronicle of A. N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky""

Functions of remarks in the historical chronicle of A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky"

UDC 821.161G19'

Maslennikov Semyon Vladimirovich

Kostroma State University named after N.A. Nekrasov

[email protected]

FUNCTIONS OF REMARKS IN A.N. OSTROVSKY "DMITRY THE IMPOSTOR AND VASILY SHUISKY"

The article deals with the structure, semantics and functions of remarks in the historical chronicle of A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky". Remarks in modern linguistics have not been sufficiently studied. Remarks (stage directions) are a special type of compositional and stylistic units included in the text of a dramatic work and, along with monologues and replicas of characters, contribute to the creation of its integrity. Remarque has important functional and communicative features that make it possible to determine fairly strict norms in the construction of a work. In the historical chronicle A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky" uses a large number of remarks. The author of the chronicle often creates remarks to the lines of those characters who play a major role in the storyline of the work. The number of stage directions increases towards the end of the dramatic work and increases in mass scenes, as the stage directions convey the dynamics of events, show the development of the action. The concentration of remarks to the replicas of a particular character indicates that in order to reveal the inner world of this particular hero of the drama, the “voice” of the author is required. Remarks in Ostrovsky's chronicle are divided into several types and serve to reveal the images of characters, characterize the dramatic action of the chronicle. With the help of remarks, the author's position is revealed, a text modality is created.

Key words: historical chronicle, remark, author's position, speech characteristics, language means, vocabulary and syntax.

Remarks in modern linguistics have not been studied enough. Let us name the names of scientists who studied the functions of remarks in dramatic works. The dissertation researches of K.K. Asanova, V.A. Bezrukova, A.V. Khizhnyak, V.P. Khodus, as well as scientific articles devoted to some aspects of the existence of remarks in an artistic context (E.K. Abramova, K.F. Baranova, M.B. Borisova, N.S. Gantsovskaya, O.V. Gladysheva, P.S. Zhuikova, I.P. Zaitseva, L.V. Ilyicheva, I.N. Levina, E.A. Pokrovskaya, T.V. Sedova, G.A. Ustimenko, M.Yu. Khvatova, L.A. Shuvalova and others).

Among the literary works of a different nature related to this topic, the studies of S.D. Balukhaty, T.G. Ivlieva, S.N. Kuznetsova, N.K. Piksanova, A.P. Skaftymova, V.V. Sperantova

S.V. Shervinsky. An analysis of the formal functions of remarks is proposed in the monograph by the German researcher G.Kh. Dams, essays by S.V. Krzhizhanovsky "Theatrical remark" and B.V. Golubovsky "Read the remark!", there are a number of publications and observations on private remark constructions in the plays of individual playwrights.

In our study, we focus on the definition and classification of remarks, which are given in the book by N.A. Nikolina "Philological analysis of the text". The author gives a system of remarks and traces their evolution from the 18th century to the 19th century. Remarks (stage directions), according to N.A. Nikolina, - a special type of compositional and stylistic units included in the text of a dramatic work and, along with monologues and replicas of characters, contribute to

which create its integrity. The main function of remarks is to express the intentions of the author. At the same time, this means of conveying the author's voice serves as a way of directly influencing the director, actors and the reader of the drama.

The main types of remarks developed in Russian dramaturgy of the 18th - early 19th centuries. (under the influence of Western European dramaturgy). In the same period, their leading functional and communicative features were also determined, which made it possible to determine fairly strict norms in the construction of remarks. Let us list these norms that are characteristic of dramatic works of the 18th-19th centuries.

1. Remarks directly express the position of the "omniscient" author and the communicative intentions of the playwright. At the same time, the author's consciousness is maximally objectified. The remarks do not use the forms of the 1st and 2nd person.

2. The time of the remark coincides with the time of the stage realization of the phenomenon (scene) of the drama (or its reading). Despite the fact that the stage direction can be correlated in duration with the action of the whole picture or act, the dominant time for it is the present, the so-called present stage time.

3. The local meaning of the remark is determined by the nature of the stage space and, as a rule, is limited by it.

4. A remark is a stating text. It, accordingly, does not use either interrogative or imperative sentences. Directions avoid evaluative means, means of expressing uncertainty and tropes, they are stylistically neutral.

5. Remarks are characterized by standardized construction and a high degree of repetition of certain speech means in them.

Bulletin of KSU im. ON THE. Nekrasov "S> No. 6, 2015

LINGUISTICS

Directions in drama are quite diverse in function. They model the artistic time and space of the work, point to:

Place or time of action: June 19, 1605 (hereinafter, examples are given from the play by A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky");

The actions of the heroes or their intentions: gives a silver kopeck to the holy fool;

Features of the behavior or psychological state of the characters at the moment of action (introspective remarks): in thought, stopping in front of Osinov;

Non-verbal communication: shrugging;

Addressee of the remark: Dmitry (to Basmanov);

Remarks aside, related to the self-reflection of the character, his decision, etc.: Cook (to himself).

It should be noted that the play "Dmitry the Pretender and Vasily Shuisky" contains a large number of remarks (160 units), which are represented by verbs and verb forms expressing the semantics of processuality. Most of all remarks are verbal remarks (46 units) and participle remarks (32 units). Therefore, we see that in the chronicle there is more dynamics than statics.

The author of the chronicle often uses remarks only for the replicas of those characters who play a major role in the storyline of the work. For example, remarks are most often found next to the statements of Vasily Shuisky, Dmitry Pretender, Kalachnik, Basmanov. And the reader feels the attention of the author to the depicted characters. Interestingly, the number of remarks increases towards the end of the work and increases in crowd scenes. This can be explained by the fact that stage directions give the work dynamics and show the development of the action. Let's consider the most interesting remarks that we analyze taking into account their interaction with the characters' replicas.

Kurakin (quietly to Golitsyn)

But Belsky remembers everything about Ivan;

Who cares what, he dreams about it ...

Masalsky

(quietly to Basmanov)

And Shuisky is proud of his relatives.

Dmitry Shuisky (quietly to Vasily Shuisky)

Golitsyn all will

Not enough.

In this episode, remarks are similar in structure: they contain an indication of the addressee in combination

quietly with an adverb. In this passage, the boyars are talking about the coming to power of Dmitry the Pretender, they are afraid of something to anger him, and therefore they are talking in a whisper. Thanks to the note quietly, a special, conspiratorial atmosphere is created in the scene.

Margeret

Vive l'empereur!

(To the soldiers.)

Ruft: "Hoch! vivat der Kaiser!"

Vivat! hoch! hoch!

Kalachnik

Wail, dogs.

Laughter among the people.

The remark among the people, laughter, shows the reader the ironic reaction of the people to the speech of the Germans, which for a Russian person is similar to the barking of a dog. Ostrovsky managed to depict the speech of the Germans in the form of onomatopoeia. The word dog has a negative connotation. Thus, we see the negative attitude of the people towards foreign interventionists.

Belsky

(takes a reed from a German)

Can't be tolerated! Free our hands

And we will tear it apart!

Basmanov

(takes a reed from another)

A traitor is one who can be indifferent

To listen to such speeches in the eyes of the king!<...>

Basmanov

(bringing the reed)

Do not spew out your bad curses,

And then I'll kill you!

Belsky

(bringing the reed)

Be quiet! Not another word! .

This scene is interesting to us because the remark is repeated takes a reed, which explains the actions of the characters. Berdysh is a wide long ax with a crescent-shaped blade on a long shaft. It can be assumed that the berdysh in this scene is a symbol of punishment and judgment. The action of this scene takes place in the chambers of Dmitry the Pretender, where he is trying to condemn Osipov for organizing a popular revolt. Basmanov and Belsky, faithful servants of the Pretender, are trying to intimidate the character with the help of reeds and want to get a confession. Consequently, the remark in this context acquires a symbolic meaning and adds additional emotionality to the scene.

Let them run! native

They drag to themselves.

Poles with a girl at the gate of the house where Vishnevetsky stands

Kalachnik

Daily robbery, robots!

Bulletin of KSU im. ON THE. Nekrasov jij- № 6, 2015

Functions of remarks in the historical chronicle of A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky"

For profit! Work with anything.

They break the racks on which they put the trays, and fight with the Poles with the wreckage. They beat the girl.

Vishnevetsky's people come out of the gate with guns.

Kalachnik

With squeakers?! Call people, robyata!

Get down, people! Fuck the Poles! .

In the last scene there is an uprising of the people and the overthrow of Dmitry the Pretender. Mass scenes predominate here, almost all the key characters meet, and in order to more accurately convey the dynamics, to show the actors the sequence of actions, Ostrovsky introduces a large number of remarks, which are whole sentences.

Thus, the number of remarks accompanying the monologues and replicas of the characters is associated with the images of the characters to which Ostrovsky wanted to draw the attention of the reader and the viewer. For example, there are many remarks in the monologues of Dmitry the Pretender and Vasily Shuisky, while the remarks of other characters are made out with a minimum number of remarks. The remarks introducing the lines of the Pretender and Vasily Shuisky or pointing to their actions are diverse in lexical content, name different addressees of the speech or mark the fact of self-addressing, emphasize the rapid change of emotions of the characters. The concentration of remarks introducing or accompanying the speech of certain characters indicates that the “voice” of the author is required to reveal the inner world of this particular character in the drama. As our study showed, the remarks in the chronicle of A.N. Ostrovsky are subdivided into non-

how many types that perform different functions in the work. First of all, they serve to reveal the images of the characters and characterize the dramatic action of the chronicle. With the help of remarks, the author's position is expressed, a text modality is created.

Bibliographic list

2. Nikolina N.A. Philological analysis of the text: textbook. allowance. - M.: Publishing Center "Academy", 2003. - 256 p.

3. Ostrovsky A.N. Complete works: in 12 volumes - M .: Art, 1973.

4. Ostrovsky A.N. Encyclopedia / ch. ed. [and comp.] I.A. Ovchinina. - Kostroma: Kostromaiz-dat; Shuya: Publishing House of FGBOU VPO "TTTGPU", 2012. -660 p.

5. Piksanov N.K. Comedy A.S. Griboyedov "Woe from Wit" // Griboedov A.S. Woe from the mind. - M.: Nauka, 1987. - 478 p.

6. Skaftymov A.P. On the question of the principles of constructing plays by A.P. Chekhov // Chekhov A.P. Three sisters: plays. - St. Petersburg: Azbuka-Klassika, 2008. -544 p.

7. Ushakov D.N. Explanatory dictionary of the modern Russian language. - M.: Alta-Print, 2008. - 512 p.

8. Fokina M.A. Philological analysis of the text: textbook. allowance. - Kostroma: KSU im. ON THE. Nekrasova, 2013. - 140 p.

9. Khodus V.P. Remarque in the dramatic text of A.P. Chekhov: stereotypes and new models // The changing language world: abstracts of the reports of the international. scientific conf. - Perm, 2001. - S. 34-36.

Bulletin of KSU im. ON THE. Nekrasov "S> No. 6, 2015

In disputes about Russia: A. N. Ostrovsky Tatyana Vladimirovna Moskvina

Foreign and national in Ostrovsky's play "Dmitry the Pretender and Vasily Shuisky"

Those “reflections and reflections of various truths” that Markov wrote about when reflecting on the problem of Ostrovsky’s “moralism” can be recognized as a fundamental, defining feature of his dramaturgy. Not only characters collide, not only their interests, but also different truths about life. They clash as if in the "court", "conscientious court" of the playwright.

In his youth, Ostrovsky served in an institution established by Catherine II, namely in the Constituent Court. Judged there not according to the law - according to the soul, trying to reconcile the warring parties. The cases were small, family and property. But if the very service in this archaic institution provided Ostrovsky with material for creativity, then the idea of a court "in conscience" can be recognized as essential for the entire structure of his plays.

Dmitry the Pretender and Vasily Shuisky, two equal heroes of the tragedy, at the same time, two different truths. “I'm not afraid, I'm right,” Dmitry Shuisky shouts at the end of the play. “Let me judge with you!”

The play begins with the accession of the Pretender, ends with the accession of Shuisky. It begins with a shaky, relative, but still undeniable calming of the moral feeling in the people (the legitimate son of John is on the throne), ends with his terrible murder and the Troubles, leading directly to the chaos of a fratricidal war, to a cruel moral crisis of the nation. Ostrovsky knows that the nation has survived the crisis, he has already created "Minin", but in "Minin" the sin that Ostrovsky wrote about in "The Pretender" is redeemed. This is a story about how one was going to reign "with generosity and mercy" and was ground in the meat grinder of history, and the other corrupted the people with lies and brought them to crime.

Ostrovsky did not read Kostomarov's work "The Named Dmitry" while working on the play, but, having studied the same historical sources, he came to the same conclusions - the Pretender was not Otrepiev.

"Blackie?" - Osipov asks Shuisky, who has just returned from the tsar. " Shuisky. Well, no, he doesn’t look like a black man ... Boris and I made a mistake. There is no monastic habit in it. Speech is quick and impudent, and agile in step, war-loving and bold, with vigilant eyes.

Dmitry first appears in Shuisky's speeches - an unprecedented tsar, insulting "splendor, decorum and order." "Not a royal posture," Shuisky is indignant, "does not dignify," "he is fed by the straight lords of the boastful!"

Dmitry is perfect news for the Muscovite state. It is in the will of the earth to accept or reject this strange, non-strict, cheerful, free king, full of the best ideas.

Who is he? He doesn't know himself. A. Suvorin, speaking about the play, remarked: "The impostor of Ostrovsky is not Otrepiev, and not a Jesuit, and not a real prince, but God knows who." The way it is. “... Who am I? Well, if I'm not Dmitry, then the son of love or whim of the king ... I feel that not simple blood flows in me.

The impostor is the embodiment of life "by free will" that will collide with life "by custom". Free from knowledge of one's own origin, free in action (autocrat!), and one more freedom along with it came to Rus' with an alluring opportunity. They dream of her, waiting for Dmitry near the Kremlin cathedrals, the boyars: “ Golitsyn. It's time for the sun to rise above us... What has passed like some kind of heavy, tormenting dream, the past is irretrievable, it seems to me... Dmitriy. Given by God, he saw other kingdoms and charters, a different life of the boyars and kings; he will leave the Tatar orders; benefits to the people, we, the boyars, will be granted liberties ... ”And Dmitry really proclaims:“ Enough torment, Basmanov! Now mercy, mercy alone reigns over you.”

The king is literate and educated, commemorating Romulus, Caesar and Alexander the Great. Appointing a court in the Duma with elected "from all the ranks of the people" to sort out the case of the betrayal of his boyar (mercy! liberty! publicity! how times rhyme!). Apart from the carelessness and frivolity of youth, there is not a single bad trait in the human face of the Pretender. Ostrovsky does not consider his Europeanism and his Polish entourage grounds for artistic humiliation.

Ornate, bookish, stilted speech. Alien, different, lonely. One against all. “Nobility is abyss, but there is no sense,” as they will say later on another occasion in the play “Forest”. The impostor is a variation of Ostrovsky's idealist type. Having read books (good ones), delirious with novelty (fair), Ostrovsky's idealist - Zhadov, Meluzov, Zybkin - enters into battle with some vital foundations. And cruelly beats the idealist life - and therefore, the whole sum of the ideas that lie at its foundation.

Deciding that his realm will be the realm of truth, the Pretender throughout the play cannot believe in any deceit, deceit, lie. He does not instill the Latin faith, but only allows foreigners to visit the Russian church during the service. And he does not think of setting the Poles against the Russians, trying to fairly sort out mutual displeasures.

But this glorious king, a dashing warrior and a kind person, does not know at all and cannot understand the land that he has inherited to manage. And his speech seems to be translated from a foreign language - rhetoric, logic ... Latin ... gentry liberties ... music ... mazurka ...

And Rus. And now, after Grozny and Godunov, she is offered to dance a mazurka and enjoy life. The attempts of this Dmitry to make Russian life cheerful, to overcome its gloomy coloring look tragicomic. The experiment of introducing a beautiful-hearted foreigner into this soil turns into a mutual tragedy.

Dmitry - Europe, Dmitry - government, Dmitry - reform. Europe - reform - government. It is possible and vice versa: government - reform - Europe. It doesn't matter, because liberal dreams, whether or not they are broken down into thoughts and proofs, still represent rather a feeling of this cherished unity, a passionate feeling, one might say, a chord. Ostrovsky reproduces this chord in its historical arrangement.

Yes, Ostrovsky confused everyone with his play and pleased no one, not a single camp, no stronghold of convictions. Dmitry the Pretender is good, but "Masha is good, but not ours." He is doomed. The playwright knows this exactly and is equally far from condemning and praising such a law of life. The whole play is permeated by the conflict between Dmitry and Russian life - both in terms of the tragic essence and the comic trifles. Even his mercy is out of place: Dmitry ordered Shuisky to be forgiven on the chopping block, under the raised ax, to which he was mortally offended. “Execute me, but don’t joke with me! Joking with the enemy is both stupid and dangerous. Destroy your enemies!" Dies, surrounded by emptiness, the man who decided of your own free will control the fate of the nation. And in this fate he gets the most miserable lot.

A national drama is taking place, a drama of the collision of the fundamental, the organic, the common with the individual, the special, the inorganic. Not cold-blooded reasoning, not adoration of the original “blooded”, not sweet captivity among the phantoms of freedom, not pity for the romantically valiant hero - no, the tormenting grief of a complete and accurate knowledge of the inevitability of this drama, this collision, it seems, possessed Ostrovsky. The organic and the common destroys the alien, the individual and the inorganic. Russian life destroys Dmitry, guilty without guilt. This is such a strong, solid, self-sufficient life that it will not accept, in essence, anything that has not been worked out by it, not within itself. Nothing. Even if these are universal ideals.

When the foreign appears in the national element in the form of fashion and attire, words and stories, or even in the form of ideas and opinions, this is the source of the comic in Ostrovsky's plays. But their meeting directly, in faces, turns into a tragedy.

The national element is represented in the chronicle by three hypostases. These are the boyars, Prince Vasily Ivanovich Shuisky and the people.

The boyars are grated rolls, poisoned wolves, bearing the imprint of all the deformities of Russian life for half a century. "Borisov's students, we were brought up by Grozny, and you can't fool us." All the properties of this high, but not the supreme power are known - servility and arrogance, fear and the habit of violence. You won't find clean ones. " Belsky. Tsar Ivan was forgotten early; there were no blunders, for them he planted a stake, it happened. Shuisky. No, Ivan only ordered, you planted with Malyuta Skuratov. Forgetting Tsar Ivan is unbearable for anyone - the opportunity for liberty brought by Dmitry will go with him into oblivion. The departure of the boyars from the tsar begins when Dmitry, instead of impalement, arranges for Shuisky a public court with elected representatives from all the ranks of the people. The public court, which also did not forget Tsar Ivan, passes the death sentence on the traitor, as was customary from time immemorial. Dmitry cancels it, since liberty is incompatible with mercy. And the boyars, seeing such a gentle tsar, cease to perceive him as a lord.

A handful of people between the king and the people, being neither power nor force, exists in a constant desire to seize power and force, the king and the people. Under the pressure of many years of fear, good and evil, truth and falsehood, mixed up, merged in a friendly union. This environment forms a kind of genius - Vasily Ivanovich Shuisky.

Feel like a master for once

Feel what's between me and God

No power, no power!

Mind, deceit, even crime

I'll get a crown.

There is in Vasily Ivanovich some kind of heavy, wild truth of a strong, blood connection with the earth. He grew out of it for many historical years - it may be ugly, but strong, you won’t knock it down, you won’t break it. He is known to everyone here, accessible to everyone, people are the first to crowd to him at the beginning of the play to ask about the new king.

Shuisky has a whole program of relationships between lies, truth and the people. She is so good that it is a sin not to bring her:

By choice both lies and truth serve

We have in our hands a tool for good

People's. The people need the truth

And we give it; we hide the truth

When the deception of the people to salvation.

We lie to him: they die and come to life

By our will people; by bazaars

Rumor will pass about miraculous signs;

The wretched, the blessed prophesy,

The stone will groan, the tree will cry,

Words will be heard from the bowels of the earth,

And our lies among the people will be true -

In chronographs for the truth will go ...

Much more and more terrible than simple slyness is the conviction taken from the "school" of Grozny and Godunov: they do not serve lies and truth, but lies and truth serve "by choice", "for the good." The words about the blessed and the wretched, who prophesy, and about the lies that turn into chronographs for the truth, are a clear echo of Pushkin's images of Pimen and the Fool. Yes, both holy fools and chroniclers are the voice of the people, the opinion of the people. Only the people can be deceived.

Shuisky is an authority, the sole keeper of the truth. “I won’t lie for nothing, I buried the prince; I know who is alive, who is not, I alone know the truth. The self-will of Shuisky, who, like Dmitry, encroaches on the possession of national destiny, is backed up by enormous power: knowledge of the truth and the ability to dispose of it. Whereas the Pretender doesn't know who he is.

“What is the value of light? Truth and conscience only hold on, ”says Tsar Berendey, dear to Ostrovsky’s heart, in The Snow Maiden. That's right: where there is truth, there is strength. Only instead of the truth there can be a clever game, a substitution.

The task of "Vasily Prince Ivanych" is to prepare the assassination of the tsar and pass it off as a holy and popular cause.

Murder can be neither holy nor national, A. N. Ostrovsky believed. It would be strange to think that he believed otherwise. For the first time in the literature on the Pretender, Ostrovsky unfolds the latent or obvious disgust of Russian historians for the mutiny of May 17 into a colossal picture of a national crime.

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Original language: Date of writing: Date of first publication:

"Dmitry the Pretender and Vasily Shuisky"- a play (actually, a "dramatic chronicle in two parts") by Alexander Ostrovsky. Written in 1866.

History of writing

Ostrovsky began work on "Dmitry the Pretender ..." in early February 1866. As Ostrovsky himself testifies, "Dmitry the Pretender ..." is "the fruit of fifteen years of experience and long-term study of sources."

Having completed work on the chronicle for publication, Ostrovsky set about creating a stage version of the play. The discrepancies between the text for print and for the stage are quite significant.

Characters

scene one

Prince Vasily Ivanovich Shuisky.
Prince Dmitry Ivanovich Shuisky.
Timofey Osipov, clerk from the order.
Fedor Konev, Moscow merchant.
Ivan, kalachnik.
Afonya, holy fool.
Moscow, Novgorod, Pskov merchants; clerks, jobless priests, wanderers, petty traders, pedlars and peasants.

scene two

Dmitry Ivanovich, impostor.
Shuisky, Prince Vasily Ivanovich.
Shuisky, Prince Dmitry Ivanovich.
Kurakin, Prince Ivan Semyonovich.
Rubets-Masalsky, Prince Vasily Mikhailovich,
Yan Buchinsky, Dmitry's secretary.
Jacob Margeret, captain of a German company.
Korela, Don ataman.
Kutska, Zaporizhzhya ataman.
Savitsky, Jesuit.
Konev.
Kalachnik.

Desyatsky, Hungarians, Poles, Cossacks, Cossacks, Tatars, Germans, Polish men at arms, boyars, nobles, merchants, archers and all people of both sexes.

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- Does he love you?
- Does he love? Natasha repeated with a smile of regret at her friend's dullness. “You read the letter, did you see it?”
“But what if he is an ignoble person?”
"He! ... an ignoble person?" If you knew! Natasha said.
- If he is a noble person, then he must either declare his intention, or stop seeing you; and if you do not want to do this, then I will do it, I will write to him, I will tell him dad, ”Sonya said decisively.
- Yes, I can not live without him! Natasha screamed.
Natasha, I don't understand you. And what are you talking about! Remember your father, Nicolas.
“I don’t need anyone, I don’t love anyone but him. How dare you say he's ignoble? Don't you know that I love him? Natasha screamed. “Sonya, go away, I don’t want to quarrel with you, go away, for God’s sake go away: you see how I suffer,” Natasha shouted angrily in a restrained, irritated and desperate voice. Sonya burst into tears and ran out of the room.
Natasha went up to the table and, without thinking for a minute, wrote that answer to Princess Mary, which she could not write all morning. In this letter, she briefly wrote to Princess Marya that all their misunderstandings were over, that, taking advantage of the generosity of Prince Andrei, who, when leaving, gave her freedom, she asks her to forget everything and forgive her if she is guilty before her, but that she cannot be his wife . All this seemed so easy, simple and clear to her at that moment.

On Friday, the Rostovs were supposed to go to the village, and on Wednesday the count went with the buyer to his suburban area.
On the day of the count's departure, Sonya and Natasha were invited to a big dinner at the Karagins, and Marya Dmitrievna took them. At this dinner, Natasha met Anatole again, and Sonya noticed that Natasha was talking to him, wanting not to be heard, and all the time of the dinner she was even more excited than before. When they returned home, Natasha was the first to start with Sonya the explanation that her friend was waiting for.
“Here you are, Sonya, talking all sorts of nonsense about him,” Natasha began in a meek voice, that voice that children speak when they want to be praised. “We talked to him today.
- Well, what, what? Well, what did he say? Natasha, how glad I am that you are not angry with me. Tell me everything, the whole truth. What did he say?

Dmitry the impostor and Vasily Shuisky. Foreign and National in Ostrovsky's Play "Dmitry the Pretender and Vasily Shuisky"

annotation scientific article on linguistics and literary criticism, author of scientific work - Maslennikov Semyon Vladimirovich

Related Topics scientific works on linguistics and literary criticism, the author of scientific work - Maslennikov Semyon Vladimirovich

Functions of stage directions in the historical chronicle by Alexander Ostrovsky “False Dmitriy and Vasili Shuysky”

The text of the scientific work on the topic "Functions of remarks in the historical chronicle of A. N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky""

History of writing

Characters

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An excerpt characterizing Dmitry the Pretender and Vasily Shuisky