In the forest region of the Kostroma region, among the wonderful nature is located "Shchelykovo", a former estate, and now a museum-reserve of the great Russian playwright A. N. Ostrovsky.

Ostrovsky first came to these places as a young man. He was twenty five years old.

Since then, the writer has cherished dream- Settle in Shchelykovo. He was able to fulfill this dream only 19 years later, when, together with his brother, he bought the estate from his stepmother. Having become a co-owner of the estate, Ostrovsky came there every year in early May and left only in late autumn.

Nature appeared before him in a bright variety, changing its clothes. He watched her rebirth, lush flowering and withering.

He also had his favorite places here.

Ostrovsky with early years had a passion for fishing. On the dam of the meandering river Kuekshi, he spent long hours with fishing rods. Near the steep banks of the Sendega River, it could be seen with a spear. On the wide river Meru, which flows into the Volga, he rode with a net.

It was a great pleasure for the writer to walk around the surrounding villages, forest tracts and glades.

He often went to the grove with the strange name "Pig's Forest". Centuries-old birches grew in this grove.

Alexander Nikolaevich descended from the mountain on which the estate is located, to the old channel of the Kueksha River and walked along the wide valley, which served as a place for festive games and entertainment for the surrounding youth. In the upper part of this sloping valley beats a key. In the time of Ostrovsky, a fair was held here every spring, which gathered crowds of people.

The writer also visited a round meadow near the village of Lobanovo. Surrounded by forest, it was also a place of Sunday rest for peasant youth. Here the playwright watched round dances and listened to songs.

Ostrovsky often visited his friend I. V. Sobolev, a skilled woodcarver, in the village of Berezhki. The extraordinary silence of this forest corner, the sparseness of people (there were only a few houses) and the peculiar northern architecture of the high barns with sharp tops that belonged to the inhabitants of this village created the impression of some kind of detachment from the world, fabulousness.

Ostrovsky also had other places he liked.

His affection for Shchelykov only grew stronger over the years. He expressed his admiration for the beauty of Shchelykovo nature more than once in letters to friends. So, on April 29, 1876, he wrote to the artist M.O. Mikeshin: “It’s a pity that you are not a landscape painter, otherwise you would have visited my village; You can hardly find a similar Russian landscape anywhere.

Ostrovsky's observations of the people and nature of the Shchelykovo environs were reflected in many of his works.

They were most pronounced in the spring fairy tale "The Snow Maiden" (1873). the basis of this poetic work amounted to folk tales, traditions and legends, rituals and customs, sayings and songs that the writer got acquainted with from childhood. He brightened folk fantasy with bright colors of his own fiction, saturated the work with subtle humor and inserted the images of his fairy tale into the frame of the picturesque Shchelykovo nature.

The Snow Maiden is a fairy tale about the beauty of a mighty, ever-renewing nature and at the same time about human feelings, about the people, their aspirations and dreams.

In this life-affirming work, Ostrovsky draws his ideal of social life, which defines fair, beautiful human relationships.

The playwright begins his tale with the meeting of Frost and Spring on Red Hill.

The builder of ice palaces, the owner and master of blizzards and snowstorms Frost is a poetic embodiment of winter, cold, chilling nature. Spring-Red, appearing accompanied by birds, is a warm breath and light penetrating into the kingdom of winter, the personification of all fertilizing power, a symbol of awakening life.

The Snow Maiden girl is a beautiful child of Frost and Spring. There is a cold in her soul - the harsh legacy of her father, but it also contains life-giving forces that bring her closer to her mother in Spring.

Frost and Spring gave the Snow Maiden, when she was 15 years old, to the suburban settlement of Berendeev Posad, the capital of Tsar Berendey. And now Ostrovsky draws before us the kingdom of happy Berendeys.

What prompted the poet to create the image of the fabulous Berendeev kingdom?

Ostrovsky obviously heard that in the Vladimir province there is a Berendeyevo swamp. A legend about the ancient city of the Berendeys was associated with him. This legend could have suggested to Ostrovsky the fantastic image of the Berendeev kingdom.

Russian village life, ancient rituals and customs, folk types, which Ostrovsky admired in Shchelykovo, helped him to recreate the appearance of cheerful Berendeys.

A remarkable feature of Ostrovsky's fairy tale is that it is fantastic and at the same time true, that in its conditional, bizarre images, the deep truth of human feelings is clearly seen.

Ostrovsky embodied in the Berendey kingdom the people's dream of a fairy-tale country where peaceful labor, justice, art and beauty rule, where people are free, happy and cheerful.

Tsar Berendey personifies folk wisdom. This is the “father of his land”, “intercessor for all orphans”, “guardian of the world”, confident that the light “is only held on by truth and conscience”. Berendey is alien to the bloody deeds of war. His state is famous for its labor, peaceful and joyful life. He is a philosopher, worker and artist. Berendey paints his chambers with a skillful brush, enjoys the luxurious colors of nature.

Berendey loves fun too. His close boyar Bermyata is a joker and wit, to whom the tsar entrusts the organization of folk amusements and games.

Ostrovsky admires in his fairy tale the common people - noble, humane, cheerful, tireless in work and fun.

Tsar Berendey, addressing the singing and dancing Berendeys, says:

The people are magnanimous

Great in everything: to interfere with idleness

He will not - to work so hard,

Dance and sing - so much, until you drop.

Looking at you with a reasonable eye, you say,

That you are an honest and kind people, for

Only the good and honest are capable of

Sing so loud and dance so boldly.

The inner world of the Berendeys is clearly revealed in their attraction to art. They love songs, dances, music. Their houses are painted with colorful paints and decorated with intricate carvings.

Berendei are distinguished by strong moral principles. They hold love in high esteem. For them, love is an expression of the best feelings of a person, his service to beauty.

Alexander Nikolaevich Ostrovsky

Snow Maiden

Spring Tale in four acts with a prologue

The action takes place in the country of the Berendeys in prehistoric times. Prologue on Krasnaya Gorka, near Berendeev Posad, the capital of Tsar Berendey. The first action in the suburban settlement of Berendeevka. The second act in the palace of Tsar Berendey. The third act in the protected forest. The fourth act in Yarilina Valley.

faces :

Spring-Red.

Father Frost.

Girl - Snow Maiden.

Goblin.

Pancake week- a straw man.

Bobyl Bakula.

Bobylikha, his wife.

Berendei both sexes and all ages.

Retinue of Spring, birds: cranes, geese, ducks, rooks, magpies, starlings, larks and others.

The beginning of spring. Midnight. Red hill covered with snow. To the right are bushes and a rare leafless birch; to the left, a solid dense forest of large pines and firs with branches hanging from the weight of the snow; in the depths, under the mountain, a river; Polynyas and ice-holes are lined with spruce forests. Across the river is Berendeev Posad, the capital of Tsar Berendey: palaces, houses, huts - all wooden, with fancy painted carvings; lights in the windows. Full moon silvers the whole open area. Roosters are crowing in the distance.

The first phenomenon

Goblin sits on a dry stump. The whole sky is covered with birds that have flown in from the sea. Spring-Red on cranes, swans and geese descends to the ground, surrounded by a retinue of birds.

Goblin

The roosters crowed the end of winter,

Spring-Krasna descends to the earth.

The midnight hour has come, Goblin's lodge

Guarded - dive into the hollow and sleep!

(Falls into a hole.)

Spring-Red descends to Krasnaya Gorka accompanied by birds.

Spring-Red

At the appointed hour in the usual sequence

I come to the land of the Berendeys,

Unhappy and cold greets

Spring its gloomy country.

Sad view: under the snow veil

Deprived of lively, cheerful colors,

Deprived of fruitful power,

The fields lie cold. In chains

Playful streams - in the silence of midnight

Their glassy murmur is not heard.

The forests stand silent, under the snows

The thick paws of firs are lowered,

Like old, furrowed brows.

In the raspberries, under the pines shy

Cold darkness, icy

Icicles amber resin

Hanging from straight trunks. And in the clear sky

As the heat burns the moon and the stars shine

Enhanced radiance. Earth,

covered with downy powder,

In response to their hello, it seems cold

Same shine, same diamonds

From the tops of trees and mountains, from gentle fields,

From the potholes of the road attached.

And the same sparks hung in the air,

Fluctuate without falling, flicker.

And everything is just light, and everything is just a cold shine,

And there is no heat. That's not how I'm greeted

Happy valleys of the south - there

Meadow carpets, acacia scents,

And the warm steam of cultivated gardens,

And a milky, lazy glow

From the matte moon on the minarets,

On poplars and black cypresses.

But I love midnight countries

I love their mighty nature

Wake up from sleep and call from the bowels of the earth

Begetting, mysterious force,

Carrying careless Berendei

Abundance lives unpretentious. Ljubo

Warm for the joys of love,

Clean up for frequent games and festivities

Secluded bushes and groves

Silk carpets of colored herbs.

(Turning to the birds that are shivering from the cold.)

Comrades: white-sided magpies,

Cheerful talkers-ticklers,

Gloomy rooks and larks,

Singers of the fields, heralds of spring,

And you, crane, with your friend the heron,

Beauties swans and geese

Noisy, and troublesome ducks,

And small birds - are you cold?

Even though I'm ashamed, I have to admit

Before the birds. I myself am to blame

What is cold for me, for Spring, and for you.

Sixteen years old for a joke

And amuse your fickle temper,

Changeable and whimsical, has become

Flirt with Frost, the old grandfather,

Gray-haired prankster; and since then

I am in captivity at the old one. The male

Always like this: give a little will,

And he will take everything, that's how it is

From antiquity. Leave a gray-haired

Yes, that's the trouble, we have an old daughter -

Snow Maiden. In the dense forest slums,

Returns in non-melting fritters

The old man his child. Loving the Snow Maiden

Pitying her in her unfortunate lot,

I'm afraid to quarrel with the old;

And he is glad of that - chills, freezes

Me, Vesna, and Berendey. Sun

Jealous looks at us angrily

And frowns at everyone and that's the reason

Cruel winters and cold spring.

Are you trembling, poor things? dance,

Get warm! I have seen many times

That dancing warmed people.

Though reluctantly, even from the cold, but dancing

Let's celebrate the arrival at a housewarming party.

Some birds are taken for instruments, others sing, others dance.

choir of birds

The birds were gathering
The singers gathered
Herds, herds.

The birds sat down
The singers sat down
Rows, rows.

And who are you, birds,
And who are you, singers,
Big ones, big ones?

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

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

In critical literature, the opinion has been expressed that the appearance of such a play was due to random circumstances: in 1873, the Maly Theater was closed for repairs, the troupe moved to the Bolshoi Theater building to occupy the artists of the drama and opera and ballet theater, the management decided to ask A.N. Ostrovsky to write an appropriate play. He agreed.

In fact, everything was more serious. The move of the Maly Theater was only an excuse, an impetus for the implementation of the theatrical genre conceived by Ostrovsky. The playwright's interests had long been associated with plays of this kind, folklore was his favorite and native element, and the folk extravaganza occupied his thoughts long before 1873 and much later.

“On a holiday,” he wrote in 1881, “every working person is drawn to spend an evening outside the home ... I want to forget the boring reality, I want to see a different life, a different environment, other forms of hostel. I want to see boyar, princely mansions, royal chambers, I want to hear heated and solemn speeches, I want to see the triumph of truth.

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

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

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

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

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

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

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

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

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

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

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

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

For a peaceful life, for relative freedom, for the opportunity to turn to the king in any difficult case, the Berendeys praise without any measure the wise father of their land. And the king takes this praise for granted.

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

Unhappy and cold greets
Spring its gloomy country.

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

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

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

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

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

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

He is convinced that the will of the king has no boundaries. When he decides to gather all the lovers and arrange a collective wedding on Yarilin's solemn day, and Bermyata doubts the possibility of such a holiday, the king exclaims in anger: What? What's wrong, motherfucker? Is it impossible to fulfill what the king desires? Are you in your mind?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

0 / 5. 0

Spring-Krasna, is it great to be back?

And are you healthy, Santa Claus?

Thanks,
My life is not bad. Berendei
This winter will not be forgotten
She was merry, the sun danced
From the cold in the morning dawn
And in the evening the month got up with ears.
I'll think about walking, I'll take a baton,
I will clarify, I will raise the silver of the night,
That's something I expanse and space.
By rich town houses
Punch in the corners
Creaking at the gates with strings,
Under the skids to sing
I love
Love, love, love.
From the fishing line along the path for a cart,
A creaky convoy hurries for the night.
I'm guarding the convoy
I'll run ahead
At the edge of the field, away,
On frosty dust
I lie down like a haze,
In the middle of the midnight skies I will rise with a glow,
I will spill, Frost,
Ninety stripes
I will scatter in pillars, innumerable rays,
Multicolored.
And the pillars jostle and spiral,
And under them the snows light up,
Sea of ​​light-fire, bright,
Roast,
Lush;
There is blue, there is red, and there is cherry.
I love
Love, love, love.
I'm even angrier about the early time,
At the ruddy dawn.
I will reach out to the dwellings from the ravines with glades,
I'll creep up, I'll crawl with fogs.
Smoke curls over the village
In one direction perishes;
I am gray fog
Freeze the smoke
How it stretches
So it will remain
Over the field, over the forest,
overweight,
I love
Love, love, love.

You didn’t feast badly, it’s time to
And on your way to the north.

Do not drive fast,
And I'll leave myself. Not happy with the old man
You quickly forget about the old.
Here I am, old man, always the same.

Everyone has their own habits and customs.

I'll leave, I'll leave, in the morning dawn,
In the breeze, I'll rush off to the Siberian tundra.
I'm a sable three on the ears,
I put a deer on my shoulders,
I hang my belt with trinkets;
Along the plagues, along the yurts of nomads,
According to the wintering quarters of the furriers
I go, I’ll leave, I’ll sham,
They will bow to my waist.
My dominion in Siberia is eternal,
There will be no end to it. Here Yarilo
Hinders me and you change me
On a stupid breed of idlers.
Only count the holidays and soar the bragi
Korchazhnye, yes cook buckets in forty
They know how to brew honey.
They ask the sun for spring warmth.
Why - ask? Do not suddenly take plow,
Not bad plow. Eves edit
Yes, frolic, stoneflies sing, in circles
Walk all night from dawn to dusk, -
They have one concern.

To whom
Will you leave the Snow Maiden?

Our daughter
At an age, without nannies will do.
Neither on foot nor on horseback
And there is no trace in her tower. The Bears
Oatmeal and seasoned wolves
Around the yard they walk on patrol; owl
On the top of a pine tree on a hundred-year-old night,
And in the daytime, capercaillie stretch their necks,
A passer-by, a passer-by is observed.

Longing will take between the owls and goblin
One to sit.

And the terem servant!
In the servants at her errands
Crafty fox-sivodushka,
Bunnies get cabbage for her;
Than the light runs on the marten's fontanel
With a jug; squirrels gnaw nuts,
Sitting down on his haunches; stoats
In the minions of the hay in her service.

Yes, all the longing, think, grandfather!

Work,
A wave of strands, a beaver edge
Sheath your sheepskin coat and hats,
Lines of motley reindeer mittens.
Sushi mushrooms, cranberries and cloudberries
Prepare about winter breadlessness;
From boredom, sing, dance, if there is a hunt,
What else?

Eh, old! The girl will
Sweetest of all. Neither your chiseled tower,
No sables, beavers, no mittens
Stitched are not expensive; on thought
The Snow Maiden girl has something else:
live with people; she needs girlfriends
Funny yes games until midnight,
Spring parties and burners
As long as you guys...

What while?

As long as she's funny that guys
Vieingly after her, they are eager for a fight.

And there will love one.

That's what I don't like.

Insane
And the bad old man! All living things in the world
Must love. Snow Maiden in captivity
Your own mother will not let you languish.

That's something you're inopportunely hot,
Chatty without a mind. You listen!
Take a moment of reason! Evil Yarilo,
The scorching god of the lazy Berendeys,
To please them, swore a terrible oath
Kill me wherever you meet me. It melts, it melts
My palaces, kiosks, galleries,
Fine work of jewelry,
Details the smallest carving,
The fruits of labor and intentions. Believe me
The tear will pass. Work hard, pore, artist,
Above the molding of barely noticeable stars -
And everything will go to waste. But yesterday
The bird-Baba returned from the sea,
Sat down on a wide open hole
And crying in the cold to wild ducks,
He scolds me abusively. Is it
My fault that it hurts in a hurry,
What from warm waters, without looking into the holy calendar,
Without time, it starts north.
Weaving, weaving, and the ducks cackled,
Neither give nor take women in the trading baths;
And what did I overhear! Between gossip
Such a speech was uttered by the bird-Baba, -
That, floating in the Lankaran Bay,
Whether in the Gilyan lakes, I don’t remember,
At the drunken ragged fakir
And the sun's hot conversation
I heard that like the sun
He is going to destroy the Snow Maiden; only
And waiting to plant in her heart
Beam the fire of love; then
There is no salvation for the Snow Maiden, Yarilo
Burn it, incinerate it, melt it.
I don't know how, but it will die. How long
Her soul is pure as a child,
He has no power to harm the Snow Maiden.