Lel is a Slavic deity of love or marriage. The image of Lel is not uncommon in the literature and art of this and subsequent periods ("Ruslan and Lyudmila" by Pushkin, "The Snow Maiden" by AN Ostrovsky, etc.). Since the 19th century. researchers deny the existence of such a deity or character among the Slavs. In many Slavic folk songs there is a refrain "Oh, lell-lado" or "Lada, lel-lyuli", which was not mistaken for the name of the deity, along with the image of the goddess Lada or Lado.
About Lele About Lele - the cheerful, frivolous god of passion - is still reminiscent of the word "cherish", that is, undead, to love. He is the son of the goddess of beauty and love Lada, and beauty gives rise to passion. This feeling flared up especially brightly in the spring and on the Kupala night. He was portrayed in the form of a golden-haired, like a mother, a winged baby: after all, love is free and elusive. Lel threw from the hands of a spark: after all, passion is fiery, hot love! He is the same as the Greek Eros or the Roman Cupid, only they hit the hearts of people with arrows, and Lel kindled them with his fierce flame. Frets
Folk legend "Magic pipe" In times immemorial there lived a silver-haired shepherd boy. His father and mother loved each other so much that they named the firstborn in the name of God. love passion- Lel. The boy played the flute beautifully, and the heavenly Lel, enchanted by this game, presented the namesake with a magic reed flute. Even wild animals danced to the sound of this flute, trees and flowers danced in circles, and the birds sang along with Lelya's divine game.
And then the angry beauty lay in wait for the moment when Lel, tired of the midday heat, dozed off in a birch forest, and imperceptibly took away from him the magic pipe. She took it away, and in the evening burned it at the stake - in the hope that the rebellious shepherd boy will now finally fall in love with her. But Svetana was wrong. Not finding his pipe, Lel fell into deep sadness, yearned, and in the fall he completely died out like a candle.
One of the main characters of the work is a seven-year-old girl named Lelia, represented by the writer in the image older sister Minky, a boy of five.
Lelya is described in the story as a tall thug with a huge appetite, adoring tasty sweets, characterized by impatience, a cunning mind, the ability to competently manipulate the feelings of people from whom she demands a fair attitude towards her.
The storyline of the story is built on the eve of the approaching Christmas holiday, which everyone is looking forward to, around a Christmas tree dressed up for the celebration. Children, entering the room, see a decorated symbol of the holiday, on which, in addition to funny toys and animals, sweet delicacies and treats are hung everywhere, in addition to funny toys and animals.
Lelya, seeing her favorite delicacies, does not hold back, takes off the snow-white marshmallow from the tree and instantly puts it in her mouth. Feeling the unique taste of sweetness, the girl's hand reaches for the bright candy, which is also eaten by Lelya. Little Minka, looking at the actions of his sister, who is the greatest authority for him, decides to also join the sweet eating, however, being the owner of short stature, Minka manages to get only an apple, which the boy begins to gnaw with extraordinary pleasure. Lelya, taking the opportunity not to share the most tasty morsel with her brother, continues to enjoy sweets and nuts, simultaneously removing a large shimmering firecracker from the Christmas tree.
Minka, who is tired of the apple, decides to also get something from the sweets, therefore, taking a chair and standing on it, reaches for the sweets hanging high, but at that moment, losing his balance, the boy falls down with a crash.
The mother rushed in, shocked by the actions of the children and, together with the angry dad, punishes the naughty ones, depriving them of Christmas gifts, which are given to other children who have come to visit them.
Telling about his childhood memories, the writer, using the example of naughty and daring children, emphasizes for the younger generation the need to listen to the advice of their elders, without challenging the correctness and fairness of their actions.
Several interesting compositions
- Composition based on the comedy Inspector Gogol, grade 8
Plunging into the work of Gogol, one can easily be surprised by his mystical works like "Evenings on a farm near Dikanka", but Nikolai Vasilyevich did not stop at only mystical stories
- Vereshchagin V.V.
Battle painter, nobleman by birth. He studied at the Academy of Arts for three years. The whole life of V.V. Vereshchagin travels - France,
- Composition The Image of the Zaporizhzhya Sich in the story of Taras Bulba Gogol Grade 7
N.V. Gogol's roots from Ukraine. His works say a lot about his homeland. About her nature, about her traditions, about her people.
- Composition reasoning Victory over fear gives us strength
Fear kills ... It is he who makes many retreat before the first troubles. When a person fights for his goal, he is often prevented from achieving it by various adversities, the fear of which overcomes the desire to achieve what he wants.
- The meaning of the title of the work The Fate of a Man Sholokhov
In this story, Mikhail Sholokhov shows, no matter how difficult it is, you need to remain human. The author makes it clear that it was not captivity, not the loss of loved ones, did not break a person.
Opera in four acts with a prologue by N. A. Rimsky-Korsakov to the composer's libretto, based on the play of the same name by A. N. Ostrovsky.
Characters:
In the prologue
Spring is red Mezzo-soprano
Father Frost Bass
Snow Maiden Soprano
Goblin Tenor
Pancake week(straw stuffed animal) Bass
Bean Bakula Tenor
Bobylikha, his wife Mezzo-soprano
Spring retinue, birds: cranes, geese, ducks, rooks, magpies, starlings, larks and others. Berendeys of both sexes of all ages.
At the opera
Tsar Berendey Tenor
Bermyata, melee boyar
Spring is red Mezzo-soprano
Snow Maiden Soprano
Bean Bakula Tenor
Bobylikha Mezzo-soprano
Lel, shepherd Alt
Kupava, young girl, daughter
rich Slobozhan
Misgir, shopping guest
from Posad Berendeev Baritone
The first privet Bass
Second privet Tenor
Tsar's youth Mezzo-soprano
Goblin Tenor
Boyars, boyars and the tsar's retinue, blind guslars, buffoons, gudochniks, pipers, shepherds, boys and girls, berendeys of any rank, of both sexes, goblin, flowers - Spring's retinue.
Time of action: prehistoric times.
Scene: the country of the Berendeys.
History of creation
The circumstances of the creation of "Snegurochka" are well known. N. A. Rimsky-Korsakov himself told about them in the "Chronicle of my musical life". A. N. Ostrovsky's fairy tale "The Snow Maiden" was first read by Rimsky-Korsakov around 1874, when it had just appeared in print. The composer later recalled that then he did not like it much, and the kingdom of the Berendeys seemed strange. In the winter of 1879/80, he read it again, and this time "as if he saw its amazing beauty." The composer had a thick book made of music paper and he began to write down musical thoughts that came into his head in the form of sketches. Inspired by the new plot, Rimsky-Korsakov went to Moscow to meet with Ostrovsky and ask him for permission to use his work as a libretto with the right to make changes to the drama necessary when working on the opera. The playwright received the composer very kindly, gave him the right to properly dispose of the text and even presented him with a copy of his fairy tale.
The summer of 1880 Rimsky-Korsakov spent in the village of Stelevo. This was his first summer in a real Russian village. And everything - the landscape, the singing of the birds, the setting - extraordinarily inspired him to this work. He worked all day, "musical thoughts and their processing haunted me relentlessly" - the composer later wrote. He recorded the progress of work literally by day: the beginning on June 1 (the introduction to the prologue was written), the end - on August 12 (the final chorus). No work was given to him with such ease and speed as The Snow Maiden. “Nobody knew about the composition of The Snow Maiden,” the composer wrote, “because I kept this matter a secret, and by announcing the completion of the sketch to my loved ones upon my arrival in Petersburg, I thereby surprised them a lot.” The composer spent another six months on the instrumentation of the opera, and, finally, on February 10, the opera was performed at the Mariinsky Theater in St. Petersburg. Since then, it has remained one of the composer's most beloved creations by the public.
In "The Snow Maiden" N. Rimsky-Korsakov very subtly conveyed the folk character of the music. Of the truly folk melodies that sound in "The Snow Maiden", one can name "The eagle voivode, the clerk's quail" (in the dance of birds), in the choir "Cheerfully meet you, greet you" (in the farewell to Shrovetide), the melody of the song "And we are waiting for Shrovetide" is used. the song "Ai, in the field is lipenka" sounds in the choruses of actions I and III, Bobyl's song "The beaver was swimming" is borrowed from the folk song "Oh, fell, young powder fell."
Besides quoting Russians folk songs and melodies, the composer composed many of his own motives, which are very naturally perceived "as folk". There are even known reproaches from some modern critics, who asserted that this or that motive is popular, while it was an invention of Rimsky-Korsakov himself. It even got to the point that the opinion was expressed that the composer was not able to write in this style himself. These reproaches irritated the composer with their injustice. In response to one of them, in which the critic claimed that Lel's third song was written in a folk tune, the composer could not resist and answered in writing (in the same newspaper Novoye Vremya, in which the critic's article was published): "Melody" Songs of Lel "Not folk, but my composition, but if the author of the review knows a folk motive that is identical with it, then I would ask you to point it out to me, which would be extremely interesting for me, as I was involved in a lot of folk songs."
In this regard, it is appropriate to quote Rimsky-Korsakov's statement, which has a fundamental character: “As far as creating melodies in the folk spirit is concerned, it is undoubted that such should contain melodies and turns, contained and scattered in various genuine folk melodies. Lead things can generally resemble one another, if none of the components of the first one resembles one component part second? The question is: if not a single particle of the created melody resembles a single particle of a genuine folk song, can it be a whole to resemble folk art? "
Plot and music
The beginning of spring. The orchestral introduction paints a picture of the last winter night. The red hill (the fabulous place where the action takes place) is covered with snow. The place around is dense: to the right there are bushes and a rare leafless birch forest, to the left a dense dense forest of large pines and spruces, the branches bent under the weight of the snow lying on them. In the depths, under the mountain, a river flows. Across the river Berendeyev Posad, the capital of Tsar Berendey: palaces, houses, huts, all wooden with intricate painted carvings; there are lights in the windows. The full moon gives silver to the entire open area. Roosters are crowing in the distance. Goblin sits on a dry tree stump. Surrounded by a retinue of birds, Spring-Red falls to the ground. The forest is still sleeping under the snow and frost reigns everywhere. Fifteen years ago, Spring and Frost gave birth to a daughter, Snegurochka, and since then the angry Yarilo-Sun gives the earth little light and warmth. The goblin states that “the roosters crowed at the end of winter, Spring-red descends to the ground, the goblin has defended the hut, dive into the hollow and sleep!” With these words, he falls into a hollow. In the orchestra you can hear the crowing of a rooster, chirping, chirping of birds, and the crowing of a cuckoo. Spring-Red sings her recitative and aria "At the appointed hour, I appear in the usual order to the land of the Berendei." In the next second recitative, Vesna tells the birds - white-sided magpies, sullen rooks and larks, a crane and his friend the heron, beautiful swans and geese and little birds (this is how she addresses them) - that sixteen years ago she began to flirt with Frost, the old grandfather, gray-haired prankster. And now their daughter appeared - the Snow Maiden. "Loving the Snow Maiden, pity her in an unhappy lot, I am afraid to quarrel with the old one." That is why Spring is slow to come into its own. The birds are cold, and Spring advises them to dance to keep warm, as humans do. The song and dance of birds sounds "Birds gathered, songwriters gathered in herds, herds."
Frost begins to fall on the dancing birds from the forest, then snow flakes, the wind rises, clouds come in, cover the moon, the distance is completely covered with darkness. Birds huddle with a cry for Spring. Santa Claus comes out of the forest - having found out about the arrival of Spring, he himself granted her to meet her. In the orchestra, his harsh sullen melody sounds. Grandfather Frost starts his daring song ("To beat the rich townsmen's houses in the corners"), in which he boasts of his winter exploits.
“Thou art a feast, it’s time for you to go to the north” - Vesna addresses with her first words to Santa Claus. He promises to leave Vesnedey countries. But for whom the Snow Maiden will remain, Spring is worried. They discuss what to do. Santa Claus knows that the Sun is going to destroy the Snow Maiden, and is just waiting to send the fire of love into her heart with its ray. Reluctantly, the parents decide to send the Snow Maiden to the village of Berendey.
Santa Claus calls the Snow Maiden. She emerges from the forest. Spring greets her affectionately and asks if she wants to hate her? Of course, the Snow Maiden wants to. She is attracted by human songs, the Snow Maiden answers. She sings about her desire to live with people in a touching aria "Walking with her friends on a berry, to their cheerful response to their call:" Hey, ay! ". She mentions Lelya. This worries Santa Claus. He asks her about him and Snegurochka in an amazing arietta “I Heard, I Heard” admits that “I am ready to listen to his shepherd songs day and night; you listen and melt.” Santa Claus is alarmed by these words of hers. "Run away from Lel! Fears and songs!" - Father Frost instructs Snegurochka. Frost and Spring say goodbye to Snegurochka and instruct Leshem to follow Snegurochka and especially protect her from Lel.
A crowd of merry berendeys approaches, escorting Shrovetide; their chorus begins to sound backstage. At this time, a touching episode of the farewell of Santa Claus and Spring with the Snow Maiden takes place on the stage. The snowstorm is subsiding, the clouds are fleeing. It becomes clear as at the beginning of the action. Crowds of Berendeys fill the stage. Some are carrying a sleigh with a stuffed Shrovetide, others are watching it. The Snow Maiden is standing behind the bushes, near the hollow of Leshy. The chorus of the Berendeevs sings goodbye to Shrovetide ("Early, early the hens began to sing, they announced about spring. Goodbye, goodbye, goodbye, Shrovetide"). Bobyl and Bobylikha notices Snegurochka emerging from the forest. To their questions about who she is, Snegurochka says her name and asks them to take her with them. Bobyl and Bobylikha are very happy and take Snegurochka away. Leaving to the people, she says goodbye to her parents and to the forest. Voices from her answer her. forests and trees and the bushes bow to her. This terrifies the Berendei, and she scatters with cries of "Ay, ay".
Zarechnaya settlement Berendeevka; on the right side the poor Bobyl's hut with a crooked porch, in front of the hut is a bench; on the left side there is a large painted Kupava hut. In the depths there is a street, across the street there is a Khmelnik and an Apiary; between them there is a path to the river. Evening. The horns of the shepherds are heard (in the orchestra a solo of woodwind). Slobozhanians converge. Bobyl is among them. Lel appears, playing the horn. The bean Bakula with a sign invites him to his place for the night. For a warm welcome, Lel is ready to sing her songs. Bobyl is not too greedy for them and invites Lel to sing for the Snow Maiden. Lel agrees to sing to the Snow Maiden for a kiss. This payment seems to the Snow Maiden to be insignificant, because, as she says, "when we meet, when we say goodbye, I kiss everyone I am." Then Lel asks for a flower for the song, and the Snow Maiden gives it to him.
Lel sings her first - a drawn-out - song ("Countryman-berry has grown under a bush"). The Snow Maiden, almost crying, puts her hand on Lel's shoulder. Then Lel starts her second - dance - song ("How the forest rustles through the forest"). He finishes singing and sees several girls in the back of the stage beckon him to her (their short chorus "Lel, Lel!" Sounds). Lel throws the flower and rushes to her girlfriends. The Snow Maiden is offended and perplexed. Lel leaves, playing the horn. The Snow Maiden is sad. She sings her arietta "How It Hurts Here!"
Kupava appears, she sympathizes with the Snow Maiden, but she has no time to indulge in this feeling for a long time - today her fiancé Mizgir comes to the settlement. Indeed, Mizgir and two of his servants appear in the distance. Here they come in with sacks, in which, as it turns out later, money and gifts. The girls and Lel return. Kupava runs and hides between the girls. Mizgir asks the girls if Kupava is hiding among them. The ceremony of redemption of the bride begins. The girls are singing the wedding song "That is not pava". Misgir gives gifts to everyone. Kupava goes to Mizgir, she calls the Snow Maiden to join their fun. Suddenly Mizgir casts a glance at the Snow Maiden. Unable to look away from the young beauty, Misgir immediately decides to stay with the Snow Maiden. Kupava's short-lived happiness immediately ended. She is in despair and demands that the Snow Maiden "give her friend back." She would be glad to do it and asks Mizgir to leave, but he is adamant. To Kupava, he declares that there is no return for the setting sun, and there is no return for extinguished love. He begs the Snow Maiden to love him. Mizgir appeases Bobyl and Bobylikha to drive away Lel, in whom he sees his rival.
Kupava summons the people (the whole stage is filled with girls and boys). Everyone condemns Mizgir for treason. Mizgir confesses that he now loves Snegurochka, and Kupava throws offensive words, reproaching her that she could give another with the same caresses that she gave him. The insulted girl runs to the river to drown herself. She, almost insensitive, can hardly be restrained by Lel. Everyone convinces Kupava to go seek help from the wise king Berendey
Open canopy in Berendey's palace; in the depths, behind the chiseled balusters of the passages, one can see the tops of the garden's trees, carved wooden turrets and towers. Tsar Berendey sits on a golden chair and paints one of the pillars; a little further away are blind guslars with gusli. The tsar's youths stand at the passages at the door.
The action begins with the song of the blind guslars ("Prophetic sonorous strings rumble loud glory to Tsar Berendey"). The singing of the guslars is reminiscent of old epic tunes.
Bermyata, the closest confidant of Tsar Berendey, enters. His speeches of praise to the tsar are immediately suppressed - for fifteen years now he, tsar Berendey, has not seen prosperity in his kingdom: “Our summer is short, it becomes shorter from year to year, and springs are colder. Yarilo is angry with us! " The king says with sadness and anxiety:
In the hearts of people I noticed I will cool;
I do not see the fervor of love in them,
The service to beauty disappeared in them,
But completely different passions are seen.
Then Bermyata tells the tsar about the appearance of some Snow Maiden, because of whom "all the guys fought." And now one girl asks to "bring in a petition." The king admits Kupava to him. A boy introduces her, and she falls to her knees before the king. She cries and tearfully complains about her fiancé Mizgir and the Snow Maiden, who separated her from her fiancé. Berendey laments the fate of Kupava. He orders to convene the people and put Mizgir to the court of the kings.
The cry of two privet ones from the tower sounds. Under a solemn and at the same time a fabulous toy march, the people gather: courtiers, boyars, youths emerge from the inner chambers; from the outer doors and from the stairs - the people; here is Lel. The minions bring Mizgir. Bermita accommodates the courtiers, the people sing (a capella) the hymn of the Berendei. At the end of the procession, Berendey himself appears. The trial of Mizgir begins. He does not try to justify himself, and to Berendey's demand to marry Kupava, he stubbornly replies that he has only one bride - the Snow Maiden. Berendey condemns Mizgir to eternal exile - to the desert, to the forest. Mizgir asks for only one thing - to look again at the Snow Maiden. Snegurochka enters, and with her Bobyl and Bobylikha. Naively and innocently greets the Snow Maiden Berendey - she has never seen the Tsar before. And he, struck by her beauty, sings his famous Cavatina "Full, full of miracles, mighty nature" - a philosophical reflection on the unpredictability of the phenomena of the miraculous gifts of mighty nature. And so Tsar Berendey understands the reason for Yarila-Sun's anger: the Snow Maiden does not know love. And Berendey announces: the young man who will make the Snow Maiden fall in love with himself before dawn will receive her as his wife. The young men are silent - everyone knows the coldness of the Snow Maiden. Then the tsar turns to the Berendeys, and they answer that only Lel is able to "inspire love in a girl." In turn, Mizgir asks the tsar to postpone his exile: he swears that he will light the "Snow Maiden's untouched heart" with love. Berendey calms down and encourages his subjects to gather on the last day of spring in the reserved forest for games and songs. And at dawn, greet Yarilin the day that begins summer.
A spacious clearing in the forest; there is a continuous forest on all sides of it. There are low bushes on both sides in front of the forest. In the distance, between the bushes, one can see rich tents. The evening dawn is dying out. Young berendeys lead round dances, one circle closer to the audience, another at a distance. Girls and guys in wreaths. Old men and women sit in small groups under the bushes and treat themselves to homemade mash and gingerbread. Kupava walks in the first round. In the middle of the first circle Lel and Snegurochka. Misgir, not taking any part in the games, is shown among the people, then goes into the forest. The boby dances to the bagpipes. Bobylikha and several neighbors are sitting around and drinking beer. The king with his retinue looks at the players from afar.
The orchestral introduction to the third act is the melody of the old "Lipenka" ("Ay, in the field, ay, in the field, ah in the field, lipenka, ay in the field, lipenka") - a song that the girls sing and dance to when the curtain rises ... It is replaced by the daring dance song "About the Beaver", which Bobyl sings and dances. Boys and girls stop dancing and all crowd around the dancing Bobyl.
King Berendey comes to the forest with his retinue. He wants to look at young people, at their games. He sings his second cavatina ("A happy day passes"), at the end of which he invites everyone to one more fun: "buffoons; somersault, break, fools! "
The buffoons run out. The Dance of the Buffoons is a virtuoso symphonic episode replete with bright orchestral colors and captivating rhythms. He is often included in popular symphonic music concerts. In a theatrical production, this episode is an occasion for the choreographer to demonstrate his imagination. (True, there has always been a danger of dances being abused in The Snegurochka. N. Cherepnin, invited in 1908 to Paris to observe and consult during the staging of The Snegurochka there, wrote to N. A. Rimsky-Korsakov from there: “... stage rehearsals were danced everywhere. I even began to doubt whether the ballet The Snow Maiden (...)
Inviting the buffoons, Tsar Berendey also said: "And there, goodbye, Lel is handsome, to finish the day, sing a song to us." And so, after the dance of the buffoons, Lel, accompanying herself on the horn (in the orchestra, this melody sounds at the clarinet), sings her third song ("The cloud conspired with thunder"). Berendey liked the song, and as a reward for it, the tsar invites Lel to choose his girlfriend. Lel goes to the girls, for a moment, as if in indecision, he lingers near the Snow Maiden, but then goes to Kupava, chooses her and leads through the whole stage to the Tsar; coming close, he kisses her. The Snow Maiden runs away in tears into the bushes. The king wishes everyone to have fun and leaves with all his retinue. All the others gradually diverge.
The Snow Maiden is left alone. She wanders sadly through the woods, engulfed in jealousy. In her arioso ("Good-looking Lel, don't you feel sorry for the Snow Maiden") she turns to the shepherd with naive reproaches. But Lelya is not, and instead of him Mizgir appears before her. He takes her hand, but she resists. Captivated by the beauty of the Snow Maiden, he stubbornly pursues her, seeking reciprocity. Finally, he kneels in front of her. But the words and tears of Mizgir terrify the Snow Maiden, she tries to pull her hand away. Overwhelmed with love passion, Mizgir inspiredly sings to the Snow Maiden his arioso "On the warm, blue sea", in which he offers priceless pearls for the love of the Snow Maiden. But the Snow Maiden also refuses to accept this gift. Furious Misgir rushes to Snow Maiden. The Snow Maiden is trying to break free. Goblin appears, to whom Grandfather Frost ordered to take care of the Snow Maiden. He stops Mizgir. The Snow Maiden runs away into the forest, Misgir rushes after her, but Leshy turns into a dry stump, and wherever Misgir rushes, a forest grows out of the ground in front of him (in the orchestra this is masterfully conveyed by the appearance of more and more new motives at an ever-accelerating pace). The Leshy appears again, he teases Mizgir with the ghost of the Snow Maiden. Bushes and trees take on fantastic images that change. Eventually, the ghost disappears. Misgir runs after him. The glade takes its former form.
Lel enters. Then Kupava appears and, seeing Lelya, rushes to him. Lel saved her. She is grateful to him for the fact that with a kiss he equated her, forgotten, with everyone. Their love duet sounds.
The Snow Maiden wanders between the bushes. She becomes an unwitting witness to the love scene of Kupava and Lelya. In great excitement, she runs out of the bushes and throws her own reproach to Kupava: “The homewoman! This is your word! You yourself called me a homeless woman, but you yourself parted from Lel! " And here Lel says the most bitter words to the Snow Maiden: “Snow Maiden! Eavesdrop on Kupava's hot speeches more often; time to find out for you how the heart speaks, when it lights up with love. Learn to love from her and know that Lelia does not need children's love. Goodbye!" Struck by these words, Snegurochka remembers her last hope - mother Vesna. She will poison herself with the last prayer: "Give me your girl's heart, mom ... Give me love - or take my life!"
The fourth act begins with an orchestral introduction. When the curtain rises, the viewer sees a lake in the Yarilina Valley. Early morning. The lake is overgrown with sedge and aquatic plants with luxurious flowers. On the banks of the bushes, too, with flowers hanging over the water. On the right side of the lake there is a bare Yarilina mountain with a sharp top. Spring rises from the lake, all surrounded by flowers. The Snow Maiden turns to her with a passionate prayer: "O mother, give me love, I ask for love, a girl's love!" And Vesna agrees, goodbye, to comfort the Snow Maiden with this great, but so fatal gift for her.
Now the Snow Maiden knows the feeling of love, and a new meeting with Mizgir ignites her with a reciprocal passion. But she is afraid of Yarila's rays and begs Mizgir to save her, to hide her from the sun. Misgir does not understand the reasons for her fear; he wants to introduce the Snow Maiden to Tsar Berendey as his wife.
The dawn is already blazing. The Berendeis are heading for the sacred Yarilina valley: the old tsar, followed by the grooms and brides. Snow Maiden and Misgir become under the shade of a bush. Guslars play the harp and shepherds play the horns. Having descended into the valley, the people are divided into two sides. Everyone looks to the east expectantly, and at the first rays of the sun they sing a chorus - the Russian folk song “And we sowed millet”: girls on one side, boys on the other. The grooms take the brides and present them with a bow to the king. King Berendey blesses them. Misgir also brings Snow Maiden to the Tsar. The Snow Maiden confirms - and says that she can do it a hundred times - that she loves Mizgir. At this moment, a bright ray of the sun cuts through the morning fog and falls on the Snow Maiden (the leitmotif of Yaril-Sun is powerful in the orchestra). The Snow Maiden is scared: “What's wrong with me? Bliss or death? " The Snow Maiden realizes that she is dying. N.A.Rimsky-Korsakov put all his genius talent into the dying aria of the Snow Maiden. Everything in it is the ecstasy of love, longing, delight and hopelessness. With horror, Mizgir and the Berendei sees that "like spring snow she melts before the Sun and the girl of the Snow Maiden is gone." Misgir is in despair: "This is a cruel fate joke." And true to his word - to die with the Snow Maiden - he throws himself into the lake.
And again King Berendey, who is also the high priest, explains the great significance of what happened: “For fifteen years the Sun was angry with us; now with her miraculous passing, Frost's intervention has ceased. " And the king orders Lelya to sing a song of praise to Yarila-Sun. The final chorus (in a unique musical scale - 11/4) - the song of Yarila the Sun - sounds, everyone's gazes are directed to the east. At the top of the mountain, for a while ("for eight bars" - remark by N. A. Rimsky-Korsakov) the fog dissipates and Yarilo is shown in the form young guy in white clothes; in his right hand is a luminous human head, in his left - a sheaf of rye. Apotheosis: "Light and strength, god Yarilo, our red sun, you are not more beautiful in the world!" At a sign from the king, the servants carry whole bulls and rams with gilded horns, barrels of honey, various dishes and all the accessories of the feast. Thus ends this fairy tale opera.
© AlexanderMAIKAPAR
Lel or Lelia, Lello, Lubich, in the mythology of the ancient Slavs, the god of love passion. About Lele - this cheerful, frivolous god of passion - is still reminiscent of the word "cherish", that is, undead, to love. He is the son of the goddess of beauty and love Lada, and beauty naturally gives rise to passion. This feeling flared up especially brightly in the spring and on the Kupala night. Lel was portrayed in the form of a golden-haired, like a mother, a winged baby: after all, love is free and elusive. Lel threw from the hands of a spark: after all, passion is fiery, hot love! In Slavic mythology, Lel is the same god as the Greek Eros or Roman Cupid. Only the ancient gods hit the hearts of people with arrows, and Lel kindled them with his fierce flame.
The stork was considered his sacred bird. Another name for this bird in some Slavic languages- leleka. In connection with Lel, both cranes and larks were revered - symbols of spring.
MAGIC PIPE
In times immemorial, there lived a silver-haired shepherd boy. His father and mother loved each other so much that they named the firstborn the name of the god of love passion - Lel. The boy played the flute beautifully, and the heavenly Lel, enchanted by this game, presented the namesake with a magic reed flute. Even wild animals danced to the sound of this flute, trees and flowers danced in circles, and the birds sang along with Lelya's divine game.
And then the beautiful shepherdess Svetana fell in love. But no matter how she tried to kindle passion in his heart, it was all in vain: Lel seemed forever carried away by his magical power over nature and did not pay any attention to Svetana. And then the angry beauty lay in wait for the moment when Lel, tired of the midday heat, dozed off in a birch forest, and imperceptibly took away from him the magic pipe. She took it away, and in the evening burned it at the stake - in the hope that the rebellious shepherd boy will now finally fall in love with her.
But Svetana was wrong. Not finding his pipe, Lel fell into deep sadness, yearned, and in the fall he completely died out like a candle. They buried him on the river bank, and soon a reed grew around the grave. He sang sadly in the wind, and the heavenly birds sang along with him.
Since then, all shepherds skillfully play reed pipes, but are rarely happy in love ... 
Lelya
Lelia or Lyalya, in Slavic mythology, the goddess of spring, the daughter of the goddess of beauty, love and fertility Lada. According to myths, it was inextricably linked with the spring rebirth of nature, the beginning of field work. The goddess was imagined as young, beautiful, slender and tall girl... B.A. Rybakov believes that the second goddess depicted on the Zbruch idol and holding a ring in her right bow is Lada. In folklore, Lada is often mentioned next to Lelya. The scientist compares this pair: mother-daughter with Latona and Artemis and with Slavic women in labor. Rybakov associates two horsemen in Russian embroidery, sometimes with a wooden plow behind them, located on either side of Mokosh, with Lada and Lelya.
The spring spell song contains the following words dedicated to Lele-Spring:
Eat Spring, Eat.
On golden horses
In the green say
On a plow gray
Cheese the ground of aruchi
Right hand seyuchi.
The cycle of spring rituals began on the day of the arrival of the larks - March 9 (March 22 in the new style). People met birds, going to the tops of the hills, kindling fires, boys and girls danced in circles. There was also a special maiden holiday - lalnik - on April 22 (May 5). The most beautiful girl, crowned with a wreath, sat on a sod bench and played the role of Lelia. Offerings (bread, milk, cheese, butter, sour cream) were placed on either side of it. The girls danced around the solemnly seated Lelia. 
The existence of the goddess Lelya and the god Lelya is based solely on the chorus of wedding and other folk songs - and modern scholars have deleted Lelya from among the Slavic pagan gods. Chorus, in different forms- lelyu, lelyo, lely, lyuli - found in Russian songs; in Serbian "Kralitsky" songs (Trinity) magnificant ones related to marriage, it is found in the form of a lele, a lele, in the Bulgarian great and Lazar - in the form of a lele. Thus, the chorus goes back to antiquity.
The old Polish refrain lelyum (if it really existed in this form with "m") Potebnya explains through the addition of lelyu with "m" from the dative case "mi", as in the Little Russian "schom" (instead of "shho mi"). In the refrain, "polelum" (if it is correctly conveyed by Polish historiographers) "po" can be a pretext; Wed Belarusian choruses: lyuli and about lyulyushki "(Shane" Materials for the study of everyday life and language of the Russian population of the North-West Territory "). Considerations about the etymological meaning of the refrain to lelyu were expressed by Vs. Miller (" Essays on Aryan mythology "). 
Among the Slavic runes, there is also a rune dedicated to the goddess Lele:
This rune is associated with the element of water, and specifically - Living, flowing water in springs and streams. In magic, the rune Lelya is the rune of intuition, Knowledge outside Mind, as well as - spring awakening and fertility, flowering and joy.
http://godsbay.ru/slavs/lel.html
http://godsbay.ru/slavs/lela.html
http://dreamworlds.ru/intersnosti/11864-slavjanskie-runy.html
FEDERAL EDUCATION AGENCY
STATE EDUCATIONAL INSTITUTION
HIGHER PROFESSIONAL EDUCATION
"ALTAI STATE PEDAGOGICAL ACADEMY"
FACULTY OF PHILOLOGY
DEPARTMENT OF THEORY, HISTORY AND METHODS OF TEACHING LITERATURE
‹Tile Snow Maiden ›› A.N. Ostrovsky and folk tale
At the rate ‹“ Oral folk art ››
1st year students of group 203 Kholmetskaya N.P.
Barnaul 2010
Ostrovsky's work "The Snow Maiden" is an amazing fairy tale, which shows the beauty of the surrounding world, love, nature, youth. The work is based on folk tales, songs, traditions and legends. Ostrovsky only combined fairy tales, legends and songs together and gave folk art a very peculiar flavor. In The Snow Maiden, the main place is occupied by human relations. At first glance, the plot looks absolutely fantastic. But then it turns out that living human characters are visible in this phantasmagoria.
Where did the Snow Maiden come from? There is still no exact answer. But there are many variants of its origin.
The image of the fairytale heroine Snow Maiden formed in the popular mind gradually over the centuries. Initially, it appeared in Russian folk tales as the image of an ice girl - a granddaughter, who was blinded from the snow by a childless old man and an old woman for consolation, and for the joy of people. However, there is an assumption that the tale of the Snow Maiden arose on the basis of the ancient Slavic rite of the funeral of Kostroma. And so it can be argued that Kostroma is not just the birthplace of the Snow Maiden - she is that very Snow Maiden.
Kostroma was depicted in different ways: it was either a young woman wrapped in white, with an oak branch in her hands, accompanied by a round dance, or a straw effigy of a woman. Kostroma means the game character and the game itself, at the end of which Kostroma falls ill and dies, and then gets up and dances. The final episode of the game and the ceremony, the death and subsequent resurrection of Kostroma, gave rise to the perception of the image of Kostroma as a seasonal spirit (the spirit of vegetation), which makes it akin to the image of the Snow Maiden.
In the fairy tale "Little Snow Maiden" by V. I. Dahl, an old man and an old woman watched other people's guys, "how they roll lumps out of the snow, play snowballs" and decided to blind their daughter. “The old man brought a lump of snow into the hut, put it in a pot, covered it with a rag and put it on the window. The sun came up, the pot warmed up, and the snow began to melt. " So there was a girl "white as a snowball and round as a lump."
The fabulous Snow Maiden melts, jumping with her friends over a large hot fire, and turns into a small cloud flying into the sky.
Over time, the image of the heroine was transformed in the popular consciousness: the Snow Maiden becomes the granddaughter of Santa Claus and is associated with the Christmas and New Year holidays.
The Snow Maiden is a purely Russian phenomenon and nowhere else in the world does such a character appear on the New Year and Christmas holidays.
The image takes on a new color under the influence of A. N. Ostrovsky's spring fairy tale The Snow Maiden. From a little girl - a granddaughter, the heroine turns into a beautiful girl, capable of igniting the hearts of young Berendei with an ardent feeling of love.
The action takes place in a fabulous place - the kingdom of Berendey. Describing the laws of this country, Ostrovsky seems to be drawing his ideal of social structure. In the kingdom of Berendey, people live according to the laws of conscience and honor, they try not to arouse the anger of the gods. Here is very great importance is given to beauty. The beauty of the surrounding world, the beauty of girls, flowers, songs are appreciated. It is no coincidence that the singer of love Lel is so popular. He kind of personifies youth, ardor, ardor.
Tsar Berendey symbolizes folk wisdom. He has lived a lot in the world, so he knows a lot. The king worries about his people, it seems to him that something unkind appears in the hearts of people:
In the hearts of people I noticed I will cool
Considerable; fervor of love
I have not seen at the Berendeys for a long time.
The service to beauty disappeared in them;
I do not see the eyes of youth,
Moistened with enchanting passion;
I do not see the brooding maidens, deeply
Sighing. On the eyes with a drag
There is no sublime love longing,
But completely different passions are seen:
Vanity, envy of other people's outfits
Etc.
What values does King Berendey think about? He is not worried about money and power. He cares about the hearts and souls of his subjects. Painting the tsar just like that, Ostrovsky wants to show the perfect picture of a fairy-tale society. Only in a fairy tale can people be so kind, noble and honest. And this intention of the writer in depicting a fabulous ideal reality warms the soul of the reader, makes him think about the beautiful and the sublime.
Indeed, the fairy tale "Snow Maiden" is read with enthusiasm at any age. And after reading it, the thought appears about the value of such human qualities as spiritual beauty, loyalty and love. Ostrovsky speaks of love in many of his works.
But in The Snow Maiden, the conversation is conducted in a very special way. In the form of a fairy tale, the reader is presented with the great truths about the enduring value of love.
The ideal kingdom of the Berendei lives so happily precisely because it knows how to value love. That is why the gods are so merciful to the Berendei. And it is worth breaking the law, insulting the great feeling of love, for something terrible to happen.
I have lived for a long time, and the old order
They are well known to me. Berendei,
Loved by the gods, they lived honestly.
Without fear, we instructed the guy to the daughter,
A wreath for us is a guarantee of their love
And loyalty to death. And never
The wreath was not desecrated by treason,
And the girls knew no deception,
They did not know the insult.
It is no coincidence that Mizgir Kupava's betrayal caused such pain in everyone around him. Everyone took the guy's ignoble behavior as a personal insult:
Resentment to everyone
An insult to all the Berendey girls!
In the kingdom, simple but wonderful relationships have been developing between people for a long time. The deceived girl Kupava, first of all, appeals to the protector king with a request to punish the culprit of her grief. And having learned all the details from Kupava and those around him, the king renders his verdict: the guilty must be punished. What punishment does the king choose? He orders to drive Mizgir out of sight. It is in exile that Berendei see the most terrible punishment for a guilty person.
Honest people, worthy of the death penalty
His fault; but in our box
There are no bloody laws; may the gods
Execute him in proportion to the crime,
And we are the people's court Mizgir
We condemn eternal exile.
There are no bloody laws in the kingdom. This could only be in a fairy tale created by the writer's imagination. And this humanity makes the kingdom of the Berendeys even more beautiful and pure.
The figure of the Snow Maiden is remarkable. She is completely different from everyone around. The Snow Maiden is a fairy-tale character. She is the daughter of Frost and Spring. That is why the Snow Maiden is a very contradictory creature. Coldness in her heart is the legacy of her father, stern and gloomy Frost. Long time The Snow Maiden lives in the wilderness of the forest, and her mansion is carefully guarded by a stern father. But, as it turned out, the Snow Maiden looks like not only her father, but also her mother, beautiful and kind Spring. That is why she is tired of living alone, locked up. She wants to see real human life, to know all its beauty, to take part in girls' fun, to listen to the wonderful songs of the shepherd Lel. "Life is not a joy without songs."
In the way Snegurochka describes human life, one can see her genuine admiration for human joys. The cold heart of a fairy-tale girl still does not know love and human feelings, but nevertheless she is already attracted, attracted by the bewitching world of people. The girl realizes that she can no longer remain in the kingdom of ice and snow. She wants to find happiness, and perhaps this, in her opinion, is only in the kingdom of the Berendei. She says to her mother:
Mom, happiness
I’ll find it, or not, but I’ll look.
The Snow Maiden amazes people with her beauty. The family in which the Snow Maiden finds herself wants to take advantage of the girl's beauty for their own personal enrichment. They beg her to accept the courtship of the wealthy Berendei. They cannot appreciate the girl who became their named daughter.
The Snow Maiden seems more beautiful, more modest and more tender than all the surrounding girls. But she does not know love, therefore she cannot respond to ardent human feelings. There is no warmth in her soul, and she looks with detachment at the passion that Mizgir has for her. A creature that does not know love causes pity and surprise. It is no coincidence that no one can understand the Snow Maiden: neither the Tsar, nor any of the Berendeys.
The Snow Maiden attracts others so much precisely because of her coldness. She seems like a special girl for whom you can give everything in the world, and even life itself. At first, the girl is indifferent to everyone around her. Gradually, she begins to experience some feelings for the shepherd Lelia. This is not love yet, but it is already hard for the ice beauty to see the shepherd with Kupava:
Kupava,
Separator! This is your word;
She herself called me a homeless woman,
You yourself are separating from Lel.
The shepherd Lel rejects the Snow Maiden, and she decides to ask her mother for warm love. One that burns the human heart, makes you forget about everything in the world:
The Snow Maiden was deceived, offended, killed.
Oh mother, Vesna-Red!
I run to you with a complaint and a request:
I ask for love, I want to love.
Give the Snow Maiden a girl's heart, mom!
Give love or take my life!
Spring gives her daughter a feeling of love, but this gift can be disastrous for the Snow Maiden. Spring is languishing with grievous forebodings, because the Snow Maiden is her daughter. Love turns out to be tragic for the heroine. But without love, life loses all meaning. The Snow Maiden cannot cope with the desire to become the same as all the people around her. Therefore, she decides to disregard the behests of her father, who warned her against the disastrous consequences of human passion.
The Snow Maiden in love becomes surprisingly touching. A whole world opens up for her, completely unknown to her before. Now she understands all those who experience love yearning. She answers Mizgir with consent to become his wife. But Mizgir is not able to give up his intention to appear before all the Berendeys with his fiancée, considering the beauty's fears to be a whim.
The first bright rays of the sun kill the Snow Maiden.
But what about me? bliss or death?
What a delight! What feelings of languor!
Oh mother Vesna, thank you for the joy,
For the sweet gift of love! What bliss
The languishing flows in me! Oh Lel,
Your enchanting songs are in my ears
Fire in the eyes ... and in the heart ... and in the blood
In all the fire. I love and I melt, I melt
From the sweet feelings of love. Goodbye everyone
Girlfriends, goodbye, groom! Oh dear
The last look of the Snow Maiden to you.
Misgir cannot put up with the death of his beloved, so he throws himself from a high mountain. But the death of Snegurochka seems natural to the Berendey. The Snow Maiden was alien to the warmth of her soul, so it was difficult for her to find her happiness among people.
OSTROVSKY INNOVATION TABLE:
|
Rite |
Example from text |
Innovation |
|
1. Shrovetide(farewell to winter) Yarilino celebration(Summer's victory) Myth: the tale of the Snow Maiden, which A.N. Ostrovsky based the plot, reflects the ancient ritual of sacrificing a girl to the spring gods. The Snow Maiden is a kind of sacrifice to the fiery god of the Sun. |
In the distance shouts: "Honest Shrovetide!" “At the top of the mountain the fog dissipates for a few moments, Yarilo appears ... " |
Styling the myth... Instead of a plot about a dying god, with whose death the forces of chaos triumph, and his resurrection, In an orderly and favorable space for people (the order of things), A.N. Ostrovsky creates his own version of the myth: God (Yarilo) does not die, but becomes angry. Nature falls into decay, God takes revenge, restores order pleasing to him and returns his mercy to people (similar to the ancient myth of Demeter). |
|
2. Wedding ceremony. hen-party |
Action 1 Phenomenon 6 |
There are no notes of longing, hopeless grief: "Free marriage abhors coercion." In "Snow Maiden" we see joy a bride who has chosen her groom on her own. The bride (Kupava), whose actions should be guided by other participants in the ceremony, itself conducts the ceremony. |
AN Ostrovsky called his play "a spring tale". N. Rimsky-Korsakov also calls his opera The Snow Maiden a spring fairy tale. The play is built according to the laws of a fairy tale (according to the maps of V.Ya. Propp). Fabulous motives are traced in the play.
|
Elements of a fairy tale |
Example from text |
|
1. Wonderful birth. |
The Snow Maiden is the daughter of Frost and Spring. |
|
2. Fairy children are hidden in a dungeon, a mansion. |
“There is no foot or horse road and there is no trace in her tower. " |
|
“Yarilo will burn it, incinerate it, melt it, I don't know how, but it will kill you. As long as Childishly pure is her soul, He has no power to harm the Snow Maiden. " “Snow Maiden, run from Lel! " |
|
|
4. Violation of the prohibition. |
Snow Maiden leaves for the world of people |
|
5. His own - a foreign world. |
Forest (own world) - Sloboda (alien world) |
|
6. Tests. |
The Snegurochka faces the test of human indifference (old man Bobyl, old woman Bobylikha, residents of Sloboda). Test of the Snow Maiden love. |
|
7. Magic giver. A magical gift. |
Spring (mother) gives the Snow Maiden a wreath of “bewitching enchanting flowers”. According to the fabulous motive, the Snow Maiden fell in love with the first comer - Mizgir. |
|
8. "Savior". |
Misgir: he must wrest the Snow Maiden from the captivity of Frost and, obviously, save Yarila and his cruel rays from the threat. But Mizgir's goal is not the deliverance of the Snow Maiden, but the possession of her and the salvation of himself. The marriage will save Mizgir from the royal wrath. |
|
9. Wedding. |
Wedding did not take place... The Snow Maiden dies. A warm heart beat in Snegurochka, but it cost her her life. |
The Snow Maiden contains all the compositional and stylistic elements of a folk tale: the beginning (the motive of a miraculous birth, the motive of the imprisonment of the royal children in the mansion, the ban on the Sun, absence, violation of the ban) the hero's test - the denouement (punishment of the false hero and the reward / marriage of the true one) and
All types of heroes acting in a folk tale: the hero-seeker (Snow Maiden), the giver (Spring), the hero-savior (Mizgir). However, Ostrovsky, without violating the compositional and stylistic functions, rethinks them, fills them with modern content, subordinates them to the solution of aesthetic and moral problems.
A.N. Ostrovsky, thus, in contrast to the folk tale, translates the conflict of the work into an internal psychological plane. If in a folk tale the hero's test lies in the struggle against dark forces, against the forces of evil, then in the "spring tale" Ostrovsky shows the confrontation between "hot" and "cold" feelings in the soul of the Snow Maiden
The connection between the folk tale Snow Maiden and Ostrovsky's play:
1. In The Snow Maiden, a characteristic feature of a fantastic move, as in a folk tale, is the dependence of fictional situations and images on the idea that underlies the tale.
Ostrovsky, striving to embody the poetic concept, completely transfers the action to the fantastic fairy-tale world he created, to the kingdom of Berendeevo. Moreover, the mixing of the real and the fantastic in the depiction of life does not lead to the departure of reality in The Snow Maiden. The deep truth of the tale is organically combined with specific artistic forms, in which the main idea of the tale is expressed - the idea of the victory of new moral norms.
2. In Ostrovsky's tale, as in the folk tale, the characters are clearly opposed: on the one hand the Snow Maiden and Mizgir, on the other - Kupava and Lel. In a fantastic sense, Frost and Spring are contrasted. In contrast to the folk tale, Ostrovsky builds the conflict of the play on the opposition of characters, deepening the idea of the confrontation between warmth and cold, transfers the conflict into the field of moral relations.
3. Remnants of ritual magic, coinciding with the nature of magical actions in a fairy tale, are reproduced in Ostrovsky's The Snow Maiden, as in many fairy tales. If in a folk tale the strict regulation of a national holiday is violated, the magical side of actions and words ceases to be felt, then Ostrovsky perceives the rituals in all their significance, and, transferring their ideas to the modern world, leaves behind the rituals their original function: with the help of magical actions and words - spells to influence the forces of nature. Ostrovsky uses the rite not as a background or a source of quotation, but gives the rite an independent, action-forming meaning; moreover, the playwright subjects the rite to complex artistic processing and, without destroying the integrity of the rite, introduces the work into the fabric, subordinates the solution of topical issues to the task of affirming ideals. This use of the ritual differs from the use of rituals in a folk tale and in well-known literary tales based on folklore (V. Shakespeare, A. Pushkin, N. Gogol).
Unusual denouement in the tale of A.N. Ostrovsky. The playwright modifies the function of the hero-savior, subordinating it to the task of the work: to show the triumph of the true and defeat of the false norms of morality. Mizgir's goal is not to save the girl, as is usually the case in fairy tales, but to save himself. Realizing that he was the culprit in the death of his beloved, Mizgir rushes into the lake. A righteous judgment has come to pass. The love bestowed by the gods burned, incinerated the Snow Maiden and destroyed Mizgir.
Filling the central motive of the death of the Snow Maiden, borrowed from a folk tale, with new content, Ostrovsky managed to transfer from the fairy tale that life-affirming beginning that determined the spring tonality of the play associated with the revival of nature and the ardent feelings of the Berendees and was expressed in the creation of a new original genre - "spring tale".
A spring tale by A.N. Ostrovsky was highly appreciated by A.I. Goncharov and I.S. Turgenev, however, many responses of his contemporaries were sharply negative. The playwright was reproached for departing from social problems and "progressive ideals." Thus, the caustic critic V.P. Burenin lamented about A.N. Ostrovsky to the false, "ghostly senseless" images of the Snow Maidens, Lelya, Mizgirey. In the great Russian playwright, the critic wanted to see, first of all, the denouncer of the "dark kingdom".
There is nothing surprising in the fact that the theatrical production of "The Snow Maiden" by the Moscow Maly Theater (May 11, 1873) actually failed. Despite the fact that all three troupes were involved in the play: drama, opera and ballet, and the music for it was written by P.I. Tchaikovsky, despite the use of technical curiosities: moving clouds, electric lights, gushing fountains hiding the disappearance of the "melting" Snow Maiden in the hatch, - the play was mostly scolded. The audience, like the criticism, was not ready for the poetic pirouette of the author of "The Thunderstorm" and "The Abyss". Only at the beginning of the twentieth century, the dramatic concept of A.N. Ostrovsky was appreciated. A.P. Lensky, who staged The Snegurochka in September 1900 in Moscow, remarked: “Ostrovsky would have had enough imagination to overflow his fairy tale to the brim with native devilry. But he, apparently, deliberately saved the fantastic elements, saved in order not to overshadow the enchantingness of another, more complex element - the poetic one ”.
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