Archduke Maximilian, future Emperor Maximilian I, and Mary of Burgundy. Folklore theater

Drama "Tsar Maximilian" (sometimes Maksimyan, Maksemyan) became widespread throughout Russia (Petersburg, Moscow, Tver, Yaroslavl, Kostroma provinces, Russian North, Don, Terek, Ural, Siberia), Belarus (Minsk, Mogilev, Vitebsk provinces), Ukraine (Kiev, Chernigov, Podolsk , Kharkov, Kherson provinces), Moldova. She was played in a soldier's, sailor's, urban, workers', peasant's environment 3.

Several opinions have been expressed about the origin of this drama. Probably, the researchers are right who believed that the reason for its creation was the political situation. early XVIII V .: the conflict between Peter I and his son Alexei and the execution of the latter. The people remembered the murder of their son by Ivan the Terrible. Sonicide could not but affect the attitude of the people to the sovereigns. This helped to spread the drama. It should also be taken into account that the people knew the spiritual verse "Kirik and Ulita", in which, as in the drama, the cruel Tsar Maximilian demands that the infant Kirik renounce his faith in Christian God. Kirik, like the hero of the drama Adolf, remains faithful to God.

A persistent search was made for the immediate source of the drama, but one was not found. There was probably no single source. At the same time, the connection of the play with the repertoire of the Russian city theater of the 17th-18th centuries is indisputable, as well as the influence on its text of translated stories (knightly novels) and their performances of the same era, which has been proven by a number of researchers. However, no matter how diverse literary sources"Tsar Maximilian", significantly different - the connection of the play with Russian reality.

The drama is based on the conflict between the tyrant Tsar Maximilian and his son Adolf. Gentile father demands that son quit Christian faith, but he resolutely refuses:

- I am your idol gods

I put it under my feet

I trample in the mud, I don't want to believe.

I believe in our Lord Jesus Christ,

And I kiss him on the mouth,

And I contain His law.

Tsar Maximyan commands to the prison guard.

- Come and take my son Adolf to the dungeon

starve him to death.

Give him a pound of bread and a pound of water 1 .

Adolf is in the dungeon. Tsar Maximilian three times appeals to Adolf with his demand, but he refuses all the time. Then the king calls executioner Brambeus and orders the execution of Adolf.

The drama depicts the cruelty of Tsar Maximilian not only with his son. In one of the variants, he, like King Herod, orders a soldier (here: Anike the warrior) kill babies:

- Warrior, my warrior.

Go to all the countries of Bethlehem,

WITHbeat, chop down fourteen thousand babies.

If you can't kill someone.

You will bring me alive.

Baba (Rachel) appears and asks the king:

- Why should my child

Is it innocent to disappear?

The king is unforgiving:

- How blameless

When I sent a warrior

An armed warrior?

Warrior, my warrior

Kill this baby

ANDchase this woman away!

The warrior kills the child. Rachel is crying 1. ...

Tsar Maximilian is opposed by his son Adolf. He boldly tells his father that down my mother on the Volga I rode And witha free gang, with robbers, I knew 2 , that he was their chieftain 3; orders to release the prisoner from prison (resta), which was planted by order of the father 4. In the drama, Adolf firmly defended his convictions, endured torment, went to death, but did not betray his ideals, which aroused sympathy and sympathy. The executioner, having carried out the order of the king and killed Adolf, stabbed himself with the words:

Per what he loved

For that I cut off my head.

I fix the king's debt

AND I'm dying after myself 5 .

The king's command to kill his son, the image of the execution of Adolf, the executioner's suicide - tragic paintings... But the performance was supposed to amuse the audience, relaxation was needed. A tradition has been established to introduce farcical, satirical and humorous episodes. Such are the conversations of the Grave Diggers, the Tailor, the Doctor, even the funeral service by the Patriarch of the body of Adolf. Sharp satire on priests arose when depicting the wedding of Tsar Maximilian with the Goddess (the priest and deacon in the tavern drank crowned book, and on stupidlybed got drunk) 1.

Researcher folk dramas NN Vinogradov wrote about Tsar Maximilian: “Having appeared in the middle of the 18th century and passed from mouth to mouth, from generation to generation, this play inevitably underwent a wide variety of changes, was reduced and lengthened at will. gradually absorbed a number of separate scenes and small works of the same kind.As a result, in many versions, a long series of separate scenes, a whole collection of diverse faces, a motley kaleidoscope of the most diverse positions are lost; the meaning of the play, there is no unity of the plot, only the unity of the name remains. Here, for example, what series of plots is practiced in the majority of not very widespread (in terms of volume) variants: 1) Maksemyan and Adolph (main); 2) Goddess and Mars;

3) Mamai; 4) Anika and Death; 5) Boat. Often they are not connected at all, sometimes the connection is purely mechanical. These plots still need to add a whole series of inserts in the form of separate comic scenes or stable, permanent (doctor, tailor, gypsy, grave digger ...), or random, sporadic (n-th number); sometimes the play begins verte pom 2.

Gradually, the topic of the struggle for religious beliefs became less relevant - this made possible the satirical depiction of clergymen, as well as church funeral and wedding rites. V 1959 t. in the Arkhangelsk region. a version of the drama was recorded in which the religious beliefs of the father and son were not even mentioned 3. At the same time, the problem of tyranny fighting, the fight against violence continued to excite the audience. In the drama "Tsar Maximilian" a replacement was made: the tsar demanded from his son not betrayal of religious beliefs, but marry a bride from far-off kingdom, which I found for him. Adolf refused to marry just as strongly as he refused to change his faith. And he was executed.

Sometimes the drama ended with the death of Tsar Maximilian himself, which could be perceived as punishment for cruelty and filicide.

The dialogue between Death and Tsar Maximilian almost literally coincided with the spiritual verse - the dialogue between Anika the warrior and Death.

Death (approaching the throne, turns to Tsar Maximilian):

- Follow me!

Tsar Maximilian:

- Wave my dear Death,

Give me three years to live

For me to cash in And to dispose of his kingdom. Death:

- You have no place to live for one year.

- There will be no time for you even for three hours,

And here is my sharp braid for you.

(Strikes him with a scythe on the neck. The king falls) 1 .

The drama "Tsar Maximilian" is large in volume. Often it was copied in a notebook and rehearsed before the performance. However, in it, stereotyped situations, as well as formulas that contributed to the memorization and reproduction of the drama, were developed. Such, for example, are scenes of fights, formulas-answers of Adolf to his father ( "I am your idol gods TerI bury it under my feet ... " etc.). The challenge of Tsar Maximilian Skorokhod (or another character) and the callee's arrival report.

Tsar Maximilian:

- Skorokhod-Field Marshal,

I AMhang in front of the throne

Yythe pink king Maximilian!

Skorokhod:

- I will return from right to left,

Before the throne of the formidable king Maximilian I will appear:

Oh great lord.

Terrible Tsar Maximilian,

Why are you calling the Field Marshal Skorokhod?

Or do you command deeds, decrees?

Or is my sword dulled?

Or I, Skorokhod-Field Marshal, what is in front of you

guilty? 1

In the cited version of the drama, this formula of the report is repeated 26 times (Skorokhod pronounces it 18 times, Markushka 3 times, Adolf and Anika the warrior 2 times, Executioner 1 time).

To what has been said it should be added that in "Tsar Maximilian" there are the same situations and commonplaces as in the drama "Boat". For example: Adolf - I knew with the cap of the robbers; they say about the burial of the murdered: "Remove this body, so that over the earth there is nosmoldered ... "- etc.

Thus, the drama "Tsar Maximilian" arose and developed under the influence of other folk plays, knightly novels, popular prints, folk song folklore, and spiritual verses 2.

History of creation

The play was based on the description of the folk drama "Tsar Maximilian" in Bakrylov's collection, in which the author collected extensive folklore material. The author has compiled several vivid examples of folk drama in Russian culture and created his own version of the play "Tsar Maximilian". Having familiarized himself with this work by Bakrylov, Aleksey Remizov expressed the opinion that the play was written in a crude and vulgar way, and its parts are mechanically connected to each other. After a meeting of the editorial committee, at which Bakrylov's code was discussed, Remizov decided to create his own version of the play.

Remizov worked on the drama not only as a writer, but also as a scientist, largely relying on historical and philological works:

“... I, putting mine, maybe one single stone to create the future great work which will give the whole kingdom folk myth, I consider it my duty, not adhering to the tradition of our literature, to introduce notes and tell them the course of my work. "

In his work, Remizov tried to embody his ideas about the ideal folk theater - the "theater of squares and oak groves" and the mystery action as opposed to the "theater of the walls". In practice, this desire was expressed in the fact that Remizov simplified the staging of the play as much as possible and, in comparison with Bakrylov's play, significantly reduced the number of characters. By reducing descriptive remarks, he took "a step away from naturalistic theater."

Plot

In many ways, the plot of the folk drama is based on the story of Peter I and Tsarevich Alexei. Tsar Maximilian is a tsar who decided to marry a foreign queen and renounce the Orthodox faith. The king's son, Adolf, opposes the marriage of his father. Trying to reverse the decision of his son, Tsar Maximilian imprisons Adolf, and ultimately executes him.

Heroes

• Tsar Maximilian (Maksimian, Maksimian) - "a formidable and strong tsar" who planned to marry an overseas princess and refuse Orthodox faith, but worship "idol gods." He wears a crown and carries orders, brandishes a scepter or a sword.
• Adolf is the son of Tsar Maximilian, who refuses to pray to the "idol gods", for which Tsar Maximilian will execute him. Goes to military uniform, but simpler than that of the king. After imprisonment - weak and without insignia.
• Knight Brambeus - calls on the king to change his mind, and not to execute the innocent Adolf, but Tsar Maximilian does not listen to him. Huge and gray-haired.
• Skorokhod - informs everyone about the will of Tsar Maximilian.
• The old grave digger is preparing a grave for Adolf (A. M. Remizov himself compared him with the gravediggers in Shakespeare's tragedy "Hamlet").
• The old woman-death - comes for King Makismilian.

Notes (edit)

Links

• The play "Tsar Maximilian", arranged by A.F. Nekrylova and N.I. Savushkina

Wikimedia Foundation. 2010.

• Tsar Constantine (ship of the line, 1779)
• King Solomon: The Wisest of the Wise

See what "Tsar Maximilian" is in other dictionaries:

"Tsar Maximilian"- TSAR MAXIMILIAN is the most popular folklore play. The action takes place in a conventional land (I am not the Russian emperor, not the French king ...). The basis of the play is the conflict between the tsar and his son Adolf, to ry from our idol (that is, pagan) ... ... Russian humanitarian encyclopedic dictionary

Maximilian- For this article, the card template ((Name)) is not filled. You can help the project by adding it. Maximilian lat. ... Wikipedia

Maximilian III of Austria- (October 12, 1558, Wiener Neustadt November 2, 1618, Vienna) Archduke of Austria from the Habsburg dynasty ... Wikipedia

Tsar Ivan the Terrible

Tsar Peter I- Peter I Alekseevich Portrait of Peter I. Paul Delaroche (1838) ... Wikipedia

Tsar and Grand Duke of Moscow- Kingdom Russian Kingdom Russian Kingdom ← ... Wikipedia

Ivan the Terrible (Tsar)- Request "John IV" is redirected here, see John IV (disambiguation). In the annals, the nickname Terrible is also used in relation to Ivan III... Ivan IV the Terrible Ivan IV Vasilievich ... Wikipedia

Voloshin Maximilian Alexandrovich - (real surname Kirienko Voloshin). (1877 1932), poet, art critic, painter. In poetry, the filial sense of nature as a cosmic whole, the tragic experience of the historical destinies of Russia: the collections "Iverni" (1918), "Demons deaf and dumb" ... encyclopedic Dictionary

Nicholas the First (tsar)- Nicholas I Pavlovich ... Wikipedia

Ferdinand I (Tsar of Bulgaria)- This term has other meanings, see Ferdinand I. Ferdinand I Ferdinand I ... Wikipedia

Books

• A.M. Remizov. Collected Works. Volume 12. Rusalia, A. M. Remizov. The book "Rusalia" (Volume 12 of the Collected Works of A. M. Remizov) includes dramatic works: "Demonic action", "Tragedy of Judas Prince Iscariot", "Action of George ... Buy for 2421 rubles
• Unpublished materials of the expedition of B. M. and Yu. M. Sokolov. 1926-1928. In the footsteps of Rybnikov and Hilferding. In 2 volumes. Volume 2. Folk drama. Wedding poetry. Non-ritual lyrics. Chastushki. Fairy tales and non-fairy tales. Creativity of peasants,. The volume consists of unique folklore texts collected in the 1920s. XX century in the protected cultural zone of the Russian North. It includes the texts of the folk drama ("Tsar Maximilian" and "The Boat"), ...

An excerpt from Anna Nekrylova's article "Tsar Maximilian" in the People's Theater "published in the book" People's Theater ":

<...>“Aleksey Remizov, whose work is permeated with images and themes of Russian folklore, based on the set of texts“ Tsar Maximilian ”published at the beginning of the 20th century, created an author's work - a drama where, along with traditional heroes, characters invented by him from modern era, where the ringleaders turned out to be the beloved Remizov's devils.

Meanwhile, "Tsar Maximilian" did not leave folk scene and in the XX century. By the organizer folk theater the family of the artist V.D. Polenov. The artist's daughter, E.V. Sakharova, left curious, very vividly and slightly ironically written memoirs about one of the performances of "Tsar Maximilian" that took place in 1918. In the 1920s – 1930s, folk theater plays were staged on club stages in Zaonezhie and Kargopol, in the Tver and Yaroslavl regions, and in some places in Siberia. In 1967, philology students of Moscow University in a crowded auditorium showed their "Tsar Maximilian", reconstructed as a result of expeditions to the river. Onegu. In the early 1980s, Tsar Maximilian was revived by the famous team of Dmitry Pokrovsky. Based on the fragments found in the archives and recorded during expeditions by the forces of the Novgorod folklore ensemble The local version of this drama was restored, which has become part of the Kudes repertoire and is successfully played out under the walls of the Novgorod Kremlin. "

Fragment of Anna Kasumova's article "Christmas Presents" in the Petersburg Theater Magazine (2002):

<...>“Galibin's play, shown at the Christmas Festival, like The Players, has its predecessor in St. Petersburg: Galibin addressed the theme of Russian history in The Legend of Tsar Peter. In Novosibirsk, he continued this theme, turning to the origins - the folk drama "Tsar Maximilian" (designed by Eduard Kochergin), however, in the interpretation of the playwright E. Gremina, decorated with a poem by Alexei Tolstoy. “Our land is rich, there is just no order in it” - the leitmotif sounds throughout the entire performance. Tsar Maximilian, who is chosen from among the people, acquires an entourage. The first round of the game begins, continuing until the death of the ruler. Then - all over again: they choose the king, the retinue, and each time the king remains the same, only he is called differently, depending on the move Russian history... Alexander Galibin adds his own names to those of Alexei Tolstoy: Maximilian now appears to us in the form of Stalin, then suddenly, like Khrushchev, he begins to hit the pulpit with his shoe. Here they parody Yeltsin, Gorbachev and Lenin, and it all reminds final game The club is cheerful and resourceful. The elements of the musical only enhance the impression. Taking the microphones, the people will suddenly sing not at all the Russian cry, but the most popular "They killed a negro, they killed" ... And then - "God save the Tsar" ... Or maybe Galibin is right, maybe this is exactly what she is, recent history Russia, - endless variations on the theme of the play by E. Gremina "Tsar Maximilian"? "<...>

The drama "Tsar Maximilian" (sometimes Maksimyan, Maksemyan) became widespread throughout Russia (Petersburg, Moscow, Tver, Yaroslavl, Kostroma provinces, Russian North, Don, Terek, Ural, Siberia), Belarus (Minsk, Mogilev, Vitebsk provinces), Ukraine (Kiev, Chernigov, Podolsk, Kharkov, Kherson provinces), Moldova. She was played in a soldier's, sailor's, urban, workers', peasant environment.

Several opinions have been expressed about the origin of this drama. Probably, the researchers are right who believed that the reason for its creation was the political situation at the beginning of the 18th century: the conflict between Peter I and his son Alexei and the execution of the latter. The people remembered the murder of their son by Ivan the Terrible. Sonicide could not but affect the attitude of the people to the sovereigns. This helped to spread the drama. It should also be taken into account that the people knew the spiritual verse "Kirik and Ulita", in which, as in the drama, the cruel Tsar Maximilian demands that the infant Kirik renounce his faith in Christian God. Kirik, like the hero of the drama Adolf, remains faithful to God.

A persistent search was made for the immediate source of the drama, but one was not found. There was probably no single source. At the same time, the connection of the play with the repertoire of the Russian city theater of the 17th-18th centuries is indisputable, as well as the influence of translated stories on its text ( chivalric romances) and their performances from the same era, which has been proven by a number of researchers. However, no matter how varied the literary sources of "Tsar Maximilian" are, something else is fundamentally different - the connection between the play and Russian reality.

The drama is based on the conflict between the tyrant Tsar Maximilian and his son Adolf. A pagan father demands that his son give up the Christian faith, but he resolutely refuses:

- I am your idol gods

I put it under my feet

I trample in the mud, I don't want to believe.

I believe in our Lord Jesus Christ,

And I kiss him on the mouth,

And I contain His law.

Tsar Maximyan commands the prison guard.

- Go and take my son Adolf to the dungeon

starve him to death.

Give him a pound of bread and a pound of water.

Adolf is in the dungeon. Tsar Maximilian three times appeals to Adolf with his demand, but he refuses all the time. Then the king summons the executioner Brambeus and orders the execution of Adolf.

The drama depicts the cruelty of Tsar Maximilian not only with his son. In one of the variants, he, like King Herod, orders a warrior (here: Anike the warrior) to kill the babies:

- Warrior, my warrior.

Go to all the countries of Bethlehem,

Shoot down, chop down fourteen thousand babies.

If you can't kill someone.

You will bring me alive.

Baba (Rachel) appears and asks the king:

- Why should my child

Is it innocent to disappear?

The king is unforgiving:

- How blameless,

When I sent a warrior

An armed warrior?

Warrior, my warrior

Kill this baby

And drive this woman away!

The warrior kills the child. Rachel is crying ..

Tsar Maximilian is opposed by his son Adolf. He boldly tells his father that he rode down the Volga down his mother And with a free gang, with robbers, he knew that he was their chieftain; orders to release from prison the prisoner (restant), who was imprisoned by order of his father. In the drama, Adolf firmly defended his convictions, endured torment, went to death, but did not betray his ideals, which aroused sympathy and sympathy. The executioner, having carried out the order of the king and killed Adolf, stabbed himself with the words:

For what he loved

For that I cut off my head.

I fix the king's debt

And I myself am dying.

The tsar's command to kill his son, the image of the execution of Adolf, the executioner's suicide are tragic pictures. But the performance was supposed to amuse the audience, relaxation was needed. A tradition has been established to introduce farcical, satirical and humorous episodes. Such are the conversations of the Grave Diggers, the Tailor, the Doctor, even the funeral service by the Patriarch of the body of Adolf. Sharp satire on priests arose when depicting the wedding of Tsar Maximilian with the Goddess (the priest and deacon in the tavern drank the crowned book, and got drunk on the funeral).

The researcher of folk dramas N. N. Vinogradov wrote about Tsar Maximilian: XVIII century and passing from mouth to mouth, from generation to generation, this play inevitably underwent the most varied changes, shortened and lengthened at will. Having liked the people, she gradually absorbed a whole series of separate scenes and small works of the same kind. As a result, in many versions, a long series of separate scenes, a whole collection of diverse faces, a motley kaleidoscope of the most diverse positions are obtained; is lost general meaning the play, there is no unity of the plot, only the unity of the name remains.

Here, for example, what series of plots is practiced in the majority of not very widespread (in terms of volume) variants: 1) Maksemyan and Adolph (main); 2) Goddess and Mars; 3) Mamai; 4) Anika and Death; 5) Boat. Often they are not connected at all, sometimes the connection is purely mechanical. These plots still need to add a whole series of inserts in the form of separate comic scenes or stable, permanent (doctor, tailor, gypsy, grave digger ...), or random, sporadic (n-th number); sometimes the play begins verte pom.

Gradually, the topic of the struggle for religious beliefs became less relevant - this made it possible satirical image ministers of worship, as well as church funeral and wedding ceremonies. In 1959, in the Arkhangelsk region. a version of the drama was recorded in which the religious beliefs of the father and son were not even mentioned. At the same time, the problem of tyranny fighting, the fight against violence continued to excite the audience. In the drama "Tsar Maximilian" a replacement was made: the tsar demanded from his son not betrayal of religious beliefs, but to marry a bride from the distant kingdom, which he had found for him. Adolf refused to marry just as strongly as he refused to change his faith. And he was executed.

Sometimes the drama ended with the death of Tsar Maximilian himself, which could be perceived as punishment for cruelty and filicide.

The dialogue between Death and Tsar Maximilian almost literally coincided with the spiritual verse - the dialogue between Anika the warrior and Death.

Death (approaching the throne, turns to Tsar Maximilian):

- Follow me!

Tsar Maximilian:

- Masha, my dear Death,

Give me three years to live

For me to cash in

And to dispose of his kingdom.

- There will be no time for you even for three hours,

And here is my sharp braid for you.

(Strikes him with a scythe on the neck. The king falls).

The drama "Tsar Maximilian" is large in volume. Often it was copied in a notebook and rehearsed before the performance. However, in it, stereotyped situations, as well as formulas that contributed to the memorization and reproduction of the drama, were developed. Such, for example, are scenes of fights, formula-answers of Adolf to his father ("I torment your idol gods at the feet ...", etc.). The challenge by Tsar Maximilian of Skorokhod (or another character) and the report of the summoned about the arrival took on a stable form.

Tsar Maximilian:

- Skorokhod-Field Marshal,

Appear before the throne

Terrible Tsar Maximilian!

Skorokhod:

- I will return from right to left,

Before the throne of the formidable king Maximilian I will appear:

Oh great lord.

Terrible Tsar Maximilian,

Why are you calling the Field Marshal Skorokhod?

Or do you command deeds, decrees?

Or is my sword dulled?

Or I, Skorokhod-Field Marshal, what have I done wrong before you?

In the cited version of the drama, this formula of the report is repeated 26 times (Skorokhod pronounces it 18 times, Markushka 3 times, Adolf and Anika the warrior 2 times, Executioner 1 time).

To what has been said it should be added that in "Tsar Maximilian" there are the same situations and commonplaces as in the drama "Boat". For example: Adolf - knew the cap of the robbers; about the burial of the murdered, they say: "Remove this body so that it does not smolder above the ground ..." - and so on.

Thus, the drama "Tsar Maximilian" arose and developed under the influence of other folk plays, knightly novels, popular prints, folk song folklore, spiritual verses.

Zueva T.V., Kirdan B.P. Russian folklore - M., 2002

Action drama usually occurs in any room, even in a peasant hut. In the middle of the room, a throne is being constructed from armchairs for the king, to him - "a crown, a scepter and an orb on a golden platter."

Phenomenon 1

Skorokhod comes out. He walked very quickly and was out of breath. Skorokhod reports that he was sent from the Tsar's office to prepare a place for the Tsar's throne. Saying goodbye, Skorokhod announces that the tsar will come out now. Senators, royal guards and warriors appear on the scene.

Phenomenon 2

Tsar Maximilian enters... He is tall, wears a beard, is formidable, speaks loudly and harshly. The king addresses the audience with the words that he is coming from the royal office. But he is not a French tsar and not a Russian emperor, but a formidable and powerful "your Tsar Maximilian." Then he looks at the throne prepared for him, points at it with his hand and asks for whom such a "wonderful structure" is prepared. He himself answers his own question: the throne was erected for him, because he is the king. The king says he will sit on the throne to bring his son, Adolf, to justice. Sitting on a dais, he calls his faithful pages in a loud voice.

Phenomena 3 - 5

Tsar Maximilian orders the pages to bring Adolf to his chambers for a secret conversation. Waiting for the arrival of his son, Maximilian puts on his royal vestments.

Phenomenon 6

One of the pages reports that they carried out the royal order and brought "the amiable son of Adolf." Tsar Maximilian

Now get out of my sight. (The pages leave), Adolf (all the time on his knees) O most merciful sovereign And glorious Maximilian the king, my most amiable parent, father, I beat your forehead against mother-cheese earth. Why do you call your dear son Adolf Or what do you command him to do? Tsar Maximilian My dear Adolf, my son, Your arrival is not joyful to me now: Now I have learned from the servant, That you have abandoned our idol gods And you are cheating on them, And you secretly read some new ones. Fear my parental wrath And bow down to our idol gods. Adolf (without getting up from his knees) I put your idol gods under my feet, I believe in the Lord Jesus Christ, I depict the sign of the cross against your gods And I contain his holy law.

Tsar Maximilian from Such words became angry in earnest: now Adolfne can become the heir to the throne, but must go into the service of his law. The king again loudly calls the pages.

Phenomena 7 - 8

Maximilian orders the pages to take their rebellious son to prison. The door opens, a gigantic hero is shown in it, bares a saber, slowly walks to the throne of Tsar Maximilian. Approaching the throne, Bogatyr stops, strikes the floor with his spear and says that Tsar Maximilian is making an unjust trial over Adolf. The hero is the Roman ambassador and wants to speak with Tsar Maximilian. The king allows him to continue his daring speech. The hero calls the tsar a "barbarian and murderer" who can destroy the soul of Adolf. Everyone pities the young man, grieves for him, considers him a real hero. The hero calls on Tsar Maximilian to change his mind. The king, beside himself with anger, shouts, stomps his feet, and drives the ambassador out of his eyes. The hero says goodbye to the king and threatens him to return again to avenge Adolf.

Apparitions 9-13

Tsar Maximilian again summons his faithful pages, sends them to prison for his rebellious son. The pages bring Adolf. Adolf approaches the throne and kneels. Adolf humbly asks his father why he called his son and what orders him to do. Tsar Maximilian asks if Adolf has changed his mind, if the hungry prison frightens him, if he will again believe in the right gods. But Adolphus firmly replies that he "exposes the old gods under his feet." Tsar Maximilian is in great anger, he shouts at his son, promises him severe punishment for disobedience. Then he summons Skorokhod and orders him to bring a blacksmith. The king commands the blacksmith to put the rebellious son in shackles. The blacksmith does not believe his ears, pretends that he does not understand the order, then refuses to take a coin for the work and, finally, reluctantly obeys the order. Chained in chains, Adolf is taken away by the pages. Saying goodbye to the formidable parent, Adolf sings a mournful song. The Tsar is left to sit in sad reverie.

Phenomena 14-15

A giant knight appears before the king. Loudly knocking with weapons and without any respect for the tsar, he screams at the top of his lungs about his determination to fight against the unjust tsar's court: The enraged Tsar Maximilian drives away the impudent knight, again calls the faithful Skorokhod to him and orders him to call Anika, the warrior.

Phenomena 16-19

Anika is a warrior (of enormous stature, in armor, wearing a helmet and other weapons, he approaches the throne, shakes his weapon ...) Tsar Maximilian again calls out his faithful pages and orders them to bring his son Adolf. The pages bring a rebellious son. Adolf is exhausted, in chains, can hardly move, speaks in a low voice, pitifully. He falls to his knees and asks the king-father why he calls him again. Tsar Maximilian asks whether Adolf has changed his mind, whether he was frightened by the upcoming painful death. Adolf stands his ground: I believe in Jesus Christ, "who created heaven and earth." Tsar Maximilian in anger shouts at his son, orders to put him to death. Calls the Skorokhod again and gives him the order to bring Brambeus the Knight.

Phenomena 20 - 21

Brambeus welcomes king, wishes him years and health and asks why Tsar Maximilian called him to him and what the order consists of. The tsar points to Adolf, who stands, humbly bowing his little head on his shoulders, and orders Brambeus to kill the young man right there, in front of his father's eyes. Brambeus cannot believe; he is frightened, every now and then glances at the king and Adolf, asks the king not to give him such an order. For one hundred and fifty years of his life, Brambeus has not killed a single person and now, when he is old, he does not want to take such a sin on his soul:

"When youthful hot blood splashes on my gray head, Then I myself must die! "

Phenomena 23 - 26

Anika the warrior comes to the king and reports that he defeated all the basurman, saved the king from the evil death. The tsar gives praise to Anika, summons the Skorokhod, who summoned the knights to praise Anika. Suddenly the king sees a woman on the threshold. And the woman, heading for the royal throne, says:

"I am not a woman, I am not drunk, I am your death, stubborn."

Tsar Maximilian was scared, got up from the royal dais and begs the soldiers to protect him from death. The warriors are trying to protect their king, blocking the path of Death, but she waved her scythe, and all the weapons of the warriors fell. Death approaches the throne and orders Tsar Maximilian to follow her. And he begs the old one to give him three more years to live a little and reign. Death does not give the king a year. Then the king asks to give him three more months to live and reign. Death does not give him even a month. Tsar Maximilian begs to give him at least three days, but Death does not give him even three hours. She struck the king with a sharp scythe on the neck, and he fell.

Phenomenon 27

The skorokhod steps out into the middle and addresses the audience:

"Here, most respectable audience, The curtain closes, And the preoccupation is all over, And the actors are relying on you for tea."