Analysis of the introduction to the poem “The Bronze Horseman. The main characters of “The Tale of Tsar Saltan” What feelings of the young Tsar were able to express the actor

Children, young, adults and elderly - most of us know many of the works of Alexander Sergeevich Pushkin. One of the most famous, beloved and fascinating works of Pushkin is. The plot of this verse is quite simple to understand, but very captivating. A child and an adult, reading this work, imagine a bright picture where actions are transformed in their own way, and the character’s appearance emerges in their own way. But absolutely everyone identifies for themselves evil and good actions and, therefore, a bad and a positive character.

Positive characters include:

Tsar Saltan- the sovereign of his kingdom. On the one hand, the king is a real warrior, courageous and strong, who is ready to fight for his state. On the other hand, he is a kind character who has a gentle character. From the actions that this hero performs, it becomes clear that he is an unforgiving and even simple, naive character, and because of this, some readers may think that he is a weak-willed king. In fact, this is absolutely not the case. Simply because of his good nature, he did not punish the evil and treacherous sisters, but, on the contrary, forgave them.

Prince Guidon- son of the queen and king Saltan. Throughout the entire verse he reveals himself as a brave and strong hero. This character prefers to prove his courageous character with actions rather than actions. In addition to courage, strength and masculinity, he shows hospitality and determination, which readers really like.

Swan Princess- a sensible and beautiful sorceress, sister of 33 sea heroes and at the end of the fairy tale becomes the wife of Prince Guidon. Being one of the main characters, she also belongs to the kind characters, because she personifies generosity, wisdom and honesty.

Queen- This is one of the first girls the reader meets in the first lines of the fairy tale. In the future, become a queen and the mother of a beautiful hero. Like the king himself, she is a very positive character, because she is kind, honest, patient and kind-hearted. Thanks to these qualities, the queen sympathizes with many readers.

Negative heroes:

Weaver- sister of the Queen and cook. Her actions indicate that she is a very envious, angry and negative character. In addition, she is very touchy and vindictive, which is why she carries out insidious actions.

Cook- sister of the weaver and the Queen. Like the weaver, the cook is a bad character, because she has such qualities as envy, rancor, deceit and selfishness.

Matchmaker Babrikha– refers to a negative character, as he has such negative character traits as hatred, harshness and vindictiveness. Because of these qualities, many readers dislike her.

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“The Tale of the Dead Princess and the Seven Knights” by A.S. Pushkin's novel is based on a traditional fairy tale plot about an evil stepmother and a beautiful, kind stepdaughter. Suffice it to recall folk tales: Russian - “Morozko”, “Vasilisa the Beautiful”, “Little Khavroshechka”, German - “Mistress Blizzard” and “Snow Maiden”, French “Cinderella” and others. But Pushkin managed to fill the traditional plot with special depth, permeated with the light of goodness. Like everything Pushkin, this tale is like a precious stone, sparkling with thousands of facets of meaning, striking us with the multicolored words and the clear, even radiance emanating from the author - not blinding, but enlightening our blind eyes and spiritually sleeping hearts.

Pushkin's tale reveals its treasures to any reader, whether he is ten or fifty years old - if only he has the desire to open it. But the young reader must be led by an adult. It’s good if it’s mom, dad, grandma, grandpa...

After reading the fairy tale “About the Dead Princess and the Seven Knights,” we will try to analyze it by answering a number of questions.

What impression did the fairy tale make on you? What did you especially like or remember?
Why?
Children like the fairy tale primarily because good triumphs over evil. They are very attracted to the image of the young princess with her kindness and loyalty. They talk with pleasure about the wonderful mirror: something magical is always close to a child’s heart. Some of my favorite episodes include Elisha's wanderings in search of a bride, the princess's return to life, and the matchmaking of heroes. They feel sorry for the devoted Sokolko. They also admire the melodic poems, which is especially pleasing.

From the conversation about first impressions, let's move on to an attempt at a compositional analysis of the fairy tale:

Who is the author's focus in the fairy tale? Why?
The focus is on the queen-stepmother and princess because they represent the two poles of life: good and evil.
Are there characters in the fairy tale who are close to the young princess and embody the forces of good?
Eat. This is the queen mother, prince Elisha, heroes, Sokolko, the sun, the month, the wind.
And who embodies the forces of evil?
There is only one frankly evil character in the fairy tale - the stepmother. But if she were completely alone, she could not do evil deeds and achieve success for at least some time.
Who helped her do evil? Chernavka.
Is Chernavka herself evil or not? Then why does she become a performer?
ill will?
No, she loves the young princess, it is said about Chernavka: “She, loving her from the soul...” She doesn’t want to carry out the queen’s order at all, but...
Will the devil deal with an angry woman?
There is nothing to argue...
The fear of punishment turns out to be stronger than mercy, and Chernavka leads the princess into the thicket of the forest... And after some time he brings her a poisoned apple. It turns out that fear and lack of will help evil to be realized, and in this case, even a good person changes in his essence.
Where does the queen’s hatred for the princess come from?
The mirror told her the truth that the princess was more beautiful than her, and aroused the anger of her stepmother. She cannot live without constant confirmation of her unsurpassability. Although, most likely, the beauty of the stepdaughter would sooner or later become obvious to everyone, and, therefore, the young princess would not escape trouble. And evil can even turn the truth into a reason for crime - after all, that is why it is evil, in order to achieve its goals... The most terrible property of evil is that it can not be seen and, therefore, not recognized. We see good heroes right away, but evil, like microbes, is scattered everywhere and for the time being unnoticed.
Remember: when did the princess get a stepmother?
A year after the death of my mother:
A year has passed like an empty dream,
The king married someone else.
Is it possible to learn from a fairy tale about the attitude of the king’s new wife towards his daughter?
We don't know anything about this. But we can guess that the queen didn’t even notice her. The princess grew up “quietly” - that means, without attention, on her own.
When did the stepmother remember about her stepdaughter?
When the time came to marry the princess off, the stepmother, “getting ready for a bachelorette party,” asked the mirror her favorite question and received an answer:
You are beautiful, no doubt;
But the princess is the sweetest of all,
All blush and whiter.
So, the girl grew up without a mother, her stepmother was not interested in her, and her father, apparently, was more occupied with his young wife than with his daughter. It is no coincidence that the year after the death of his wife is designated precisely as a “year” (it lasted so long for the king!), and the rest of the time (probably at least 16-17 years) flashed by quickly, so that the daughter had already grown up and become a bride. However, despite all this, the princess “rose and blossomed.”

Find its description and highlight the keywords in it.
Fifth graders name the words: the character of such a meek person. Explain: what does “the character of the meek” mean? (Quiet, calm, modest, friendly.). The princess did not require special attention to herself; she lived and grew up “quietly.” When, by the will of her evil stepmother, she found herself in the forest, and then in the mansion of the heroes, she accepted it with humility, did not harbor anger against anyone, and remained just as kind and friendly (remember her behavior in an unfamiliar house, her attitude towards the “beggar monk”) , loving, faithful to her fiance.

Where do these wonderful qualities come from in the princess?
From my own mother. Let's re-read the beginning of the fairy tale and see what it was like.
He waits and waits from morning until night,
Looks into the field, indian eyes
They got sick looking
From white dawn until night;
I can't see my dear friend!
He just sees: a blizzard is swirling,
Snow is falling on the fields,
The whole white earth.
Nine months pass
She doesn't take her eyes off the field.
She spent the entire time of separation at the window, waiting for her “dear friend.” Love and loyalty are the main qualities of her character.
Why did the queen die?
From happiness that he finally sees his husband:

She looked at him,
She sighed heavily,
I couldn't stand the admiration
And she died at mass.
So great was her love... The ability to love, be faithful, and patient was passed on to her daughter from her mother. Let's draw the children's attention to when the girl was born:
Here on Christmas Eve, right at night
God gives the queen a daughter.
Can you name the princess's date of birth?
Yes - January 6, the day before Christmas.
Since ancient times, people born on the eve of major religious holidays or on the most festive days were considered marked by God and loved by him.
Let us remember when meekness, humility, and patience came to the aid of the princess, rescued her from trouble, and helped her overcome difficulties.
When the princess found herself in a dense forest with Chernavka and realized what was threatening her, she
... begged: “My life!
Tell me, what am I guilty of?
Don't ruin me, girl!
And how will I be a queen,
I will spare you."
and Chernavka took pity on the poor girl:
Didn't kill, didn't tie up,
She let go and said:
“Don’t worry, God is with you.”
The heroes, captivated by her modesty and
beauty, sheltered in their home:
and the princess came down to them,
I gave honor to the owners,
She bowed low to the waist;
Blushing, she apologized,
Somehow I went to visit them,
Even though I wasn’t invited.
Instantly, by their speech, they recognized
That the princess was received;
Sat in a corner
They brought a pie;
The glass was poured full,
It was served on a tray.
From green wine
She denied;
I just broke the pie,
Yes, I took a bite,
And get some rest from the road
I asked to go to bed.

Even the dog received the princess with joy:
A dog comes towards her, barking,
He came running and fell silent, playing;
She entered the gate
There is silence in the courtyard.
The dog runs after her, caressing...
And when the princess was in danger, Sokolko tried to prevent it. The heroes did not dare to bury the princess and this helped Elisha bring her back to life. For her sake, he was ready to do anything without
I was tired of looking for my bride - that means she deserved such selfless love with her
gentle disposition...

Think about why the queen was given only “one mirror” as her dowry (whilefor the princess they gave “seven trading cities / and one hundred and forty towers”)?
The queen believed that the main thing in her was beauty, which was also her main dowry. Didn't she get the cities and the mansion? They got it, of course, but for some reason the poet emphasized the mirror. Why? Probably because she saw herself in the mirror, admired her beauty, and this was the most important thing for her. To be the most beautiful of all has become the goal of her life, which is why she sees nothing around but herself...
Can external beauty become a life goal? And is it possible to judge a person only by external beauty? Is she going to tell him everything?
No, external beauty itself cannot be the only value of a person. Although this is exactly what happened with the queen: beauty is her only advantage. External beauty must be complemented by internal beauty - the beauty of the soul. The way it came together in the young princess, who loved everyone and was kind to everyone. And the queen was only kind with the mirror.
What did this mirror become for her? Why?
It became, in fact, her only interlocutor, “She was alone with him; Good-natured, cheerful, ; I joked with him affably...” It turns out that others were in vain to wait for a friendly word from the queen...
Why was the queen “good-natured and cheerful” only with a mirror?
She was dependent on him. She only wanted to hear about her beauty, everything else did not interest her.
Can an object (even such an unusual one, a talking one!), for example a TV, a computer,
replace living people?
Of course not: after all, it’s just an object, without soul and heart...

What involuntarily strengthened and developed the mirror in the queen?
Pride, confidence in one’s incomparability and beauty, narcissism. It is interesting that, speaking about the queen, the children remembered Narcissus: after all, he also looked into the water, as if into a mirror, and admired himself.
Let's look at and compare illustrations for this episode by different artists.

In Zvorykin’s first illustration, the queen seems unapproachable in her pride, she is like a monument to selfishness and pride. The second one emphasizes her fragility and willfulness.
What qualities can pride give rise to in a person? Why?
Pride gives rise to arrogance, jealousy, envy, selfishness, malice, anger, and selfishness.
All this becomes its natural manifestation, because a person obsessed with pride feels himself to be the center of the Universe... That is why the mirror’s message that “the princess is still sweeter, / Still more rosy and whiter...” caused such a storm of anger from the stepmother.

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Composition

Thus, even having accepted death, the hero of the poem won a victory over dishonor, preventing his beloved woman from being disgraced. This is the act of a real man.

Lermontov often drew ideas for his works from oral folk art. At the age of twenty-two, he created the “Song about Tsar Ivan Vasilyevich, the young guardsman and the daring merchant Kalashnikov”; its style is similar to a folk tale.

And is it possible to talk about a sublime feeling here if Kiribeevich, having managed to waylay Alena Dmitrevna on the street in the evening, in front of all the chatty neighbors, offers her clothes and jewelry in exchange for her love?! However, a selfish boyfriend cannot get away with impudence and permissiveness.

However, the king's decision was unequivocal. Kalashnikov ascended the scaffold proudly and with dignity, remaining in the memory of the people who knew him as an example of honor, nobility and deep decency: An old man passes by and crosses himself, a young man passes by and becomes dignified, a girl passes by and becomes sad. M. Yu.

And only Stepan loved his wife so much that he gave up his life for her sake, just so as not to disgrace her good name a second time. He went up to the scaffold without fear, full of determination that he was dying for a just cause. After all, he placed honor and human dignity above all else. And even in the last seconds of his life, he thought not about himself, but about his family, ordering people to take care of their children. People were delighted with the merchant's courage and often visited his grave. “If an old man passes by, he will cross himself, a young man will pass by, and he will become poised; a girl will pass by, and he will become sad” - with these lines Lermontov expressed his attitude towards the action of the merchant Kalashnikov.

the daring merchant Kalashnikov,” we meet with two dissimilar views on life, two completely different people. One of them is an honest and worthy, successful merchant and owner respected by his neighbors, a hard-working and faithful husband, Stepan Paramonovich Kalashnikov. The Tsar's favorite guardsman, Kiribeevich, fell in love with his young beautiful wife Alena Dmitrevna. This is a man of completely different principles. Thinking only about himself, he, without any remorse, is ready to ruin someone else’s life and happiness, destroy his family and bring shame on the head of his beloved.

The merchant once again proved his honesty and decency by admitting to the king, enraged by the death of his beloved fighter, that he had deliberately killed Kiribeevich, but did not explain the reasons. With this noble act, he kept the guardsman's dishonest behavior a secret and protected his wife's good name from gossip and omissions.

Stepan Kalashnikov himself stands up for the honor and good name of his wife and his own family. Without hesitation, he is ready to challenge the offender to death, knowing in advance that if he wins, he will incur the wrath of the king himself. However, nothing can stop the brave merchant striving to defend justice. Hearing the name of his opponent and his accusations, Kiribeevich trembled and turned pale, but there was nowhere to go: once he came out, he had to fight. And the boastful guardsman lost this battle, struck by the mighty blow of Kalashnikov.

The merchant was famous for his strength and easily defeated Kiribeevich with a blow to the temple. This blow turned out to be fatal, which greatly angered the king. But when he asked Kalashnikov why he killed his servant, the merchant remained silent. He remained silent so as not to reveal his wife’s name to shame. And the king ordered his execution. So Lermontov, with great skill, turned an ordinary everyday situation into a love story full of drama.

The value of human life is determined by what is considered most important in it, what is of greatest value. In the poem by M. Yu. Lermontov “Song about ...

Merchant Kalashnikov nobly defended the honor of his wife. Apart from him, Alena had no more defenders. Her father and mother died, her older brother went missing in a foreign land, and her younger brother was just a baby.

In the poem, the author describes a life incident. The tsar's oprichnik Kiribeevich fell in love with the wife of the young merchant Stepan Kalashnikov. He waylaid Alena Dmitrevna on the street and began to hug and kiss her in front of all the honest people, and seduce her with expensive gifts. People looked out of the windows and laughed. Kalashnikov, having learned about his wife’s shame, decided to fight the offender in a fist fight in order to defend her honor. Tsar Ivan Vasilyevich himself was present at the battle.

Other works on this work

Or rather, we will talk not about one, but about two idols at once, two equestrian monuments in St. Petersburg, depicting the Russian Tsar Peter I in the image of an ancient triumphant.

One of these monuments, the work of Etienne Falconet, acquired the significance of a symbol of the Northern capital on Senate Square. He has few equals in world sculpture. Glorified by Pushkin as the Bronze Horseman, he organically fit into the ensemble of the Neva embankments.

In the unshakable heights,

Over the indignant Neva,

Stands with outstretched hand

Idol on a bronze horse...

What a thought on the brow!

What power is hidden in it!

And what fire there is in this horse!

Where are you galloping, proud horse?

And where will you put your hooves?

O mighty lord of Fate!

Aren't you above the abyss?

Raised Russia on its hind legs at a height with an iron bridle?

Another equestrian monument to Peter I, by Carlo Rastrelli, stands opposite the Mikhailovsky Castle. Cast during the reign of Peter I's daughter, Elizabeth, the statue waited in the wings for over forty years and was installed by the great-grandson of the converter, Paul I, in front of the southern facade of his new residence. Along with the swift Bronze Horseman Falcone, the proud monument to Rastrelli is a symbolic embodiment of a victorious, transformed Russia. Just like many years ago, today it is the compositional center of the ensemble of Klenovaya and Zamkovaya streets.

The artist was asked to tell the story of the creation of these amazing monuments of the Baroque and Classical era in Russia.

So, my dear readers, starting the story, I want to remind you that art never dies, it exists next to us, inside us, helps to set milestones along the historical path. The look at the figure and role in history of Peter the Great is ambiguous, but today we will look at him through the eyes of his contemporaries and descendants who replaced him. Elizabeth, Catherine II, Paul I - daughter, grandson's wife and great-grandson. And those who, with their talent and labor, created the image of the Transformer, the Father of the Fatherland and the Hero - Carlo Bartolomeo Rastrelli and Etienne Falconet.

Works and days of Carlo Rastrelli

1715 Peter I sends his trusted man, F. Lefort, to Europe in order to recruit noble architects, sculptors, mechanics, and engraving and embossing specialists to work in St. Petersburg. In Paris, Lefort enters into a three-year contract with the Italian architect and sculptor Count Carlo Bartolomeo Rastrelli. A talented artist travels to Russia with the goal of winning the favor of Tsar Peter.

According to the agreement, the Italian must draw up designs for two country palaces and carry out their construction. But Rastrelli himself cherishes other plans. He knows that in the country where he will work, churches are erected in memory of great events and heroes, and there is not a single secular monument. A year later, Rastrelli presented the Tsar with a model of an equestrian monument, but Peter, busy with war and construction, reacted coolly to the master’s idea. The time for monuments to kings and generals has not yet come. A king dressed in a Roman toga would have caused, at the very least, bewilderment and fear. Carlo Rastrelli devoted several years to creating a sculptural portrait. He created a whole gallery of images of courtiers and the king himself.

The sculptor clearly does not resort to flattery and creates the image of a man full of energy and intelligence, convinced of his grandiose plans, but at the same time, intolerant and merciless. Clenched jaws, slightly knitted eyebrows, a proudly raised chin, an easily recognizable mustache - this is Peter. Carlo Rastrelli managed to reveal his impetuous and impetuous nature. The all-conquering power of Peter is emphasized by the restless, brittle folds of the ermine mantle and the chased knight's armor. And now this bust is one of the treasures of the Russian Museum in St. Petersburg.

In 1720, it seemed that the time had come for a talented sculptor. Peter is preparing to assume the title of emperor. Before this, Russia was a kingdom, now it was destined to become an empire. In the time of Peter, the words “empire” and “emperor” sounded in a Western manner and undoubtedly expressed a new level of power and greatness. The splendor of the Constantinople court, which once blinded the Russian great princes, lost all meaning for Peter. Peter was interested in the customs inherited by Europe from Ancient Rome and in 1717 he made a new trip to Europe. In Paris, an equestrian statue of the “Sun King” Louis XIV appeared before him, and he wanted to raise his own prestige, to receive exactly the same monument glorifying the monarch. With his characteristic activity, he chose a place for the monument on Vasilyevsky Island, opposite the building of the Twelve Colleges, where St. Petersburg University is now located. And, of course, he appointed Carlo Rastrelli as the author and performer of the project. The sculptor understood the task: the equestrian statue of Peter in the armor of the Roman triumphant, erected in front of the building that housed government offices, should personify the connection between victories on the battlefield and state reforms.

Peter only managed to approve the sketch of the future monument, and the sculptor began to work on making the model - when suddenly on January 28, 1725, the emperor passed away. With the death of Peter, work on the monument was delayed. Rastrelli was commissioned to produce death masks and the so-called “wax persona with dresses” of the late sovereign. By the way, Peter Rastrelli made a plaster mask back in 1719. Then Pope Clement wished to place the figure of the Russian Tsar Peter in the wax museum in the Vatican. The pope called the king to Rome, but he did not have time to go and had to take off his mask at home and send it along with casts of his hands and feet. At the same time, Peter I ordered the production of his own wax bust in armor, painted in accordance with the fashion of the time. I must say, a very painful technology! Peter had to shave his head and shave off his famous mustache. Then he was seated in a chair, his arms were tied to the armrests, and his torso was tied to the back. They covered their eyes with a plaster. The head and face were smeared with goose fat. They put a barrel on top - formwork - securing it on supports. Tubes were inserted into my nostrils to help me breathe. This entire structure was filled with liquid gypsum and they waited for the gypsum to harden. During the procedure, the master was assisted by the king's orderlies and son Francesco. When the plaster hardened, the master checked its readiness by knocking. They tore off the formwork and began to split what came out - it was something like a white cabinet in which the king’s head was located. The hardened plaster was chipped, assembled, and all the pieces were peeled off from the face. Peter endured bravely. This custom of removing masks from human faces was inherited in the west from the Romans.

Wax person of Peter I. 1725

Peter's "persona" is dressed in a rich dress made of blue grodetour - a high-quality ribbed silk material. The costume was sewn by Catherine's hands for her own coronation. Before this event, Peter preferred to wear the green Preobrazhensky uniform, in which he fought near Poltava. Peter wore it only once - on the day of his wife’s coronation on May 7, 1724. The sculptor himself carved the figure of Peter from wood in exact accordance with the measurements of the king’s body. The wig on his head is made from his own hair. The wide-open eyes, looking straight at the viewer, were made in enamel on gold by the famous miniature artist Andrei Ovsov. To give the figure mobility, special round joints are machined for the arms and legs. Currently on display at the State Hermitage Museum.

Catherine I was in no hurry to erect a monument to her husband. She reigned for two years. The grandson Peter who replaced her, the son of the executed Tsarevich Alexei, did not even think about immortalizing his grandfather as a Roman commander. During the reign of Anna Ioannovna there was no time for Peter the Hero. Everything changed with the coming to power of Peter’s daughter, Elizabeth. It was important for her, who seized the throne as a result of a palace coup, to justify her act by demonstrating a blood connection with her great father. Therefore, already in the first days of her reign, there was talk of an equestrian monument to the founder of the empire.

Carlo Rastrelli enthusiastically took up the statue of a hero-demigod, standing above people, alien to worries and suffering, unforgiving to everything that goes against his will. His new face under the sculptor’s chisel has lost the impetuosity and passion, the piercing gaze of the viewer that he was endowed with in the bronze bust. Now the emperor, crowned with a laurel wreath, seated on a “walking horse with a ringing step, was filled with a silent consciousness of his superiority.

The work went well. Already in 1743, Elizaveta Petrovna “tested,” as they said then, a life-size model of the monument. However, the following year, 1744, Carlo Rastrelli died before he could begin casting the monument.

How the statue was cast

Casting of an equestrian statueCarlo Rastrelli's assistant, the Frenchman Martel, was entrusted with the task.The royal office reported that Martel “has the art of making excellent portraits from silver and copper and knows other skills.” But this master never cast equestrian statues! Having taken on important work, the Frenchman slowly moved towards success and in nine years he only managed to remove a collapsible mold from a clay model (in pieces) and cast a new one on it - from wax. He began making the wax statue in 1753.

At this time, the son of the author of the monument, Bartolomeo Rastrelli, was designing a new Winter Palace, the same one that is now occupied by the State Hermitage. The embodiment of the rapidly growing greatness of the empire, the palace amazed the imagination with hundreds of snow-white columns on an azure (now green) background - ordinary, paired, grouped in bunches, nearly a thousand windows in stucco frames, gilded vases and statues along the roofs. How infinitely far from all this splendor is the modest summer palace of Peter! That is why it seemed especially necessary to the architect that the founder of the empire himself should decorate his daughter’s residence with his own presence. Therefore, it was decided to install the statue by Rastrelli the Father in front of the Winter Palace in the center of the round square. Rastrelli the son intended to surround the square with a double colonnade, which would connect the monument even more closely with the palace and separate it from the city. Everyone had to see with their own eyes that the very memory of Peter belonged to his daughter. Elizabeth liked Bartolomeo Rastrelli's idea.

The implementation of the plan was prevented by the war with Prussia. The country was experiencing financial difficulties, and Elizabeth had to save on everything, including her whims. But work on the statue continued. For eight years they prepared, dried, bound a form of refractory clay with iron hoops, burned and melted wax from this form. And then the day came when the craftsmen lit the smelting furnace and cast the statue. This happened in 1761, but in the same year, on December 25, Elizaveta Petrovna died. Ironically, Elizabeth’s nephew and heir, Grand Duke Peter Fedorovich, was not only the grandson of Peter I, but also the great-nephew of Charles XII. Having grown up at the court of his father Karl Friedrich of Holstein in hatred of everything Russian (his mother, Elizabeth’s elder sister Anna Petrovna, died three months after his birth), he reigned under the name of Peter III. His short reign was marked by worship of the military leadership of the enemy of Russia, the Prussian king Frederick II, the replacement of Peter's uniforms with Prussian ones and the conclusion of peace with Prussia, when our army victoriously entered Berlin. Under such an emperor, even mentioning the installation of a triumphal monument to his grandfather in front of the Winter Palace was dangerous. Six months later, Peter III, who did not have time to be crowned, was overthrown by the guard and killed by those close to his wife Catherine. The new empress was in dire need of the love of her people and wished to acquire immortal glory and greatness. Catherine II was wise. She understood how important it was to perpetuate the memory of Great Peter, emphasizing her own role as his successor. But at the same time, the finished statue ordered by his daughter was not suitable. She emphasized the daughter’s connection with her father, and for yesterday’s German princess this was unacceptable. It was in vain that Rastrelli the son anticipated the imminent installation of his father’s brainchild on the square in front of the Winter Palace. Offensive news came from the Senate: “Her Imperial Majesty did not deign to try the said portrait, reasoning that it was not made with the kind of art that should represent such a great monarch and serve to decorate the capital St. Petersburg.”

Falcone's daring plan

Catherine decided to entrust the creation of a new monument to a sculptor capable of surpassing Carlo Rastrelli. This was not an easy matter. The great French encyclopedist, philosopher and art critic Denis Diderot helped the Empress, recommending the sculptor Etienne Falconet.

Etienne Maurice Falconet began his career in a craftsman's workshop. At the age of 25, the “carpenter’s apprentice” barely knew how to sign his name, but his passion for knowledge and enormous capacity for work turned him into one of the most educated artists of his time. In the articles and treatises he wrote. comprising six voluminous volumes, he argued that the only purpose of art is to enlighten, instruct people on the good path, and instill in them high ideals.

Falconet arrived in Russia in 1766, accompanied by his seventeen-year-old student Marie Anne Collot, and was immediately presented with a program for the monument drawn up by the president of the Academy of Arts, Betsky. It was a multi-figure composition. The pedestal with the statue should have been surrounded by four statues of virtues, which constituted the glory of the Great Peter, trampling on vices.

“My monument will be simple,” answered the sculptor. He defined the image of Peter as follows: “Creator, Transformer, Legislator.” Falcone decided to create an image that embodies the country and its progress. He considered it unacceptable to pit the hero against the crowd. After all, heroes are the sons of the people, always inextricably linked with its history and destiny. Having carefully studied all the historical material, lifetime sculptural portraits and the mask of Peter created by Rastrelli, at the beginning of 1768 the sculptor began work on a model of the monument the size of the future statue. Previously, he studied the movement of the horse and rider for a long time. For this purpose, a mound of earth was poured, the shape corresponding to the pedestal. Hundreds of times the rider, on Falcone's orders, galloped on various horses. “Because the eye can grasp the effects of such rapid movements only with the help of many repeated impressions,” the sculptor himself wrote. Having studied the movement of the horse, he began to examine, draw, sculpt each part from below, above, in front, behind, on both sides. A suitable model of the horse was found in the stables of Count Orlov. General P.I. posed for the figure of the horseman. Melissino, who in height and physique resembled Tsar Peter.

Meanwhile, Catherine, who did not want to follow her predecessor Elizabeth in anything, chose a different place for the monument. Next to the Admiralty, where St. Petersburg once began, there was a vast area. The end of the Admiralty limited one of its sides, the second was the building of the Senate, the third side of the square was open towards the mirror of the Neva, and in the fourth, in the depths, a cathedral was founded in the name of Isaac of Dalmatia, the saint on whose day Peter saw the light. On April 12, 1768, it was recorded in the Chamber-Fourier journal that the Empress, while traveling to Tsarskoe Selo, deigned to visit the “portrait foundry house,” that is, Falconet’s workshop. Here the sculptor introduced Her Majesty to the finished model. Catherine praised his work, with the exception of the head of the statue, but gave the sculptor the freedom to continue creating.

“Your statue will be, perhaps, the first good one I have seen. Every schoolchild understands your art more than I do,” she said.

Unlike Catherine, the President of the Academy Betsky intervened in the work on any occasion. He either took the master away from work, ordering him to provide an analysis of equestrian monuments erected in European countries, or demanded that one eye of the rider look at the Admiralty, and the other - to the building of the Twelve Colleges. Falconet complained to Catherine about Betsky. He explained to her that Peter, in his opinion, should be represented on a horse rearing up at the edge of a cliff. “Raising his hand on high,” he turns with menacing force towards the overseas distance, like a ruler not only over people, but also over the elements. The horse is completely in motion, the impulse covers him entirely, and the rider’s pose personifies majestic peace. This contrast is the essence of the composition.

Monument to Peter I. Modern view

Peter does not sit on a horse, as in Rastrelli’s statue, but commands it, indicating a sharp and impetuous movement. The horse does not just obey its rider - it has the same passion, the same desire. The absence of a saddle and stirrups and the cloak falling from the rider’s shoulders to the horse’s croup merges them together. Under the hooves, writhing, the snake dies. It symbolizes the forces of evil trampled by Peter. Truth and goodness triumph. Nothing stops the rider from racing into the vast distance anymore.

Snake. Modern look

The work was nearing completion, but the horseman's head still failed to reach Falcone. He made three sculptural versions of the portrait, but they were rejected by the empress. Many took advantage of this to criticize the statue. Falcone was nervous, offended and irritated. Catherine at least encouraged him: "Laugh at the fools and go your way,” it was clear that she did not like Peter’s head.

How this wounded Falcone’s pride!

Marie Collot pleases

empress

And then young Marie Anne Collot asked her teacher to allow her to sculpt Peter’s head. Marie came to Falcone's studio as a little girl. He immediately noticed the talented child and began to teach her. In Russia, Marie was his assistant for 12 years, and then became his daughter-in-law, marrying his son Pierre Etienne, a painter.

Working on Peter's head, Collo came from a plaster death mask. The sketch she made delighted the master. The student, using a plaster cast of the Tsar’s face, achieved not only a portrait resemblance, but also managed to express Peter’s high intelligence, determination, and will.

The proudly raised head of the king in a wreath of laurels amazes with the expression of high thought. The eyes are wide open, they illuminate the face with the light of reason.

And the fact that Peter’s gaze is directed in the same direction as the hand gesture is directed, enhances the feeling of purposefulness. Peter is Russia, uncontrollably striving forward.

This time the empress liked Peter's head.

"Thunder Stone"

Now Falcone is relieved to begin preparing the pedestal. He conceives it in the form of a rock and, following the advice of the military engineer Carbury Lascari, decides to carve it out of the monolith. The rock was supposed to show how the rider, at full gallop, overcame a steep climb and reared his horse over the abyss. What was needed was a block that looked like a sea wave with a smooth rise and a sharp drop down.

A suitable rock was discovered 12 versts from St. Petersburg, near the village of Lakhta. in the middle of a difficult swamp. It was a granite boulder. According to legend, it was struck by lightning and cracked. Local residents nicknamed it “Thunder Stone” and said that Tsar Peter surveyed the area from here even before the founding of the capital.

But to extract and deliver a monolith weighing more than one hundred thousand pounds seemed crazy. Betsky believed that the matter was hopeless. Falcone persisted in his position.

In September 1768, work began to prepare the rock for transportation. Excavators dug a pit around a stone buried five meters into the ground and exposed its lower part. The following winter, under the leadership of military engineer Lascari, second lieutenant Ivan Shpakovsky and “without rank” Ivan Khozyainov, piles were driven into the frozen swamp. A clearing was cut in the forest leading to the shore of the Gulf of Finland. Iron-lined wooden gutters were installed along the road like rails. In March 1769, twelve 30-meter levers lifted the Thunder-Stone and installed it on a wooden platform adapted for movement on runners. The runners had semicircular grooves with bronze balls on which it moved. The block was pulled using ropes and two gates, which were driven by 32 people. In fact, hundreds of working people were involved in transporting the stone block. Thanks to their efforts, she, as if reluctantly, slowly crawled towards the Gulf of Finland.

Transportation of "Thunder Stone" There were people on the rock during the movement. Two drummers gave signals to the workers at the gate in a rhythmic beat. Forty stonemasons continued to work the rock. Several blacksmiths were correcting and sharpening tools using a small forge installed here. Many St. Petersburg residents came out of curiosity to see how the stone was moving towards the bay. Catherine also came to Lakhta with her retinue. Having reached the shore, the stone was loaded onto a raft secured between two ships and the Gulf of Finland, and then transported along the Neva to a place chosen by the empress. The news of the unprecedented engineering enterprise spread throughout Europe. The world had never seen anything like it, people admired it. In honor of the event, a medal was struck with the inscription: “Like daring. 1770.” Casting a statue Falcone’s relationship with Betsky did not improve. The nobleman continued to attack the sculptor, either demanding more magnificent folds of clothing, or rejecting the image of a snake under the hooves of a horse. Suddenly, Catherine also began to cool towards the master. Among the Russian craftsmen, no one took on the task of casting the monument. The foundry master Ersman was called from France, but he also considered the task impossible. Things turned out in such a way that Falcone was left to take on the casting himself. He was not a beginner in this matter, having mastered it in Paris. He began work in 1775, spending four years on preparation. The casting of the statue almost ended in disaster. In the smelting furnace, which had been burning for many days, the workers lit a strong fire. The foreign foundry worker on duty fell asleep and the upper part of the mold burned out. The metal that poured into this part turned into a shapeless mass. A fire started in the workshop. Falcone was wounded and lost consciousness. All the workers ran away, except for the foundry worker Emelyan Kailov. The courageous foundry worker, left alone, did the job for everyone, forcing bronze to flow from the furnace into the mold to the last drop. Processing the cast statue took Falcone another three years. Together with the experienced embosser Sandoz, the sculptor himself minted and finished the bronze. In 1778, Falconet, in his last letter to the Empress, reported on the completion of the work. But during this time his relationship with the Court deteriorated so much that he did not receive an answer from Catherine. She no longer needed the artist, and so he left Russia without waiting for his monument to be installed. Catherine's triumph After Falcone's departure, the management of the construction of the monument passed to the architect Felten. For another four years they leveled Senate Square, installed the pedestal, mounted the figure, and cast the lattice. The opening of the monument was scheduled for August 7, 1782. This year just celebrated the centenary of Peter's accession to the throne. Peter's Guard regiments arrived on the square - a total of 15 thousand soldiers and officers. As soon as Catherine appeared on the balcony of the Senate building, a rocket took off. Immediately the canvas shields surrounding the monument fell onto the pavement. The army saluted the monument “with guns and dodging the banners, and the ships by raising the flags, and at the same moment the firing from both fortresses and from the ships, mixed with the rapid fire of the regiments and the beating of drums and the playing of military music, shook the city created by Peter with delight.” . And do you know who remembered him? The son of Catherine the Great is Paul I. After the death of his mother, which followed on November 5, 1796, who did not love him and kept him away from the Court, and even thought about relinquishing the throne to her grandson Alexander, Paul began to act contrary to her. However, he had very serious reasons to emphasize that he inherited the crown from his father, the grandson of Peter I, and not from his mother, who seized the throne by force. After all, his father was killed before he could perform the coronation ceremony and was buried not in the royal tomb of the Peter and Paul Cathedral, but in the Alexander Nevsky Monastery. A year later, Pavel will rename it Lavra. Catherine II seemed to have crossed out Peter III from the list of Russian tsars. And so, the day after his mother’s death, Paul ordered to dig up his father’s ashes from the grave. The coffin was placed in the monastery cathedral and... for the first time in history, the coronation was performed over the ashes. Then the remains of Peter, simultaneously with the body of Catherine, were buried in the Peter and Paul Cathedral. Paul's legacy was vindicated and justice was done. The new emperor showed by this that he received his power from God and did not consider himself obliged to the nobility, like his mother. Everyone is equal before God’s anointed one, and he is fair to everyone - this is how Paul thought. When meeting an imperial carriage, now any nobleman, no matter how noble he was, had to get out of the carriage and bow to the anointed one, even if the mud on the road was knee-deep. For any offense, the nobleman was subject to corporal punishment, like a peasant. For the slightest omission at the parade, the regiment marched in full force to Siberia. This is justice. Paul declared a merciless war on round hats, turn-down collars, vests and boots with cuffs. Everyone was ordered to powder their hair and wear braids. Combing hair over the forehead was strictly prohibited. This was equality. Paul constantly imagined that the hated spirit of Mother Catherine still lived within the walls of the royal palaces. He decided to build himself a new residence and chose a place near the Campus Martius - a large area for parades and drills. Here a powerful citadel began to be built - beyond all styles and eras - a castle full of grandeur and tragic beauty. It was intended to embody the Russian emperor's dream of the home of an ideal knight, such as the Camelot of the legendary King of the Britons Arthur. The castle was founded in February 1797. A project drawn up by the famous architect Vasily Bazhenov and working drawings were prepared with amazing speed, and all work was completed in two and a half years. Bazhenov's assistants were Vincenzo Brenna and young Carlo Rossi. An absolute record for that time! The work was carried out day and night, by the light of torches and lanterns. Still unfinished. "raw", Pavel's new residence impressed everyone! The entrance with granite obelisks on the sides resembled a triumphal arch. According to the custom of Ancient Rome, it was decorated with images of trophies and monograms. A moat connected to the Fontanka and Moika rivers cut off the castle from the city. It was possible to get into it only through a drawbridge, guarded day and night. The castle received the name Mikhailovsky, since Paul placed himself under the protection of Archangel Michael, the traditional patron of Russian tsars. It was decided to erect a statue in front of the main facade. It was then that they remembered the unrealized project of a monument to Peter I, abandoned under Catherine. And Paul once again emphasizes that he should go against his mother in everything. The sculpture is carefully restored and placed in the middle of the square in front of the castle on a pedestal made of polished granite. Peter is presented in the form of an ancient triumphant commander in a Roman toga with a laurel wreath on his forehead. In his hand is a field marshal's baton. On the pedestal, to the right as the horse moves, there is a relief “victory at Poltava” - Peter’s greatest land triumph. On the left is the “Victory of Gangut” - a triumph in a naval battle. The inscription on the front expresses Paul's thought that he alone should be considered the successor of his grandfather's glorious deeds. She is laconic: “Great-grandfather - great-grandson.” The image of not only the rider, but also the knight’s horse is impressive. The horse arched its neck and flared its nostrils, like a predatory animal. The horseman, who has arrogantly straightened his body and thrown back his head crowned with laurels, is arrogant and even somewhat gloomy. The image of Peter, created by Carlo Rastrelli, is endowed with superhuman strength, will and knowledge inaccessible to ordinary people. The monument found its place, but did not provide protection for the great-grandson. For only 38 days, Paul admired the moat, square square and equestrian monument of his great-grandfather from the windows of the castle. On March 11, 1801, he was killed by the conspirators with the tacit consent of his son Alexander. The dead emperor was taken to be buried past the bronze great-grandfather, who still looked arrogantly at the procession and the tear-stained great-great-grandson. Subsequently, an eyewitness will write with irony: “The Emperor walked with his eyes full of tears - his father’s killers were ahead, his grandfather’s killers were behind.” But no one can interrupt the victorious march of the bronze horsemen. One strives forward, not stopping in front of the yawning abyss, asserting the connection of royal power with the state, military and spiritual life of the country. The other personifies the power and will of the ruler. In the 18th century, Christian symbolism was replaced by secular symbolism. The language of art is allegorical. Peter the Great, what was he like? Address this question to the works of Carlo Rastrelli, who knew him personally, sculpted him from life, touched him with his hands. Or trust the genius of Falcone, a thinker and philosopher who managed to capture a moment and thereby express an entire heroic era.

The story “Shulamith” consists of 12 parts. Its main characters were King Solomon, his wife Astis and Shulamith, a commoner with whom the king fell in love.

First, the author talks about the reign of the great king, his wisdom and wealth, for which he was famous far beyond the borders of his country. Then it talks about what kind of women Solomon preferred. He had a huge number of wives and concubines, as well as many dancers and slaves. In addition, Solomon entered into a close relationship with Queen Balkis, who was considered the most beautiful woman in the world. God gave the great king not only wisdom, fame and riches, but also a beautiful body and some extraordinary abilities. No woman could resist Solomon.

One day the king fell in love with a simple but very beautiful girl named Shulamith. The girl worked in one of the royal vineyards, helping her brothers. It was there that Shulamith and Solomon met and immediately fell in love with each other. Solomon introduced himself to his new acquaintance as the royal cook, and then made an appointment with her that night. When their meeting finally took place, Solomon confessed to his beloved who he really was. Shulamith moves to the palace.

While the king is enjoying love with his new concubine, one of his wives, Astis, is present at the sacrifice in the temple of Isis. The legitimate wife is furious that the king chose a commoner over her. Astiz wants to kill the girl. For these purposes, she chose the head of the royal guard named Eliav. The prudent queen knows that Eliav has been in love with her for a long time, which means he will do what she demands of him. Astiz promises the chief of the guard to make him king over himself. It doesn't take long to persuade Eliav. The assassin goes to the royal chambers.

On her last night, Shulamith is sad and does not respond to the king’s caresses. When Solomon tries to find out what is happening to her, the girl admits that she feels death approaching. Shulamith tries to get up from the bed, but at that moment she is pierced by Eliav's sword. The killer was found and executed. The king found out who ordered the crime and expelled Astiz from his country. Having punished the conspirators, Solomon could not be consoled. He was next to his beloved’s body all the time and did not talk to anyone.

Characteristics

King Solomon

The great king is certainly a historical figure. What this man really looked like and what his character was like, modern historians can only guess. Solomon is traditionally described using superlatives: the most beautiful, the most powerful, the richest. Kuprin did not depart from this tradition.

The image of Solomon is ideal. The king was a fair ruler and judge, did good deeds, understood the languages ​​of animals and birds, and had the gift of healing. In addition, he knew how to seduce women and be a skilled lover. The author sympathizes with his character, talking about him with pleasure, looking at him from different sides, like a precious stone. Solomon managed to please both God and people.

The king's young lover is only 13 years old. The girl's character changes as the plot develops. When Solomon first sees Shulamith, he sees a naive, slightly frightened girl.

But love changes the main character. Her first “adult” act is the sale of silver earrings, which were the girl’s only wealth. With the proceeds, she bought myrrh, an aromatic resin, to anoint her body with it for her first date with her lover. This small sacrifice testifies to the enormous power of a new feeling for Shulamith, to which she surrendered completely, without thinking about the consequences. The girl was rewarded for her sacrifice with a week of love in the arms of the king.

After spending very little time with the wise Solomon, Shulamith changed. She acquired the wisdom characteristic of her lover and the mystical gift of divination. In just a week, the main character turned from a naive girl into an experienced, sensual woman, becoming even more desirable to the king.

Queen Astiz

Astiz is the owner of unnatural beauty, which Solomon quickly became bored with. The author describes her as follows: whitened, rouged, blue hair, eyes “like those of an animal.” Only the eyes, which cannot be hidden under paint, reveal the essence of the queen. Greedy, cruel and depraved, Astiz does not tolerate rivals.

Beauty and age

The new beloved wife is much younger than the queen. Astiz can surpass Shulamith in origin and upbringing, but not in age. No amount of jewelry can bring back her youth.

Solomon had many concubines and wives. But Astiz was jealous of Shulamith. The commoner received rare beauty and so much attention from the greatest of kings. In order to get rid of her rival, the queen is ready to become the mistress of the head of the royal guard. For Astiz, the ends always justify the means.

Love is the treasure of our life. The author develops this idea throughout the entire narrative. Solomon inherited all the riches of this world. The king had so much gold that he gave it to make shields for the guards. During his reign, silver was worth no more than an ordinary cobblestone. The king could allow himself any whim.

However, Solomon's main wealth was the ability to love and be loved. Many great kings, having gained power and wealth, stopped appreciating simple human joys. The terrible rulers became hardened in soul. Women became ordinary objects of carnal pleasures for them. Solomon is able to respect every woman, regardless of her origin. This is what attracted the fair sex to the king. Each of Solomon's lovers felt unique and unique in his arms.

Analysis of the work

Kuprin's "Shulamith" was inspired by biblical verses and legends. The summary of this work can be retold in just a few words. However, the meaning inherent in “Shulamith” by the author can only be understood after complete reading.

The development of the plot does not begin at the very beginning of the story. The beginning of the drama occurs only in the fourth chapter. Before this, the author describes the life and deeds of King Solomon, talking about his tastes and preferences. The purpose of the first three chapters is to acquaint the reader with the personality of the greatest of kings as best as possible.

The story very realistically depicts everyday life in the army, injustice towards junior ranks and general inhumanity and cruelty in the army.

Our next article is devoted to the story, the main theme of which is eternal, pure and selfless love.

Kuprin does not strive for historical accuracy. While the names Shulamith (Sulamite) and Solomon can be found in the Bible, the name Astiz is not found in the sources. The author wanted to create a work about love and jealousy. He chose the legendary king as the main character. The biblical story inspired Kuprin to create a continuation of the story. He moves Shulamith to the palace, dresses her in silk and gold and gives her a prophetic gift, thanks to which the girl has a presentiment of her death. Astiz was sent to the temple of Isis, where, during the sacrifice of the priests, she plotted the murder of her rival.

The falsification of facts that the author allowed himself not only does not distort the meaning of the story, but on the contrary, makes it even more fascinating. Perhaps there was no Astiz. However, the role of this character is to create a tragedy that could touch the reader's soul.