Folklore theatre. Drama "Tsar Maximilian"

The drama “Tsar Maximilian” (sometimes Maximyan, Maksemyan) became widespread throughout Russia (St. Petersburg, Moscow, Tver, Yaroslavl, Kostroma provinces, Russian North, Don, Terek, Ural, Siberia), Belarus (Minsk, Mogilev, Vitebsk province), Ukraine (Kiev, Chernigov, Podolsk, Kharkov, Kherson provinces), Moldova. It was played among soldiers, sailors, urban, workers, and peasants.

Several opinions have been expressed about the origin of this drama. The researchers are probably right who believed that the political situation served as the reason for its creation. early XVIII c.: conflict between Peter I and his son Alexei and the execution of the latter. People also remember the murder of their son by Ivan the Terrible. The filicide could not but affect the attitude of the people towards the rulers. This helped 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 baby 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 it was not found. Probably, single source and did not exist. At the same time, the play’s connection 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 dramatizations of the same era, which has been proven by a number of researchers. However, no matter how diverse literary sources“Tsar Maximilian”, what is essentially different is the connection of the play with Russian reality.

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

- I put your idol gods under my feet, I trample them in the dirt, I don’t want to believe. I believe in our Lord Jesus Christ, And I kiss His mouth, And I uphold His law. Tsar Maximyan commands the prison guard.

- Go and take my son Adolfa to prison

starve him to death. Give him a pound of bread and a pound of water

Adolf in prison. Tsar Maximilian turns to Adolf three times with his demand, but he always refuses. Then the king calls the executioner Brambeus and orders Adolf to be executed. The drama depicts the cruelty of Tsar Maximilian not only with his son. In one version, he, like King Herod, orders a warrior (here: Anika the warrior) to kill babies:

- Warrior, my warrior. Go all the countries of Bethlehem, knock down, cut down fourteen thousand babies. You won't kill anyone else. You will bring me alive. Baba (Rachel) appears and asks the king: “Why should my child disappear innocently?” The Tsar is inexorable: - How innocent, When I sent a warrior, An armed warrior? Warrior, my warrior, Kill this baby and drive away this woman! A warrior kills a child. Rachel is crying

Tsar Maximilian is opposed by his son Adolf. He boldly tells his father that he rode down the mother Volga and with a free gang, with robbers, he knew that he was their chieftain; orders the release from prison of a prisoner (restant), who was imprisoned by order of his father. In the drama, Adolf firmly defended his convictions, endured torture, went to his 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 I loved, I cut off my head for that. I am correcting the king’s debt and then I myself am dying.

The king's command to kill his son, the depiction of Adolf's execution, the executioner's suicide - tragic pictures. But the performance had to amuse the audience; a release was needed. A tradition has been established of introducing farcical, satirical and humorous episodes. These are the conversations of the Grave Diggers, the Tailor, the Doctor, even the Patriarch’s funeral service for Adolf’s body. A sharp satire on the clergy arose when depicting the wedding of Tsar Maximilian with the Goddess (the priest and deacon in the tavern drank the wedding book, and got drunk on the funeral book).

Researcher of folk dramas N. N. Vinogradov wrote about “Tsar Maximilian”: “Appearing in half XVIII century and passing from mouth to mouth, from generation to generation, this play inevitably underwent a wide variety of changes, shortened and lengthened at will. Having liked the people, she little by little drew into herself whole line individual scenes and small works of the same kind. As a result, in many versions we get a long series of individual scenes, a whole collection of different characters, a motley kaleidoscope of the most varied positions; gets lost general meaning plays, there is no unity of plot, only the unity of the title remains.

The drama “Tsar Maximilian” is large in volume. It was often copied into notebooks and rehearsed before the performance. However, it also developed stereotypical situations, as well as formulas that contributed to the memorization and reproduction of the drama. These, for example, are scenes of fights, Adolf’s formulaic answers to his father (“I am tearing your idol gods under your feet...”, etc.). Tsar Maximilian’s challenge to Skorokhod (or other actor) and the callee's report of arrival.

Tsar Maximilian: - Fast-moving Field Marshal, Appear before the throne of the Terrible Tsar Maximilian! The fast walker: - I will return from right to left, I will appear before the throne of the formidable Tsar Maximilian: Oh, great lord. Terrible Tsar Maximilian, why are you calling on the Field Marshal? Or do you command deeds or decrees? Or has my sword become dull? Or, what have I, Skorokhod-Field Marshal, done to you?

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

To what has been said, it should be added that in “Tsar Maximilian” the same situations and common places, as in the drama “The Boat”. For example: Adolf - knew the cap of robbers; about the burial of a murdered person they say: “Remove this body so that it does not smolder above the ground...”, etc. Thus, the drama “Tsar Maximilian” arose and developed under the influence of other folk plays, knightly novels, popular prints, folk song folklore, spiritual poems.

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Folk drama“Tsar Maximilian”

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Mentions of this wedding can be found in many modern books dedicated to wedding traditions, - supposedly for the first time in history, it was Maximilian who presented a diamond engagement ring to his Mary. In fact, everything is a little more complicated, and this is not the only reason why their wedding deserves a place in history.

This was, of course, a dynastic union. But the bride was not only fabulously rich, but very smart and beautiful, and the groom was not just a future emperor, but one of the most attractive princes in Europe. They met for the first time only at a wedding, but immediately fell in love with each other, and that day became the beginning of a truly happy family life. This fairy tale, a glorified love story, could have lasted for many years, but quickly ended with early death Mary, whom Maximilian never forgot. How did it all begin?...

Mary of Burgundy. Artist M. Pacher

The son of the Holy Roman Emperor Frederick III of Habsburg, the only heir of his father, strong, robust and handsome, Maximilian was an enviable groom from childhood. Even when he was not even five years old, the famous Charles the Bold, Duke of Burgundy, began to designate him as his son-in-law. He was growing up only daughter, who was to inherit all her father’s lands, and as a bride, Mary of Burgundy was even more attractive than Maximilian as a groom. The contenders for her hand succeeded one another, but who cares about the charms of the young heiress when the wealth of Burgundy is at stake! Dukes, margraves, princes... The Spanish king wooed her for his son, the French Louis XI first for his younger brother, and then, when in his declining years his son was born, - for him. But if Mary had married a French prince, then subsequently all the lands of Burgundy would have gone to the French crown, and all the efforts that Mary’s father made to preserve the independence of his duchy and prevent its neighbor France from absorbing it would have come to naught. So Maximilian, who was to inherit his father’s crown, seemed to Charles the Bold the most suitable candidate.

The young bride and groom exchanged miniature portraits. The artists did not have to embellish their appearance, as was often done in such situations. Maximilian's famous family Habsburg nose and chin did not yet disfigure his face, like those of his degenerate descendants, but, on the contrary, beautified him. Eagle profile, slightly curly blonde hair... Admired by the portrait of the groom, the young duchess often looked at him. Maximilian later described Maria in one letter as follows: “She has snow-white skin, she is brown-haired, and her eyes are gray, beautiful and shining... Her mouth is located quite high, but it is clean and bright.” In a word, they were a lovely couple!

However, everything was suddenly complicated by the death of Mary's father, Charles the Bold. The twenty-year-old girl herself had to fight for the right to marry her prince - both with those who themselves wanted to make her their wife, and with their subjects. She needed a husband whose strong hand the young ruler could rely on, and she wanted it to be Maximilian... When Maria signed the “Great Privilege” (a document restoring local privileges and powers of the Netherlands, once abolished by the Burgundian dukes), she found herself so dependent on her surroundings that she had to secretly write a letter to Maximilian, in which she begged him to come as soon as possible.

Finally, Frederick III officially approved this union (which he never did during the life of Mary’s father), and the emperor’s envoys went to the Burgundian court. Happy Mary received confirmation that the union she wanted, as they say, with all her heart, was real. Ambassadors, a ring, a letter...

On April 21, 1477, a wedding by proxy took place. The groom was represented by Duke Ludwig of Bavaria - a representative man dressed in silver-plated armor. Maria and Ludwig climbed the marriage bed, and a sword was placed between them - a symbol of the protection that Maximilian would one day provide to Mary. This ceremony was repeated again, in Ghent - the local townspeople, having learned about the holiday in Bruges, also wanted to see such a celebration.

Meanwhile, the groom was getting ready to set off. Of course, he could have left immediately, but his father believed that the emperor’s son should go to his bride in an appropriate manner - in all his splendor. Alas, this was precisely the problem - the Habsburgs did not have money, so they had to resort to another loan.

On May 21, 1477, exactly a month after the wedding by proxy, the Archduke finally set off. Not very modest, let's be honest, the young hero ordered to write down all the details of his journey, boldly exaggerating the slightest difficulties - the result was a whole book in which the “Much-Grateful” knight overcame many obstacles on the way to his beloved. In fact, there were not so many obstacles (in particular, in the form of natural disasters) - it was the end of spring and the beginning of summer - and in the cities that Maximilian and his retinue passed through, they were joyfully welcomed and celebrated.

True, Maximilian soon faced a real problem - the money he had taken for the trip came to an end, and he was simply stuck in Cologne, unable to either pay for the celebrations he had held or move on. He was rescued by Maria's stepmother, Margaret of York, with whom Maria had a very warm relationship since Margaret's arrival from England to Burgundy. She sent the groom a large sum money, and he was able to continue his journey.

When Maximilian set foot on the lands of Burgundy, his retinue increased - the Burgundians now joined it. In Maastricht, Brussels, Brabant and other cities, the townspeople greeted the future husband of their duchess with great fervor, but no holiday could compare with the one that awaited him upon his arrival in Ghent - it was there that Maria was supposed to meet him.

In mid-August, Maximilian, a handsome eighteen-year-old prince in gilded armor, entered Ghent, decorated for his arrival. Triumphal arches, solemn processions with representatives of the church, aristocrats, city authorities and craft guilds... But all this, presumably, was overshadowed by the long-awaited meeting with the duchess herself.

When they met, at first they looked at each other in silence, and finally, the mistress of the country, Mary of Burgundy, moved towards the groom with words of greeting and kissed him. And Maximilian kissed back - the fairy tale began!

The language barrier, alas, has not yet given them the opportunity to communicate fully, but is this so important when the bride and groom have been waiting for a meeting for so long, and now they can communicate with smiles, glances, gestures, and, finally, kisses?

In the evening, everyone was treated to a luxurious banquet, which was organized for her beloved stepdaughter and her fiancé by Margaret of York. At this holiday, Maria and Maximilian exchanged gifts - from his father, the Archduke brought magnificent jewelry with diamonds, including the notorious diamond engagement ring, but Maria’s gift was even more precious than these stones. She hid a flower somewhere on her body and invited her groom to find it...

The Archbishop of Trier quietly told Maximilian where to look, and he unbuttoned the bride’s corsage - there, on the duchess’s chest, was hidden a pink carnation, a symbol conjugal love... After the feast, the young people slipped away - as they said, to the priest, so that he would bless their union and there would be no delay wedding night see you tomorrow, before the official ceremonies. Well, they've been waiting for each other for so long!

The wedding itself was relatively modest - after all, six months earlier the bride had lost her father, but the townspeople of Ghent still gathered to rejoice for their ruler and congratulate her. By different sources, the ceremony took place either on August 16 or 18 and either in the morning or in the afternoon. The bride was in a dress of gold brocade, an ermine robe and with the crown of the Duchy of Burgundy on her head, the groom changed his armor and this time wore silver. Sun and moon!

The service in the main cathedral was conducted by the papal legate Julian of Ostia, and the Bishop of Tournai served him. The newlyweds exchanged rings and made vows of eternal fidelity to each other. Time will show that they kept them... After this, Maximilian gave Mary thirteen gold coins - a symbol that he would provide for her (although in reality, of course, it was the rich Duchess of Burgundy who would bathe her German prince in luxury).

After the wedding, the feast began, and although it was far from the celebrations that nine years earlier Mary’s father, the Grand Duke of Burgundy, had organized in honor of his marriage with the English Princess Margaret, the mutual tenderness of the bride and groom (if love can be measured) at the wedding Mary and Maximilian surpassed both that and many other weddings of European rulers. Real love occurs so rarely when it comes to dynastic marriages...

After the feast, the newlyweds were escorted to their chambers, and, as a chronicler from Saxony, one of the members of Maximilian’s retinue, delicately put it, the doors closed behind them, and what happened next was unknown to him.

And great. Fortunately, this couple was given only five years - let’s not disturb them...

History of creation

The play is based on the description of the folk drama “Tsar Maximilian” in Bakrylov’s collection, in which the author collected extensive folklore material. The author compiled several striking examples of folk drama in Russian culture and created his own version of the play “Tsar Maximilian.” Having become acquainted with this work by Bakrylov, Alexey Remizov expressed the opinion that the play was written rudely and vulgarly, and its parts were connected to each other mechanically. After a meeting of the editorial commission, at which Bakrylov's code was discussed, Remizov decided to create his own version of the play.

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

“...I, laying my, perhaps, one single stone to create the future great work which will give the whole kingdom folk myth, I consider it my duty, without adhering to the tradition of our literature, to introduce notes and tell in them the progress of my work.”

In his work, Remizov tried to embody his ideas about the ideal folk theater- “theater of squares and oak forests” and mystery action as opposed to the “theater of walls”. In practice, this desire was expressed in the fact that Remizov simplified the production of the play as much as possible and, in comparison with Bakrylov’s play, significantly reduced the number of characters. By reducing the descriptive stage directions, 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 king who decided to marry a foreign queen and abandon the Orthodox faith. The king's son, Adolf, opposes his father's marriage. Trying to change his son’s decision, Tsar Maximilian takes Adolf into custody and eventually executes him.

Heroes

Tsar Maximilian (Maximiyan, Maksimyan) is a “formidable and strong king” who decided to marry an overseas princess and abandon the Orthodox faith and worship “idol gods.” He walks around wearing a crown and orders, waving a scepter or sword.
Adolf is the son of Tsar Maximilian, who refuses to pray to the “idolic gods”, for which Tsar Maximilian executes him. Goes to military uniform, but simpler than the king's. After imprisonment - weak and without insignia.
Knight Brambeus calls on the king to change his decision and not execute the innocent Adolf, but King Maximilian does not listen to him. Huge and gray.
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 to the gravediggers in Shakespeare’s tragedy “Hamlet”).
The old woman-death comes for King Makismilian.

Notes

Links

The play “Tsar Maximilian”, arranged by A.F. Nekrylova and N.I. Savushkina

Wikimedia Foundation. 2010.

See what “Tsar Maximilian” is in other dictionaries:

"Tsar Maximilian"- KING MAXIMILIAN the most popular folklore play. The action takes place in a fictitious land (I am not the Russian Emperor, not the French King...). The basis of the play is the conflict between the king and his son Adolf, which comes from our idolatrous (i.e. pagan)… … Russian humanitarian encyclopedic dictionary

The template card ((Name)) is not filled out for this article. You can help the project by adding it. Maximilian Lat. ... Wikipedia

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- (real name Kirienko Voloshin). (1877 1932), poet, art critic, artist. In poetry, a filial feeling of nature as a cosmic whole, a tragic experience historical destinies Russia: collections “Iverni” (1918), “Deaf-Mute Demons” ... encyclopedic Dictionary

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Books

A. M. Remizov. Collected works. Volume 12. Rusalia, A. M. Remizov. The book "Rusalia" (Twelfth volume of the Collected Works of A. M. Remizov) includes dramatic works: “The demonic act”, “The tragedy of Judas Prince Iscariot”, “The act of George...
Unpublished materials from 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. Ditties. Fairy tales and non-fairy tale prose. Creativity of peasants. The volume consists of unique folklore texts collected in the 20s. XX century in the protected cultural zone of the Russian North. It includes texts from folk drama (“Tsar Maximilian” and “The Boat”),…

History of creation

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

“...I, laying my perhaps one single stone for the creation of a future great work that will give rise to a whole kingdom of folk myth, consider it my duty, without adhering to the tradition of our literature, to introduce notes and tell in them the progress of my work.”

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

Plot

Heroes

Tsar Maximilian (Maximiyan, Maksimyan) is a “formidable and strong king” who decided to marry an overseas princess and abandon the Orthodox faith and worship “idol gods.” He walks around wearing a crown and orders, waving a scepter or sword.
Adolf is the son of Tsar Maximilian, who refuses to pray to the “idolic gods”, for which Tsar Maximilian executes him. He wears a military uniform, but simpler than the Tsar's. After imprisonment - weak and without insignia.
Knight Brambeus calls on the king to change his decision and not execute the innocent Adolf, but King Maximilian does not listen to him. Huge and gray.
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 to the gravediggers in Shakespeare’s tragedy “Hamlet”).
The old woman-death comes for King Makismilian.

Notes

Links

The play “Tsar Maximilian”, arranged by A.F. Nekrylova and N.I. Savushkina

Wikimedia Foundation. 2010.

Tsar Constantine (battleship, 1779)
King Solomon: The Wise of the Wise

See what “Tsar Maximilian” is in other dictionaries:

"Tsar Maximilian"- KING MAXIMILIAN is the most popular folklore play. The action takes place in a fictitious land (I am not the Russian Emperor, not the French King...). The basis of the play is the conflict between the king and his son Adolf, which comes from our idolatrous (i.e. pagan)… … Russian humanitarian encyclopedic dictionary

Maximilian- The template card ((Name)) is not filled in for this article. 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- Russian Kingdom Russian Kingdom ← ... Wikipedia

Ivan the Terrible (Tsar)- The request for "John IV" is redirected here, see John IV (disambiguation). In the chronicles, the nickname Grozny is also used in relation to Ivan III. Ivan IV the Terrible Ivan IV Vasilievich ... Wikipedia

Voloshin Maximilian Alexandrovich- (real name Kirienko Voloshin). (1877 1932), poet, art critic, artist. In poetry there is a filial feeling of nature as a cosmic whole, a tragic experience of the historical destinies of Russia: the collections “Iverni” (1918), “Deaf-Mute Demons” ... 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" (Twelfth volume of the Collected Works of A. M. Remizov) includes dramatic works: "The Demon Act", "The Tragedy of Judas Prince Iscariot", "The Act of George... Buy for 2421 rubles
Unpublished materials from 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. Ditties. Fairy tales and non-fairy tale prose. Creativity of peasants. The volume consists of unique folklore texts collected in the 20s. XX century in the protected cultural zone of the Russian North. It includes texts from folk drama (“Tsar Maximilian” and “The Boat”),…

Action drama usually occurs in any room, even in peasant hut. In the middle of the room, a throne is built from armchairs for the king, with “a crown, a scepter and an orb on a golden platter” attached to it.

Phenomenon 1

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

Phenomenon 2

Tsar Maximilian enters. He is tall, has a beard, is menacing, 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 or a Russian emperor, but a formidable and strong “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” has been prepared. He himself answers his own question: the throne was erected for him, because he is the king. The king says that he will sit on the throne to put his son, Adolf, on trial. 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 his son to arrive, Maximilian puts on his royal vestments.

Phenomenon 6

One of the pages reports that they carried out the royal order and brought “the all-loving son of Adolf.” Tsar Maximilian

Now get away from my sight. (The pages leave), Adolf (all the time on his knees) O most merciful sovereign And glorious Maximilian the Tsar, my most dear father, father, I hit your forehead on the damp mother earth. Why do you call on your dear son Adolf, or what do you command him to do? Tsar Maximilian Dear Adolf, my son, I am not happy now about your coming: Now I have learned from a servant that you have abandoned our idol gods and are betraying them, and are secretly worshiping some new ones. Fear my parental wrath And bow to our idol gods. Adolf (without rising from his knees) I place 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 uphold his holy law.

Tsar Maximilian from Such words made him seriously angry: now Adolfne can become the heir to the throne, but must go to serve his law. The king again loudly calls the pages.

Phenomena 7 - 8

Maximilian orders the pages to take his rebellious son to prison. The door opens, a Bogatyr of gigantic stature appears in it, draws a saber, and slowly walks towards the throne of Tsar Maximilian. Approaching the throne, the warrior stops, hits the floor with his spear and says that Tsar Maximilian is committing an unfair trial against Adolf. Bogatyr is the Roman ambassador and wants to speak with Tsar Maximilian. The king allows him to continue his daring speech. The hero calls the king “a barbarian and a murderer” who can destroy Adolf’s soul. Everyone feels sorry for the young man, grieves for him, and considers him a real hero. The hero calls on Tsar Maximilian to change his decision. The king, beside himself with anger, shouts, stamps his feet, and drives the ambassador out of his sight. The hero says goodbye to the king and threatens him to return again to avenge Adolf.

Apparitions 9-13

Tsar Maximilian again calls on 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 he orders him to do. Tsar Maximilian wonders whether Adolf has changed his mind, whether the hungry prison scares him, whether he will again believe in the correct gods. But Adolf firmly replies that he “puts the old gods under his feet.” Tsar Maximilian is very angry, he shouts at his son, promising him severe punishment for disobedience. Then he calls Skorokhod and tells him to bring the blacksmith. The king orders the blacksmith to shackle his disobedient son. The blacksmith does not believe his ears, pretends that he does not understand the order, then refuses to take the coin for the work and, finally, reluctantly carries out the order. Adolf, shackled, is led away by pages. Saying goodbye to his formidable parent, Adolf sings a mournful song. The king remains sitting in sad thought.

Apparitions 14-15

A Gigantic Knight appears before the king. Loudly knocking with his weapon and without any respect for the king, he shouts at the top of his lungs about his determination to fight against the unjust royal court: The angry king Maximilian drives away the daring knight, again calls the faithful Skorokhod to him and tells him to call Anika, the warrior.

Apparitions 16-19

Anika - a warrior (of enormous stature, in armor, a helmet and other weapons, approaches the throne, shakes her weapon...) Tsar Maximilian again calls his faithful pages and orders them to bring his son Adolf. The pages bring the disobedient son. Adolf is exhausted, in chains, barely moving, speaking in a quiet voice, pitifully. He falls to his knees and asks the Tsar-Father why he is calling him again. Tsar Maximilian interrogates whether Adolf has come to his senses, whether the upcoming painful death frightened him. Adolf stands his ground: I believe in Jesus Christ, “who created heaven and earth.” Tsar Maximilian angrily shouts at his son and orders him to be put to an evil death. He calls Skorokhod again and gives him the order to bring Brambeus the Knight.

Apparitions 20 - 21

Brambeus welcomes the king, wishes him for long years and health and asks why Tsar Maximilian called him to him and what the order was. The king points to Adolf, who stands with his little head obediently bowed on his shoulders, and orders Brambeus to kill the young man right there, in front of his father’s eyes. Brambeus can't believe it; he is frightened, every now and then he glances at the king and Adolf, asking the king not to give him such an order. In one hundred and fifty years of his life, Brambeus did not destroy a single one person and now that he has become old, he does not want to take such a sin on his soul:

hot blood

Appearances 23 - 26

Anika the warrior comes to the king and reports that he defeated all the infidels and saved the king from evil death. The king praises Anika, calls on Skorokhod, who convened the knights to glorify Anika. Suddenly the king sees a woman on the threshold. And the woman, heading to the royal throne, said:

“I’m not a woman, I’m not drunk, I’m your stubborn death.”

Tsar Maximilian was afraid, stood up from the royal dais and begged the soldiers to protect him from death. The warriors are trying to protect their king, blocking the path of Death, but she swung her scythe, and all the warriors’ weapons fell down. Death approaches the throne and orders King Maximilian to follow her. And he begs the old woman to give him three more years to live and reign a little. Death does not give the king even a year. Then the king asks to give him three more months to live and reign. Neither Death gives him even a month. Tsar Maximilian begs to be given at least three days, but Death does not give him even three hours. She hit the king on the neck with a sharp scythe, and he fell.

Phenomenon 27

The runner goes to the middle and addresses the audience:

“Here, dear audience, the curtain closes, and the show is all over, and the actors get a tip from you.”