I. LOGICAL PAUSE

AND LOGICAL Stress.

Theater masters have always taken great care not only about diction, but also about clearly conveying the meaning of the phrase and the entire text of the role. V.G. Sakhnovsky, recalling the classes of K.S. Stanislavsky with the studio members, wrote: “Sometimes - and this was especially “dangerous” for the progress of the rehearsal - Konstantin Sergeevich leaned forward, put his hand to his ear and rather kindly said:

How? I don't understand.

The performer repeated.

How? - Konstantin Sergeevich asked again. - I don’t understand anything...

After this, he usually began to skeletonize the phrase, achieving the correct emphasis and conveying the idea, or began to work on the actor’s diction” 17.

N.V. Gogol in a letter to M.S. Shchepkin, speaking about reading “The Inspector General” to the actors, cared first of all that they remember “the meaning of any phrase, which... can suddenly change from one emphasis moved to another place or to another word... One must not imagine, and to convey is to convey thoughts first... It is not difficult to apply paint; You can give the color of the role later...” 18

The laws that help the actor understand the author’s thought and correctly convey it in spoken speech are called the laws of speech logic. They are based on the laws of grammar: the words that make up a sentence are related in meaning to each other. Thanks to semantic connections, words are combined into groups or phrases. Let’s analyze the sentence: “Soon the moon and stars will drown in thick fog.”

The semantic connections of the words of this sentence (phrase) will be as follows:

1. The moon and stars will drown - this is a connection between two subjects and a predicate.

All other words are grouped according to their meaning around the predicate “will drown”.

2. They will drown soon.

3. They will drown in the fog.

4. They will drown in thick fog.

To correctly convey the meaning of this phrase, we cannot combine the words “soon” and “moon” that are nearby but not related in meaning. “Soon” is connected with the word “sink”, therefore, in order to connect them, we must separate unrelated words - “soon” from the word “moon” and “sink” from the word “stars”. Words that are not related in meaning to each other are separated by pauses, which are called logical, since they contribute to the correct transmission of the thought of the phrase. Individual words or phrases contained between logical pauses are usually called speech beats. We will agree to denote graphically logical pauses with a slash /.

In our proposal, logical pauses are distributed as follows:

Soon / the moon and stars / will drown in thick fog.
1st measure 2nd measure 3rd measure

This sentence has three speech beats. As you can see, the number of words in each measure can be different depending on how logical pauses are distributed.

To more accurately determine the location of logical pauses, you need to remember that in Russian the words of one phrase in a sentence do not always stand next to each other. So, in our example, the phrase “will soon drown” is separated by the subject “moon and stars.” The meaning of a sentence becomes clear when both whole phrases and their parts are clearly defined in our minds.

When an actor or reader does not work thoughtfully enough on a text and separates words that are closely related in meaning or combines words that belong to different speech beats, nonsense arises in speech. For example, obeying the rhythm of a poetic line and not thinking about the meaning of the phrase, students often make the following mistake in a phrase from “Eugene Onegin”:

Like a true Frenchman, in your pocket

Triquet brought the verse to Tatyana.

Ignoring the pause suggested by the comma, they combine the word “in my pocket” with the phrase “true Frenchman,” thereby destroying the connection between the words “brought in my pocket”; and without pausing after the word “verse,” they pronounce the incomprehensible “verse.” The whole phrase sounds ridiculous.

Precise division into speech beats that unite some words and separate others clarifies the accuracy of vision and meaning:

Like a true Frenchman / in your pocket

Trike brought a verse / to Tatyana.

Now the listener understands not only the birthday surprise, but also the character of the one who gives it.

Complex sentences require even more serious analytical work, especially when the semantic connection of words is broken by a long subordinate clause. For example:

Sentinel burial mounds that here and there rose above the horizon and the boundless steppe, looking at the harsh o i m e r t v o.

The main meaning is contained in the highlighted parts of the main sentence, so it is very important to be able to highlight the logical relationships between the individual elements of the phrase.

An actor, like every artist, thinks in images. Therefore, if on the screen of his internal vision, thanks to analytical-synthetic work, first of all, harsh guardian mounds appear, he cannot help but see them in a certain space - a boundless steppe, a closed horizon line - this is what the subordinate clause draws, from which in the process of analysis he got distracted, connecting parts of the main sentence.

However, a sentence may contain words that, in meaning, can easily be combined with either one or another phrase of the given sentence. Then the same sentence with the same words, but with differently formed phrases and, therefore, with other logical pauses, can sound in several semantic variants. For example: “The father covered him with his brother’s cloak.”

In this sentence, the pronoun “him” can equally complement the predicate - covered (whom?) him, and be a definition of the word “cloak” - (whose?) him.

Logical pauses that determine the meaning of these options can be located after the word “him” (1st option) and after the word “cloak” (2nd option).

Different pauses give rise to different options in And denii. In the first case, the cloak belonging to the brother is used by the father to cover someone. In the second case, the father covers his brother with a cloak belonging to someone. One or the other is chosen depending on the main idea of ​​the passage and the purpose of the statement.

His father covered him with his brother's cloak.

His father covered him with his brother's cloak.

Thus, a logical pause, combining words into speech beats and separating the latter from each other, organizes the understanding of the spoken thought. That's why K.S. Stanislavsky wrote: “Work on speech should always begin with division into speech beats or, in other words, with the placement of logical pauses” 19.

Punctuation marks help identify logical pauses in the analyzed text. This is more difficult to do in a sentence without punctuation, especially if it is very common. Therefore, when analyzing a sentence, you should first of all determine the group of the subject and the group of the predicate, then it is easier to place logical pauses within these groups. It should be remembered that in a common sentence, if the subject is not expressed by a pronoun, the group of words relating to the subject will always be separated by a pause from the group of words explaining the predicate.

Compare:

They walked side by side / along the edge of the Champ de Mars / drowned in snowdrifts.

The beloved /city /appeared through the snowstorm/ with the dark lines of its roofs/ and swirling spots of lanterns.

In the first sentence, the subject is not separated by a pause, since the entire semantic load is contained in the predicate group. In the second sentence, the subject group is a whole image, the detail of which is given by the entire predicate group.

It is especially important to be able to separate the group of subject and predicate in sentences with unusual word order, most often found in poetic speech. The Russian language is characterized by fluency word order. The same sentence can be said by placing words differently, for example:

A student takes an exam.

The student takes the exam.

The student passes the exam.

In all examples, the main syntactic relationships between words are not violated: student - subject, pass - predicate, exam - object. But the first example is a sentence with the most accepted, usual word order, and the other two are organized unusually, in them the word order is different, it is called inversion, which in exact translation means “turning over”, rearrangement. To understand the logical pauses of an inverted text, you should restore the usual word order, this will make it easier to identify semantic connections between words. With the direct order of words in a sentence, the subject comes before the predicate, the definition - before the word being defined, the complement - after the word that it complements, the circumstances are arranged freely. Let's look at an example of an inversion sentence:

And over the fatherland of enlightened freedom

Will the beautiful dawn finally rise?

Let's restore the usual word order:

Will the beautiful dawn of enlightened freedom finally rise over the fatherland?

Now it is clearly visible that the word “over the fatherland” cannot be combined with the words “enlightened freedom,” since it belongs to the group of the predicate and is included in the combination: “will it rise above the fatherland.” This word should be separated by a logical pause from the words “enlightened freedom.”

And over the fatherland /enlightened freedom/

Will the beautiful dawn finally rise?

You should be careful about punctuation marks. They are guidelines for dividing the text into speech beats; A punctuation mark means, with some exceptions, a mandatory logical pause.

Inattention to punctuation marks often leads to a distortion of the meaning of the text. Let's take an example:

Be completely timid, cover yourself with a glove,

You're not little anymore. Russian hair,

You see, he’s standing exhausted with fever,

Tall sick Belarusian.

This text is often read without making a logical pause at the point in the second line, after the word “not small,” and thus the words “hair rus” become the second definition in the first sentence and sound like an absurd proof of Vanya’s sufficient maturity in assessing life’s phenomena . Preservation of the point refers this definition to the portrait of a Belarusian.

Second example:

The people unharnessed the horses - and the purchase price

With a shout of hurray! rushed along the road...

Inattention to the dash sign after the word “horses” makes the word “kupchina” the second addition to the verb “unharnessed,” which makes the whole phrase turn into absurdity: “The people unharnessed the horses and the kupchina.”

However, as we noted above, punctuation marks are not always logical stops. Let's remember these exceptions:

1. A comma is not a stop stop if it separates the introductory word. Example:

I. Turgenev

In two sentences of this text, the commas that highlight the water words “seemed” and “I confess” will not be marked by pauses, because these pauses would make it very difficult to pronounce the phrase and, therefore, would make it difficult to convey the meaning.

2. Commas separating the address in the middle and at the end of the phrase are not marked with pauses.

Thank you, Rodina, for the happiness

To be with you on your journey.

Listen, world! Vostok-2 radios.

Moving these appeals to the beginning of phrases will require a pause after the signs:

Motherland, / thank you for the happiness / to be with you on your journey. World! /listen/: Vostok-2 is radioing.

3. The comma standing between the conjunction and the participial phrase is not marked with a pause.

In the distance /the mill/ knocks, /half-hidden by willows,/ and, motley in clean air, /pigeons/ quickly circle above her.

I. Turgenev

4. A comma is not marked with a pause in complex sentences, when the connection between the main clause and the subordinate clause is carried out by complex conjunctions: in order to; in order to; because or relations: that - that; everything, that.

I invited you, gentlemen, /s those m, h to tell you / very unpleasant news.

Isn't it oh, h it belongs to me, /doesn’t it belong to you as well?

And the giant rock / sun e, h then Stepan thought, / he will tell everything to that daredevil.

So, correctly logically parsed text is the beginning of the work. Logical analysis requires certain knowledge in the field of syntax of the Russian language, a special skill, and, consequently, preparatory training. Transmitting the meaning of a parsed text into spoken speech also requires a lot of training.

Logical intonation depends on the nature of logical pauses. The latter can be connecting and disconnecting. A connecting pause in the transmission of meaning occurs when a thought continues in its development; the voice, when pronouncing a phrase in these pauses, remains at a certain height, as if warning about the incompleteness of the statement. Disjunctive pauses serve to convey the completeness of the thought; during these pauses the voice drops down and makes it clear that the thought is complete. It is no coincidence that K.S. When teaching an actor the art of speech, Stanislavsky very much insisted on training logical intonations.

The melody of Russian speech is characterized by flowing smoothness, and a logical pause is not always characterized by a break in speech; it is carried out not only by stops of greater or lesser duration, but very often only by a change in the pitch of the voice. Frequent stops in speech make it heavier, cause emphasis on words, and this deprives speech of expressiveness and beauty.

Thus, pauses in the sentence we discussed at the beginning of this chapter (soon the moon and stars will be drowned in thick fog) can be accomplished by changing the voice melody.

In logical intonation, the voice on the word “soon” (the first bar) will go up, on the first word of the second bar - “moon” there will be a decrease in the voice tone, and only merging with the second word of the bar - “stars”, the voice will rise again slightly, and then will fall on the word “sink”, which begins the third bar, to end the thought of the phrase with a fall down; as K.S. said Stanislavsky, “the voice will fall to the bottom.” The melody of a developing thought requires the skill not to lower the vocal tone, to keep the voice at a certain height until the completion of the thought, which is always marked by a lowering of the vocal tone. Therefore, in the sound of a developing thought, the beginning of each subsequent measure will be higher than the beginning, but lower than the end of the previous measure. The last speech beat is pronounced increasingly lower towards the last word.

In sentences with punctuation marks, intonation moves are directed by these marks. K.S. Stanislavsky persistently reminded the actors of this, demanding that they accurately reproduce in their voice the intonation corresponding to the nature of a particular sign: period, comma, colon, etc. “Without these intonations,” said Stanislavsky, “they will not fulfill their purpose... Subtract from the point its final, final voice drop, and the listener will not understand that the phrase is over and there will be no continuation. Take away the characteristic sound “croaking” from the question mark, and the listener will not understand that they are asking him a question to which they are waiting for an answer... These intonations have some kind of impact on the listeners, obliging them to do something: an interrogative phonetic figure - to the answer; exclamation point - to sympathy and approval or protest, two dots - to attentive perception of further speech, etc.” 20 . Considering the nature of the comma, Stanislavsky noted its “miraculous property”: on the last syllable of the word before the comma, bend the sound upward. “Her curl, like a hand raised in warning, forces listeners to patiently wait for the continuation of an unfinished phrase” 21. A semicolon in spoken speech is characterized by some lowering of intonation, less than with a period, but much greater than with a comma, since a semicolon usually delimits parts of a sentence that already have commas. For example:

He did not fall in love, did not think about marriage, and loved only his mother, sister, and gardener Vasilich; loved to eat well, sleep after dinner, talk about politics, about sublime matters.

At first, from the lake that flickered dimly at the foot of the flaming pines, the mighty trumpet calls of swans were heard; They floated majestically and unsteadily over the steppe, like the first chords of a solemn symphony, and slowly, slowly froze in the distance.

M. Bubennov

Ekaterina Dmitrievna told the dacha news: a mad dog came running from Tushino and bit the Kishkins’ two chickens; Today we moved to the Zhilkins’ Simovskaya dacha, and immediately their samovar was stolen; Matryona, the cook, whipped her son again.

A. Tolstoy

The intonation of the dash sign is characterized not only by a rise, but also by a pause much longer than the pause at the comma. Since this sign is especially common in expressive speech, its functions can only be clarified each time in context.

The inability to master the art of voice production of a logical melody makes it difficult to understand the spoken thought, and, on the contrary, the art of expressively and vividly conveying the semantic development of a phrase with one’s voice frees the speaker and the listener from the tension that makes the former rush, and prevents the latter from perceiving the speech in all its not only semantic, but also emotional and expressive fullness.

A necessary condition To carry out the correct, vivid communication of thoughts to the listener is also the ability to pronounce words included in a speech beat together, to pronounce them as one big word. And just as in a word one of the syllables is more prominent, so in a bar there is always a word that should stand out more clearly than others, and in some of the bars there will be a word that is most important for the entire thought of the phrase. It will be called main logical stress of a phrase. All other words highlighted in bars will be called secondary logical stresses.

When we talk about a phrase taken out of connection with others, out of context, the logical stress when reading is determined by the rhythmic organization of this phrase: usually the rhythm of a Russian narrative phrase requires stress on the last significant word of each speech beat if the sentence consists of several speech beats, or simply on the last word of a sentence if it consists of one speech beat.

Let us agree to denote logical stress with a horizontal line under the stressed word.

Don,/disheveled by the wind/ threw on shores/combed frequent waves.

Was going to storm.

The main stressed word in the first phrase can only be determined based on the purpose and purpose of the statement. If the main thing is to pay attention to the reason for the occurrence of waves on the Don, then the main stress word will be the word “wind”, but if we mean the picture of a storm, then the main word will be the word “waves”.

If you include this phrase in a semantically complete segment of speech, that is, take it in context, then the emphasis (the main thing) in this phrase will be determined common task the entire text. This phrase is taken from “Quiet Don” by Sholokhov. It is one of the phrases of the text that describes the thunderstorm.

Above the farm / became brown cloud./Don,/ disheveled by the wind/threw on shores/ combed frequent waves./Behind the lavades/ the sky was scorching/ dry lightning,/ crushed the ground / with rare rumbles / thunder./ Under the cloud, / spread out, / the vulture was wheeling around Not he was chased screaming crows./ Cloud / breathing chill, / walked along the Don, / from the west. /For a loan /menacingly turned black,/ steppe/ expectantly was silent./In the farm/ clapping/ lockable shutters; from Vespers, /being baptized,/ the old women were in a hurry; /on the parade ground/ swayed/ gray column dust, and the earth, burdened with the spring dawn, /has already been sown/ the first grains rain.

Each phrase of this passage is part of the description of a thunderstorm, and the words: cloud, waves, lightning, thunder, birds flying in the air - kite and crows; the menacing sky and the silence of the steppe, flapping shutters, hurrying old women, a column of dust, rain - these are, as it were, the main signs of a thunderstorm. These words will be the main emphasis in the passage. All other stresses in the bars of phrases are colors of detail. They are emphasized by logical pauses.

Consequently, it is possible to understand the gradation of stress (main and secondary) only based on main idea works or semantic meaning excerpt.

The path of logical analysis is always a path from the whole to the part and from the part again to the whole. This is the only way to establish the emphasis words, the main words of thought, and determine the relative weight of others in the overall course of development of the main idea of ​​the work or its part (passage).

Thus, when determining the main stress, we must remember that it highlights the word that is assessed as most important for conveying the idea and recreating the picture of the story.

In a phrase taken out of context, we are free to convey any variants of thought, depending on our desire to affirm one thing and not another. For example: “I study at a theater university.” In this phrase, the main stressed word can be anything: the word “I”, and the word “study”, and the word “at the theatre”, and the word “at the university”. If we assert that it is I, and not anyone else, who is studying at a theater university, then the main stress word will be “I”; if it is necessary to emphasize that I am studying, and not just listed as a student, then the primary emphasis will be on the word “studying”; Wanting to note that it is in the theater university, and not in any other university, we will certainly highlight the word “in the theater”; If, however, there is a need to emphasize that this is not a circle, not a studio, but a university, then the last word “at the university” will stand out. But the same phrase, taken out of context, can convey the statement of the fact itself: “I am a student at a theater university,” without contrasting one with the other, as was the case in the cases analyzed. Then the phrase will sound in the narrative rhythm characteristic of Russian speech, with a slightly greater semantic burden last word, without any particular preference for stress in relation to other words, since any sharp preference for the stress of one word in comparison with others inevitably evokes in the perception of the listener an opposing statement.

I study in theater university

Observations of live speech and the practice of theater masters working on its expressiveness allow us to talk about a number of laws that warn against incorrect logical stresses.

Let's look at these laws.

Logical emphasis

Logical pause and logical stress.

Each sentence of spoken speech is divided according to its meaning into parts consisting of several words or even one word. Such semantic groups within a sentence are called speech beats, or syntagms (speech units). IN oral speech Each speech beat is separated from the other by stops of varying duration and fullness, the so-calledlogical pauses. There can be no pause within a speech beat, and all words included in it are pronounced simultaneously. Pauses may coincide with punctuation marksgrammatical pauses, but they can also be where there are none in the letter. Logical pauses can be connecting or dividing. The shortest connecting pause is the backlash pause, or pause for air intake. In the text, a backlash pause is indicated by the sign ". It should also be said about the so-called psychological pause, which can be indicated by an ellipsis or not indicated at all. A connecting pause between speech beats is indicated by one vertical line |, a longer pause between speech beats or sentences is indicated by two lines | |. And finally, the dividing logical pause, which marks the boundaries of sentences, semantic and plot compositional pieces, is indicated by three vertical lines |||. Here is how you can place logical pauses in the text: “Then it will be discovered | that the first prerequisite for the liberation of a woman | is the return of the entire female sex to social production, | which, in turn, requires | that the individual family cease to be an economic unit of society... || With the transfer of the means of production into public ownership | the individual family will cease to be an economic unit of society. || Private household| will turn into a public sector of labor. || Childcare | and their education will become a public matter; || society will care for all children equally, | will they be married | or illegitimate." ||Logical (or semantic) stressthis is the support of thought, as K. S. Stanislavsky said, this is the “index finger” that highlights the main word in a phrase or a group of words in a sentence. Logical accents are placed depending on the purpose of the statement, the main idea of ​​the entire topic and group of words. For example: “The train has COME,” “The train has COME.” The word on which logical stress is placed is highlighted in capitals. Logical stress is most often achieved by raising or lowering the tone tonal stress. Sometimes a word or group of words in a sentence is highlighted using logical pauses before the highlighted word, after it, or two pauses: before and after the highlighted word. Changing the pitch makes it possible to most fully convey all possible shades of significance of a particular word in its connection with others.

Once upon a time there lived an old man. He had three sons: two smart, the third - the fool Emelya.

Those brothers work, but Emelya lies on the stove all day, doesn’t want to know anything.

One day the brothers went to the market, and the women, daughters-in-law, let’s send him:

Go, Emelya, for water.

And he told them from the stove:

Reluctance...

Go, Emelya, otherwise the brothers will return from the market and won’t bring you gifts.

OK.

Emelya got down from the stove, put on his shoes, got dressed, took buckets and an ax and went to the river.

He cut through the ice, scooped up buckets and set them down, while he looked into the hole. And Emelya saw a pike in the ice hole. He contrived and grabbed the pike in his hand:

This will be a sweet soup!

Emelya, let me go into the water, I will be useful to you.

And Emelya laughs:

What will I need you for?.. No, I’ll take you home and tell my daughters-in-law to cook some fish soup. The ear will be sweet.

The pike begged again:

Emelya, Emelya, let me go into the water, I will do whatever you want.

Okay, just show me first that you’re not deceiving me, then I’ll let you go.

Pike asks him:

Emelya, Emelya, tell me - what do you want now?

I want the buckets to go home on their own and the water not to spill...

Pike tells him:

Remember my words: when you want something, just say:

"By pike command, according to my wishes."

Emelya says:

At the behest of the pike, at my will, go home yourself, buckets...

He just said - the buckets themselves and went up the hill. Emelya let the pike into the hole, and he went to get the buckets.

The buckets are walking through the village, the people are amazed, and Emelya walks behind, chuckling... The buckets went into the hut and stood on the bench, and Emelya climbed onto the stove.

How much or how little time has passed - his daughters-in-law say to him:

Emelya, why are you lying there? I would go and chop some wood.

Reluctance...

If you don’t chop wood, your brothers will return from the market and they won’t bring you gifts.

Emelya is reluctant to get off the stove. He remembered about the pike and slowly said:

According to the pike's command, according to my desire - go, get an ax, chop some firewood, and for the firewood - go into the hut yourself and put it in the oven...

The ax jumped out from under the bench - and into the yard, and let’s chop wood, and the firewood itself goes into the hut and into the stove.

How much or how much time has passed - the daughters-in-law say again:

Emelya, we no longer have firewood. Go to the forest and chop it up.

And he told them from the stove:

What are you up to?

What are we doing?.. Is it our business to go to the forest for firewood?

I don't feel like...

Well, there won't be any gifts for you.

Nothing to do. Emelya got down from the stove, put on his shoes, and got dressed. He took a rope and an ax, went out into the yard and sat in the sleigh:

Women, open the gates!

His daughters-in-law tell him:

Why did you, fool, get into the sleigh without harnessing the horse?

I don't need a horse.

The daughters-in-law opened the gate, and Emelya said quietly:

At the behest of the pike, at my will, go, sleigh, into the forest...

The sleigh drove through the gate on its own, but it was so fast that it was impossible to catch up with a horse.

But we had to go to the forest through the city, and here he crushed and crushed a lot of people. The people shout: "Hold him! Catch him!" And you know, he’s pushing the sleigh. Arrived in the forest:

At the behest of the pike, at my will - an axe, chop some dry firewood, and you, firewood, fall into the sleigh yourself, tie yourself up...

The ax began to chop, chop dry firewood, and the firewood itself fell into the sleigh and was tied with a rope. Then Emelya ordered an ax to cut out a club for himself - one that could be lifted by force. Sat on the cart:

At the behest of the pike, at my will - go, sleigh, home...

The sleigh rushed home. Again Emelya drives through the city where he crushed and crushed a lot of people just now, and there they are already waiting for him. They grabbed Emelya and dragged her off the cart, cursing and beating her.

He sees that things are bad, and little by little:

At the behest of the pike, at my will - come on, club, break off their sides...

The club jumped out - and let’s hit. The people rushed away, and Emelya came home and climbed onto the stove.

Whether long or short, the king heard about Emelin’s tricks and sent an officer after him to find him and bring him to the palace.

An officer arrives in that village, enters the hut where Emelya lives, and asks:

Are you a fool Emelya?

And he from the stove:

What do you care?

Get dressed quickly, I will take you to the king.

And I don't feel like...

The officer got angry and hit him on the cheek. And Emelya says quietly:

At the behest of the pike, at my will, a club, break off his sides...

The baton jumped out - and let’s beat the officer, he forcibly carried off his legs.

The king was surprised that his officer could not cope with Emelya, and sent his greatest nobleman:

Bring the fool Emelya to my palace, otherwise I’ll take his head off his shoulders.

The great nobleman bought raisins, prunes, and gingerbread, came to that village, entered that hut and began asking his daughters-in-law what Emelya loved.

Our Emelya loves it when someone asks him kindly and promises him a red caftan - then he will do whatever you ask.

The great nobleman gave Emelya raisins, prunes, and gingerbread and said:

Emelya, Emelya, why are you lying on the stove? Let's go to the king.

I'm warm here too...

Emelya, Emelya, the Tsar will give you good food and water, please, let’s go.

And I don't feel like...

Emelya, Emelya, the Tsar will give you a red caftan, a hat and boots.

Emelya thought and thought:

Well, okay, you go ahead, and I’ll follow behind you.

The nobleman left, and Emelya lay still and said:

At the behest of the pike, at my desire - come on, bake, go to the king...

Then the corners of the hut cracked, the roof shook, the wall flew out, and the stove itself went down the street, along the road, straight to the king.

The king looks out the window and wonders:

What kind of miracle is this?

The greatest nobleman answers him:

And this is Emelya on the stove coming to you.

The king came out onto the porch:

Something, Emelya, there are a lot of complaints about you! You suppressed a lot of people.

Why did they crawl under the sleigh?

At this time, the Tsar’s daughter, Marya the Princess, was looking at him through the window. Emelya saw her in the window and said quietly:

At the pike's command. according to my wish, let the king’s daughter love me...

And he also said:

Go bake, go home...

The stove turned and went home, went into the hut and returned to its original place. Emelya is lying down again.

And the king in the palace is screaming and crying. Princess Marya misses Emelya, cannot live without him, asks her father to marry her to Emelya. Here the king became upset, became upset and said again to the greatest nobleman:

Go, bring Emelya to me, alive or dead, otherwise I’ll take his head off his shoulders.

The great nobleman bought sweet wines and various snacks, went to that village, entered that hut and began to treat Emelya.

Emelya got drunk, ate, got drunk and went to bed. And the nobleman put him in a cart and took him to the king.

The king immediately ordered a large barrel with iron hoops to be rolled in. They put Emelya and Maryutsarevna in it, tarred them and threw the barrel into the sea.

Whether for a long time or for a short time, Emelya woke up and saw that it was dark and cramped:

Where am I?

And they answer him:

Boring and sickening, Emelyushka! We were tarred in a barrel and thrown into the blue sea.

And who are you?

I am Princess Marya.

Emelya says:

At the command of the pike, at my will - the winds are violent, roll the barrel onto the dry shore, onto the yellow sand...

The winds blew violently. The sea became agitated and the barrel was thrown onto the dry shore, onto the yellow sand. Emelya and Marya the Princess came out of it.

Emelyushka, where will we live? Build any kind of hut.

And I don't feel like...

Then she began to ask him even more, and he said:

At the command of the pike, at my will - line up, a stone palace with a golden roof...

As soon as he said, a stone palace with a golden roof appeared. There is a green garden all around: flowers are blooming and birds are singing. Princess Marya and Emelya entered the palace and sat down by the window.

Emelyushka, can’t you become handsome?

Here Emelya thought for a moment:

At the behest of the pike, at my desire - to become a good fellow, a handsome man...

And Emelya became such that he could neither be told in a fairy tale nor described with a pen.

And at that time the king was going hunting and saw a palace standing where there was nothing before.

What kind of ignoramus built a palace on my land without my permission?

And he sent to find out and ask: “Who are they?” The ambassadors ran, stood under the window, asking.

Emelya answers them:

Ask the king to visit me, I will tell him myself.

The king came to visit him. Emelya meets him, takes him to the palace, and seats him at the table. They begin to feast. The king eats, drinks and is not surprised:

Who are you, good fellow?

Do you remember the fool Emelya - how he came to you on the stove, and you ordered him and your daughter to be tarred in a barrel and thrown into the sea? I am the same Emelya. If I want, I will burn and destroy your entire kingdom.

The king was very frightened and began to ask for forgiveness:

Marry my daughter, Emelyushka, take my kingdom, but don’t destroy me!

Here they had a feast for the whole world. Emelya married Princess Marya and began to rule the kingdom.

This is where the fairy tale ends, and whoever listened, well done.

"At the behest of the pike" summary will remind you of what the fairy tale “At the Command of the Pike” is about and what this fairy tale teaches.

“At the behest of the pike” summary

The man had three sons; two are smart, and the third, Emelya, is a fool and a lazy person. After the death of their father, each of the brothers received “one hundred rubles.” The older brothers go to trade, leaving Emelya at home with their daughters-in-law and promising to buy him red boots, a fur coat and a caftan.

In winter, in severe frost, the daughters-in-law send Emelya for water. He reluctantly goes to the ice hole, fills a bucket... And catches a pike in the ice hole. Pike promises to fulfill Emelino’s every wish if he lets her go. It will be enough for him to say the magic words: “At the behest of the pike, at my will.” Emelya releases the pike. And he wants the buckets of water to go home on their own. Emelya's wish comes true

After some time, the daughters-in-law ask Emelya to chop wood. Emelya orders the ax to chop the wood, and the wood to go to the hut and go into the oven. The daughters-in-law are amazed because this wish also came true.

Then the daughters-in-law send Emelya to the forest to get firewood. He does not harness the horses; the sleigh drives itself from the yard. Driving through the city, Emelya crushes a lot of people. In the forest, an ax chops firewood and a club for Emelya.

On the way back in the city, they try to catch Emelya and crush his sides. And Emelya orders his baton to beat all the offenders and returns home safely.

The king, having heard about all this, sends his commander to Emelya. He wants to take the fool to the king, but Emelya refuses.

The governor returned to the king empty-handed. Then the Tsar got angry and said that if the governor returned without Emelya, he would lose his head. The second time the governor went for the Fool and began to persuade him with kind and gentle speeches. Promising Emelya delicacies and renewal, he persuades him to come to the king. Then the fool tells his furnace to go to the city itself.

In the royal palace, Emelya sees the princess and wants her to fall in love with him.

Emelya leaves the king, and the princess asks her father to marry her to Emelya. The king orders the officer to deliver Emelya to the palace. The officer gets Emelya drunk, and then ties him up, puts him in a wagon and takes him to the palace. The king orders to make a large barrel, put his daughter and the fool in it, tar the barrel and put it into the sea.

A fool wakes up in a barrel. The king's daughter tells him what happened and asks him to rescue them from the barrel. The fool says the magic words, and the sea throws the barrel ashore. She's falling apart.

Emelya and the princess find themselves on a beautiful island. According to Emelin's desire, a huge palace and a crystal bridge to the royal palace appear. And Emelya himself becomes smart and handsome.

Emelya invites the king to visit her. He arrives and feasts with Emelya, but does not recognize him. When Emelya tells him everything that happened, the king rejoices and agrees to marry the princess to him.

The king returns home, and Emelya and the princess live in their palace.

What does the fairy tale “At the Pike’s Command” teach?

First of all, a fairy tale teaches us kindness. That if you do even a small good deed, you will be repaid for it with the same kindness. If Emelya had not released the pike, he would not have received anything in return.

The main meaning of the fairy tale “At the Pike’s Command” is that a person’s happiness depends on himself. If you don't know what you want, then nothing will happen. Emelya, introduced to us at first as a lazy man and a fool, married the princess and began to live with her in the castle.

In a certain kingdom, in a certain state, there lived an old man and an old woman... Many folk tales begin with this leisurely proverb. The word “fairy tales” itself comes from the verb to say: In the remote past, throughout vast Russia, in snow-covered huts in the dim light of a splinter, our distant ancestors composed and told their fairy tales.
There are so many miracles and fascinating fables in folk tales: there is a fire-breathing dragon with seven heads, and a talking Gray wolf, and the evil Baba Yaga... But the main characters of fairy tales and epics are not they, but brave and courageous people - Ivan Tsarevich and Vasilisa A wise, dashing retired soldier and a cunning farmhand, or a simple peasant son. At first glance, there is nothing remarkable about the peasant. He is dressed in a homespun overcoat, on his head is a well-worn cap, on his feet are worn bast shoes, and he does not speak very well. It is not surprising that sometimes he is considered a klutz, almost a fool. But the peasant son is not very offended by this, anyone, but he knows his own worth and does not particularly chase after easy fame, does not waste his strength on trifles.
However, as soon as someone gets into trouble, the peasant’s son, throwing an old army coat over his shoulders, sets off on his journey. And no matter how far he has to go, he will definitely come to the rescue of the offended and oppressed, will save a person from misfortune... On his way, the peasant son meets Gray wolf, then with Baba Yaga, then with some other monster. Each of these meetings is nothing more than a test, a test of the hero’s mental strength, his kindness, and generosity.
For centuries, people have been creating their own fairy tales. In the last century, writers became interested in folk tales. They walked around villages and villages and wrote down songs, fairy tales, which were from famous storytellers - storytellers. One of the greatest experts on Russian folk tales there was a tireless collector of folklore A. N. Afanasyev (1826-1871). He devoted his entire life to this matter. Afanasyev wrote down several hundred fairy tales, among them the fairy tale “At the Command of the Pike.”
This fairy tale is funny and mischievous. Here the stove goes to visit the king, the ax chops wood by itself, and the sleigh without a horse goes into the forest. All these miracles, which greatly alarmed the father-tsar, were performed by none other than Emelya the Fool. Emelya lies on the stove and says: “By the command of the pike, according to my desire,” and they begin to play tricks on things. To top it all off, Emelya the Fool decided to marry the Tsar’s daughter... Whatever he undertakes, everything works out for him, and the “pike’s word” is to blame. So, with the help of a magical proverb, a simple peasant forced himself to be respected and defeated not only the tsar’s officer, but also the tsar himself... So much for Emelya the fool!
B. Zabolotskikh