As we continue preparing a scientific publication of the complete works of Boris Sadovsky, we dig deeper into the study of his dramatic legacy. Here, we provide the first publication (with comments) of the previously unknown to researchers play "Lisa", the manuscript of which is stored in the fund of the writer in the Russian State Archive of Fine Arts. Sadovsky's plays, with all their thematic breadth, genre richness, have one important feature in common, a characteristic converging quality - the influence of Pushkin's tradition, the manifestations of which are manifold. And in a certain respect, this is characteristic of "Lisa", although it was written in the postrevolutionary period when Sadovsky "overcomes" Pushkin. Sadovsky designated the genre of his work as a "mystery. And this explains a lot. The author gives a religious interpretation of the events of 1825 in Russia in the context of the Old Testament myth of the wise King David and his son Absalom who rebelled against him and therefore found death. Naturally, the mystery genre freed Sadovsky from following the principle of objective reconstruction of the historical reality (however, the principle of life-imitation was not inherent in him as an artist, who formed under the influence of modernist aesthetics). This is why Sadovsky's characters, the imagery of his works, the plot situations are so unusual for the traditional historical view... The article provides a detailed analysis of the imagery system of the mystery play, notes the conceptual significance of the image-symbol of the samovar - a recurrent theme of the entire play and, moreover, of the entire metatext of Sadovsky. The context of the samovar image in the play (and its position on stage is Count Arakcheev's house) characterizes the protagonist; paints a picture of the kingdom of heaven and accentuates the urgent ideas of earthly existence; serves as a starting point for important conversations and meetings... It has been noted that at the level of metatext, the mystery play "Liza" echoes such postrevolutionary works by Sadovsky as the mystification "The Soldier's Tale" and the short story "The Arakcheev’s Joke" (1927). They also present the image of Arakcheev, including through the symbolic image of the samovar. Both works were published in the Soviet press, despite their counterrevolutionary meaning: the author so skillfully obscured his ideas that it escaped the eyes of the censors and editors.
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