be a helmet to the great Don; invites his brave brother Vsevolod, leads his squad to the Polovtsian land, wins the battle, then loses another and, having been captured, disappears from the poem: most of it consists of Svyatoslav's speech and Yaroslavna's lamentation. Then, at the end of the poem, Igor appears again for a minute, escaping from captivity. In general, he does not arouse our participation in anything. Although Vsevolod is also depicted very weakly and as if in passing, he is more a hero in the spirit of his time. His speech to Igor breathes with the passion and inspiration of the battle. In battle, he is drawn in the foreground and obscures Igor's colorless face. Svyatoslav is not as a character, but the voice of history, the spokesman for the political state of Russia: the poet himself is clearly hiding behind him. In general, there is no drama, no movement in the poem; faces are absorbed by the event, and the event is completely insignificant in itself. This is not a struggle between two peoples, but a raid of a tribe on a neighboring tribe. Obviously, all these shortcomings of the poem do not lie in the weakness of the singer's talent, but in the paucity of materials that could be delivered to him. folk life. Here is the reason for the fact that the people themselves are completely colorless in the poem: without beliefs, without a way of thinking, without worldly wisdom, with only the richness of a living and warm feeling. And therefore the whole poem is childish babble, full of poetry, but meager in meaning, babble, whose whole charm is in indefinite, melodic sounds, and not in the meaning of these sounds ...
We said above that "The Tale of Igor's Campaign" sharply speaks of South Russian origin. There is something soft in his language, reminiscent of the current Little Russian dialect, especially the abundance of guttural sounds and endings with the letter ъ in the verbs of the present tense of the third person plural. But most of all, the life of the people expressed in it speaks for the Russian-southern origin of the Lay. There is something warm, noble and humane in the mutual relations of the characters in this poem: Igor is waiting for his _dear_ brother Vsevolod, and Vsevolod's speech to Igor breathes meek and tender kindred love without sophistication and cloying: "You are my one brother, one bright light, O Igor, and we are both Svyatoslavichi!" Igor retreats with regiments not for fear of laying down his head: he felt sorry for his dear brother Vsevolod. In the reproaches of the aged Svyatoslav to his sons, one hears not the wrath of the offended authorities, but the murmur of offended parental love - and his reproach is meek and gentle; accusing the children of daring, which was the cause of Igor's captivity, he at the same time, as it were, is proud of their daring: you are the blood of the enemy. Your hearts are made of strong damask forged, and tempered in the wild! Is this what I expected from you with my silver gray hair!" But the noble relations of the sexes are especially striking in the poem. The woman here is not only a wife and not only a mistress, but also a mistress at the same time. Crying Yaroslavna breathes deep feeling, expresses itself in images, how many simple-hearted, so many graceful, noble and poetic. This is not a wife who, after the death of her husband, was left a bitter orphan, without a corner and without a piece, and who laments that there is no one else to feed her: no, this is a tender lover who loving soul sadly rushes to his beloved, to his _lada_, to dip his beaver sleeve in the Kayala River and cut bloody wounds on the body of his beloved; which appeals to all nature about her beloved: she reproaches the wind that carries the khan's arrows to the squad of the beloved and dispelled her joy on the feather-grass; implores the Dnieper to cherish the boats of her beloved before her, so that she does not send tears to him at sea early; she calls out to the sun, which is "warm and red for everyone" - only torments her frets with the heat of the rays of her warriors ... And on the other hand, a man knows how to appreciate such a woman: only the thirst for battle and glory made Vsevolod's buffoon forget for a while "his _dear hoti_, red Glebovna , habits and customs "... All this, we repeat, resonates with Southern Russia, where even now there is still so much humane and noble in family life, where sex relations are based on love, and a woman enjoys the rights of her sex; and all this is diametrically opposed to Northern Russia, where family relations are wild and rude, and a woman is a kind of domestic cattle, and where love is a completely foreign matter in marriages: compare the life of Little Russian peasants with the life of Russian peasants, petty bourgeois, merchants, and partly of other classes, and you will see in the validity of our conclusion about the southern origin of "The Tale of Igor's Campaign", and our consideration of Russian folk tales will turn this conviction into evidence.
Now we should be talking (111) about the "Legend of Batu's invasion of the Russian land" and the "Legend of the Battle of Mamaev"; but we will say very little about them. Both of these monuments do not in the least relate to poetry, because in them there is neither a shadow nor a ghost of poetry: they are rather monuments not even of eloquence, but of the ingenuous rhetoric of that time, whose whole cunning consisted in incessant applications to the Bible and extracting texts from it. Much more curious is the "Word of Daniil the Sharpener". It also does not belong to poetry, but can serve as an example of practical philosophy and learned eloquence of the XIV century (112). Daniil Zatochnik was a man of deep learning in the spirit of his time; His “word” is distinguished by intelligence, dexterity, and in some places something similar to eloquence. Its main advantage is that it breathes the spirit of its time. It was written in captivity, to the prince, from whom our Sharpener hoped to beg for forgiveness and freedom. Without losing sight of the main subject of his message, the Sharpener indulges in different judgments. Incidentally, speaking of his poverty, he says:
A rich husband is everywhere we know; and in a foreign land he has friends, but the wretched one walks invisibly in his own. He will speak richly, everyone will be silent and his word will be lifted up to the clouds; but the wretched one will say, everyone will click on him and block his mouth: _their robes are bright, those are honest speech_.
Flattering to the prince, he praises him like this:
The bird rejoices in the spring, and the baby of the mother, so do I, prince, lord, rejoice at your mercy; spring ubo adorns the earth with flowers, and you, princely lord, reviving all the people with your mercy, orphans and widows, _ from the nobles plunging_. Prince lord! show me the light of your face, for your voice is sweet, and the image of your sovereigns is red, and your face is bright and magnificent, and the mind of your sovereigns, like a beautiful paradise, is prolific.
The prayers of the Sharpener to the prince sometimes rise to true eloquence:
But when you have fun with many brashnas, and remember me dry eating bread; or drink a sweet drink, but remember me, drinking warm water and falling ashes (113) from the place of wind; Before you lie down on soft beds under sable blankets, and remember me under a single cloth lying, and dying in winter, and penetrating the heart with drops of rain like arrows.
Particularly remarkable is the following passage in the "Word" of the Sharpener, where he advises the prince to respect the mind more than wealth and speaks of himself with some kind of naive, elevated consciousness of his own dignity:
Prince, my lord! do not deprive the wise poor of bread, nor raise the rich foolish, foolish to the cloud: the poor are wise, like gold in a kalne vessel, and the rich red is senseless, then like a hawkish head, woven with straw. My lord! do not see my outer, but see my inner: I am poor in clothing, but rich in mind; I have a young age, but an old sense, by thinking like an eagle soar through the air. But put the vessels of skudelnichi under the stream of a drop of my tongue, let the sweetest honey accumulate the words of my mouth.
This is not the life on the reins, nor wisdom in the heart of the insane: the insane are neither yelled at, nor sowed, nor gathered into granaries, but they themselves give birth. Like pouring water into the fur, so teach the insane; dogs and pigs do not need gold and silver, nor a foolish wise word (114). If the eagle's tit devours, if the stone floats on the water, if the pig rests on the barking squirrel, then the insane will learn the mind.
It is noticeable that Daniil Zatochnik suffered from evil slander from the boyars and the prince's wife; at least nothing else can explain the following terrible philippic against bad advisers and bad wives:
Prince, my lord! it is not the sea that sinks the ships, but the winds; and it is not the fire that kindles the iron, but the suffocation of the bag: in the same way, the prince himself does not fall into many bad things (115), but the Duma members lead him in. With a good thinker, the prince will finish the high table, but with a dashing thought, he will be deprived of the small table. Bo says in worldly parables: not cattle in cattle, a goat, and not a beast in animals, a hedgehog, not a fish in fish, a cancer, not a bird in birds, a bat, and not a husband in a husband, whom his wife owns; not a wife in zhpny, like from her husband ...; not work in the works under the junk to carry. Dive diva, who catches an evil-looking wife, for the sake of profit .... (116) it is better to bring an ox into your house than an evil wife to understand: the ox does not speak, nor thinks evil; and the evil wife _biema_ rages, and the meek rises, is proud in wealth, and condemns others in squalor. What is an evil wife? indestructible hotel, demonic merchant. What is an evil wife? worldly rebellion, blindness to the mind, the head of all malice, in the church a demonic tax collector, an advocate of sin, an ambush of salvation.
We do not write out this energetic trick to the end: this is only the beginning, the weakest part of it. Instead of it, let's write out the end of Zatochnikov's message: it is to such an extent in the spirit of the times that it becomes poetic from eloquent, and therefore especially interesting.
These words az Daniel wrote in captivity on Lake Bela, and sealed in wax, and let them go into the lake, and they devoured the fish, and Yasha was a fisherman, and was brought to the prince, and began to flog her, and the prince saw this written, and commanded Daniel to be freed from the bitter cloud. - Do not dismiss his madness directly from his madness, but you will not be like him. I’ll stop talking already, but I won’t be like a fur, dropping wealth to the poor; May I not become like millstones, as those many people satisfy, but cannot be satisfied of themselves, may I not be hated by the world with much conversation. Like a bird
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We said above that The Tale of Igor's Campaign speaks sharply of South Russian origin. There is something soft in his language, reminiscent of the current Little Russian dialect, especially the abundance of guttural sounds and endings with the letter ъ in the verbs of the present tense of the third person plural. But most of all, the life of the people expressed in it speaks for the Russian-southern origin of the Lay. There is something warm, noble and human in the mutual relations of the characters in this poem: Igor is waiting cute brother Vsevolod, and Vsevolod’s speech to Igor breathes meek and tender kindred love without sophistication and cloying: “You are one brother with me, one bright light, O Igor, and we are both Svyatoslavichs!” Igor retreats with regiments not for fear of laying down his head: he felt sorry for his dear brother Vsevolod. In the reproaches of the aged Svyatoslav to his sons, one hears not the wrath of the offended authorities, but the murmur of offended parental love, and his reproach is meek and gentle; accusing the children of daring, which was the cause of Igor's captivity, he at the same time seems to be proud of their daring: “O my sons, Igor and Vsevolod! early you began to mine the Polovtsian land with swords, and seek glory for yourself. Your overcoming is dishonest, the blood of the enemy has been unjustly shed by you. Your hearts are shackled from strong damask steel, and hardened in the booze! Is this what I expected from you with my silver gray hair! But the noble relations of the sexes are especially striking in the poem. The woman here is not only a wife and not only a mistress, but also a mistress at the same time. Yaroslavna's lamentation breathes with deep feeling, expressed in images that are as simple-hearted as they are graceful, noble and poetic. This is not a wife who, after the death of her husband, was left a bitter orphan, without a corner and without a piece, and who laments that there is no one else to feed her: no, this is a tender lover, whom a loving soul longingly rushes to her beloved, to her fret to soak the beaver sleeve in the Kayala River and wipe the bloody wounds on the body of the beloved; which appeals to all nature about her beloved: she reproaches the wind that carries the khan's arrows to the squad of the beloved and dispelled her joy on the feather-grass; implores the Dnieper to cherish the boats of her beloved before her, so that she does not send tears to him on the sea early; she calls out to the sun, which is “warm and red for everyone” - only torments her warriors with the heat of the rays of her frets ... And on the other hand, a man knows how to appreciate such a woman: only the thirst for battle and glory made Vsevolod’s buffalo forget for a while “his dear hoti, red Glebovna, habits and customs "... All this, we repeat, resonates with Southern Russia, where even now there is still so much humane and noble in family life (105), where sex relations are based on love, and a woman enjoys the rights of her sex; and all this is diametrically opposed to Northern Russia, where family relations are wild and rude, and a woman is a kind of domestic cattle, and where love is a completely foreign matter in marriages: compare the life of Little Russian peasants with the life of Russian peasants, petty bourgeois, merchants, and partly of other classes, and you will see in the validity of our conclusion about the southern origin of the Tale of Igor's Campaign, and our consideration of Russian folk tales will turn this conviction into evidence.
Now we should be talking (106) about the "Legend of Batu's invasion of the Russian land" and the "Legend of the Battle of Mamaev"; but we will say very little about them. Both of these monuments do not in the least relate to poetry, because in them there is neither a shadow nor a ghost of poetry: they are rather monuments not even of eloquence, but of the ingenuous rhetoric of that time, whose whole cunning consisted in incessant applications to the Bible and extracting texts from it. Much more curious is the Word of Daniil the Sharpener. It also does not belong to poetry, but can serve as an example of practical philosophy and learned eloquence of the fourteenth century (107) . Daniil Zatochnik was a man of deep learning in the spirit of his time; His “word” is distinguished by intelligence, dexterity, and in some places something similar to eloquence. Its main advantage is that it breathes the spirit of its time. It was written in captivity, to the prince, from whom our Sharpener hoped to beg for forgiveness and freedom. Without losing sight of the main subject of his message, the Sharpener incessantly indulges in various judgments. Incidentally, speaking of his poverty, he says:
...A rich husband is everywhere we know; and in a foreign land he has friends, but the wretched one walks invisibly in his own. He will speak richly, everyone will be silent and his word will be lifted up to the clouds; but the wretched one will say, everyone will click on him and block his mouth: their own robes are bright, those and their speech is honest.
Flattering to the prince, he praises him like this:
...The bird rejoices in the spring, and the baby of the mother, so do I, prince, lord, rejoice at your mercy; spring adorns the earth with flowers, and you, princely lord, reviving all the people with your mercy, orphans and widows, from the nobles you immerse. Prince lord! show me the ghost of your face, for your voice is sweet, and the image of your sovereigns is red, and your face is bright and magnificent, and the mind of your sovereigns, like a beautiful paradise, is prolific.
The prayers of the Sharpener to the prince sometimes rise to true eloquence:
...But when you have fun with many brashnas, and remember me dry eating bread; or drink a sweet drink, but remember me, drinking warm water and ashes falling (108) from the place of wind; When you lie down on soft beds under sable blankets, and remember me under a single cloth lying, and dying in winter, and penetrating the heart with drops of rain like arrows.
Particularly remarkable is the following passage in the "Word" of the Sharpener, where he gives the prince advice to respect the mind more than wealth and speaks of himself with some kind of naive sublime consciousness of his own dignity:
......Prince, my lord! do not deprive the wise poor of bread, nor raise the rich foolish, senseless to the clouds: the poor are wise, like gold in a kalne vessel, and the rich red is senseless, then like a haggard head, woven with straw. My lord! do not see my outer, but see my inner: I am poor in clothing, but rich in mind; I have a young age, but an old sense, by thinking like an eagle soar through the air. But put the vessels of skudelnichi under the stream of a drop of my tongue, let the sweetest honey accumulate the words of my mouth.
This is not the life on the reins, nor wisdom in the heart of the insane: the insane are neither yelled at, nor sowed, nor gathered into granaries, but they themselves give birth. Like pouring water into the fur, so teach the insane; dogs and pigs do not need gold and silver, nor a foolish wise word (109). If the eagle's tit devours, if the stone floats on the water, if the pig rests on the barking squirrel, then the insane will learn the mind.
It is noticeable that Daniil Zatochnik suffered from evil slander from the boyars and the prince's wife; at least nothing else can explain the following terrible philippic against bad advisers and bad wives:
...Prince, my lord! it is not the sea that sinks the ships, but the winds; and it is not fire that kindles the iron, but a sloppy wind: likewise, the prince himself does not fall into many bad things (110), but the Duma members introduce. With a good thinker, the prince will think of a high table, but with a dashing thought, he will be deprived of a small table. Bo says in worldly parables: not cattle in cattle, a goat, and not a beast in animals, a hedgehog, not a fish in fish, a cancer, not a bird in birds, a bat, and not a husband in a husband, whom his wife owns; not a wife in wives, like from her husband ...; not work in the works under the junk to carry. Dive diva, who catches an evil wife, for the sake of profit .... (111) It is better to bring an ox into your house than an evil woman to understand: an ox does not speak, nor thinks evil; a bad wife biema rages, but the meek rises, is proud in wealth, and condemns others in squalor. What is an evil wife? indestructible hotel, demonic merchant. What is an evil wife? worldly rebellion, blindness to the mind, the head of all malice, in the church a demonic tax collector, an advocate of sin, an ambush of salvation.
We do not write out this energetic trick to the end: this is only the beginning, the weakest part of it. Instead of it, let's write out the end of Zatochnikov's message: it is to such an extent in the spirit of the times that it becomes poetic from eloquent, and therefore especially interesting.
...These words az Daniel wrote in captivity on Lake Bela, and sealed in wax, and let them go into the lake, and they devoured the fish, and Yasha was a fisherman, and was brought to the prince, and began to flog it, and the prince saw this writing, and commanded Daniel to be freed from bitter imprisonment. “Do not directly dismiss the insane of his madness, but you will not be like him. I’ll stop talking already, but I won’t be like a fur, dropping wealth to the poor; May I not become like millstones, as those many people satisfy, but cannot be satisfied of themselves, may I not be hated by the world with much conversation. As if a bird quickens its songs, it will soon be hated. The verb bo in worldly parables: the speech is continued unkindly, the dragging is continued. God! give our prince Samson's strength, Alexander's courage, Joseph's mind, Solomon's wisdom, David's meekness, and multiply, Lord, all men under his hand. Give the maddened one a knife, and power to the evil one (?). Most of all, hate the side of the patient. Amen.
Who this Daniil the Sharpener and when he lived is unknown. The news of his imprisonment is in our chronicles under the year 1378 (112). Be that as it may, Mr. Sakharov deserves special thanks for reprinting in his book the manuscript of Daniil Zatochnik, which is so interesting in many respects. Whoever Daniil Zatochnik was, one can conclude, not without reason, that he was one of those individuals who, to their own misfortune, are too smart, too gifted, know too much and, not being able to hide their superiority from people, offend selfish mediocrity. ; whose heart aches and is consumed by zeal for deeds alien to them, who speak where it would be better to be silent, and are silent where it is advantageous to speak; in a word, one of those personalities that people first praise and cherish, then shrink from the world and, finally, having died, begin to praise again ...
Now we should proceed to the fabulous poems contained in the collection of the Cossack Kirsha Danilov. There there are more than thirty of them, except for the Cossacks, and Mr. Sakharov placed from them in his book, in the section "Epics of the Russian people", only eleven. In general, Mr. Sakharov shows great distrust towards Kirsha Danilov's collection and even something like hostility. This matter requires some explanation. The manuscript of Kirsha Danilov's collection was found by Mr. Demidov and published (not completely) by Mr. Yakubovich in 1804, under the title "Ancient Russian Poems". Then the manuscript came into the possession of Count N.P. Rumyantsev, on whose behalf it was published by Mr. Kalaidovich in 1818 (113), under the title: “Ancient Russian poems collected by Kirsha Danilov and republished, with the addition (114) of 35 hitherto unknown songs and fairy tales, and notes for singing. In his preface, Mr. Kalaidovich says: (115)
...The writer, or, rather, the collector of ancient poems, for many belong to distant times, was someone Kirsha, no doubt, according to the Little Russian pronunciation Kirill, since Pavsha- Paul; Danilov is probably a Cossack, for he occasionally sings of the exploits of this brave army with special enthusiasm. His name was put on the first, now lost sheet of ancient poems. Mr. Yakubovich vouches for the justice of this. In the 36th piece, “Yes, it’s not a pity for the good fellow beaten, it’s a pity for the hangover,” where he calls himself “Kirill Danilovich”, devoting this work to guilt and friendship. It is difficult to indicate the place of his birth or stay, because in the play “Three years Dobrynushka served as a steward”, on page 67 (116), the writer says:
But Dobrynya was gone for six months.
By- our, on- Siberian, the word six months.Therefore, it is not without probability that we can conclude that some of the poems were composed in Siberia. In the article "Vasily Buslaev", on page 73:
And and no us such a singer
In glorious Novgorod
Opposite Vasily Buslaev.And, finally, in "Churilia abbess", on p. 383, she introduces herself as a resident of Kyiv:
Yes, there were many churches of God in Kyiv,
And more than that honorable monasteries;
And there was nothing more wonderful than the Annunciation of Christ.
BUT our Christ's Annunciation is honest,
And there was we have Ivan the sexton.The collector of ancient poems must belong to the first decades of the 18th century.
Mr. Sakharov asks: (117) “What is the basis for the fact that Kirsha Danilov was a collector of ancient poems? On the fact that his name is placed on the first page of the manuscript. Where is this sheet? Kalaidovich says he is lost. Who saw the sheet with the signature? Only the publisher Yakubovich, who, according to Kalaidovich, vouches for the justice of this news?
Briefly and clearly, from all this Mr. Sakharov wants to conclude that Kirsha Danilov was by no means a collector of ancient poems. Wonderful; but what is the dispute and is there anything to argue about? Kirsha Danilov - good; not he, but another, Mr. A., Mr. B., Mr. V. - also good: at least in both cases, the poems are neither better nor worse. However, all the reasons are behind Kirsha Danilov, and not a single one is against him; it's clear as day (118) . Firstly, you need some common name to designate a collection of ancient poems: why invent a new one when the eyes of the entire reading public have already looked closely at the name of Kirsha Danilov in print? Secondly, that his name could be on the title page - this is more accurate than the fact that it was not on it, because this name is mentioned in the text of an entire song composed by the collector himself. There she is:
And I don’t feel sorry for the broken, robbed,
And whether that Ivan Sutyrin,
Only sorry for the good fellow hangover,
And whether Kiril Danilovich.
The hangover good fellow is violent, his head hurts:
And you, my dear brothers, comrades, friends!
You buy some wine, get a good hangover.
Though bitter and liquid - come on again;
Replace my death with your belly:
It won't be long before I come in handy for you.
Of course (119), it would be ridiculous to read Kirsha Danilov as a writer of ancient poems; but who said or affirmed this? All these poems are undeniably ancient. They probably began in the time of the Tatars, if not earlier: at least all the heroes of Vladimir the Red Sun constantly fight in them with the Tatars. Then every century and every songwriter or storyteller changed them in his own way, either subtracting or adding verses, or altering the old ones. But they underwent the strongest change, probably, during the time of autocracy in Russia. And therefore it is by no means surprising that the daring Cossack Kirsha Danilov, idle reveler(120), did not leave them completely in the form that he heard from others. And he had every right to do so: he was a poet at heart, which is sufficiently proved by his passion for poetry and his patience to put 60 large poems on paper. Some (121) of them may belong to him himself, like the song we wrote above: “But I don’t feel sorry for the beaten, robbed one” (122). In Russia, it has been established from time immemorial that an intelligent person is invariably a bitter drunkard: this or almost this rightly remarked somewhere by Gogol (123). In the following song, distinguished by a deep and sweeping sense of anguish and sad irony, Kirsha Danilov is (124) the true Russian poet that was possible in Russia before the age of Catherine the Great:
And woe, woe-woe!
And to live in grief - to be unruly,
To walk naked is not to be ashamed,
And there is no money - before money,
The hryvnia appeared - before the evil days.
Do not be bald curly,
Do not be a walking rich,
Do not grow a dry-topped tree,
Do not fatten a lean horse,
Do not console a child without a mother,
Do not tailor an atlas without a master.
And woe, woe-woe!
And grief girded itself with a bast,
Feet are entangled with bast!
And I from grief - into the dark forests,
And grief has gone before the century;
And I'm out of grief - in an honorable feast -
And grief has come in, sitting in front;
And I'm out of grief - to the king's tavern -
And grief meets, it drags beer.
How did I become naked, he laughed.
Kirsha Danilov lived in Siberia, as can be seen from frequent expressions: “ but in our opinion, in Siberian”and from some poems dedicated to the memory of the exploits of the conqueror of Siberia, Yermak. It is very likely that in Siberia Kirsha had more opportunities than anywhere else to collect ancient poems: colonists usually preserve the monuments of their primitive homeland with special love and special diligence. In general, in Siberia even now the primitive spiritual type of old Russia has been preserved in all its purity.
"Ancient Poems", contained in the collection of Kirsha Danilov, for the most part epic content in a fabulous way. There is a big difference between a poem or a rhapsode and a fairy tale. In the poem, the poet, as it were, respects his subject, puts it above himself and wants to arouse reverence in others for him; the storyteller is on his own mind: his goal is to occupy idle attention, dispel boredom, amuse others. Hence there is a big difference in the tone of both types of works: in the first, importance, passion, sometimes rising to pathos, the absence of irony, and even more so - vulgar jokes; at the base of the second, there is always a back thought, it is noticeable that the narrator himself does not believe what he is telling, and inwardly laughs at his own story. This is especially true for Russian fairy tales. In addition to The Tale of Igor's Campaign, from folk art we do not have a single poem that does not bear a fabulous character. The Russian person loves fables as a pastime during the idle minutes of long winter evenings, but does not suspect poetry in them. It would be strange and wild for him to know that academic bars write off and print his stories and fables not for jokes and laughter, but as something important. He gives priority to the song over the fairy tale, saying that "the song is a true story, and the fairy tale is a lie." He has no premonition about close affinity fiction with creativity: fiction for him is the same as a lie, that is nonsense, that is nonsense. Meanwhile, the "Ancient Poems" are not really fairy tales, but, as we said, fairy tale poems. It may be that initially they were purely epic fragments, and then, changing over time, they acquired their fabulous character; it may also be that, due to the barbaric concept of fiction, from the very beginning they were fairy-tale poems, in which the poetic element was mastered by the prose of the popular view of poetry. In the book of Mr. Sakharov (125) "Russian folk tales"There are several tales of almost the same content and almost the same set out as some of the "Epics of the Russian people" placed by him in "Tales of the Russian people" (126). The difference is that in fairy tales there are some extra cons epics details, and that the former are printed in prose, and the latter in verse. And we think that Mr. Sakharov did this not without reason: although all our fairy tales are composed of some kind of measured prose, this metrism, so to speak, constitutes a secondary virtue in them and is often violated in places, while in poems the meter , although syllabic, and, moreover, not always correct, is their necessary accessory. Moreover, there is a certain difference in the manner, in the manner of the story, between a fairy tale and a poem: the first embraces the whole life of the hero, begins with his birth, and ends with death; the poem, on the contrary, captures one moment from the life of a hero and tries to create something separate and whole out of it. And therefore, one fairy tale contains two, three or more epic rhapsodes, such as, for example, about Dobrynya and Ilya Muromets. In the tone of fairy tales, there is more common people, worldly, prosaic; in the tone of the poems there is more poetry, flight, animation, although both of them often talk about the same subject and very similarly, often with the same expressions. Since a Russian person revered a fairy tale as “sprinkling from empty to empty”, he not only did not pursue credibility and naturalness, but also seemed to set himself an indispensable duty to deliberately violate and distort them to the point of nonsense. According to him, the more implausible and absurd the tale, the better and more entertaining. This has passed into the poems, which are full of the most glaring inconsistencies. We will now let our readers see this for themselves - for which we will briefly retell to them the contents of all the poems that are in the collection of Kirsha Danilov.
We have been able to hear the extremely strange opinion that one big whole poem can be composed of our fairy-tale poems, just as if the Iliad was composed of rhapsodes (127). Now, even about the origin of the Iliad, many have left such an opinion as unfounded; as for our rhapsodes, the idea of gluing them together in one poem is an evil mockery of them. The poem requires unity of thought, and as a result of it, harmony in parts and integrity in general. From the content of our rhapsodes, we will see that looking for a common thought in them is the same as catching pearl shells in the Fontanka River. They are not connected in any way; the content of all of them is the same, rich in words, poor in deed, alien to thought. Poetry to prose is contained in them, like a spoon of honey to a barrel of tar. There is no consistency in them, not even external; each of them - in itself, neither follows from the previous one, nor contains the beginnings of the next one. The external unity of the Iliad is based on the anger of Achilles against Agamemnon for the captive Brizeis; Achilles refuses to fight, and as a result, the Hellenes suffer terrible defeats from the Trojans, and Patroclus dies; then Achilles reconciles with Agamemnon, strikes the triumphant Trojans, and by the murder of Hector fulfills his oath of revenge for the death of Patroclus. That is why in the Iliad the second song follows the first, and the third after the second, and so on, from the first to the 24th inclusive, not according to the numbers, at the beginning of them arbitrarily set by the collector, but according to the internal development of the course of events. In our rhapsodes there is no common event, there is no single hero. Although there are twenty poems in which the name of Grand Duke Vladimir the Red Sun is mentioned, he is only an external hero in them: he does not act in any of them and everywhere he only feasts and walks along the bright grid, combing his black curls. As for the connection between these poems, some of them should definitely follow one after another in the book, which, unfortunately, Kalaidovich did not do, who probably printed them in the order in which they were in the collection of Kirsha Danilov. But this applies to very few, so that no more than three can make one - and this one always has its hero, in addition to Vladimir, who is equally mentioned in all. These heroes are heroes who made up the court of Vladimir. They flock to his service from all sides. This is obviously an echo of antiquity, a reflection of a long time ago, which has its share of truth. Vladimir is not in these poems either a real person or a definite character, but, on the contrary, some kind of mythical penumbra, some kind of fabulous half-image, more a name than a person. This is how poetry is always true to history: what history has not preserved, poetry will not convey; and history has not preserved for us the image of Vladimir the pagan, poetry has not dared to touch Vladimir the Christian. Some of the heroes of Vladimir are given to us by this fabulous poetry, such as: Alyosha Popovich with his friend Ekim Ivanovich, Danube, son Ivanovich, Churilo Plenkovich, Ivan Gostiny son, Dobrynya Nikitich, Mikhailo Ivanovich Potok, Ilya Muromets, Mikhailo Kazarinov, Dyuk Stepanovich, Ivan Godinovich, Gordey Bludovich, wife of Stavr-boyar, Kasyan Mikhailovich; some are only mentioned by name, such as: Samson Kolyvanovich, Sukhan Domantievich, “Svetogor the Bogatyr and Polkan the other”, the Seven Sbrodovich brothers and the two Khapilov brothers ... But let the case speak for itself. Let's start with Alyosha Popovich.
* * *
From the glorious Rostov, the red city, two bright falcons flew out, two mighty heroes rode out,
What is the name of Aleshinka Popovich, young
And with the young Ekim Ivanovich.
They drove into an open field on three wide roads, and along those roads lies a combustible stone with inscriptions; Alyosha Popovich asks Ekim Ivanovich, "as in the letter of a learned person", to read those inscriptions. One of them meant the way to Murom, the other to Chernigov, the third - “to the city of Kyiv, which affectionate Prince Vladimir. Ekim Ivanovich asks where to go; Alyosha Popovich decides - to Kyiv. Not having reached Safat rivers (?), stopped in the green meadows to feed the good horses. Here we will stop with them to ask what kind of river it was. Safat flowing between Rostov and Kyiv? Probably, she swam there from Palestine ... Having pitched the tents, hobbled the horses, the good fellows began to “keep their rest”.
That autumn night is gone
Awakens from sleep
Gets up early, early
Washed by the morning dawn,
Wipes off with a white fly,
To the east he, Alyosha, prays to God.
Ekim Ivanovich caught the horses, watered them in the Safat River and, by order of Alyosha saddled them. As soon as they wanted to go "to the city of Kyiv", as it comes across to them kalika transient.
Bastards on it are seven silks,
Tucked in pure silver
The face is studded with red gold,
The fur coat is sable, long-brimmed.
Sorochinskaya hat, Greek land,
Thirty pounds of a roadside shelepuga,
Fifty pounds poured lead Cheburatsky.
Question: how could a shelepuga be in thirty a pood, if there was one lead in it fifty pood?.. Kalika told them this word:
“You are a goy, you are good fellows!
I saw Tugarin Zmeevich:
Is he, Tugarin, three fathoms high,
Between the shoulders oblique sazhen,
Between the eyes of a red-hot arrow;
The horse under him, like a fierce beast,
From hailisch the flame blazes,
There is smoke from the ears."
Alyosha Popovich attached to the kalika, gives him his heroic dress, and asks him for a kalika - and his request consists in repeating word for word the verses we have written out, depicting the attire and weapons of the kalika. Kalika agrees, and Alyosha Popovich, in addition to the shelepukha, also takes damask chingalisch in reserve and goes across the Safat River:
I saw here Tugarin Zmeevich young,
Roared with a loud voice,
The green oak tree trembled,
Alyosha Popovich is barely alive.
Tugarin Zmeevich young spoke here:
“Goy thou, kalik passable!
Where did you hear and where did you see
About young Alyosha Popovich:
And I would stab Alyosha with a spear,
He stabbed him with a spear and burned him with fire.
Here Alyosha spoke with a kaliko:
“And you, oh, you, Tugarin Zmeevich, young!
Come closer to me
I can't hear what you're saying."
Tugarin Zmeevich, young, drove up to him,
Alyosha Popovich is young
Against Tugarin Zmeevich,
He lashed him with a slapstick on his lush head,
Break his wild head -
And Tugarin fell on the damp ground;
Alyosha jumped up on his black chest.
Tugarin Zmeevich young will pray vtapory:
“Goy thou thou art a passable kalika!
Are you Alyosha Popovich young?
Only you Alyosha Popovich is young,
Let us be brothers with you."
Vtapory Alyosha did not believe the enemy,
Cut his head off
He took off his colored dress
For a hundred thousand - and put on the whole dress.
Seeing Alyosha Popovich in the dress of Tugarin Zmeyevich, Ekim Ivanovich and the passer-by Kalika started to run away from him; when he overtook them, Ekim Ivanovich threw back a thirty-pound club, hit Alyosha in the chest - and he fell off his horse dead.
Vtapory Ekim Ivanovich
He jumped off the good horse, sat on his chest:
Wants to flog white breasts -
And I saw a wonderful golden cross on it,
He himself wept, and said to the passer-by:
“According to the sins over me, Ekim, he committed,
That he killed his own brother."
And both began to shake and shake him,
And then they gave him overseas wine;
That made him healthy.
Alyosha Popovich exchanged a dress with the Kalika, and put Tugarinovo in his suitcase. We arrived in Kyiv.
They jumped off good horses,
Tied to oak poles
Let's go to bright gridni;
Pray to the image of the Savior
And beat with a forehead, worship
Prince Vladimir and Princess Aprakseevna,
And on all four sides;
The affectionate Prince Vladimir spoke to them:
“You are a goy, good fellows!
Say what your name is:
And by name it is possible to give you a place,
According to the isopathy, you can come.”
Alyosha Popovich, young, spoke here:
“My name, sir, is Alyosha Popovich,
From the city of Rostov, the old cathedral priest.
Vtapory Prince Vladimir was delighted,
He spoke these words:
“Goy, Alyosha Popovich is young!
In the homeland, sit down in a large place, in the front corner,
In another place, heroic,
In an oak bench against me,
To the third place, wherever you want."
Alyosha did not sit down in a big place
And did not sit on an oak bench,
He sat down with his comrades on a flat beam (!!??).
Suddenly - a miracle! - on a golden board, twelve heroes carry Tugarin Zmeevich - the very one to whom Alyosha cut off his head so recently - they carry him alive and put him on great place.
Here the chefs were quick-witted:
Sugar dishes and honey drinks were carried,
And the drinks are all overseas,
They began to drink, eat, chill here;
And Tugarin Zmeevich dishonestly eats bread:
On the whole rug on the cheek tossing,
Those carpets are monastic;
And dishonestly Tugarin drinks drink:
It whips over the whole bowl,
Which bowl is half a third of a bucket.
And Alyosha Popovich spoke vtapory young:
“Goy thou art, gentle sir, Prince Vladimir!
What kind of fool have you come
What an uncouth fool?
It's dishonest at the prince's table,
To the princess, he, the dog, puts his hands in his bosom,
Kisses on the lips of sugar,
The prince laughs at you."
Tugarin turned black, like an autumn night,
Alyosha Popovich became as bright as the moon.
Starting to destroy the white swan, the princess cut off her left hand,
She wrapped it with a sleeve, lowered it under the table,
She spoke this word:
“You are a goy, princesses, boyars!
Either I cut the white swan,
Or look at the cute belly,
On the young Tugarin Zmeevich.
Tugarin grabbed the white swan, and at once by the cheek, and even the monastery rug. Alyosha again repeats his appeal to Vladimir in the same words; only, instead of a dog, he speaks of an old cow, who, hiding in the kitchen, drank a vat fresh mash and from that burst and which he, Alyosha, by the tail and downhill: "The same will be from me to Tugarin." Having darkened like an autumn night, Tugarin threw a damask chingalish at Alyosha, but Popovich "was for something," and Tugarin did not hit him. Ekim asks Alyosha: will he throw Tugarin himself, or does he tell him to? Alyosha said that tomorrow he would talk to him himself, under a great pledge - not about a hundred rubles, not about a thousand, but about his exuberant head. The princes and boyars jumped on frisky feet, and they all hold bail for Tugarin: the princes put a hundred rubles each, the boyars fifty, peasants(?) five rubles each, and the merchant guests who happened to be here sign under Tugarin three of their ships with overseas goods, which are standing on the fast Dnieper; and the Bishop of Chernigov signed for Alyosha.
Vtapory Tugarin and left,
He sat on his good horse,
He rose on paper wings to fly under the sky.
Princess Aprakseevna jumped on frisky feet,
She began to blame Alyosha Popovich:
“You are a village, you zaselytsina!
I didn’t let my dear friend sit.”
Vtapory Alyosha did not listen to that,
Zvilysya with comrades and went out.
On the banks of the Safat River, they let their horses into the green meadows, pitched their tents and began to "keep in bed." Alyosha does not sleep all night, praying to God with tears to send a menacing cloud; Aleshin's prayer reached Christ, he sent "a cloud with hail of rain", wetted Tugarin's paper wings, and he lies like a dog on damp ground. Ekim informs Alyosha that he saw Tugarin on damp ground - Alyosha equips himself, sits on a good horse, takes a sharp saber.
"The Tale of Igor's Campaign" is a literary monument of ancient Russian culture, which tells about the unsuccessful campaign of Prince Igor Svyatoslavich against the Polovtsians in 1185.
Lament of Yaroslavna is one of the three parts of the poem, dedicated to the moment of grief of the wife of Prince Igor about the unsuccessful outcome of the battle in which his squad took part. This episode is recognized as one of the best in the entire work, and its heroine acts as a symbol of a loving and faithful wife.
The image of Yaroslavna personifies the theme of family, peace, home and endless longing for her husband, who every moment risks dying from an enemy sword. Her excitement is so strong and irresistible that she is ready to become a bird in order to quickly be near her husband and heal his wounds. Tellingly, such techniques, namely the transformation of the heroes of folk art into various birds and animals, are one of the main features of Russian folklore.
The action takes place at a time when Russia had already adopted Christianity, but at the same time still continues the traditions of the pagan faith. They talk about it artistic images used in the work. For example, Igor, noticing a black shadow that rose over the Russian militia, doubted the successful outcome of the battle.
Or, for example, the appeal of Yaroslavna to the wind, to the sun, to the river, means her faith in pagan gods, personifying the named forces of nature. She speaks to them on an equal footing, now reproaching, now pleading for support and protection. In addition, with the help of this technique, the author shows the beauty of the Russian land, the boundlessness of its fields, the bright sun, high mountains, deep seas and mighty rivers. All the vast and great Russia was embodied in this picture, personified in the image of the beautiful Yaroslavna. Her crying carries not only suffering and sadness, but is also filled with tenderness and bright hope.
The heroine's monologue is a lyrical song permeated with undying hope for the soon return of Prince Igor from the battlefield. And for her faith and boundless love, fate generously rewards Yaroslavna. Prayers are heard, and Prince Igor flees from captivity, led by miraculous power on the way to his home.
Thus, the lamentation of Yaroslavna is the most important plot component of the poem "The Tale of Igor's Campaign". It is in it that all the power of universal people's grief for the fallen wars is contained and the idea of creation and peace is affirmed.
Option 2
The 12th century for Russia was marked by many events, but mainly of a military orientation. If we talk about the cultural development of the state, it is important to note that the remarkable monument of ancient Russian literature "The Tale of Igor's Campaign" dates back to this time.
The above work has a clear structure, which is subject to the idea, genre features, means of language. There is nothing accidental or superfluous in The Lay: each episode is important, it carries a certain semantic load.
In this essay, we will focus on the episode, which literary critics call "Yaroslavna's Lament." This is a kind of prediction of the fate of the beloved frets.
Yaroslavna personifies the Russian land. And in crying, the girl clearly shows the attitude of the whole Russian land to the military events with the Polovtsians.
If speak about compositional construction text, then "Lament" is important as a prejudice to Igor's escape from captivity. Because Lada Yaroslavna turns to the sun, the wind, the Danube, so that they help her lover to free himself from the Polovtsian fetters, then so that Lada can be with her beloved together.
If "Lament" is removed from the text, then its harmony and semantic completeness will be violated. After all, the main idea is a call for unity.
Also, do not forget about such things as artistic space and time. In this case, special attention is paid to space. It either expands or contracts. In Lament, the space is expanded to the very outskirts of the Russian state. This is achieved due to the skill of the author, due to the fact that he brought Lament closer to a folk lyric song.
Landscape sketches are also important in Lament. According to the literary critic D. Likhachev, they are called upon to be independent actors. This is also characteristic of ancient Russian texts of that time, because such a technique allows us to show and emphasize the vastness of the space that surrounds an insignificantly small person.
"Word ..." has poetic arrangements. The most interesting are the translations of Likhachev D., and Zabolotsky N.
If we talk about Lament, then Likhachev embellishes the text through metaphors, and Zabolotsky through comparisons.
Some interesting essays
- Analysis of the story by Nikita Platonov
The work belongs to the writer's lyrical stories devoted to military topics, and considers the consequences of the influence of wars unleashed by states on the child's psyche as the main problem.
The undergrowth Mitrofan in Fonvizin's comedy had several teachers. One of them, and the most worthy in the opinion of the near-minded Mrs. Prostakova, was the German Vralman.
Lament Yaroslavna, perhaps the most poetic and beautiful episode of the work... It sounds not just like moaning and prayer, but like a real spell, filled with folk tunes and magical transformations into animals.
Yaroslavna is worried about the unsuccessful campaign of the squad of her husband Prince Igor. In her sadness, she is not ashamed of her tears and turns to the higher forces of nature - the wind, the river and the sun. Her treatment on an equal footing is amazing, Yaroslavna, as it were, condemns and scolds higher powers, like good old friends who did not provide proper support to her husband. With this technique, the author points to the pronounced pagan customs that took place at that time, despite the already adopted Christianity. Nature in weeping is also unusually picturesquely depicted. Such descriptions as transformation into animals are quite characteristic of folklore.
In the image of Yaroslavna, the type of a faithful and devoted wife is successfully combined, who is ready for a lot for the sake of her husband, and they will turn into a cuckoo, and wipe blood from wounds.Also mentions in his song and the glorified feat of Svyatoslav, as if saying that there is something to be proud of, the Russian people . Important, that female image presented on a par with men. Thus, the author emphasizes the confidence and self-sufficiency of Yaroslavna.
So, we can conclude that with the help of the presented image, the author is trying to convey the grief, and at the same time the determination of all the women of Russia - wives and mothers.Each word of Yaroslavna is filled with light and hope for a successful end to the confrontation.
is a mandatory work that is included in school curriculum. The word is not just a monument of ancient Russian literature and historical work. This is a work that helps to see the worldview of ancestors, see the images of princes and get acquainted with the problems that existed at that time. The work also shows Russian women, selfless, devoted, faithful and tender. Their author reveals through, which poured out her grief in tears. When you read a part of the work, which describes the crying of Yaroslavna, you see how it is filled with a special breath, a deep feeling, which we will write about in our literature for grade 9.
Kozlov: Arrangement of Yaroslavna's Lament
The word about Igor's regiment was relayed different writers, among which it is worth noting its arrangement by Kozlov. If others tried to write their transcription close to the text of the Old Russian work, preserving its rhythm, then Kozlov wrote the Slovo in a more free form, trying to convey his emotional and personal perception of the work. In spite of everything, the basis for each version of the arrangement of the Lay about Igor's Campaign remained the same - and this is the work of an unknown author. Each of the writers managed to correctly recreate the image of Yaroslavna, which reflected all the features of Russian women. We hear her sincere crying, where Yaroslavna not only performs the accepted rituals, but truly mourns for her husband's squad, worries about her betrothed, and the sincerity of her tears can be compared with the bleeding wounds of the prince. It hurts her that she is not next to Igor, and cannot fly to him like a bird.
Why does Yaroslavna appeal to different forces of nature three times?
As you know, in the Lay of Igor's Campaign, the episode of Yaroslavna's Lamentation is the most beautiful part of the author's work. Yaroslavna turns to three elements at once in her spell. The woman calls for help the wind, the sun and the river. Why does Yaroslavna turn to three elements at once in her crying? Most likely, the author wanted to emphasize the pagan basis of the work. In addition, in folklore, the technique of triple conversion was often used both in fairy tales and in songs and parables. So in the Word about Igor's Campaign, Yaroslavna, in her prayer, in her spell and her melodies, touches on three elements that help Igor free himself from captivity.
Composition on the topic: Lament of Yaroslavna
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Composition on the topic: is the "Lay of Igor's Campaign" relevant in our time 
Composition: What is the attitude of the author of "The Tale of Igor's Campaign" to the main character of the story? 
The composition “What is the pathos of the monument“ The Tale of Igor’s Campaign ”?”
