A system of types of commentary on a classical text. Comments on the work "Mumu" by Turgenev
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№1
A historical and literary commentary on this poem should begin with the history of the city of Kitezh and the emergence of Lake Svetloyar. They say that the Legend of the Hiding of the Holy City of Kitezh is the pearl of the Slavic epic. Based on the legend, many research books, poems, and Rimsky-Korsakov’s opera “The Legend of the Invisible City of Kitezh and the Maiden Fevronia” have been written. What is hidden behind a beautiful legend about the city that “went” into Lake Svetloyar without submitting Tatar-Mongol yoke during the Batu invasion.
I
1. The story about the city of Kitezh dates back to the time of the Tatar-Mongol invasion, that is, to the 13th century. However, according to Alexander Asov, the origins of this legend should be sought in an even earlier period - the pre-Christian history of Rus'. This is not so simple, since in the Orthodox religious tradition, paganism is so closely intertwined with Christianity that it is quite difficult to separate which legends belong to one and which myths belong to the other.
Lake Svetloyar, in which, according to legend, the sacred city of Kitezh hid, is located in the Volga region, and has been known since ancient times as the center of pagan faith. The name of the lake itself comes from two Old Russian words: “bright”, that is, pure, righteous, and “yar”, which is the root of the name of the pagan solar deity Yarila, who was worshiped by the ancient tribes of the Slavs. In the modern world, Lake Svetloyar is exposed to scientific research, which end in failure, but many legends of the pre-Christian period are associated with Lake Svetloyar. They also mention the city of Kitezh. It is spoken of in the most ancient sacred source of pagan faith - the Star Book of Kolyada.
According to one of the legends, in the area of Lake Svetloyar, the magical half-horse-half-man Kitovras, who was a powerful wizard and builder of ancient temples, as well as the god of wisdom and hops Kvasura, were born. The name of the city of Kitezh came from their names.
In the area of Lake Svetloyar lived Slavic tribe Berendeev. Their descendants before today preserved legends that since ancient times, one of the largest religious centers of the cult of Yarila was located in Kitezh. This place was considered sacred for Russian princes.
With the baptism of Rus', Kitezh, like many other large centers of pagan cult, was turned into a center Orthodox faith, and the princes continued to visit him. Thus, the city of Kitezh was the religious center of Rus' and remains so.
Many Orthodox churches were built on the site of temples, since it was believed that such places are special - they are sources of strong positive energy. The names of the ancient gods were gradually changed to the names of saints, but the very place of worship of higher powers, which truly possesses magical energy, remained the same. That is why the area of Lake Svetloyar has been shrouded in legends and mysticism since ancient times. According to legend, it is in these places that only believers are able to see the city and its temples.
According to Christian chronicles, the city of Bolshoy Kitezh on the shore of Lake Svetloyar was built by Prince Yuri Vsevolodovich, the son of Vsevolod the Big Nest. In addition to Big Kitezh, there was also Small Kitezh, which grew up under his grandfather - Yuri Dolgoruky (Rostov-Suzdal and Great Prince of Kyiv). There were many churches in Big Kitezh, and it was built entirely of white stone, which at that time was a sign of wealth and purity. However, legends united these two different cities, and so the mystical and mysterious Kitezh City appeared.
3. Alexey Asov, guided by the legends and chronicles of that time, was able to recreate the true picture of the events of those distant times. In 1238, after the destruction of the Vladimir-Suzdal principality, Batu Khan set up a camp on the City River. After another unequal battle, Prince Yuri Vsevolodovich with the remnants of his troops retreated to Maly Kitezh. However, Batu took it by storm, and the prince and the remnants of his army miraculously managed to escape to Greater Kitezh.
At that time, on Russian soil, Yuri Vsevolodovich remained practically the only organized force opposing the Tatar-Mongol invasion. Batu longed for power over the world and was eager to move on as quickly as possible - to Mediterranean Sea, but he was afraid to leave the proud and undefeated Russian prince in the rear. And then he ordered to torture all Russian prisoners so that they would give up the protected roads leading to Kitezh. The warriors were silent because they knew: to hand over the sacred city means dooming themselves and their family to eternal damnation. Only one could not stand the torture - Grishka Kuterma. He was afraid of torture and death and agreed to lead his enemies to the Russian shrine. The path was not easy and lay among impassable swamps and forests. But the traitor knew the secret paths and was able to lead the Tatar-Mongol army to the holy city. When Khan Batu approached the city, he saw that people were not going to fight with him, they were praying. Seeing the suffering of the Russians from the invaders, God took pity on the besieged. Before the eyes of Khan Batu and his troops, the holy city sank into Lake Svetloyar and was not left for plunder and destruction by a merciless enemy.
Thus, for the Russian people, the city of Kitezh becomes a symbol of unsullied holiness and purity, which, according to the Old Believers, has no place in the vicious reality.
Let's move on to the topic of M.V.'s creativity. Voloshin, the author of the work “Kitezh” in Russian literature.
M.A. Voloshin (Maximilian Aleksandrovich Kirienko-Voloshin, 1877-1932) occupied a special place among the symbolists. He was united with the Symbolists by social indifference, a passion for medieval mysticism, Indian philosophy, and modern occultism. Voloshin himself pointed to his creative closeness with Balmont, with whom he was connected by an interest in the fate of ancient cultures, reflection on the course of history, and lyrical contemplation. However, unlike the Symbolists, Voloshin was a master of bright picturesque paintings, his poems attracted specific, visible images, which brought the poet closer to the subsequent school of modernism - Acmeism. Voloshin was a talented painter, and this was reflected in his poetry: Voloshin’s poems are as colorful and expressive as his drawings. Voloshin's landscapes and his style of painting set him apart from the Symbolists with their vague images and decorative landscapes. He himself defined his style as “neorealism,” which he understood as a combination of impressionism and symbolism.
The poem “Kitezh” was written on August 18, 1919. This poem was included in the “Paths of Russia” cycle; at the end of this poem, as in all other poems by M.A. Voloshin, it is written in which city the poem was created. But it is in this poem that there is a clarification of when exactly it was written “During Denikin’s offensive” (this attack of General Denikin on Moscow occurred during the Civil War of 1919). This poem occupies a fairly important place in this cycle, because this poem talks about very early history, and it was with her that it all began, as with this poem.
Throughout the first part of “Kitezh” one can trace the image of fire, which in poetry different nations can be interpreted in different ways. But it is in this poem that this symbol can be understood only as a symbol of purification.
1. All Rus' is a fire. Unquenchable Flame
From edge to edge, from century to century
It hums, roars... And the stone cracks.
And every torch is a person.
Are we not, like our ancestors,
Did they let him in? A hurricane
Inflated it, and drowned in acrid smoke
Forests and villages of fire.
Without realizing it, people themselves lit this “fire” (it’s not for nothing that M.A. Voloshin associates every person with a torch: “And every torch is a person”) and people themselves must pay for what was done. After all, the country is so for a long time burned with the flames of rebellion, wars broke out one after another, as if the coal would never go out. Why is it used in this passage? obsolete word“Fires” and how is it related to the theme of fire? Ognishchans are a class in Ancient Rus', consisting of people living on a fire - in a large estate - and feeding on their labor. These are all manufacturers material assets who see the meaning of their life in work and using the results of this work to their advantage (peasants, professional artisans, hunters and shepherds, city guards and other people of humble origin who devoted themselves to protecting their native settlement, protecting trade routes, and during wars formed the backbone of the people's militia). These people directly relate to war, and therefore to the topic of fire.
Further analyzing this poem, we are faced with such geographical concepts as Sergiev, Optina and Sarov. According to G. Fedotov, “Sarov and Optina are the two hottest fires around which all of Russia warmed itself.” But what do these lines mean?
Neither Sergiev, nor Optina, nor Sarov -
The people's fire will not be put out:
They will leave, fleeing the fires,
To the bottom of silver lakes.
Optina here means the world-famous Optina Monastery. This monastery was spoken of as “an unfading lamp of unceasing prayer, a receptacle of truly Christian love and a focus of asceticism...” Optina was a holy land for the Russian people, the third after Paradise and the Christian Community in the days of the Apostles.
Sarov, or Sarov Monastery (Sarov Assumption Hermitage) is a former monastery, founded at the beginning of the 18th century in the city of Sarov, Tambov province (now Sarov is part of the Nizhny Novgorod region). Known as the place where St. Seraphim of Sarov, a revered Orthodox ascetic and saint, labored.
Sergius, or Trinity-Sergius Lavra, in church literature usually the Holy Trinity - Sergius Lavra is the largest Orthodox male stauropegial monastery in Russia, located in the center of the city of Sergiev Posad, Moscow region, on the Konchura River. It was founded in 1337 by St. Sergius of Radonezh.
All these folk shrines, as they say in the poem, “...will go, escaping from the fires, to the bottom of silver lakes...” Here, for the first time, the image of an underwater city appears before us, which appears as the eternal dream of the Russian people. And only the chosen and truly sacred land was awarded, this by god's grace: escaped from harsh reality, from eternal life in captivity of foreigners. After all, water is also a symbol of purity, and only such shrines are worthy of salvation.
So, given over to the Tatars,
Holy Kievan Rus
She left the ground, hiding behind Svetloyar...
But I will not renounce fire!
I myself am fire. Rebellion is in my nature
Following the course of the poem, for the first time we encounter the image of the lyrical hero of the poem, who is personified here. The lyrical hero himself identifies himself with fire, saying: “I myself am fire. Rebellion is in my nature...", meaning by this a stormy, restless personality. Next, he tries to convey to his readers that any human impulse and aspiration, like fire, needs its own framework and boundaries. As an example, he cites the construction of new cities, like prisons into which people drive themselves.
But he needs the chain and the edge.
Not for the first time, dreaming of freedom,
We are building a new prison.
Out of control copper Peter -
A demonic game of fire.
The geographical concepts of two Russian capitals are also mentioned here: Moscow (the center of Russia) and St. Petersburg ( cultural center Russia), which is presented here in the form of a metaphor “The Will of Copper Peter”. The mention of these two greatest cities for Rus' is not accidental, because, according to the lyrical hero, we are not given more space outside of them. It is not for nothing that he compares the development of new lands with a “fiery demonic game” in a swamp, which can lead far, lead to death, without indicating the way back. So in history, when you come out of an old addiction, you fall under a new one.
And there are no ways to that city,
Where the conscript and the alien call
Underwater church evangelism.
Holy Rus' has absolutely nothing in common with earthly existence, because its heirs made the country vile, there was no holiness left in it. “Holy Rus' is covered by sinful Russia” - with the help of this metaphor the author shows the structure of Rus' (its history): there, above, is a sinful land, which seems to cover another world, the Holy Land, which was not created for everyone. And this deceitful world, built only on economic relations, blocks the path to the bright, pure, sacred, but not all people are given the opportunity to hear the call of the “underwater gospel of churches.”
Now let's move on to the second part of this poem. It describes many stages of the entire centuries-old Russian history. It is this part of all three parts of the poem that can be attributed to the direction of impressionism, in which the author M. Voloshin sought to convey his fleeting impressions of the constantly changing world. Here are the internecine wars that arose at the very beginning of its existence, between the sons of princes Svyatoslav, Vladimir the Red Sun and Yaroslav the Wise over the division of lands:
Here is the subjugation of the Rostov and Novgorod principalities by Prince Ivan Kalita, and the subjugation of other “rags” principalities by his children Semion the Proud and Ivan the Red (Prince of Moscow from 1325), Grand Duke Vladimir (from 1328). Ivan Krasny played big role in the unification of Russian lands around Moscow after the death of Kalita.
Kalita's stingy children
It was put together in patches.
In the following lines we see a comparison of the Moscow princes, represented by Moscow itself, with the “cross spider,” an insect whose color always adapts to its environment. Likewise, the Moscow tsars were not at all distinguished by their nobility, but by their cunning and ability to adapt to everyone: to humiliate themselves in front of stronger opponents, and to gain benefits by using weaker ones.
In the silence of nights, starry and frosty,
Like a fierce spider cross,
Moscow spun under the Dark Ones and the Terrible Ones
Your own tight, hopeless circle.
Here the whistleblower and the earpiece ruled everything,
And he was fierce and strict
Moscow prince - "bed maker and stick maker"
With the Lord," God have mercy!
According to the author, Russia is not developing properly; its history seems to be repeating itself in a circle. Russian princes do not take into account the mistakes of their predecessors, trying to show their power by building inhumanly beautiful cities and facades, competing with each other, and do nothing for the good of the country. It must be said that there is also a mention of two Russian tsars: Ivan IV the Terrible and Vasily Vasilyevich (1415 - 1462), the Grand Duke of Moscow (from 1425), who bore the nickname Dark
What follows are lines in which Moscow is presented to us through the eyes of M. Voloshin, but, alas, it is presented not as a beautiful city in which all the splendor of the Russian land is collected, but as a mixture of “... a palace, a prison and a monastery” (the beauty of the palace, there is no freedom, like in a prison, a monastery - its own rules):
Nest of boyars, holy fools, humble women -
Palace, prison and monastery,
Where is the twenty year old stabbed baby?
He drew circles like a bat.
The image of a “slaughtered baby” here refers to Tsarevich Dmitry Ivanovich, the son of Ivan IV. And then an impostor appeared, posing as him (False Dmitry). And the phrase “Drew circles like a bat” only testifies to his inability to learn from the mistakes of his predecessors. I didn’t know what to do with the exposure.
In the following lines, we are introduced to the reign of the first king of the Romanov dynasty - Mikhail Fedorovich Romanov (in comparison with the “offspring of the Cat and the Mare”), whose ancestors were Andrei Ivanovich Kobyla and his son Fyodor Andreevich Koshka.
Breaking bone, pulling out veins,
The Moscow throne was being built,
When the offspring of Cats and Mares
Pozharsky brought him to reign.
The line “Pozharsky brought to reign” only says that the people’s militia led in 1612 by Dmitry Pozharsky was able to rid our country of the Polish-Lithuanian invaders who captured Russia after the flight of False Dmitry II. After the expulsion of foreigners from Russian soil, Prince Dmitry Mikhailovich Pozharsky ( 1578 - about 1641) contributed to the accession of Mikhail Fedorovich (1596 - 1645), the first Russian Tsar from the Romanov dynasty (from 1613
The following passage deals with the reign of another the brightest representative Romanov dynasty - Peter the Great, who was the first Russian emperor. But in this poem. And M. Voloshin portrays Peter I as the “Antichrist”, who not only built the city of St. Petersburg, in the name of his greatness, on human bones, but also tried to liken Russia to Europe, thereby crossing out historical traditions Motherland.
Antichrist-Peter steamed block
Collected, pulled and swung,
The steamed block here means the Neva River, on which the city of St. Petersburg was built. Peter the Great forgot and violated all the laws of nature and the commandments of Christianity, and subsequently “paid” for trying to shackle an element unpredictable and beyond the control of man, such as a river. The work of A.S. Pushkin “The Bronze Horseman” tells about a flood, Peter I tried to curb the river, but now even after his death people are dying. And here there is also the theme of a city under water, but only in in this case water cleanses all the dirt accumulated in the world.
He taught book sciences.
These lines clearly express Peter's attempts to Europeanize the country. The reformer tsar shaved the people's beards. Haircut introduced new fashion, and also increased the education of the population. All the nobles and noble people spoke exclusively French words, thereby not preserving our native language, we are not preserving history. It must be said that these reforms were received with hostility. Hence the comparison “strung on the rack.”
M.A. Voloshin also criticized the empresses in every possible way. He believed that the obese empresses sat on huge eggs from which officials and city executioners hatched.
The Empire, leaving the hole as a mole,
Hatched from eggs Z
It says here that after the reign of Peter the Great (“the mole” who “dug” the way into Europe), he was replaced by the Empresses: Catherine I, Anna Ioannovna, Anna Leopoldovna, Elizaveta Petrovna and Catherine the Great. All of them, in the minds of M.A. Voloshin, were compared to “hens”, because the fates of all five empresses with historical inevitability were reflected in the fate of Russia - a country in which, in the words of the philosopher Nikolai Berdyaev, female soul, ETERNALLY SEEKING AND NOT FINDING PEACE ANYWHERE. Hence the line “the empire...was hatched from eggs”...
Under the hot crowned flesh
Its five empresses.
Almost all 5 empresses with the exception of one or two were
Foreign blood. Catherine the Second was German, Elizaveta Petrovna was half of Jewish blood, Catherine the First was a Lithuanian Jew. Hence the phrase:
Shtykov is illuminated with radiance
The Russian throne was defended.
Many Jews took places on the throne and at court they harassed the most prominent Russian nobles - the Golitsyns and the whole nest of Dolgorukovs - with all kinds of executions and fortresses.
There is a struggle for survival, for money, career and power. Vices flourish: betrayal and lies, violence and meanness, cynicism and hypocrisy. Sometimes, as if from a dungeon, tongues of flame burst out beyond the boundaries of the mystery."
And they burst out with a whistle from under the throne
Swirling flames -
To light from darkness, to freedom from fullness -
Elements, passions, tribes.
In the next quatrain, the author has hope for the restoration of autocratic, but already masculine, power in the person of the new Tsar of Russia, even if in the images of such national traitor-leaders as Pugacheva, Razin and Mazepa, who seem to have “resurrected from the graves”:
Anathema of the church, having overcome the shackles,
Resurrected from the graves
Mazepa, Razin and Pugachev -
Horrors of other centuries.
“Anathema to the Church, having overcome the laws...” means to be freed from church curses for sins against the church, for defamation of the faith. But also Orthodox Church anathematized the people's leaders...
Summing up the second part, which describes many stages of centuries-old Russian history, M.A. Voloshin ends it with the following quatrain:
All darkened, covered in blood,
You remained the land of frenzy -
Yes, Russia has endured and endured a lot throughout its centuries-old history. Since the time of Rublev, a lot of blood has been shed in the struggle for justice, for better life. But despite everything, it still remained a “land of frenzy”, a land that is constantly in a state of excitement and passion. Indeed, the very mentality of the Russian people contains such qualities as breadth of soul and the ability to self-sacrifice. A true love- always sacrificial...
A land seeking love.
In the third part of the poem “Kitezh,” the author M.A. Voloshin expresses (but in a rather ironic form) his absolute confidence that Russian history will repeat itself again. Moscow Rus' in this poem is “a tight, hopeless circle.” The Russian people, accustomed throughout their centuries-old history to being under the “yoke of fatal power,” will get tired of what they have gained at the cost of many human lives Liberty:
They will pass - molten years
Popular storms and riots:
Yesterday's slave, tired of freedom,
He will grumble, demanding chains.
Will build barracks and forts again,
Will erect a broken throne,
And he himself will go silent into his dens,
Work in the fields like an ox.
And, sobered up from blood and fumes,
Rejoicing at the scourge of the Tsar,
All these lines talk about the abolition of serfdom, despite the fact that it has already been abolished, people who were slaves will want to become dependent again. After all, they are not used to living, obeying only themselves, and they are also not used to being responsible for their actions on their own.
And again the theme of fire arises here. But the image of fire here is different; “He will light a bright candle” means he will light a light that illuminates someone life path. Fire can also be understood here as a symbol of self-sacrifice for the sake of others:
From the embers of an extinguished fire
Lights a fierce candle.
This “reverse” process, according to the symbolist poet, is inevitable, because this is reality, and it is precisely this that is the ideal essence of the world. We live on a sinful land, “Our whole Rus' is a bonfire” and nothing can be changed here, nothing else is given. Earthly life- just a reflection, a distorted representation of existence. comprehend upper world It is possible by faith, through religion. Therefore, all that remains is to humble yourself, pray and, of course, believe, believe in an unprecedented city called Kitezh - the only ray of light in the dark Russian kingdom.
Pray, be patient, accept
There is a cross on the shoulders and a throne on the neck.
At the bottom of the soul, the underwater Kitezh hums -
Our impossible dream!
The poem “Kitezh” appeared in 1919 – a terrible, incomprehensible time for Russia. Crimea, Civil War, the onset of the “Red Terror”. Why does M. Voloshin turn specifically to the image of Kitezh - the mythical city? Is Kitezh the image of all of Russia?
The legend tells how, during the offensive of Batu’s troops, Kitezh, along with all its inhabitants, was sheltered from enemies by the waters of Lake Svetloyar.
The rebellious spirit of the inhabitants of Kitezh, who did not want to submit to the Tatars, is the spirit of Rus' itself. There was not a single era when there was peace on Russian land. The reasons for this are the characters and thoughts of the people themselves. “Neither Seriev, nor Optina, nor the people of Sarov will put out the fire,” writes M. Voloshin. Yes, the strongholds of humility of the human soul, monasteries, cannot extinguish the flaring flame, because, blinded by the storm of feelings, people cannot find the way to the shrines, and through them to God, the roads: the devil leads. Rus' plunged not into the holy lake, but into sin.
Century after century, pictures of the frightening past of Russia pass before our eyes: the civil strife of Russian princes cut Rus' with knives, the brutal reign of Ivan the Terrible, the troubled time of Godunov, the accession of the Romanov family, the anti-Russian reforms of Peter I, the reign of Catherine I, Anna Ioannovna, Anna Leopoldovna, Elizaveta Petrovna, Catherine II (they say Russia has a feminine soul).
The activities of Peter I are assessed negatively in the poem
He cut his hair, shaved it, and, rearing it on the rack,
Taught book sciences...
And Rus' became German, decorous, vile.
Shtykov is illuminated with radiance,
In a mixture of Holstein and Württemberg blood
The Russian throne was defended.
The consequences of the destruction of everything primordially Russian are inhuman riots, riots and bloody massacres, wars, revolutions...
But the author does not believe in the death of Holy Russia. The Russian man, freed from everything that held him back from the most terrible actions, sobers up from drunken revelry and consciously puts himself in chains. Is it really impossible for a person to restrain himself from excesses on his own, without supervision and prisons? Maybe!
From the embers of an extinguished fire
Lights a fierce candle.
It is not a torch, but a candle that a person must light within himself. This is the way to salvation. Kitezh is a symbol of the holy principle in the soul of everyone, which is still hidden and does not have the opportunity to rise from the depths.
M. A. Voloshin is a man of diverse talents, poet, artist, critic, researcher. Various aspects creative activity Voloshin are interconnected: in his poems - the vigilance and observation of the painter, in his landscapes - the poet’s thoughts about destinies home country.
In one of his letters in 1919, Voloshin admitted: “I write poetry exclusively in modern themes– Russia and the Revolution”, “... the unfolding historical tragedy deeply captivates me.”
On August 18, 1919, M. A. Voloshin wrote the poem “Kitezh”, in which the image of the underwater city appears as the eternal dream of the Russian people. Real Russian history throughout its entire length is evil.
In the history of Russian culture there is no more popular legend than the legend of the invisible city of Kitezh. “From a local legend with a precisely defined geographical center,” it turned “into a national symbol.” Kitezh is one of the popular topics related to the idea national identity, Here's how it sounds: “Having conquered some Russian principalities, Batu Khan learned about Kitezh and ordered its capture. The horde soon reached the city walls. To the surprise of the Mongols, the city had no fortifications at all. Its inhabitants did not even intend to defend themselves and only prayed. Seeing this, the Mongols attacked the city, but then they had to stop. Suddenly, fountains of water gushed out from underground and began to flood the city and the invaders themselves. The attackers had to retreat and they could only see the city sinking into the lake. The last thing they saw was the cross on the dome of the cathedral. And soon only waves remained in place of the city.”
This legend gave birth to numerous incredible rumors that have survived to this day. It is said that only those who are pure in heart and soul will find the way to Kitezh. In his poem, Voloshin reflected his dream that we would find Kitezh, i.e. became clean.
In the poem, the author appears as a magnificent historian: the history of Rus' unfolds before our eyes. Vividly and unusually, in just a few lines, the poet sketches a picture of his Motherland. And now terrifying, terrible images of bonfires made of living flesh appear before us.
The gallery of historical characters in Voloshin’s lyrics is a kind of collection of moral monsters, mental cripples, despots, and madmen. The same picture appears before us in the poem “Kitezh”.
M.A. Voloshin, who firmly chose continuity in relation to the thousand-year-old domestic tradition, preserves the Christian character of the Kitezh legend.
Kitezh appears to him simultaneously both as a symbol of the invisible Holy Rus', and as a symbol of the real, but lost historical Russia.
So the popular belief in the material existence of the invisible, but real city gave birth first figurative meanings the toponym “Kitezh”, and then an intangible but capacious symbol of the national image of the world.
Kitezh is a mythological city, the extraordinary fate of which has become the subject of Russian traditions and legends.
Lake Svetloyar, in which, according to one legend, the sacred city of Kitezh hid, is located in the Volga region. Having ravaged the Vladimir-Suzdal principality, Batu Khan set up camp on the City River. After another unequal battle, Prince Yuri Vsevolodovich with the remnants of his troops retreated to Maly Kitezh. However, Batu took it by storm, and the prince and the remnants of his army miraculously managed to escape to Greater Kitezh. Seeing the approaching enemy hordes, the residents of Greater Kitezh and the soldiers of Yuri Vsevolodovich began to pray to God. Hearing the prayers of the Russians, God took pity on the besieged. Before the eyes of Batu and his troops, the holy city sank into Lake Svetloyar and was not given over to the merciless enemy for plunder, dishonor and death.
The sanctity of its waters extended to the city itself and its inhabitants. Therefore, the image of a city inhabited by the righteous was born, passing unharmed through the sacred waters and passing into better world. Legend says that the lake hid Kitezh until the end of time, and only before the end of the world will it rise again from the waters, and the army of Yuri Vsevolodovich will leave the gates of the holy city to appear with all Christian souls at the judgment of God.
Many research books and works of fiction have been written based on the legends. One of them is before us - a poem by M.A. Voloshin "Kitezh".
In his work, Voloshin tries to comprehend the history of Russia, gives his assessment historical events and historical figures. The content of the poem is a combination of various segments of the historical time of the formation of Rus', conveyed through the prism of the author's perception. Heavy, oppressive thoughts forced Voloshin to take up his pen. In the poet’s words one can hear the bitterness of the awareness of the general chaos that is approaching Russia with increasing force during the terrible period of establishing new truths, a new world order:
...not for the first time, dreaming of freedom,
We are building a new prison.
Yes, outside Moscow - outside our stuffy flesh,
Outside the will of copper Peter -
There are no roads for us: we are led in the swamp
A demonic game of fire...
The epithets used by the author (“the people’s fire”, “stuffy flesh”, “molten years”), metaphors (“the stone is cracking”, “Rus was shredded”), expressive comparisons (Rus is a fire, a torch is a man, the Moscow prince is “bed-bed and the Lord’s stickman”, Moscow - “fierce spider cross”) fully convey all the pain of the poet’s soul, unable to remain silent any longer.
The situation in Rus' has never been absolutely quiet and calm. Wars, civil strife, struggles for power, lies and betrayal existed at all times... But integrity of spirit and unshakable faith in holy ideals always helped her to survive.
At the beginning of the poem M.A. Voloshin mentions three important spiritual centers: Sarov, Optina, Sergiev, named after Russian saints. Thanks to their bright thoughts and deeds, people’s faith in the ideals of goodness and love grew stronger, a clear confirmation of which is the work of B.K. Zaitseva " Venerable Sergius Radonezh".
And then in M. Voloshin’s poem the names of other people begin to sound historical figures: Ivan Kalita, Ivan the Terrible, False Dmitry, Vasily the Dark, Andrei Kobyla and his son Fyodor Koshka, Pozharsky, Peter I, Mazepa, Stepan Razin, Emelyan Pugachev. The interpretation of the images of some of them is well known to the modern reader based on such works by A.S. Pushkin, like “Poltava”, “The Bronze Horseman”, “The History of Peter the Great”, “The Captain’s Daughter”, “Boris Godunov”. In the generalized title of “five empresses” one can guess the names of five real Russian rulers: Catherine I, Elizaveta Petrovna, Anna Ioanovna, Anna Leopoldovna and Catherine II, known in Russia as Catherine the Great. Maximilian Voloshin gives each of these heroes a very unflattering assessment.
The author characterizes the times of Ivan Kalita and his immediate descendants as follows:
Strife tore Rus' apart with knives.
Kalita's stingy children
By lies, violence, robberies
It was put together in patches.
And indeed it is. As you know, Ivan Kalita contributed to the union of the Moscow Principality with the Golden Horde. For the Horde, he collected tribute from Russian lands. Popular discontent was brutally suppressed. It is also known that one day, having come to the Tver volost, Kalita and the Tatars burned cities and villages and took people prisoner.
Voloshin further compares Moscow to a spider that weaves its web in the silence of the night. This is also no coincidence. Time of Troubles in Rus' began with the reign of Vasily the Dark. But no less tragic times came with the era of the reign of Ivan the Terrible. According to a number of historians, the policies of Ivan IV were despotic in nature, and the government acquired misanthropic features. This is evidenced by mass executions and murders, the destruction of Novgorod and other cities. “Among other difficult experiences of fate, in addition to the disasters of the appanage system, in addition to the yoke of the Mongols, Russia had to experience the threat of a tormenting autocrat: it resisted with love for autocracy, because it believed that God sends plagues, earthquakes, and tyrants; did not break the iron scepter in the hands of Ioannov and endured the destroyer for twenty-four years, armed only with prayer and patience,” this is how N.M. Karamzin characterizes the reign of Ivan the Terrible.
Delving into history helps to understand what difficult times the people have gone through, how many disasters they have endured. And, probably, more than once I dreamed of such an underwater Kitezh-grad, where one could hide from all the hardships and torments. But a person mired in vices has no way there. This is why the author says:
Holy Rus' is covered with sinful Russia,
And there are no ways to that city,
Where the conscript and the stranger call
Underwater church evangelism.
The gospel of the churches! It seems to me that exactly bell ringing gives people hope and strength. After all, if you climb the bell tower, you can feel freedom and feel like a bird. Perhaps every resident cherished such a dream in his soul: just to feel free from the laws of the rulers.
Antichrist-Peter steamed block
Collected, pulled and swung,
He cut his hair, shaved it, and, rearing up on the rack,
Taught book sciences...
The poet says that Peter really carried out positive changes in Russia: local government reform, finance and budget reform, formation new army, transformation in the fleet, provincial reform the formation of the Senate and collegiums, the emergence of a new culture.
Separately mentioned is the decree on shaving beards. Since 1699, a special duty was levied on men wearing a beard, and those who paid it were given a specially minted bond - a beard badge.
However, during the transformations, Russia lost its originality, some special spirituality inherent in it, and therefore the Tsar-Transformer turned into the Tsar-Antichrist.
After Peter I, the Russian Empire was ruled by Catherine I, Elizaveta Petrovna, Anna Ioanovna, Anna Leopoldovna and Catherine II. All of them were followers of Peter’s course, and therefore under them Russia became “German, decorous, vile.”
This is how Maximilian Voloshin told the history of the formation of the Russian state: from Kievan Rus before Russian Empire. It seems to me that, despite all the bitterness and despair that gripped the poet, he is full of faith in spiritual rebirth Russia, capable of making it a great and invincible country:
But now, as in the days of past falls,
All darkened, covered in blood,
You remained the land of frenzy -
A land seeking love.
That is why the poem “Kitezh” by Maximilian Voloshin produces special
Municipal state educational institution
Sergeevskaya average comprehensive school
Schoolchildren's Olympics
Union State “Russia and Belarus:
historical and spiritual community"
Historical and literary commentary
to a poetic work
Subject “We will save the honor of our native country...”
(Analysis of the poem by F.N. Glinka
"Song of the Guard Warrior Before Battle of Borodino»)
Krasyukova Karina Aleksandrovna
16 years
MKOU Sergeevskaya secondary school
Voronezh region,
Podgorensky district,
S. Sergeevka,
St. Yesenina, 34
Head Bednyakova I.A.
2012
In 2012, Russia celebrates a significant event - the 200th anniversary of the Patriotic War of 1812. Therefore, my choice of a poem about the Battle of Borodino by F.N. Glinka is not accidental. In the process of my work, I was interested in learning more about the participants in this heroic battle, their mood, and state of morale. In addition, I wanted to become better acquainted with the work of a poet, unfortunately unknown to me until that time and, as it turned out, a very famous poet in his era. His life and work, dedicated to the people and the Fatherland, deserve deep respect and knowledge.
F. N. Glinka (1786-1880) - a native of the Smolensk province, a participant in the Patriotic War of 1812: he fought at Austerlitz, participated in the Battle of Borodino in 1812, in the foreign campaigns of the Russian army; He ended the war with the rank of colonel and was awarded a golden weapon for bravery. Glinka fought for the liberation of his homeland both as a warrior and as a poet. It is known that F.N. Glinka composed a number of patriotic poetic works, many of which were set to music, but only a few penetrated into the popular environment. Among them are songs that were popular in 1812, during the French invasion: “War Song”, “Soldier’s Song”, “Song of a Guard Warrior before the Battle of Borodino” and others. Having absorbed the traditions of soldier's folklore, these artless, sincerely excited works formed into a kind of poetic chronicle of the heroic era of Russian history. They sing of the determination to die, but not to bow to the invader and tyrant. IN in a certain sense these verses became the source of later civil lyrics Glinka - participant secret societies, Decembrist poet. In the same row are “Letters of a Russian Officer,” thanks to which Glinka became a famous writer.
Under the influence of the era of the Patriotic War of 1812, the worldview of the poet and writer M.I. was formed. Glinka. In moments of respite, often right on the battlefield, he wrote down his thoughts and observations in a notebook and wrote poetry. F.N. Glinka was the first in literature to call the War of 1812 Patriotic War, deeply understanding its character. The simplicity of his presentation of the great events he described made Glinka a very popular writer.
One of famous works poet - “Song of a guard warrior before the Battle of Borodino” - written between 1812-1816. The song depicts a specific place and time of the events described - “on the banks of Kolocha,” that is, near the village of Borodino near Moscow on the night before the great battle.
“The Song of the Guard Warrior...” makes a deep impression with its patriotic pathos, attracts with the sincerity of the Russian soldier’s feelings of love for his homeland and his willingness to die for it in the battle of Borodino.
The theme and at the same time the idea of the work is a strong in spirit, convincing in its sincerity call to “friends”, “sons of the Slavs”, “sons of war” to fight for Moscow - the “city of ancestors”, to lie down with bones, to lay down “chapters” for the “honor of their native country” "
This work belongs to the genre of literary military song, which was based on the folklore genre soldier's (military-historical) song, that is folk song, which arose among soldiers. In most military historical soldiers' songs from the perspective of an eyewitness, vivid images are depicted battle scenes, courage, resourcefulness and endurance of Russian soldiers, images of commanders are created. Soldiers' songs express the worldview of the people and show the growth of their consciousness. That is why Glinka turns to this genre to express the highest spirit of patriotism of Russian soldiers in Patriotic War 1812.
The composition of the work consists of two parts: a warrior’s song and the author’s conclusion. The first part begins with the address “Friends!”, which is one of the most common types of beginning in folklore. This appeal is intended to emphasize the unity of the Russian people in the face of severe danger - this was important both for the folk singer and for the poet, an exponent of national feelings. Despite the traditional nature of the technique, the poet somewhat expanded its meaning: if in folk lyrics the beginning only attracts the listener’s attention, then in his poems it is also evaluative in nature.
This is the rhetorical appeal “Friends!” in the further development of the action, the action is repeated twice more, and other rhetorical appeals are also heard: “Sons of the Slavs! Sons of war!”, “Native land!”. High vocabulary emphasizes the importance and solemnity of the events described, as well as the sincerity and nobility of the feelings of the participants in the upcoming battle. The climax of the song is the words:
…We will not extradite Moscow!
We will save the honor of our native country
Or let’s add up the chapters here!..
At the end of the warrior’s song, there is a touching appeal to their native land with a request to accept them if they die in battle.
And sleep did not captivate their eyes,
And the spirit in them was on fire!
In “Song of the Watchman…” F.N. Glinka widely uses elements of folk poetic language (addresses, repetitions, inversions) to create a romantic picture, romantic image, the romantic pathos of the work. A special place here is occupied by Old Slavonicisms: “bregakh”, “golden”, “temple”, “grad”, “chapters”, etc. and high vocabulary: “ God's temple", "sons", "honor", "Native Land", which express the pathetic feelings of the hero and the author. Epithets play a significant role in “The Song...”, they increase the figurativeness of the narrative, contribute to creating a more vivid impression of the depicted pictures (“the dawn is brighter,” “the lights are paler,” “the wide fields”); serve to create a pronounced alarming-tragic atmosphere (“fateful day”), characterize the feelings of the lyrical hero (“cheerful”, “brave”, “villain”, “native country”, “native land”). An abundance of metaphors “we do not conquer the eyes of sleep”, “we do not hear the pain of wounds”, “Moscow to the golden heights”, “we will not betray Moscow”, “the spirit was on fire”, etc., phraseological units “to lie down with bones”, “let us lay down our heads”, etc., periphrases “God’s temple”, “city of ancestors”, personifications “sleep did not captivate their eyes”, “Receive us...Native land!” serve as an expression of utmost emotional behavior lyrical hero. After all, Moscow has always occupied an important place in the consciousness of Russian people. Being not only the capital Russian state, but also a Russian Christian shrine, it evoked the warmest feelings both in the thoughts and in the heart of an Orthodox person. F.N. Glinka was devoted to Moscow until the end of his days. In “Song of the Guard Warrior...” Moscow is the embodiment of the Motherland for the lyrical hero. The surrender of his beloved capital terrifies him.
F.N. Glinka masterfully gave the work sound expressiveness. For example, in the line “Friends, cheer up! Friends, be brave!” The combination of hard voiced consonants [dr] is repeated three times; this alliteration technique demonstrates to us the warrior’s firmness and confidence in his call. The poet also uses sound writing in the line “There’s already a roar in the fields, you can hear the noise!”, where the fourfold repetition of a dull hissing consonant sound [w] creates a sound image of the steps of an enemy approaching through the grass.
The songs of Fyodor Glinka, composed by him during the war of 1812, were sung to suitable well-known motives. True, in this song the first and last verses (iambic pentameter and iambic trimeter) do not coincide in size with the rest (iambic tetrameter and trimeter), and they cannot be sung to a common tune. The author chose iambic for a reason: it is strong and energetic poetic meter, suitable for singing songs in marching formation. “Song of a Guard Warrior...” is a rhythmic work, with cross rhyme, with simple and incomplete syntactically structured sentences, easy to perform and memorable, with a deep and at the same time very understandable and clear meaning, which is why it was very popular at one time in the military environment .
In "Song of the Guard Warrior before the Battle of Borodino" lyrical hero- a Russian soldier, warrior - appears as a real Russian patriot, selflessly loving his homeland, ready to die for it in battle. This war is very far from us: 200 years have passed. But, reading the lines of the work of F.N. Glinka, I very clearly imagine the tragedy of 1812 and bow to the unparalleled heroism of the defenders of our homeland. I am proud of my history, proud that I belong to the courageous and glorious Russian people.
For deeper penetration into the content and figurative world work of art It is important to understand all the shades of meaning of incomprehensible words, to have an idea of the events in question, of the characters in the work. Knowledge of these facts helps to better understand the author’s idea of the text and characterize it more fully and accurately.
In order to become familiar with the structure of a historical and literary commentary, you should borrow from the library a volume of the author’s works, which contains notes and comments. It is best to turn to academic publications - they present these materials most fully and accurately. There are necessary comments in the books of the “Poet's Library” series. For example: Ryleev K.F. Complete collection poems. L., 1971. (Poet's Library. Large series).
You can compose a historical and literary commentary yourself, but according to a certain structural scheme:
- Briefly about the author, date of creation of the text.
- Information about the historical characters of the work (line by line, starting from the title).
- Line by line and whenever possible short comment events mentioned in the text.
It should be remembered that in historical and literary commentary the personal reflections of the commentator, the use of figurative and expressive means and other methods of “influencing” the reader are undesirable. The comment must be strict and extremely informational.
Example of historical and literary commentary:
K.F. Ryleev (1795-1826) - Russian poet, Decembrist, participant in the uprising Senate Square in St. Petersburg in 1825. He was hanged along with other organizers of the movement and leaders of the uprising. The Duma “Ivan Susanin” was written in 1822, during the period of the creation and strengthening of the activities of secret Decembrist organizations, when the poet systematically turned to the history of the Fatherland, the fate of its heroic defenders.
Ryleev's Duma is dedicated to events related to the attempts of the Polish king Sigismuid III to establish his son, Tsarevich Vladislav, on the Russian throne.
Susanin Ivan(? - 1613) - hero of the liberation struggle of the Russian people at the beginning of the 17th century, according to some sources, a resident of the village of Domnina, Kostroma district. In the winter of 1613, being taken as a guide by a detachment of Polish gentry, he led them into impenetrable forest wilds, for which he was tortured.
“But you won’t be able to save Mikhail!” The Poles were looking for and wanted to capture the future Russian sovereign Mikhail Romanov, who was hiding at that time within the Kostroma district.
Poles- Poles.
Moskal- comes from the Polish moskal - a native of Moscow (Muscovy), Russian (soldier). IN XVIII-XIX centuries residents of Eastern Belarus and Ukraine called soldiers of the army of the Russian Empire (including Little Russians and Belarusians) that way. Initially, the word had a neutral meaning and only emphasized geographic affiliation. Over time, the word “Muscovite” began to acquire a negative connotation in the territories of Polynya, Belarus, Lithuania and Ukraine.
Sarmatians - common name nomadic pastoral Iranian-speaking tribes who settled in the 3rd century BC. e. - IV century AD e. in the steppes from Tobol in the east to the Danube in the west (Sarmatia).
From the middle of the 16th century in Poland they began to express the idea that the Polish gentry descended from the Sarmatians. The Sarmatians were considered excellent warriors, they created heavy cavalry, their weapons were swords and spears. In the text of the Duma the word Sarmatians is used in the meaning of “warriors”.
Zupan- among Ukrainians and Poles: an ancient half-caftan.
Lucina- thin long neck for lighting a peasant hut.
“But know and strive: I saved Mikhail!” Susanin managed to notify Mikhail about the danger, and his retinue managed to take him to safe place. Upon the accession of Mikhail Feodorovich to the throne in 1613, Susanin’s descendants were given a charter for a plot of land near the village of Domnina; it was confirmed by subsequent sovereigns.
Questions and tasks
- Using the given sample, write a historical and literary commentary on the thought of K.F. Ryleev "The Death of Ermak".
- What figurative and expressive means does Ryleev use when drawing the figure of Ermak? What is emphasized, especially emphasized in his appearance and character?
- How do you think Ryleev’s thoughts “Ivan Susanin” and “The Death of Ermak” helped the poet achieve his goal: “To arouse the valor of fellow citizens with the exploits of their ancestors”?
After lessons
Prepare materials for the historical and literary almanac “Decembrists - poets, publicists, revolutionaries.” Make an almanac.